David Aspden, Field 1, 1968, synthetic polymer paint on canvas. 245.0 x 152.5 cm. Private collection, Brisbane © David Aspen.
The Field Revisited, Ian Potter Centre, National Gallery of Victoria, 27 April – 26 August.
There are perhaps three art-viewing experiences I have had that I would say changed the way I looked at and thought about art. The first was when as an undergraduate I wandered without any warning into the Colin McCahon retrospective held at the University of Sydney as par...
Richard Bell, Vincent and Gough (From Little Things Good Things Grow): Gertrude Version, 2018, Acrylic on wall, 180 x 240 cm. Many thanks to the Telfor family for their assistance in creating this work, especially Rebecca and Emily Telfor.
RICHARD BELL: THE SAYING AND THE SAID
Richard Bell, Dredging Up the Past, Gertrude Contemporary, 2 February-10 March
In the recent rehang of the Australian collection at the Queensland Art Gallery, visitors before entering the gallery have to walk un...
Gareth Sansom, Sweeney Agonistes, 2005. Oil and enamel paint and collage of type C photograph on canvas. (a-c) 213.0 x 549.0 cm (overall). Queensland Art Gallery, Brisbane. The James C Sourris, AM, Collection. Gift of James C Sourris, AM, through the Queensland Art Gallery Foundation 2012. Donated through the Australian Government's Cultural Gifts Program (2012.472a-c)
Gareth Sansom: Transformer, National Gallery of Victoria, 15 September 2017-28 January 2018
The Pulitzer Prize-winning cr...
Brave New World: Australia 1930s, installation view, NGV Australia, courtesy NGV.
Brave New World: Australia 1930s, Ian Potter Centre, National Gallery of Victoria, until 15 October
Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, until 8 October
Brave New World: Australia 1930s and Call of the Avant-Garde: Constructivism and Australian Art are both important new museum shows. They involve a serious investment of institutional resources. They d...
Gordon Bennett & Eugene Carchesio, Untitled, 1992, watercolour on paper. Courtesy the artists and Milani Gallery, Brisbane.
I can see Russia from here, curated by Chelsea Hopper at TCB art inc., Level 1, 12 Waratah Pl, Melbourne VIC 3000, 7 June – June 24, 2017
I walk along grimy Waratah Place in downtown Melbourne. The walls of the buildings are black from use, a chef from a nearby Chinese restaurant crouches on the pavement playing on his iPhone. I climb a flight of rickety wooden stai...
Louise Hearman, Untitled #727, 1999, oil on Masonite, collection of the artist, image courtesy and © the artist. Photograph: Mark Ashkanasy
Paints like a dream
Louise Hearman, curated by Anna Davis, Tarrawarra Museum of Art, Healesville, 18 February – 14 May 2017
Louise Hearman complains about the way that in every review of her work she is compared to her partner Bill Henson, while in reviews of Henson’s work she is rarely, if ever, mentioned.
Of course, she is absolutely right: the ma...
Suzanne Archer, 'Coalesce', 1993, oil on canvas, 173 x 305cm (photography: Effy Alexakis)
‘Suzanne Archer: Over-looked’
by Rex Butler
Suzanne Archer, Moving Forwards, Looking Back: A Survey 1969–2016, Nicholas Thompson Gallery, 155 Langridge Street, Collingwood, 17 December 2016 – 29 January 2017.
When the well-known painter Gareth Sansom opened Suzanne Archer’s show at the Nicholas Thompson Gallery in December, he made the rather large claim that two of the paintings—Coalesce (199...