• In Costume
    01 Nov –
    18 Feb 2020
    By Audrey Schmidt
    16 Nov 2019

    Held at the newly opened Mejia gallery on Tinning Street, Brunswick (located near Neon Parc), on November 1st, the In Costume label launch included garments by Melbourne-based Canadian designer Brendan Morris produced with artist, Spencer Lai. The business card-like invitation reflects the label itself. It features a red rubber stamp-like graphic of planet earth with a trucker's cap perched on top and what looks like sewing needles and circular eyelets surrounding it. The stamp is patchy and variable across the different prints on the cards and garments at the show, with the text 'IN COSTUME' featured in a goofy, warped sans serif typeface.

    At the launch, In Costume's branding was immediately apparent on all items of clothing, reminiscent of Walter Van Beirendonck's graphic labels that are often in rubbers or plastics and sewn on the outside of garments. Several t-shirts in the collection were screen printed with motorcycle engine blueprints and the number '2019', distressed to look as though they had been used as a mechanic's oil-rag. By dating the collection to a year that's nearly over, In Costume diverged from the fashion industry custom of working one or two seasons ahead. '2019' felt like a self-conscious time-capsule, evoking nostalgia for the present in an industry that trades on its ability to predict the future or the next 'now.'

    (Left) Brendan Morris, Waxed Jacket, 2019, cotton, silk, suede, feather. Image courtesy of artist. (Right) Brendan Morris, Commemorative 'Label Launch' Shirt, 2019.Image courtesy of artist.

    Entering Mejia, two cars were parked nose-to-nose at a diagonal across the room with smoking incense sticks jammed in their bonnet, window and door crevices like daisies jammed down the barrel of a gun. In the centre of the space, between the car's noses, there was a small gap and a solitary light source: a low-hanging fixture that read as a street lamp, illuminating the hoods of the cars, covered in dozens of Uber-sized water bottles with their labels inverted and "In Costume" inconsistently scrawled across them in Sharpie. The effect was somewhere between the car scene in Matthew Barney's Cremaster 3 (2002) and someone's bong-den garage.

    The setting might have felt like a car dealership if it was not for the fact that the cars in question were fairly pedestrian used sedans. It was an atmosphere that shared sensibilities with Maison Martin Margiela's Spring/Summer 1992 runway held at the deserted Paris Metro Station in Saint-Martin with 1,600 beeswax candles lining the stairwell's handrails—a ghostly ritual or séance. This Margiela collection and presentation was highly influential in its use of repurposed vintage materials and represented a significant remove from the traditional seating arrangements and glitz of the conventional fashion catwalk. In recent years, such an approach to exhibiting fashion, using non-models (or nodels) and repurposed materials in unconventional locales has been broadly adopted by Melbourne-based practitioners, of which Spencer and Brendan have always played a part. Spencer nodelled in Rare Candy's I have become a sign to many (2015) runway at the Carlton Garden's fountain and in the Hollywood Seven (2016) RMIT honours graduate showcase at the Parkville Motel, which also featured ten looks by non-honours student Brendan. Perhaps most aligned with this most recent collection, however, is Brendan's last collection, also produced by Spencer, Toy Fossil: Class of '84 (2017), which was presented in the hallway and kitchen of the crusty old sharehouse Spencer and I used to live in. 

    Brendan Morris, Marita in Toy Fossil: Class of '84, 2017. Image courtesy of the artist.

    As with Toy Fossil, Brendan's newest collection and its presentation remains concerned with the preservation or petrification of remnants of time, place and personal style. Brendan tells me, "they never find a whole fossil, they only find a piece and build the picture from there." Although Brendan has lived in Melbourne for the last nine years, he grew up in Calgary, Canada. In certain respects, his perspective is anthropological—dissecting the cultural meaning, norms and values of an artistic community he is both a part of and an outsider to. As with Margiela, this approach to making aims to mark the course of time, rendering a garment's temporality and previous lives visible. The garment's signalled lived-in-ness turns it into a document, artefact or fossil to be historicized and decoded. In this way, the collection also recalls Hussein Chalayan's 1993 graduation collection, Tangent Flows, where the designer oxidised and buried his garments in a friend's garden for months before exhuming, resurrecting and ritualising them for the runway.

    The word 'costume' also implies historicity—it is clothing that is customary of a time and place. Archived, frozen in time, costume is worn to look like someone or something else that it isn't. Costume jewellery is imitation precious stones and metals. With its 'distressed' aesthetic, In Costume entered the tricky territory upon which the fashion industry has often been accused of 'poverty cosplay.' John Galliano's Haute Couture S/S2000 for Christian Dior was inspired by Paris' homeless population. Vivienne Westwood's Man A/W2010-11 collection saw the runway plastered with cardboard boxes and the models accessorised with plastic bags, shopping trolleys and rolled up foam sleeping mattresses; models' faces and hair matted with white powder like frostbite. Marc Jacobs' 1992 grunge-inspired collection got him fired from Perry Ellis.

    Brendan Morris, In Costume, Arthur Look 2, 2019. Photo by Phebe Schmidt.

    However, the distressed aesthetic of In Costume does not embody this couture mainstay. There is not even certainty that the label will continue as such after this collection. In fact, while In Costume was advertised as a label launch, not much was really 'launched' per se. Like other Melbourne-based fashion studios such as H.B. Peace (Blake Barnes and Hugh Egan Westland), In Costume defies the fashion system conventions of a 'label' (and all it connotes). There are no plans to mass produce or apply couture price-tags to the samples shown at the launch. But the real difference is that Brendan's sources are not like those of the pauper-chic collections described above. Brendan draws from the idiosyncratic personal styles of his own immediate social environment and many of the individuals that inspired the collection also comprised the audience at the launch.

    When the first look emerged from behind the black curtain that separated the studios from the gallery, John, who Brendan works with at Terra Madre (the more exclusive Whole Foods of Melbourne), was barely distinguishable from the crowd that had gathered in a circle around the cars. He wore a grunge-era printed t-shirt over a striped long sleeve shirt, a look that is described under Urban Dictionary's top definition for 'egirl' in 2019. John's frizzy blue-gradient hair perhaps amplified the connotations of this egirl appropriation of grunge, but it was a look that is distinctly 'Melbourne' in other ways—the just-rolled-out-of-bed gamer-cum-artist look. Another striped shirt was tied around his waist, with the body of a crisp white men's shirt stiffened in place behind him as he meandered in a figure 8 or infinity symbol around the cars in white socks and no shoes, pausing twice, briefly and nonchalantly, under the unforgiving down-lighting at the centre of the room.

    Brendan Morris, In Costume, John Look 1, 2019. Photo by Phebe Schmidt.

    Milos, Spencer's childhood friend and third nodel to appear, came out holding a Ziploc bag of suspicious green herbs like a clutch, cementing the bong-den ambience. The ghostly 'ooOoo' of a contemporary classical libretto played, composed and performed by Robert Ashley with whispered back-up vocals as my father, Arthur, entered wearing the sixth look: grey paint-splattered sweatpants, dragging on the concrete under his feet, and a white button-up with a white singlet layered over the top. Down the front of the singlet was a trail of weed-like herbs as though he'd been absent-mindedly consuming marijuana like popcorn. The paint on the sweatpants wasn't the dribbles and splatters of Jackson Pollock, but smudged and blotchy, at hand-height only, as though they were the remnants of labour on a painter's workpants.

    Beyond these wry references to cheesy hippie counterculture revivalism, each accessory seemed to reference social codes or signals. One such accessory in Milos' first look was a purple star-print handkerchief hanging out the side of his jeans with a cluster of gold glitter affixed to one corner and scattered out from it. Like John's grunge-to-egirl look, this is a time-honoured tradition. The most immediate connotation of this item of flair was, for me, the 'Handkerchief Code.' The Hanky code or 'flagging' originated with Goldrush-era cowboys and miners who would signal which part of the square dance they'd take during shortages of female dancers, with hankies worn hanging from the belt or the back pocket of some jeans. Then, Bod Damron's Address Book (1964) and Larry Townsend's The Leatherman's Handbook II (1983) certified the code in tables and lists that signalled top/bottom polarities and fetishes through colour and the side of the body on which it is worn. This is the social language of dressing par excellence, the literal (or at least more overt) transmission of signals through costume.

    Brendan Morris, In Costume, Milos Look 1, 2019. Photo by Phebe Schmidt.

    The fifteen-look collection, described to me as menswear, was punctuated by two dresses worn by Jasmine Pickup. The first again referenced workwear, a wrap dress waxed and stiffened with a wash of glue and starch in minty scrubs-green and what looked like a puffy tulle ruff collar. Jasmine's movement was truncated by the stiff materials and her steps made short by the restrictive tapering of the garment at the ankles, which pulled tight with each footfall. The second dress, another floor-length wax-treated gown in the same dentist-scrubs green, was this time flared at the ankle with a belt or sash that splayed open at the back like a slashed obi and accessorised with a Coca-Cola can in hand. The only female in the show, appearing twice in similar looks, Jasmine felt like a minty fresh palette cleanser.

    Like Jasmine's ruff collar there were several items that felt anachronistic in a collection that progressively resembled traditional menswear with each new look. From the cummerbund worn by my father as an acapella Irish folk song played to John's third appearance wearing a giant safety pin around his torso like a bow and arrow quiver bag. There was a confusion of menswear archetypes and trajectories. It was not clear whether this was streetwear, workwear, formalwear or even menswear. Only that it was 'costume.' With his blue hair fluttering behind his safety pin weaponry, John, second from last in the show, felt like the Katniss Everdeen of the parade. Beneath the comical hardware, he wore a crunchy (paper thin, coated cotton) suit worn open over several layered white men's shirts, referencing a traditional three-piece suit. The folk song ended abruptly as John completed his last infinity-loop and the final model, Nick, walked out in silence. The rhythmic crunch of his pants, the friction between the starchy fabric and his thighs, was the only noise in the hushed room, as he walked with his thumbs assertively tucked in his pockets. The cream jacket's shoulders were splattered in decorative gold leaf and it was fastened with two leather buckles like a medieval military garment about to burst at the clasps.

    (Left) Brendan Morris, In Costume, Jasmine Look 1, 2019. Photo by Phebe Schmidt. (Right) Brendan Morris, In Costume, John Look 3, 2019. Photo by Phebe Schmidt.

    The anachronism and inertia of In Costume captured a sense of the postmodern waning of historicity, the collapse of space time and the perpetual layering of meaning with the rapid turnover of ephemeral images. It foregrounded the illusion of newness and perpetual movement, fossilising the present as spectral costume—the peculiar stasis that lies buried beneath an accelerated psychological perception of time. Each garment carried with it the remnants of a fabricated past life, or lost future—like when Lisa Simpson discovers the hoax angel fossil (Lisa the Sceptic S09E08) on an archaeological dig, which later turns out to be a publicity stunt for Heavenly Hills Mall ('The End will come at sundown,' 'The End ... of high prices!'). The apocalyptic existentialism and critique of consumption found in this episode of the Simpsons was threaded through the In Costume runway, encapsulating the accelerated temporality (or seasonality) and disposability of brands, styles and archetypes.

    I should mention, Brendan is the only person I know not to have seen more than a couple of episodes of The Simpsons. I know Brendan very well and he returns to Canada early next year after almost a decade in Melbourne. It will not be possible for him to return in the foreseeable future because he's exhausted all visa opportunities. For me, this encapsulation of a time and place that he has spent his entire twenties in is also a little farewell. Melancholic and spectral as it may be, it is also a celebration of people and personal style in a community he has become a kind of pillar of. Given the confused cyclic temporalities of In Costume, it seems appropriate to say (without the sarcastic undertone): we're missing you already Brendan.

    Audrey Schmidt is a writer and Melbourne Personality.

    Title image: Brendan Morris, In Costume, John Look 1, 2019. Photo by Phebe Schmidt. In Costume video documentation by Francisco Mejia.

    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 #17 Kate Meakin “Apparel” Neon Parc Brunswick
    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
    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
    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
    Patrick Pound, The Museum of There, Not There
    by Anna Parlane

    The End.