Art and artists

Scott’s new novel, N, is longer and more ambitious than any of his previous works, but it develops the interest in the parallel possibilities of Australian history that is evident in Warra Warra. In this case, it is Australia’s experience of the Second World War.

This year’s Biennale is all very anodyne and, ironically enough, apolitical. It is rather over representative of Scandinavia and the Anglosphere for some reason, and there does not appear to have been much of an effort to put the Australian artists in any sort of international context.

According to Rancière, modern democratic politics and modern non-classical arts are two manifestations of the same new, revolutionary social space. In this space, sensibility or sense perception (aisthesis in Greek: the origin of the word aesthetics) is shared and distributed across social divides, providing the impetus for both a new egalitarian politics and a new democratic regime of artistic appreciation and practice, which Rancière has called the aesthetic regime of art.

One of the explanations for minimalism’s success in challenging formalism in the 1960s is that it wasn’t really a challenge at all. Minimalism may well have functioned as a clean critique of abstract expressionism’s perceived excesses, but it wasn’t a great rupture with formalism.

In earlier times, the sciences were studied in close relation to one another. Although we have been assiduously separating scientific fields… their links are more important now than ever before. And those who observe these links – Rachel Carson and Penny Olsen, the Cayleys, Mueller and the botanical artists of his time – are becoming as interesting to us as the birds and plants and environmental issues that have focussed their attention. What draws them and us to nature?

The Chinese Communist Party is arguably the single most powerful organisation in the world.