Isabel Davies
Stephen McLaughlan Gallery
Level 8, Room 16, Nicholas Building
closed May 18.
Isabel Davies, Square variations, 2017 — 2019, mixed media |
Isabel Davies, Installation photo, Stephen McLaughlan Gallery. |
Isabel Davies |
Isabel Davies sketch book. |
Isabel Davies was in born 1929. Visit the artist's website here
Adrian Corke
The World of Interiors
For Langford 120
To June 9
West End Art Space
137 Adderley Street
West Melbourne
For Langford 120
To June 9
West End Art Space
137 Adderley Street
West Melbourne
Adrian
Corke
|
Installation photo, The world of interiors, Adrian
Corke. |
Lawrence Carroll
Lawrence Carroll 1954-2019
Lawrence Carroll, Installation, documenta IX, Kassel, Germany, 1992 |
‘The Australian-born, American-raised painter Lawrence Carroll—known for his expressively elegant, restrained sculptural pictures often assembled from found materials—has died. His death on Tuesday morning was announced by his Cologne gallery Karsten Greve, which has represented the artist since 1999. He was sixty-five years old.
Carroll quietly resisted trends or even a decipherable progression over the span of his forty-year career, though his muted color palette and use of household paint, stitched canvas, oil, wax, and dust to create works which existed in the space between object and art object remained throughout.’ Excerpt Artforum News
Lawrence Carroll, Table Painting, 2002. |
Extended Gestures Extended
Ben Pell
Charlie Harding
Georgie North
Sean Mcdowell
to May 18Five Walls
Melbourne
'The title for this show is borrowed from the writers Claude Cernuschi and Andrzej Hercyznski who in their essay, The Subversion of Gravity in Jackson Pollock’s Abstractions, describe Pollock’s employment of gravity as a means “to extend the duration of his gestures”.1 In easel painting (and in some forms of sculpture), finding a new way to form the gesture has been an important pursuit by many artists, albeit, by the brush or through other less unorthodox means (Brice Marden with his extended stick or Richard Serra with his frenetic lead flinging, both serve as appropriate examples of this type of activity).
The four artists in Extended Gestures Extended build on this endeavour. They pursue methods that are provisional and intuitive and form marks that reference bodily activity. Bold strokes of colour are applied with careful attention to the stroke’s intensity and speed. They innovate ways to disperse paint, be it, through maximum thinning, or strokes that are at once, abbreviated and extended.
In Extended Gestures Extended the gesture is distilled, the painting process renovated and the very orthodoxies of easel painting challenged.' Aaron Martin Curator
Charlie Harding |
Ben Pell |
'The title for this show is borrowed from the writers Claude Cernuschi and Andrzej Hercyznski who in their essay, The Subversion of Gravity in Jackson Pollock’s Abstractions, describe Pollock’s employment of gravity as a means “to extend the duration of his gestures”.1 In easel painting (and in some forms of sculpture), finding a new way to form the gesture has been an important pursuit by many artists, albeit, by the brush or through other less unorthodox means (Brice Marden with his extended stick or Richard Serra with his frenetic lead flinging, both serve as appropriate examples of this type of activity).
The four artists in Extended Gestures Extended build on this endeavour. They pursue methods that are provisional and intuitive and form marks that reference bodily activity. Bold strokes of colour are applied with careful attention to the stroke’s intensity and speed. They innovate ways to disperse paint, be it, through maximum thinning, or strokes that are at once, abbreviated and extended.
In Extended Gestures Extended the gesture is distilled, the painting process renovated and the very orthodoxies of easel painting challenged.' Aaron Martin Curator
Labels: title
Ben Pell,
Charlie Harding,
Extended Gestures Extended,
Five Walls,
Georgie North,
Sean Mcdowell
Don Voisine
To June 9
McKenzie Fine Art, NY.
McKenzie Fine Art, NY.
Orange Zip, 2019. Oil and acrylic on wood panel 40 x 40 inches |
Don Voisine installation image |
Pan Out, 2019. Oil on wood panel, 24 x 24 inches. |
‘With each new exhibition, it becomes more apparent that Don Voisine is adding his own earned options to the legacy of geometric abstraction...
The urban aspect of Voisine’s paintings underscores his alertness to everyday sights and how they might inspire the forms that he places into his paintings...’ excerpts John Yau ‘Excavating the Radical Roots of Abstract Painting’ Hyperallergic, May 9,2019
Images McKenzie Fine Art, NY.
Colour/Field Two
Opening May 17, 6 pm
Cross GalleryBundaberg
Installation at Cross Gallery |
Including works by
Roland Orépük
Louise Blyton
Louise Gresswell
Steffen Schiemann
Marlene Sarroff
Christian Flynn
Jo Katsiaris
Brent Hallard
Nicolo Baraggioli
Deb Covell
Stuart Fineman
Terri Brooks
Beverly Rautenberg
Simon Kilvert
Louise Tuckwell
Featured artist Roland Orépük based in France
Roland Orépük installation at Cross Gallery |
Roland Orépük's installation Outside Wall Work, at Factory 49 in Sydney, 2008 |
In south-east Queensland in the town of Bundaberg Clinton Cross is running a gallery which has consistently shown leading artists, particularly in the area of non-objective, reductive and abstract art. Not only leading Australian artists but also leading international artists in this field including Roland Orépük featured here. Clinton an artist himself is passionate about art in the best way and has his eye on what is exciting in the art world. Please look up and support his gallery either on instagram @crossgallerybundaberg or on the web https://www.cross-gallery1.com/ Clinton's gallery is the only Australian gallery I am aware of with such a continuous line up of leading international artists.
Colour Field Two features national artists as well as artists from France, Germany, America, Britain and Italy.
Renée Levi
Istanbul (Turkey)
Lives & works in Basel (Switzerland)
Lives & works in Basel (Switzerland)
'In 2018, the artist was awarded the art prize of the Société des Arts de Genève, and CHF 50,000 in prize money. She studied architecture at the HTL Muttenz/Basel and fine arts at the Hochschule für Gestaltung und Kunst Zürich.' Excerpt Langmatt website
"Renée Levi is known for working in public space, but perhaps it would be more accurate to say that she works on public space, on its re-elaboration, whereas it is on the point of becoming undone from palpable space. Far from rejecting this, Levi takes it as her starting point, such that her pieces, although physically inscribed in public places (schools, working-class housing complexes, banks, hospitals, cantonal assemblies and so on), go beyond the framework of the in situ work of art.” Excerpt CCNOA (Center for Contemporary Non-Objective Art) website
Artist book: Kill me afterwards, 2003.
Renée Levi |
"Renée Levi is known for working in public space, but perhaps it would be more accurate to say that she works on public space, on its re-elaboration, whereas it is on the point of becoming undone from palpable space. Far from rejecting this, Levi takes it as her starting point, such that her pieces, although physically inscribed in public places (schools, working-class housing complexes, banks, hospitals, cantonal assemblies and so on), go beyond the framework of the in situ work of art.” Excerpt CCNOA (Center for Contemporary Non-Objective Art) website
Renée Levi |
Artist book: Kill me afterwards, 2003.
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