Wayne Eager, Kinetic , 2017, oil on linen, 175 x 200cm
Wayne Eager New Paintings, at Eastgate Gallery, 158 Burwood Road, Hawthorn, 14 October–11 November 2017
An exhibition that caught my eye last week reminded me that the surrealists didn't seek their aesthetic thrills in Paris' modish contemporary art galleries or amongst the Old Masters in the Louvre, but in unexpected places. Somewhat off the beaten track, in an old picture framer founded in 1879, about a dozen very uncontemporary large...
Jason Phu, My Parents Met at the Fish Market, 2017. Installation image, Westspace. Photo credit: Christo Crocker.
Jason Phu, My Parents Met at the Fish Market, Westspace, 27 October – 9 December 2017.
Jason Phu’s My Parents Met at the Fish Market is the latest in Westspace’s series of solo commissions, in which all four galleries are given over to one artist. While he is younger and less experienced than previously commissioned artists, Phu is clearly up to the task of filling the sp...
Gareth Sansom, Sweeney Agonistes, 2005. Oil and enamel paint and collage of type C photograph on canvas. (a-c) 213.0 x 549.0 cm (overall). Queensland Art Gallery, Brisbane. The James C Sourris, AM, Collection. Gift of James C Sourris, AM, through the Queensland Art Gallery Foundation 2012. Donated through the Australian Government's Cultural Gifts Program (2012.472a-c)
Gareth Sansom: Transformer, National Gallery of Victoria, 15 September 2017-28 January 2018
The Pulitzer Prize-winning cr...
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...
Isadora Vaughan, Recalcitrant Bodies, installation view. Photography: André Piguet.
"The Great Indoors": Recalcitrant Bodies, by Isadora Vaughan at The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 1–23 September 2017
Isadora Vaughan's practice is synonymous with a certain style of sculpture and installation that has emerged over the past decade amongst a new generation of (usually VCA-trained) Melbourne-based artists. It is a style that emphasises materiality, indeterminacy and conting...