Kate Warren
Daniel Crooks: Parabolic | Miyanaga Akira: REALTIME

Daniel Crooks, Parabolic

Anna Schwartz Gallery, 11 February – 1 April 2017

Miyanaga Akira, REALTIME

National Gallery of Victoria, 18 November 2016 – 30 April 2017

By Kate Warren

The growth of the large metropolitan cities of modernity occurred largely alongside the invention and proliferation of camera technologies in the nineteenth century. It is therefore not surprising that many of the earliest, and most iconic images from the histories of photography and cinema feature cities or...

Francis Plagne
David Hockney: Current

David Hockney: Current

National Gallery of Victoria, 11 November 2016 – 13 March 2017

By Francis Plagne

With David Hockney: Current, the NGV has made the unusual decision to devote a major exhibition to a selection of work from the last decade by a 79 year-old artist active since the early 1960s. Perhaps this can be explained by the popular appeal of the iPhone and iPad drawings that make up much of David Hockney's output in this period, but the choice is interesting insofar as the narro...

David Wlazlo
Project 17:  Radical Immanence

Project 17: Radical Immanence

Anna Pappas Gallery 10 February – 18 March 2017 Curated by Chantelle Mitchell

By David Wlazlo

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 a figure deeply engaged in their material, absorbed in it. Yet on the other han...

Anna Parlane
Stuart Ringholt: Works on Paper

Stuart Ringhold, Works on Paper

Neon Parc Bourke St, 3 February – 11 March 2017

By Anna Parlane

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 intimate works, but are unlike the discomforting intimacy of Ringholt’s more spectacular parti...

Victoria Perin
Don't be too Polite: Posters and Activism

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...

Amelia Winata
O’Keeffe, Preston, Cossington-Smith: Making Modernism

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


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...

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...