Red Pill and the Success of anti-post-internet art

In Matthew Greaves’s Untitled (Secrets of the Female Mind) (2013) a male artist makes a work about a woman talking about how stupid women are. The video was part of Red Pill, the second exhibition at Perth’s Success gallery in early 2016.(1) Red Pill was ostensibly about radical masculinities, a freak show of secret guy stuff. There was a glowing bar fridge full of monster energy drinks and a cherub pissing into a pool that stank of male deodorant.

The State of Painting

It was a rare treat to see three contemporary (mainly Australian) painting exhibitions in the space of a week in Melbourne and Geelong with the closing stages of 2016:  Painting. More Painting at ACCA, the NGV International’s Shut up and paint and the Geelong Contemporary Art Prize (GCAP) 2016.

Eugenia Flynn is a writer, arts worker and community organiser. She works within her multiple communities (Aboriginal, Asian, Muslim) to create change through art, literature, and community development. With over ten years’ experience in community arts and cultural development, Eugenia has worked with Kurruru Youth Performing Arts, the Wilin Centre for Indigenous Arts and Cultural Development, RISE Refugees Survivors and Ex-Detainees, and Blak Dot Gallery. Currently, Eugenia is Executive Officer of The Social Studio, a social enterprise that uses art, fashion and hospitality as a vehicle to improving the lives of young Australians who come from refugee or migrant backgrounds.

Isabelle Sully works as an artist, curator and writer. Her research is primarily concerned with the relationship between culture and administration, a lens through which the art institution is seen as legislator. Originally from Melbourne, she is now living in Rotterdam, the Netherlands, as she completes her Masters in Art Praxis at the Dutch Art Institute.  

More than Art

On June 7, 2016, a gouache and pencil painting called Ceremony by William Barak (1824–1903) sold at Bonhams auction house in Sydney for $512,400. This was a new record for the visual cultural archivist, diplomat, revered Elder and Ngurungaeta (head man) of the Wurundjeri people of the Melbourne region. (1) His work had previously reached $504,000 at auction in 2009.

Dear Lisa

Dear Lisa,(1)

It seems that something has happened(2), not something but almost, close enough. I had a dream, the show was ‘for you’—I’d had this dream before, but this was different.(3) A group of people were brought together in this place, they looked around them and had a lot to say, to us and each other, like, What the fuck where you thinking?(4)

Olivia Koh is an artist, she co-organises recess, an online platform for moving-image works with Kate Meakin and Nina Gilbert (

Diego Ramirez is an artist and writer. His research-based practice deals with the legacies of colonialism in visual culture. His writing has been featured in Art + Australia Melbourne, Runway Journal Sydney, Critical Contemporary Culture Journal London, The Article Melbourne, Fragmented Magazine Melbourne, *dumb brun(ette) Melbourne and in publications for various exhibitions. He is represented by MARS Gallery.

Super Phalluses and Western Clutter

In The Beginning is an installation by Sydney based artist Ramesh Mario Nithiyendran comprised of sculptures depicting hyperbolic phallic deities, large graffiti murals, and objects borrowed from multiple museums. This project is an extension of Nithiyendran’s engagement with the syncretism of Hindu and Christian symbolism as seen through the lens of millennial pop culture (the museum’s didactic quotes memes as a point of reference).

Tamsin Green is an artist and writer based in Melbourne. Her work is informed by histories of photography and performance practice. Recent solo exhibitions include Covers at Bus Projects and Theft: Prints and Drawings at the Eildon Gallery, Alliance Française, Melbourne. Tamsin’s work has been supported by grants from the Australia Council for the Arts, and the City of Melbourne. She currently lectures at Monash Art, Design, and Architecture.