GAB 78 (Grishin’s Art Blog number 78)

Sydney Contemporary 2025

Sydney Contemporary, 2025 Photo: S. Grishin

Is Sydney Contemporary a good barometer of the Australian art world?
 
The official line is that this, the ninth iteration of the art fair, is its biggest and the most ambitious manifestation ever. It boasts of 116 exhibitors representing over 500 artists, in contrast with the last year’s quota of 85 galleries and 400 artists. Numbers, however, are a bit flexible (what did Mark Twain say about statistics?) with 63 commercial art galleries listed, another 15 in the new photography section, seven in emerging galleries and a further 31 in the works on paper section. Some galleries, for example Nanda/Hobbs and Olsen, have a booth in more than one section and are counted twice. Numbers notwithstanding, the Carriageworks is bursting at the seams with art stalls.
 
Although I am unable to quantify, to me it appeared that the scale of most of the stalls this year seemed more modest with a clutter of exhibits and exhibitors rather than spectacular installations staged by individual galleries as seen in earlier years. Although there is a sprinkling of costly real estate items, there seem to be many more, accessibly priced artworks than in previous years. It is more of a bread-and-butter art fair than one characterised by Champaigne and truffles.

Greg Weight, Reclining Angophora 3, 2020. Paintograph, oil paint over photograph on canvas, 81 x 122cm, Photo: Australian Galleries

There is no shortage of glitter, bubbly wine, hors d’oeuvres and a carnival-like atmosphere with a program of entertainment. As I spent my four hours walking around the art fair before it officially opened to the public, I cannot comment on sales, only to note the atmosphere of eager anticipation. The Artnet The Intelligence Report for mid-year 2025, that was released a few days ago, paints a bleak picture of the international art market today noting that “Galleries are closing, collectors have vanished, and the mood is dark.” Most of the galleries that I have spoken to in Australia seem to echo these sentiments with commercial art galleries “Whose boast is not: ‘we live’ but ‘we survive’”.
 
It is difficult to speak of highlights in something as amorphous as an art fair. The major innovation for this year, the Photo Sydney section – an area dedicated to the display of photography – has worked well. The stronger displays were the monographic shows, such as Greg Weight at Australian Galleries, George Byrne at Olsen and the self-represented sections of Alexia Sinclair, Christopher Ireland, Paul Blackmore, Simon Harsent and Toby Burrows, rather than the galleries attempting a stock show. However, it would be difficult to argue that we are seeing here the absolute cream of contemporary Australian photography.

Alexia Sinclair, Royal Swan, 2024, Photomontage (Traditional Photography, Digital Collage, Illustration), 1524 x 1143 mm: Photo: Alexia Sinclair

The Works on Paper section has been a stand-alone section at Sydney Contemporary for many years. The 2025 selection of galleries is missing some of its traditional exhibitors but does feature a number of newcomers.

Dianne Longley, Fairground Follies, 2025. Gouache on vellum hand made papers, 23.5 x 28.5cm. Photo: Agave Print Studio Trentham, Victoria

There are the exquisite pieces by Dianne Longley, a very strong selection of works from the Australian Print Workshop, including the spectacular pieces by Danie Mellor, Rick Amor and Sally Smart, and the usual strong field from Baldessin Press. Cicada Press in Sydney continues to produce beautiful work, including the powerful pieces by Euan Macleod, and there is also the memorable work by Gary Shinfield and Jan Davis from their presses. Parker Contemporary from Brisbane continues with its strong stable of printmakers, the indefatigable Sydney Printmakers focus on the exceptional work of Andrew Totman, Angela Hayson, Anthea Boesenberg and Tina Barahanos. There are also impressive pieces by Bronwyn Berman and Gary Christian from the Studio of Bronwyn Berman.

Andrew Totman, Moons Shadows, 2025. Multi plate monotype paper, 64 x 64cm. Photo: Sydney Printmakers

Walking around the ‘open field’ area, I was drawn to the work of Marie Hagerty represented by the Lennox St, Gallery, Julie Rrap at ARC ONE Gallery, James Drinkwater at Nanda\Hobbs, Sydney and Julia Ciccarone at Niagara Galleries, amongst many others.

Julie Rrap, Overstepping, 2001. Digital print, 100 x 100cm, Photo: ARC ONE Gallery, Melbourne

Quite a number of people strolling around this year’s Sydney Contemporary felt a bit 'underwhelmed'. Nevertheless, I cannot imagine another place where you can see such a great cross-section of contemporary or near contemporary Australian art – that is – if you can put up with the crowds and the Sydney weather.

Julia Ciccarone, The Vault of Silent Messages, 2025. Oil on linen, 152.5 x 80cm. Photo: Niagara Galleries, Melbourne

Sydney Contemporary 2025
Carriageworks, Sydney
11-14 September 2025

Louise Paramor, Her Majesty, 2024. Polymer, 100x40x40cm. Photo: Void_Melbourne Melbourne