Chelsea Hopper
Diane Arbus: American Portraits, Heide Museum of Modern Art

Diane Arbus: American Portraits

Heide Museum of Art, 21 March – 17 June 2018

By Chelsea Hopper

“You can’t take any photos”, I was told at the front desk. The request was unexpected, as restrictions of this kind for an exhibition seemed slightly dated considering how accessible and abundant images have become in our digitally soaked, super-sharing culture – not to mention how widely available many of the images seen in the exhibition are online. Was this just a cautionary move to avoid the...

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

The Field Revisited

Ian Potter Centre, National Gallery of Victoria, 27 April – 26 August

By Rex Butler

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 part of the Sydney Biennale of 1984. The second was when, again without any warning, I stood mesmerised before the front...

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
Finding the Field, Natalie Thomas and the Women's Art Register at True Estate Gallery

Natalie Thomas and the Women's Art Register Finding the Field

True Estate Gallery, The Alderman, April 11 – May 6 2018

By Amelia Winata

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 National Gallery of Victoria's majority male exhibition history. She has most memorably captur...

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...