The MAF Curatorial Theme, 2024: ‘…A word of the Boon Wurrung, ketherba to us expresses a togetherness imbued with promise, one that not only transcends but embraces difference and gives cause for hope…’
There was an infectious sense of anticipation and almost a collegiate ‘back to school’ sense of connection and excitement for the VIP Preview of the Melbourne Art Fair at the MCEC last week. The fair, now in its 35th year, continued to project a refreshingly unique identity generally (but not exclusively) best achieved by those galleries who followed the fair organiser’s encouragement to focus on presenting significant bodies of work by individual artists.
This concept was first mooted by the organisers for the most recent fair in 2022 and two years on, the galleries who embraced this strategy treated the visitor in 2024 to some exceptional presentations of curatorial clarity, rarely experienced at an art fair overseas, let alone in Australia. Combined with a generous floor layout for the 60 participating galleries, there were multiple opportunities to pause and relish the space each booth carved out, giving presentations space to ‘breath’.
The single artist format was best achieved by a number of galleries, including an exceptional collection of works by Yvonne Audette at Charles Nodrum Gallery. Recognised as one of the two or three greatest Abstract painters Australia has produced, it was an absolute treat to view works on paper and significant oil paintings on board from the 1950’s right through to the 1980’s. These years include Audette’s time living and working in the US and Europe where she was influenced by her fellow artists (including de Kooning, Motherwell, Kline, Pollack and Twombly) and her appeal remains universal. Now in her 94th year, Audette’s deserved recognition continues apace with the gallery reporting that, as of the end of day 2 of the fair, only a couple of works remained unsold and most interestingly, buyers were from multiple demographics – young and old, new and established collectors.
Equally, at MARS Gallery, the evocative Hopper’esq paintings of Dani McKenzie were hot property with only 2 works remaining before the Vernissage even began on the first day. By Saturday morning, the stand was a sell-out.
Over at Martin Browne Contemporary the work of Ildiko Kovacs made their mark. Works on board were complimented with an entire wall hung with a candy store choice of works on paper; deciding which to choose was almost too much! Many did though and the gallery reported strong sales.
New discoveries included the captivating work of Tia Ansell at LON Gallery. Recently returned from a residency at Lottozero Textile Laboratories in Prato, Italy, the show was a total sell out. One also couldn’t escape the emotional impact of Ali Tayahori’s works which are composed of archival photographs printed on glass at This is no fantasy. Again, completely sold out. This emerging artist is going from strength to strength with international projects on the go throughout 2024.
Deciding to go their own way with a successful mixed group showing were Fox Jensen McCrory with an exceptionally refined presentation including works by British artist, Mark Francis and the ever-ethereal Tomislav Nikolic. Equally memorable was the work shown by Gallery Sally Dan Cuthbert, especially new bronze works by Tammy Kanat, recipient of the 2024 Richard Parker Award. Over at Diane Singer Gallery, only a single fabulous Zoe Croggan perspex encased work on paper remained available by Saturday afternoon, as was the case with Gregory Hodge’s works at Sullivan and Strumpf.
The fair was also complemented by a studied program of on and off-site talks, artist studio visits and special events.
Previously held bi-annually, now annually, MAF has definitely upped the ante for the organisers of Sydney Contemporary, and it will be interesting to see how MAF settles into this new format and what Sydney will make of it all… watch this space!
Recommendations for your diary… We highly encourage you to visit the Trienniale at the National Gallery of Victoria and we have our eye keenly on the upcoming Sydney Biennale 2024, especially the previously ‘hands off’ venue, the White Bay Power Station…
©Angeline Collings, 2024
Images:
Image 1:
Yvonne Audette
Construction Site, 1979-80
oil on board
86.00 x 101.50
@ Charles Nodrum Gallery
Image 2.
Dani McKenzie
Installation
@ Mars Gallery
Image 3.
Ildiko Kovacs
Installation view
@Martin Browne Contemporary
Image 4
Tia Ansell
Stephen
Acrylic on handmade cotton weaving in aluminium frame
160 x 130 x 6cm@ Lon Gallery, in situ
Image 5
Mark Francis
Dub Groove, 2023
oil on canvas
153 x 122 cm
(left)
Mark Francis
Audio Groove, 2023
oil on canvas
153 x 122 cm
(right)
@ Fox Jensen Gallery
Image 6:
Gregory Hodge
Installation
@ Sullivan & Strumpf
