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| Art Monthly Australasia | |
|---|---|
| Title | Art Monthly Australasia |
| Frequency | Monthly |
| Category | Art magazine |
| Firstdate | 1987 |
| Country | Australia |
| Language | English |
Art Monthly Australasia
Art Monthly Australasia is a monthly periodical devoted to contemporary art criticism and cultural commentary published in Australia. The journal engages with exhibition reviews, artist interviews, critical essays and features that intersect institutions such as the National Gallery of Australia, Museum of Contemporary Art Australia, Art Gallery of New South Wales, Monash University, and events like the Venice Biennale, Sydney Biennale, Biennale of Sydney and Perth Festival. Its pages have connected debates around practitioners including Tracey Moffatt, Ralph Hotere, Patricia Piccinini, Bill Henson, and Brook Andrew with international dialogues involving Marina Abramović, Yayoi Kusama, Ai Weiwei, Anish Kapoor, and Jeff Koons.
Founded in 1987, the magazine emerged amid institutional shifts involving the National Gallery of Victoria, Art Gallery of South Australia, Queensland Art Gallery, and curatorial debates sparked by exhibitions such as The Family of Man and the expansion of biennales like the Istanbul Biennial and São Paulo Art Biennial. Early editorial interactions referenced figures and institutions including Germaine Greer, Robert Hughes, John Olsen, Sidney Nolan, and the contemporary programming at Tate Modern and Whitworth Art Gallery. During the 1990s the title responded to policy developments associated with the Australia Council for the Arts, funding decisions by the Australia Council, and controversies that involved collections at the British Museum, Guggenheim Museum Bilbao, and acquisition practices at the Metropolitan Museum of Art. The 2000s saw sustained coverage of postcolonial debates around Museum Victoria, repatriation cases touching National Museum of Australia, and international exhibitions at the Centre Pompidou, Stedelijk Museum, and Museum of Modern Art.
The editorial remit has combined scholarly essays referencing curators and theorists such as Claire Bishop, Okwui Enwezor, Louise Bourgeois, Clement Greenberg, and Rosalind Krauss with reviews of shows at venues like Pinacoteca de São Paulo, Rijksmuseum, The British Library, and commercial galleries including Gagosian Gallery, Tate Britain, and White Cube. Regular sections addressed photography by practitioners such as Olivia Parker, Diane Arbus, Bill Henson, and Max Dupain alongside critical writing on painting associated with Sidney Nolan, Brett Whiteley, Grace Cossington Smith, and conceptual practices linked to Yoko Ono and Joseph Beuys. Essays have analyzed crossovers with film festivals like Melbourne International Film Festival and performance works tied to Sydney Opera House, Theatre Royal, and artist-activists including Hito Steyerl and Theaster Gates.
Distributed across Australian capitals including Sydney, Melbourne, Brisbane, Perth, Adelaide, and Canberra, the magazine has appeared in institutional bookshops at National Gallery of Victoria, Art Gallery of New South Wales, and university presses at University of Sydney, University of Melbourne, and Australian National University. International distribution reached retailers in cities such as London, New York City, Paris, Berlin, and Tokyo with subscriptions from collections and libraries including the Library of Congress, British Library, and National Library of Australia. Circulation figures shifted with digital transitions paralleling platforms like Artforum, frieze, ARTnews, and The Art Newspaper.
Contributors have included critics and scholars such as Robert Hughes, Germaine Greer, Wendy Sharpe, John Kaldor, Nicholas Serota, and Hal Foster, with interviews spanning artists and curators like Tracey Emin, Marina Abramović, Julian Stallabrass, Cindy Sherman, Mickalene Thomas, Hany Armanious, Pipilotti Rist, and Daniel Boyd. The magazine has hosted dialogues with directors and curators from institutions including Tate Modern, MoMA, Guggenheim Museum, National Gallery of Australia, and biennale directors of Venice Biennale, Documenta, and Whitney Biennial.
The title influenced critical discourse alongside publications such as Artforum, frieze, Art in America, Flash Art, and ARTnews, informing exhibition programming at institutions like Museum of Contemporary Art Australia, Art Gallery of New South Wales, Museum of Old and New Art, and university departments at University of Sydney, Monash University, and University of Melbourne. Reviews and essays have shaped acquisitions involving collectors and institutions such as the National Gallery of Victoria, Art Gallery of South Australia, Hirshhorn Museum, and curatorial projects exhibited at Documenta, Venice Biennale, and Sydney Biennale. Reception among critics and readers has been debated in forums connected to Australia Council for the Arts, cultural sections of media like The Age, Sydney Morning Herald, The Australian, and international coverage in The Guardian and New York Times.
The magazine and its contributors have been associated with awards and fellowships including the Turner Prize, Archibald Prize, Wynne Prize, Sulman Prize, Kaldor Public Art Projects, Australia Council Fellowships, and editorial recognition paralleling prizes like the Pulitzer Prize in arts criticism, honors from the Australian Publishers Association, and academic awards from University of Melbourne and Australian National University.
Category:Australian art magazines Category:Magazines established in 1987