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 Square, 31 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...
Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth
Centre for Contemporary Photography, Melbourne, 27 July – 9 September 2018
By Hester Lyon
When the scaffolding of Sean Godsell's Design Hub was removed earlier this year, I felt a distinct sense of disorientation. As a familiar building, my relationship to it felt suddenly and unfairly disrupted by the rectification of its original form. I'd become comfortable in the scaffolding, gesturing out onto the footpath: a...
Nicholas Mangan, Termite Economies
Sutton Gallery, 4 August 2018 – 1 September 2018
By Amelia Winata
I noticed when researching for this review that Nicholas Mangan was born
in Geelong, where I, too, was born. And, presuming that Mangan grew up
there, I wonder whether he ever encountered the bizarre CSIRO Animal
Health Laboratory that I lived near. Crowned with an enormous tower
that, in hindsight, might have been a colossal chimney (perhaps for
releasing the smoke and vapour from biologi...
World Food Books, August 3 – September 1, 2018
By Giles Fielke
There is an overwhelming temptation to fill in the constitutive blanks where an artist’s life should be, but here there is no artist, only the artworks remain. The evidence of the so-called Philadelphia Wireman’s life is patchy, effectively non-existent. Enough facts remain, however, to establish a scene. Twelve of the some 1200 small, meticulously bound-in-wire sculptures and drawings found dumped in a lan...
Melbourne Art Fair & Spring 1883
This week Memo Review travels through two art fairs currently open as part of Melbourne Art Week: David Wlazlo and Amelia Winata review the reborn Melbourne Art Fair at Southbank Arts Precinct, and Vicki Perin reviews the third Spring 1883 at The Hotel Windsor on Spring Street.
Melbourne Art Fair
Southbank Arts Precinct, 111 Sturt Street, Southbank, 2–5 August
By David Wlazlo
Maybe it isn’t the best way to approach it, but Melbourne Art Fair (...