• Vivienne Binns: It is what it is, what it is
    Sutton Gallery
    17 Mar –
    14 Apr 2018
    By Helen Hughes
    14 Apr 2018

    Vivienne Binns seems to have taught—or had some sort of mentor-like relationship with—a whole bunch of artists whose work I like: Charlie Sofo, Liang Luscombe, Trevelyan Clay, Kate Smith and Geoff Newton, to name just a few. If there is amongst some or all of these artists a shared sensibility to do with humour, a cavalier attitude towards painting (or 'fine art' in general), a commitment to abstraction, patterning and the everyday, it is more than a little tempting to see Binns lurking somewhere in the background, as somehow responsible. Over the years, I've got to know Binns' work elliptically. We were taught about her now-canonical early feminist and community arts projects from the late 1960s to the early 1980s in Australian art history subjects, but these—not surprisingly, some forty years later—seem at a remove from the very particular painting practice of hers that I've come to know in recent years. Rather, I feel I developed the strongest sense of her work through anecdotes told by these artist students, and through the spectral traces of her practice that seem to be expressed in their own work. Indeed, the intergenerational and discursive model offered by teaching in an art school, where ideas, techniques and pools of knowledge are thrown around often casually, is a useful one for thinking through the impressive body of work that Binns has produced over the last five decades. Binns' solo exhibition at Sutton Gallery, entitled It is what it is, what it is, afforded me a chance to test this proposition.

    Vivienne Binns, Made in the Process of This Moment Then, 2015, acrylic on canvas and plastic tubing, 100 x 119cm.

    Though she is renowned for her metal enamelling work of the 1960s and '70s, and is often hailed as a pioneer of both the community and feminist arts movements in Australia, It is what it is offers viewers a substantive look into Binns' career as a painter. It spans nearly twenty years of her painting practice (the earliest works date 1988, and the latest 2016), and has been put together by Binns' long-term Melbourne gallerist Irene Sutton. Those already familiar with Binns' practice will recognise many of the works in this show, with them having been exhibited in the two major retrospectives to date (one at La Trobe University Museum of Art in 2012, and the touring solo show that began at Tasmanian Museum and Art Gallery in 2006). But for the uninitiated, It is what it is is timely because it arrives at a moment when Binns seems to keep popping up with individual inclusions in bigger, thematic group exhibitions around Melbourne. For example, she was represented as a 'focus' artist in the Australian Centre for Contemporary Art's 2016 exhibition Painting. More Painting, and she likewise cameoed in ACCA's more recent Unfinished Business: Perspectives on Art and Feminism. As well, in late 2017, Binns was included in the important homage-exhibition I Love Pat Larter at Neon Parc, Brunswick, which was curated by her former student and collaborator Geoff Newton. Each of these group exhibitions presented Binns as a thread in a weave—as painter, as feminist, as peer. By contrast, It is what it is is special because it allows us to look at Binns' practice in isolation. And it allows us, I suggest, to look at Binns' painting practice as a type of weaving process itself.

    At least, It is what it is almost allows us to look at Binns'work in isolation. Perhaps due to her background in community arts, it would seem that the Canberra-based Binns—not unlike the artist, writer and teacher Lisa Radford in Melbourne—cannot help but extend invitations and share opportunities with others, and particularly her former students. Binns' exhibition in the main space at Sutton Gallery is accompanied in the smaller space by a group exhibition of work by three former students—Dionisia Salas, Chris Carmody and Fiona Little—that she has curated herself. I'll return to the significance of this later.

    Vivienne Binns, Jostling, 2015, acrylic on board, 22 x 33cm.

    If you were to evaluate It is what it is on purely formalist grounds, you'd be quick to identify the compositional logic of the grid that clearly structures twenty-two of the thirty-one paintings presently on display at Sutton Gallery. Whether these are carefully traced horizontal and vertical lines producing squares, or diagonal lines producing diamonds or lozenges, or optically inferred by the overlay of evenly spaced dots, grids certainly do predominate. But, executed in an at times casual, wavering hand as they are in works such as Yukky Surfaces, 1999 or Surfacing in Memory, 1999 (both of which seem to bear more in common with a hastily played game of naughts and crosses on a napkin at an airport lounge than with, say, the exactitude of an Agnes Martin), there is clearly a humanity, humbleness and sense of humour at play here, one that is wholly lacking in the declarative works of twentieth-century modernism parsed by Rosalind Krauss in her famous 1979 October essay 'Grids'.

    Krauss premises her study on the belief that the grid is exemplary of modern art's 'will to silence': it is the compositional strategy that banished everything to do with speech, narrative and language (and thus duration) from the optics of the visual arts. As a composition, she wrote, the grid is 'antireal', 'antimimetic'—'it is the result not of imitation, but of aesthetic decree'. Binns' grids, however, have a wholly different character. For a start, they are largely mimetic: they are usually based on decorative patterns gleaned from materials like friends' jumpers (as with the commanding From David's Jumper Mark II, 2007–8) or fragments of fabric collected from op shops or sent to her by friends (as with Gingham Thread, 1999). Rather than 'lowering a barrier' between the visual artwork and language, her paintings are utterly resonant—you can almost hear the myriad conversations with other artists, friends, family, and so on, that surely supported the production of these works. After all, a crucial chapter in the Binns mythology is the fact of her abandoning painting for some two decades due to her extreme dislike of the isolation that accompanies a traditional studio practice, embracing instead the sociality of a community arts–oriented practice.

    As Binns scholar Penny Peckham has observed, her paintings bear something in common with those of the Australian late modernist Dale Hickey, who also turned to domestic sources in his painting practice. However, where Hickey 'takes inspiration' from such things as floor tiles only to turn them into geometric abstractions, Binns takes the tiles as the actual subject matter of her paintings—elevating these designs into the realm of fine art. Perhaps she is even painting their portraits. Stemming from her 1970s feminist reappraisal of the status of variously 'craft' and 'amateur' arts practices as 'fine art', works like David's Jumper and Gingham Thread relate to her series In Memory of the Unknown Artist, which pays homage to the decorators and pattern-makers of fabrics and other utilitarian objects that can be found around the house. Other paintings not only depict but directly appropriate such materials. Floating, 2000 and Lino, Canberra, Tile Formation and Overlay, 2001 both collage miscellaneous offcuts of linoleum flooring onto board, over which new details have been laid down by the artist in acrylic paint—a type of Cubist experiment. A funnier still Cubist-type work is the 2012 Little Ballerina, a small rectangular canvas whose bottom and upper edges are adorned with a fabric frill covered in glinting purple sequins. The painting's surface continues the fabric's chintzy pattern as a modernist grid infilled with circles painted in a range of purple-derived hues—these are paintings (portraits?) of the sequins, we presume, shown in an array of colours as caught under light. A semiotic displacement, this modernist grid is also, in fact, a realistic painting.

    Vivienne Binns, Big Drawing no.2, 1997 reworked 2011, acrylic on canvas, 154 x 163.5cm.

    Binns' interest in the grid exploded in the late 1980s through her involvement with ARX (Artists Regional Exchange—a precursor to the Asia Pacific Triennial, but rather orchestrated by artists with a view to exchanging knowledge and skills). Here, she first properly encountered the production of tapa bark cloths and their designs, which, too, are often based on grids. Binns then pursued an active interest in tapa, visiting Raratonga in the Cook Islands in 1992 for the Sixth Pacific Festival where she was invited to participate in their production by the Tongan craftswomen there. Several of the works in It is what it is—most obviously Pacific Learning Again, Tapa Focus and Tapa Pattern over Scrap Ply from Hong Kong, all 1993—pay homage to the practice of tapa designs and their ability to hold collective stories. These works also possess a similar sensibility—and similar dispersal of authorship—to her earlier cross-generational and community-driven projects like Mothers' Memories, Others' Memories of 1979–81. Binns' turn towards tapa also helped her rethink Australia culturally and geographically. Her reimagining of the country of her birth saw a shift away from the traditional Australian isolationist mentality and towards the interconnectedness of the archipelagos of the Pacific Ocean. This shift in her thinking seems broadly in line with her commitment to community art practices and her dislike of the solo studio artist paradigm (which, of course, has much to do with second-wave feminist critiques of the individual-male-artist-genius—the critical culture in which her early works percolated).

    If the grid is a giveaway compositional device in Binns' work, then the other tell-tale characteristic trait is the void—the painterly wormhole that pierces her paintings' surfaces, offering portals into deeper layers, other paintings. The void shape began as a bombastic trope in Binns' sexual imagery of the late 1960s and '70s—most famously, the 'central core' imagery of her Vag Dens, 1967—then continued as a stand-in for the female sex in her small paintings on canvas boards Bush Ground: unstable image becomes; more from the allegory of the good girl ... and Each One has a different name ... is a different thing, both 1990. In 1997, it manifested again in the series of photocollages that include The Object which is more than One and This space can be rendered both, in which black vessels and gashes are vertically imposed on a grassy landscape. This compositional device is best demonstrated It is what it is with her 2008 painting Thinking of Pattie Larter and her untitled collaboration with Merryn Gates, whereby Binns in 2002 painted (or it may be more accurate to say 'combed') a black-and-white layer of wobbly stripes over the top of some fabric that Gates had herself painted in 1986 (it was for a harlequin costume she wore to an exhibition opening at the National Gallery of Victoria). Binns leaves biomorphically shaped 'holes' in her layer—apertures onto Gates's red, yellow, green and black triangular patterning that forms the underpainting. In this respect, we may be inclined to think of the late Robert Hunter, whose mesmeric, layered 'white-on-white' paintings too contain voids or holes onto subterranean layers of off-white house paint, which he also likened to vaginas. Yet where Hunter's paintings hinge on their uniformity and precision, Binns' layers are often executed in completely different styles, demonstrative of her decision to employ 'diversity as a deliberate artistic position'. Before the Eyes, 2013, for instance, is undergirded by a patchy Howard Hodkin–style abstraction, then striated by impastoed, combed lines over which two fields of spray-painted, Arkley-style gridded dots float. Other paintings, such as Big Drawing No. 2, 1997 reworked 2011, combine layers of alternately opaque and semi-transparent shapes and patterns, making it difficult to discern a top layer from a bottom layer. This technique scrambles our sense of the painting's temporality as well as its depth.

    Vivienne Binns, Thinking of Pattie Larter, 2008, acrylic on canvas 72 x 100cm.

    It's not just in Binns' students' work that we see continuity: for instance in the dynamic, jumbled surfaces of Dionisia Sallas's three prints on marbled paper, and the all-over, intricate patterning of Alice Little's mixed media works. Binns' practice openly evidences the heritage of her own teachers' too—particularly the off-kilter gridding and colour separation technique of Godfrey Miller, who taught Binns at the National Art School in Sydney in 1950s and '60s. As a student, Binns also studied closely the works of early Australian modernists like Ralph Balson, Frank Hinder, Anne Dangar, Grace Cossington Smith, and Grace Crowley. The three tiny canvas boards comprising ABUT, 1988, for instance, check the brilliant colours and pointillism of Cossington Smith.

    Latterly, Binns has become renowned for spending a whole year working on a single painting. Her labour-rich works that overlay grids, build up layers, and use voids to point to the ontology of painting not as surface (as with the twentieth-century self-referential modernist grid), but rather as surfaces (palimpsest-like, as literally and metaphorically bearing the memory and trace of what came before) indicate the time of the painting as eventual, progressive, and also connective. This is the generous spirit of her painting as weaving, as a braiding-together of that which modernist avant-gardes would more readily shunt in their effort to create a rupture with the past. In these ways, Binns' survey It is what it is is unusual, yet also wholly typical of the artist's approach: her paintings simultaneously command and deflect attention.

    Helen Hughes is research curator at Monash University Museum of Art, and an assistant lecturer in Art History and Curatorial Practice in the Faculty of Art, Design & Architecture at Monash University.

    Title image: Vivienne Binns, From David’s jumper mark II, 2007–8, acrylic on canvas, 152.5 x 183.8cm. Image: Derek Ross.)

    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
    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.