Latest news with #Blackhall&Pearl
Sydney Morning Herald
03-07-2025
- Politics
- Sydney Morning Herald
‘Creative Australia is not fit-for-purpose': Arts heavyweights demand answers
'There's not an arts organisation in the country that hasn't had to provide their increasingly risk-averse boards with risk assessments,' she says. 'If Creative Australia was blindsided by the complexities of inviting Sabsabi, it suggests either a worrying level of naivete or a political judgment that a brown artist from the Western suburbs will tick a whole lot of boxes. Either rationale suggests CA is not fit-for-purpose.' The Blackhall & Pearl report into CA's governance and decision-making process for the 2026 Biennale makes the point that it is 'surprising' that 'given dedicated and experienced crisis management capabilities were available to Creative Australia, these were not called upon … until a day or two before the launch'. Adler says the review does not go far enough. 'For all the detail, [it] does not actually clarify the decision-to-cancel process. The CEO together with the visual arts staff made the decision to appoint Sabsabi, it was then decided to call a board meeting to recommend the cancellation of the appointment. 'What we do know is that the decision to cancel was a reaction to political pressure ... Those who briefed Senator Chandler will probably never be outed. But it is not hard to join the dots.' Adler's voice is one of many demanding more answers. Juliana Engberg, a former Venice Biennale pavilion curator in 2007 and 2019, said the review was clear on Creative Australia's failures and that required an immediate response. 'Creative Australia must renovate its board and leadership,' she said. 'Until that occurs there will be a continual distrust for Creative Australia in the arts community. The review makes clear the substantial flaws of process and judgement that led to one of the most disastrous and unfair episodes in Creative Australia's history.' Engberg says the arts community demonstrated unity and strength over the past four months: 'It collectively enacted a sustained campaign to ensure the miscarriage of justice against Khaled Sabsabi would not go unchecked and would not be accepted.' Penelope Benton, executive director of the peak lobby group, the National Association for the Visual Arts, said the review points to some big lessons. 'Proper risk planning means being ready to back the artist. That is essential if we want bold, ambitious work to thrive on the world stage,' Benton said. 'The handling of this situation raised a lot of serious concerns. Reinstating the selected artistic team is a necessary correction, one that helps to repair confidence and ensure accountability going forward.' Benton added that the reinstatement sends a strong message about Creative Australia's future direction. 'It shows that public institutions can acknowledge when things go wrong and take meaningful steps to make things right. That takes integrity, and it is an important part of restoring trust.' Max Delany, former head of Australian Centre for Contemporary Art, writing on Instagram described what happened as 'a deeply regrettable and shameful episode'. He says the CA report 'fails to grapple with several critical underlying and causal issues'. 'Chief among these is the pernicious, vexatious and corrosive influence of lobbyists, conservative media and culture warriors on our public discourse and on the integrity of our cultural institutions – forces that remain largely unexamined in its findings.' Shadow arts spokesperson Julian Leeser protested Sabsabi's reinstatement, saying Arts Minister Tony Burke had 'serious questions to answer about the credibility of Creative Australia' for a deeply flawed process that 'diminishes the power of Australian art as a 'tool of soft diplomacy''. 'When the government gives a wink and a nod to decisions like this, it sends a signal that undermines our laws, weakens social cohesion and risks dividing Australians at home, while damaging our reputation abroad,' he said. Creative Australia's move will be closely noted by players in other high-profile cases. Later this year, the case of the Melbourne Symphony Orchestra versus pianist Jayson Gillham will be heard in the federal court. The MSO removed Gillham from its line-up after he made unauthorised comments about Palestinian journalists being deliberately targeted by Israel's military in Gaza at an MSO recital in August last year. A hearing in the matter of the State Library Victoria versus writers Omar Sakr, Jinghua Qian, Alison Evans and Ariel Ries is expected in the next few months. The authors were sacked as contractors to SLV in March 2024 and argue they were dismissed because of their pro-Palestinian views. SLV denied political views prompted the decision, saying it needed to review its policies and procedures.
The Age
03-07-2025
- Politics
- The Age
‘Creative Australia is not fit-for-purpose': Arts heavyweights demand answers
'There's not an arts organisation in the country that hasn't had to provide their increasingly risk-averse boards with risk assessments,' she says. 'If Creative Australia was blindsided by the complexities of inviting Sabsabi, it suggests either a worrying level of naivete or a political judgment that a brown artist from the Western suburbs will tick a whole lot of boxes. Either rationale suggests CA is not fit-for-purpose.' The Blackhall & Pearl report into CA's governance and decision-making process for the 2026 Biennale makes the point that it is 'surprising' that 'given dedicated and experienced crisis management capabilities were available to Creative Australia, these were not called upon … until a day or two before the launch'. Adler says the review does not go far enough. 'For all the detail, [it] does not actually clarify the decision-to-cancel process. The CEO together with the visual arts staff made the decision to appoint Sabsabi, it was then decided to call a board meeting to recommend the cancellation of the appointment. 'What we do know is that the decision to cancel was a reaction to political pressure ... Those who briefed Senator Chandler will probably never be outed. But it is not hard to join the dots.' Adler's voice is one of many demanding more answers. Juliana Engberg, a former Venice Biennale pavilion curator in 2007 and 2019, said the review was clear on Creative Australia's failures and that required an immediate response. 'Creative Australia must renovate its board and leadership,' she said. 'Until that occurs there will be a continual distrust for Creative Australia in the arts community. The review makes clear the substantial flaws of process and judgement that led to one of the most disastrous and unfair episodes in Creative Australia's history.' Engberg says the arts community demonstrated unity and strength over the past four months: 'It collectively enacted a sustained campaign to ensure the miscarriage of justice against Khaled Sabsabi would not go unchecked and would not be accepted.' Penelope Benton, executive director of the peak lobby group, the National Association for the Visual Arts, said the review points to some big lessons. 'Proper risk planning means being ready to back the artist. That is essential if we want bold, ambitious work to thrive on the world stage,' Benton said. 'The handling of this situation raised a lot of serious concerns. Reinstating the selected artistic team is a necessary correction, one that helps to repair confidence and ensure accountability going forward.' Benton added that the reinstatement sends a strong message about Creative Australia's future direction. 'It shows that public institutions can acknowledge when things go wrong and take meaningful steps to make things right. That takes integrity, and it is an important part of restoring trust.' Max Delany, former head of Australian Centre for Contemporary Art, writing on Instagram described what happened as 'a deeply regrettable and shameful episode'. He says the CA report 'fails to grapple with several critical underlying and causal issues'. 'Chief among these is the pernicious, vexatious and corrosive influence of lobbyists, conservative media and culture warriors on our public discourse and on the integrity of our cultural institutions – forces that remain largely unexamined in its findings.' Shadow arts spokesperson Julian Leeser protested Sabsabi's reinstatement, saying Arts Minister Tony Burke had 'serious questions to answer about the credibility of Creative Australia' for a deeply flawed process that 'diminishes the power of Australian art as a 'tool of soft diplomacy''. 'When the government gives a wink and a nod to decisions like this, it sends a signal that undermines our laws, weakens social cohesion and risks dividing Australians at home, while damaging our reputation abroad,' he said. Creative Australia's move will be closely noted by players in other high-profile cases. Later this year, the case of the Melbourne Symphony Orchestra versus pianist Jayson Gillham will be heard in the federal court. The MSO removed Gillham from its line-up after he made unauthorised comments about Palestinian journalists being deliberately targeted by Israel's military in Gaza at an MSO recital in August last year. A hearing in the matter of the State Library Victoria versus writers Omar Sakr, Jinghua Qian, Alison Evans and Ariel Ries is expected in the next few months. The authors were sacked as contractors to SLV in March 2024 and argue they were dismissed because of their pro-Palestinian views. SLV denied political views prompted the decision, saying it needed to review its policies and procedures.
Sydney Morning Herald
03-07-2025
- Entertainment
- Sydney Morning Herald
The inside story on how Australia's moment to shine in the arts world went horribly wrong
Khaled Sabsabi and Michael Dagostino are back as Australia's representatives to the Venice Biennale after a fraught four months in the political wilderness which tested the fortitude of both men, and caused untold reputational damage to the federal arts agency which sacked them. According to the independent report of Blackhall & Pearl, no single individual should be blamed for the 'series of missteps, assumptions and missed opportunities' that led to the board of Creative Australia's shock dumping of the pair when the artist's back catalogue stirred controversy in the halls of Parliament House. In this, the report draws a line between the Dural bomb hoax and other antisemitic events and the febrile environment and heightened sensitivities around which the board of Creative Australia capitulated to political and media pressures on February 13. War in the Middle East was the broader context, and Creative Australia, its executive and board, should have been more alert to the geopolitical shock waves headed its way, it said. But in refusing to apportion blame the report downplays the significance of a looming federal election, the perceived existential threat to the independence and funding of the organisation, and the principle of executive accountability. Creative Australia's chair Robert Morgan has retired, making way for Wesley Enoch. The agency's experienced chief executive, Adrian Collette, has apologised and committed himself to restoring community trust, signalling he will stay for the rebuild. But few insiders believe he can survive Australia's biggest arts scandal in more than a decade. And then there was one Sabsabi and Dagostino were selected for Venice 2026 after a lengthy selection process in which a panel of industry advisors whittled six shortlisted artistic teams to one. Both were experienced practitioners and the pair's project was regarded as a standout. Hopes were high for the new team after Australia's previous representative, Archie Moore, collected the Golden Lion, the equivalent of an Olympic gold medal at the prestigious arts show.
The Age
03-07-2025
- Entertainment
- The Age
The inside story on how Australia's moment to shine in the arts world went horribly wrong
Khaled Sabsabi and Michael Dagostino are back as Australia's representatives to the Venice Biennale after a fraught four months in the political wilderness which tested the fortitude of both men, and caused untold reputational damage to the federal arts agency which sacked them. According to the independent report of Blackhall & Pearl, no single individual should be blamed for the 'series of missteps, assumptions and missed opportunities' that led to the board of Creative Australia's shock dumping of the pair when the artist's back catalogue stirred controversy in the halls of Parliament House. In this, the report draws a line between the Dural bomb hoax and other antisemitic events and the febrile environment and heightened sensitivities around which the board of Creative Australia capitulated to political and media pressures on February 13. War in the Middle East was the broader context, and Creative Australia, its executive and board, should have been more alert to the geopolitical shock waves headed its way, it said. But in refusing to apportion blame the report downplays the significance of a looming federal election, the perceived existential threat to the independence and funding of the organisation, and the principle of executive accountability. Creative Australia's chair Robert Morgan has retired, making way for Wesley Enoch. The agency's experienced chief executive, Adrian Collette, has apologised and committed himself to restoring community trust, signalling he will stay for the rebuild. But few insiders believe he can survive Australia's biggest arts scandal in more than a decade. And then there was one Sabsabi and Dagostino were selected for Venice 2026 after a lengthy selection process in which a panel of industry advisors whittled six shortlisted artistic teams to one. Both were experienced practitioners and the pair's project was regarded as a standout. Hopes were high for the new team after Australia's previous representative, Archie Moore, collected the Golden Lion, the equivalent of an Olympic gold medal at the prestigious arts show.
Sydney Morning Herald
02-07-2025
- Entertainment
- Sydney Morning Herald
Sacked artist to be reinstated as Australia's Venice representative
In a stunning about-face, the artistic team of Khaled Sabsabi and Michael Dagostino is to be reinstated to represent Australia at the Venice Biennale. The duo's reappointment comes as the board of the federal government's peak arts agency, Creative Australia, releases the findings of a review by Blackhall & Pearl into the pair's abrupt termination on February 13. Contracts between the agency and artistic team were signed Wednesday in an act aimed at healing the deep fractures between the agency and Australia's artistic community and drawing a line under the public relations disaster. 'This decision has renewed our confidence in Creative Australia and in the integrity of its selection process,' Sabsabi and Dagostino said in a statement thanking their supporters for their solidarity. 'It offers a sense of resolution and allows us to move forward with optimism and hope after a period of significant personal and collective hardship. 'We acknowledge that this challenging journey has impacted not only us, but also our families, friends, the staff at Creative Australia, and many others across the broader artistic community here and abroad.' The Venice Biennale is the biggest and most prestigious art show in the world, and Sabsabi and Dagostino had been appointed on February 7 as Australia's 2026 representatives with hopes high following Archie Moore's Golden Lion win in 2024. They were stripped of the honour six days later following questions raised in parliament about two of Sabsabi's historic works, and after an emergency meeting of the board of Creative Australia. The treatment of Sabsabi and Dagostino galvanised artists in a way not seen since 2015 when the federal Coalition set up the Catalyst fund, giving the arts ministry direct control over $100 million in arts funding.
