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Artist-centred leadership and the future of the arts
The sector is no longer just looking at itself; it is beginning to look at the world outside the arts.…
The 70/30 split versus truly valuing an artist’s work
A world in which dealers would take a 70% commission on an artist's work is a world beholden to the…
The 'arts criticism is f!*ked' debate gets personal
Writer quits and pens an angry screed about the state of arts criticism: it's a familiar story, but does the…
Does predictability make a good exhibition?
Predictability wins when surveying the art scene of another nation – in this case the Philippines – rather than the…
Why we need more independent producers
Independent artists need independent producers; they also need to reconsider some of the negative stereotypes they have about the producer's…
Does an art prize need controversy to be visible today?
There are over 300 art prizes in Australia. Perhaps the only way to ensure cut through is to amp up…
Fringe advocacy should not be taken for granted
A recent ArtsHub feature called Fringe Festivals 'the arts world's version of a pyramid marketing scheme'. Here, a Fringe Festival…
The changing face of street art
Street art in Sydney is now very much in demand – but it hasn't always been this way.
Why is there so little space for women in jazz music?
Across the Australian jazz industry, women are disturbingly under-represented. Why, and what can be done to amend this imbalance?
The phenomenon of colonial firsts
Kirsten Paisley, Deputy Director, National Gallery of Australia responds to a recent opinion piece by ArtsHub's Gina Fairley.
