|
15
February – 28 March 2004
HOWARD
TAYLOR : Towards Discovery
Paintings - Maquettes - Drawings
Galerie Düsseldorf, Perth
15 February – 28 March 2004
This
exhibition runs concurrently with the Howard Taylor Retrospective at
The Art Gallery of Western Australia. It traces the developmental journey
of many of the works in that exhibition. Details below.
HOWARD TAYLOR : PHENOMENA
Is
a joint initiative of the Art Gallery of Western Australia, Perth
and
the Museum of Contemporary Art, Sydney
Schedule
of Venues and dates
Museum
of Contemporary Art, Sydney
17 September - 30 November 2003
Official Opening 6pm Tuesday 16 September 2003
The
Art Gallery of Western Australia
5 February - 2 May 2004
Official Opening 6pm Wednesday 4 February 2004
Link to Art Gallery of Western Australia in depth Howard Taylor web
pages:
http://www.artgallery.wa.gov.au/howardtaylor/
Mornington Peninsula Regional Gallery, Victoria : 13 July - 29 August
2004
Griffith Artworks Gallery, Queensland : 24 September - 31 October 2004
Cairns Regional Art Gallery, Queensland : 28 January - 13 March 2005
New England Regional Art Museum, Armidale, New South Wales: 1 April
- 15 May 2005
Tasmanian Museum and Art Gallery, Hobart, Tasmania: 5 June - 28 August
2005
Orange Regional Gallery, New South Wales: 9 September - 16 October 2005
Bunbury Regional Art Galleries, western Australia : 8 December - 2005
- 29 January 2006
Geraldton Regional Art Gallery, Western Australia : 10 February - 16
April 2006
Link
to Art Gallery of Western Australia in depth Howard Taylor web pages:
http://www.artgallery.wa.gov.au/howardtaylor/
Curator:
Gary Dufour, Deputy Director, Art Gallery of Western Australia, Perth
Catalogue Essayist: Russell Storer, Curator, Museum of Contemporary
Art, Sydney
HOWARD
TAYLOR : Towards Discovery
Paintings, Maquettes and Drawings
Galerie Düsseldorf, Perth
15 February – 28 March 2004
Howard Taylor lived the most perfect, most complete life of art,
and his unique personal vision from the beginning went far beyond
the conventions of self-expression. It was as if he sensed the extraordinary
power and purity of that vision was to become a life task which placed
on him intellectual demands and a creative discipline which was to
shape and define his creative life for more than fifty years.
That he lived this extraordinary life, as an Australian in Australia,
and for the greater part in comparative obscurity, adds an enormous
feeling of poignancy because he, more than any other Australian artist,
perhaps even of any other naturalist or scientist or compassionate
interpreter of the magical Australian landscape, sought and found
the very essence of that landscape. It is that extraordinary enunciation
and richly orchestrated revelation of the life, structure, rhythms,
light, colour and movement of that landscape which not only give us
his revelations but, in its making, some of the most stunning and
original visual images of the past century.
Howard Taylor was an Australian and his brilliant gifts and stunning
vision was totally focused on the depiction of his beloved Australian
bush. His vision, however, went far beyond the focus of any painter
before him, in that none of them, irrespective of their unquestioned
brilliance, ever interrogated and captured the complexity of structure,
the ephemeral quality of its light and colour, or the rich and subtle
patina of its living forms, as he did.
Anthony K Russell A.M- Essay
by Dr David Bromfield on the 1985 retrospective at the Art Gallery
of Western Australia
- Link
to Art Gallery of Western Australia in depth Howard Taylor web pages:
http://www.artgallery.wa.gov.au/howardtaylor/
18
April - 9 May 2004
- This
Exhibition has two main themes.
Then, as a child, I experienced the devastation of London, during
the bombing Blitz.
Now, as a mature adult I have had the very different experience of
living in Western Australia.
This has allowed me to look at my past and revisit and restate some
stylistic directions, but the visual impact of the work is always
the main concern.
Douglas
Chambers November 2004
- Born
east end of London 1935.
Phoney War - evacuated to Weymouth
Returned to London.
Brothers evacuated and I remain with parents during Blitz, sleeping
in underground stations.
Evacuated to Oxford.
Father's business bombed.
Returned to outer London.
Evacuated again to Hereford, Wey Valley.
Returned to London. Church adjacent to Primary School destroyed by
V2 Buzz Bomb.
Evacuated again to Norfolk.
Returned to London, Woodford Essex. Local School and adjacent Church
struck by V2 rockets using incendiary bombs which destroyed part of
our house and car.
War ends. VE (Victory Europe) and VJ (Victory japan) celebrations.
Part of a letter from my brother:
"It seems odd now to recall standing on the front porch. Morrison
shelter in the dining room (this was a steel box the family lived
in during air-raid. Watching the German planes caught in search lights,
flourescent shells being fired at them and fighters zooming over towards
the Thames. The house as hit by incendiary bombs, parachuted down.
Dad had to push a blazing car out of the garage, all part of home
guard duties"
- Douglas
Chambers 2004
|
- After
gaining a National Diploma in Design, Douglas Chambers served
his obligatory two years national service before attending The
Royal College of Art in London from 1959-61, alongside Ron Kitaj,
David Hockney, Peter Phillips and Allen Jones. In 1963 he took
up a teaching post in Jamaica where he lived for seven years
before arriving in Perth in 1970 to teach in Art and Design
at The Western Australian Institute of Technology (now Curtin
University). A survey exhibition of his work was held at The
Art Gallery of Western Australia in 1991. In 2004 he will be
a visiting Scholar at The University of Tasmania, Launceston.
|
23
May - 13 June 2004
JILL
KEMPSON
-
Remain in Light -
Recent
Paintings
|
- Western
Australian artist Jill Kempson will be showing an exciting new
body of paintings, based on her research done at Monsieur Beres's collection
and bookshop in Paris. Monsieur Beres possesses some of
the most sought after books and old manuscripts in Europe. Jill
was able to make notes and drawings in Beres's bookshop over
a six week period in September 2001.
Resulting from this time in Paris Jill has produced a stunning
collection of works.
" Remain in Light" reflects her fascination with light
and is shaped around a collection of works on canvas and books.
The latter, a meticulously hand painted series of images on
books, make reference to early Chinese, Egyptian, Greek, Medieval
and Renaissance periods yet are contemporary at the same time.
Tiny oil paintings inserted into books play upon the notion
of fiction and history and text itself yet manage to evoke a
sense of sacred space.
On show will also be larger works on canvas of urban Paris and
interiors, landscapes from the south of France. Jill has been
developing her ability to deploy paint to depict the effects
of light in her painting. By reducing her colour range and concentrating
on tonal qualities, she has been able to create paintings that
engage the viewer in distilled moments of time. These moments
refer to a certain tranquility, subtlety and mystery that she
sees in the world around her.
Jill had the good fortune to receive funding from ArtsWa. for
her research at M. Beres's bookshop. her exhibition "
Remain in Light"
|
27 June - 18 July 2004
FRANK
MORRIS
'O
N O M A T O P O I E A'
Recent
Paintings
|
- Frank
Morris was born in Toowoomba, Queensland in 1956 and has lived
in Western Australia since a teenager. He has completed a Post
Graduate Diploma in Visual Arts at Curtin University of Technology
and studied Anthropology at the University of Western Australia.
He has held two previous solo exhibitions at Galerie Düsseldorf
in 1998 and 2001 and has also participated in various group
exhibitions. His work is represented in the collection of the
Art Gallery of Western Australia, nationally in the ArtBank
collection Sydney and in many private and corporate collections.
The exhibition "ONOMATOPOIEA" at Galerie Düsseldorf
looks at the tradition of European Landscape painting and demonstrates
that much of the tradition of 'Landscape' is captive to a disembodied
eye. Frank Morris' work is an attempt at a visual onomatopoeia
to landscape and the return of the eye to the body.
|
22 August - 12 September 2004
SUSANNA
CASTLEDEN
"Souvenir"
|
- Susanna
Castleden was the recipient of the Curtin University and Galerie
Düsseldorf Post Graduate Scholarship in 2002.
Her resulting solo exhibition at Galerie Düsseldorf demonstrates
her continued interests in how language has constructed elements
of Australian cultural identity and how in turn concepts of
identity are created, defined and re-defined through our relationships
to landscape and territory.
Skilfully and painstakingly constructed, her works display the
magic of historical pictorial referencing and are imbued with
a deep sense of the poetical.
|
17 October - 7 November 2004
CASPAR
FAIRHALL
-
Transmission -
|
-
This
is a body of work concerned with virtual structures and the
nature of spatial illusion in images. For some time now my
work has been concerned with dismantling or reconstructing
the way in which images are made, and the way in which images
relate to our understanding of space and concrete reality.
Each work has a number of layers of contradictory and perhaps
unresolvable spatial structures, built out of architectural
elements. These architectural elements are largely divorced
from any terrain, and often altogether from any fixed reference
point. The classical elements (ionic capitals, Romanesque
arches et al) are intended as links to the coherent space
of Renaissance art, with its use of clear and relatively simple
perspective structures. By retaining some reference to classical
notions of space the work can play off visual illusions (which
largely have a basis in perception) against recognisable signs.
Other elements, which resemble security cameras, mobile phone
towers and the like, are intended as references to our contemporary
built environment, and to suggest the way in which this environment
is permeated and overlayed with a constant flow of information.
The physical structures themselves are also in a sense fabricated
from information (which is of course how we recognise them),
and it is from this that the exhibition title comes.
|
Link
to Caspar Fairhall Web Site
21 November - 12 December 2004
SIMON
GEVERS
-
I LIKE PAINTING -
Group
of smaller works and Stella 2004 Egg Tempera on Board 90 x 120 cm
- After
a ten year absence from the public arena, Simon Gevers makes this
welcome return. His new paintings are imbued with a deep sense of
peace and tranquility gleaned from the artist’s approach to the
act of painting. The richly worked pigmented egg tempera surfaces
surpass material experience.
21 November - 12 December 2004
JOSS
GREGSON
-
DISCIPLINE -
Discipline
X 2004 Wax, Acrylic over Gesso on Board 54.2 x 54.2 cm
- Still-life
paintings (a pictorial representation of inanimate objects) have a
history steeped in tradition and discipline. The term derives from
the 17th-century Dutch still-leven, meaning a motionless natural object
or objects. In this exhibition, using only the colour black, Jocelyn
Gregson meticulously amalgamates, the real and the mechanically reproduced
to form meticulous still-life paintings.
Gallery
closed during January 2005 - re-opening with Perth Internationsl Arts
Festival Exhibition (Shelf)(Life) on 13 February 2005
|
