Creative Australia’s decision earlier this year to rescind the selection of artist Khaled Sabsabi and curator Michael Dagostino as Australia’s 2026 representatives at the Venice Biennale sent shockwaves through the arts sector.
For many artists and arts workers, it reinforced concerns around participation and access for those from culturally and racially diverse backgrounds.
This week’s reinstatement of the artistic team offers some comfort. However, the entire incident has reinforced that, while diversity in the arts is celebrated, inclusion at the highest level can’t be taken for granted.
Some worrying stats
Our 2024 survey of more than 900 visual and craft artists, and visual arts workers (who we define as workers who support the visual arts sector), revealed several concerning findings in relation to opportunity and inclusion for culturally and racially diverse creatives.
The first key finding was more than 67% of artists and 78% of arts workers felt there were cultural and/or access-related barriers to them participating in the sector.
The second was culturally diverse workers in the sector tended to identify as “early career” rather than “established”. This points to challenges for career progression and, in turn, to systemic and structural barriers to career development.
Of all the people we surveyed, 17% of visual artists and 20% of visual arts workers reported being of a culturally diverse background. Of these, only 15% of artists and 14% of arts workers reported being at an “established” career stage.
By contrast, among the general population of artists (including those without a diverse background), 30% of the artists reported being “established” in their careers, along with 26% of arts workers.
Art shouldn’t be at the behest of politics
Issues around political censorship and cultural bias in the sector were not a focus of our survey, which was conducted nine months after the war in Gaza began, and before Creative Australia’s selection (and swift cancellation) of the 2026 Venice Biennale team.
Nonetheless, respondents were concerned their political views, and/or their cultural or racial background, could impact their likelihood of advancing a career in the sector.
Some respondents explained if they were no longer working as an artist or arts worker in five years’ time, it would most likely be due to “systemic discrimination” and “increasing censorship prevalent in this industry”.
According to an independent review into the Sabsabi decision (and its reversal):
While no formal assessment was undertaken, it is clear that there was a general awareness within Creative Australia, among those with knowledge of the selected Artistic Team, that the decision had the potential to be controversial. The Panel heard that, at the time, the decision was described as ‘bold’ or ‘courageous’. The source of potential controversy was seen to lie in the fact of selecting any artist with heritage connected to the Middle East at a time when conflict in that region was so emotive and polarising, rather than because of the proposed nature of the work to be undertaken at the 2026 Venice Biennale.
Entrenched harmful biases
Sadly, the negative response from politicians to the initial selection of Khaled Sabsabi and Michael Dagostino gave credibility to our respondents’ concerns.
One participant told us “being called Ahmed* is a bit of a disadvantage given the international situation”.
Another said “only certain cultures and political plights are given support”.
Financial security is also potentially at risk. As one respondent explained, the main barrier to their personal financial security were political values. “My work is at risk when governments change,” they said.
Artists and arts workers from culturally and racially diverse backgrounds also reported more significant impacts from the cost-of-living crisis, along with poorer mental health and work-life balance.
Importantly, our findings don’t stand in isolation. Similar issues have been identified by Diversity Arts Australia, who in 2022 reported on the significant negative impacts of the pandemic on First Nations artists and artists of colour.
Also, in 2021, Creative Australia reported on problems around inclusion and access for culturally diverse communities in the arts and cultural sector.
What might progress look like?
Our research involved making a number of policy recommendations to tackle these issues.
For one thing, there is a clear need for organisational change. On this front, arts organisations and employers should invest in cultural competency training for all staff and board members. They should also prioritise professional development and career growth for culturally and racially diverse staff.
To drive meaningful change, funding incentives should be introduced to support diverse leadership. This should include higher pay for culturally and/or racially diverse leaders whose backgrounds lead them to having added responsibility in the workplace.
The sector also needs greater transparency around cultural and racial representation in staffing and leadership roles, including board roles. This will promote accountability and help drive cultural change.
Finally, success for artists from culturally and linguistically diverse backgrounds requires the Australian art world to engage with multiple world views – and understand not all art will be immediately accessible to all audiences.
The controversy surrounding Creative Australia’s biennale backflip offers an opportunity for the visual arts sector to reckon with deep and troubling issues of structural inequity, along with broader questions of free expression – especially in a fraught political climate.
These issues are wider than the art world. But what better place to start?
Rita Ora reveals how Beyonce took action her amid Jay-Z cheating rumours
Rita Ora found Beyonce to be a “protector” in her corner when she became a target for Jay-Z cheating rumours.
The 34-year-old songstress opened up about the time she was speculated to be “Becky with the good hair,” the woman involved in Jay-Z’s cheating rumours around the time when Beyonce released her album, Lemonade.
The For You hitmaker shared that it was Queen Bey herself who emerged as her protector during the “messy situation,” during her appearance on the latest episode of Begin Again with Davina McCall podcast.
After the host brought up the controversy, which was touched upon in Beyonce’s song, Sorry, Ora responded that she has been “affected worse” by other things.
“Because it wasn’t real,” she said of the “Becky with the good hair” drama, “I wish I had good hair.”
Ora continued, “None of that was real. That was the first time I experienced what it means to be in a messy situation, I guess.”
She revealed that all throughout the scandal, “behind closed doors,” Beyonce was her “fairy godmother.”
“She was my protector. That’s what’s insane because there was nothing but love. And, you know, again, being signed to JAY-Z, her husband, she being my biggest inspiration, she came to my first show in New York at The Box,” she said.
The Big singer went on to add, “I was actually genuinely upset because that’s my big sister protector. She took it upon herself to really look after me. And I still see her to this day and she’s always been so, so nice and proud, checking in on my family and friends that I’ve had since childhood and remembering their names.”
Steve Backshall said it was important to recognise climate anxiety
A television wildlife presenter said climate change “is happening” and people should ignore politicians and public figures who think otherwise.
Steve Backshall was speaking as a guest at the Youth Climate Conference at Suffolk One Sixth Form College in Ipswich on Tuesday, which gave 250 young people from across the county the opportunity to engage in conversations about the climate.
Previous speakers at the event includes Chris Packham, Megan McCubbin and activist Scarlett Westbrook.
He said: “If you hear a politician or public figure trying to throw shade on the simple facts of climate change do not listen to another word they say in public ever again… it is happening.”
The event featured talks from the charity, Kids Against Plastic, workshops and advice from location environmental groups.
Known for children’s shows including Deadly 60, Backshall said it was a “great privilege” to share what he has experienced in his career, see how the planet is changing and feel a sense of hope.
He said: “It’s critical that someone in position recognises that climate anxiety is a real thing… especially for young people there is nothing that takes away your impetus to act, than just a sense it’s all screwed and there’s nothing we can do about it.
“People need to be empowered. They need to have a sense that they are important and the things they do can make a difference.”
John Fairhall/BBC
Amy Meek says children play a “pivotal” role in climate change and plastic pollution
Backshall said: “A young person who is energised, who has a purpose, who has a vision, who thinks they can make a massive change is the most exciting thing to be around on the planet.
“We hear endlessly about Greta Thunberg. Well there are tens of thousands of Greta Thunbergs in this nation along and 250 possible Gretas right here, sat right here today – the things they could achieve are boundless.”
The co-founder of Kids Against Plastic, Amy Meek, said young people play a “pivotal part” in tackling climate change and plastic pollution.
She said: “Young people have this really infectious energy, especially kids who we often discount as being too young to really care about these issue… if we can mobilise that energy and that interest into actual positive action that can have a massive difference.”
The acting chair of Creative Australia has apologised to Khaled Sabsabi and his curator Michael Dagostino for the “hurt and pain” caused by the decision to rescind their Venice Biennale commission, and said their artworks had been “mischaracterised”.
Wesley Enoch, who took over from a retiring Robert Morgan three months after the then chair told a Senate estimates hearing he would not be resigning over the controversy, apologised to Sabsabi and Dagostino live on air on Thursday, telling ABC RN the artist’s work was not about the glorification of terrorism, as suggested in parliament in February.
“Those who mischaracterise the work aren’t being honest to the intention of the work or the practice that this artist has, who is an incredibly peace-loving artist in the way that they construct their images,” he said.
“To Khaled and Michael – I’ve done it in person, but to say it here very publicly, I want to apologise to them for the hurt and pain they’ve gone through in this process.”
An independent external review by Blackhall & Pearl into Creative Australia’s actions in cancelling Sabsabi’s commission found there was no single or predominant failure of process, governance or decision that had occurred, but there were “a series of missteps, assumptions and missed opportunities that meant neither the leadership of Creative Australia, nor the board, were well placed to respond to, and manage in a considered way, any criticism or controversy that might emerge in relation to the selection decision”.
The report did not go as far as to list among its nine recommendations the reinstatement of Sabsabi and Dagostino.
The arts minister, Tony Burke, said on Wednesday he had told Creative Australia’s chief executive Adrian Collette last week that he would support whatever decision the organisation made in the wake of the report’s release.
But the Greens senator Sarah Hanson-Young said although the decision to reinstate Sabsabi and Dagostino was the right one, it was “a terrible day for the board and CEO of Creative Australia who have disgraced themselves throughout this ordeal”.
“It is clear that the leadership of Creative Australia needs a clean out in order to rebuild trust within the artistic community and the Australian public,” she said in a statement.
Also calling for Creative Australia and Burke to “explain themselves” over the backflip was the Liberal MP and shadow minister for the arts, Julian Leeser, who told ABC RN on Thursday that there was “nothing in the report [that] suggested that they needed to remake that decision”.
“One of the reasons that [Creative Australia] made their decision back in February to withdraw this is because they were concerned about issues in relation to the broader Australian community,” he said.
“I believe those issues continue to remain, and I believe that Creative Australia should not have unmade their decision that they previously made back in February to withdraw Mr Sabsabi from this exhibition,” he said, adding that Burke needed to explain “how at this time, with this antisemitism crisis that Australia has faced, where we’re a multicultural country, why this particular artist who has this particular history is being chosen to represent our country at this time and receive taxpayer funding to do so”.
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Sabsabi and Dagostino welcomed the reversal of the decision on Wednesday, saying “it offers a sense of resolution and allows us to move forward with optimism and hope after a period of significant personal and collective hardship”.
Philanthropist and prominent arts advocate Simon Mordant resigned as Australia’s International Ambassador for the 2026 Venice Biennale after the announcement of Sabsabi and Dagostino’s removal. The resignation ended 30 years of active involvement in the Biennale, including two previous terms as commissioner and leader of the fundraising drive for the new Australian Pavilion in Venice.
On Wednesday Mordant confirmed that the pair’s reinstatement had led to his re-acceptance of the role, and described Creative Australia’s decision as “a watershed moment for the Australian arts community, whereby we can work towards eliminating any form of racism including antisemitism across the arts industries”.
“I am confident that the work presented will reflect the highest artistic standards and align with the values I have always upheld – integrity, inclusion, and respect,” he said, going on to reaffirm his position on upholding ethical boundaries in artistic representation.
“I would never knowingly support an artist or art that glorifies terrorism, racism or antisemitism or went against my values,” he said.
The chief executive of the National Association for the Visual Arts (NAVA) Penelope Benton, who was highly critical of Creative Australia’s initial decision to cancel the commission, said despite the “messy turn of events”, Creative Australia’s willingness to admit it had got it wrong would go a long way to renewing trust in the transparency and integrity of Australia’s principal arts funding body.
“Artistic freedom and independent decision-making are fundamental to the role of a national arts body,” she said.
Ringo Starr feels he hasn’t aged since his mid 20s
Former Beatles drummer Ringo Starr still feels as young as a 24-year-old.
The rocker, who turns 85 on July 7, opened up on Wednesday about his milestone birthday.
“It blows me away. I look in the mirror and I’m 24. I never got older than 24,” Starr told the New York Times.
Starr indicated that the secret to his vitality is his passion for the drums.
“I love what I’m doing. When I first started… my mother would come to the gigs. She would always say, ‘You know, son, I always feel you’re at your happiest when you’re playing your drums.’ So she noticed. And I do,” he said. “I love to hit those buggers.”
Starr also noted that he enjoys spontaneity.
“I live in the now,” he said. “I didn’t plan any of it. I love that life I’m allowed to live.”
On the work front, Starr released a country album Look Up in January. In another recent admission, Starr hinted that he may be far from retiring despite frequent considerations.
“Sometimes when I finish a tour, I’m like, ‘That’s the end for me.’ And all my children say, ‘Oh, Dad, you’ve told us that for the last 10 years.’ And they get fed up with me,” Starr told People Magazine in March.
“I do feel, ‘Oh, that’s got to be enough,’ and then I get a phone call: ‘We’ve got a few gigs if you’re interested.’ Okay, we’re off again!”
Kate Middleton, months after announcing she was in remission, following abdominal surgery and a subsequent cancer diagnosis in early 2024, has revealed
Kate Middleton discusses the emotional challenges of her cancer recovery, emphasizing the difficulty of adjusting post-treatment.(AFP)
The Daily Beast reported that in her first public remarks since abruptly pulling out of the Royal Ascot in June, which caused “a real sense of panic” within the palace, Kate’s team explained at the time that she skipped Ascot in the interest of “balance.”
During a hospital garden visit on Wednesday, the Princess of Wales didn’t directly address her absence, but expressed, “You put on a sort of brave face, stoicism through treatment. Treatment’s done, then it’s like, ‘I can crack on, get back to normal,’ but actually, the phase afterwards is really, really difficult,” per People Magazine.
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“You’re not necessarily under the clinical team any longer, but you’re not able to function normally at home as you perhaps once used to. And actually, someone to help talk you through that, show you and guide you through that sort of phase that comes after treatment, I think is really valuable.”
“You have to find your new normal and that takes time… and it’s a rollercoaster, it’s not smooth, like you expect it to be. The reality is you go through hard times,” she added.
Kate Middleton reassesses life after cancer
Kate finished chemotherapy in September 2024 and confirmed remission in January 2025. Her office said her latest garden visit was meant to “celebrate the incredible healing power of nature and raise awareness of the important role that spending time in nature plays in bringing us joy and supporting our mental, physical and spiritual wellbeing.”
“Kate is recalibrating her entire life, her entire work-life balance,” one insider told The Daily Beast. “Ascot was a wakeup call, not a one-off.”
“The last few years have been horrific; the disgusting things that Harry said about her and William and her family, the relentless speculation about her and William, the queen’s death, the king’s diagnosis which had them both thinking they were going to have to take over and then her own cancer diagnosis and treatment,” the source claimed.
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“It’s all taken its toll, and if she needs more time to recover, William will fight tooth and nail to see she is given it.”
Princess of Wales Kate Middleton has spoken candidly about her ongoing struggles following her cancer treatment, admitting that returning to normal life has been more challenging than expected.
During a visit to Colchester Hospital on July 2, 2025, the 43-year-old royal revealed that although her treatment is complete, the recovery journey has been far from easy. “You put on a sort of brave face, stoicism through treatment,” she shared. “Treatment’s done, then it’s like, ‘I can crack on, get back to normal,’ but actually [that’s not the case].”
Kate explained that despite being cancer-free and no longer under clinical care, she has found it difficult to function normally at home. She emphasized the importance of support during the post-treatment phase, saying, “Finding a ‘new normal’ takes time. It’s a roller coaster… you go through hard times.”
Kate first disclosed her cancer diagnosis in March 2024 following abdominal surgery and a temporary break from royal duties. She and Prince William requested privacy during her treatment to protect their children—Prince George, 11, Princess Charlotte, 10, and Prince Louis, 7.
After completing chemotherapy in September 2024, Kate announced she was cancer-free in early 2025. Since then, she has gradually resumed public appearances, including her participation in Trooping the Colour in June. However, her absence from the Royal Ascot later that month underscored the ongoing challenges in her recovery process.
Kate remains focused on healing and finding balance as she adjusts to post-treatment life.
Rita Ora is looking back at finding herself in the middle of the “Becky with the good hair” controversy.
On her 2016 album Lemonade, Beyoncé appeared to reference the woman at the center of the Jay-Z cheating rumors on the song “Sorry.” After the album was released, many believed that Jay, 55, and Rita, 34, had an affair.
In a new interview, Rita shared how Beyoncé, 43, came to her defense during that time.
Keep reading to find out more…While appearing on the Begin Again with Davina McCall podcast, host Davina McCall brought up the “Becky with the good hair” controversy, to which Rita said that she’d been “affected worse” by other things over the years.
“Because it wasn’t real,” Rita said. “I wish I had good hair.”
“None of that was real. That was the first time I experienced what it means to be in a messy situation, I guess,” she added.
Rita also noted that “behind closed doors,” Beyoncé was her “fairy godmother.”
“She was my protector. That’s what’s insane because there was nothing but love,” Rita emphasized. “And, you know, again, being signed to Jay-Z, her husband, she being my biggest inspiration, she came to my first show in New York at The Box.”
At the time Lemonade was released, Rita was filming Fifty Shades of Grey and said she was “so confused” as to why she was being associated with the “Becky” rumors.
“I was like, ‘Why is this happening to me?’ What have I done?’” she asked herself.
Rita and Beyoncé then officially put the “Becky” rumors to rest by taking a selfie together at the 2016 Met Gala.
“Then it was gone,” Rita said. “Because there was never anything there in the first place.”
Rita also recalled being 21-years-old and performing “Say My Name” by Destiny’s Child in front of Beyoncé.
“I was actually genuinely upset because that’s my big sister protector. She took it upon herself to really look after me,” Rita shared. “And I still see her to this day and she’s always been so, so nice and proud, checking in on my family and friends that I’ve had since childhood and remembering their names.”
Back in April, Rita was one of the many stars in attendance at Beyoncé‘s Cowboy Carter Tour stop in Los Angeles!
John Fairhall/BBC
John Fairhall/BBC
