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AU Financial Review
6 days ago
- Entertainment
- AU Financial Review
A second chance to make a first impression at NGV's winter blockbuster
Four years ago, during the pandemic lockdowns, an exceptional group of French impressionists travelled to Australia – but barely got out of their crates. Nowhere in the world have artists such as Monet, Renoir, Degas and Cezanne had such a dismal reception, although the National Gallery of Victoria was more than willing to roll out the red carpet. Next month, in what must be a first for local museums, the NGV will restage the show that misfired four years ago. The impressionists are once again leaving their home in Boston's Museum of Fine Arts (MFA), and taking the voyage to Melbourne, for this year's Winter Masterpieces exhibition. The return season is an extraordinary act of good will on behalf of the Boston museum, where many of these works are normally on permanent display. And it's a testament to the depth of Boston's holdings that they can fill the gaps with similar pieces.
ABC News
14-05-2025
- Business
- ABC News
Melbourne Art Book Fair showcases the indie publishers who are 'having a moment'
In a digital world increasingly dominated by ephemeral media, independent publishing in Australia is experiencing a renaissance marked by creativity, collaboration and diverse narratives. Spurred on by National Reading Survey results, showing 42 per cent of Australians are "occasional" readers and read a book every 15 weeks at most, the Melbourne Art Book Fair (MABF) — part of this year's Design Week 2025 — is out to cultivate a vibrant reading culture. The Stallholder Fair, from May 16–18, showcases more than 100 leading publishers and artists from the Asia-Pacific region, with limited-edition books, prints and magazines. And the flourishing indie publishing scene is right at the forefront. Indie publishing — small scale, often self-directed and with a focus on unique content and alternative voices — is "having a moment", says Dr Megan Patty, publisher at the National Gallery of Victoria (NGV), and founder and curator of the MABF. That's in part because, in recent years, an influx of independent publishers has filled the gaps left by traditional publishing houses, offering fresh perspectives. These publishers are part of a movement that focuses on collaboration, experimentation and support for emerging artists. They are a catalyst for creative dialogue and community-building. The MABF has grown in response to this style of publishing, highlighting the importance of inclusivity and community-building in the literary world. "Every year has been bigger and better for us," says Perimeter Books co-founder Dan Rule, a proud participant in the fair since its inception in 2014. Established in 2011, Perimeter has published more than 100 works focusing on the interrelation between a book's form and the content it carries. Rule draws inspiration from art critics like late New Yorker critic Peter Schjeldahl, and works closely with artists to translate their ideas into publications. "Being a publisher is inherently collaborative," Rule says; the creative process involves partnering with artists, designers and writers to bring their visions to life. Indie publishers face unique challenges, particularly in funding and business sustainability. Recently, three Australian independent publishing houses — Text, Affirm and Pantera — were acquired by multinational publishing houses. "History shows that mergers often result in the dissolution of the smaller imprint," editor and researcher Alice Grundy wrote in The Conversation. And while acquisitions by mainstream publishers can offer some positives, like increased distribution reach and financial stability, they also raise important concerns; namely, that being acquired could threaten indie publishers' editorial independence, leading to homogenisation and the loss of diverse, innovative voices. Those innovative voices include marginalised perspectives, those experimenting with form, and authors who are emerging. As Rule notes: "Independent publishers can take the kind of risks around the specificities of content, perspective and form that larger publishers simply cannot." Despite the challenges, the industry is far from devoid of good news stories. Perimeter has built a flexible business model rooted in three pillars: publishing, distribution and retail, and Rule says this integrated approach ensures that each aspect supports the others. Uro Publications, co-founded by Mat Ward and Andrew McKenzie nearly 20 years ago, has carved a niche as a leading publisher of architecture and design books. "As a local architecture and design publisher, there needs to be a conversation about how we shape our built environment for the people that live here," Ward says, aligning with the fair's commitment to diverse narratives. Uro's publications often challenge conventional formats, featuring authoritative voices from architectural critics and innovative practitioners, which "foster fruitful discussions, [which] enrich the community, ultimately transforming how architecture is perceived". "I get a kick out of providing a platform for people to share their expertise and ideas," Ward says. Over its 11-year history, the MABF has established itself as a vital platform, not only for showcasing innovative art and design publications, but for enhancing literacy and promoting cultural discourse across Australia. "Every year, the anticipation builds," Dr Patty says. "It's incredible to see how the fair continues to foster connections within the creative community and engage audiences in meaningful ways." Since its inception, more than 200,000 people have attended the MABF. For Dr Patty, every interaction represents an opportunity to ignite a passion for reading, particularly among young children who are more likely to develop lifelong reading habits when exposed to vibrant art books and interactive storytelling experiences. "Find your people, collaborate, and get offline," she says. "Because it's in those real-world connections and conversations that the future of indie publishing truly takes shape." Melbourne Design Week and the Melbourne Art Book Fair run from May 15–25.
Perth Now
01-05-2025
- Business
- Perth Now
Last-minute election arts boost with gallery pledge
Labor has made its biggest arts pledge days out from the election during a campaign in which the sector has barely rated a mention. The government, which polls tip will return to power after Saturday's vote, committed $35 million for The Fox: NGV Contemporary at the National Gallery of Victoria. In 2022, logistics magnates Lindsay and Paula Fox donated a record $100 million to build a third NGV gallery, which will be named after them. The public gallery is part of the $1.7 billion Melbourne Arts Precinct Transformation project, billed as Australia's largest ever cultural infrastructure build. The Fox will include 13,000sq m of display space for artworks, as well as a rooftop terrace and sculpture garden. Once constructed, The Fox: NGV Contemporary will be the nation's biggest gallery dedicated to contemporary art, although it is still some years away. The construction contract for the project was awarded to Lend Lease in March and the gallery is due to open in 2028. "We know how important arts and culture is to our community and this funding will showcase Melbourne's talent to the world," Arts Minister Tony Burke said on Thursday. The NGV is Australia's most-visited public art museum with 2.8 million visitors in 2024. Its most recent blockbuster show, Yayoi Kusama, saw a record-breaking 570,537 visitors over four months, making it the most popular ticketed exhibition the NGV has ever staged. The expansion project is expected to attract an additional one or two million visitors annually, adding $2.3 billion to the state's economy. The Fox gallery will be built on the former site of the Carlton & United Breweries building in Southbank Boulevard, behind NGV International on St Kilda Rd.
Business Insider
24-04-2025
- Business Insider
I saw so much of Australia in just 8 days. This itinerary was my secret weapon for maximizing my short trip.
Many travel guides suggest spending two or three weeks in Australia, but I only had eight days. To make the most of my trip, I planned ahead and made sure to make time for my must-visit spots. I got to have downtime and see highlights throughout Sydney, Melbourne, and the Gold Coast. As an American, I've spent decades dreaming of visiting Australia. This past November, I finally booked my trip. While planning my eight-day vacation, I carefully crafted an itinerary so I could maximize every moment but still have some time to breathe. I know it'd be impossible to see all the vast continent had to offer in one short trip. After all, many online travel guides suggest visitors dedicate at least two or three weeks to seeing Australia. However, I tried to fit a variety of activities and places into my schedule, including stops in half of Australia's six states: Victoria, Queensland, and New South Wales. With my strategic itinerary, I feel I proved even just eight days in Australia is well worth the trip. Day 1: I arrived in Melbourne and got some steps in. My Qantas Airlines flight arrived in Melbourne at 9:30 a.m. Immediately, I headed to my hotel so I could check in and take a much-needed shower after my long journey. I chose a hotel in the heart of the city, which was key to optimizing my busy itinerary. Next, I had booked a 1 p.m. cruise along the meandering Yarra River with a picnic lunch to get a lay of the land. This was the perfect way to see the city and enjoy how its landscape morphed from a skyline of highrise buildings to green parks along the way. After, I walked a few blocks to the National Gallery of Victoria, Australia's oldest art museum. I explored various exhibits, including powerful collections from First Nations artists. On the walk back, I checked out some colorful street art on Hosier Lane's beloved and Instagrammable bluestone laneway. Day 2: I saw some highlights in Victoria and had dinner in Melbourne. The next morning, I took a roughly 20-minute tram ride from my hotel to the Queen Victoria Market, where I had a flat white and croissant while perusing all the food stalls. Next, I took a 45-minute ride to Brighton Beach (I booked a driver through my hotel), and I was able to put my feet in the sand for a bit. I was mesmerized by the vivid hues of the many beach huts lining the shore. I continued on to Victoria's stunning Mornington Peninsula and Point Leo Estate, where I spent the afternoon sipping pinot gris and pinot noir over a lunch of fresh seafood. Walking around the 330-acre sculpture park on this picture-perfect day was also a real treat. Once I got back to Melbourne, I had dinner at the iconic Supernormal on Flinders Lane. I was blown away by the complex flavors in chef Andrew McConnell's Asian-inspired cuisine — the hype is real. Day 3: I flew to the Gold Coast and dove right in. A two-hour flight from Melbourne to the Gold Coast Airport transported me to Queensland, which has some of the most beautiful coastlines I've ever seen. After checking into the beachfront Langham Gold Coast and enjoying an adorable Paddington Bear-themed afternoon tea in its Palm Court lobby bar, I strolled up and down the pristine golden sand between Broadbeach and Surfers Paradise. I spent some time watching some fearless surfers tackle the waves. Then, it was time for a massage with acupressure ear seeding at the Chuan Spa, known for its Eastern wellness philosophy. In the evening, I dined on hotel room service while watching a lightning storm over the ocean from my balcony. Day 4: I interacted with wildlife and had more tasty bites in Queensland. This was the day I was most excited about: Queensland is one of few places in Australia where people are allowed to hold koalas — and this was my chance! I made my way to the Currumbin Wildlife Sanctuary, where I peered at silly capybara and dingo, fed curious kangaroos by hand, and let a very musky-smelling male koala snuggle into my arms. Afterward, I went to Rick Shores restaurant to dine on its legendary Moreton Bay bug rolls (a type of lobster roll) while watching families frolic on the nearby beach. Dinner was at T'ang Court, where I had the best Cantonese food I've had outside of Hong Kong. Day 5: Once I got to Sydney, I gave myself some downtime. After a lazy morning at the pool and on the beach, I took a 90-minute flight from Brisbane to Sydney. Upon checking into my hotel in the late afternoon, I decided to just eat and go to bed early to save my energy for the busy days ahead. This was my only real rest day. Day 6: I ventured just outside Sydney to enjoy some nature in New South Wales. For day six, I had booked a full-day group tour through Oz Trails of the Blue Mountains (about 90 minutes from Sydney). This UNESCO World Heritage site is known as "the Grand Canyon of Australia" and has gorges, sandstone cliffs, and a eucalypt forest. Our many fabulous tour stops included the Sydney Zoo (where I fed wallabies), Govetts Leap Lookout, Cahills Lookout, and Katoomba Falls. The highlight of the day was the few hours spent at Scenic World, where we rode a cable car on the Scenic Cableway. I got epic views of the Jamison Valley and the enormous Three Sisters rock formations. My group also went through the rainforest via the Scenic Walkway and took the gravity-defying Scenic Railway (its 52-degree incline makes this the steepest passenger railway in the world). Day 7: It was time to see more of Sydney itself. It was finally time to see Sydney itself, so I took the 15-minute walk from my hotel to the city center. Then, I took a 90-minute guided walking tour to learn about the historic neighborhood of The Rocks, then continued my own exploration of Barangaroo and Circular Quay. I popped into shops and boutiques, visited the Museum of Contemporary Art Australia, and happened upon the weekend open-air market filled with artisan crafts and street food. This is where I purchased all of my souvenirs. Day 8: I enjoyed more of Sydney and checked out Bondi Beach. Of course, my visit wouldn't be complete without a stop at the iconic Sydney Opera House. I went on a morning tour with a guide who detailed the history and architecture of the building. I was so inspired that I impulsively bought a ticket to "Oscar," a ballet about Oscar Wilde, for that evening. Later, I thoroughly enjoyed seeing a show in such a gorgeous venue. In the afternoon, I made my way to the famous Bondi Beach, a crescent of white sand dotted with sunbathers and surfers all living their best lives — Australia at its finest. For me, eight days in Australia was perfect. As I boarded my flight home the next morning, I couldn't believe how much I had packed into just eight days. I certainly experienced enough on this whirlwind adventure to fall in love with Australia's charm, beauty, and warmth — and it left me eager to return and explore even more someday.
The Guardian
14-04-2025
- Entertainment
- The Guardian
Yayoi Kusama: why this 96-year-old artist's show is the most popular in Australian history
The National Gallery of Victoria's Yayoi Kusama has become the best attended ticketed art exhibition in Australian history, with 'easily more than half a million people' visiting the 96-year-old Japanese artist's show in four months. On Monday the Victorian premier, Jactina Allan, announced the milestone by saying that the NGV's exhibition had 'brought five MCGs worth of visitors to the heart of Melbourne' – or more than 480,000 people since it opened in December; about 40% were from interstate or overseas. This smashes a record the NGV set in 2017 with its exhibition Van Gogh and the Seasons – which was visited by 462,262 people. But the curator of Yayoi Kusama, Wayne Crothers, the NGV's senior curator of Asian art, tells the Guardian that that figure will 'easily' surpass 500,000 by the time it ends on 21 April; in the show's final days, the NGV is extending its opening hours to midnight so any stragglers – or repeat fans – can see it before it shuts. 'We were thinking, will it get to 500,000, maybe just? But we know now it will well surpass that,' Crothers says. Why has Yayoi Kusama been such a huge success – even amid a cost-of-living crisis, when people are pickier than ever about what art they'll pay for? Kusama is among the world's most famous living artists, and is indisputably the world's top-selling female artist – so part of it is down to her reputation. But undeniably some of the interest in the exhibition stems from the sheer visual appeal of Kusama's colourful, often deceptively cheerful-looking work; ever since the NGV exhibition opened, children have been drawn to her giant 'dancing pumpkin' in the gallery's foyer (which will have a permanent home at the NGV once the show ends) and the multiple rooms filled with spotty, inflatable noodles. 'I have observed and overheard a lot of people say they are not usually gallery visitors, but they came because of the interest it was inspiring in people they knew,' Crothers says. Even with her dark inspirations – oblivion, death, sex, war – the recurring symbols Kusama uses, such as flowers, polka dots and pumpkins, are irresistible to children, which means she can draw in families. Her incredibly selfie-friendly body of work also attracts young people who may bring their friends – and sometimes even return with their parents. (Even Dua Lipa couldn't resist a selfie while in town.) 'Traditionally it has worked the other way – the older generations often bring in the young people who are less likely to regularly go to galleries. We've seen the opposite here,' says Crothers. 'Then the people who found it emotional and special have come back for second visits. Some people thought, 'Oh the grandkids will love this', and came back with them. So there has been a snowballing effect, which has brought us an audience which is very different from our norm – that is a great thing.' And then there are Kusama's kaleidoscopic 'infinity rooms', mirror-lined spaces that use reflections of light to evoke a dizzying sense of the cosmic. These are perhaps what she is now most famous for, in the Instagram era; the NGV had to introduce a queueing system and a brisk 30 to 40 second time limit to manage the huge public appetite, with each room also having its own gallery attendant to explain the rules and move people along. There is a way to get longer inside a Kusama infinity room: one couple held their wedding at the NGV and had their photos taken inside one. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Some art critics have been a bit sniffy about Kusama's mass appeal – the New York Times once wrote that her 'sometimes blandly decorative installations' were 'the art world's equivalent of Star Wars premieres'. But what is the point of being a snob when she can bring in crowds bigger than this year's Formula One Grand Prix? (That's 405,000 tickets, if you're wondering.) 'When the first impressionist show opened in 1870, art buffs were snobbish about it being commercial and for the common masses,' Crothers says. 'But innovation is not really understood by the mainstream of the moment. People are critical of new things they don't want to understand. The criticism of the pop artists in the 1970s – people said, 'this isn't art'. It's repeated all through history, and probably denotes something as pushing the boundaries.' 'It's a compliment!' he adds. 'If people say, 'I think it's just crass populism' – why shouldn't art be enjoyed by the general masses?'
