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The flagship cultural measure in the budget is, strangely, a flagship: the Endeavour. The government announced '$48.7 million over four years to commemorate the 250th anniversary of James Cook's first voyage to Australia and the Pacific'. A permanent presence on the first site of local trauma is not a vision for a nation.
China and India are rising global powers, thanks to a burgeoning middle class, huge export markets and military might. So why wouldn't they take the western retreat from the Pacific as an invitation to dance? But their support comes with a crippling debt levels and the potential for a favour to be called in down the line.
This affair has done little to encourage Australians keen on pushing a more robustly independent line from Washington. A ceremonial subservience and deference to US power has been exhibited. Such sentiments embrace the inherent inequality of the Australian-US relationship. To be in deficit to the US is seen as a good and necessary thing.
Is it any wonder that when I came to work in the press gallery I was cynical about arts policy? In those lockup hours scouring budget papers it was clear yet again the arts would not see any wins. It wasn't always this way. Prime ministers and arts ministers of yesteryear produced arts policy informed by their personal and political interest.
The practice of appointing business people to oversee arts bodies is as questionable as referring to the arts as an 'industry'. Business and the arts work on almost diametrically opposed rationales. Understanding this might go a long way towards assessing the art world more intelligently.
Summer is here, and so is the political spin about blackouts. This year, with a record November heatwave in Victoria and a press gallery hypersensitised to energy politics, the blame game started early - well before anything has actually gone wrong.
I said I would be very happy to play second fiddle. I wanted my presence to assist a respectful dialogue. I wanted to make it clear that a thinking and compassionate Catholic could have good reasons for voting yes. I wanted to insist that respect and endorsement of loving same sex relationships did not preclude consideration of issues such as freedom of religion.
His baseline is country, ridges, lakes, breakaways, songlines, and we are taken along the skylines of his imagination which shoulders its way through the streamers of the players race, colours askew, bursting out into the field of play where we are invited into his game, his rules, goal posts he moves forever, we engage with the master gamer.
I will always remember the first time I saw Giacommeti's statues in in Europe. They were grotesquely thin, elongated people. Giacometti explained how he tried to make people with more flesh, but after World War II and the six million, it was impossible. And so those statues reflect the time he lived in. Queensland's Gallery of Modern Art, on the other hand, is celebrating its tenth anniversary, and has chosen fairy floss and rainbow fuzz to reflect our current society.
Recently I went with a group of friends to see the musical Dusty. Afterwards, walking with one of my friends, I spoke about how special it had turned out for me seeing this musical on the day after my 54th wedding anniversary. Dusty Springfield's songs were ones my husband and I would have known well at the time. Just as I was reflecting on how some events have more significance than what appears on the surface, a young man on my right turned to me and handed me a large red flower.
Who owns a cultural object? Who has the right to determine cultural values? And how can public institutions exercise cultural responsibility? It's a timely set of questions as we consider the implications of the National Gallery of Australia's return of ancient Indian sculptures, the British Museum's refusal to return Indigenous objects, or Lionel Shriver's rejection of minority cultural identities. Each of these unleashes complex, painful consequences that can undermine cultural value or cultural safety.
The main message of the 2016 election review delivered recently at the National Press Club by Tony Nutt, the federal director of the Liberal Party, was that Turnbull only failed to have a convincing victory because of the 'Mediscare' by the Labor Party. It is a message that deflects attention from the current and past weaknesses of the government and the prime minister. It is like a football coach who after a loss or a narrow win blames his team's performance on the dirty tactics of the opposition.
25-36 out of 94 results.