ABR Arts Visual Arts

Manet and Modern Beauty

Patrick McCaughey
Monday, 23 September 2019

Five years ago, the J. Paul Getty Museum acquired Édouard Manet’s Jeanne (Spring), 1882, for US$61 million – a record for the artist. It was a bold acquisition, for later Manet – he died in 1883 – has never enjoyed the critical esteem of the earlier. Absurdly so, if you recall that the incomparable Bar at the Folies Bergère ...

... (read more)

Civilization: The Way We Live Now

Alison Stieven-Taylor
Monday, 16 September 2019

In the age of the image, photography being omnipresent, what can pictures tell us about ourselves as individuals and about the human race? What does an image of the constructed world reveal about our relationship to one another? Does our pursuit of tomorrow render the present expendable ...

... (read more)

Monet: Impression Sunrise

Keren Rosa Hammerschlag
Wednesday, 12 June 2019

What makes this Monet exhibition different from any other Monet exhibition? This was the question at the forefront of my mind as I approached the National Gallery of Art’s exhibition Monet: Impressionism Sunrise. As one would expect, it is an exhibition about painting – colour, brushstroke, the rendering of light and dark by artists who ...

... (read more)

The Golden Age on St Kilda Road

Patrick McCaughey
Thursday, 16 May 2019

A shift in the European mind is taking hold. The stable democracies of Germany and the Netherlands contrast sharply with an unstable France and a demagogic Italy. The northern tier has an increasing authority, politically and culturally. Art historically, the Amsterdam–Berlin axis challenges the hegemony of the Paris–Rome accord ...

... (read more)

Juno Gemes: The Quiet Activist, A Survey Exhibition 1979–2019

Alison Stieven-Taylor
Wednesday, 15 May 2019

In some ways, the title of this forty-year survey is at odds with Juno Gemes herself. There is nothing quiet about Gemes’s vision or her passion for telling stories that challenge preconceptions and cultural norms. Perhaps where the notion of ‘quiet’ comes from is in her subtle narratives, which are wrapped in concepts of the ordinary ...

... (read more)

Māori markings: Tā moko

David Hansen
Monday, 25 March 2019

The traditional Western art museum is struggling a bit. Its former role as a repository of national values, as reified and aestheticised in paintings, sculpture, and the decorative arts, is today challenged if not assaulted on multiple fronts: ranging from economic, political, and social globalisation, to digital technology ...

... (read more)

Roger Ballen’s art is not for the faint hearted; it is confronting, haunting, and at times repellent. It is also fascinating, brilliant, and jaw-dropping. These images seethe with malodorous discontent, menace, and psychosis. The best way to experience his photographs is to surrender and resist the desire to read the images literally ...

... (read more)

Edward Burne-Jones: Pre-Raphaelite Visionary (Tate Britain)

Christopher Menz
Thursday, 24 January 2019

Sir Edward Coley Burne-Jones, Baronet, (1833–98) to give him his full entitlement, is an artist who polarises people. Some relish his otherworldly and imaginative narrative subjects, the rich and saturated palette, the sumptuous decorative surfaces. Others respond in the same way as one of the ‘vivid young moderns’ overheard by ...

... (read more)

Some time ago I appeared on a morning radio program with a prominent guru of Australian culture who roundly declared that Andy Warhol was ‘a one trick pony’. Neither remonstration nor persuasion could help the guru out of his imperturbable complacency. He had summed up Warhol in a sentence – what more need be said?

... (read more)

The National Gallery of Australia’s current Pre-Raphaelite survey exhibition, co-curated by Carol Jacobi from Tate and Lucina Ward from the NGA, feels like a family reunion. John Everett Millais’s Ophelia (1851–52) and John William Waterhouse’s The Lady of Shalott (1888) have made the long voyage from ...

... (read more)