Fiona Halse

July 19 - 28
Factory 49


Installation photo at Factory 49

This is Halse’s seventh solo exhibition and the first in Sydney comprising four paintings 200 x 170 cm.

One of the four paintings by Fiona Halse

Painting by Fiona Halse

‘Halse harvests essential abstract forms through affective responses and haptic connections to materials. Her approach is Tachist, but her value of drawing principles, plasticity and formalism create an underlying structure to her work. The four paintings connect to the architectonic construction of the industrial space, but the work also seeks to unearth visceral feeling.’ Excerpt exhibition press release. 

Shantih Shantih Shantih

Jon Cattapan, Adam Lee, Sam Martin, Nell, Tomislav Nikolic,
Michelle Ussher, and Jake Walker
16th Jun - 21st Jul 2018

Selected artists:
Jake Walker, New Zealand, currently living in Melbourne

0080, 2017, oil on hardboard wood, 36.5 x 46.0 cm

0081, 2018, oil on linen mounted on ply paint tubes 26.0 x 35.0 cm

Bench Top Painting, 2013 oil on linen 66.4 x 104.3 cm

Sam Martin, Melbourne based artist

L: Back to the Beginning for the First Time, 2018, thread on canvas board artist039s frame, 113.5 x 71.0 cm.
R: No South, No North, No East, No West, 2018 thread on canvas board artist039s frame, 75.5 x 65.5 cm.

Detail, Martin's works are constructed using a sewing machine

Peter Sharp

How to paint trees
Nicholas Thompson Gallery
155 Langridge Street

Peter Sharp installation image.

Night Eucalypt, 2016 oil and acrylic on linen 153 x 130 cm. 

Sepal, 2018 oil and acrylic on linen 46 x 35 cm.

‘For the body of work presented here, the subject of his interrogation are the trees of Fowlers Gap, an arid zone at the edge of the Strzelecki desert in far western New South Wales, a site he has visited many times over the years. While some would be tempted to render this landscape in its entirety, Sharp’s is an intimate approach, concerned with the minutia, foregoing the whole for the sum of its parts.’
Excerpt exhibition essay Michelle Cawthorn, June 2018

Daniel Buren

'Like Child’s Play' (Comme Un Jeu D’Enfant) 
Schwartz Carriageworks 
To August 12

Daniel Buren at Carriageworks, Sydney

‘For me, colour is pure thought, and therefore completely inexpressible, every bit as abstract as a mathematical formula or a philosophical concept’ Daniel Buren

Throughout his career, Buren has created artworks that complicate the relationship between art and the structures that frame it. His work questions how space can be used, appropriated, and revealed both physically and socially.

Daniel Buren is recognised as one of France’s foremost contemporary artists, he has exhibited at the Venice Biennale, winning the Golden Lion in 1986. His work has been the focus of exhibitions at the Centre Pompidou in Paris and the Solomon R Guggenheim Museum in New York. Buren’s career spans five decades of interventions, controversial critical texts, thought-provoking public art projects and engaging collaborations with artists from across generations. 

Text excerpts from Schwartz Carriageworks media release.
Daniel Buren, Les Deux Plateaux, 1985-1986 permanent sculpture in situ - Paris

White acrylic paint on white and blue, striped fabric, 1974, 184 × 132 cm.

Very exciting to see a large scale work by Daniel Buren in Australia. I have included two earlier works to give the work at Carriageworks some context. After seeing his work at the Palazzo Reale in Milan in 2015 Buren has remained a favorite artist.

Kendal Heyes

Stephen McLaughlan Gallery
Level 8 Room 16 The Nicholas Building
37 Swanston Street Melbourne

to July 7

Installation image Kendal Heyes, all work oil and crushed marble on velvet.

Installation image Kendal Heyes, all work oil and crushed marble on velvet.

Surface detail. Materials oil and crushed marble on velvet

#newzealandart #australianart #newzealandpainting


Cindy Chen (Sydney)
Yuria Okamura (Osaka/Melbourne)
Vincent Hawkins (London)
Curated by Charlotte Watson
To July 14th
Five Walls (Gallery 1)
suite 4, lvl 1/119 Hopkins St, Footscray

Vincent Hawkins, Number 2,  water based lino ink on heritage paper.

Vis à Vis looks at a range of approaches to non-objective works on paper, and the differing processes behind each artist.

Vincent Hawkins, Number 1 and 3,  water based lino ink on heritage paper.

Yuria Okamura (Osaka/Melbourne) drawing series and Cindy Chen.

Cindy Chen, Spatial Malleables: Mountain, River, Bamboo (detail) 2017, Ink on Chinese paper.

The Exquisite Palette

St Luke Colourmen 
Tacit Galleries
123 a Gibbs Street Collingwood
Opening June 6, 6.30-8.30 pm.

Emma Langridge, Claire Bridge, Steven Baris, Ruth Hiller, Karen Neale,
TJ Bateson, Ray Carter, Andrew Cutteridge

With 347 palettes in all, its a fabulous snap shot of artists work from Australia and overseas, with many international artists in the show!

Elizabeth Tarrant, Chevron

Owen Bomford, Reconstructed

Opening Crowd

Gail Lorimer-Clarke

Tony Antinius Van Duynhoven, A hand of Heyteseury

This is just a small selection of some of the many wonderful palettes in this show. Congrats to St Lukes for great organisation. So fabulous to see so many contemporary artists from the United States in a Melbourne exhibition.

Günther Förg

A Fragile Beauty
26 May until 14 October 2018
Stedelijk Museum

Günther Förg, Stedelijk Museum

Günther Förg, Stedelijk Museum

The Stedelijk Museum Amsterdam presents a major survey of the work of German artist Günther Förg (1952–2013) including work from Förg’s entire oeuvre.

Günther Förg, Stedelijk Museum

Günther Förg, Stedelijk Museum

Günther Förg, Stedelijk Museum

Günther Förg, Stedelijk Museum

Australian artist Julie Keating is on residence in the Netherlands and sent these photos. Forg is an artist I admire for many reasons including his mark making and his ability to make paintings work with minimal means.

Mike Parr

Australian artist to live ‘underneath the bitumen’ for three days
Mike Parr
Hobart, June 1, 2018

Mike Parr, Performance, Hobart

For 72 hours, he’ll survive inside the 1.7m x 2.2m space with a folding chair, waste buckets, some water and a sketchpad and pencils, but there will be no food, and there will be no contact.

Mike Parr, Performance, Hobart

Leigh Carmichael on the artist statement:

‘It acknowledges two deeply linked events in Tasmania’s history. The eventual transportation of 75,000 British and Irish convicts in the first half of the 19th century, and the subsequent, nearly total destruction of Tasmania’s Aboriginal population.

To my knowledge, it will be Tasmania’s first monument referencing both the Black War and The Convict System, because the abysmal treatment of the indigenous people and the extreme violence of the punishment meted out to the convicts are two sides of the same coin.

It is a story that is not well known, but is ever-present, just beneath the surface of our contemporary culture. The fact that Mike Parr’s work will happen underground, just out of sight, as everyday life continues above it, is clearly no coincidence.’ News .com

The Field 1968

There have been progressive moments in Australia's post-settlement history. At the turn of the twentieth century Australia was leading the world with workers rights for an eight hour day, the suffragette or women’s rights movements and film production. Similarly in the 1960s-70s there was free health and education and a move for equal pay for women. Perhaps the most symbolic event for Art in Australia at this time was the purchase of Jackson Pollocks' Blue Poles in 1973 orchestrated by the Prime Minister Gough Whitlam. 

The staging of 'The Field', 1968, for the opening of the new National Gallery building in St Kilda Road Melbourne is now legendary as a time when 'cutting edge' made its way into the mainstream. The exhibition showcased then avant-garde, hard edge colourfield abstraction.

The Field, NGV, 1968.

‘The biggest Australian artists of the time — such as Sidney Nolan, Arthur Boyd and John Brack — were all conspicuously absent from the 1968 exhibition. 

Instead, curators John Stringer and Brian Finemore selected works by young and emerging contemporary artists. Eighteen of the 40 artists included were under the age of 30, and some had never had a solo show. 

These young artists were rejecting the conservatism of the Australian art scene and turning away from Europe, looking instead to the avant-garde art coming out of New York. 

So were the curators: inspired by what he'd seen at Andy Warhol's Factory, Stringer had fitted out the exhibition with silver foil-covered walls and geometric light fittings. It was the first instance of a 'designed' show at the NGV.’ Hannah Reich, ABC.