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  • The Museological Consciousness
    Lyon Housemuseum Galleries, Meow
    18 Feb –
    18 Feb 2020
    By Paris Lettau
    30 Mar 2019

    In recent years, a new subculture has surfaced in Australian art. It lacks any aspiration to be recognised by mainstream public art institutions and has formed a self-conscious avant-garde with "arm's-length" distance (sometimes literally) from major museums like Tony Ellwood's National Gallery of Victoria. The latest expression of this subculture is the freshly minted $15.8 million Lyon Housemuseum Galleries. Situated in the leafy electorate of Kooyong, Lyon Housemuseum Galleries (a more public expansion of the old Lyon Housemuseum) is the newest member of a nascent scene of private Australian art museums that includes, amongst others, the $20 million Buxton Contemporary (which at least has private origins), the $75 million Museum of New and Old Art and the more modest Justin Art House Museum.

    Lyon Housemuseum Galleries represents a coming of age in Melbourne of the democratic civil society already evident in Europe and the USA for many years. This civil society can be seen in private museums such as the Peggy Guggenheim Collection, Venice, the John Soane Museum, London, and the Frick Collection in New York, all of which the Lyon Housemuseum explicitly cites as inspiration. But it strikes a particular note in Melbourne when one considers that alongside this subculture is another subculture. It is also anti-aspirational (at least in style) and characterised by an avant-gardist independence from major public art institutions. Its latest expression is Meow, an $800 per month sharehouse in the equally leafy suburb of Carlton, the long-time heartland of Melbourne's intelligentsia. Meow is co-directed by Calum Lockey, Brennan Olver and the fast-rising artist Hana Earles (undeniably Meow's public face) and hosts one-night exhibitions every month or so.

    Together, Lyon Housemuseum Galleries and Meow are manifestations of a new museological consciousness that has formed in the mind of the contemporary artworld—and has even witnessed the museumification of the nature strip by Musée du Strip. It reflects the accelerating trend of new institutionalism in contemporary art, in which individual artists, curators and arts workers have started to imagine themselves to be living arts institutions, exemplified in Melbourne by figures like Debris Facility Pty Ltd, Guest Work Agency Pty Ltd as well as a host of minor curators and business entities.

    There is nothing necessarily new about this museological consciousness. From its beginning, the modern democratic state was characterised by a museological consciousness wrapped in an ideology of civic virtue. In 1789, when the French middle-class found itself in the delivery room of a newly born nation-state, it founded the Louvre as a nursery for the universal citizen of the République de l'Esprit. Likewise, in 1850, when the District of Port Phillip achieved separation from the colony of New South Wales, and soon gained a limited self-government as a colony in its own right (the Colony of Victoria), it embarked on a grand civilising mission as if it would be the Paris of the South. Its architectural edifice was elaborated by Joseph Reed (today's Bates and Smart), in a public library and art museum stretching between Swanston and Russell Streets—laying the cornerstone of a legacy Melbourne has jealously guarded to this day as the cultural capital of Australia.

    The Lyon Housemuseum Galleries, which opened on 16 March, is part of this legacy. Its owners, Corbett and Yueji Lyon, were fashioned into significant art collectors by the pioneering gallerist of Melbourne's contemporary art scene Georges Mora (Tolarno Galleries). In the 1950s and 1960s, alongside John and Sunday Reed and the members of the Contemporary Art Society (CAS), Mora helped spearhead Eric Westbrook's internationalist transformation of the NGV (previously the stronghold of Alexandrian Sir Daryl Lindsay) into Melbourne's bastion of contemporary art, realising a renewed version of Victoria's original colonial vision.

    The new Lyon Housemuseum Galleries is an independent extension of the original Lyon Housemuseum that opened in 2008 and housed the Lyon's significant collection of (largely Melbourne) contemporary art. The new "Galleries" transform the Lyon Housemuseum's former indistinct existence between public-museum, private-museum and living quarters, into a wholly public art museum—if still grounded in a private collection. While the first to coin the term "Housemuseum", Lyon is not the first to find its origins in a house. What became Heide Museum of Modern Art originally took a housemuseum as its model—MoMA, which began as a modest apartment gallery—and started in the Victorian cottage that is now known as Heide I. Like Buxton Contemporary, Heide had origins in a private collection, but its current public form was achieved by the Government of Victoria after the Reeds sold it to them in 1980.

    Hana Earles, The Wish Academy, installation view.

    The "Sharehousemuseum" Meow has Melbourne-based precedents in the likes of Allen David's St Kilda flat, which hosted Gallery 43 and Weekend Gallery. But Meow also recalls the apt-art ("apartment art") of the Moscow conceptualists (even Meow's red front door looks like Mikhail Roginsky's Red Door, 1965). Their work is most iconically represented (and allegorised) in Ilya Kabakov's installation The Man who flew into Space from his Apartment (1988), which displays the aftermath of a soviet-era apartment room after its resident catapulted himself into outer space, in search of a universal utopia. There is nothing cosmic about Meow, but it shares with apt-art a certain unofficial ethos that shuns the Soviet-like uniformity of mainstream "official" taste.

    Liam Osbourne, Someday, installation view.

    Insofar as it is less "Soviet" and more "Edwardian", Meow also recalls the anti-liberalism, anti-academicism and "total art" styles of the Art's and Crafts and Art Nouveau movements popular throughout the Edwardian period. Like Meow's Hana Earles', Le Maison de l'Art Nouveau's Siegfried Bing invited artists to produce decorative art environments, events and social gatherings, rather than works of art per-se. In fact, there is even something remotely Les Nabi-esque about the Fauvist palette of Earles' several small paintings that were displayed in Meow's most recent exhibition The Wish Academy (either a reference to the Tokyo clothing store or the American charter school whose Facebook about page simply states, "When you WISH upon a child... you make dreams come true"), which was held on the evening of Thursday, 21 March. The exhibition also featured "café music" by @arrivinglateintornfilthyjeans, mimicking the post-impressionistic vibe of Eric Satie's "furniture music".

    Hana Earles, Instagram story, circa. March 2019.

    Meow brings together Earles' social-media presence, artistic practice, living quarters, curatorial practice and museum directorship. "Welcome to my gallery, my name's Hana. As you can tell I've got heaps of friends, and I'm here at my house named 'Meow'—everyone here goes to VCA," says Earles in Episode 1 of MeowTVMeow has a TV series, actually a work by Carmen Sibha-Keiso in which each episode documents an exhibition opening). Meow is not so much a museum for art, as it is a place where art comes for the museum. Another visitor senses Earles' game when she loudly opines, "this isn't a real gallery—that's all I've discovered today. A fucking scam!"


    Carmen-Sibha Keiso, MeowTV, Episode 1, Brennan Olver

    Earles has promoted Meow using the well-worn 2017-esque social-media strategy of trolling. Last month, commenting in all-caps on a West Space Instagram-post calling for volunteers, Earls called out the exploitation of free labour and encouraged volunteers to come to Meow instead. At Meow, Earles wrote, "EVERY TIME U FUCK UP WE REMIND UR IMPENDING MORTALITY AND LET YOU KNOW HOW MANY HOURS EXACTLY YOU'VE WASTED VOLUNTEERING THEN SEND U OUT TO GET COKE FOR US." Her contribution of a painting simply titled Meow, 2018, to the recent Neon Parc City exhibition, Carny, also reads as a deliberate attempt to exploit the commercial gallery's profile to promote her own gallery.

    Betty, Performance by Grace Anderson

    Despite this, the atmosphere at Meow is exceptionally friendly, not pretentious (even if it tries to be). If anything, I imagine it to be like the friendly and open 1950s "Mirka's Café" (run by Georges and Mirka Mora)—a slightly nerdish, slightly square, haute coolness. This is surprising, given Meow addresses itself to its public primarily through a social-media space embedded in internet subculture that, whether railing for or against mainstream media's political correctness, is rife with subcultural micro-fascisms, ironic nerdish trollers, a love of transgression, South Park humour and a shared loathing of moralistic self-flattery. But there's no Red Scare-isms (even if Anna Khachiyan and Dasha Nekrasova would be affectionately welcomed). There is not even the semi-ironic nihilism and abjectness of a Bonny Poon, who exhibited at Suicidal Oil Piglet (also co-directed by Meow's Calum Lockey and of which Meow is arguably a successor), nor the deliberate offensiveness of SOP's co-director Zac Segbedzi, who is known for lashing out at dentists, property developers and Richmond couples with new apartments.

    Hana Earles, The Wish Academy, installation view.

    Instead, The Wish Academy was attended by friendly accelerationists, queers, "heteros", artists, fashion designers etc. Earles' yellow "sad egg" sticker sculpture in the middle of the exhibition space looked like a drab prop, the cuddly aqua poof from Pee-Wees Playhouse. Meow is even self-mocking in its anti-aspirationalism. On Meow TV, ep. 1, Matthew Linde peers out the window with empty hands gesturing as if smoking a cigarette. "We sold out! We sold out in 5 minutes!" "What did the New York Times say?", someone asks. "They're raving about it — Artforum, Frieze... Jerry Saltz!" For Meow, these are genuine criteria of success, as they would be for the Lyon Housemuseum Galleries and the NGV.

    Lyon Housemuseum Galleries' inaugural exhibition, ENTER, held in the gallery's brand new pristine white cubes, states that it seeks to "contest the neutral 'white cube'". To achieve this, it commissioned artists to "create works that explore the way viewers 'enter' and engage with art and how these works are encountered in the space of a museum." Sixteen artists (5 from the collection, 11 new) have been commissioned, including Brook Andrew, Ry David Bradley, FFIXXED STUDIOS X James Deutscher, Shaun Gladwell, nova Milne, Kate Mitchell, Dan Moynihan, Callum Morton, Baden Pailthorpe, Kenzee Patterson, Patricia Piccinini, Ian Strange, Esther Stewart, Kynan Tan, Min Wong, and Constanze Zikos.

    The most uncanny thing about the exhibition (and possibly the Lyon Housemuseum Galleries in general) is that it presents an aesthetic and collection of artists that, like its cousin Buxton Contemporary, is almost indistinguishable from the artworld taste presented in the contemporary galleries of institutions like the National Gallery of Victoria. Is there any better evidence of how homogenised contemporary art institutional-taste has become? This is not meant as a criticism of individual works and artists, but an observation regarding a collective persona that's formed through the collecting and exhibiting habits of public and private institutions. Entering these institutions, one can imagine entering a single large "communal museum" in which each institution is just another room through which the various works of art by various artists are infinitely transportable, exchangeable and communicable without ever undergoing any transformation—as if providing proof of Kant's universal taste.

    For the viewer (who is also a subject of the communal museum's communal vision), works appear to hover independently of their art context, as though they entered the universal utopian ether of Kabakov's man who flew into outer space. Still, some works in ENTER drew genuine meaning from this context, such as Brook Andrew's möbius-orbited silver globe Unorientable, 2019 and Callum Morton's eerie enclosure with banging, automatic opening and closing gates, Monument #24: A gentle stroll in a Landscape Full of Wonders, 2019. But other works, like Shaun Gladwell's Tech-Deck Skateboard Work, 2019, were somehow completely incomprehensible (although the kids loved it, of course).

    In 2018, the NGV celebrated fifty-years holding the mantle as the official centre of Melbourne contemporary art, a title it initially wrestled from a host of competing official and unofficial institutions (such as the Contemporary Art Society (CAS) and John and Sunday Reed's Museum of Modern Art Australia (MOMAA)) with the opening of its ground-breaking 1968 exhibition The Field. Just a few years prior, Reed had handed over to the NGV the blockbuster Two Decades of American Art after MOMAA failed to obtain funding and resources required to host the exhibition. This concession by MOMAA sounded the death knells of any competition to the NGV. Soon after, the NGV indicated to MOMAA that there would not be room for both institutions in the future of Melbourne's art scene.

    Since then, the NGV has stood triumphant at the pinnacle of Melbourne's stratified cultural scenes. Now, a new descendent of the Georges-Mora and John-Reed legacies—Corbett and Yueji Lyon—has returned like the repressed, giving re-birth to a morphed version of the old civil society exhibiting associations (like CAS) that thrived in the post-war period. These were really the last breaths of the Edwardian period's obsession with civil society associations and fraternal orders (widely popularised by Ferdinand Tönnies' 1887 book Gemeinschaft und Gesellschaft), but which gave way to the post-war era's re-interpretation of civil society in purely market terms, seeing the old publicly oriented arts associations outpaced by state art institutions (the NGV) and private art institutions (commercial galleries).

    No doubt, both the NGV and the Lyon Housemusuem would publicly proclaim to be comrades in the Melbourne arts "ecology" (interestingly, a word derived from the Greek word for "house"). But writing in The Australian, Ashleigh Wilson beautifully relayed early signs of not-so-subtle overtones of competition between the two institutions, pitting NGV director Tony Ellwood AM as the Lyon Housemuseum Galleries opening event's Walter Mitty, who one day "dreams of building a contemporary gallery himself." But from the perspective of the communal museum, in which Lyon Housemuseum Galleries can be experienced as just another room, Ellwood need not interpret this as competition; he can consider Lyon Housemuseum Galleries a donation to the communal museum that follows the old philanthropic model of donations like The Joseph Brown Collection, which was made on condition that a dedicated room at the NGV be set aside for its permanent exhibition.

    Is the uniformity of Melbourne taste a sign that a class of trustees and benefactors have to search out new models of cultural distinction in the form of private museums? Are we sensing the tremors of a larger fault-line forming between the institutions of Australian art? Will the mass-culture "communal" sensibility of contemporary art find a new subcultural niche beyond the "communal museum"? Is this a rising tide that lifts all boats?

    Ornament Zine, inkjet print paper, 2018 ( at The Wish Academy)

    Through the nihilist anti-aspirational style of Meow, Earles reveals that she in fact views these questions as pertinent. Amidst the fractures that may be forming in the mainstream, Earles presents a discerning neo-Edwardian ethos having more in common with Sir Daryl Lindsay's pre-1950s NGV than Donald Westbrook's post-1950s populism. Is Meow our Mrs Brown amongst Melbourne's many Mr Bennetts?

    Paris Lettau is a writer from Melbourne.

    Title image: Hana Earles, The Wish Academy, installation view.)



    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
    Virginia Cuppaidge, The Skyspace Paintings 1977 - 1982
    Nicholas Thompson Gallery
    by Jane Eckett
    Callum Morton, Monument #32: Helter Shelter
    Alfred Deakin Place Ballarat
    by Rex Butler
    Ari Tampubolon, Symposia: This show is dedicated to K-pop girl group, TWICE. I love you.
    SEVENTH Gallery
    by Amelia Winata
    Warwick Baker, Hi-Vis Dreams
    Centre for Contemporary Photography
    by Giles Fielke
    Agatha Gothe-Snape, The Outcome is Certain
    Monash University Museum of Art
    by Amelia Wallin
    Alethea Everard, Art show
    Meow2
    by Audrey Schmidt
    Elizabeth Gower, LOCATIONS
    Sutton Gallery, Sutton Projects
    by Chelsea Hopper
    KAWS: Companionship in the Age of Loneliness
    NGV International
    by Paris Lettau
    Assembled: The Art of Robert Klippel
    Tarrawarra Museum of Art
    by Victoria Perin
    Colin McCahon: Letters and Numbers
    National Gallery of Victoria
    by Luke Smythe

    The End.