Robert Hunter

National Gallery of Victoria
180 St. Kilda Road and Federation Square
April 27–August 26

Curated by Jane Devery

Robert Hunter (1947–2014) is renowned for his “white-on-white” paintings, although, as any Hunter admirer will attest, his works are infinitely more chromatically complex than that. The artist typically based his compositions on a grid (and, anecdotally, on the geometry of the pool table), crisscrossing that structure with intricate but barely perceptible patterns executed in a seemingly inexhaustible palette of white and off-white hues of house paint. This first major retrospective presents forty-one pieces from 1966 to 2013, featuring two remakes of wall paintings, a serial work on paper from 1970, and archival documents pertaining to Hunter’s friendship with Carl Andre, with whom he showed in a series of two-man exhibitions in Australia in 1978. Accompanying the show is a significant monograph—including essays by Ann Stephen, Jennifer Winkworth, and Tom Nicholson—that parses Hunter’s artistic process and exhibition history alongside his tangled relationships with Minimalism and Conceptualism.