The other wall of Quilty’s studio is lined with portraits – roaring faces, struck with the effervescence of emotion, and then occasionally long, twisted noses. One of my favourite studio visits, with Ben Quilty, for Broadsheet.
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“The notion that replica is the ‘Robin Hood ‘of design is crazy,” says Ross Gardam. “My products use quality timbers, certified electrical components, and are made in Australia by an ethical workforce.” On the big problem of design forgery and fakes in Australia for VAULT.
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David Haines’ earlier experimentation around the avant-garde end of art music eventually milked into other sensory research. “The thing about aroma and scent is that it’s quite difficult to figure out how to actually work with it.” On the dark magic of scent and sensory art with David Haines for MUSEUM.
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I first met Dion about four years ago, unloading a bale of steel sculptures off the back of his oversized, roaring 1984 F100 pick up. I was his gallerist, and we were installing Night Rider – a captivating series of work that just about sold out within the first hour of opening. Visiting the home of my friend Dion Horstmans for Habitus Magazine.
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Best recognised for his rain-soaked skate loop, Storm Sequence, Gladwell’s signature slow-motion sequences capture his skill and prowess as a skater, and place a steady, hypnotic veil over otherwise harsher moments, movements and elements. An exhibition walk-through with Shaun Gladwell, for Broadsheet.
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Many millions journey to the Denon Wing of the Louvre Palace each year to bear witness to La Gioconda, but there has only been one retrospective exhibition of Piero di Cosimo’s painting to date, held at the Schaeffer Galleries in New York in 1938. An homage to a more obscure Florentine, for MUSEUM.
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I first witnessed Sehgal’s work earlier this year, with no real sense of what I was about to encounter. A relatively inexplicit press document had listed Sehgal’s most recent artistic accolades – the Gold Lion at the 2013 Venice Biennale and a nomination for the often-controversial British Turner Prize. On experiencing Sehgal's This is so contemporary for MUSEUM.
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