Dispatch Review respectfully acknowledges the Whadjuk people as the traditional owners and custodians of the lands upon which we live, work and enjoy. We pay deep respect to Elders past and present. Always was, always will be Aboriginal land.


  1. Light Event by Sam Beard
  2. Rejoinder: Archival / Activism by Max Vickery
  3. Access and Denial in The Purple Shall Govern by Jess van Heerden
  4. 4Spells by Sam Beard
  5. Abstract art, DMT capitalism and the ugliness of David Attwood’s paintings
    by Darren Jorgensen
  6. Unearthing new epistemologies of extraction by Samuel Beilby
  7. Seek Wisdom by Max Vickery
  8. Something for Everyone by Sam Beard
  9. Violent Sludge by Aimee Dodds
  10. State of Abstraction by Francis Russell
  11. Double Histories: Special Issue, with texts by Ian McLean, Terry Smith, and Darren Jorgensen & Sam Beard
  12. Six Missing Shows by Sam Beard
  13. What We Memorialise by Max Vickery
  14. At the End of the Land by Amelia Birch
  15. The beautiful is useful by Sam Beard
  16. ām / ammā / mā maram by Zali Morgan
  17. Making Ground, Breaking Ground by Maraya Takoniatis
  18. Art as Asset by Sam Beard
  19. Cactus Malpractice by Aimee Dodds
  20. Sweet sweet pea by Sam Beard
  21. COBRA by Francis Russell
  22. PICA Barn by Sam Beard 
  23. Gallery Hotel Metro by Aimee Dodds
  24. A Stroll Through the Sacred, Profane, and Bizarre by Samuel Beilby
  25. Filling in the Gaps at Spacingout by Maraya Takoniatis
  26. Disneyland Cosmoplitanism by Sam Beard
  27. Discovering Revenue by Anonymous
  28. Uncomfortable Borrowing by Jess van Heerden
  29. It’s Not That Strange by Stirling Kain
  30. Hatched Dispatched by Sam Beard & Aimee Dodds
  31. Fuck the Class System by Jess van Heerden, Jacinta Posik, Darren Jorgensen, et al.
  32. Wild About Nothing by Sam Beard
  33. Paranoiac, Peripatetic: Pet Projects by Aimee Dodds
  34. An Odd Moment for Women’s Art by Maraya Takoniatis
  35. Transmutations by Sam Beard
  36. The Post-Vandal by Sam Beard
  37. Art Thugs and Humbugs by Max Vickery
  38. Disneyland, Paris, Ardross and the artworld by Darren Jorgensen
  39. Bizarrely, A Biennale by Aimee Dodds
  40. Venus in Tullamarine by Sam Beard
  41. Weird Rituals by Sam Beard
  42. Random Cube by Francis Russell
  43. Yeah, Nah, Rockpool by Aimee Dodds
  44. Towards a Blind Horizon by Kieron Broadhurst
  45. Being Realistic by Sam Beard


Dispatch Review aims to pin down ideas and stir up conversations about art. We publish precise, concise art criticism, opinion pieces, interviews and audio. Dispatches are dispensed spontaneously and intended to be read in one sitting.

If you would like to contact us, please click here to email.


Sam Beard lives on Whadjuk country and spends much of his time writing about art. He holds degrees in visual art, design, and art history. Beard has worked for several galleries and arts organisations, and is the co-founder of Dispatch Review.

Max Vickery is a bookseller and Marxist based in Whadjuk country. His interests include activism, sociology, history, folklore, and comparative musicology.

Amelia Birch is a PhD candidate in History of Art at the University of Western Australia.


Aimee Dodds is a Perth based arts writer and co-founder of Dispatch Review. She has written for Memo Review, Art Almanac, ArtsHub, and Artist Profile Magazine. Dodds has first class joint honours in the History of Art and English and Cultural Studies from the University of Western Australia.

Darren Jorgensen lectures in art history at the University of Western Australia. His most recent book is The Dead C’s Clyma Est Mort.

Francis Russell is a former academic and trade union official. He researches contemporary art and alienation, drawing on the legacies of Marxism, Freudian psychoanalysis, and phenomenology.

Maraya Takoniatis
studies and conducts research in Philosophy, Fine Arts, and History of Art at the University of Western Australia. 

Zali Morgan is an emerging artist, writer and curator, currently working at The Art Gallery of Western Australia as assistant curator of Indigenous Art. She is of Ballardong, Wilman and Whadjuk descent.

Kieron Broadhurst is an artist based in Perth, WA. Through a variety of media he investigates the speculative potential of fiction within contemporary art practice.
Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Professor in the Division of Philosophy, Art and Critical Thought at the European Graduate School.

Ian McLean is the Hugh Ramsay Chair of Australian Art History at the University of Melbourne. Professor McLean was previously the Senior Research Professor of Contemporary Art at the University of Wollongong and adjunct Professor at the University of Western Australia.

Samuel Beilby is a contemporary artist and researcher. He currently teaches Fine Art at the University of Western Australia.

Jess van Heerden
studies History of Art, Fine Art and Curatorial Studies at the University of Western Australia.

Jacinta Posik studies Fine Arts and History of Art at the University of Western Australia.

Stirling Kain is an arts administrator with a BA in History of Art and History. She works with various arts organisations in WA.

Please note: any conflicts of interest that may arise between editors and the subject and/or topic of a review will see the affected editors forego any and all participation in the editorial process of the related text.


Mia Davis is an arts worker and design student based in Boorloo/Perth. Davis is powered by a love of connecting audiences to art and ideas, with inclusive design being key to her practice.