Wystan Curnow

  • The Australian Biennale

    Biennales ordinarily offer a world picture in which local content looms large. Sydney’s is no different; it serves to update the country’s isolated art public, and to present local work in a larger context. As a national bicentennial event, this year’s event offered exhibitions in Sydney and Melbourne, became the Australian Biennale, and boasted both a historical dimension and a regionalist perspective.

    The show was titled “From the Southern Cross, a View of World Art 1940–1988,” and it included a wider range of works than previous Sydney Biennales. Without doubt, the show was stronger for its

  • “Anzart—Australian New Zeaiand Art Encounter,”

    “You live in a country that is very far away,” Pierre Restany said at the third Sydney Biennale. But put it another way: Pierre Restany lives in a country that is very far away. Here, after all, is where we are. There are always those two ways about it. Anzart’s concern, however, was with the intermediate, the more immediate, distances. Spaces are greater around here, and there’s less in them. Places are further apart. Christchurch, New Zealand, is further from Sydney than London is from Moscow. This part of the art world contains a number of disparate centers and no single point of focus or