Edgar Degas: Frieze of Dancers, 1895. Oil on canvas. Cleveland Museum of Art.
IN SIX weeks, the National Gallery of Victoria International opens its latest Winter Masterpieces exhibition, Degas, a New Vision. Works have been drawn from collections across the globe and, in the words of the NGVI’s press office, offer a ‘fresh and dynamic reappraisal of this legendary artist’s genius.’ Continue reading
40 years of broadcasting – Radio 3CR
Gertrude Contemporary, 200 Gertrude Street, Fitzroy.
Closed April 23.
COMMUNITY voice, community action. For forty years, radio 3CR has provided a voice for ordinary people with something extraordinary to say. Back, as they say, in the day, 3CR on Saturday afternoons was always worth listening to for Fitzroy’s arts community – No Limits, an arts magazine broadcast from 1:00PM featured reviews of the latest exhibitions, films, books, festivals and theatre – an essential guide for those in the know. Continue reading
White Night 2016 – Carlton Exhibition Building, Melbourne
FUNNY the comments you hear in passing when you’re out and about. White Night 2016 – a celebration of all things artistic – came and went last Saturday night and in the intervening 36 hours the twitter-sphere has been abuzz with comment. Surprisingly, a lot of that comment has been somewhat grumpy. I say surprising, because I had a ball.
Carolyn Hawkins, Sophie Westerman and Kasia Fabijańska
Australian Print Workshop, 210 Gertrude Street Fitzroy.
Closed March 24.
A STORY of threes weaves through this exhibition of 35 works by three talented and capable artists working their chosen mediums. All were scholarship recipients in 2015 – this is the fruit of their work while engaged in those scholarships, awarded through the Australian Print Workshop’s program of support for emerging artists. Continue reading
BY THE early 1980s, Warhol was not an artist in critical favour. The art world had moved on from the Pop Art and Minimalist sensibility of the 1960s and ’70s and was looking for new commentary on a western world that was changing rapidly. Warhol’s ‘art about nothing’ no longer reflected the spirit of the time or place – the zeitgeist – to use the noun of the moment. Robert Hughes, an art critic widely respected for his insight and critical rigour, wrote in The New York Review of Books in February 1982 that ‘…Warhol’s output for the last decade has been concerned more with the smooth development of product than with any discernible insights…. It scarcely matters what Warhol paints; for his clientele, only the signature is fully visible.’ Continue reading