Beth Kearney
Ramesh Nithiyendran: In the beginning

Elaborate Irreverence

Ramesh Mario Nithiyendran, In the beginning

Ian Potter Museum of Art, University of Melbourne, 22 November 2016 – 26 February, 2017

By Beth Kearney

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 palette into the University of Melbourne gallery. Despite Nithiyendran’s potentially off-pu...

Giles Fielke
Lucina Lane: Range

Aspiring to Anti-Aspiration

Lucina Lane, Range

White Cuberd, 8pm – 10pm, 15 January 2017

By Giles Fielke

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 a si...

Helen Hughes
The Sculpture of Bronwyn Oliver

The Sculpture of Bronwyn Oliver

TarraWarra Museum of Art 19 November 2016 – 5 February 2017 Curated by Julie Ewington

By Helen Hughes

The Sculpture of Bronwyn Oliver is the first major survey of the work of Australian artist Bronwyn Oliver (1959–2006). Though her career was cut short by her premature death at age forty-seven, the body of work presented within this exhibition has a pulse—writhing with movement and flickering with energy.

Oliver, a Sydney-based artist who undertook severa...

Rex Butler
Suzanne Archer: Moving Forwards, Looking Back: A Survey 1969–2016

Suzanne Archer: Over-looked

Suzanne Archer, Moving Forwards, Looking Back: A Survey 1969–2016

Nicholas Thompson Gallery, 155 Langridge Street, Collingwood, 17 December 2016 – 29 January 2017

By Rex Butler

When the well-known painter Gareth Sansom opened Suzanne Archer’s show at the Nicholas Thompson Gallery in December, he made the rather large claim that two of the paintings—Coalesce (1993) and Ant holes and Bandy-Bandy (1994)—were the best he’d seen in Melbourne all year.

It’s a...

Memo Review
Statement from Memo Review

In 2016, The Age ended its weekly art review column, which it had been publishing for well over a century. For the first time, the public space occupied by the local art review has effectively been vacated in Melbourne. The art review is an important forum where meaningful dialogue and exchange can take place between artists, gallerists, critics, collectors and the public. Without a regular review, the art world lacks a meeting place where common ground can be found, be it to settle scores or...