Helen Hughes
Brent Harris: the small sword

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...

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...

Paris Lettau
Isadora Vaughan: Recalcitrant Bodies

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...

Francis Plagne
Smallness: Trevelyan Clay & Kate Smith

Smallness

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...

Audrey Schmidt
People Soup

People Soup

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...

Anna Parlane
Forever Transformed

Forever Transformed

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...

Jane Eckett
Sidney Nolan and Elwyn Lynn, A Joint Centenary

Unexpected Correspondence

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...

David Wlazlo
Future Eaters

Future Eaters

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...