Features
Why open access won’t work for UWA Publishing
The decision to move UWA Publishing to an open access model is an experiment doomed to fail writes Emmett Stinson.
Learning from our art mistakes (from the archives)
We learn by failing, but rarely talk about it. Here, artists and arts workers from diverse sectors reflect on what…
Is Mike Parr Australia’s greatest artist?
Whether draining his own blood to use as paint, burning his artwork or painting a gallery white-on-white, Mike Parr has…
Born from chaos, Barking Gecko Theatre is 30 years strong
Given the current state of arts funding, Artistic Director Luke Kerridge is taking hope from the turbulent birth of Barking…
The destruction of Sydney’s cultural spaces is creating a city of ghosts
Moving properties from public hands to private developers radically shifts who has access to these spaces and the culture they…
Collecting the history of video games
Ahead of the NFSA's Digital Directions conference, screenhub talks to Jon-Paul Dyson of The Strong National Museum of Play.
What Tom Muller has to say about Fremantle Biennale
On the cusp of its second iteration, we look at how this art event is busting open 'outpost syndrome' by…
Sydney Festival becomes Australia’s single largest commissioner of new work
Festivals play a vital role in commissioning and co-commissioning work from small to medium companies and independents. Without them, the…
What Jacinda Ardern’s leadership means for the arts
New Zealand's progressive PM has much to teach other world leaders in her championing of the arts and compassionate government.…
New projects focus on the rights of artists with disabilities
The supported studio model is one way of tackling some of the barriers artists with disabilities face in pursuing their…