Grace Crowley & Ralph Balson may well get lost in the promotion of other exhibitions at the National Gallery of Victoria, but it is one not to be missed. Charting Crowley and Balson’s artistic journeys from the 1930s to the 1960s and their shared commitment to abstraction, it is an elegant, beautiful show that affords the rare opportunity to experience their work in depth. Beginning with the ... (read more)
Kelly Gellatly
Kelly Gellatly is an experienced arts leader, advocate, curator, and writer. She is Founding Director of Agency Untitled, an online publishing platform. She has curated more than fifty exhibitions of the work of leading Australian and international artists and has published extensively on contemporary art, Australian modernism and photographic practice. Kelly was Director of the Ian Potter Museum of Art, University of Melbourne from 2013–20; Curator of Contemporary Art at the National Gallery of Victoria, Melbourne from 2003–13, and has held curatorial positions at Heide Museum of Modern Art and the National Gallery of Australia, Canberra.
‘The vulnerability of being an artist is a really hard thing to contend with, but it’s also very interesting to navigate. To keep putting out bodies of work that are reflections of how you think is an inherently vulnerable thing to do. There’s also been something of a waiting out over the years for the resonance to come back to me, for people to tell me what the work has meant to them.’& ... (read more)
Given the subject matter and ethos of the 2021 TarraWarra Biennial Slow Moving Waters, it is fair to assume that it was conceived as an immediate response to the period we have just endured and the global, national, and local impact of the pandemic. Yet it was initially scheduled to open in 2020 and delayed because of Covid-19 and Melbourne’s two extended lockdowns.
... (read more)
Today, our screen-filled lives both encourage and condition us – through our collective, incessant scrolling – to dip in and to consume; a modus operandi or malaise that affects both exhibition-making and the viewing habits of audiences that are increasingly enticed and rewarded by contemporary art as spectacle – art that is immersive, often participatory in some way, and that looks great on ... (read more)