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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 Same Quiet Logic: How Australian Music and Visual Art Share a Structural Sensibility

Jul 31, 2026 Clinton Morrison

When people write about Australian creative work, they almost always start with the landscape. The heat, the distance, the particular…

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The Strange Afterlife of Australian Band Posters as Accidental Folk Art

Jul 23, 2026 Clinton Morrison

There is a filing cabinet in a shed in Thomastown that contains more documentary evidence of Melbourne’s live music culture…

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The Same Dry Light: A Shared Sensibility in Australian Music and Visual Art

Jul 22, 2026 Clinton Morrison

There’s a light in Australia that doesn’t do you any favours. It’s not the soft, golden glow of a Tuscan…

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The Shared Sensibility of Australian Music and Visual Art

Jul 16, 2026 Clinton Morrison

There is a particular light in Australia. It bleaches the landscape, flattens distance, and turns the horizon into a thin,…

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The Decline of the Art Catalogue as a Serious Form of Writing

Jul 11, 2026 Clinton Morrison

There is a particular smell to a gallery storeroom in February. Dust, archival cardboard, the faint chemical sweetness of old…

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The Dry Hum: Where Australian Music and Visual Art Meet

Jul 8, 2026 Clinton Morrison

There’s a quality to Australian art that’s hard to pin down. Not a style, exactly, or a movement with a…

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The Shared Sensibility of Australian Music and Visual Art: A Dry-Eyed Look

Jul 6, 2026 Clinton Morrison

There’s a particular light in Australia. It doesn’t just illuminate; it flattens, bleaches, and leaves the landscape looking exposed and…

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