The radical plan to finally give Gen Z a voice in Sydney's museums and galleries
As a university student, NSW Arts Minister John Graham would often attend theatre performances and realise he was the youngest person there.
Even now, as the sector's state leader, Graham still sometimes finds himself 'at the younger end' of audience demographics, which is why NSW will become the first state to legislate to give a voice to Generation Z on the boards of leading cultural institutions.
Under draft legislation before parliament, emerging arts leaders aged between 18 and 28 years will be eligible for a guaranteed seat on the board of the Sydney Opera House, Art Gallery of NSW, Powerhouse Museum, Australian Museum, State Library of NSW and Museums of History NSW.
The bill was drafted after Graham became impatient for real-time demographic changes on the boards and trusts of the six institutions. If adopted, the laws will apply from October this year.
'There is a range of other views around mentoring and more gentle ways to [achieve those aims] but I don't accept that,' Graham told the Herald. 'I want these representatives on the board as equal participants. There are two goals: to bring on the next-generation audiences, and [to bring on] the next-generation cultural leaders.'
The youth seat plan comes amid concern that arts boards across the country are stacked with too many corporate leaders and patrons without real-time arts experience. It follows the Creative Australia board's sacking of its freshly appointed Venice Biennale representative, Khaled Sabsabi, in February.
Last year, Sara Mansour from Bankstown Poetry Slam became the Opera House Trust's youngest-ever board member, aged 30. She said it has given her valuable experience in the way cultural organisations deal with complex operational, financial and governance issues.
'Given young people make up over 30 per cent of NSW's population, I think this initiative from the arts minister is brilliant,' she said. 'It not only gives them a seat at the table – it allows them to be heard, and it is also enabling them to gain integral corporate governance and strategic experience that they then can take back to their own community to upskill at a grassroots level. '
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


7NEWS
a day ago
- 7NEWS
Landmark exhibition Yolngu power comes to the Art Gallery of NSW
One of Australia's most internationally renowned arts communities is now on show at the Art Gallery of NSW. The exhibition, Yolngu Power: the art of the Yirrkala, features almost 300 works by 98 Aboriginal artists connected to Yirrkala in the Northern Territory's Arnhem Land. The collection traces the history of art from the world-renowned community and showcases the continuation of and diversity within practice from the 1940s to today. Coinciding with Yolngu Power, The Mulka Project is also premiering a major new commission in the Art Gallery's Nelson Packer Tank. The first look has been given to Yalu, an immersive light and sound experience designed to bring the colours and songs of Yolngu country to the former wartime oil bunker underneath the gallery. The exhibition opened today, June 21, and will run until October. The Art Gallery of NSW said: 'The exhibition is presented in partnership with the Aboriginal-owned art centre, Buku-Larrŋgay Mulka Centre located in Yirrkala. 'The art centre was established as an act of Yolngu self-determination in the 1970s, in the midst of the land rights movement. 'Decades earlier, artists at Yirrkala were among the first Indigenous Australians to employ art as a political tool, most notably through the Yirrkala Bark Petitions of 1963, which were sent to the Australian Parliament to assert Yolngu custodianship of Country. 'Yolngu people have painted sacred designs on the body and objects since time immemorial. 'Known as miny'tji these designs are not merely decorative, they are important patterns that denote the interconnection between Yolŋu people, law and Country. 'Through these visual languages, artists from Yirrkala have shared art as a means of cultural diplomacy — as a respectful assertion of power in its diverse forms, from sovereignty to influence, authority and control, to energy, strength and pride.' NSW Arts Minister John Graham said the exhibition was an incredible opportunity for both NSW locals and tourists. 'This exhibition will be a rare opportunity in Sydney to experience the power and generosity of the artists of Yirrkala, one of Australia's most revered arts communities,' he said. 'I urge locals and visitors to make their way to the Art Gallery of New South Wales this winter for this exceptional exhibition that celebrates the artists of Yirrkala whose contribution to both Australian and international art, is profound.' Art Gallery of NSW director Maud Page said she was 'immensely proud' of the gallery's history with the Yirrkala community. 'We are delighted to come together again to present our major winter exhibition, Yolngu power: the art of Yirrkala,' she said. Yolngu power: the art of Yirrkala spotlights Yirrkala artists spanning multiple generations and art forms including bark paintings, drawings, prints, and sculpture in both wood and metal, alongside video works and immersive digital installations. Exhibition curator and Art Gallery of New South Wales head of First Nations, Cara Pinchbeck said: 'Yolngu power explores the distinct shifts in practice instigated by artists as a means of asserting power through art over time. 'This power takes diverse forms, from the power inherent in the sacred designs of miny'tji and the cultural inheritance of artists, to the transformation of natural and reclaimed materials into exceptional artworks and the sentience of Country as it is enlivened by seasonal change.' Yolngu power: the art of Yirrkala will be on display at the Art Gallery of NSW, in the Ainsworth Family Gallery in Naala Badu from June 21 to October 6, 2025. Tickets are now on sale alongside tickets for the Archibald, Wynne and Sulman Prizes 2025 exhibition.


SBS Australia
2 days ago
- SBS Australia
Yolnu power: major exhibition showcases works of Yirrkala Aboriginal artists
Yolnu power: major exhibition showcases works of Yirrkala Aboriginal artists Published 20 June 2025, 8:38 am A major exhibition is showcasing the work of one of Australia's most internationally renowned art communities. Yolnu power: the art of Yirrkala, features 95 Aboriginal artists connected to Yirrkala in the Northern Territory's Arnhem Land. The exhibition at the Art Gallery of New South Wales aims to showcase the continuation and diversity of the community's artistic practice from the 1940s to today.

Sydney Morning Herald
2 days ago
- Sydney Morning Herald
One of the most powerful artworks I've seen is on show in Tasmania
The exhibition takes its name from one of the installations, a new work made up of a series of five water wells sitting in pitch darkness behind a glass wall. Into these, molten steel drips at hypnotic intervals, generating sparks reminiscent of a working foundry, although these sparks are artfully curated. An earlier version debuted at the 2022 Venice Biennale, where Sassolino used fiery droplets of molten steel to evoke what he described as the dramatic chiaroscuro of Caravaggio's 17th-century paintings, specifically The Beheading of Saint John the Baptist. In this version, the chiaroscuro is certainly dramatic. While it's difficult to imagine a saintly beheading amid the sparks, the eight-minute sequence, observed from pews placed for this purpose, is mesmerising, in the tradition of the transcendent religious artworks adorning Europe's great cathedrals. In the end, the beginning is a perfect addition to a gallery famed for its kinetic displays and its inherent subversion of the Catholic faith in which MONA founder David Walsh was raised. Sassolino's precision engineering is 21st century, but his choice of materials and fascination with old-fashioned masculine energy are furiously at odds with a planet economically realigning around the rare earth mineral economy as it gears up for the decarbonisation revolution. Elegant as it is, the exhibition feels like one last loving look over the shoulder as we move into a future where harnessing the energy of wind and sun assures the survival of the species. Being sensorially receptive is an essential state for visiting MONA, the privately owned art museum and collection of Tasmanian gambling millionaire Walsh. Since it opened in January 2011, it has been an undisputed curatorial game changer in the Australian art world. MONA's growing permanent collection and temporary displays owe more to the practices of contemporary biennales than art museums, yet its arrival freed up Australia's public galleries to be more experimental and playful. Before MONA, they tended to be wedded to chronological white-wall exhibitions, but this unashamedly gonzo new entrant was cashed up and unconstrained by curatorial committees, boards, public funding, or the need to observe rules or regulations. Walsh led from the front, encouraging his collaborators to move fast and break things. MONA is firmly part of the art establishment now, the sum of the considerable experience Walsh and his team have amassed, and of Australian galleries having relaxed. Coinciding with the exhibition's early June opening was Dark Mofo, David Walsh's festival encompassing live music, the sprawling Winter Feast food market, and various indoor and outdoor art activations throughout Hobart CBD. The festival made its return this year under new artistic director Chris Twite, following a hiatus in 2024. With its music, food, numerous bars, and warming fire pits for the bundled-up crowds, Dark Mofo evokes a blokey theme park. It carries the air of a last hurrah of the heterosexual white man. In the right-on landscape of Australian arts, there's something incredibly quaint about experiencing what feels like a Gen X fun park. Indeed, Dark Mofo offers a wondrously unique and intriguing experience, almost as if it's an arts festival from a world that froze in 1994, upon Kurt Cobain's death. Loading Unapologetically created in Walsh's image, music headliners ranged across punk, electronica and the 'extreme metal and absurdist mayhem' of US outfit Clown Core. Winter Feast is as visually arresting as its offerings are smokey and delicious, by no mistake. There is wild goat, wallaby and camel on the menu, their skeletons arranged above the grill long after the flesh has been stripped. A free public event during opening weekend's prime-time Saturday night was a theatrical car crash featuring two BMWs, complete with doughnuts, pungent rubber burnouts, and dazzling sound and lighting. Look out for the video. Crash Body, conceived by Brazilian artist Paula Garcia, drew thousands to the wet, windy Regatta Grounds overlooking the Derwent, framed by the Tasman Bridge. This site is also earmarked for the proposed AFL stadium, a controversial project that led to the state's premier being ousted the day before. Dark Mofo's free public art program is like a biennale in style, albeit on a walkable Hobart scale. Visually, the event is connected throughout Hobart by red lights and inverted crucifixes. These deliciously symbolise the humility of St Peter, who asked to be crucified upside down to put himself beneath Jesus Christ, but are alternatively symbolic of Satanism. Choose your own adventure. Loading Among the legacies of David Walsh's everyman approach to MONA is the enthusiasm with which audiences in Tasmania engage with the arts. Free events on the opening weekend were packed, many ticketed events sold out, and the general confidence of people interacting with artworks was impressive. Nicholas Galanin's Neon Anthem called on people to kneel on one knee and scream, a comment on the Black Lives Matter movement possibly lost in this execution, but in which nearly everyone who walked past nonetheless participated, generating waves of screams like you might hear near a roller coaster. Brigita Ozolins' beautiful exhibition on banned books, Revolution and Silence at the State Library and Archives of Tasmania, will remain open until October. It's a gentle meditation on social mores in stark contrast to Dark Mofo's in-your-face headliners. Dark Mofo's highly sought-after Night Mass events were, once again, sold out. Thousands of revellers explored the multi-stage, all-night jamboree of music, performance art, and installations that transformed a city block into something resembling a sticky-carpet nightclub adorned with share-house decor. I haven't even mentioned Simon Zoric's Coffin Rides (as it says on the tin) or the Sex + Death Day Spa installation at MONA, where a nana in a white towelling robe at the entry deadpanned options: 'Do you want anal bleaching or a Brazilian?' Did I mention the 90s?