From the issue A roundtable discussion on non-participation
London-based artists and activists Karen Mirza and Brad Butler talk to Stephanie Rosenthal and Alexie Glass-Kantor about the latest incarnation of the Museum of Non-Participation—their conceptual project that started behind a Pakistani barbershop.
Art Permanent diplomatic mission
Charles Dennington photographs a selection of artists and work at the Biennale of Sydney.
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From the issue The tip-off: New and old espionage, privacy, non-participation and gossip
An exclusive look at Museum's fourth edition.
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From the issue Cinema, sincerity and Angelica Mesiti
"I edit in a very conventional way, using a similar editing language to that of movies or TV. Audiences are accustomed to it. They’ve internalised it already, before they’ve seen my work."
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From the issue JJ Charlesworth talks criticism and censorship
Perspectives on anonymous criticism from the associate editor of ArtReview.
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Art The benefits of being nosy, according to John Booth
The Central Saint Martins associate lecturer, consummate fashion illustrator and occasional ceramicist talks to Museum about snooping.
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Art Furnace—a photographic essay
Museum visits the ceramics studio of Woollahra Small Sculpture Prize finalist Stephen Bird.
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Art Eight portraits in an office
Intimate photographs of the architects, artists and artisans behind Paramount by The Office Space.
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Art Reader event: Museum and Benja Harney at The Standard Store
“I’m a total jet nerd!”—Benja Harney
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Art The collected Alberto Burri
The origins of the late Alberto Burri’s career feel like unfortunate happenstance, a kind of serendipity by way of tragedy: the Italian painter’s earliest pieces depicted his view of a desert from the interior of a prison camp.
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Art From the archives—Cleansing the temple
On the uncomfortable relationship between radical politics and art, from creation to destruction—and back again.
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From the issue “The broad public couldn’t care less about it!”
From their positions at the helm of Artspace, Sydney and Printed Matter Inc., Alexie Glass-Kantor and Max Schumann meet to confer on the artist book as both industrial object and a site of insubordination.
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