Ngana

Apple’s hydraulic press ad is a flattened Laocoön that recasts smooth aesthetics through a Schumpeterian lens of agonistic creativity.

Melbourne’s art scene is fertile ground for Tall Poppy proliferation and carnage.

The Tennant Creek Brio’s art isn’t a legible script, a tidy lineage, or an easy metaphor—it’s a rupture, a refusal, a site of resurgence. This story sends us somewhere else, reaching for something that came before or after, looking for what’s out back, round the back of the house, the shed, the art centre, the “outback.”