Sky Kirkham

2 weeks ago | abc.net.au | Daniel Browning |Sky Kirkham

Just as historical objects in museum collections embody certain histories — of British imperialism and modernity — they also map loss and disappearance for those in former colonial states. Pio Abad, whose work is "concerned with the personal and political entanglements of objects," has mined the stories embedded in certain cultural material such as kris, ceremonial swords from Mindanao, and a tiara worn by Imelda Marcos, the wife of Philippines dictator Ferdinand Marcos.

3 weeks ago | abc.net.au | Daniel Browning |Sky Kirkham

They used to lay-buy contemporary art together when they were low-paid gallery workers, forging a business relationship early on. Now, Ursula Sullivan and Joanna Strumpf are one of Australia's most successful art partnerships in terms of the cultural impact of the artists they represent — Tony Albert, Lindy Lee, Polly Borland, ex de Medici, Sam Leach, and Ramesh Mario Nithiyendran, to name a few. This year, they're celebrating two decades together at the head of Sullivan + Strumpf.

1 month ago | abc.net.au | Daniel Browning |Sky Kirkham

It was while researching the provenance of a child’s boomerang, found in topsoil near the site of Melbourne Zoo, that Kimberley Moulton found the key to her curatorial vision for We Are Eagles, the latest edition of the TarraWarra Biennial. The Yorta Yorta curator worked with artefacts and other historical material at Melbourne Museum for years before moving into contemporary art in her current role at the Tate in London.

1 month ago | abc.net.au | Daniel Browning |Sky Kirkham

The Lebanese-born Australian artist Khaled Sabsabi joins The Art Show exclusively to talk about the profound impact of the decision to unceremoniously dump him as Australia's representative artist to the 2026 Venice Biennale.

1 month ago | abc.net.au | Daniel Browning |Sky Kirkham

In art, verisimilitude — representing things as they appear — is something like telling the unvarnished truth and it makes perfect sense that it's the form in which Vincent Fantauzzo is most comfortable. His first commercial artworks were actually counterfeit 50 dollar notes, just one of the uncomfortable truths which he tells in his new autobiography, Unveiled.