David Wlazlo
'Project 17:  Radical Immanence,' Anna Pappas Gallery, by David Wlazlo

Teelah George, Pine, 2017, oil and enamel on linen, 92 x 76 cm

Project 17: Radical Immanence, curated by Chantelle Mitchell, Anna Pappas Gallery, 2-4 Carlton Street, Prahran. 10th February – 18th March.

In Radical Immanence, curator Chantelle Mitchell aims to present artists sincerely engaged with their material. And it is around the idea of the sincere that the exhibition as a whole both coalesces and dissolves. On the one hand, the idea of sincerity asks us to consider the artist as...

Anna Parlane
Stuart Ringholt: 'Works on Paper’ at Neon Parc, by Anna Parlane

Stuart Ringholt, Page 215 (detail), 2014, Ink and collage on offset paper, 31.5 x 24 cm

‘Works on Paper’ at Neon Parc by Anna Parlane, Neon Parc Bourke St, 3 February – 11 March 2017

It is a real pleasure to see a show of drawings by an artist primarily known, at least in Melbourne, as the guy who installed a nude disco at the Monash University Museum of Art. Stuart Ringholt’s Works on Paper at Neon Parc comprises a suite of twenty drawings that the artist made in 2014. They are intima...

Victoria Perin
Say it loud. Say it clear: 'Don't be too Polite: Posters and Activism' by Victoria Perin

Julia Church Ordinary women standing up for themselves!..., 1986 colour screenprint. Courtesy of the State Library of Victoria

Don't Be Too Polite: Posters and Activism, The Ian Potter Museum of Art, The University of Melbourne, 8 November 2016–19 March 2017

The title of Don't Be Too Polite: Posters and activism cuts off the gendered call made by the sing-song union ditty: Don't be too polite, girls, don't be too polite / Show a little fight, girls, show a little fight. A sensible (...

Amelia Winata
O’Keeffe, Preston, Cossington-Smith: Making Modernism at Heide Museum of Modern Art

O’Keeffe, Preston, Cossington Smith: Making Modernism

Heide Museum of Modern Art, 12 October 2016 - 19 February 2017

by Amelia Winata

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...

Paris Lettau
This War Never Ended: Sovereignty at ACCA

Sovereignty

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

By Paris Lettau

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 cu...

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 vibrant...

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 termed...

Helen Hughes
'The Sculpture of Bronwyn Oliver' by Helen Hughes

Bronwyn Oliver, Unicorn, 1984, paper, tissue, wire, hair, cane, 70 x 70 x 270 cm, Art Gallery of New South Wales, Sydney, Gift of the artist under the terms of the New South Wales, Travelling Art Scholarship 1986. (Photo: Jenni Carter/AGNSW) © Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney

The Sculpture of Bronwyn Oliver, curated by Julie Ewington, TarraWarra Museum of Art, 311 Healesville–Yarra Glen Road, Healesville, Victoria, 19 November 2016 – 5 February 2017.

The S...