Sophie Knezic

The Dutch printmaker M.C. Escher is one of the few twentieth-century artists who became almost universally known by the general public from the 1960s on. Constructed as visual paradoxes with impossible architectures, vaulting perspectives, and dramatic metamorphoses of form, his images startled ... ... (read more)

TarraWarra Biennial 2018: From Will to Form

Sophie Knezic
Monday, 13 August 2018

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 ...

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Hilarie Mais (TarraWarra Museum of Art)

Sophie Knezic
Monday, 05 March 2018

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 ...

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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 ...

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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 ...