Rex Butler
The Two Sides of The Field: 'The Field Revisited,' Ian Potter Centre, National Gallery of Victoria, by Rex Butler

David Aspden, Field 1, 1968, synthetic polymer paint on canvas. 245.0 x 152.5 cm. Private collection, Brisbane © David Aspen.

The Field Revisited, Ian Potter Centre, National Gallery of Victoria, 27 April – 26 August.

There are perhaps three art-viewing experiences I have had that I would say changed the way I looked at and thought about art. The first was when as an undergraduate I wandered without any warning into the Colin McCahon retrospective held at the University of Sydney as par...

Anna Parlane
'Hard Feelings' at The Honeymoon Suite, by Anna Parlane

Saskia Leek, Rot, 2004, oil on cardboard. Courtesy the artist and Ivan Anthony, Auckland. Photo: André Piguet.

Hard Feelings, The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 4 May – 2 June 2018.

When The Honeymoon Suite opened in 2016, it was with Rose Coloured Glass, an exhibition of work by four artist couples that flirtatiously invited viewers to guess who was dating whom. Rose Coloured Glass wondered: can romance blossom from a shared passion for abstraction? Or vice versa? T...

Francis Plagne
'Abstraction 17: A Field of Interest, c. 1968' at Charles Nodrum Gallery, by Francis Plagne

Abstraction 17: A Field of Interest, c. 1968, Charles Nodrum Gallery, 2018. Image Credit: Gavin Hansford.

Charles Nodrum Gallery, Abstraction 17: A Field of Interest, c. 1968, 26 April - 19 May, 2018.

What is the art museum for? What is its distinctive function? Is it, as the traditional humanist explanation holds, to preserve the treasures of humanity embodied in art works, collective treasures to which the public has the right of access as a source of ‘ennobling enjoyment’ (as a Parliam...

Eva Birch
Kieren Seymour's 'Blue Blindness' at Block Projects, by Eva Birch.

Kieren Seymour, Blue Blindness, 2018. Image courtesy the artist and Block Projects.

Blue Blindness, Kieren Seymour, Block Projects, April 24 – May 19 2018

In Kieren Seymour’s previous shows the focus was primarily on human and human-like figures—sometimes friendly and cartoonish, sometimes reminiscent of Hans Bellmer’s violently fragmented dolls. In Blue Blindness these figures re-appear, but Seymour turns away from their personalities to explore questions about the nature of perception...

Amelia Winata

Natalie Thomas, For Inspiring the Women's Art Register 1975 - Ongoing (2018). Image: Natalie Thomas

Finding the Field, Natalie Thomas and the Women's Art Register, at True Estate Gallery, The Alderman, April 11 – May 6 2018

It is no secret that Natalie Thomas, AKA Natty Solo is, quote, "bored of white men." The Melbourne artist who is, perhaps, best known for her blog Natty Solo and for being one half of the collaborative duo Nat & Ali has recently been on the offensive against the Nation...

David Wlazlo
Troy Ramaekers, 'Double B-Sides' at Five Walls Projects, by David Wlazlo

Troy Ramaekers, Double B-Sides Photo credit: Tim Gresham

Troy Ramaekers, Double B-Sides, Five Walls Projects, April 4-21, suite 3, lvl 1/119 Hopkins St, Footscray.

Troy Ramaekers’ current exhibition at Footscray gallery Five Walls, titled Double-B Sides, features four deceptively simple paintings. The artist has stretched large canvases, taller than wide, and around the edge of each is a bleeding red border. This border contains a trace of the stretcher behind the canvas as well as the...

Helen Hughes
Binns’ Grids and Voids:

Vivienne Binns, From David’s jumper mark II, 2007–8, acrylic on canvas, 152.5 x 183.8cm. Image: Derek Ross.

Binns' Grids and Voids: It is what it is, what it is, Vivienne Binns at Sutton Gallery, 17 March – 14 April 2018

Vivienne Binns seems to have taught—or had some sort of mentor-like relationship with—a whole bunch of artists whose work I like: Charlie Sofo, Liang Luscombe, Trevelyan Clay, Kate Smith and Geoff Newton, to name just a few. If there is amongst some or all of these artis...

Kate Warren
Soda_Jerk's 'TERROR NULLIUS' at ACMI, by Kate Warren

Soda_Jerk, TERROR NULLIUS, 2018. Image credit: Soda_Jerk.

Soda_Jerk, TERROR NULLIUS, 20 March – 1 July, Australian Centre for the Moving Image.

TERROR NULLIUS, the “controversial” new film by artist–filmmakers Soda_Jerk (Dominique Angeloro and Dan Angeloro) opens with a slightly distorted rendition of “Advance Australia Fair”. It appropriately sets the scene for what is to come, as the film takes its viewers on a wide-ranging journey, in three acts, which emphasises the dark underside...