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Art Wank

Fiona Verity, Julie Nicholson and Gary Seller
Art Wank
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  • Episode 225 - Art Critic John Mcdonald on Art, Opinions, and Calling It Like He Sees It
    Send us a textIn this episode of Art Wank, we sit down with one of Australia’s most respected – and at times divisive – voices in the art world, John McDonald. Known for his decades-long career as an art critic and columnist, John brings sharp insight, dry humour, and a deep knowledge of art history to the conversation.We discuss the role and relevance of art prizes in today’s cultural landscape, including whether they truly reflect quality or simply reinforce trends and institutional biases. John shares his candid thoughts on the Archibald Prize, among others, and questions the criteria by which we measure artistic merit in competitive formats.Our chat turns to the shifting state of the Powerhouse Museum and the controversial changes that have sparked public outcry. John offers a well-informed perspective on how institutions like the Powerhouse serve (or fail to serve) their communities, and what’s at stake when decisions are made without proper consultation.We also touch on public art and the recent Lindy Lee sculpture installed at the National Gallery of Australia. While acknowledging her important place in Australian art, John questions the processes behind major commissions and whether spectacle sometimes overshadows substance in large-scale public works.This episode is a lively, thought-provoking conversation about the state of the Australian art world — its politics, pitfalls, and potential — from someone who’s spent a lifetime analysing it. Whether you agree or disagree with his views, John McDonald is never boring, and his insights are well worth a listen. If you'd like to read more of John McDonald’s writing, subscribe to his Substack, Everything the Art World Doesn’t Want You to Know. 
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  • Episode 224 - James Drinkwater: Ballet, Brushes and Travel Stories
    Send us a textIn this episode of the Art Wank podcast, we speak with Australian artist James Drinkwater, known for his vibrant paintings, sculpture, poetry, and music. Drinkwater, originally from Newcastle, NSW, has built a reputation for his layered, gestural works and multidisciplinary practice. He won the Brett Whiteley Travelling Art Scholarship in 2014, which allowed him to work in Paris, and he has been a finalist in the Wynne and Dobell Drawing Prizes multiple times. Our conversation explores his deep connection to place, his creative experiments with dance and theatre, and the impact of his time in New York with Julian Schnabel.A significant part of our discussion centres on Drinkwater’s collaboration with MIMA Lake Macquarie in 2019, where he was commissioned to create the sets and costumes for a contemporary ballet titled Storm Approaching Wangi – and Other Desires. The ballet was inspired by the watery landscapes around Lake Macquarie and the Australian modernist painter William Dobell. Drinkwater didn't just design the visuals; he also performed on stage, collaborating with choreographers Skip Willcox and Belle Beasley, and composer Joseph Franklin. This project was an opportunity for Drinkwater to translate his painterly language—texture, gesture, and colour—into a dynamic, physical space, extending his creative practice beyond the canvas. He reflects on how the experience allowed him to think about movement and space differently, enriching his approach to making art.We also delve into Drinkwater's time in New York, particularly his 2022–2023 residency at Julian Schnabel’s property on Long Island. Schnabel, famous for his plate paintings and maximalist style, invited Drinkwater to work in his studio space. This intense, seven-week period inspired Drinkwater’s exhibition American Salt – Montauk to the Bowery, which explored themes of memory, landscape, and artistic legacy. Drinkwater drew parallels between his own experiences in New York and those of Dobell, who had also found creative energy in the city. Although Dobell’s time there was fleeting, Drinkwater sees the connection in the way both artists absorbed and transformed their environments into their art.Finally, Drinkwater shares his reflections on the interplay between disciplines in his practice, including a mid-career survey exhibition in Canberra. He speaks passionately about the importance of collaboration, travel, and memory in shaping his work. The episode closes with thoughts on how these experiences continue to push the boundaries of his artmaking, both in Australia and internationally.James currently has an exhibition at Newcastle Straightjacket Art Space with Braddon Snape - 19th July - 10th August. 
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  • Episode 223 - Ann Cape: A Life in Portraiture
    Send us a textAnn Cape is a celebrated Australian artist whose career spans over four decades, marked by her evocative portraiture, sensitive explorations of memory, and enduring commitment to arts education. Based in Sydney, Cape has established herself as a leading figure in figurative painting, known for her ability to capture not only the physical likeness of her subjects but also a deep psychological presence. Her practice includes painting, drawing, and sculpture, often centered on themes of identity, personal history, and human connection.Cape studied at the National Art School in Sydney, as well as overseas in London. Her influence extends well beyond her studio, through her teaching, mentorship, and role as a judge in various art awards.Her portraits have been finalists in numerous national prizes, including the Archibald, the Portia Geach, the Doug Moran, and the Mosman Art Prize. Cape’s work is held in public, private, and corporate collections across Australia, and she has exhibited widely both in solo and group shows.A standout in her recent work is An Unending Shadow, a deeply personal exhibition created in collaboration with her daughter, artist Sophie Cape. This show dealt with their family’s experience of dementia, merging generations of artistic inquiry to produce a raw and moving body of work.Cape’s thoughtful, human-centered approach to portraiture makes her an ideal guest for the Art Wank Podcast. In this episode, we discuss her life in art, her process in the studio, her thoughts on the evolving role of portraiture in Australia, and her current exhibition, A Painter’s Painter, curated by Ann herself, is on show at Mosman Art Gallery until August. The exhibition features portraits of Ann’s artist friends alongside their own artworks, offering a unique and intimate perspective on their creative lives and personal connections. Thanks for talking to us, Ann. 
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  • Episode 222 - Studio A - Art, Access and Adventure with CEO Gab Mordy and Artist Thom Roberts
    Send us a textIn this episode, we’re joined by two key figures from Studio A—CEO Gab Mordy and artist Thom Roberts—for a lively chat about carving out space for neurodiverse artists in the contemporary art world.Thom shares insights into his recent solo exhibition in Canberra at the National Portrait Gallery, 'The Immersive World of Thom Roberts', reflecting on the ideas behind the work, how it came together, and what it’s like to see your art out in the world. We also talk about his journey through his twenties, and how his relationship with Studio A has helped shape his creative practice, offering both a space and a platform to grow as an artist.Gab takes us back to the origins of Studio A, revealing how the organisation came to be and the challenges and breakthroughs along the way. She also talks about her recent research trip overseas, where she explored other supported studio models across Europe and North America.This is a conversation about the power of supported studios, the value of long-term creative relationships, and what happens when artists are given the freedom and resources to thrive.
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  • Episode 221 - Katherine Edney - a conversation about painting, motherhood and more
    Send us a textKatherine Edney is a Sydney-based artist whose evocative oil paintings delve into themes of identity, memory, and emotional transformation. Born in 1983, she holds a Master of Fine Arts by Research in Painting from UNSW’s College of Fine Arts (2008), as well as a Bachelor of Fine Arts with First Class Honours (2004).Edney’s work has received wide recognition in major Australian art prizes. She was a finalist in the prestigious Archibald Prize in both 2019 and 2020. Her 2019 entry, Self-portrait with Ariel, captured a poignant and deeply personal moment during late pregnancy, highlighting her ongoing interest in the strength and vulnerability of the female body during periods of transformation. Other accolades include multiple selections for the Salon des Refusés (2021–2024), the Portia Geach Memorial Award, Ravenswood Women’s Art Prize, and the Brett Whiteley Travelling Art Scholarship.Her recent solo exhibition, I want to lie in the clouds with you, held at Curl Curl Creative Space, explored mental health and emotional landscapes. Through dreamlike compositions and layered textures, Edney invites the viewer into a contemplative space of calm and introspection. Katherine Edney Her portfolio spans portraiture, still life, and landscape. Notable works include David, Teena, and the black dog (Archibald finalist, 2020) and Ariel as a Green Cat (finalist, 2024 National Emerging Art Prize). Edney’s paintings often blend realism with symbolism, creating narratives that resonate on both personal and universal levels.Alongside her painting practice, Edney is committed to arts education and runs classes for children on Sydney’s Northern Beaches. Her work continues to evolve, underpinned by a strong dedication to storytelling and emotional nuance.Discover more at katherineedney.com.Thanks Katherine, we really appreciate your time!
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About Art Wank

Come along for the ride with curious artists Fiona Verity, Julie Nicholson and host Gary Seller, as they talk about their creative journey. Hear them interviewing artists, curators, gallery owners, teachers and creatives to guide them, and the listeners, within the arts community. Enjoy the banter whilst they navigate through all the Art W**k.
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