Art thoughts

Jennifer Joseph

For the next 300 years
To June 29

Niagara Galleries
245 Punt Road
Melbourne

Are You Lonesome Tonight? 2016, mixed media, 137 x 305 cm polyptych.

Untitled, c. 1989-92, acrylic, gesso and mixed media on cotton duck, 71 x 61 cm

For the next 300 years, 2017, mixed media, 146 x 183 cm.

Moody Blues 8, 2019, mixed media, 29 x 25.5 cm.

'Jenifer Joseph is motivated by an overwhelming need to make art and the experience of doing so is as important as the self-expression the finished work allows. For her it is a distinctly personal undertaking and one that doesn't require validation form external sources, but rather the knowledge that it worked and the satisfaction and creative liberation that comes with it. Joseph is not driven to exhibit her art publicly, but on the occasions she does, we are always presented with a body of work that is both beautiful and absolutely authentic.' Excerpt Kirsty Grant, 'The Art of Jennifer Joseph', catalogue essay, Jennifer Joseph: for the next 300 years.

Angelina Pwerle

Bush Plum Paintings 2016 - 2019
To June 29
Niagara Galleries
245 Punt Road
Melbourne

Angelina Pwerle installation image.

Angelina Ngal Pwerle, Utopia artist b.1947, paints Bush Plum Dreaming from her grandfather’s country, using fine dotting textures.

Catherine Hearse and Glenn Murray

Complex Life
To June 15
fortyfivedownstairs
45 Flinders Lane
Melbourne

Installation photo Catherine Hearse.

Installation photo Glenn Murray.

‘Complex Life brings together the work of two friends and artists, Catherine Hearse and Glenn Murray. Both artists use their artistic processes to explore the idea of interdependence and their positions in the world, in a physical, environmental and emotional sense.’ fortyfivedownstairs website.

Heather Shimmen

The Ladies of the Pleiades
1 June – 14 July
survey exhibition
Gippsland Art Gallery, Sale
Opening speaker Stuart Purves AM, Director, Australian Galleries

Installation photo Kari Henriksen

Shimmen’s linocut prints are layered images; featuring prints, fabrics and felts, that draw on the rich history of local and ancient mythology including ‘The Lady of the Swamp’; ‘The Seven Sisters of the Pleiades’; and Shimmen’s own creation ‘Matilda Waltzing’.

Asta Gröting

Berlin Facades (2016-) consists of a series of negative imprints made out of silicone that are monumental in size. They track the traces of the bullet holes made during war in facades that have not yet been renovated.

Mausoleum, 2016, Silicon, Jute, Sandstone, 373 × 373 × 10 cm.

Sockel Winzerin, 2016, Silicon, Jute, Moss, 233 × 180 × 9 cm.

Asta Gröting installation.

Susan Buret

Recent exhibition
Double Take 2
Sydney Non Objective

497 Parramatta Road

and Articulate Project Space

297 Paramatta RoadLeighhardt, Sydney

Susan Buret

Isabel Davies

Recent Geometric Constructions
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

Adrian Corke

Installation photo, The world of interiors, Adrian Corke.

Miles Hall, Mostyn Bramley-Moore, Anthony White

Discrepant Subjects

3 Australian Artists in Paris
To June 4
Le Pavé d’Orsay.
48 rue de Lille.

Miles Hall, Pigmentation (Ultramarine), oil on linen, 40 x 33 cm.

Mostyn Branley-Moore, What I Can and Can't do later, 2019.

Anthony White, The Ayes have it, 2019, oil and Ripolin on canvas, 52 x 52 cm.

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.