David Gatiss

Density of Darkness
9 May - 3 June
Tacit Gallery

Untitled (detail) mixed media on paper

‘Density of darkness. My favourite hour, that ambiguous pause between darkness and dawn when you sense the imminence of light.’ 
David Gatiss

Convoy of boats, (detail) mixed media

This exhibition is in memory of the artists’ father. The large drawings are reflective of the coal seam in the UK mine his father worked. Many of the sculptural pieces reference his father’s time in the navy. Other more figurative works detail the family life of a coal miner.

David Thomas

David Thomas
To May 19
Tristan Koenig
19 Glasshouse Road

Install of individual works: Untitled (On + Off Series), 2018,
synthetic polymer on gesso panel 30 x 20 cm.

Untitled (Listening to the silence between two colours), 2018,
Synthetic polymer on gesso panel, painters tape, 30 x 20 cm.

Untitled (Listening to the silence between two colours; Yellow/Blue), 2018,
Synthetic polymer on gesso panel, painters tape, 30 x 20 cm.

Install: Untitled (Listening to the silence between two colours), 2018.

Robert Hunter

Robert Hunter (1947–2014)
Ian Potter Centre NGV
27 April 18 – 26 August 18 

Untitled 1968.

‘When Robert Hunter decided to exhibit 13 white-on-white paintings at his first solo show it was an audacious decision, marking the beginning of a lifelong dedication to minimalism. After that first exhibition at Tolarno Galleries in Melbourne in 1968, his paintings were critically acclaimed. Later that year he was included in The Field, the groundbreaking exhibition that heralded the opening of the National Gallery of Victoria’s new building on St Kilda Road.’ Bronwyn Watson, The Australian.

Installation. Earlier work, materials: House paint and masking tape on canvas. 

'Hunter is one of very few Australian artists to participate at the centre of an international art movement, exhibiting in Eight Contemporary Artists at the Museum of Modern Art, New York, in 1974, and presenting solo exhibitions at Galerie Konrad Fischer in Düsseldorf in 1974, and Lisson Gallery in London in 1975.' NGV website

Untitled 1970 painted paper and masking tape. 

‘Practical and no-fuss, Hunter's stock-in-trade was Dulux house paint, rollers and masking tape. Asked why he chose the 8x4 feet size of his plywood paintings Hunter offered two off-hand replies: it was the same size as the pool tables he liked to play on; and it fitted into the transport van he drove.’ Ray Edgar SMH

Untitled works c1986 - 87.

I saw Robert Hunter's 1989 exhibition at Ian Potter Gallery, Melbourne University. The works were a collection of his white paintings (above) done whilst artist-in-residence at the uni. At that time I found the works almost impossible to gaze at. They were so white and so hard edge and the gallery was all white too. Hunter's painting grew on me over the years as he stuck rigidly to his core vision and process. He seemed reassuring. Seeing this period of works again as a group I thought this time about the macro and micro. The white of snow and the unique cellular pattern that is each snow flake.

Robert Hunter painting detail 

Robert Hunter painting detail 


A man you don’t meet everyday. Diamond Creek area. Out and about. Mother’s Day. In the zone he seemed too.

Monochrome: Empty and Full

Margaret Lawrence Gallery
4 May - 2 June 
VCA School of Art

Curated by David Sequeira

Monochrome with Ian Wells

A few selected works:

Rose Nolan, A Small Orange Constructed Work, 1994,
oil paint, cardboard, dressmaking cotton, glue and metal tacks. 
Courtesy Anna Swartz Gallery.

David Serisier, Untitled Black Vertical 1, 2002, oil on linen. Courtesy Charles Nodrum Gallery.

Allan Mitelman, Untitled, 1983, oil on panel. Courtesy Charles Nodrum Gallery.

Over 30 artists explore the idea of colour as its own entity – a kind of presence, connected with form but not beholden to it, that has the capacity to both embody and conjure a range of meanings, associations and emotions.

Per Kirkeby

'The artist Per Kirkeby died today (9 May) in Copenhagen, aged 79, according to his gallery, Michael Werner.

Born in the Danish capital in 1938, Kirkeby was a painter, sculptor, poet, novelist, film-maker, and costume and stage designer. He experimented with Fluxus performance in the 1960s with people like Joseph Beuys before becoming particularly well known for his opaque, semi-abstract canvases that critics and historians regularly discussed in terms of geological strata, recalling the artist's background as a student of geology and natural history at the University of Copenhagen.’ The Arts Newspaper.

Per Kirkeby, Untitled, 1999, Oil on canvas 300 × 500 cm

Returning to the Field

SNO Contemporary Art Projects
Leichhardt Sydney

Curated by Ruark Lewis and Andrew Leslie over three separate exhibitions, 2014-18.

Incorporating artists from the inaugural landmark 'The Field' exhibition 1968 for the opening of the new National Gallery of Victoria with contemporary practicing artists. In 'Return to the Field' 2014, the selected contemporary artists were mostly women to address the gender imbalance not considered in the 1968 exhibition. The exhibited work by the participating 'Field' artists is from a period of each artist's oeuvre. The subsequent 'Return to the Field' #2 and #3 became more experimental, playing with media and narratives. 

To read more about these 'intergenerational, interdisciplinary and multi-faceted' exhibitions please follow this PDF link 

Returning to the Field
July 12 - August 24 2014


Selected work by Robert Jacks, Nigel Lendon, Jacqueline Rose.

Selected work by Wendy Paramour, Bingiti Ngurruwuthun, Jacky Redgate.

Returning to the Field #2
5 March - 10 April 2016


Selected work Debra Dawes.

Returning to the Field #3
14 April - 13 May 2018


Selected work Eric Shirley.

Abstraction 2018

Stephen McLaughlan Gallery
Level 8 Room 16 Nicholas Building
37 Swanson Street Melbourne, ‘til May 26. 

Curated by Steven Wickham.

Selected work:

L: Judy Marsh ‘Hyper-thetical’ 2018 timber, acrylic paint 86 x 78 x 13 cm.
R: Sarah Keighery, ‘Untitled Diptych’ mixed media 40.5 x 40.5 cm (each panel)

L: Lyn Eastaway, ‘Red Yellow Black constructed painting’ 2011, acrylic and laminated linen on cotton duck 50 x 63 cm.
R: Billy Gruner, ‘New work for a new system #1’ enamel on canvas, 78 x 630 cm.

Susan Andrews ‘Off Centre’ acrylic on ply, 63 x 40 x 6 cm. 

L: Paul Zika ‘Terme' 16 2015 acrylic on wood 80 x 78 x 55 cm.
R: Gordon Monro, 'Alogos: Hexagonal 1 and II' 2018 limited edition prints mounted behind acrylic 70 x 70 cm. 

L: Stephen Wickham ‘High key 'Modernist Mantra diptych' 2008 oil on linen 44 x 74 cm.
R: Susie Idiens 'Untitled #4' 2016 polyurethane, mdf 60 x 64 x 6 cm.

Melinda Schawel

Second Chances
Flinders Lane Gallery
137 Flinders Lane Melbourne
To  May 19

Right Here 2018, ink and pencil on torn and perforated paper, 105 x 75 cm (120 x 89 cm framed size) 

Crown of Thorns I 2018, perforated paper, 75 x 105 cm (91 x 120 cm framed size)

‘The abstracted compositions of Melinda Schawel conjure a kind of visual ecology; a symbolic world where concept and construct interact in quiet symbiosis. Immersing herself in the often-overlooked alchemy of paper, the American born, Melbourne-based artist summons formal dialogues between texture and mark to present her experiential vision of the natural world.’ Elli Walsh 2018 (catalogue excerpt).

Melinda Schawel monograph launch coinciding this exhibition opening see Flinders Lane Gallery website:  www.flg.com.au

A Field of Interest - c 1968

April 26 - May 19, 2018
Charles Nodrum Gallery

'A group exhibition of hard-edge colour-field works to coincide with the re-staging of 1968 The Field exhibition at the National Gallery of Victoria.'

Included in this exhibition are additional works from artists in the original exhibition and artists of the period who may have been included in the seminal exhibition if circumstances were different (namely, in this case, women artists).

L: Tony McGillick, National, 1968, acrylic on canvas, 168 x 275 cm.

R: Richard Dunn, NYC #1, 1968, pigment, acrylic and enamel on canvas, 183 x 488 cm.

L:Margaret Worth, Untitled, 1968, SPE on two shaped marine plywood panels, 122 x 30 x 30 cm.
 R: David Aspden, Jnana, c. 1966, acrylic on canvas, 175.5 x 150 cm.

L: Ron Robertson-Swann, Across Matisse, 1964, acrylic on cotton duck, 56.8 x 86 cm.
R: Ron Robertson-Swann, Pink Alice, 1968, acrylic on cotton duck, 259 x 104.8 cm.

L: Michael Johnson, Frontal, 1968, acrylic on canvas, 198 x 172 cm.
Margaret Worth, Genus O No. 1, 1966 - 1967, SPE on canvas, 91 x 275 cm.

Virginia Coventry, Solid Blue Silence, 1969, acrylic on cotton duck, in original aluminium frame, 106.5 x 244 cm.

Trevor Vickers, Untitled, 1967.

Col Jordan, Blue Falling, 1967, acrylic on shaped marine ply, 220 x 220 x 15 cm.

It all looks so wonderfully medieval.