Podcasts about contemporary art australia

We are in conversation with US-born photographic artist David Stephenson, who received an MFA from the University of New Mexico in 1982 before taking a teaching position at the University of Tasmania's School of Art. His work has consistently explored the sublime, in relation to his transcendental experience of place. With an ongoing interest in human interventions in the landscape, David arrived in Tasmania in the lead-up to the Franklin Dam blockade and continues to document Tasmania's contested places. He also experiments with the different ways the photographic image, and different subject matters, can represent time. His work is in many permanent collections including the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, the Museum of Contemporary Art Australia, the San Francisco Museum of Modern Art, and both the Museum of Modern Art and the Metropolitan Museum of Art in New York. David Stephenson is represented by Bett Gallery, Hobart, Jackson Fine Art, Atlanta and Boutwell Schabrowsky, Munich. You can see David's work on our instagram page @artdestinations.podcast

*Content Warning: This episode of Doin' Time may contain audio images of Aboriginal and Torres Strait Islander people who have died, and discussion of Deaths in Custody.First on the show is Keith Munro, the Director of First Nations Art and Cultures at the Museum of Contemporary Art Australia. Keith is continuing the extraordinary legacy of his grandfather Lyall Munro Senior through his passionate commitment to his people. He talks to Marisa about the importance of historical truth-telling in the context of the upcoming Myall Creek Massacre Memorial this upcoming weekendSecond on the show is senior solicitor at the Redfern Legal Centre, Samantha Lee. She joins Marisa to discuss a landmark class-action lawsuit challenging the legality of hundreds of strip-searches carried out by NSW police at music festivals over the past 6 years.

Glenn Barkley is a busy man! He has written a brilliant book on Ceramics, 'Ceramics: An Atlas of Forms', (published by Thames and Hudson), a global cultural study of the history of ceramics, sharing the stories of over 100 objects, honouring the artists who have left their mark on this timeless practice. This coincides with the curation of an upcoming show at the AGNSW, brick vase clay cup jug, a look at the Gallery's collection - July 1 2023 - Jan 2024. 'Barkley was previously senior curator at the Museum of Contemporary Art Australia (2008–14) and curator of the University of Wollongong Art Collection (1996–2007).He was a finalist in the 2017 Sidney Myer Ceramics Award and is held in numerous collections both nationally and internationally, including the Art Gallery of South Australia, Adelaide, National Gallery of Australia, Canberra, Shepparton Art Museum and Artbank, Sydney.'He is represented by Sullivan and Strumpf. Congratulations Glenn, so great to meet you and find out all about you and your work. Cant wait to read your new book....

Hellooooooo! And welcome back to No Offence, But a Black Birds podcast hosted by Ayeesha. On today's episode Ayeesha is joined by Claire Healy and Sean Cordeiro. Claire and Sean have been working together since 2003. Their practice reflects a preoccupation with the dynamics of global mobility, fallout of consumer society, and contemporary notion of home. They've exhibited worldwide in prestigious galleries and major festivals and their work has been acquired by The National Gallery of Art, Washington, DC; Venice Biennale, Museum of Contemporary Art Australia, Sydney; Gallery of Modern Art, Brisbane; Art Gallery of South Australia, Adelaide, and more.Today Claire and Sean talk about ...how they met and started working togetherwhy good public art should almost be invisibletheir past works like Auto Safari and Don't Shit Where You Eattheir upcoming work for OpenField festivalYou can find the full OpenField program and ticket info hereFind us on Instagram // @bl.ckb.rds @eeshash @clairehealyandseancordeiro @openfieldartsfestival Hosted on Acast. See acast.com/privacy for more information.

 *Content Warning: This episode of Doin' Time contains audio images and discussion of Aboriginal and Torres Strait Islander people who have died. First up on today's program, Marisa speaks with Pamela Curr, longtime advocate of refugees and asylum seekers, condemning the disgusting display outside Victoria's Parliament on Saturday, where neo-nazis dressed in black held an anti-immigration rally, and were met with a large counter-protest. They discuss some of the appalling media coverage demonising these anti-fascist protestors, and the right's creation of division in Australia's political landscape.  Each year, hundreds of people around the country gather at Myall Creek on the June long weekend to commemorate the premeditated and unprovoked massacre of Wirrayaraay women, children and older men by a group of 12 stockmen on Myall Creek Station on June 10, 1838. Marisa interviews Keith Munro, Gomeroi co-chair of the Friends of Myall Creek committee (and newly-appointed Director of First Nations Art and Cultures at the Museum of Contemporary Art Australia) about their upcoming memorial commemoration of the massacre, held yearly since 2000 over the June long weekend, and other events they have planned for the weekend. He also discusses healing, memory, truth-telling, and what makes Myall Creek unique in our colonial history. See the full list of Friends of Myall Creek events this Friday 9th - Sunday 11th June here.  Last up on the show, Marisa invites Cheryl Axleby (Co-Chair of Change the Record) to discuss the ACT Government's delays in raising the age to 14, defying advice from Aboriginal, legal and human rights organisations, and how it is too little too late - risking exposing an entire generation of children to the quicksand of this country's punitive and discriminatory criminal legal system. They also talk about the need for Aboriginal-led design and delivery of culturally appropriate diversionary programs to break the intergeneral cycle of incarceration for our younger generations. Head to www.3cr.org.au/dointime for full access to links and previous podcasts.

In this final fourth part of our Thud! trilogy, Liz and Ben are rejoined by designer and educator Matt Roden. As we wait for the biscuits to arrive, we turn our attention to this month's agenda items: the 2005 Discworld short story “A Collegiate Casting-Out of Devilish Devices”, and squeezing in a bit more discussion of Thud! Every Thursday the senior faculty of Unseen University have a committee meeting, during which they do very little except wait for the biscuits and tea to arrive - much to the annoyance of Ponder Stibbons. But this week, Ridcully announces that their latest magical mishap has annoyed the Patrician - and as a result, they have a few questions to answer from one A. E. Pessimal, newly appointed “Inspector of Universities”... Written for the Times Higher Education Supplement and published a few months before Thud!, this very short story draws on Pratchett's own experience on a committee. Does it tally with yours? Are you a Ponder, a Ridcully, or a Pessimal? Do you agree with Matt's characterisations of the other faculty members? Plus we get back into Thud! - are we off the mark with our thoughts about whether it's copaganda? What is Pratchett trying to say about religious extremism, if anything? And what Discworld cocktail would you make? Join the conversation using the hashtag #Pratchat63. Guest Matt Roden was here just two months ago for #Pratchat61 discussing Thud! He is still the Creative Learning Manager for the Museum of Contemporary Art Australia, as well as an accomplished graphic designer and educator. There are now even more photos of his dog on his Instagram at @matthewrodeo. You'll find notes and errata for this episode on our web site. We're easing into the year slowly with another short story for February, this time one of Pratchett's earliest: “Rincemangle, the Gnome of Even Moor” from his time at the Bucks Free Press in 1974. Its available in both A Blink of the Screen and The Witch's Vacuum Cleaner. Send us your questions about it using the hashtag #Pratchat64, or via email, which you can send to chat@pratchatpodcast.com. Oh, and don't forget to check out the all-new Pratchat Reading Challenge for 2023! All the details are on our website, and you'll also find it on the StoryGraph.

Designer and educator Matt Roden delves deep under Ankh-Morpork with Liz and Ben as they unravel the mystery of the penultimate City Watch book, 2005's Thud!. As the anniversary of the Battle of Koom Valley approaches, the dwarfs and trolls of Ankh-Morpork find their ancient enmity stirred up - not least by Hamcrusher, a conservative leader of the "Deep Down" dwarfs, who has preached hatred against the trolls. But now Hamcrusher's dead - not that the other deep downers want the Watch to know about it - and Vimes must solve the puzzle of his murder before tensions explode across the city. On top of that, he's also been sent a government inspector, he's had to take on the Watch's first vampire, someone's stolen the most talked-about painting in town - and he has to get home at 6 o'clock sharp, every night, to read Where's My Cow? to his infant son... While most Watch books have a mystery that needs solving, none so far have felt as much like a contemporary thriller as Thud! There's an awful lot going on, with politics, religion, art and history all in the mix. Is it too much for one book? Are there threads that get dropped along the way? Is Pratchett having his cake and eating it too with his fantasy abstractions of real world issues? And who do you think should star in Discworld legal drama "The Good Dwarf"? Join in the conversation using the hashtag #Pratchat61 on social media! Guest Matt Roden is a graphic designer, educator and the Creative Learning Manager for the Museum of Contemporary Art Australia. Matt has a long history with storytelling and education; he helped set up The Ministry of Stories in London, and was the first volunteer and a long-running Storyteller with Sydney's Story Factory. You can follow Matt on Instagram (where you can see photos of his dog) at @matthewrodeo. As usual, you can find notes and errata for this episode on our web site. We apologise that this episode has gone out much later than planned. While our schedule has gotten a little out of whack, we'll still be continuing our "Thud! trilogy" next episode with our special crossover with sibling Pratchett podcast The Truth Shall Make Ye Fret. We'll be joined by Jo and Francine to discuss Where's My Cow?, the hottest children's book in Ankh-Morpork! Plus we have plans to extend our Thud! trilogy to four parts - details coming in our very next episode.

시드니 서큘라 키에 소재한 초현대적 전시관 호주현대미술관(Museum of Contemporary Art Australia)은 내년 3월 25일까지 한국의 대표적인 설치미술가 서도호 작가의 개인전을 연다.

Mason Kimber is a Perth-born, Sydney-based artist who makes paintings that extend into sculptural relief and installation to look at how the histories within surfaces can speak to the memory of place. Mason graduated with a Bachelor of Art (Honours) from Curtin University, Perth in 2009 and an MFA in Painting from the National Art School, Sydney, in 2013. He's currently a PhD candidate at UNSW Art + Design, Sydney. After graduating with his MFA, Mason was awarded a three-month studio residency at the British School at Rome, Italy, the following year. It was here that he studied ancient fresco painting, which led him to look closely at the various connections between painting and the built fabric of cities. Selected exhibitions include: MCA Collection: Perspectives on place at the Museum of Contemporary Art Australia, Sydney (2021); Lustre at Sophie Gannon Gallery, Melbourne; Strata at Kronenberg Mais Wright, Sydney; Prologue: Tongue on tongue / nos salives dans ton oreille at Galerie Allen, Paris (2019); Slanted Mansions at COMA, Sydney (2018); and NEW16 at the Australian Centre for Contemporary Art, Melbourne (2016). Mason has been a finalist for the Sulman Prize at the Art Gallery of New South Wales, the Churchie National Emerging Art Prize at the Institute of Modern Art, Brisbane, and the New South Wales Visual Arts Fellowship (Emerging) at Artspace, Sydney, among others. His work is held in the collections of Artbank and the Museum of Contemporary Art Australia. Mason is also a sessional Painting Lecturer at the National Art School, Sydney, and a Lecturer at UNSW Art + Design. This episode is sponsored by NYC Crit Club. NYC Crit Club is now enrolling through September 18th for their Fall 2022 Semester. NYC Crit Club offers Zoom courses that connect artists around North America and across the world, as well as in-person courses which are hosted in their 550 sq. ft studio space in Bushwick, Brooklyn. Course options range from group critique, visiting critic programs, seminars and writing as well as material-based courses. NYC Crit Club is proud to offer 17 different courses, which will be led by new & returning faculty members including the Director of Anton Kern Gallery, Brigitte Mulholland, and artists, Anna Valdez, Avery Z. Nelson, Jarrett Key, Mira Schor, Chris Bogia, Rose Nestler, among many others! NYC Crit Club is a Brooklyn based artist-run program and was founded by Catherine Haggarty & Hilary Doyle in 2017 and is currently directed by Catherine Haggarty. NYC Crit Club is proud to offer BIPOC Scholarships and financial aid for artists in need. If you would like to learn more, please visit www.nyccritclub.com or follow on Instagram at @nyccritclub.

In Episode 95 of the No Limitations podcast, “Finding a Way Through,” Blenheim Partners' Gregory Robinson speaks to Elizabeth Ann Macgregor AM OBE, former Director of the Museum of Contemporary Art Australia, Australia's leading museum dedicated to exhibiting, collecting and interpreting contemporary art from across Australia and around the world.With a career that began on the road driving a travelling gallery around Scotland, Elizabeth gives us a glimpse into her remarkable journey that brought her to Australia to lead the metamorphic revitalisation of the MCA. From breaking down barriers to art and engaging with broader audiences to establishing the National Centre for Creative Learning and driving a major focus on artists as educators, she shares with us the challenges they had to overcome to allow her to develop MCA into the vibrant organisation The Art Newspaper has declared the most visited contemporary art museum in the world before the global pandemic.Elizabeth is also on the Board of the Sydney Swans Foundation and was previously President of the International Committee for Museums and Collections of Modern Art, Chair of the Federal Government's Creative Economy Task Force, and a Director of UNICEF Australia. Prior to her 22-year directorship of MCA Australia, she was the Director of the Ikon Gallery in Birmingham, one of the major contemporary art galleries in the United Kingdom.

The name Namatjira is a famous one. Vincent Namatjira’s great-grandfather, Albert Namatjira, was one of Australia’s great painters, uniquely depicting Australia's desert landscapes in vibrant watercolour. Although he didn't know about his connection with the famous artist in his childhood - he was in foster care and removed from his culture - Vincent has made his own way to success. But this time it was through portraiture. Painting for the first time in 2012, he would soon become a regular finalist in Australia's most famous portrait prize, the Archibald, ultimately winning it in 2020. He was the first indigenous artist to win the Archibald but, as Vincent would say, 'it only took 99 years'. His winning painting, 'Stand strong for who you are’ was a portrait of the artist with Adam Goodes, the indigenous AFL player who became renowned for speaking out against racism. Vincent saw parallels between Adam's life and his own which he talks about in this conversation. The subjects of Vincent's portraits are wide-ranging; from his great-grandfather, aboriginal elders and politicians to the Queen, Captain Cook and Vladimir Putin. Painted in an expressive style, his works also encapsulate his unmistakable humour. In one work he places himself in the royal carriage with the Queen and in another is cutting a birthday cake with Donald Trump. Everyone is on a level playing field. Vincent lives in the Indulkana community in the APY lands, about 400 km south of Alice Springs and is one of about 30 artists connected to its arts centre, Iwantja Arts. He has received significant acclaim. Apart from winning the Archibald Prize, he won the Ramsay Art prize in 2019, has received an Order of Australia for his contribution to indigenous visual arts, his works have been acquired by the British Museum and significant institutional collections across Australia and he has exhibited in solo shows and international art fairs. I interviewed Vincent at the Museum of Contemporary Art Australia where he had been commissioned to paint the museum’s Foyer wall. It’s a huge 15m work called 'P.P.F (Past-Present-Future)' and depicts people who have been influential in his life. It is a spectacular work and will remain in the foyer for the next two years. To hear our podcast conversation click on 'play' below the above photo. Scroll down for images of works we talk about on the podcast. Above photo of Vincent Namatjira by Daniel Boud, standing in front of P.P.F. (Past-Present-Future), 2021, commissioned by the Museum of Contemporary Art Australia, 2021, supported by Veolia Environmental Services, image courtesy the artist; Museum of Contemporary Art Australia, Sydney; and Iwantja Arts, South Australia © the artist, Links Vincent Namatjira at Iwantja ArtsVincent Namatjira at This is No Fantasy Albert NamatjiraKunmanara 'Jimmy' PompeyAdam Goodes'The Final Quarter' documentary 'Stand Strong for who you are', 2020, acrylic on linen, 152 x 198cmWinner Archibald Prize 2020, Art Gallery of NSWImage: AGNSW website 'P.P.F. (Past-Present-Future)', 2021, synthetic polymer paint,  commissioned by the Museum of Contemporary Art Australia, 2021, supported by Veolia Environmental Services, image courtesy the artist; Museum of Contemporary Art Australia, Sydney; and Iwantja Arts, South Australia © the artist, photograph Daniel Boud 'Studio self-portrait', 2018, acrylic on linen, 152 x 198cm, Highly commended in the Archibald Prize 2018, AGNSWImage: AGNSW website 'The Royal Tour (Vincent and Elizabeth)', 2020, acrylic on linen, 67 x 91cmImage courtesy of the artist and Iwantja Arts 'Prime Minister series, 2016, 'Seven Leaders series', 2016 and 'The Richest series', 2017acrylic on canvasImage courtesy of the artist and Iwantja Arts 'Welcome to Indulkana', 2018, acrylic on canvas, 122 x 304cmImage courtesy of the artist and Iwantja Arts

In Episode 38, “Life Is Walking Through a Door”, Blenheim Partners‘ Gregory Robinson speaks to Michael Hawker AM, Non-Executive Director of Macquarie Group Ltd, Washington H. Soul Pattinson and Co. Ltd, BUPA Global Board, BUPA ANZ Group and Rugby World Cup Ltd. He is also a Board Member of the Museum of Contemporary Art Australia.Michael was previously the Chief Executive Officer and Managing Director of Insurance Australia Group Ltd and Chairman of Australian Rugby Union. He represented Australia in rugby union, wearing the green and gold 25 times as well as being Vice-Captain of the Wallabies.In an engaging discussion, Michael takes us through his journey from being an elite athlete to the challenges he faced as CEO of one of Australia’s most respected organisations. He talks to us about the changing landscapes in global perspectives and the complexities and disruptions at play through the lens of an international Board Director.Michael and Greg discuss leadership, particularly in a time of crisis and ambiguity, the conviction required in making the difficult decisions and stepping up when presented with the opportunity. Michael recalls the important moments in his career and why life is walking through a door.Note: This podcast was recorded on 19th March 2020.

Sales and Crabb watch the movie Cats and are more entertained by each other’s reactions than by the film itself. The only achievement of the film was to quench Sales’ desire for Idris Elba, now replaced by Adam Driver.Cats (2019) directed by Tom Hooper, starring Jennifer Hudson, Ian McKellen, Idris Elba (see official trailer)Old Possum's Book of Practical Cats by T.S. EliotCats Reviewed: It’s Not Quite Weird Enough by Anthony Lane (New Yorker, 19 Dec 2019)Cats Review: a purr-fectly dreadful hairball of woe (Rhyming review of Cats) by Peter Bradshaw (The Guardian, 19 Dec 2019)Cats Headed for $100 Million US Box Office Loss: Financial loss made worse by necessary CGI fixes, re-release by Rebecca Rubin (CBC, 30 Dec 2019)Marriage Story (2019) starring Scarlett Johansson, Adam Driver (see official trailer)The Report (2019) starring Adam Driver, Annette Bening, Jon Hamm (see official trailer)The Gentlemen (2020) directed by Guy Ritchie starring Matthew McConaughey, Charlie Hunnam, Colin Farrell, Hugh Grant (see official trailer)The Crown: Season 3 (2019) starring Olivia Colman and Helena Bonham Carter (See official trailer)Diana's lament applies to Meghan, but must 'every strong woman in history' confront such savagery? by Julia Baird (SMH, 10 Jan 2020)Legendary interviewer Michael Parkinson interviewed by Leigh Sales (7.30, 9 Oct 2019)Morning Wars (known as ‘Morning Show’ in US) starring Jennifer Aniston and Reese Witherspoon. (See official trailer)Newsroom (2012 - 2014) HBO Drama (see official trailer)All the President's Women: Donald Trump and the Making of a Predator by Monique El-Faizy and Barry LevineShe Said Breaking the Sexual Harassment Story that Helped Ignite A Movement by Jodi Kantor and Megan TwoheyCatch and Kill: Lies, Spies and a Conspiracy to Protect Predators by Ronan FarrowHannah Gadsby: DouglasCornelia Parker Exhibition Museum of Contemporary Art Australia: 8 Nov 2019 to 16 Feb 2020 Simple by Ottolenghi (You can also find the 2 salad recipes in Ottolenghi’s Guardian columns: Peach, raspberry and watercress salad, Watermelon, green apple and lime salad ) This episode is brought to you by DocPlay. Click here for their exclusive offer for Chatters: https://www.docplay.com/chatters

Bastian is trying to understand why they keep taking photos of the stove. So, they decide to write about it. Bastian Fox Phelan is a writer, musician and zinemaker who lives in Newcastle on the land of the Awabakal people. They were shortlisted for the 2017 Scribe Nonfiction Prize, their writing has been published in The Lifted Brow, Runway, Scum Magazine and Tincture Journal, and they’re currently working on a literary memoir signed to Giramonda Publishing. Bastian works with Museum of Contemporary Art Australia and National Young Writers’ Festival to deliver their popular Zine Fair events, and they are part of dream pop duo Moonsign, who just released an album about grief and climate change on Yes Rave records. Queerstories is an LGBTQI+ storytelling night programmed by Maeve Marsden, with regular events around Australia. For Queerstories event dates, visit www.maevemarsden.com, and follow Queerstories on Facebook. The Queerstories book is published by Hachette Australia, and can be purchased on Booktopia. To support Queerstories, become a patron at www.patreon.com/ladysingsitbetter And for gay stuff and insomnia rants follow me - Maeve Marsden - on Twitter and Instagram.

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Glenn Barkley. He served as the head curator of the Museum of Contemporary Art Australia from 2008–14 and curator of the University of Wollongong Art Collection 1996–2007. During these years he developed a curatorial style that questioned art world hierarchies by showing artists outside the mainstream, focusing specifically on giving voice to marginalized populations. He is co-founder of Kil.n.it Experimental Ceramics Studio Glebe and Co-Director of The Curators Department an independent curatorial agency based in Sydney.   For the last four years Glenn has focused on his own ceramic practice making work that references popular music, gardening, and ceramic history. His vessels are covered with sprigs and obsessive mark-making that are highlighted with saturated pastel colors. In the interview we talk about his philosophy of curation, the role of ceramics in major Australian collections, and his current body of work. In June of 2018 he had a solo show at Sullivan Stumpf Gallery in Sydney. To find out more about that exhibition visit www.sullivanstrumpf.com/artists/glenn-barkley.   Hey Red Clay Rambler fans, I need your help to keep this show on the air. We need 10 new patrons to reach our monthly fundraising goal. Visit www.patreon.com/redclayrambler to pledge your support and become a sustaining member. We have a batch of rewards to offer including the new Vintage Radio shirt, handmade pots, posters and much more. Visit www.patreon.com/redclayrambler to sign up today.

Justin Shoulder is a performance-based artist, whose work cuts across performance, sculpture, dance and video. His performance work was born in the queer club scene, and has found a home in theatres and gallery spaces. Justin cites his experiences at Club Kooky and Club 77 as incredibly influential. The clubs became an escape from his job at the time, which involved editing photos. Justin’s work explores queer narratives that often connect with intercultural, migrant and spiritual experiences. His work is aesthetically beautiful with stunning costuming, mask and prosthesis that are used to create mythical type creatures that are activated through his body. His main body of work is known as the Phasmahammer, which is based upon queered ancestral myth. Justin is a founding member of queer artist collective The Glitter Militia and Club Ate, a gang of Asia-pacific sissies. Collaborating with a range of individuals that includes the likes of Bhenji Ra and partner Matthew Stegh, his work has been performed and exhibited internationally, including at AsiaTOPA, First Sight at Museum Macan, Shanghai Museum of Glass, Museum of Contemporary Art Australia, Performance Space, DARK MOFO, GOMA, National Gallery of Australia and Next Wave. Justin was recently announced as a nominee for the 2018 Helpmann Awards for Best Visual or Physical Theatre Production, for Carrion. Carrion is a work that has taken place in a range of settings from clubs to theatres. Carrion blurs the boundaries between animal, human and machine; drawing upon queer and ancestral mythologies and evoking a post-apocalyptic landscape rife with decay, where the human and the android have merged for survival. This season will include interviews with a range of performers and choreographers that disrupt the “normal” through their artistry including Luke George, Mette Ingvartsen, Philip Adams and Chase Johnsey. If you enjoy Delving into Dance please leave a contribution, currently raising funds to transcribe all the episodes to increase the accessibility of the podcast, particularly to deaf individuals.

Just nu pågår en jättesatsning på australiensisk samtidskonst i Sydney. I tre parallella konstutställningar problematiseras den nationella australiensiska identiteten. Reportage av Simon Sarnecki. "The National 2017, New Australian Art" heter projektet som är ett samarbete mellan tre av de största konstmuseerna i Sydney: Art Gallery of New South Wales, Museum of Contemporary Art Australia och Carriageworks. Ett huvudtema är den nationella australiensiska identiteten en identitet som aldrig har varit enkel och oproblematisk. Med Australiens brutala koloniala historia blir nationella symboler som flaggan, nationaldagen och nationalsången ständigt återkommande konfliktfrågor. Följ med Simon Sarnecki till Australien, där han besöker de tre utställningarna och möter flera konstnärer som på olika sätt problematiserar den australiensiska nationella identiteten i konsten. "Det är viktigt att aboriginska historier får ta plats på de tunga konstinstitutionerna." - Yhonnie Scarce, konstnär Kulturredaktionen

In this episode we discuss The National at Art Gallery of New South Wales, Museum of Contemporary Art Australia and Carriageworks with Co-Curators Nina Miall and Anneke Jaspers, and Assistant Curator Kelly McDonald. We are joined by artists Agatha Gothe-Snape and Ella Sutherland to chat about the Redlands Art Prize at the National Art School Gallery. Plus, we phone ArtsHub's National Editor of Visual Arts, Gina Fairley, who is on the ground at Cementa. Tracks by JD Reforma.