Amelia Winata
'O’Keeffe, Preston, Cossington-Smith: Making Modernism' by Amelia Winata

O’Keeffe, Preston, Cossington Smith: Making Modernism Heide Museum of Modern Art, 12 October 2016 - 19 February 2017

Two things are glaringly obvious in just the title of Heide’s Summer exhibition O’Keeffe, Preston, Cossington Smith: Making Modernism. The first, of course, is the apparent refusal of the hegemonic history of modernism: that the pivotal period in art history was shaped by a bunch of dudes. The second is that the curators have attempted to render redundant the cultural cringe...

Paris Lettau
This War Never Ended: 'Sovereignty' at ACCA, by Paris Lettau

Sovereignty, Australian Centre for Contemporary Art, curated by Paola Balla and Max Delany, 17 December 2016 – 26 March 2017

Anyone familiar with contemporary art exhibitions, art fairs and international biennales might notice that Sovereignty just doesn’t quite feel like an exhibition of contemporary art. And it raises one question: Why is this?

It can’t only be explained by Sovereignty’s display of cultural products that aren’t “fine art”, because contemporary art curators regu...

Beth Kearney
Elaborate Irreverence: Ramesh Nithiyendran's 'In the beginning' by Beth Kearney

Ramesh Mario Nithiyendran, In the Beginning, 2016, Installation view, Ian Potter Museum of Art. Photo: Christian Capurro

Ramesh Mario Nithiyendran: In the beginning, Ian Potter Museum of Art, University of Melbourne, Parkville, 22 November 2016 –26 February, 2017.

Ramesh Mario Nithiyendran’s solo exhibition In the Beginning is arresting. Covertly located on the top floor of the Ian Potter Museum of Art, the Sri Lankan–born, Sydney-based artist introduces confronting imagery and a vibra...

Giles Fielke
Aspiring to Anti-Aspiration: Lucina Lane's 'Range' by Giles Fielke

Lucina Lane Range, (2017) Photo: Christo Crocker.

Lucina Lane, Range, White Cuberd, 8pm-10pm, 15 January 2017

Off-site art exhibitions have seen something of a resurgence in Melbourne over the past few years. There are a number of reasons for this, not the least being the rapidly rising cost of rent in the city, which seems to force a commercialise or perish imperative on artists exhibiting work early in their career. Mediating the reappearance of ‘recession art’, as Peter Cripps ter...