What is the secret science of the perfect croissant? From the air between layers, to the ratio of the audible crunch to buttery centre, Lune Croissanterie spills the beans on some of their croissant chemistry. For Lifestyle.
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“Together I think we've got a groovy goo going on.” I spoke to Gotye about his spiritual grandfather—Jean-Jacques Perrey—and all the wonders of the ondioline. For Broadsheet Sydney.
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This season, Sydney is playing host to Rembrandt and a set of his Dutch peers, Swiss artist Pipilotti Rist, iconic New York City photographer Robert Mapplethorpe, and Danish-Icelandic master of colour and light Olafur Eliasson – in the form of contemporary ballet. Though, once you've visited the blockbusters—there's still more art to see. For Broadsheet Sydney.
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Decades later, at lunch at the Art Gallery of New South Wales with Adam Cullen to celebrate his 2000 Archibald triumph, Cullen queried his older peer as to whether it was true that Greenberg had once identified Watkins as the greatest painter Australia had to offer. For VAULT Magazine.
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“I will paint, as I have always done, my father’s Country. It is my tjukurpa, my memories, my Country.” Introducing the incredible Pepai Jangala Carroll for Art Collector Magazine.
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What began as an artistic exploration into, and meditation on, the throws of his own devastating chronic illness, has become a complex flight into the realm of life and death, science, medicine, humanity, and history. Introducing John A Douglas for Art Collector Magazine.
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“Photography has such a significant connection to a truth-claim, but at the same time images are so fragmented and manipulated." —Introducing Asheligh Garwood, for Art Collector Magazine.
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Jamaican born and a Harlem local, Ward is deeply absorbed in the potential of art and language—in meaning layered on thick via choice materials, discarded objects, symbols—and a considered exercise of semantics. Another of my favourite interviews, with artist Nari Ward for MUSEUM.
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The state of the brunch scene in Sydney is strong. It’s unrestrained, interesting and fluid. It’s layered with creativity, mastery and ingenuity, a sustainable slant and a heap of individuality. I weigh in on a savoured Sydney ritual as it stands to date, and those working hard to keep it credible—for Good Food Month.
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Graham Fletcher’s mid-century modern settings are architectural, painterly, and richly coloured—burnt oranges and plaid, alongside Arne Jacobson and Ray and Charles Eames furnishings. Exhibition catalogue text for Sophie Gannon Gallery.
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Instagram has become an indispensable tool for artists, curators, and gallerists alike—but how is it affecting our visual literacy in the process? I discussed the topic with Alexie Glass-Kantor, Joseph Allen Shea, Colin Snapp, Ramesh Mario Nithiyendran and Daniel McKewan for VAULT.
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Ahead of La Puissance, an exhibition of all female artists created by PAR FEMME in collaboration with artist and curator Amy Finlayson from The Fin Collection, I unstitched a little of the powerful past and present of art by women. For PAR FEMME.
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“I was motivated to share my collection because of a belief that many museums in Australia do not provide the public with the opportunity to view sufficient international contemporary art,” says Danny Goldberg OAM, chairman of private equity firm Dakota Capital, and one of the country’s avid collectors. On private collections on show in Sydney for Broadsheet.
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Perhaps somewhat symbolically, it’s Barton’s relentless, fiery imagination that has forever been the spark and the burning hot core of her work. On Del Kathryn Barton for VAULT Magazine.
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Designed by Hong Kong-based Pal Design in collaboration with Sydney’s FROST* Collective, the creative team behind this project have gone above and beyond the classic kid's ball pit. For Indesign.
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For Huseyin Sami, paint is an elastic material — the action of painting an experimental, novel landscape. Exhibition catalogue text for Sophie Gannon Gallery.
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When asked what his design philosophy is, Shigeru Ban says simply “I look for a problem to solve by design.” I met Shigeru Ban during his recent layover in Sydney, for Indesign.
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Distinct from the Sydney Biennale and the city’s other multi-venue art events, the idea is to promote and endorse Australian art and artists. Maybe more emblematically too, The National hopes to ignite new conversation on contemporary nationhood, and the anxieties of identity, real or imagined, through the eyes of artists. On the first iteration of The National exhibition, for Broadsheet.
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