Curator's Trip
Melbourne

Meet the Curator: Holly Freeman

Holly graduated from University of Birmingham with a BA (Hons) in Art History & Curation, and has since honed her skills in senior and marketing roles, notably in commercial galleries such as Clarendon Fine Art.

Specialising in 20th century contemporary masters, Holly has worked with prominent artists such as Damien Hirst, Banksy and Picasso. At Artelier, Holly supports curation, conducts art research and spearheads sales opportunities.

black and white photo of Artelier curator

A Discussion on the Australian Contemporary Art Scene

Photo of people kayaking on the Yarra River in Melbourne, Australia

What areas of the art world or styles or ways of working are you particularly drawn to?

When I first pursued my passion for art, I found myself gravitating towards a lot of 19th-century French art such as the Manet's and the Vuillard's. As I’ve developed my career skills, I found myself becoming more involved with contemporary masters and investment-grade pieces.

This includes blue-chip artists; the best contemporary artists whose talent is recognised by critics, academics and art world insiders & which eventually became my niche. My first artwork sale was actually a Keith Haring, so gradually my interests in the contemporary art market started to reflect into my career. During my time in commercial gallery spaces, my passion for this market naturally lead me to a specific type of clientele. I think I've developed a sort of emotional attachment to this genre of art which even comes up when I’m seeking new art worlds or styles. Every time I visit a new city I'm always on the hunt for those stand out pieces that are rich in history with an incredible story.

Large ceiling installation and paintings inside the National Gallery of Victoria

Keith Haring painting a mural on the waterfall wall at the National Gallery of Victoria

Why did you choose this location for your trip?

Aside from the incredible climate, Australia’s geographical isolation from most other countries has always taken my interest. Because it's so far away from its Western counterparts, can similarities be drawn with leading, competitive art scenes such as the UK, the US, or Europe?

When selecting the city in Australia’s vast landscape, I wanted to select an area that had history and culture but also of course, a rich art scene. So, it didn’t take me long to pinpoint Melbourne as the ideal location.

For this trip I decided to focus on the arts precinct in Melbourne’s central business district (CBD). The arts precinct is essentially a cultural district within the main centre of the city. It was given its name officially after years of being an entertainment hub, known most notably for hosting Wirth’s circus on the grounds from the 1880’s for nearly a century. The National Gallery of Victoria was later built in the 1960s marking the start of the official arts precinct and home to one of the largest galleries in Australia.

Photograph of buildings and a sunset in Melbourne, Australia

The Waterwall on the Entrance to the National Gallery of Victoria (1984) © Estate of Keith Haring, Photography © Geoffrey Burke

Outside image of Everard Read South African gallery in Cape town

Artelier curator trip in the city of Melbourne, Australia

Photograph of a large Yayoi Kusama pumpkin installation in the National Gallery of Victoria

'Dancing Pumpkin' (2020), Yayoi Kusama © Artelier

oil and screenprint on canvas by Andy Warhol of Loti Smorgon

photograph of a sunset over the Melbourne skyline in Australia

Credit to photographer Martyn Smith of the art institution Zeitz MOCAA

the exterior of the National Gallery of Victoria with a Yayoi Kusama poster and tree wrapped in pink and white polka dots

People walking on a road of trees wrapped in pink and white polka dots

Describe how the works you’ve seen were curated

One day I decided to visit the National Gallery of Victoria to see what artwork would be on offer. I considered who would be most advocated for. Would it be modern masters from the Western art scene, such as Andy Warhol, or local nationals, such as First Nations individuals? These are people of indigenous heritage often referred to as Aboriginal and Torres Strait Islander people and are deeply celebrated and respected throughout Australia, but historically have met systemic discrimination, dispossession, and cultural marginalisation.

To my surprise, the leading exhibition was in fact a modern master. However, the first signs of curation were actually experienced a mile away outside the venue. It was a Yayoi Kusama exhibition! As the gallery is placed cleverly on a thoroughfare, whether you’re travelling by car, tram or foot, you are immersed into the exhibition before even reaching the gallery through these incredible colourful wrapped trees all dressed in Kusama polka dots.

When I was there, a local national actually noted to me how they don’t feel a strong connection to the art world that we see in pop culture, such as the Van Gogh’s or the Banksy’s. For this reason, Kusama’s ongoing exhibition actually came as a surprise. When I turned the corner from the central train station you could really see how much the city celebrated and respected being gifted this exhibition, but I suppose the bigger question to address was did it respond to what the local community actually wanted?

inside a large yayoi kusama pumpkin installation

the waterfall wall in the National Gallery of Victoria in the style of Yayoi Kusama with metal balls in front of it

The NGV Waterwall, Exhibition design by Meg Slater, NGV Photo © Artelier

exterior of the National Gallery of Victoria witha Warhol and Ai Wei Wei poster

Which artwork stood out to you and why?

Allowing myself not to be distracted by the psychedelic pull of the Kusama installation led me to one of the most memorable “artworks” I encountered which was not a single piece at all, but an entire street within Melbourne’s central business district (CBD). Known to locals as Graffiti Lane and officially located on Hosier Lane, this narrow passageway is layered with contemporary street art, leaving no brickwork exposed.

Surrounded by the city’s towering skyline, the street feels unexpectedly removed from its urban context, offering a sense of discovery that contrasts with its central location. It has often been compared to areas such as Leonard Lane or Stokes Croft in Bristol in the UK, two areas in the city which are known for their vivid colours and street art. So, perhaps that familiarity contributed to my connection with it as Bristol is where I'm currently based.

Graffiti street in Melbourne, Australia with newlyweds having their photos taken

Photo of the entrance to graffiti street on hosier lane in Melbourne, Australia

Photograph of graffiti street in Melbourne, Australia, amongst the city skyline

Modern Masters

Naturally, a visit to the Modern Masters floor of the National Gallery was an essential part of my trip. For me, the highlight was David Hockney’s ‘The Second Marriage’ (1963), a work that had a distinct contrast from pieces I have previously seen. Over the years, I have cultivated a fascination in not only the technical skills of contemporary and modern art, but also the nuanced ways in which artists explore identity, emotion, and human experience.

Hockney’s painting embodied this. While he is widely known for works such as ‘The Splash’ (1967), ‘The Second Marriage’ revealed a darker, more unsettling dimensionality. Its psychological intensity felt parallel to the work of Francis Bacon, whose work evokes isolation, vulnerability, and the fragility of humanity. Seeing this earlier stage in Hockney’s career offered a rare insight into the evolution of his artistic voice. It highlighted to me why continuous engagement with an artist’s work over time is key to seeing the growth and development of an artist's skill and message.

painting called the splash by David Hockney featuring a swimming pool

Francis Bacon's Three Studies of Lucian Freud painting hung up in a gallery

Painting called the second marriage by the english artist David Hockney featuring a man and a woman in the painting

various artworks by indigenous Australian artists digitally hung on a digital gallery wall

photograph of the exterior of the National Gallery of Victoria

Photograph of a bronze sculpture of an indigenous Australian eel catcher

'Iuk bagurrk gunga’ (2020), Aunty Kim Wandin © The National Gallery of Victoria, Sean Fennessy

Woven Eel Trap Used by the First Nations © Kim Wandin

'Bark Salon' featuring various Aboriginal artworks on bark © National Gallery of Victoria

Did any aspect of the trip surprise you?

Aboriginal and Torres Strait Islander Peoples

Definitely. One of the most unexpected and thought-provoking aspects of the trip was observing how First Nations history is increasingly being recognised in Melbourne’s public cultural spaces. Aboriginal and Torres Strait Islander peoples are the original owners of the land on which Melbourne stands, with their connection and occupation predating colonisation by tens of thousands of years. Their institutional recognition is only recent, with legislation such as the Aboriginal and Torres Strait Islander Peoples Recognition Act 2013. This act recognises that they are the first inhabitants of Australia and refers to proposals for changes to the Australian Constitution.

‘Iuk bagurrk gunga’ (2023) by Aunty Kim Wandin was one of the works that unlocked my curiosity into First Nations art. Wandin is a Wurundjeri Woi-wurrung woman,and her ancestors are the traditional owners of the land surrounding the Birrarung (the Yarra River which runs through Melbourne) and the wider region.

The sculpture's title translates to ‘eel women catch’, a powerful tribute to First Nations women and to the matrilineal weaving practices passed through female generations. These tools are recognised as profoundly significant, dating back thousands of years. They are seen as one of the oldest and most sophisticated aquaculture systems in the world. Understanding the artwork’s meaning revealed a work of profound resonance, reflecting community, continuity, and cultural knowledge that form the foundation of Melbourne’s history.

First Nations Artist, Jenna Lee, in her studio in Australia

Indigenous artwork called Pukara by Wingu Tingima

Pukara, Wingu Tingima

Installation art of scarred and painted trees by First Nations artists of Australia

Indigenous Craft

During my stay in the city, I developed a deeper appreciation for the artistry and craftsmanship of First Nations people, an area of the art world I had not previously explored in depth. Aboriginal and Torres Strait Islander peoples* are the original owners of the land in Australia, whose cultural practices and creative traditions extend back tens of thousands of years. For example, there is the craft of tree scarring and bark painting. These traditional practices, which involved removing bark or wood to create art and craft, have resulted in scarred trees that serve as living artefacts and now act as markers of cultural ownership. Colonisation hugely disrupted these traditions.

Today, the growing recognition and celebration of First Nations craft within public spaces and community events is a vital acknowledgment of both their lasting presence and the significance of their cultural heritage. This recognition can be seen across Melbourne, from plaques and murals to dedicated website content, all affirming First Nations peoples as the original inhabitants of the land. Events such as Wurundjeri Week and NAIDOC Week (National Aborigines and Islanders Day Observance Committee) celebrate First Nations culture, offering communities the opportunity to reflect on achievements, engage with music and art, and celebrate Indigenous communities.

Striking public artworks further show this commitment, such as ‘Scar: A Stolen Vision’ (2003), a collaborative piece by First Nations artists that honours the practice of tree scarring. Works like these, along with community events, provide meaningful opportunities for exposure and engagement with First Nations culture reinforcing its continued relevance in Australia’s contemporary art landscape.

*Aboriginal and Torres Strait Islander People
Aboriginal and Torres Strait Islander People refers directly to those of Indigenous descent in Australia. Torres Strait Islander people are the Indigenous Melanesian people of the Torres Strait Islands, which is located in the state of Queensland. Both Aboriginal and Torres Strait Islander People First Nations Australians.

Scarred tree in Fitzroy Gardens, Melbourne, Australia

"In the creation of public art, the City of Melbourne will foster appropriate engagement with the critical knowledge, values and insights of the Wurundjeri Woi Wurrung and Bunurong Boon Wurrung peoples of the Eastern Kulin. We commission public art informed by the values and insights of Traditional Owners."

Statement from City of Melbourne

Do you see the works being relevant in today’s context?

Absolutely. As I mentioned, street art found in key landmarks such as Graffiti Lane has a huge relevance in the art world today. We've seen this in the past decade with rising artists like Banksy & Invader. A once frowned upon art practice seen as vandalism, is now celebrated worldwide.

Graffiti Lane has allowed emerging artists to have an outlet for their craft while being completely legal. Instead of suppressing the street art community, the city and Melbourne government champion it. For example, artists like Adnate or Phibs have been creating culturally significant works that decorate Melbourne; my favourite is Adnate’s 'Untitled’ (2023) as the colours are particularly striking. I look forward to seeing how Melbourne continues to celebrate street art, and how it continues to evolve celebrating Indigenous communities.

Mural of an indigenous Australian girl featured on a building in Moonee Ponds, Melbourne, Australia

large scale installation of a woven artwork in a gallery by indigenous Australian artists

Close up of scarred and painted trees by indigenous Australian artists

Mun-Dirra, by Doreen Jinggarrabarra, Freda Ali Wayartja, Freda Ali, Indra Prudence, Zoe Prudence, Gabriella Garrimara, Maureen Ali, Jennifer Prudence, Anthea Stewart, Bonnie Burarngarra, Lorna Jingubarrangunyja, Michelle Baker, Cecille Baker.