Say it loud. Say it clear
Don't Be Too Polite: Posters and Activism
The Ian Potter Museum of Art, University of Melbourne, 8 November 2016 – 19 March 2017
By Victoria Perin
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 (if regrettable) choice, as indeed the un-fair sex is also represented in this exhibitio...
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...
This War Never Ended
Australian Centre for Contemporary Art
17 December 2016 – 26 March 2017. Curated by Paola Balla and Max Delany.
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”, beca...
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...
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...
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...
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.
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...