Entertainment

Arts

Block party brings Beastman back on board in surprising arts space

Street artist Bradley Eastman, known to some as Beastman.

Back before he was Beastman, the teenager Bradley James Eastman travelled on trains across Sydney, searching for spots to skateboard. He sometimes stopped at St Leonards, for the fun to be had with its handrails, ledges and bounty of pebblecrete. The lower north shore suburb - better known for attractions such as the College of Law, Gore Hill Cemetery and the Pacific Highway - was rather gnarly.

Build it and they will come

Justine Clark founded Parlour, an advocacy organisation for equity in architecture.

When biographies are written, in that rocky ground between hero worship and dry scholarship, who is seen as notable - and who decides?

Found objects find a home

Christie Petsinis and Tim Wilson of Folk Architects have converted a watchmaker's shop in Collingwood into a design space.

As part of this year's Melbourne Design Week, Nick Rennie curates a show that proves good design doesn't come with a price tag.

'I want people to feel my photographs'

Wounded government soldiers, Huambo, Angola.

Photojournalist Stephen Dupont wants you to be confronted by his images. Dupont's body of work – more than two decades of war, social strife and natural disasters - is the subject of an upcoming presentation at Sydney's Eternity Playhouse Theatre titled Don't Look Away.

Why you need to see ... Mason Kimber

Frame/Surface from Mason Kimber's Arcades show.

As a teenager, Mason Kimber lived in an architectural feature house in Perth. The first residential project by Patroni Architects, Kimber House was immaculate, a concept realised in clean angles, geometric shapes and interior elements that extended as features on the outside of the house. The boundary between the inside and the outside was intentionally blurred.

Galleries seek the Bendigo effect as architects tackle threshold fear

MvS Architects' proposal for SAM.

Threshold fear, it's called. The phobia of entering an art gallery that only elites are perceived to own and a front desk that exudes intimidation. To combat that fear, state galleries have eye-catching signage, uniformed staff welcoming patrons and activities in the  foyer. But if a residual fear still exists in city galleries, it's often more deeply felt in country towns.