Featured in
- Published 20230207
- ISBN: 978-1-922212-80-1
- Extent: 264pp
- Paperback (234 x 153mm), eBook

Already a subscriber? Sign in here
If you are an educator or student wishing to access content for study purposes please contact us at griffithreview@griffith.edu.au
Share article
More from author
The great divide
In ConversationIn the ’80s, and maybe the early ’90s, fashion was a political statement just like art was…and real art wasn’t about selling out or succeeding in a mainstream context; it was the opposite. The whole idea was that you didn’t want to conform. Anyone who was trying to make money off your art or helping you make money was corrupt or compromised. The last thing you did as an artist or a writer in the ’80s was self-publicise – it was so naff, it wasn’t done. Street cred was what mattered. And I’ve been watching, with social media and the internet, this 180-degree shift over the last few decades.
More from this edition
The Wrestling of Art
PoetryWe’re tired of the caged horizon, the canned emotion. But the spectacle of the crimson world is a real slobber-knocker of a struggle.
Genuine article
IntroductionThe pieces in this edition mine the social, cultural and emotional ramifications of our shifting relationship with reality: the power of deepfakes, the possibilities of AI-generated art, the changing face of cosmetic surgery, the performance of pornographic pleasure, the dangers of corporate greenwashing, the allure of conspiracy...
The future of art fraud
Non-fictionOver lunch with the international art auctioneer, I told him the art dealer – a mutual acquaintance – said she would ‘support’ my work at auction. She explained that if an artwork didn’t receive enough bids during an auction, she would bid to buy it for a higher amount. Then there would be a public record of my work being sold for the value assigned by her, which she would show people when reselling it privately.