What you need to know about the Fake Art Harms campaign. Sri Lankan artist, Anoma Wijewardene’s oeuvre grapples crucial issues of our time in her exhibition Kintsugi II. The new Artistic Director of Griffin Theatre, Declan Greene announces a series of online performances and we hear an original interpretation of Shakespeare’s sonnets from the forthcoming book Sweet Forme by Gregory Betts.
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Fake Art Harms
The Arts Law Centre of Australia, the Indigenous Art Code and Copyright Agency, Viscopy launched the Fake Art Harms Culture campaign in 2016 to tackle the problem of fake ‘Indigenous’ arts and craft being sold in Australia, harming Aboriginal and Torres Strait Islander cultures and incomes. Four years on Suzanne Derry, Senior Solicitor at the Arts Law Centre talks us through the campaign.
Find out more here – Fake Art Harms Culture Campaign: inauthentic art inquiry/
The new Artistic Director of Griffin Theatre, Declan Greene, is only four weeks into the position and is having a challenging start. In his recent newsletter he announced positive and imaginative progressions of how Griffin are managing to keep afloat.
Anoma Wijewardene – Kintsugi II
Anoma Wijewardene’s art practice centres around themes of sustainability and inclusivity; with particular focus on the earth’s climate crisis, and ever-present issues of coexistence, diversity and unity. In her recent exhibition at the Stella Downer Gallery, Kintsugi II embody the artist’s passionate concern and provide a metaphorical response to these global, yet deeply personally felt issues.
Sweet Forme presents seven lush visualizations of the sound-pattern, the hidden BardCode, of Shakespeare’s sonnets in a new full-colour, hardcover limited edition. Following the Bard’s own scheme, Sweet Forme reveals the complete rhymes for the very first time. Compiled and with an introduction by Gregory Betts. Gregory Betts is a poet, professor, editor, and musician.
Gregory Betts: Sweet Forme