Anne Ferran, White Against Red
13 October – 10 November 2018
By Giles Fielke
Six large photographs of the dancer and choreographer Ervi Sirén hang
from metal brackets near the ceiling of Sutton gallery. Like banners
they are suspended in the bright space of the old C.V. Fashions building
in Brunswick Street, Fitzroy. They are all the same size and weighted by
heavy dowels sewn into the ends of the canvas bolts onto which the
images have been printed. Sirén wraps herself in...
John Stezaker: Lost World
Centre for Contemporary Photography, 21 September – 11 November 2018
By Tim Alves
John Stezaker's collage entitled Mask (Film Portrait Collage) CLXXIII,
2014, comprises only two elements, a pair of found photographs: a
smiling 1940s Hollywood publicity portrait and a picture postcard
depicting a stone bridge at Killarney, Ireland, from perhaps sometime
between the wars. The postcard is simply pasted over the Hollywood
actor's visage, but it's deceptively simple....
Brook Andrew, The Language of Skulls
Ten Cubed, 18 September – 1 December 2018
By Paris Lettau
It's quite rare to encounter the work of an artist and feel like you have to re-ask yourself such basic questions as "What is an image?" and "What does an image do?" But these are the questions that frame and are also addressed to us in Brook Andrew's current show The Langauge of Skulls.
Located in Glen Iris, Ten Cubed takes its name from the mandated logic of the gallery's collection: ten...
Design for Life: Grant and Mary Featherston
Heide Museum of Modern Art, 30 June – 7 October 2018
By Jane Eckett
Exhibitions of modern Australian furniture and design are enjoying a resurgence in recent years. There was the NGV's Mid-Century Modern: Australian Furniture Design in 2014, and Take a Seat: Australian Modernist Seating at the Penrith Regional Gallery in the same year, followed by a focus on overlooked émigré designers in The Moderns: European designers in Sydney, at the Mu...
Tom Roberts, Shearing the Rams
National Gallery of Victoria, Permanent Collection
By Rex Butler
I was recently showing a friend from New Zealand through the Australian
collection at the National Gallery of Victoria and we came, of course,
to Tom Roberts' Shearing the Rams (1888-90). You have to get there
eventually because everything in the collection and its arrangement on
the walls points you that way. The work is visible — and intentionally
so — as you step into the first of the room...
Baldessin/Whiteley: Parallel Visions
National Gallery of Victoria Australia, Federation Square31 August 2018 – 28 January 2019
By Victoria Perin
Together George Baldessin and Imants Tillers represented Australia in the 1975 Bienal de São Paulo. Although Tillers was 25 and Baldessin eleven years older, the artists bonded closely: “George represented the more conservative art world I had just decided to abandon,” notes Tillers in an interview with researcher Nicole Bowller from 2016, “but in...