Abstraction 17: A Field of Interest, c. 1968, Charles Nodrum Gallery, 2018. Image Credit: Gavin Hansford.
Charles Nodrum Gallery, Abstraction 17: A Field of Interest, c. 1968, 26 April - 19 May, 2018.
What is the art museum for? What is its distinctive function? Is it, as the traditional humanist explanation holds, to preserve the treasures of humanity embodied in art works, collective treasures to which the public has the right of access as a source of ‘ennobling enjoyment’ (as a Parliam...
Tony Clark, Chinoiserie landscape, 1987, oil on canvas board, 30.5 x 68.5 cm, triptych.
Tony Clark Chinoiserie Landscape 1987 - 2017, Murray White Room, Melbourne. February 16 - March 29.
Paul Taylor’s famous ‘Popism’ manifesto of 1982 included an exhortation to Australian artists to embrace the gulf separating them from the traditional centres of Western art history, to craft an art ‘born in mediation, gestated within the camera, where things are naturally upside-down, and expressed in...
Douglas Lance Gibson, Sila Sila ( Barracuda ), 2014
Archival pigment print, coconut timber frame, 40 x 50 cm.
Douglas Lance Gibson, What Was Once Yesterday Today & Tomorrow, Tolarno Galleries, Level 4/104 Exhibition St, Melbourne, 16 November 2017 - 16 December 2017.
As I was about to leave Tolarno Galleries after spending some time with Douglas Lance Gibson’s What Was Once Yesterday, Today & Tomorrow, his first show with the gallery, I was stopped by two men. One, who I assume was som...
Kate Smith, An Impression of an impression (after Rupert Bunny) 2, 2017, texta biro acrylic and oil on linen, 35.5 x 51cm. Photo credit: Andrew Curtis.
Smallness: Trevelyan Clay ‘Moments Today’ at Neon Parc (August 31 – October 7) and Kate Smith ‘An Impression of an impression’ at Sutton Gallery ( September 8 – October 7).
I confess to being a sucker for bad painting. Not, that is, for all painting that fails in whatever way to be good, but for the particular style of offhand, deli...
Every Brilliant Eye
Ian Potter Centre, National Gallery of Victoria
By Francis Plagne
Walking through Every Brilliant Eye—a large survey of the NGV's holdings of Australian Art from the 1990s curated by Jane Devery and Pip Wallis—I was struck by how much it look like parts of Melbourne Now, the NGV's sprawling 2013-2014 snapshot of contemporary art practices in Melbourne. It is not only that many of the same names reappear, sometimes with work little changed by the twenty years separat...
David Hockney, Untitled, 91, 2009, iPhone drawing. Collection of the artist © David Hockney
David Hockney: Current, National Gallery of Victoria, 11 November 2016 – 13 March 2017
With David Hockney: Current, the NGV has made the unusual decision to devote a major exhibition to a selection of work from the last decade by a 79 year-old artist active since the early 1960s. Perhaps this can be explained by the popular appeal of the iPhone and iPad drawings that make up much of David Hockney...