Brent Harris, the small sword
Tolarno Galleries, 28 September – 4 November 2017
By Helen Hughes
Hallucinations between figure and ground flicker across the surface of many of Brent Harris’s compositions in his new exhibition at Tolarno Galleries, the small sword. In the studio (2017), for example, the main figure’s cartoonish outline—that most primitive of compositional devices that distinguishes an object from its background—wobbles and warps, as if filtered through the mottled lens...
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...
The Great Indoors
Isadora Vaughan, Recalcitrant Bodies
The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 1 – 23 September 2017
By Paris Lettau
Isadora Vaughan's practice is synonymous with a certain style of sculpture and installation that has emerged over the past decade amongst a new generation of (usually VCA-trained) Melbourne-based artists. It is a style that emphasises materiality, indeterminacy and contingency, and generally promotes an aesthetic of scum, grunge and clutter. Thi...
Trevelyan Clay, Moments Today
Neon Parc, 31 August – 7 October 2017
Kate Smith, An Impression of an impression
Sutton Gallery, 8 September – 7 October 2017
By Francis Plagne
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...
Suicidal Oil Piglet, 1–9 Moreland Rd Coburg, Melbourne, 25 August – 16 September 2017
By Audrey Schmidt
Suicidal Oil Piglet, an unusual gallery name for which there is no given explanation, opened earlier this year in Coburg, Melbourne, by co-founders and artists Calum Lockey and Zac Segbedzi. Prior to SOP’s opening, the duo ran the website Melbourne Offsite Index with Hana Earles from 2015-6; documenting offsite shows staged in environments ranging from parked cars to empty...
Gertrude Contemporary, 21 High St Preston, 28 July – 9 September 2017
By Anna Parlane
The recent relocation of Gertrude Contemporary from its long-term home in Fitzroy is both cause and effect of Melbourne’s ongoing gentrification. Having occupied 200 Gertrude Street for over three decades, the gallery’s move was forced by the rising costs of remaining in this increasingly “desirable” neighbourhood—a desirability, it is worth noting, that was in part stimulated by the p...
Sidney Nolan and Elwyn Lynn, A Joint Centenary
Charles Nodrum Gallery, 17 August - 02 September, 2017
By Jane Eckett
A shared centenary, mutual admiration and a friendship spanning the final quarter-century of their lives are the ostensible justifications for the present joint exhibition of Sidney Nolan and Elwyn Lynn at Charles Nodrum Gallery, Richmond. Their friendship also extends to provenance. Fifteen years ago Nodrum showed a suite of over two-dozen drawin...
Monash University Museum of Art, 22 July – 23 September 2017
By David Wlazlo
Asking the viewer to consider sculptural responses to our technological present, Future Eaters presents a series of works that are diverse, divergent, and in many ways reductive of the ways technology is involved in our lives. Technology here—like sculpture—is equated with hardware. Of course this is a ‘common sense’ understanding of the technological, but as a premise for a show it sits uneasily w...