Gina Fairley

Gina Fairley is ArtsHub's National Visual Arts Editor. For a decade she worked as a freelance writer and curator across Southeast Asia and was previously the Regional Contributing Editor for Hong Kong based magazines Asian Art News and World Sculpture News. Prior to writing she worked as an arts manager in America and Australia for 14 years, including the regional gallery, biennale and commercial sectors. She is based in Mittagong, regional NSW. Twitter: @ginafairley Instagram: fairleygina

Gina Fairley's Latest Articles

News

VIDEO tour of Sculpture at Scenic World

From a harlequin by Ken Unsworth to subtle ceramics by this year's winner Jacqueline Spedding, Scenic World is fun for…

News

How will changes to Arts NSW funding structure affect you?

With promises of greater sustainability and less red tape, things are looking up under the Arts and Cultural Development Program.

Features

Photography Centre quits Queensland for LA

The Queensland Centre for Photography shuts its doors this week in the wake of funding cuts but it intends to…

News

Talent Hatched at PICA

Who are the top art school graduates across Australia for 2014?

Features

Conservation in the iPad age

Once conservators needed to know about paper and canvas, now they manage everything from bark paintings to magnetic tape.

News

World Premier by Brits Tacita Dean and Game of Thrones actor Stephen Dillane

Famed film-maker turns to live art performance for a unique one-act work commissioned by the Biennale of Sydney and Carriageworks.

News

Top school talent makes NGV cut

Victorian visual art students are exhibited among the best in the state's premium art institution.

News

Aboriginal artist takes on mining giant through paintings

McArthur River Mine has had devastating consequences on a community and its environment; Jacky Green brings us that other story.

News

Top end art fair is a go

With new dates and new governance in place, the Cairns Indigenous Art Fair has bounced back from doubts about its…

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TV Moore’s Rum Jungle

Moore's coloured walls jar in sync with discombobulated videos and psycho-portraits, but at what point do the theatrics overwhelm?

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