But fails to notice Rupert and Lachlan When the Age’s art critic Robert Nelson reviewed a one-day art project in Melbourne at the weekend, the crowd was watching an exhibit by an artist from the UK conceptual artist who was in “puzzlement”.

“You might feel like viewers were searching within themselves for an explanation.” Nelson wrote in his review of Jeremy Deller’s film, Father and Son, that featured life-sized gray candles that resembled the shape of a seated old man and a younger man slowly melting into a puddle during the day.

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But it was the art critic himself who was confused. Nelson wrote hundreds of words on the meaning behind the Turner prize-winning artist’s works without realising that the father and son effigies were actually of Rupert and Lachlan Murdoch.

Everybody makes mistakes, but they are rarely as visible as the one in the newspaper The Age online and in print on Sunday. Surprisingly, no one within the story questioned why the writer didn’t refer to the Murdochs in his article. Although there was a clear resemblance with the numerous images published, it was not immediately obvious.

There is no indication that anyone has read other reports on the show, including the Guardian. Australia’s Melting moguls: life-sized Rupert and Lachlan Murdoch’s candle burn in Melbourne installation, on Saturday.

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A spokesperson for Nine Publishing The Age, which is the publisher of Nine Publishing Age did not respond to requests for comment.

To his credit, Nelson wrote a mea culpa of sorts on Tuesday “Sometimes the eyes aren’t sufficient … I just did not realize that the two stale models were Murdochs.” Murdochs.”

In the “spooky installation inside an unconsecrated church in Collingwood” Nelson saw, in Sunday’s review the Father and the Son of the Bible but not the father and son of the Murdoch media empire.

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“Everything about the ceremony at St Saviour’s Church of Exiles, Collingwood, was churchy up to the quote from John’s Gospel, where Jesus proclaims his love for his Heavenly Father,” Nelson wrote on Tuesday.

“But I didn’t know that the characters were Rupert and Lachlan Murdoch, media princes whose various dealings aren’t necessarily religiously motivated.

“It adds a fresh perspective on the project certainly; and if you were really at all times focusing on the specifics of the Murdoch models being burned this idea would be close to farce.”

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Nelson was given an “out”, but he wisely declined to accept the offer. Some people believed that his initial review was a conscious decision to keep Murdoch’s name out of the news.

“A funny Jane Scott, director of Horsham Art Gallery, was nice enough to write “Brilliant review … without talking about the non-essential’,” Nelson said.

“I would love to bask in the glow of this subtle game, but in all candour I just didn’t know about the two antiquated models that comprised the Murdochs.”

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He also admitted there were clues as he walked around the gallery, but he chose to ignore because the way he sees things is “trusting my eyes”.

He said, “My ears heard someone talking about the name “Lachlan”. However, the whisper did not penetrate my visionary armor.” “If I suppressed the connection the connection was in my unconscious. It would have been nice if I could resist more Murdoch public image. But the truth is that I didn’t pay much attention to what I was hearing.

Nelson eventually overcomes the “embarrassment” by asserting that the fact Nelson missed the context is insignificant.