⬤ Reaching inside your insides inside your insides inside your insides inside your insides inside your insides inside your insides, 22 Oct - 19 Nov 2022 Void_Melbourne
⬤ Motion Holders, 21 Sep - 8 Oct 2022 BLINDSIDE ⬤ World Mediation, 22 Sep - 9 Oct 2022 TCB art inc. ⬤ Would You (Rat) Her?, 1 Oct - 1 Oct 2022 Priscillas
⬤ Katherine Botten, The Freedom Show, 21 Oct - 10 Nov 2022 Hyacinth ⬤ Ella Sutherland, Speaker of the House, 6 Oct - 11 Nov 2022 Futures
Memo Review 05: 2021
What is it like to make art the way the world is today? What is it to write about art? Every review you read in 2022 will attempt to answer these questions, whether it knows it or not. You can see it if you look hard enough. And in thinking about this we perhaps hold a candle to the darkness, or perhaps these questions are the light that allows us to see the darkness around us. Thank you for reading Memo lit by the world’s candlelight. Featuring A. D. S. Donaldson, Adelle Mills, Amelia Winata, Amy May Stuart, Anna Parlane, Audrey Schmidt, Babs Rapeport, Cameron Hurst, Chelsea Hopper, David Wlazlo, Diego Ramírez, Francis Plagne, Giles Fielke, Hilary Thurlow, Jarrod Zlatic, Léuli Eshrāghi, Luke Smythe, Matt Marasco, Michelle Guo, Miriam La Rosa, Paris Lettau, Philip Brophy, Rex Butler Sofia Skobeleva, Tara Heffernan, Tara Mcdowell, Timmah Ball, Ursula Cornelia De Leeuw, Victoria Perin, and Vincent Le.
Everyone's a Critic Cap
Critic Cap by Memo Review. Back due to popular demand!
Venus in Tullamarine: Art, Sex, Politics and Norman Lindsay
[PRE-ORDER] Ships February 2023 Norman Lindsay (1879–1969) was a prolific, popular and controversial Australian artist. He is best known for his children's book *The Magic Pudding* and his skilled prints, which mostly draw on Greek and Roman mythology and nineteenth century literature and philosophy. The Australian cultural consciousness is indelibly marked by Lindsay's output, his prominence in the Sydney bohemian intellectual scene and by *The Magic Pudding*, which entrances the imagination of generation after generation of Australian children. This consciousness is marked too by the paradoxical conjunctions of Lindsay's life: artistic bohemia and fascistic tendencies, avant-gardism and a fervor for the rule of law, libertinism and conservatism, worship and denigration. This collection of essays examines Lindsay's current position in Australian art history. The authors' opinions are erudite, varied and often incendiary; few figures are as divisive as Lindsay. Film critic Adrian Martin writes alongside Ian McLean, the Hugh Ramsay Chair of Australian Art History at the University of Melbourne, art critic Cameron Hurst, art historian Ursula Cornelia de Leeuw and literary scholar Jeremy George. Art historian Soo-Min Shim responds to a video work by artist James Nguyen. The project develops research conducted during an exhibition of the University of Melbourne's Norman Lindsay collection, also titled *Venus in Tullamarine,* held at the George Paton Gallery in 2022.