Curated by Emily Cormack, the 2018 TarraWarra Biennial positions itself as a paean to the liveliness of artistic gesture. The exhibition’s curatorial frame invokes the notion of ‘will’, derived from Friedrich Nietzsche’s infamous notion of the will to power ...... (read more)
In a seminal essay titled ‘Grids’ (1978), the American art theorist Rosalind Krauss argued that, as a structure, the grid was emblematic of modernist ambition, encapsulating modernism’s streamlining project through the expunging of forms and conventions extraneous to it. The grid embodied a kind of will to silence ...... (read more)
The four solo survey exhibitions currently staged at NGV Australia as its Summer 2017–18 program emphatically delineate the institution’s position on contemporary art. While the juxtaposition is headily abrasive, the aggregate speaks plainly of certain attributes that it is keen to foreground. Contemporary art, embodied by this ...... (read more)
Sophie Knezic reviews 'Biennials, Triennials, and documenta: The exhibitions that created contemporary art' by Charles Green and Anthony Gardner
Charles Green and Anthony Gardner’s Biennials, Triennials, and Documenta: The exhibitions that created contemporary art represents an apposite study of the biennials and triennials – also known as mega-exhibitions – that are proliferating around the world. Apposite since, with the exception of Bruce Altshuler’s two-volume account from 1863 ...