Victoria Perin
‘Discovering Dobell’ | ‘Dobell’s Circle’ at TarraWarra, by Victoria Perin

William Dobell, Abstract-three figures, 1960, oil on hardboard, 16.9 x 27 cm, Private collection © Sir William Dobell Art Foundation

Discovering Dobell | Dobell's circle, TarraWarra Museum of Art, 311 Healesville-Yarra Glen Road, Healesville, 27 May – 13 August 2017

TarraWarra, clearly reaching for the best of both worlds, likes to market itself as 'privately funded, public art museum'. As a charitable not-for-profit company, the museum is sponsored by the Besen Family Foundation, whil...

Amelia Winata
Grotesque Mostest: Spencer Lai, ‘Contaminant, Figures’ at Fort Delta, by Amelia Winata

Spencer Lai, Mustard (torture device), 2017, synthetic felt, 940 x 720 mm. Image courtesy of the artist and Fort Delta.

Spencer Lai, Contaminant, Figures, Fort Delta, 6-29 July 2017

Spencer Lai's work is part of a contemporary exploration of the grotesque that taps into the destabilising qualities of late capitalism and considers its effect upon issues of identity, including gender and sexuality. This current was picked up on by Jonathan Griffin in his 2012 essay Rudely transgressing th...

Helen Hughes
Liam Osborne, 'Hot Copy', at Punk Café, by Helen Hughes

Liam Osborne, Hot Copy, Punk Cafe, Melbourne, 2017, courtesy the artist.

Liam Osborne, Hot Copy, Punk Café, 8 July – 22 July 2017

Presented by Liam Osborne, the young Melbourne artist and director/curator of the Brunswick East gallery Punk Café, Hot Copy is a meditation on themes of boredom, repetition, monotony, uselessness and impactlessness. These themes are charted both in relation to the artist's day-to-day routines (working to pay rent, to make art, etc.) and in relation to the rol...

Kylie King
'Dale Frank', at Neon Parc, Brunswick,  by Kylie King

Dale Frank, installation view, 2017, photography by Christo Crocker.

Dale Frank at Neon Parc, 15 Tinning St, Brunswick, 30 June–12 August 2017

Any presentation of Dale Frank's work could easily be passed off as a prime prop for Instagram ops. His paintings—dazzling in size and colour, slick and hyper-reflective—demand attention and entertain. Yet they are also unsettlingly grotesque and possess an overarching posture of cool detachment. Indeed, his current exhibition at Neon Parc is as muc...

Francis Plagne
'Every Brilliant Eye', at NGV Australia, by Francis Plagne

Marco Fusinato, Paintings, 1996, enamel paint on steel and composition board (a-e), 220 x 281 x 10 cm (overall), National Gallery of Victoria, Margaret Stewart Endowment, 1996, © Marco Fusinato/Licensed by VISCOPY, Australia.

Walking through Every Brilliant Eye—a large survey of the NGV's holdings of Australian Art from the 1990s curated by Jane Devery and Pip Wallis—I was struck by how much it look like parts of Melbourne Now, the NGV's sprawling 2013-2014 snapshot of contemporary art p...

Rex Butler
Russia in Melbourne: 'I can see Russia from here' curated by Chelsea Hopper, by Rex Butler

Gordon Bennett & Eugene Carchesio, Untitled, 1992, watercolour on paper. Courtesy the artists and Milani Gallery, Brisbane.

I can see Russia from here, curated by Chelsea Hopper at TCB art inc., Level 1, 12 Waratah Pl, Melbourne VIC 3000, 7 June – June 24, 2017

I walk along grimy Waratah Place in downtown Melbourne. The walls of the buildings are black from use, a chef from a nearby Chinese restaurant crouches on the pavement playing on his iPhone. I climb a flight of rickety wooden stai...

Kate Warren
Andrea Grützner, 'Tanztee and Erbgericht' at  Centre for Contemporary Photography, by Kate Warren

Andrea Grützner, Untitled 5, 2014. Courtesy the artist and Julie Saul Gallery, New York; Robert Morat Gallery, Berlin.

Andrea Grützner, Tanztee and Erbgericht at Centre for Contemporary Photography, 9 June – 23 July 2017

Writing in Artforum in 2004, Abigail Solomon-Godeau described the 'miniature guillotine' of the camera's shutter. The camera slices a moment in time from the world, removing it from its original context, but also potentially relaunching it as a new, transformed event. In...

Giles Fielke
Retrospective Hypothesis:  'On Campus', curated by Raimundas Malašauskas at Monash University, by Giles Fielke

On Campus at Monash University, February 14 – 15, 2017

Retrospective Hypothesis: On Campus curated by Raimundas Malašauskas, at Monash University, February 14 – 15, 2017

'It is said that the voice rips open reality'. This is apparently the only utterance I had thought worthwhile writing down into the blank, A5-sized notebook I had been supplied with at the beginning of On Campus. I cannot recall who suggested this maxim in the course of the two-day program that took place at Monash Univ...