Gareth Sansom: Transformer
Ian Potter Centre: NGV Australia, 15 September 2017 – 28 January 2018
By Rex Butler
The Pulitzer Prize-winning critic Sebastian Smee barely got a word in during the Q & A held soon after the opening of Gareth Sansom’s retrospective at the NGV. Sansom, just about the ultimate alpha-male for all of his cross-dressing, entertained the audience with tales of his early cricketing prowess, his father returning home after the war without a limb, his e...
Joseph Kosuth, A Short History of My Thought
Anna Schwartz Gallery, 7 October – 25 November 2017
By David Wlazlo
Coupled with the pervasive hum of the neon transformers, Joseph Kosuth's A short history of my thought at Anna Schwartz Gallery is a grab-bag of his past fifty years working with neon. Far from any noir promise historically associated with the technology, the neon works—mounted on the pristine white walls of a commercial gallery—seem muted and grim, limited in their referenti...
Darren Sylvester, Céline,
Bus Projects, 4 – 28 October 2017
By Amelia Winata
Stepping through the front door of Bus Projects and being met by Darren Sylvester’s Céline, I am reminded of Anna Viebrock’s set design for the exhibition The Boat is Leaking. The Captain Lied at the Fondazione Prada in Venice. Viebrock, a stage designer by trade, was invited by curator Udo Kittelman to take part in the exhibition alongside Thomas Demand and Alexander Kluge. She completely tr...
Brent Harris, the small sword
Tolarno Galleries, 28 September – 4 November 2017
By Helen Hughes
Hallucinations between figure and ground flicker across the surface of many of Brent Harris’s compositions in his new exhibition at Tolarno Galleries, the small sword. In the studio (2017), for example, the main figure’s cartoonish outline—that most primitive of compositional devices that distinguishes an object from its background—wobbles and warps, as if filtered through the mottled lens...
The Ian Potter Museum of Art, 1 August – 5 November 2017. Curated by Jacqueline Doughty.
By Kate Warren
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 o...
The Great Indoors
Isadora Vaughan, Recalcitrant Bodies
The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 1 – 23 September 2017
By Paris Lettau
Isadora Vaughan's practice is synonymous with a certain style of sculpture and installation that has emerged over the past decade amongst a new generation of (usually VCA-trained) Melbourne-based artists. It is a style that emphasises materiality, indeterminacy and contingency, and generally promotes an aesthetic of scum, grunge and clutter. Thi...
Trevelyan Clay, Moments Today
Neon Parc, 31 August – 7 October 2017
Kate Smith, An Impression of an impression
Sutton Gallery, 8 September – 7 October 2017
By Francis Plagne
I confess to being a sucker for bad painting. Not, that is, for all painting that fails in whatever way to be good, but for the particular style of offhand, deliberately underwhelming sub-expressionist painting most closely associated with a number of artists from Cologne who rose to prominence in the...
Suicidal Oil Piglet, 1–9 Moreland Rd Coburg, Melbourne, 25 August – 16 September 2017
By Audrey Schmidt
Suicidal Oil Piglet, an unusual gallery name for which there is no given explanation, opened earlier this year in Coburg, Melbourne, by co-founders and artists Calum Lockey and Zac Segbedzi. Prior to SOP’s opening, the duo ran the website Melbourne Offsite Index with Hana Earles from 2015-6; documenting offsite shows staged in environments ranging from parked cars to empty...