Visual Arts
How rare an experience it is to be in an exhibition where you feel you are in the presence of the artist at work. It is as if you are watching the artist’s hand and eye moving swiftly in perfect unison as he outlines the object of his intense looking, repeating contours, making corrections, starting afresh, appearing to breathe life into his subjects, and thinking all the while.
... (read more)Orienteering: Painting in the Landscape edited by Heather Briggs
The allegory of the cave in Plato’s Republic represents Western metaphysics’ defining narrative on the nature of light. In this famous fable of shackled prisoners, humankind is confined to a realm of falsity and shadow from which they can only escape by breaking free into the light of day, where the power of illumination reveals the truth of the world.
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The 59th Venice Art Biennale is an invitation to imagine. After the pandemic caused the event to be postponed for just the third time in its 127-year history (the other two instances being the two world wars), there was hope at the beginning of the year that this would be ‘the Biennale of rebirth’, marking a return to some kind of normal. Amid widespread global crisis, this could easily be dismissed as an optimistic goal ...
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We all know that emancipatory drives in the late twentieth century dislodged the hegemonic politics of social normativity through the movements of second wave feminism, civil rights, and gay activism, but it’s worth remembering that some rights took longer than others. Homosexuality was only fully decriminalised in Australia in 1997 (Tasmania being the last state to do so); same-sex marriages were not legalised until 2017.
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Australia’s regional galleries hold rich collections that demonstrate a powerful communal need to collect and display art. Victoria’s regional cities, in particular, are notably well endowed with public art collections and handsome buildings to house them. The gold rush towns were at the forefront in establishing public art galleries: the first, in Ballarat, was founded in 1884; Bendigo followed in 1887. There are now nineteen of them fairly evenly positioned across the state – between one and six hours’ drive from Melbourne – from Warrnambool (1886) in the south-west and Mildura (1956) in the north-west to Bairnsdale (1992) to the east.
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Australians might be forgiven for thinking that the history of classical music – as an art form with origins in Europe – is something that happens elsewhere, that we are little more than observers (and listeners) of a tradition that is essentially the property of others. Melbourne-born Percy Grainger (1882–1961), however, presents us with an unambiguous claim to being a classical composer of lasting historical significance. And yet his music is also not performed, or celebrated, here with anything like the frequency and enthusiasm that it is overseas.
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This is a beautiful, thought-provoking, and timely exhibition about the enduring power and relevance of myth to humanity. In fact, visitors get two exhibitions in one, in the way that TarraWarra Museum of Art does exceptionally well: with contemporary art speaking back to Australian modernism – the original core of the museum’s permanent collection.
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The opening weekend of The View from Here at the refurbished Art Gallery of Western Australia (AGWA) happened to coincide with the Perth International Jazz Festival. The city was abuzz with crowds enjoying long delayed sunny skies and free open-air jazz concerts. Scaffolding had disappeared from AGWA’s façade just in time.
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