• Tony Clark: Chinoiserie Landscape 1987 - 2017
    Murray White Room
    16 Feb –
    29 Mar 2018
    By Francis Plagne
    17 Feb 2018

    Paul Taylor’s famous ‘Popism’ manifesto of 1982 included an exhortation to Australian artists to embrace the gulf separating them from the traditional centres of Western art history, to craft an art ‘born in mediation, gestated within the camera, where things are naturally upside-down, and expressed in a carnivalesque array of copies, inversions and negatives’. The same year, Tony Clark held his first solo exhibition, at John Nixon’s Art Projects in Melbourne, consisting of a series of modest, sloppily painted canvas boards depicting classical architectural and sculptural motifs arranged along a wooden shelf under the elusive title Technical Manifesto of Town Planning. To some, Clark’s work seemed the perfect embodiment of Taylor’s ideas, seeming to delight in its own poverty, in the comic mismatch between the grand traditions to which it referred and the amateurish, haphazard nature of its painting. This tension is perhaps at its most pronounced in the Sacro-Idyllic Landscapes of 1983, which reduced the twin tropes of classical landscape painting (classical architecture embedded in idyllic nature) to almost pathetic smudges set against monochrome grounds.

    Similarly, Clark’s most famous project, the Myriorama series (begun in 1985, to which the artist continues to add) deliberately strips the tradition of landscape painting of its aura. Inspired by a game created by John Clark in 1824 in which 16 cards representing aspects of a landscape, each with the same horizon line, can be combined to create (according to John Clark’s own calculations) 27,922,789,880,000 different views, Clark’s Myriorama paintings use the same technique of matching horizon lines that can be used to connect any number of individual panels into a larger scene. Clark thereby applies the serial logic of minimalism and pop art to the hallowed genre of the landscape, questioning the role played by convention and formula within a genre that has often been admired as exemplifying the artist’s attempt to catch a pure glimpse of nature outside of culture and habit.

    Tony Clark, Chinoiserie landscape, 1989, oil and synthetic polymer on paper, 10 leaves, 28 x 41 cm.

    However, as Graham Forsyth noted in an insightful essay on Clark published in 1997, the view onto Clark’s work provided by the lens of postmodern irony is only partial. For, as much as Clark’s continuous rearticulation of classical tropes in his work seems calculated to take the measure of his distance from them, his paintings also seem to invoke classical traditions as ‘homages to a continuing source of inspiration’. In Clark’s own words: ‘Irony is a subordinate element in the project. It is part of the structure of the work, part of the initial set-up, the machine. By having it there in that way it then leaves me free to develop an attachment to the imagery, and see what I can do it with it, where I can take it. It leaves me free to discover that “I love this stuff”’.

    This notion of ironic distance as a freeing space of creative possibility is borne out to some extent by the exhibition of Clark’s Chinoiserie paintings currently on display at Murray White Room. Rather than being directly inspired by east Asian art and culture, Clark’s Chinoiserie works draw on the European fad, which reached its highpoint in the 18th century, for art, architecture, and decoration making use of Chinese imagery and aesthetics, often combined with influences from India and the Near East in a catch-all form of exoticism that licensed some of the most gloriously excessive decorative impulses of the Rococo period.

    Tony Clark, Chinoiserie landscape, 1988, oil on canvas board, 50.8 x 25.4 cm.

    Most of Clark’s Chinoiserie paintings (the majority of which were produced in the late 1980s and all of which are generically titled Chinoiserie landscape) feature a stereotypically Chinese pagoda, a common feature of many 18th century European gardens in the ‘Chinese’ style. However, rather than being painted from photographs of surviving structures or historical depictions, Clark’s paintings are in the main depictions of rudimentary plasticine models made by the artist himself, a process that, somewhat paradoxically, both further emphasises Clark’s ironic remove from his subject matter and brings this series of works close to the tradition of the studio still life. Clark works up a variety of styles of image from the simply motif of the pagoda (often accompanied by trees): slapdash works on board or paper that place the pagoda against monochrome backgrounds; pieces that seem inspired by enamelware designs, depicting the pagoda in wispy arabesques; more polished works that model the plasticine figures naturalistically against arbitrary decorative backgrounds that take on the appearance of wallpaper or linoleum floor tiles. As this variety of styles and manners shows, Clark himself says, his interest is less in the clichéd imagery itself than in finding out what he can do with it, where he can take it.

    Tony Clark, Chinoiserie landscape, 1987, oil on canvas board, 30.5 x 45 cm, diptych.

    Yet, despite the variety on display, the impression that the exhibition makes overall is somewhat dull. Despite Clark’s insistence that his work is not a sort of theoretical demonstration of postmodernism, at times the work fails to compel as painting. Many of the more decorative pieces, for example, are more interesting for the questions they drag up about hierarchies of taste than in their own somewhat underwhelming, mannered appearance. Equally, the inoffensive nature of much of the exhibition reminds us that Clark’s work, for all its questioning of the tradition of the picturesque, also makes itself available for use as simply one more, degraded instance of this tradition – as evinced by the reproduction of one the Myrioama panels on the cover of an issue of Reader’s Digest and, perhaps, depending on how much irony one wishes to ascribe to Malcolm Turnbull, by the conspicuous presence of several panels from the series in the current decorative scheme of the Prime Minister’s office. (Of course, given Clark’s commitment to unsettling the boundaries between the high and the low, this ambiguous other life of his paintings is a sort of triumph for Clark.)

    Tony Clark, Chinoiserie landscape, c.1988, oil on canvas board, 30.5 x 22.5 cm.

    The most satisfying paintings in the show are the most casual and seemingly throw-away, such as a lovely 1990 work in acrylic on black paper that, like a sheet of studies, shows two half-finished versions of the same scene amid a messy cloud of brush strokes. Like Clark’s earliest painting, this and other similar pieces in the show quite effectively bring the viewer’s efforts to form a coherent representational image out of a mass of painterly marks to the forefront of the experience of the work, prompting a depth of aesthetic engagement that, paradoxically, the more traditionally polished pieces in the show fail to inspire. These pieces also remind us that part of Clark’s importance for many of the Melbourne artists who encountered him in the 1980s (such as Geoff Lowe and Angela Brennan) was to be found in the attitude of punk irreverence of a self-taught artist who was known to paint using a head of broccoli as a brush. In Geoff Lowe’s words, ‘what was fantastic was that he didn’t try- because the history of art is full of so much trying’.

    While some of the work on display at Murray White Room might not be Clark’s most exciting, the show certainly serves as a reminder that the last large retrospective of the broccoli maestro’s work, curated by Max Delany at Heide in 1998, was held twenty years ago; another one, bringing us up to date with the last twenty years of Clark’s elusive production, would certainly be a valuable contribution to the landscape of contemporary Australian art.

    Francis Plagne is a writer and musician from Melbourne.

    Title image: Tony Clark, Chinoiserie landscape, 1987, oil on canvas board, 30.5 x 68.5 cm, triptych.)


    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.