Notes
Why are you a painter and not another kind of artist?

Why are you a painter and not another kind of artist?

'I just like the process of painting. I like remaking images in paint...'

Exhibition

Shane Cotton: The Hanging Sky

Touring Australia and New Zealand 2012–13

Notes
Not-so-young guns

Not-so-young guns

They say auction houses are becoming more powerful, but this is really spooky.

Notes
Talk to the bat

Talk to the bat

The US President Theodore Roosevelt famously said that politicians on the world stage should 'speak softly and carry a big stick'. And on the evidence of this photo, you might think that Sean Duxfield, whose arm this is, has decided to follow Teddy's advice in committing his duties as Exhibitions and Collections team leader. 'Problem? Talk to the bat.'

Notes
It’s the little things

It’s the little things

I've never forgotten the story an Australian friend once told me about James Mollison, the former director of the National Gallery of Australia and National Gallery of Victoria.

Notes
Lifting off (at last)

Lifting off (at last)

The crate's empty, but not for long.

Notes
What they did with Christchurch cathedral

What they did with Christchurch cathedral

Lunchtime on a shining summer's day and you head for the ruin of Christchurch Cathedral. If you get there by twelve you can usually nab one of the bench seats along the back wall, where sun buckets down through the long-gone roof and warms the stonework behind you.

Notes
Steeple people

Steeple people

Having just come back to Christchurch after seven months overseas, I've been clocking up plenty of where's-it-gone and what-went-there and where-the-hell-am-I moments.

Notes
Heavy-metal crochet

Heavy-metal crochet

Whoever's renting wire-mesh fencing in Christchurch must be smiling all way to the money machine. Thousands of panels still line the inner-city red zones, and it doesn't look like they'll be disappearing any time soon.

Exhibition

Justene Williams: She Came Over Singing Like a Drainpipe Shaking Spoon Infused Mixers

Australian artist Justene Williams uses performance and ephemeral materials to produce a sensory overload of shapes, patterns and colours in the vibrantly theatrical video work.

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