Tom Roberts, Shearing the Rams
National Gallery of Victoria, Permanent Collection
By Rex Butler
I was recently showing a friend from New Zealand through the Australian
collection at the National Gallery of Victoria and we came, of course,
to Tom Roberts' Shearing the Rams (1888-90). You have to get there
eventually because everything in the collection and its arrangement on
the walls points you that way. The work is visible — and intentionally
so — as you step into the first of the room...
Baldessin/Whiteley: Parallel Visions
National Gallery of Victoria Australia, Federation Square, 31 August 2018 – 28 January 2019
By Victoria Perin
Together George Baldessin and Imants Tillers represented Australia in the 1975 Bienal de São Paulo. Although Tillers was 25 and Baldessin eleven years older, the artists bonded closely: “George represented the more conservative art world I had just decided to abandon,” notes Tillers in an interview with researcher Nicole Bowller from 2016, “but...
Colony: Australia 1770–1861 / Frontier Wars
Ian Potter Centre, National Gallery of Victoria. Colony: Australia 1770–1861 until 15 July | Colony: Frontier Wars until 30 September
By Rex Butler
Colony is undoubtedly the best show the NGV has put on since Australian Impressionists in France in 2013. And I’d even say that the two shows are connected. Seriously. Both shake up our conception of what “Australia” is and perhaps even more profoundly where “Australia” is. Certainly, a number...
Every Brilliant Eye
Ian Potter Centre, National Gallery of Victoria
By Francis Plagne
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 practices in Melbourne. It is not only that many of the same names reappear, sometimes with work little changed by the twenty years separat...