• George Egerton-Warburton, also known as ,
    Heide Museum of Modern Art
    29 Jun –
    20 Oct 2019
    By Helen O'Toole
    03 Aug 2019

    Like the rusty machinery that squeaks and bumps and scrapes and moans in a most wonky fashion, the coherence of George Egerton-Warburton's installation at Heide Museum of Modern Art teeters on the brink of collapse. The exhibition is comprised of a discordant array of styles, media and sensibility, willingly courting bewilderment. This is why the artist was so annoyed not to be able to use the punctuation mark , as the exhibition's official title. (The Museum purportedly explained that , would be too confusing for audiences and the media, which, the artist lamented, would have been precisely the point.)

    Lining the walls of Heide's small Project Gallery is a series of photographic stills from a documentary about truffle-hunting pigs digitally printed on silver Dibond backing panels. Set a few centimetres back in artist-made box frames, the images are prefaced by moulding dog turds, which sit on the internal ledges of the frames. This series is interrupted by two large, colourful—and very beautiful—abstract paintings that allude to Heide's manicured garden beds, and a large, glossy "X" painting that references the work of Janet Burchill and Jennifer McCamley, whose survey Temptation to Co-exist was concurrently on display in the neighbouring galleries until recently.

    Where the garden bed paintings are a lively confluence of gestural, impastoed lines of earthy brown and green pigments, vibrating with floral streaks and sunset squiggles, the "X" painting is executed in a matt vinyl paint called Flashe that dries high gloss and incredibly flat, diminishing the presence of the artist's hand. Two of the Dibond works are mounted on a large patch of old institutional carpet, sourced from an RMIT dumpster and still bearing the imprint of a heavy work desk.

    George Egerton-Warburton, An Incorrect Answer, a Kiss (after Janet Burchill and Jennifer McCamley), 2019, vinyl paint, resin, cloth tape on canvas, 120 x 150 cm, Courtesy of the artist and Sutton Gallery, Melbourne.

    Another scrap of carpet sits on the floor before one of the gestural abstractions and the glossy "X". On this carpet, a series of decommissioned grain augurs (long metal screws typically used to push grain up into a silo) are installed horizontally such that they appear to wind from one side of the room to the other. The machines are confined by a metal fence—an OHS requirement issued by the Museum, but one which happily conjures the likeness of an animal pen. More specifically, the fence conjures a pigsty, with the three rows of rust-brown curving metal continuously undulating now appearing (to me, at least) like litters of piglets falling over one another to get to their mother's teat. Over the top of this sad, slow, machinic din, two speakers at either end of the gallery emit a version of Rihanna's pop song 'We Found Love' that has been slowed-down and with reverb added so as to sound drugged-up and dopey. The wires of the speakers dangle a little haphazardly from a peak in the vaulted ceiling, and a number of tiny white model beds have been stacked, one on top of another, in one corner of the space, creating what looks like a skeletal plinth.

    What are we to make of this installation? We might begin with one of its protagonists: pigs. Pigs are renowned for their notoriously poor eyesight and for their being synonymous in English parlance with greed. Thus, we might interpret the "pigs" penned in with the artworks as a joke at the expense of the contemporary museum visitor: we who fall over ourselves failing to see or appreciate an artwork in a rush to consume something—anything—most often a selfie. The horizontal screw conveyors, prone to collapse as they are, offer an image of infinite horizontal drift, and are suggestive of visitors being herded through the gallery spaces as if on a conveyor belt. Like the spiralling cranks and "fucking machines" in other of Egerton-Warburton's shows, the screw conveyors are constantly moving but destination-less; arrival is absolutely deferred.

    Installation view, George Egerton-Warburton, 2019, Heide Museum of Modern Art, Melbourne, Photograph: Christian Capurro.

    If we consume art here, the installation seems to suggest, we do not digest it; it does not or cannot nourish us under these conditions. The tweaked Rihanna soundtrack, coupled with the activity of the ticket counter and gift shop adjacent to the Project Gallery, creates a shopping mall-like environment, with the tinniness of the horn speakers augmenting the sense of the pitiful. For these reasons, we might be tempted to read the work as straightforward institutional critique. Indeed, one friend remarked that he perceived the exhibition's horizontal augurs to be literally "screwing" the gallery's walls.

    But reducing the truffle-hunting swine to a metaphor for the contemporary art spectator would be offensive to pigs, and one gets the sense that no disrespect is intended here. Glancing back across his work to date, we note that Egerton-Warburton has collaborated with animals on artworks or utilised them as an integral part of his thinking process on numerous occasions. For instance, Dingo—part of Monash University Museum of Art's 2014 Art is a Verb exhibition—involved walking a dingo through the gallery tracking paint pigment underfoot to create a floor work. His 2013 Gertrude studio show, Dog, likewise enacted a kind of non-hierarchical human–animal relationship in its conceptualisation of the gallery space as the 'dog's brain' (a space for 'thoughtfully reflexive works'), the artist's studio as its body, and the studio window as its anus. (At the time, he was in the habit of throwing his rubbish out the window of his studio into the laneway below.) In the Heide show, pigs are mainly evoked for their superhuman olfactory abilities, and in turn to point to the human exploitation of this ability by the truffle-hunting industry.

    George Egerton-Warburton, Coma, installation view, Sutton Gallery. Image credit: Guy Grabowsky.

    Egerton-Warburton's particular attendance to animals in his practice has led local critic and historian of Australian conceptual art David Homewood to coin the term "barnyard conceptualism". This is an idea that further resonated when I visited Egerton-Warburton's concurrent solo exhibition Coma at Sutton Gallery, whose paintings read as footnotes to those on display at Heide, both in terms of their small scale (the sense that they are preparations or even palettes for the larger-scale works on display at Heide) and for the fact that they are installed at an untraditionally low midpoint of about 1.1 metres, as opposed to the standard 1.5-metre midpoint. At 1.1 metres, the exhibition was the perfect height for quadruped viewers.

    Amongst the deliberately cultivated confusion of ,, the bed motif—which has appeared in Egerton-Warburton's previous Sutton solo, Wincing Wind Chime, Repugnant Fold-Out Breath (2017), and his contribution to NEW15 curated by Matt Hinkley at the Australian Centre for Contemporary Art (2015)—offers further clues as to what's really going on here. The bed is at once an apparatus of illness (the sick bed/the hospital ward/the infirmary) and laziness (sleeping in) and, more recently, a site of resistance to the late-capitalist compulsion to be either constantly producing or consuming (so theorised by Jonathan Crary in 24/7: Late Capitalism and the End of Sleep, and perhaps also Ottessa Moshfegh in My Year of Rest and Relaxation). Egerton-Warburton began making these miniature beds a few years ago as 'a strategy to overcome a despondent feeling'—both of personal unproductivity and as a diagnosis of an illness that he began to detect in art institutions themselves. In this way, the serial production of the sick bed is at once a symptom of illness, an act of creative laziness and a form of resistance to the demand to produce. Curator Brooke Babington explains of them: 'They are like notches marking off days of non-compliance, of opting-out, but paradoxically also, of not not making work.'

    Citing Susan Sontag's historical analysis of the fetishisation of tuberculosis in the nineteenth and early twentieth centuries, wellness critic Carl Cederström notes that illness has, for some time, held a certain appeal in the modern world: its attraction 'lies in its capacity to redeem one of the greatest vices in our society: not doing anything. It is only when the body goes on strike that we are allowed to leave the workplace.' He speaks of this phenomenon as 'the freedom of the sickbed.' At Heide, seven of these sick beds are stacked to create a white box plinth, thereby drawing a parallel between the institutional support structures of the hospital ward and the museum, and pointing to a certain "illness" pervading both. This illness, we intuit, is dialectically entwined with the demands of 24/7 capitalism, and Egerton-Warburton's beds—in their utterly confused and confusing signification—seem to fully recognise the perversity and violence of a society that fetishises illness as an ableist form of "escape".

    Installation view, George Egerton-Warburton, 2019, Heide Museum of Modern Art, Melbourne, Photograph: Christian Capurro.

    Advanced museum culture has also acknowledged this creeping "illness"—the product of neoliberalism and late capitalism, which responsibilises individuals for their health, happiness and economic security, meanwhile destroying any boundaries between worktime and leisure time (with the exception, Crary would say, of the final frontier of sleep—which is already differentially enjoyed by various classes, races and genders and is thus under threat too). And naturally enough, advanced museum culture has now begun to capitalise on this "illness" by recuperating it through the prism of "wellness". Witness the instrumentalisation of art—and the museum experience more broadly—as a therapeutic tool to combat stress. Witness a new era of slow art accompanied by mindfulness exercises. (Wrongsolo's tongue-in-cheek Cruising workshops come to mind here, which are a mixture of guided meditation, yoga and performance art on a tour of a contemporary art exhibition.)

    Egerton-Warburton's choice of Rihanna as the soundtrack to , here is key. Though the exhibition's curator describes the looped song as 'upbeat', feminist musicologist Robin James has argued that Rihanna's music is in fact pervaded by a strange melancholy. This, she argues, is linked to the fact that Rihanna's feminism expresses a non-mainstream form of resistance: that is, a resistance to wellness, to the various feel-good feminine survivor teleologies, like those of Beyonce, in which the (female) individual triumphs over their "personal" (but in fact socially constructed and enforced) hardships. Rihanna's hardships are, by contrast, figured as systemic and impossible to overcome within the individualistic paradigm of wellness, in which health and happiness are understood to be a personal choice—the responsibility of the individual.

    Installation view, George Egerton-Warburton, 2019, Heide Museum of Modern Art, Melbourne, Photograph: Christian Capurro.

    James' analysis of Rihanna's feminism not only hinges on the media reception of her work, her long-term relationship with an abusive partner, and the lyrical content of her music, but also—and most importantly—on a formal, musicological examination. She explains that the composition of Rihanna's song 'Diamonds', for example, runs contrary to dominant EDM trends that use a combination of a "soar" and a pause-drop to create a musical climax (like Psy's 'Gangnam Style'). Such songs:

    "soar" up to a peak of rhythmic intensity by increasing the rate at which a percussion or vocal pattern is repeated, then "pause" by dropping out most of the instruments for a bar before landing hard on the downbeat of the following measure. The pause delays "resolution," thus exacerbating tension and augmenting the intensity of the "hit".

    In 'Diamonds', she continues,

    the extra four-bar phrase between the last two choruses functions like a pause; all but the barest accompaniment drops out for four bars, after which it "drops" on the downbeat of the final chorus. However, there's no soar up to this pause-drop. In the same way that the tonal dominant/fifth is invoked as an absence, the song is haunted by an absent soar. It never intensifies as we are led to expect it will. The song feels directionless because it leaves out the climaxes that we expect to find. 'Diamonds' is a conquest narrative that doesn't conquer; the music neither overcomes nor bounces back.

    We can detect something related at play in Egerton-Warburton's work's resistance to mean, or even simply be something stable. The paintings and photos don't gel; the mechanics keep breaking down. One augur even had to be fumigated after a native wasp nest was discovered inside it. While there is plenty of action in the show, there is no triumphal moment. Perhaps this is so because whatever action in , is horizontal rather than vertical.

    In the pleasure it seemingly takes in its own internal chaos, Egerton-Warburton's exhibition does not quite seem to get off on the self-distancing posture of institutional critique. But neither is the orchestrated chaos—which causes us to second guess, to search, to worry that we don't get it, to seek clarification—intended as a remedial device to slow down and frustrate the impatient tempos of the busy viewer (the wellness paradigm). , ultimately reminds us, in its whirring chaos and disorientation, of our contiguity—if not continuity—with other artists, other animals, with garden beds and flowers, sky, soil and waste. The exhibition figures forth our connection with our physical and psychic environments, with the objects and habits of our consumption and, despite what the neoliberal world order would have us think, our supreme interdependency, our edgelessness.

    Title image: George Egerton-Warburton, Truffle hunting (cortical), 2017, digital print, dibond, dog poo, artist frame, 47.6 x 62.9 x 3.8 cm. Courtesy of the artist and Sutton Gallery, Melbourne)


    2020 #28 Audrey Schmidt Lost in the feed/translation
    2020 #27 Vincent Le Nicholas Mangan, Termite Economies: Neural Nodes and Root Causes Sutton Gallery
    2020 #26 Lévi McLean, Paris Lettau The Tennant Creek Brio NIRIN: 22nd Biennale of Sydney
    2020 #25 Giles Fielke Improvements and Reproductions West Space
    2020 #24 Victoria Perin Peter Tyndall bLogos/HA HA
    2020 #23 Helen Hughes Confined 11 The Torch
    2020 #22 Hester Lyon HTTP.PARADISE Incinerator Gallery
    2020 #21 Rex Butler Jane Sutherland, Obstruction, Box Hill, 1887 Art Gallery of Ballarat
    2020 #20 Amelia Winata John Nixon, Groups + Pairs 2016-2020 Anna Schwartz Gallery
    2020 #19 Chelsea Hopper Justine Varga, Tachisme Tolarno Galleries
    2020 #18 Anna Parlane Patrick Pound, The Museum of There, Not There STATION
    2020 #16 Robert Schubert Terre Thaemlitz, Love Bomb/Ai No Bakudan The SUBSTATION
    2020 #15 Philip Brophy Lewis Fidock and Joshua Petherick, Weevils in the Flour Gertrude Contemporary
    2020 #14 Jane Eckett Virginia Cuppaidge, The Skyspace Paintings 1977 - 1982 Nicholas Thompson Gallery
    2020 #13 Rex Butler Callum Morton, Monument #32: Helter Shelter Alfred Deakin Place Ballarat
    2020 #12 Amelia Winata Ari Tampubolon, Symposia: This show is dedicated to K-pop girl group, TWICE. I love you. SEVENTH Gallery
    2020 #11 Giles Fielke Warwick Baker, Hi-Vis Dreams Centre for Contemporary Photography
    2020 #10 Amelia Wallin Agatha Gothe-Snape, The Outcome is Certain Monash University Museum of Art
    2020 #09 Audrey Schmidt Alethea Everard, Art show Meow2
    2020 #08 Chelsea Hopper Elizabeth Gower, LOCATIONS Sutton Gallery, Sutton Projects
    2020 #07 Paris Lettau KAWS: Companionship in the Age of Loneliness NGV International
    2020 #06 Victoria Perin Assembled: The Art of Robert Klippel Tarrawarra Museum of Art
    2019 #51 Luke Smythe Colin McCahon: Letters and Numbers National Gallery of Victoria
    2019 #50 David Wlazlo 110%: Wet Nurse c3 Contemporary Art Space
    2019 #49 Helen O'Toole Luke Sands Guzzler
    2019 #48 David Homewood Robert Hunter Ian Potter Centre: NGV Australia
    2019 #47 Giles Fielke Kate Wallace, Views to Remember / Travis McDonald, Clock Face C3 Contemporary Art Space
    2019 #46 Audrey Schmidt In Costume Mejia
    2019 #45 Marnie Edmiston Collection leads: John Scurry—small paintings Geelong Gallery
    2019 #44 Rex Butler Collecting Comme National Gallery of Victoria
    2019 #43 Francis Plagne Elizabeth Newman Neon Parc City
    2019 #42 Amelia Winata Preparation Haydens
    2019 #41 Victoria Perin Never the same river Anna Schwartz Gallery
    2019 #40 Philip Brophy Haroon Mirza: The Construction of an Act Australian Centre for Contemporary Art
    2019 #39 Matthew Linde Balenciaga: Shaping Fashion Bendigo Art Gallery
    2019 #38 Maddee Clark Fiona Foley: Who are these strangers and where are they going? Ballarat International Foto Biennale
    2019 #37 Giles Fielke Karrabing Film Collective: The Mermaids, or Aiden in Wonderland KINGS Artist Run
    2019 #36 Aneta Trajkoski SERIAL McClelland Sculpture Park+Gallery
    2019 #34 Philip Brophy ...(illegible)... MADA Gallery
    2019 #32 Ella Cattach On Vulnerability and Doubt Australian Centre for Contemporary Art
    2019 #31 Helen O'Toole George Egerton-Warburton, also known as , Heide Museum of Modern Art
    2019 #30 Victoria Perin, Brendan Casey I will never run out of lies nor love Bus Projects
    2019 #29 Anna Parlane FEM-aFFINITY Arts Project Australia
    2019 #28 Jane Eckett Josef Stanislaw Ostoja-Kotkowski: Solid Light McClelland Sculpture Park+Gallery
    2019 #27 Elyssia Bugg Prima Materia Bundoora Homestead
    2019 #26 Amelia Winata Angelica Mesiti: ASSEMBLY Venice Biennale
    2019 #25 Rex Butler Hans and Nora Heysen: Two Generations of Australian Art Ian Potter Centre: NGV Australia
    2019 #24 Francis Plagne Janet Burchill and Jennifer McCamley: Temptation to Co-exist Heide Museum of Modern Art
    2019 #23 Audrey Schmidt Octopus 19: Ventriloquy Gertrude Contemporary
    2019 #22 Anna Parlane Serene Velocity in Practice: MC510/CS183 Monash University Museum of Art
    2019 #21 Sophie Knezic Arlo Mountford: Deep Revolt Shepparton Art Museum
    2019 #21 Philip Brophy Christian Thompson: Baya Gardiya Australian Centre for the Moving Image
    2019 #20 Victoria Perin Isabel Davies: Recent Geometric Constructions Stephen McLaughlan Gallery
    2019 #19 Chelsea Hopper Taryn Simon: Contraband Anna Schwartz Gallery
    2019 #18 Rex Butler Tracey Moffatt: Body Remembers Tarrawarra Museum of Art
    2019 #17 Stephen Palmer Amalia Lindo: Computer Shoulders Centre for Contemporary Photography
    2019 #16 Giles Fielke Carve A Future, Devour Everything, Become Something Ian Potter Centre: NGV Australia
    2019 #15 David Wlazlo Compromise Warrnambool Art Gallery
    2019 #14 Ella Cattach Emma Phillips: Too Much to Dream Reading Room
    2019 #13 Paris Lettau The Museological Consciousness Lyon Housemuseum Galleries, Meow
    2019 #13 The Editors Memo Review 01. Perimeter Books, World Food Books, Monash University Museum of Art
    2019 #12 Giles Fielke Tudors to Windsors: British Royal Portraits Bendigo Art Gallery
    2019 #11 Sophie Knezic The Tennis Piece Gertrude Contemporary
    2019 #10 Victoria Perin Papermade / John Nixon: Screenprints, Woodblocks & Unique Relief Prints Negative Press, Australian Galleries
    2019 #09 Francis Plagne Visions of Paradise: Indian Court Paintings National Gallery of Victoria
    2019 #08 Amelia Winata Daniel von Sturmer Anna Schwartz Gallery
    2019 #07 Audrey Schmidt Carny Neon Parc
    2019 #06 Rex Butler Christian Marclay: The Clock Australian Centre for the Moving Image
    2019 #05 Anna Parlane Marlene Gilson Art Gallery of Ballarat
    2018 #52 Memo Review Thanks for reading in 2018
    2018 #51 Victoria Perin Sweeney Reed and Strines Gallery Heide Museum of Modern Art
    2018 #50 Paris Lettau Katie West: warna (ground) Caves
    2018 #49 Audrey Schmidt Aesthetics, Politics and Histories: The Social Context of Art AAANZ Conference 2018 - RMIT University
    2018 #49 The Editors Does the art exhibition have a future? AAANZ Conference 2018 - RMIT University
    2018 #48 Rex Butler Mira Gojak and Takehito Koganezawa: The Garden of Forking Paths Buxton Contemporary
    2018 #47 Jane Eckett Clement Meadmore: The art of mid-century design Ian Potter Museum of Art
    2018 #46 Francis Plagne Spencer Lai: A smile forms into a grimace / Matilda Davis: Too Many Dinner Parties Bus Projects
    2018 #45 Anna Parlane Lili Reynaud-Dewar, TEETH, GUMS, MACHINES, FUTURE, SOCIETY / Alicia Frankovich, Exoplanets Monash University Museum of Art
    2018 #44 Amelia Winata Hito Steyerl: Factory of the Sun National Gallery of Victoria
    2018 #43 David Wlazlo Biennale of Australian Art Art Gallery of Ballarat
    2018 #42 Giles Fielke Anne Ferran: White Against Red Sutton Gallery
    2018 #41 Sophie Knezic Eavesdropping Ian Potter Museum of Art
    2018 #41 Benison Kilby State of the Union Ian Potter Museum of Art
    2018 #40 Tim Alves John Stezaker: Lost World Centre for Contemporary Photography
    2018 #39 Paris Lettau Brook Andrew: The Language of Skulls Ten Cubed
    2018 #38 Jane Eckett Design for Life: Grant and Mary Featherston Heide Museum of Modern Art
    2018 #37 Rex Butler Tom Roberts: Shearing the Rams National Gallery of Victoria
    2018 #36 Victoria Perin Baldessin / Whiteley: Parallel Visions National Gallery of Victoria
    2018 #35 Hester Lyon Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth Centre for Contemporary Photography
    2018 #34 Francis Plagne Robert Smithson: Time Crystals Monash University Museum of Art
    2018 #34 Philip Brophy Robert Smithson: Time Crystals Monash University Museum of Art
    2018 #33 Amelia Winata Nicholas Mangan, Termite Economies Sutton Gallery
    2018 #32 Giles Fielke Philadelphia Wireman World Food Books
    2018 #31 Victoria Perin, David Wlazlo, Amelia Winata Melbourne Art Fair & Spring 1883 Australian Centre for Contemporary Art, Windsor Hotel
    2018 #30 Anna Parlane A Lightness of Spirit is the Measure of Happiness Australian Centre for Contemporary Art
    2018 #29 Giles Fielke, Amelia Winata, Tiarney Miekus Best and Overlooked of 2018 Recess, Ian Potter Museum of Art, Gertrude Contemporary
    2018 #28 Shelley McSpedden Auto Body Works Arts Project Australia
    2018 #27 Rex Butler Colony: Australia 1770–1861 / Frontier Wars National Gallery of Victoria
    2018 #26 Paris Lettau Andrew Browne: Spill Tolarno Galleries
    2018 #25 Jane Eckett The Sculpture Park Point Leo Estate
    2018 #24 Giles Fielke Lucina Lane and Nigel Lendon: Teach the Kids to Strike Neon Parc
    2018 #23 Tim Alves I hope you get this: Raquel Ormella Shepparton Art Museum
    2018 #22 Chelsea Hopper Diane Arbus: American Portraits Heide Museum of Modern Art
    2018 #21 Rex Butler The Field Revisited National Gallery of Victoria
    2018 #20 Anna Parlane Hard Feelings The Honeymoon Suite
    2018 #19 Francis Plagne Abstraction 17: A Field of Interest, c. 1968 Charles Nodrum Gallery
    2018 #18 Eva Birch Kieren Seymour: Blue Blindness Block Projects
    2018 #17 Amelia Winata Natalie Thomas and the Women's Art Register: Finding the Field True Estate Gallery
    2018 #16 David Wlazlo Troy Ramaekers: Double B-Sides Five Walls Projects
    2018 #15 Helen Hughes Vivienne Binns: It is what it is, what it is Sutton Gallery
    2018 #14 Kate Warren Soda_Jerk: TERROR NULLIUS Australian Centre for the Moving Image
    2018 #13 Paris Lettau The Shape of Things to Come Buxton Contemporary
    2018 #12 Victoria Perin Unfinished Business: Perspectives on Art and Feminism Australian Centre for Contemporary Art
    2018 #11 Giles Fielke Samraing Chea: Universal Drawings Reading Room
    2018 #10 Nicholas Tammens Mutlu Çerkez: 1988-2065 Monash University Museum of Art
    2018 #09 Tiarney Miekus Genesis Breyer P-Orridge: Loyalty Does Not End With Death The SUBSTATION
    2018 #08 Anna Parlane Kirsten Lyttle: Digital Mana Centre for Contemporary Photography
    2018 #07 Francis Plagne Tony Clark: Chinoiserie Landscape 1987 - 2017 Murray White Room
    2018 #06 Rex Butler Richard Bell: Dredging up the Past Gertrude Contemporary
    2018 #05 Amelia Winata Kieran Butler and collaborators: Rainbow Bois and Magical Gurls Blindside
    2017 #52 Giles Fielke Triennial National Gallery of Victoria
    2017 #51 Victoria Perin Del Kathryn Barton: The Highway is a Disco National Gallery of Victoria
    2017 #50 Julia Lomas Angela Brennan: Forms of Life Ian Potter Museum of Art
    2017 #49 Kate Warren Cover Versions: Mimicry and Resistance Shepparton Art Museum
    2017 #48 Paris Lettau Our Knowing and Not Knowing: Helen Maudsley Ian Potter Centre: NGV Australia
    2017 #47 Francis Plagne Douglas Lance Gibson: What Was Once Yesterday Today & Tomorrow Tolarno Galleries
    2017 #46 Chelsea Hopper Jenny Watson: The Fabric of Fantasy Heide Museum of Modern Art
    2017 #45 Ian McLean Wayne Eager New Paintings Eastgate Gallery
    2017 #44 Anna Parlane Jason Phu: My Parents Met at the Fish Market Westspace
    2017 #43 Rex Butler Gareth Sansom: Transformer The Ian Potter Centre | NGV Australia
    2017 #42 David Wlazlo Joseph Kosuth: A Short History of My Thought Anna Schwartz Gallery
    2017 #41 Amelia Winata Darren Sylvester: Céline Bus Projects
    2017 #40 Helen Hughes Brent Harris: the small sword Tolarno Galleries
    2017 #39 Kate Warren The Score Ian Potter Museum of Art
    2017 #38 Paris Lettau Isadora Vaughan: Recalcitrant Bodies The Honeymoon Suite
    2017 #37 Francis Plagne Smallness: Trevelyan Clay & Kate Smith Neon Parc, Sutton Gallery
    2017 #36 Audrey Schmidt People Soup Suicidal Oil Piglet
    2017 #35 Anna Parlane Forever Transformed Gertrude Contemporary
    2017 #34 Jane Eckett Sidney Nolan and Elwyn Lynn: A Joint Centenary Charles Nodrum Gallery
    2017 #33 David Wlazlo Future Eaters Monash University Museum of Art
    2017 #32 Beth Kearney Fictitious Realities Bayside Arts and Cultural Centre
    2017 #31 Rex Butler Brave New World: Australia 1930s / Call of the Avant-Garde: Constructivism and Australian Art Heide Museum of Modern Art, Ian Potter Centre: NGV Australia
    2017 #30 Victoria Perin Discovering Dobell / Dobell’s Circle Tarrawarra Museum of Art
    2017 #29 Amelia Winata Spencer Lai: Contaminant, Figures Fort Delta
    2017 #28 Helen Hughes Liam Osborne: Hot Copy Punk Café
    2017 #27 Kylie King Dale Frank Neon Parc
    2017 #26 Francis Plagne Every Brilliant Eye National Gallery of Victoria
    2017 #25 Rex Butler I can see Russia from here TCB art inc.
    2017 #24 Kate Warren Andrea Grützner: Tanztee and Erbgericht Centre for Contemporary Photography
    2017 #23 Giles Fielke On Campus Monash University
    2017 #22 David Wlazlo Restless Margaret Lawrence Gallery
    2017 #21 Anna Parlane Sky Country: Our Connection to the Cosmos Blak Dot Gallery
    2017 #20 Amelia Winata Unproductive Thinking Deakin University Art Gallery
    2017 #19 Anthony White Van Gogh and the Seasons National Gallery of Victoria
    2017 #18 Victoria Perin Harold Freedman: Artist for the People Art Gallery of Ballarat
    2017 #17 Paris Lettau Raafat Ishak & Damiano Bertoli: Hebdomeros Sutton Gallery
    2017 #16 Beth Kearney Bill Henson National Gallery of Victoria
    2017 #15 Helen Hughes James Tylor: un-resettling Vivien Anderson Gallery
    2017 #14 Rex Butler Louise Hearman Tarrawarra Museum of Art
    2017 #13 Julia Lomas Sally Smart: The Choreography of Cutting Sarah Scout Presents
    2017 #12 Giles Fielke Open Spatial Workshop: Converging in Time Monash University Museum of Art
    2017 #11 Kate Warren Daniel Crooks: Parabolic / Miyanaga Akira: REALTIME Anna Schwartz Gallery, National Gallery of Victoria
    2017 #10 Francis Plagne David Hockney: Current National Gallery of Victoria
    2017 #09 David Wlazlo Project 17: Radical Immanence Anna Pappas Gallery
    2017 #08 Anna Parlane Stuart Ringholt: Works on Paper Neon Parc
    2017 #07 Victoria Perin Don't be too Polite: Posters and Activism Ian Potter Museum of Art
    2017 #06 Amelia Winata O’Keeffe, Preston, Cossington-Smith: Making Modernism Heide Museum of Modern Art
    2017 #05 Paris Lettau Sovereignty Australian Centre for Contemporary Art
    2017 #04 Beth Kearney Ramesh Nithiyendran: In the beginning Ian Potter Museum of Art
    2017 #03 Giles Fielke Lucina Lane: Range White Cuberd
    2017 #02 Helen Hughes The Sculpture of Bronwyn Oliver Tarrawarra Museum of Art
    2017 #01 Rex Butler Suzanne Archer: Moving Forwards, Looking Back: A Survey 1969–2016 Nicholas Thompson Gallery
    Lost in the feed/translation
    by Audrey Schmidt
    Nicholas Mangan, Termite Economies: Neural Nodes and Root Causes
    Sutton Gallery
    by Vincent Le
    The Tennant Creek Brio
    NIRIN: 22nd Biennale of Sydney
    by Lévi McLean, Paris Lettau
    Improvements and Reproductions
    West Space
    by Giles Fielke
    Peter Tyndall
    bLogos/HA HA
    by Victoria Perin
    Confined 11
    The Torch
    by Helen Hughes
    HTTP.PARADISE
    Incinerator Gallery
    by Hester Lyon
    Jane Sutherland, Obstruction, Box Hill, 1887
    Art Gallery of Ballarat
    by Rex Butler
    John Nixon, Groups + Pairs 2016-2020
    Anna Schwartz Gallery
    by Amelia Winata
    Justine Varga, Tachisme
    Tolarno Galleries
    by Chelsea Hopper

    The End.