Jane Eckett
Clement Meadmore: The art of mid-century design

Clement Meadmore: The art of mid-century design

Ian Potter Museum of Art
20 November 2018 – 3 March 2019

By Jane Eckett

Distinctions between art and design are notoriously difficult to make; the imperative of functionality is far from unique to design while a concern with communicative strategies and the formal elements of design (line, colour, volume and so on) are often common to both. The popularity of those umbrella terms 'creatives' and 'the creative industries' in present day usage...

Benison Kilby
State of the Union

Double Issue

This week Memo Review publishes two reviews of two major exhibitions currently open at the Ian Potter Museum of Art: State of the Union and Eavesdropping.

Below Benison Kilby focuses on the problematics of artistic labour and trade unions in State of the Union.

Sophie Knezic, whose review is available by clicking here, considers the social and political stakes of the question of sound, surveillance and listening in Eavesdropping....

Memo Review
Best and Overlooked of 2018

Best and Overlooked of 2018

Memo Review asked three of our contributors to write on a show they have especially liked but that we haven't had a chance to review. As a special issue we publish these reviews from Tiarney Miekus, Amelia Winata and Giles Fielke.

Ella Sowinska 80 Ways

recess, Friday 30 March – 30 April 2018

By Tiarney Miekus

Considering the amount of things that can be streamed online (i.e., entire lives), it's peculiar how art is a thing that supposedly doesn't...

Julia Lomas
Angela Brennan: Forms of Life

Angela Brennan, Forms of Life

Ian Potter Museum of Art, 5 September 2017 – 25 February 2018

By Julia Lomas

In Angela Brennan’s exhibition at the Potter, a wall painting of textual fragments poses the question: “What do you want a poet for? To save the city of course!” Brennan’s engagement with the artefacts of early Greek and Cypriot civilization has been framed as an investigation into how such signs, symbols and forms persist through the ages, contributing, as director Kelly Gelatly’s c...

Kate Warren
The Score

The Score

The Ian Potter Museum of Art, 1 August – 5 November 2017. Curated by Jacqueline Doughty.

By Kate Warren

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 harmonised. Nonetheless, they blend and complement each other, creating a mix o...

Victoria Perin
Don't be too Polite: Posters and Activism

Say it loud. Say it clear

Don't Be Too Polite: Posters and Activism

The Ian Potter Museum of Art, University of Melbourne, 8 November 2016 – 19 March 2017

By Victoria Perin

The title of Don't Be Too Polite: Posters and activism cuts off the gendered call made by the sing-song union ditty: Don't be too polite, girls, don't be too polite / Show a little fight, girls, show a little fight. A sensible (if regrettable) choice, as indeed the un-fair sex is also represented in this exhibitio...

Beth Kearney
Ramesh Nithiyendran: In the beginning

Elaborate Irreverence

Ramesh Mario Nithiyendran, In the beginning

Ian Potter Museum of Art, University of Melbourne, 22 November 2016 – 26 February, 2017

By Beth Kearney

Ramesh Mario Nithiyendran’s solo exhibition In the Beginning is arresting. Covertly located on the top floor of the Ian Potter Museum of Art, the Sri Lankan–born, Sydney-based artist introduces confronting imagery and a vibrant palette into the University of Melbourne gallery. Despite Nithiyendran’s potentially off-pu...