Richard Mosse, Incoming, (2015–16), three channel black and white high definition video, surround sound, 52 min 10 sec (looped).
Triennial, NGV International, December 17, 2017 – April 15, 2018.
Buried within the question recently explored by Felicity D. Scott, ‘Who is the festival for?’, is the rapidly fading possibility of a public. It is a discourse that seems to slip too easily into arguments about the centrist compromise of regulated-, or neo-liberal, architectures of the state....
Del Kathryn Barton, inside another land, 2017, synthetic polymer paint on inkjet print (1 of 75 parts), edition: 2/2, 83.0 x 69.0 x (sheet, each). Collection of the artist, © Del Kathryn Barton.
Del Kathryn Barton, The Highway is a Disco, Ian Potter Centre: National Gallery of Victoria Australia, Federation Square, Level 3, 17 November 2017 – 12 March 2018
Although Memo Review has already examined an exhibition from the National Gallery of Victoria's quadruple billing of female Austral...
Helen Maudsley, The Self: Part of it But Not Merging, 2017, oil on canvas, 52.5 x 40.0 cm © Helen Maudsley
Our Knowing and Not Knowing: Helen Maudsley at the Ian Potter Centre: National Gallery of Victoria Australia, 17 November 2017 – 12 March 2018
Curated by National Gallery of Victoria contemporary art curator Pip Wallis, Our Knowing and Not Knowing: Helen Maudsley is one of four summer solo shows on the third floor of the NGV Australia, including Louise Paramour, Mel O'Callaghan and...
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...
Brave New World: Australia 1930s, installation view, NGV Australia, courtesy NGV.
Brave New World: Australia 1930s, Ian Potter Centre, National Gallery of Victoria, until 15 October
Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, until 8 October
Brave New World: Australia 1930s and Call of the Avant-Garde: Constructivism and Australian Art are both important new museum shows. They involve a serious investment of institutional resources. They d...
Vincent van Gogh, Self-portrait, 1887 , oil on canvas, 44 x 35 cm © Musée d'Orsay
Van Gogh and the Seasons, NGV International, St Kilda Road, Melbourne, 28 April – 9 July 2017
There are many extraordinary works of art to be seen in Van Gogh and the Seasons and yet certain aspects of the National Gallery of Victoria exhibition are disappointing. Individual paintings that stand out as masterpieces of modern art are shown side by side with frankly insignificant and minor pieces. In additio...
Bill Henson, Untitled 2009/10 2009-2010, inkjet print, 102.4 x 152.0 cm (image) 126.5 x 177.6 cm (printed image border) 127.1 x 184.6, cm (sheet), ed. 2/5, National Gallery of Victoria, Melbourne, Purchased, Victorian Foundation for Living Australian Artists, 2012.
Bill Henson, NGV International, St Kilda Road, Melbourne, 10 March - 27 August
Even now, it is difficult to visit a Bill Henson exhibition without
being burdened by the controversy that occurred at Roslyn Oxley9 just
Daniel Crooks, Parabolic (installation view). Image courtesy the artist and Anna Schwartz Gallery
Daniel Crooks, Parabolic, Anna Schwartz Gallery, 11 February – 1 April 2017.
Miyanaga Akira, REALTIME, National Gallery of Victoria International, 18 November 2016 – 30 April 2017.
The growth of the large metropolitan cities of modernity occurred
largely alongside the invention and proliferation of camera technologies
in the nineteenth century. It is therefore not surprising that many...