Joseph Kosuth, 'Neon', 1965. Photography: Zan Wimberley. Courtesy Joseph Kosuth Studio and Anna Schwartz Gallery.
Joseph Kosuth, A Short History of My Thought, Anna Schwartz Gallery, Melbourne, 7 October–25 November 2017
Coupled with the pervasive hum of the neon transformers, Joseph Kosuth's A short history of my thought at Anna Schwartz Gallery is a grab-bag of his past fifty years working with neon. Far from any noir promise historically associated with the technology, the neon works..
Darren Sylvester, Céline, 2017. Courtesy the artist and Neon Parc.
Darren Sylvester, Céline’, Bus Projects, Collingwood. October 4 - 28.
Stepping through the front door of Bus Projects and being met by Darren Sylvester’s Céline, I am reminded of Anna Viebrock’s set design for the exhibition The Boat is Leaking. The Captain Lied at the Fondazione Prada in Venice. Viebrock, a stage designer by trade, was invited by curator Udo Kittelman to take part in the exhibition alongside Thomas D...
Brent Harris, land's end # 1, 2017. Photography by Andrew Curtis.
Brent Harris, the small sword, Tolarno Galleries, September 28 – November 4, 2017
Hallucinations between figure and ground flicker across the surface of many of Brent Harris’s compositions in his new exhibition at Tolarno Galleries, the small sword. In the studio (2017), for example, the main figure’s cartoonish outline—that most primitive of compositional devices that distinguishes an object from its background—...
Mia Salsjö, Modes of Translation, 2017, production still. Image courtesy of the artist.
The Score, The Ian Potter Museum of Art, August 1 – November 5, 2017. Curated by Jacqueline Doughty.
One of the things I enjoy most about going to an orchestral performance are the moments when the musicians onstage complete their final warm-ups, exercises and tunings. Being not yet focused into a single force, the performers’ last-minute preparations are individual and not precisely coordinated or h...