None of Us Are Free / When One of Us Is Chained
In a recent media release from the office of the Minister for the Arts, Tony Burke (2024) referred to a government arts initiative as an “opportunity to highlight exceptional but lesser-known works within the National Collection and share them with communities for whom they hold special significance.” Imagine: $11.8 million over four years spent on transferring and safeguarding old paintings like The Countrywoman (1946) by Russell Drysdale and The Anteroom (1963) by Charles Blackman. The two old ghosts from the graveyard return to the gentlemen’s estate at Retford Park for the bourgeoisie of Bowral. Are you bored yet? You bloody well should be.
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I have begun to desire noise. Noise that prompts. Maybe wounds. I want to remember something that feels tangible, and if I have no memory of how this feels I want to create one.
“There’s no path for the magazine to restore trust in its current ownership.” David Velasco and Kate Sutton reflect on the situation with Artforum and its Summer 2024 issue.
