Cover image of the review
Kate Smith, An Impression of an impression (after Rupert Bunny) 2, 2017, texta biro acrylic and oil on linen, 35.5 x 51cm. Photo credit: Andrew Curtis.

Smallness: Trevelyan Clay & Kate Smith

16 Sep 2017
Trevelyan Clay, Moments Today, Neon Parc | City 31 Aug - 20 Oct 2017 Kate Smith, An Impression of an impression, Sutton Gallery 20 Sep - 20 Oct 2017

I confess to being a sucker for bad painting. Not, that is, for all painting that fails in whatever way to be good, but for the particular style of offhand, deliberately underwhelming sub-expressionist painting most closely associated with a number of artists from Cologne who rose to prominence in the 1980s (Martin Kippenberger, Werner Büttner, and Michael Krebber being some of the most well-known). Shorn of the rock-star theatrics that many of the German artists indulged in, this trend found an echo in the work of some Australian artists, such as the casual-looking abstraction of Elizabeth Newman, who remains an important influence on many of the younger Melbourne artists working in this idiom today.

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