• The Score
    Ian Potter Museum of Art
    01 Aug –
    05 Nov 2017
    By Kate Warren
    30 Sep 2017

    One of the things I enjoy most about going to an orchestral performance are the moments when the musicians onstage complete their final warm-ups, exercises and tunings. Being not yet focused into a single force, the performers’ last-minute preparations are individual and not precisely coordinated or harmonised. Nonetheless, they blend and complement each other, creating a mix of the individual and the ensemble. Walking into The Score at the Ian Potter Museum of Art gave me a similar impression. Strains of melodies, sounds and various aural devices confront the visitor as soon as they enter, and while it’s immediately clear that these sonic strains emanate from distinct artworks and spaces, in their overlapping and entangling they create an impressive exhibition that is more than the sum of its parts.

    Sriwhana Spong, The Fourth Notebook, 2015, HD video. Courtesy of the artist and Michael Lett, Auckland.

    Stretching across all three levels of the Potter, The Score is an ambitious exhibition that encompasses much more than artists working with music or sound. Through the motif of the “score” it explores themes of translation, performance, visualisation and cross-pollination between art forms. As a university art museum, with access to academic and archival collections, as well as an established commitment to Australian contemporary art, the Potter is ideally placed to present an exhibition like The Score. Curator Jacqueline Doughty has thoughtfully made use of all these resources available. Inspired by a graphic notation score by composer Cornelius Cardew, the exhibition includes a number of archival documents and recordings by Cardew and other modernist composers (including Karlheinz Stockhausen, George Crumb and Lyell Cresswell, among others), drawing its materials from multiple collections, including the Grainger Museum and the Baillieu Library’s Rare Music Collection.

    Giuseppe Frezza dalle Grotte, Il cantore ecclesiastico, 1713, Padova: nella Stamperia del Seminario
    Rare Music, Special Collections, Baillieu Library, University of Melbourne.

    Graphic scores break from traditional Western notation conventions, which usually comprise of a five-line stave, clef, key signature and time signature, followed by various notes, rests and other musical characters. Graphic notations use more varied, expressive and less standardised signs—including colour, shape and size—to construct the compositions and communicate to the eventual performers. In taking this unusual schema as the exhibition’s genesis, The Score laid the groundwork for its central interest in translation, transposition and cross-art form relations. Basing an exhibition around such an inconspicuous motif–music is heard, but scores themselves are in fact rarely seen–there is a risk of fetishizing the visuality of musical scores as discrete objects. On the whole the exhibition avoids this; although in doing so it did have the strange, almost counter-intuitive effect of lessening the impact of some usually critically compelling pieces, such as those by Marco Fusinato and Mark Applebaum, whose focus was more precisely on musical scores as visual objects. As packed full of works as The Score is, it could not accommodate some of these artists’ more expansive pieces.

    Roy de Maistre, Rainbow scale. D# Minor - F# Minor, 1930s, coloured crayon, pencil.
    Art Gallery of New South Wales. Gift of Sir John Rothenstein in memory of the artist, 1969.
    Photograph: AGNSW. Courtesy of Caroline de Mestre Walker.

    To my eyes and ears, the most successful pieces were those that understood and activated the score as a generative potential, to experimentally create something new through translation and transposition–be they sonic, visual or physical creations. Sometimes, these translations were quite literal, as in Nathan Gray’s contribution Treatise: Pages 131 and 78 (2012), in which Gray transformed two pages of Cardew’s graphic nation score Treatise into a three-dimensional installation of wood, aluminium, rope and tape. The sculptural elements of Gray’s piece were movable and, most importantly, playable. Extending Gray’s previous works such as Species of Spaces (2013–14), which explore the aural potencies of everyday spaces and objects, Treatise continues the possibilities within Cardew’s score for open, performative interpretation.

    Christine Sun Kim and Thomas Mader, Classified Digits, 2016, video (still). Courtesy of the artists and Carroll / Fletcher, London.

    Mia Salsjö’s multi-faceted project reveals the processes and final outcomes of the artist’s acts of self-reflexive translation and scoring. Salsjö assigns notes to letters of the alphabet, and translates into music certain words that she feels correspond to her practice. She plots and expands these repetitive fragments into complex drawings (a number of which were on display), which also respond to architectural and spatial structures. Her work Modes of Translation (2016–17) was influenced by one particular site–the buildings of the National Schools complex in Havana, Cuba–and the final two-channel video featured nine violin students performing Salsjö’s composition under one of the school’s crumbling domes.

    Angelica Mesiti, Relay League, 2016, video still. Commissioned by Artspace, Sydney. Image courtesy the artist, Anna Schwartz Gallery, Melbourne and Galerie Allen, Paris.

    Both Gray and Salsjö are Australian artists, reflecting one of The Score’s key strengths: its clear focus on local artists and histories. Thus the inclusion of an important figure of European modernism, Ludwig Hirschfeld-Mack, is framed around the artist’s later involvement as a teacher at Geelong College in the 1940s and 1950s. The exhibition includes a number of stringed box constructions called Colour Chords, which Hirschfeld-Mack created during his time in Geelong. By exhibiting Hirschfeld-Mack’s instruments and watercolours alongside the earlier crayon and pencil compositions of Australian Modernist artist Roy de Maistre, the exhibition hints at the geographically and culturally complex interplays between and within twentieth-century modernisms. This sense of dispersed origins is also evident through Agatha Gothe-Snape’s contemporary piece Inexhaustible Present (2013), which contained a fitting tribute to pioneering New Zealand artist and filmmaker Len Lye. From the 1930s onwards Lye created his ground-breaking direct animation films by referring to optical soundtracks, with the shapes of the phrases inspiring his scratchings and stencilling on celluloid.

    John Cage, Fontana Mix (Orange/Tan), 1981, Screenprint on Arches paper, with three celluloid (mylar) templates printed in black ink. Courtesy of the artist and Carl Solway Gallery, Cincinnati.

    The influence of other forebears such as John Cage and Steve Reich cast long shadows in The Score, but it is the local and younger international artists who stand out. With such a rich thematic basis, it would surely have been tempting to include works by international art stars like Anri Sala or Christian Marclay, who have become well-known for working with such themes. And as impressive as their works often are, the exhibition is stronger for their absence. Thus instead of seeing Marclay’s Mixed Reviews (American Sign Language) (1999), we instead have the delightful video Classified Digits (2016) by Christine Sun Kim and Thomas Mader. Despite being born deaf Sun Kim works primarily with sound, creating scores that combine standard notation and gestures from American Sign Language. Classified Digits presents a take on the improv game “Helping Hands”, acting out various awkward contemporary social encounters (such as “One person avoiding another person they know”) through Mader’s fingers and Sun Kim’s expressive face.

    Yuki Kihara, Siva in Motion, 2012, single-channel HD Blu-ray. Courtesy of the artist and Milford Galleries Dunedin.

    The intersection between physical gestures, language and storytelling found in Classified Digits is a resonant motif that weaves its way through much of the exhibition. It informs video installations by Angelica Mesiti, Sriwhana Spong and, most compellingly, Yuki Kihara’s Siva in Motion (2012), in which the artist used stop-motion after-effects to animate her performance of the Samoan narrative dance taualunga. Kihara’s movements narrate the experiences and stories from a deadly tsunami in 2009 that caused death and destruction in Samoa, Tonga and surrounding nations. Numerous artworks in The Score powerfully demonstrate how the complex relations between music, gesture, language and narrative are not only artistic concerns, but are always situated and embedded socially and politically. Particularly striking are Manyjilyjarra artist Kurltjunyintja Jackie Giles’s painting Tjamu Tjamu (2005), which translates his traditions of oral storytelling and dance into visual form and Charles Gaines’s Sound Text (2015), where the artist transforms found songs with new lyrics and harmonies derived from political texts, in this case by nineteenth-century abolitionist Frederick Douglass. These multi-faceted motifs between and within artworks may not always harmonise, but they can work both with and against each other to create a larger ensemble of resonances.

    Kate Warren is a writer, curator and researcher based in Melbourne, with a particular interest in cross-overs between contemporary art, film, photography and moving image practices. She received her PhD in Art History from Monash University in 2016.


    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.