dispatch review

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	<pubDate>Fri, 04 Sep 2026 04:19:38 +0000</pubDate>
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		<title>Information</title>
				
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		<pubDate>Wed, 05 Apr 2023 15:11:56 +0000</pubDate>

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 Information:

Dispatch Review aims to pin down ideas and stir up conversations about art.
We publish art criticism, opinion pieces, and interviews. Reviews are dispatched spontaneously, often weekly.
      
        
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Editors:


Sam Beard is the head editor and co-founder of Dispatch Review. His writing has appeared in Artlink, un Magazine, and Art Collector.


Amelia Birch holds a PhD in the History of Art from the University of Western Australia, where she teaches art history.

Max Vickery is a Marxist historian and critic based in Whadjuk country. A co-founder of Dispatch Review, Vickery provides copy and line editing for texts before publication.


Contributors:

	
Felicity Bean studies art at Murdoch University.

Samuel Beilby is a contemporary artist and researcher. He currently teaches Fine Art at the University of Western Australia.


Angus Bowskill is an artist based in Perth, WA. Their work explores observation, mediation, and redaction through digital media and printmaking techniques.


Kieron Broadhurst is an artist based in Perth, WA. Through a variety of media he investigates the speculative potential of fiction within contemporary art practice.

William Bromage is an editor of Guan Kan Journal and holds a degree in History and Archaeology from the University of Western Australia. His interests lie in Indigenous archaeology, as well as Chinese history and its contemporary art.

Rex Butler teaches Art History in the Faculty of Art Design and Architecture at Monash University and writes on Australian art.


Rainy Colbert is an art critic and bush poet, primarily interested in the Sublime.


Grace Coppola is a graduate of art history and literary studies from UWA, currently completing honours work on literary mimesis and romantic poetry.Anna Daly is a writer and researcher, and the Managing Editor of the Women's Art Register Bulletin. Her interests span Australian visual cultural history, spatiality, and trompe l’oeil painting. Her most recent work includes co-editing Keeping Things Together: 50 Years of the Women's Art Register, published by MUP; and writing 'A Note About Trompe l'Oeil' for Gagosian Quarterly and ‘Mapping the Interior’ for Space and Culture.
Aimee Dodds is a Perth-based arts writer and co-founder of Dispatch Review. She has written for Memo Review, Art Almanac, un Magazine, and Artist Profile Magazine. Dodds has first class joint honours in the History of Art and English and Cultural Studies from the University of Western Australia.

Kye Fisher holds a Bachelor of Arts from the University of Western Australia and currently works within UWA’s research portfolio. Kye has a keen interest in contemporary Chinese art and music.


Nick FitzPatrick is an artist and arts worker. He is primarily interested in images and their relationship to systems of power and knowledge.


Dan Glover is a barista and emerging arts writer, currently studying History of Art and Curatorial Studies at the University of Western Australia.

Soph Grey is an emerging creative, Fine Arts graduate and cafe coworker to fellow writer Dan Glover. Based in Walyalup, her practice revolves around an infatuation with the home.


Sam Harper is an archaeologist and rock art specialist based at CRAR+M,
UWA, living and working on Whadjuk country. She works with communities across
the northwest of Australia.

Tara Heffernan is an art historian and critic. Her work concerns modernism and the avant-gardes, conceptual art and the lineage/s of the New Left.Amy Hickman writes occasionally about sex, gender, deconstruction, and biopolitics. 


Chelsea Hopper is a curator and writer whose research focuses on modern and contemporary photography and populism. She is Art Director of Memo Magazine.


Darren Jorgensen lectures in art history at the University of Western Australia. His most recent book is The Dead C’s Clyma Est Mort.


Stirling Kain is an arts administrator with a BA in History of Art and History. She works with various arts organisations in WA.


Riley Landau is an emerging arts writer currently studying art history and curatorial studies at the University of Western Australia.


Marco Marcon is a creative producer, writer, and academic originally from Italy, currently residing between Perth and Viterbo (Italy). He is the founding director of SPACED, previously known as the International Art Space Kellerberrin, Australia (IASKA). Marcon’s writing is also available via his Substack, Minima Aesthetica (click here to view).


Jonathan W. Marshall is head of postgraduate
studies at the Western Australian Academy of Performing Arts, Edith Cowan
University. Marshall has published in both scholarly and journalistic contexts,
his writings covering Japanese butoh dance, the influence of fin de siècle
neurology on the history of performance, photography, Australian modernist art,
Mark Rothko’s spiritualism, and the work of Georges Didi-Huberman:&#38;nbsp;click here for more.


Siân McIntyre is a researcher and art worker. www.sianmcintyre.com.


Duncan McKay is an artist, arts researcher and arts writer who since 2014 has worked as a public art administrator with local government and State Government organisations. He has a PhD, an MCA, a BFA (Hons.) and is completing a Master in Curatorial Studies.


Ian McLean is an art historian and the former Hugh Ramsay Chair of Australian Art History at the University of Melbourne. His most recent book is Double Nation: A History of Australian Art.


Zali Morgan is an emerging artist, writer and curator, currently working at The Art Gallery of Western Australia as assistant curator of Indigenous Art. She is of Ballardong, Wilman and Whadjuk descent.


Felicity Ostergaard is an editor of Guan Kan Journal and currently pursuing a Bachelor of Arts, majoring in Archaeology, with a minor in Curatorial Studies. Her interest in Chinese Contemporary art stems from her own performance art practice as well as modes of displaying site specific interventions.


Annette Peterson is a writer and visual artist with a Master’s in Design and Art from Curtin University and a BA in English Literature from the University of Western Australia. A former journalist, she has been a contributing writer for Artists Chronicle for the past five years.


Jacinta Posik studies Fine Arts and History of Art at the University of Western Australia.


Scott Price is an artist based in Perth/Boorloo. He is interested in the interplay between culture and history in the formation of land and place relations, explored through a multidisciplinary practice.


Diego Ramírez is an artist with dreams, a writer with hopes and a facilitator with beliefs. He is represented by MARS Gallery.


Francis Russell is a former academic and trade union official. He researches contemporary art and alienation, drawing on the legacies of Marxism, Freudian psychoanalysis, and phenomenology.


Nalinie See holds a Bachelor of Arts, majoring in Fine Arts and Art History from The University of Western Australia. She currently works as an Art Teacher and as a Sales and Wardrobe Planning Co-worker at IKEA.


Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Professor in the Division of Philosophy, Art and Critical Thought at the European Graduate School.


Paul Sutherland is a researcher and educator from Western Australia. His work concerns online visual culture, media philosophy, and post-truth.


Maraya Takoniatis studies and conducts research in Philosophy, Fine Arts, and History of Art at the University of Western Australia.
Matthew Taggart is an arts worker, artist and musician. Their work is experimental in its exploration of future sounds and the human experience.

Leslie Thompson is a freelance arts writer.


Jess van Heerden is an emerging arts writer and visual arts technician. They have a BA in History of Artand Fine Art, with a minor in Curatorial Studies, and are almost finishedtheir Art History Honours.


Ben Yaxley is a writer, arts student, and English teacher living in Boorloo.


Note: any conflicts of interest that may arise between editors and the subject and/or topic of a review will see the affected editors forego any and all participation in the editorial process of the related text.


Designer:
Mia Davis is an arts worker and design student based in Boorloo/Perth. Davis is powered by a love of connecting audiences to art and ideas, with inclusive design being key to her practice.

 
Also see:

&#60;img width="1098" height="382" width_o="1098" height_o="382" data-src="https://freight.cargo.site/t/original/i/886cff5c2f47940b2cd9388ba0bafb507421f97666b8540cb85f7231ca6635eb/thesis-eleven.png" data-mid="222846414" border="0"  src="https://freight.cargo.site/w/1000/i/886cff5c2f47940b2cd9388ba0bafb507421f97666b8540cb85f7231ca6635eb/thesis-eleven.png" /&#62;


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	<item>
		<title>Events</title>
				
		<link>https://dispatchreview.info/Events</link>

		<pubDate>Tue, 07 Nov 2023 04:31:46 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Events</guid>

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Events:Event
	Time/Date
	Venue/Address

	Ellie Buttrose: Behind the scenes of 'kith and kin'.


	Monday, 10 February, 2025, 6:00 pm - 7:00 pm AWST
	State Library of Western Australia, Great Southern Room, Level 4 25 Francis Street, Perth.


Taring Padi: Organise, Educate, Agitate!


	Saturday, 30 November, 2024, 2:30 pm - 4:30 pm AWST
	

State Library of Western Australia, Great Southern Room, Level 4 25 Francis 

Street, Perth.


The Modern and the Contemporary: A conversation with Rex Butler, Tara Heffernan, Darren Jorgensen and Peter Beilharz.


Saturday, 7 September, 2024, 4:00 pm - 5:00 pm AWST


The Art Gallery of Western Australia, Perth WA.

	Dispatch Review: Artist Talk at the City of Belmont.
	

Thursday, 18 January, 2024, 
5:30pm – 


6:30pm AWST


Ruth Faulkner Library,

Events Room, 213 Wright Street Cloverdale, WA.

	Memo Magazine Launch and Panel Discussion.
	
	Saturday, 2 December, 2023, 4pm – 5pm AWST
	
	
	Perth Institute of Contemporary Arts, Perth Cultural Precinct, WA.

	Artist as Prophet: Intersections of Art and Ritual with Robert Buratti.
	

Friday, 27 October, 2023,


12pm

 – 

12:30pm AWST

	
Hew Roberts Lecture Theatre, School of Design, UWA.

	Dispatch Review Launch Party.
	Saturday, 7 October, 2023,


7pm – 10:00pm AWST


Light Works, 112 Murray St, 
Perth WA.

	Doubled Histories: The Futures of Australian Art with Ian McLean, Terry Smith,

Jessyca Hutchens and Darren Jorgensen.
	Wednesday, 30 August, 2023
6pm

– 7:30pm AWST
	

State Library of Western Australia, Great Southern Room, Level 4 25 Francis Street, Perth WA.


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	<item>
		<title>Reading Group</title>
				
		<link>https://dispatchreview.info/Reading-Group</link>

		<pubDate>Wed, 09 Jul 2025 06:28:49 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Reading-Group</guid>

		<description>Virtual Reading Group sessions:

Reading
	Date/Time
	Sign-up


Session 10:

The Whitney Biennial Reader. 
	

Tuesday 28 May, 6:00pm AWST. 


Click here
Session 9: 

‘The Health Goths Are Really Feeling Zip Ties RN For Some Reason’ by ﻿James Payne.
	Tuesday, 7 Apr, 2026, 5:30pm AWST. &#38;nbsp;


Click here

Session 8: ‘The Total Art of Stalinism’ by ﻿Boris Groys
	Tuesday, 3 Mar, 2026, 6pm AWST.&#38;nbsp; 
	

Click hereSession 7: ‘The Expediency of Culture’ by George Yúdice.
	Tuesday, 9 Dec, 2025, 6pm AWST. &#38;nbsp;
	

Click hereSession 6: ‘The Painted Word’ by Tom Wolfe.
	Tuesday, 23 Sept, 2025, 6:00pm AWST
	

Click hereSession 5: ‘On the Fetish-Character in Music and the Regression of Listening’ by Theodor W. Adorno.

	Tuesday, 19 Aug, 2025, 6:00pm AWST
	

Click here


Session 4: ‘
The Herd of Independent Minds’ by 
Harold Rosenberg.
	

Tuesday, 15 Jul, 

 2025, 6:00pm AWST
	

Click here


Session 3: 

Theory of the Avant-Garde’&#38;nbsp; by 

Peter Bürger.


Tuesday, 17 Jun, 2025, 6:00pm AWST
	

Click here

Session 2: ‘The Originality of the Avant-Garde’ by 
Rosalind E. Krauss.
	

Tuesday 20 May, 2025, 6:00pm AWST
	

Click here


	Session 1: ‘Avant-Garde and Kitsch’ by Clement Greenberg.


	Tuesday, 22 Apr, 2025, 6:00pm AWST
	

Click here


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	<item>
		<title>Shop</title>
				
		<link>https://dispatchreview.info/Shop</link>

		<pubDate>Sat, 07 Oct 2023 04:37:48 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Shop</guid>

		<description>Shop:
	&#60;img width="1170" height="1664" width_o="1170" height_o="1664" data-src="https://freight.cargo.site/t/original/i/271ce0fb8b7cd86500fd7de86b154a28340614bc94e2a00222b731715fb5c90a/B0105D50-4B99-4B7C-A778-D357CD2E7184.png" data-mid="241394632" border="0"  src="https://freight.cargo.site/w/1000/i/271ce0fb8b7cd86500fd7de86b154a28340614bc94e2a00222b731715fb5c90a/B0105D50-4B99-4B7C-A778-D357CD2E7184.png" /&#62;


Dispatch Review: 
2023 and 2024 Anthology Bundle
A special deal for the AAANZ Conference 2025!
 Purchase both the 2023 and 2024 Anthology for $50.


&#60;img width="401" height="569" width_o="401" height_o="569" data-src="https://freight.cargo.site/t/original/i/16d1e5c9184fd77850a10cae060ed0c6c9ed88940bc3ed0092b678db8b08532a/anth24.png" data-mid="240822942" border="0"  src="https://freight.cargo.site/w/401/i/16d1e5c9184fd77850a10cae060ed0c6c9ed88940bc3ed0092b678db8b08532a/anth24.png" /&#62;


	Dispatch Review: 2024 Anthology
The 2024 Anthology from Dispatch Review is a selection of the best art criticism from the journal's second year of publication. This anthology captures the critical conversations that shaped contemporary art in Boorloo/Perth, Western Australia during 2024. Dispatch Review is a volunteer-run journal, and proceeds from the sale of this publication will support the continuation of future anthologies. Cover design by Scott Burton.
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	Dispatch Review: 2023 Anthology

The 2023 Anthology from Dispatch Review is a selection of the best art criticism from the journal's first year of publication. Featuring texts by Sam Beard, Amelia Birch, Aimee Dodds, Max Vickery, Samuel Beilby, Tara Heffernan, Darren Jorgensen, Stirling Kain, Ian Mclean, Zali Morgan, Francis Russell, Terry Smith, Maraya Takoniatis, and Jess van Heerden, this anthology captures the critical conversations shaping contemporary art in Boorloo/Perth, Western Australia. Dispatch Review is a volunteer-run journal, and proceeds from the sale of this publication will support the continuation of future anthologies. Cover design by Scott Burton.

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	Wang Qingsong – Catalogue
Wang Qingsong is a leading figure in contemporary Chinese photography.&#38;nbsp;He constructs highly staged photographs that explore the influence of Western consumer culture in China.


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		<title>Articles</title>
				
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		<pubDate>Sun, 25 Jun 2023 17:25:24 +0000</pubDate>

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		<title>Deanna Hitti's Dangerous Pleasures, by Anna Daly</title>
				
		<link>https://dispatchreview.info/Deanna-Hitti-s-Dangerous-Pleasures-by-Anna-Daly</link>

		<pubDate>Fri, 04 Sep 2026 04:19:38 +0000</pubDate>

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	Deanna Hitti's Dangerous Pleasures
	by Anna Daly.&#38;nbsp;
	Saturday, 5 September 2026


    The artist Deanna Hitti takes on some big, gnarly themes in her work. The power Orientalist tropes continue to exert over perceptions of the Middle East is one of them, as Mezze, her large-scale installation currently on show at the Lawrence Wilson Art Gallery, makes clear.For all that, Hitti’s immediate aim is relatively modest. As she puts it, ‘It’s about starting a conversation.’ 
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Prints have been the backbone of Hitti's practice, prompting conversations about art, identity and politics for over two decades. Her recent forays into cyanotyping are no exception, with her reproductions of Orientalist classics such as Gentile Bellini’s Mehmet II&#38;nbsp;(1480) and J.A.D. Ingres’ Grande Odalisque (1814), daringly summoning the appeal of the originals without shying away from their sinister implications.&#38;nbsp; 

I

Orientalism

Orientalism refers to a longstanding European practice of studying and representing the Orient, which, critically speaking,&#38;nbsp;is&#38;nbsp;founded on the presumption of an inherent difference between “the Orient” and “the Occident”. As Edward Said demonstrated in his landmark 1978 text of the same name, these differences came to be institutionalised in an idea of 'Oriental backwardness, degeneracy, and inequality with the West.' [1]
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Said's is by no means the first or the last word in the diverse field of postcolonial study, but his focus on the Arabic-speaking world lends his analysis a special resonance with Hitti's project. As a contemporary Australian artist of Lebanese descent, she too seeks to rectify the distortion&#38;nbsp;and dehumanisation that has legitimised colonial expansion.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; One of Hitti's particular concerns is the entwinement of Orientalism with the objectification of women. In another landmark text from the 1970s, John Berger's Ways of Seeing, Ingres' Grande Odalisque is presented as a prime example of how the male gaze operates. The very embodiment of this sexualised, subjugating mode of viewership, the Odalisque's expression is characterised by Berger as that 'of a woman responding with calculated charm to the man whom she imagines looking at her – although she doesn’t know him. She is offering up her femininity as the surveyed.'[2]
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Berger's sentiments are echoed in Said's assessment of the sexism inherent to Orientalism, in which the latter is described as an outlook that keeps 'intact the separateness of the Orient, its eccentricity, its backwardness, its silent indifference, its feminine penetrability, its supine malleability.'[3]
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Drawing on the unique qualities of cyanotypes, Hitti harnesses and redirects the objectifying gaze, subtly restaging Grande Odalisque and other similarly paradigmatic works to destabilise their power. The dark inky hue produced through the printing compound's exposure to light replaces the pigments and textures of the originals with shades of just one colour flattened to a single plane. The printmaking process accentuates this effect, enlarging and multiplying exotica including hookah pipes, jewellery and other bodily adornments to reveal the repetitiveness embedded in the fixation on difference that is Orientalism's currency. Viewed as prints en masse and in succession, the paintings become increasingly generic and interchangeable.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; In some prints, paintings do merge. In others, details, backgrounds and framing fade or dissolve into recesses of blue. The sepulchral colour tone and the stony grain of the substrate add to an impression of images deteriorating through time.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; An erotic charge still hovers over Hitti's transcriptions, perhaps unavoidably given the tone of the source material. The faces of courtesans and slaves emerge from shadowy depths, the models rarely meeting the eyes of their onlookers, their vulnerabilities accentuated by varying states of undress.&#38;nbsp;The allure is only intensified by the rich, fibrous papers saturated with a&#38;nbsp;seemingly unfathomable depth of colour. Bound into books such as Artbook Volume Arba'ah (Four) (2016) and Assimilated Museum (2015), these exquisite prints invite touch and lend the encounter a further intimacy by encouraging the lingering engagement associated with private perusal. The overriding sense, however, is of a reduction to type, with François&#38;nbsp;Boucher, Ingres,&#38;nbsp;Jean-Léon Gérôme, Paul Trouillebert and Charles Landelle coming across as mere purveyors of a bizarre antique fantasy. The central intrigue&#38;nbsp;shifts from women and the Orient to the style of thinking and mode of representation Orientalist paintings engender.

Ambassadorial paintings

The ambassadorial pictures Hitti reproduces tell more complicated stories about encounters between the East and the West, undermining the strict demarcations between categories of identity essential to the Orientalising mindset by exposing the inseparability of social, political and cultural status embedded in cross-cultural contact.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; There is a certain degree of reciprocity between the Ottoman Empire and Western Europe in Bellini's portrait of Mehmet II, for example. The painting is undeniably European in terms of genre and technique—Phillip Mansel describes it as a 'portrait of the Sultan, framed as a Renaissance prince.'[4] Resulting from Mehmet's own request for a European artist at the Topkapi Palace, and the Doge of Venice's interest in strengthening ties with Istanbul by sending Bellini to fulfil that role, however, it is also expressive of the Sultan's power and influence.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Hitti's selection of Turquerie-themed works—pictures capturing an eighteenth-century Western European craze for all things purportedly Turkish—is similarly resistant to singular interpretation. There is a print of the Genevan artist Jean-Étienne Liotard's pastel Self Portrait (1744), which is both a 'funhouse mirror of Oriental fantasy' and an articulation of something closer to the genuine cultural exchange that comes from living and working across multiple cultures and geographies.[5] Liotard's mode of dress and the self-portraits he produced are often considered a branding exercise, allowing him to differentiate himself in a highly competitive market by capitalising on the fashion for Turkish-themed goods. Produced in Vienna, the 1744 portrait exemplifies this approach, the original depicting the artist in a long beard and fur căciulă in front of the inscription 'known as the Turkish painter'. That said, the Self Portrait is less a confection than many of the Turquerie-themed pictures upon which Liotard's reputation rested. His unique sartorial style was cultivated during his five-year stint as an artist in Turkey and Moldavia, and he continued to dress this way until his death in 1789, long after the fashion for Turquerie had peaked. His work, moreover, was esteemed in Ottoman circles as well as in English, Dutch and French embassies. He was invited to produce portraits of the Grand Vizier and other members of the Sultan's household when he lived in Istanbul; and, at the request of the reigning prince of Moldavia, he became the court artist at Jassy.[6]
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Another Turquerie-themed painting Hitti reproduces, Giuseppina Grassini in the role of Zaire, which was painted in London in 1805 by the French aristocrat Élisabeth Louise Vigée Le Brun, is equally complex. On one hand, the painting extends a chain of commodification prompted by the popularity of Voltaire's 1732 tragedy in which a Christian slave falls in love with a Muslim prince. As well as further promoting the opera and its star performer, Vigée Le Brun's celebration of the well-known singer in the title role leverages the success of the production to advance her own career. By the same token, the painting testifies to significant social and political upheavals betraying profound uncertainties at the heart of Western European identity.&#38;nbsp;Significantly, Vigée Le Brun&#38;nbsp;was the casualty of one longstanding regime's collapse, her exile in England the result of the French Revolution.[7] No less significant is the work's subject and authorship. As a painting by a woman known for her skill at the easel that depicts another woman known for her work on the stage, it represents the greater visibility of women in Western European public life.

II

Hitti's careful selection and treatment, based partly on how well the images respond to the printmaking process, allows the artist to capture the nuances and subvert the stereotyping that results from cross-cultural encounters. She also likes the prints to register her presence, leaving behind&#38;nbsp;the traces of handling that allow the images to surface. Bound into sumptuous volumes and interspersed with pages of Arabic text, the prints gesture towards the primacy of books and manuscripts in the art histories of the Arabic-speaking world.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Her installations take a different approach, offsetting the monumentality and granular fixations of the Orientalist tradition with spectacular affirmations of contemporary life and culture. In Mezze, and its earlier iteration K is for Kitab Tabakh (cookbook) from 2024, grids comprising dozens of cyanotypes are relegated to a background role and large, colourful, gleaming tableware and piped Royal Icing readymades take centre stage. The backdrop literally fades, the right-hand side of the grid mirroring in a dulled, grey palette the luxuriant blue of the left. Signs of modern-day culture and migration further interrupt the exoticising impulse in Orientalist art. These include overlays of romanised Arabic text in contrasting hues, and inset images evoking Hitti's mother's recipes. In Mezze, two columns of prints reference the North and South Mole Lighthouses at the entrance to Fremantle Harbour, which, bearing the same colours as the Lebanese flag, caused Hitti's mother a moment of disorientation as she approached her new home.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The assemblages are as shiny, colourful and bold as the backdrop is murky, celebrating the sculptural polish of everyday objects sourced from Hitti's home and those of local community members. Tiers of ornate glass- and silver-ware top precise configurations of coffee cups, saucers, Turkish tea glasses, teaspoons and dessert forks meticulously trimmed with vivid red, yellow, gold and green icing. The printmaking and patisserie workshops Hitti holds over the course of her exhibitions breathe extra life into the installations, highlighting the importance of communal processes, customs and rituals to cultural survival. 
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Hitti's interest in bringing people together has been inspired by her mother and draws attention to the roles women have traditionally played in maintaining a sense of community, starkly contrasting with the highly sexualised languour of Orientalism's nudes. As Cher Tan writes, this aspect of Hitti's endeavour 'underscores how culinary practices become repositories of cultural memory, binding generations and communities together across geographical distances while taking cultural differences into account'.[8] Decoration plays a vital role in this context. Seamlessly blending the aesthetics of the Australian Women's Weekly with Middle Eastern hospitality, elaborate, star-piped trimmings and beautiful, banquet-style arrangements of food demonstrate love as well as invite everyone to the table. 

Conclusion

When it comes to preserving cultures, the protection of treasured artefacts is often the focus. Hitti's incorporation of the fleeting and ever-changing into her practice honours the extensive, mostly invisible labour that is also necessary. Making, eating, talking, and cleaning up leave fewer lasting traces than stone monuments, but they can also be more subversive, challenging convenient stereotypes through the subtlety, nuance and honesty brought about by constant interaction. It is by entertaining these dangerous pleasures that Hitti is able to effectively question dominant narratives, rounding out the official record with the pop and fizz of life being lived.

[1] Edward Said, Orientalism, UK: Penguin, 1978, 2003, p. 206.

[2] John Berger, 'Three', Ways of Seeing, https://www.ways-of-seeing.com/ch3, Accessed on July 16th, 2026.

[3] Edward Said, Orientalism, p. 206.

[4] Phillip Mansel, 'Friend or Foe? The Ottoman Empire and Europe from Mehmed II to William II' &#38;nbsp;in Inan Suna and Ipek Kurac, Intersecting Worlds: Ambassadors and Painters,Pera Museum, 2014; 2016, p.11.

[5] Dr Gizem Tongo and Irvin Cemil Schick, 'Turquerie', Pera Museum, https://www.peramuseum.org/blog/turquerie/15602019, 14 (1-17), Accessed on July 15th, 2026.

[6] Kristel Smentek, 'Looking East: Jean Etienne Liotard, the Turkish Painter' in Ars Orientalis 39, 2010, p. 90-91

[7] Veronique Leonard-Roques and Sophie Mesplede, 'Elisabeth Vigee Le Brun', The Digital Encyclopedia of British Sociability in the Long Eighteenth Century [online], Accessed on July 15th, 2026, URL: https://www.digitens.org/en/notices/elisabeth-vigee-le-brun.html

[8] Cher Tan, 'Vulnerable Intimacies' in Liminal, June 21st, 2024. https://www.liminalmag.com/blog/vulnerable-intimacies. Accessed on July 15th, 2026.&#38;nbsp;Images courtesy of the artist.
	

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		<title>Sherrie Levine: Press Release, by Sam Beard</title>
				
		<link>https://dispatchreview.info/Sherrie-Levine-Press-Release-by-Sam-Beard</link>

		<pubDate>Sat, 08 Aug 2026 08:49:42 +0000</pubDate>

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Sherrie Levine: Press Release
	by Sam Beard.&#38;nbsp;
	Sunday, 9 August 2026


   Reviews of recent exhibitions by Sherrie Levine tend toward diagnosis: often preoccupied with reaffirming Levine’s “theoretical austerity”;[1] or attempting to rethink the great why behind her work in terms of mood or emotion, as in William J. Simmons’ ponderings on Levine’s work being “awash in melancholy.”[2] I find neither route particularly compelling: the former often reduces Levine’s work to its most strictly conceptual, concentrating on the clinical; while the latter often attends to the historical and biographical, relying on conjured “stories” crafted from the referential elements apparent in the work. These qualities, in isolation, also seem to abstract or warp what makes the best of Levine’s art so enjoyable.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Matthew Brown’s presentation of Levine at his project space, Bill’s PC—which Dispatch readers will no doubt be familiar, having hosted works by artists like Joshua Abelow, Simon Denny, Nihaal Faizal, and Puppies Puppies (Jade Guanaro Kuriki-Olivo)—made me realise something that had escaped me when reading the more canonical texts dissecting Levine’s work: that it is, more often than not, very funny. For Press Release the gallery space is empty, beside which is a stool with a stack of the titular press releases. These originally accompanied Levine’s 2023 solo at David Zwirner Paris. It cracks me up. A simple but effective premise, I think: often (far too often) we begin to conceive of a work of art through such material (floor sheets, wall text, press releases) rather than through the work itself… so, naturally, what if the material was the artwork? &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Then again, at second glance, things turn more serious: no, really it’s classic post-Duchampian conceptual art, doing what such work does best—taking the apparatus around the artwork and making it the artwork. Downstream of After Walker Evans and After Edward Weston, Levine’s famed appropriations, Press Release adds a further turn: an appropriation of Levine, made with her blessing, presenting her own words/artworks in another format (the press release), which once belonged to a single exhibition but are now transformed into its own—appropriation squared. Thus, it is tempting for the critic to answer such a work, to determine the “square root”, and solve it.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
There sits the tension: the joke reveals itself as a genuine question about where the object ends and its framing begins. A recent review by Rex Butler in Memo Review raises a similar thought. In considering Chunxiao Qu’s Ten Descriptions for the Same Object, Butler revels in how Qu pulls at similar seams as Levine—Qu’s work being at once a humorous ribbing of and homage to the mechanisms of conceptual art.[3] Or, to quote Butler, ‘it’s a delicious parody of the way art writers read their own concerns into works of art’[4]—one that doubles as a cautionary tale.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; What is fraught about writing on work of this kind (for both artist and critic) is that, in its description, the work is often killed, or at least dealt a mighty disservice. Lean too hard into the humour and the work reads as pure satire, or worse, a simple piss-take. Lean more heavily into its seriousness obscures what makes it so appealing in the first instance. It is in this slight, stubborn antagonism that generates what Adorno might have called the work’s ‘crackle’: the friction that makes it worth thinking through, as opposed to simply “diagnosing” its referentiality in a search for meaning.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; It’s worth returning to Levine’s more formal historicisation, to her ‘reputation for formal and theoretical austerity that’s exacting even by the rigorous standards of her Pictures Generation cohort.’[5] That line is taken from Jeffrey Kastner’s review of Levine’s 2023 solo exhibition at David Zwirner New York, which was the counterpart to the Paris exhibition from which Brown’s show borrows. Such a reading sits comfortably enough on the shoulders of Rosalind Krauss’s seminal account of Levine’s critique of authorship and originality.[6] Kastner goes on to describe Levine’s “audacious deadpan appropriations,” and to credit her confrontations with authorship and authenticity with exposing the gender inequities built into art-world hierarchies.[7] True enough, all seriously meant, and not to be discredited. But, it seems arguable that what makes Levine’s work so incisive is the tension between the serious subjects and the semi-irritating humour that underpins the very conception of her work. &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Curious to see if I could corroborate my hunch, I found some reassurance in David Joselit’s essay “Last Laugh” in the Levine monograph Mayhem (2012). In it, Joselit examines Levine’s oeuvre in terms of ‘burlesque’, grouping her work into three ‘routines’: palimpsest (or the ‘layering routine’ as seen in After Edward Weston), projection (the repetition of images through which a greater, immersive space is formed or ‘projected’), and meltdown (work that takes ‘a physical form of humor that is usually as tragic as it is funny.’).[8] He cites a particularly instructive remark by Levine: ‘I’d like the viewer to skid across the surface of my work.’[9] He notes the ‘tragicomic’ form of movement the passage evokes:

 One that echoes the treachery of “skating on thin ice” as well as the burlesque shtick of slipping on a banana peel. Levine’s routines have always been emotionally charged despite their expert timing.[10]
 Perhaps where Joselit’s “three routines” and the burlesque/vaudeville comparison are unconvincing is that they utilise loud, audacious spectacle, razzle-dazzle, and fantastic over-the-top-ness that transforms what might be slight, inconvenient, or benign into the hilarious, erotic, and exaggerated. Levine’s routine, if one at all, moves in the opposite direction.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The more revealing comparison isn’t to burlesque but to anti-comedy.[11] On this premise, Levine might be thought of alongside Ted Chippington, Neil Hamburger, or even the anti-comedy of the musician Jim E. Brown (who, at his recent show at the Buffalo Club in Fremantle, performed his song “Rat in Bin” five times consecutively in a masochistic attempt to irritate an elated audience eager to encourage the gag).[12]&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Anti-comedy shares a similar methodology to conceptual art: both work by pulling a gesture out of its expected context until it stops functioning as intended, so that the apparatus that is meant to disappear into the performance—the comedian’s routine of setup and payoff, the gallery’s routine of display and reception—is exposed and rattled rather than absorbed and ignored. With Dada as a&#38;nbsp; common ancestor, that both anti-comedy and conceptual art can be divisive is unsurprising: what one person finds exhilarating, another finds simply hostile, or finds nothing there at all.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; But both are driven by more than a wish to divide an audience: rather, there is a shared suspicion of catharsis itself, a mistrust of the communal pleasure comedy or art is usually built to produce.[13] Levine’s Press Release operates on comparable terms. It does not inflate the slight into the spectacular, as burlesque would; it withholds the exaggeration that would let an audience off the hook with a laugh, refusing the communal release usually promised by a joke or by art. And like anti-comedy, this carries its own risk of recuperation: a gesture built to refuse spectacle can just as easily be re-absorbed as spectacle of another kind, canonised and celebrated as “important” precisely because an insistence to have no part in the importance of the canon. Anti-humour and much of conceptual art share this vulnerability—the hostility meant to unsettle can calcify into a style, an alibi for hostility for its own sake.[14]&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; More precisely, Press Release is built to irritate as much as to elate (i.e. there’s no documentation of the show—after all, it was just a press release). It is between these opposed responses from which is formed the friction that makes thinking through the work so enjoyable. The suggestion isn’t that Levine’s work is “jokey” or tongue-in-cheek, but rather that, through its antagonistic anti-humour, Levine visualises ideas that would otherwise emerge neutered, didactic, or rote. Through this antagonism—for which Press Release affirms Levine’s interest and penchant—her subjects intrigue, linger, and expand with each reinvention.
Sherrie Levine, Sherrie Levine: Press Release, Bill's PC, 24 May – 22 June, 2026.


1. Jeffrey Kastner, “Sherrie Levine,” Artforum, October 2023, https://www.artforum.com/events/jeffrey-kastner-sherrie-levine-512784/.

2. William J. Simmons, “History As Imitation of Life: Sherrie Levine, Awash in Melancholy,” BOMB Magazine, April 17, 2019, https://bombmagazine.org/articles/2019/04/17/history-as-imitation-of-life-sherrie-levine/.

3. Rex Butler, “Are You Lonely Tonight? I’m So Lonesome I Could Cry.; Poetry Goes No Further Than Language: A Historical Moment of Art Becoming Art Again,” Memo Review, July 11, 2026, https://www.memoreview.net/reviews/are-you-lonely-tonight-i-m-so-lonesome-i-could-cry-by-rex-butler.

4. Ibid.

5. Kastner, “Sherrie Levine.”

6. Ibid.

7. Ibid.

8. David Joselit, “Last Laugh,” in Sherrie Levine: Mayhem, ed. Johanna Burton and Elisabeth Sussman (New York: Whitney Museum of American Art, 2012).

9. Ibid.

10. Ibid.

11. Which is a connection suggested by critic Francis Russell after scrutinising a draft of this review, and to which the following passages are heavily indebted.

12. Ibid.

13. Ibid.14. With thanks to Francis Russell.
	

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		<title>BCC at Blindside, by Diego Ramírez</title>
				
		<link>https://dispatchreview.info/BCC-at-Blindside-by-Diego-Ramirez</link>

		<pubDate>Fri, 24 Jul 2026 03:19:14 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/BCC-at-Blindside-by-Diego-Ramirez</guid>

		<description>
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BCC at Blindside
	by Diego Ramírez.&#38;nbsp;
	Saturday, 25 July 2026


Without an over-the-top tokenism of the organisation or
artists involved, an exchange between spaces contributes little to the liberal
myth that a 6 x 6 white room can transform the socio-political fabric of
reality. The presumption that saying or thinking the “right things” amounts to
something is superstitious at best. But maintaining a cultural dialogue between
a plethora of spaces is often quite productive. Let’s remember that urban
cities in this beautiful country-nent are so distant from each other, that
traversing them requires the same effort overseas artists exert to cross
national borders. I’m of the humble view that collaborations are best
undertaken at random too: one day might be an exchange between artist-run
spaces, the other with a collective of buffoons fundraising to train in Paris.
I’m sure there’s people out there trying to weave a blanket for Pluto—I want to
see that. However, I do not want to see long ass forms coming out of mopey
offices called “ARIs”, compulsively asking for details they don’t need. It
prevents makers from travelling interstate, sabotaging the range of artistic
movement. I am sure Blindside is gentle on the emails and the admin, otherwise
it would have been a practical torment to stage this show. (Admin-frantic ARIs
are always weirdly inflexible about gallery sitting and installation
schedules.)&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CC: Artsworkers, please don’t “arts admin” with a Protestant
ethic. Email after email, pedantic requirements and rules displace art making
as a priority and centre risk management as the purpose of the exchange—draining
pleasure from everything that is alive like a malevolent force, until the
entire world turns grey. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; BCC is the title of an exhibition initiated by
Naarm/Melbourne-based Blindside, curated by Cool Change in Boorloo/Perth. BCC,standing for blind carbon copy (in case A.I. already fried your
brain and you can’t figure out the acronym by yourself), approaches this
function as a logic of distance and invisibility, incorporating an
unacknowledged presence in a conversation.&#38;nbsp;BCC’s curatorial statement
positions this entity as a near familiar presence—rather than an other or a
voyeur—that is simply waiting for the chance to become legible, within a shared
network. The friend of a friend, the partner’s parents, the corner dweller at
the party. These awkward shadows who are destined to become known. It is a
relatable theme that speaks to the carpal tunnel syndrome-d reality of our
daily lives. Mimicking this dynamic, the curators brought together artists that
should-know-each-other or should-be-known to formalise an encounter. The email
here is concept and medium, as these far-away artists sent their work via the
Internet, avoiding the logistical nightmare of transporting artworks. Although
I have never used the BCC function myself, or have been included as a BCC in
somebody else’s thread (can’t imagine this ever happening with good
intentions), I’m interested in this show’s approach to the email as an all-encompassing
force. 


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Image: Installation view of BCC at Blindside. Photograph by Sebastian Kainey.

Stepping into Blindside’s new premises in North Melbourne—I
forgot they moved and initially went to their old address at the Nicholas
Building—one encounters six works of eclectic mediums. The layout establishes
the act of witnessing and extraction as overarching themes by positioning two
moving image works that touch on ecology, North and South of the space. These
are Cass Lynch and Mei Swan Lim’s fascinating video Dampland 2 (2024),
which addresses Noongar stories as witness accounts of landmass shifts across
centuries; and Reece Cahill’s Warholian take on an oil rig shot during sundown
called hard times (2021-2026). Facing each other, these videos are a
through line that resonates smoothly with Gemma Weston’s WITNESSING
(2024-2025), a dizzying mural of A4 prints transcribing social media ‘stories’.
This triad stands out as the conceptual core of the exhibition, as the rest of
the works appear to be floating in a more tenuous relationship with each other.
Thus, the notion of BCC as a witness of extraction is pushed to its limits,
making one wonder if we are all blind carbon copies in a totalising email.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Dampland 2 is an eight minute single-channel video
mounted on a humble flat screen with headphones. It consists of Lynch’s
voiceover, shots of water flows, layers of iconised waves and an engrossing
sound design. The spoken track is about the Swan Coastal Plain in WA and its
changing sea levels, distorted through the climate crisis. Lynch invokes traditional
Noongar stories to explain the sea level rise by those who experienced it
20,000 years ago. It’s an engaging example of oral traditions and how
contemporary artists continue to honour this lineage through experimental
techniques. Lim’s atmospheric sound design is generous to the spectator, who
may find themselves entranced by Dampland 2. Due to the intimate quality
of Lynch’s narration, I felt like I was listening in at times, rather than
being the subject of address—an interesting device in the context of BCC.


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Image: Installation view of BCC at Blindside. Reece Cahill, hard times. Photograph by Sebastian Kainey.


Cahill’s hard times is more subdued, presenting
footage of an oil platform off the coast of WA on a CRT monitor for an hour.
Recorded on a static tripod from the shore at dusk, it captures how the night envelops
the oil rig until it becomes a series of meaningless lights. The video is
reminiscent of Andy Warhol’s Empire (1965), a Super 8 film about the
Empire State waking up at night. This style of video-making is inherently slow,
presenting a challenge for the artist and the viewer. Cahill’s hard times, like
Warhol’s Empire, is about everything that surrounds the object in the
frame, rather than the shot itself. We know that when we go to sleep, the oil
rig is consuming the soul of the earth. This eerie realisation—registered at
any given moment in the punitive economy, and polluted air we breathe—animates
the action in the video. There’s so much happening outside the frame, that
little occurs within it. hard times triggers this experiential
reflection and the embodied realisation that we are immersed in an extractive
system.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; WITNESSING by Gemma Weston is a sprawling mural of
268 A4 sheets. The sheets exclusively depict white Comic Sans on a black
background, evoking the labeller aesthetic that office workers, zine makers,
and punks seem to be fascinated with. Weston’s sheets extend into Blindside’s
tucked-away office, and I’m happy to report that it is a small space—the marker
of a good ARI (I shall be donating this EOFY). Weston made the text by
transcribing social media ‘stories’ for as long as the transmission was on
screen. Therefore, advertisements tend to be more detailed. It is a confronting
mass because it flattens war crimes with sponsored creams, reflecting the media
assault that floods most people’s attention until cognition shuts down. The
most banal entries were the most interesting for me, ranging from ‘The White
Stripes over a montage of children learning and doing craft activities’ to ‘A
baby Jesus statue looks like Phil Collins.’ Trying to read as many of these
captions as I could, a portrait of the artist’s algorithm began to emerge:
there’s a lot of alternative rock in there. Mixing some entries about arts
leadership with bombs, I suddenly felt like I was going through the remnants of
a voracious consumption disguised as labour.


&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/d7eee96fa13fb64829b19d414d2cc8e884fbff337d83c3824cf220d1b606013a/BCC_2605_BlindsideGallery_PhotoBySebastianKainey_3500px-4.jpg" data-mid="250676846" border="0"  src="https://freight.cargo.site/w/1000/i/d7eee96fa13fb64829b19d414d2cc8e884fbff337d83c3824cf220d1b606013a/BCC_2605_BlindsideGallery_PhotoBySebastianKainey_3500px-4.jpg" /&#62;

Image: Installation view of BCC at Blindside. Gemma Weston, WITNESSING. Photograph by Sebastian Kainey.

The entry that most captured my attention was ‘Tarot
reading: The Moon, The Sun, The Wheel of Fortune.’ These promiscuous cyphers
dating back to the late Medieval period are floating here without
interpretation, despite their capacity to accommodate a wide range of meanings.
This line is emblematic of how contemporary users disengage with information,
leaving behind a trail of slogans whose function becomes sheer circulation.
Such a barrage of un-interpreted “content” encourages a passivity that verges
on hypnotism. The tarot reading ironically speaks to this condition, as it
displays a never-ending cycle. With the tarot of Marseilles on hand: astral
bodies weep as industries hollow the earth at night (The Moon). The economy
purports to return these resources in the morning through shitty extractive
services, like private/public transport, social media, or A.I.-powered email
(The Sun). No choice, forever on repeat, day after day, spinning on a wheel
(The Wheel of Fortune). Kill me.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; It is
noteworthy that an exhibition about the BCC email function attracted works that
spoke to a sense of disaster. One suspects it is becoming increasingly clear
that we are data cows in a unified system of exploitation that encompasses
public and private enterprises. This logic of extraction influences
everyday life too, for it becomes a naturalised protocol that informs how we
relate to each other. The oil rig absorbs fuel like the bohemian bureaucrat
extracts social capital out of their precious community one email at a time.
Everything is take, take, take.


Angus Bowskill,&#38;nbsp;Reece Cahill, Cass Lynch, Mei Swan Lim, Ella Valentine, Gemma Weston, and Clare Wohlnick, BCC, Blindside, 
8 July 
– 1 August 2026.

Photography by Sebastian Kainey.


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		<title>Jack Ball, Mystery Solved, by Siân McIntyre</title>
				
		<link>https://dispatchreview.info/Jack-Ball-Mystery-Solved-by-Sian-McIntyre</link>

		<pubDate>Wed, 15 Jul 2026 05:45:56 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Jack-Ball-Mystery-Solved-by-Sian-McIntyre</guid>

		<description>
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/23da0f7b30b79ba8ec3af7c6d4c0b97f3fdff61f89fc69cad7db3d64d7e13b52/Jack-Ball-MYSTERY-SOLVED-1.png" data-mid="250428812" border="0"  src="https://freight.cargo.site/w/1000/i/23da0f7b30b79ba8ec3af7c6d4c0b97f3fdff61f89fc69cad7db3d64d7e13b52/Jack-Ball-MYSTERY-SOLVED-1.png" /&#62;
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Jack Ball, Mystery Solved
	by Siân McIntyre.
	Saturday, 18 July 2026


Ball’s exhibition Mystery Solved is installed in
Passage Gallery, a shopfront on level 1 of Chinatown’s Prince Centre, Sydney.
While photography is the initial process of Ball’s image making, their work
moves through multiple stages of abstraction. Images are shifted through crop,
zoom, cut, scale, layer and collage to play with texture, colour, and form,
allowing us to lose ourselves in the goopy, messy beauty of making and
material. The installation, viewed through the gallery's glass frontage, is a
tangle of collaged prints. The textures are juicy, wet, tasty, slimy, sexy,
slippery, hard, soft, cool. They are bodily—but bodily insides—stomach linings,
veins, mucus. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The cotton rag prints are supported by materials of utility:
S hooks, screw hooks, rope. Each has been treated with tenderness and
curiosity. By dipping S hooks, screw hooks and rope ends in wax, Ball
transforms mass-produced hardware into embellished accessories; they are
claimed and coated. The process of dipping by hand is traced on the objects,
some with drips suspended in motion as wax set on the cool metal. The wax flows
through the exhibition; looking through the window, you notice that the feet of
some prints show tide marks from multiple wax dips, speaking beautifully to the
watery text commissioned by Dylin Hardcastle that accompanies the exhibition.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Screens are hung behind the suspended prints towards the
back of the gallery, encouraging the viewer to peer between the sculptures to
see looped videos of liquid gushing—the colours are hyper—pink frothy water
running beside a car wheel, foaming white beside an orange net. These contrasts
of fluid form with industrial mass-produced objects play with our conception of
un/natural. The pink water is chemical off-stream from an industrial area; the
orange plastic net beside the foaming running water is echoed by a cotton rag
print behind the screen that is glossy, fleshy, marbled, like dyed salmon
flesh. Natural is synthetic. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Ball tells me that the abstract shapes of the large-scale
prints are taken from airport runways—roads designed for efficient taking off
and landing. Installing the shapes as overlapping objects transforms them from
regulated road maps into chaotic clusters of paths and detours. Some are cut
into strips and arranged like impotent horizontal Venetian blinds. Eyelets are
studded along the edges with nuts and bolts securing each strip to a vertical
trunk. Prints suspended with ropes and hooks are anchored down by silky,
sausage-shaped sandbags. They slump on the floor, corseted by the taut ropes
that attach them to the hanging prints.


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Image: 

Installation view of Jack Ball’s Mystery Solved, at Passage Gallery, photographed by Document Photography.


There is movement between suspended cotton rag paper, nuts,
bolts and eyelets, coiled ropes, slippery sandbag weights, running fluids
contrasted with static industrial objects. This
tangle of materials and images viewed as a whole through the window is
stunning, but peering beyond the glass wall boundary—through the gaps that Ball
has created between prints, to the screens, to the ceiling, to the walls—we are
taken inside a private diorama, a scale model of a something that refuses
classification.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Ball describes how material from the Australian Queer
Archives informed the development of this work, in particular, newspaper
clippings from the 1960s to 1980s that were saturated in anti-trans rhetoric.
One could argue that we don’t need to delve into the archive to see anti-trans
media, but perhaps the archive provides a lens to view the hatred that allows
for distance. By referencing historical transphobia, Ball can point to what we
are seeing today with the knowledge that this is not new, that others survived
it before them, and that delicious, embellished, joyful and collective movement
tested rigid straight lines long before the archive—and after.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
The title Mystery Solved feels almost tongue in cheek
when considering this layered research and tenderly detailed installation. Ball
describes the images as ‘assembled through a dyslexic logic, a slippery grammar
in which images are guided by texture, sensation, and sticky, sweaty feelings.’
None of this is straightforward. That is not the intention. 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Ball is generous to share this work with us. We have seen
how divergent identities of artists are either celebrated or attacked in direct
response to funding interests. Ball’s show took place a month after Jazz Money’s book was pulped, while Barbi
Ghanoush received threats for running Drag Bingo for Palestine events, during
Sydney Writers’ Festival, which was lobbied to follow Adelaide Writers' Week’s
lead and cancel an appearance by Palestinian author Randa Abdel-Fattah. Mystery
Solved opened during the Biennale of Sydney, which cancelled Bhenji Ra’s
ambassadorship following pressure from lobby groups and board member Morry
Schwartz. Ra released a statement on 16 June outlining the ‘media harassment
and doxxing’ she experienced due to her ‘public opposition to genocide in
Gaza.’ The newspaper clippings Ball references in this work are not static
historical documents; the content is regurgitated whenever identity transitions
from novelty to threat. Referring to the newspaper clippings from the 1960s to
1980s, Ball states ‘In these articles our bodies are objectified, scrutinised,
and questioned inappropriately by cisgender people. Themes of fraudulence,
secrecy, and truth are seen throughout.’ 


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Ball’s gentle push and pull with body, texture, natural and
unnatural, visible and invisible in Mystery Solved is inseparable from
the political climate that stifles it. In this context the title becomes
subversive; the exhibition obfuscates any straight lines between mystery and
solution. Ball’s decision to exclude the audience from entering the gallery
delineates their space from the public forum. Behind the wall of glass Ball’s
sculptural collages play, flirt, and entwine without uninvited bodies entering
or disrupting. Ball keeps the mystery close, because, as Bhenji Ra states,
‘What’s visibility without protection? A trap.’


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 Image: 

Installation view of Jack Ball’s Mystery Solved, at Passage Gallery, photographed by Document Photography.


Jack Ball, Mystery Solved, Passage Gallery, 22 May – 

 17 July, 2026.


Header images: Installation photographs of Jack Ball’s Mystery Solved, at Passage Gallery, photographed by Document Photography.
	

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		<title>Dispatch Review's 2026 Power 100</title>
				
		<link>https://dispatchreview.info/Dispatch-Review-s-2026-Power-100</link>

		<pubDate>Sun, 05 Jul 2026 15:50:24 +0000</pubDate>

		<dc:creator>dispatch review</dc:creator>

		<guid isPermaLink="true">https://dispatchreview.info/Dispatch-Review-s-2026-Power-100</guid>

		<description>&#60;img width="1542" height="700" width_o="1542" height_o="700" data-src="https://freight.cargo.site/t/original/i/3e7922057ab5043f948a0503f9c82812663e3c90c9bd739687a7def231ceacee/Power-1003.png" data-mid="250110358" border="0"  src="https://freight.cargo.site/w/1000/i/3e7922057ab5043f948a0503f9c82812663e3c90c9bd739687a7def231ceacee/Power-1003.png" /&#62;
	The annual ranking of the most influential people in West Australia’s art world, according to Dispatch Review.
	Thursday, 9 July 2026


Robert Buratti, Artist and editorial director, Art Collector Magazine.

Mervyn Street, Artist.

Jessyca Hutchens, Academic, curator, and AAANZ WA rep.

Margaret Moore, Founder and director, Moore Contemporary.

Jana Braddock, Creative Lead, Goolugatup Heathcote.

Colin Walker, Director, AGWA.

Hannah Mathews, Director, PICA.

Wendy Hubert, Artist.

Ricky Arnold, Executive director, Art on the Move.

Nina Juniper, Co-director, Vessel Contemporary.
&#38;nbsp;
Robert Cook, Curator, AGWA.

Rachel Ciesla, Curator, AGWA.


Penny Tassone,

Deputy director &#38;amp; marketing director, AGWA.

Clothilde Bullen, Manager, collections, ECU.

Sarah Wilkinson, Manager of Arts, Walyalup Fremantle Arts Centre.

Zali Morgan, Curator and chairperson, Community Arts Network.

Kamilė Burinskaitė, Founder and director, Kamilė Gallery.

Clarissa Ball, Board Member, AGWA.

Tabitha McMullan, CEO, FORM.

Shannon Lyons, Artist and public programs coordinator, Walyalup Fremantle Arts Centre.

David Attwood, Artist and Disneyland Paris.

Ron Bradfield Jr, Cultural consultant, independent curator, and artist.

Theo Constantino, Director, Lawrence Wilson Art Gallery.

John Prince Siddon, Artist.

Matthew Brown, Artist and Bill's PC.

Simon Lee, Philanthropist, Simon Lee Foundation for Contemporary Asian Art.

Jack Morellini, Artist and Light Works.&#38;nbsp; &#38;nbsp;
Helen Carroll, Curator, Wesfarmers Collection.
&#38;nbsp;
Amy Mukherjee, Manager, Martumili Artists.

Susanna Castleden, Director, John Curtin Gallery.

Olivier David, Consultant, art collector, and founder of OFFMARKET Gallery.


Ainslie Gatt, Art consultant.&#38;nbsp;


Paul Boyé, Writer and co-curator, Goolugatup Heathcote.&#38;nbsp; &#38;nbsp;Samuel Beilby, Artist and 

co-founder, 

underscore.

Brent Harrison, Curator, Lawrence Wilson Art Gallery.

Chandler Abrahams, Artist and 

co-founder, 

underscore.

Dan Bourke, Artist and General Manager, Cool Change Contemporary.

Janet Holmes à Court, Chair of AGWA Board and Director, Janet Holmes à Court Gallery.

Terri-Ann White, Upswell Publishing.

Ilona McGuire, Artist and curator, AACHWA.

Carly Lane, Curator, AGWA.

Abdul-Rahman Abdullah, Artist.

Yabini Kickett, Artist.

Adam Jorlen, Futurist and lead at The Naval Store.

Emilia Galatis, Curator.

Tim Burns, Artist and nuisance.

Chad Creighton, CEO, AACHWA.


Nick FitzPatrick, Artist.


Mummy's Plastic (aka Rose Kingdom-Barron), Perthonality.


Lia McKnight, Curator, John Curtin Gallery.


Jack Ball, Artist.

Andrew Varano, Artist and Gallery Director of AVA.


Grace Connors, Performance artist, impresario, and DJ.

Guy Louden, Artist and Collections Officer, Artbank.

Annika Kristensen, Curator and Vessel Contemporary board member.

Bennett Miller, Artist and head of operations, Artsource.

Ben Yaxley, Writer and critic.

Kate Hulett, Photographer and failed Teal candidate.

Peter McKenzie, Director, McKenzie's Auctioneers.

Gary Dufour, Curator and writer.

Lyn Di Ciero, Founder and editor, Artist's Chronicle.

Mia Palmer-Verevis, Hatched curatorial associate, PICA.

Gemma Weston, Artist.

Ron Nyisztor, Artist and gallerist, Nyisztor Studio.

Anna Reece, Artistic director, Perth Festival.

Georgia Hayward, Curator.

Corine van Hall, Public art consultant, Indarra Public Art.

Mark Stewart, Curator, Murdoch University Collection.

Joe Landro, Printing and framing, Joe's Printing.

Louise Dickmann, Collections co-ordinator, Janet Holmes à Court Gallery.

Pete Stone, Director of creative arts, Fremantle Council.

Rebecca Baumann, Artist.

Predrag Delibasic, Gallery Central.

Paul Chamberlain, Chair, AGWA Foundation.

Helen Curtis, Save the Kebab campaign.

Kieron Broadhurst, Artist.

Anna Louise Richardson, Artist.

Will Ek Uvelius, Co-director, Vessel Contemporary.

Sam Bloor, Artist.

Lee Kinsella, Curator, Lawrence Wilson Gallery.

Greg Molloy, Artist and Rook ARI.

Minali Gamage, PICA board member and collector.

Isobel Wise, Curator, AGWA.

David Handley, Founder/CEO/Artistic Director, Sculpture by the Sea.

Naomi Mossenson, Mossenson Galleries.

Wal Kolbusz, Artist and gallerist, Kolbusz Space.

Jude van der Meer, Consultant and curator.

 Emma Cornwall, Foundation manager, AGWA.

David Doyle, Founder, executive director DADAA.

Kit Messham-Muir, Academic, Curtin University.

Andrew Nicholls, Artist and curator.

Paul Gullotti, Director, Gullotti Galleries.

Joseph Cook, Editor, ARTERY Magazine.

Tristen Harwood, Writer.
 

Felicity Johnston, Director, Art Collective WA.


Delwyn Everard, Arts lawyer, board member of The Lester Prize and Perth Festival.

Liam Kennedy, Mangkaja Artists.&#38;nbsp;&#38;nbsp;

Glenn Iseger-Pilkington, Consultant.

Bradley Innes, Church of the Cactus.

Joshua Webb, Artist.


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