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Lachlan Bryan

Criticism of Australian art and music, anchored to the rooms, roads and paperwork where it actually happens.
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The Warning Sign You Wear: Reading the ‘Not Friendly Do Not Touch’ Shirt

Oct 15, 2026 Clinton Morrison

The graphic is a warning sign, and it is doing exactly what a warning sign does. Across the chest, in…

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Reg Mombassa’s Two Jobs: What the Record Actually Shows About Mental As Anything, Mambo, and the Art-Pop Crossover

Clinton Morrison

Reg Mombassa is the pseudonym of Christopher O’Doherty, a New Zealand-born Australian artist and musician. He is a founding member…

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The Jack-O’-Lantern Shirt and the Politics of the Carved Face

Oct 14, 2026 Clinton Morrison

The graphic is orange. That is the first thing to say, because it is the first thing the eye registers:…

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The Substation, Newport: What a Converted Electricity Substation Can Do for Melbourne’s West

Oct 4, 2026 Clinton Morrison

On Market Street in Newport, a red-brick substation built to step down electricity for the western suburbs now steps down…

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Brass in the Band Room, Watercolour in the Gallery: What Broken Hill’s Mining Money Built — and How to Trace It

Oct 1, 2026 Clinton Morrison

Broken Hill’s cultural buildings are not a mystery. They are the residue of a specific industry, a specific workforce, and…

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The Strange Afterlife of Band Posters as Folk Art: How Hand-Lettered Gig Sheets Documented Scenes No Archive Would Touch

Sep 13, 2026 Clinton Morrison

The Strange Afterlife of Band Posters as Folk Art: How Hand-Lettered Gig Sheets Documented Scenes No Archive Would Touch There…

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How Australian Music and Visual Art Share a Common Sensibility

Sep 1, 2026 Clinton Morrison

There is a recurring argument in Australian cultural criticism that music and visual art operate in separate rooms: one is…

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