8
December 2005 - 29 January 2006
- Howard
Taylor: Phenomena Bunbury
Regional Art Galleries, Western Australia
 
View
Installation @ Art Gallery of Western Australia
12
February - 12 March 2006
- Galerie
Düsseldorf 30th Anniversary Year Celebratory Exhibition No.1
- FIGURATION
IN THE WEST
- Douglas
Chambers
Jocelyn Gregson
Richard Gunning
Jill Kempson (TONALITIES OF TIME : THE FORGOTTEN WAYS)
Kevin Robertson
- Over
the last four decades, the act of painting has been challenged, attacked,
subverted, and dismissed as dead. Has painting ever really gone anywhere?
In galleries and art schools all over the world, painting has always
been and continues to be produced and shown. Collectors covet it and
critics bash it; people line up at museums to look at it. Notwithstanding
its near death experience with Minimal and Conceptual art of the late
1960s and early 1970s, the practice of painting is alive and healthy.
Numerous art historians, critics and theorists continue to mourn the
death of painting, yet somehow the medium continues to percolate. This
supposed death springs in part from the mistaken notion that each new
art movement or technology renders earlier ones obsolete – that
innovative technologies and new media will overtake the traditional.
Just as in the 19th century, when many people believed that photography
would lead to the end of painting, many members of today's art world
have become convinced that digital technology will endanger and eventually
overwhelm painting. The medium has simply evolved and changed in reaction
to photography and it has done the same in regards to the Internet and
digital technologies. Artists understand that they could create their
imagery entirely on the computer, but they still desire the visual,
tactile and emotional effects they can achieve by sticking with the
old-fashioned technology of brushes and paint. As one of the greatest
visionary tools ever invented, painting offers the most effective ways
to examine, alter, or invent a new reality-- the artists in this exhibition
have done all of those things and more.
Painting, On and Off the Wall
William Stover, Curator
The New York Foundation for the Arts (NYFA)
2003
26
March - 23 April 2006
Galerie
Düsseldorf 30th Anniversary Year Celebratory Exhibition No. 2 + 3
Howard
Taylor + Lesley
Duxbury
- These
2 exhibitions coincide with the National Gallery of Australia's John
Constable exhibition comprising 100 works.
Constable (1776 - 1837) : impressions of land, sea and sky: 3 March
- 12 June
and the inclusion of works by Howard Taylor and Lesley Duxbury in the
accompanying exhibition by 10 Australian artists
- who
have looked in depth at Constable's work.
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Howard
Taylor : Tracing the Sublime
Howard
Taylor Strange Formations 1998 - Painted Ply Constructions - 39
x 175 x 75 cm (two parts)
photo
John Austin
On
the occasion of the Australian Contemporary Art Fair in Melbourne
1996, when Howard Taylor's works filled Galerie Düsseldorf's
100 sq metres exhibition space - Professor Patrick Hutchins Australian
Philosopher felt moved and compelled to write a review. An extract
from 'Howard Taylor: Tracing the Sublime' follows.
Taylor's working up of a sparse sublime is on the contrary intellectual,
and reflective: a Kantian sublime, Taylor substitutes true reflexion.
Taylor's sublime is like Kant's: spiritual. The human person is
first humbled by the majesty of nature: and then reasserts humanity's
superiority to nature.
Deep and rich suggestions of sublimity are presented by Howard Taylor
in works whose plainness and paleness make a firm statement of their
very serious intent. The sublime is 'traced', on his picture plane,
and traced to its source. The source of the sublime is: Human wonder.
We may wonder at what is, seeing it as the work of God: or just
wonder, and wonder at our wonder at it: such are the Theist and
the Humanist Sublimes.
Howard Taylor's works call us to reflextions of this, deep, sort.
To the forest: and well beyond it.
* Patrick Hutchings Department Philosophy University of Melbourne
5.X.96
Lesley
Duxbury : In a different light
Lesley
Duxbury : Double Moonbow 2005, Inkjet prints on 2 panels each 50
x 75 cms
photo
Lesley Duxbury
Photographs
are still considered to represent the ‘truth’ to a large
extent—to capture a specific moment in time. However, the processes
involved in producing a likeness of an original moment—from
the click of the shutter to the final image—are considerable
and each has the potential to alter the original moment. Since the
advent of image-manipulation via the computer opportunities to alter
reality are boundless.
These works, the result of interaction between light, atmosphere
and vision,
take familiar representations of daytime and turn them into night,
or at least some indeterminate time between day and night, to evoke
a different response. Most atmospheric phenomena are only seen or
recorded during the brightness of day and we are unaware that they
also occur when daylight is scarce. However the ways in which they
are perceived at this time of the day are very different—vision
is not as clear and colours not so bright—the mood is more
subdued and reflective.
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7
May - 4 June 2006
- Galerie
Düsseldorf 30th Anniversary Year Celebratory Exhibition No.4
BEVAN HONEY:
p r o j e c t
-
The act of making has been central to not only art practice but also
to suburban occupation and reflected in
our cultural and physical environment, thus the shed (and/or studio)
has been a significant element in defining
identity. As notions of commodity and activity become more exclusive
and insular, the self storage unit has
proliferated within the Australian landscape and our suburban psyche
and sense of identity is becoming
ambiguous.
Using common hardware materials Honey has handmade forms and images
relating to civil architecture and
design. These objects themselves are not definitive in form or function,
but are comprehensively constructed
and exist somewhere between political abstraction and domestic artefact.
- (Ted
Snell Professor of Contemporary Art
Dean of Art, John Curtin Centre, Curtin University of Technology,
Perth)
Bevan
Honey : Works in progress - studio views 2006
18
June - 16 July 2006
Shaft,
2006 Oil paint on timber 222 x 221 x 4 cm
-
Born
1952 in Yorkshire, Hilarie Mais studied in the UK, living in London
then New York before moving to Sydney in the early eighties. Since
1977 she has exhibited in New York, Sydney and Melbourne and her sculpture
is in numerous state, corporate and private collections in Australia,
New Zealand, the UK and the USA.
She was the subject of a major retrospective exhibition at the Drill
Hall Gallery, Australian National University, Canberra in 2005.
Mais’ minimalist, colour layered formations are often substantial
in size, up to two metres square and are created with extreme poise
and symmetry and the resulting play of light and shadow produce restrained,
poetically engaging installations.
1
- 7 August 2006
20
August - 17 September 2006
- Galerie
Düsseldorf 30th Anniversary Year Celebratory Exhibition No.7
- déjà
vu
- Significant
works by :
- Su
Baker, Galliano Fardin, Frank Morris, Tom Múller, Jánis
Nedéla, Mike Singe, Alex Spremberg. Kevin Robertson, Howard Taylor,
David Watt
31
August - 30 September
   
- Bevan
Honey : plane
Opening 6pm Wednesday 30 August 2006 (6 - 8pm)
Exhibition dates: 31 August - 30 September 2006
- Monash
University Gallery : Caulfield Melbourne
Opening speaker Domenico de Clario
Artist, Associate Professor, Head Fine Arts, Monash Art & Design
Caulfield
Western Australian based artist Bevan Honey will transform the Faculty
Gallery into planes of familiar yet non-functional 3-D objects made
from plywood, polymer resin, polyurethane and automotive acrylic paint.
Honey’s objects resemble car parts, and various other functional
items located in and around your average backyard shed.
Their resemblance is all that links them with such functionality. Honey
explores the form and content of these seeming familiar objects to heighten
the audiences awareness of spatial architecture.
This exhibition follows on from a series of major projects the most
recent of which was at Galerie Düsseldorf in Perth, titled Project.
It is Bevan’s first major solo exhibition in Melbourne.
Bevan Honey is represented by Galerie Düsseldorf, Perth Western
Australia
32pp full colour exhibition catalogue with essay by Robert Cook, Curator
of Contemporary Art, Art Gallery of Western Australia available at the
Faculty Gallery.
1
- 29 October 2006
- Galerie
Düsseldorf 30th Anniversary Year Celebratory Exhibition No.8
Simon
Gevers : Light
October 1 - 29
Opening 3 - 5pm Sunday 1 October 2006
Simon Gevers' new works are part-painting, part-object and part-light-infused
- culminating in delicate explorations of shape, colour, texture and
mood
This exhibition showcases this new body of work which is an exploration
of three dimensional space through light radiating constructions
The artist says of his works; “They are the product of a search
for simplicity, a search that involves a continual refinement. The more
I pursue that line, the more refined I get, hence the increased simplicity
and quietness of these works.” Yes they are simple and quiet and
as such akin to a mantra, as they allow the viewer to relax and open
an inner door.
Polyurethane blocks are hand carved and sanded into different shapes.
The artist uses no preconceived plan of what overall shape the carving
and sanding of the blocks produces, reacting only in a hands on response
to each action. The foam blocks when finished are encased in finely
sanded non-reflective perspex boxes which allow ambient natural light
or the white halogen light to glow through and produce muted radiant
images from within. A sense of peaceful existence, soft harmony and
spacial infinity pervades these works. They are truly meditative.
12
November - 10 December 2006
- IT'S
OUR BIRTHDAY : 30 Years
Galerie Düsseldorf was established by Magda and Douglas
Sheerer and opened it's doors 30 years ago this month. For the
past three decades the gallery has been bringing to the Perth
public an ongoing programme of contemporary art exhibitions.
In that 30 years - a few facts - around 400 exhibitions have
been staged at Galerie Düsseldorf from Allendale Square
in the 70's to Hay Street in the 80's and to our Temporary Space
in the 90's whilst our purpose built gallery was constructed
in 1994/95. The Art Gallery of Western Australia has had 4 different
Directors - The West Australian at least 10 different art critics
- 3 universities and PICA have been established - 4 Perth newspapers
have become just 2 - around 30 metro private art galleries have
closed and new ones have opened - sadly 3 of our artists have
past away: David Watt, Akio Makigawa and Howard Taylor - 8 new
artists have been the recipient of the Galerie Düsseldorf
Post Graduate Scholarship Award (est. 1998) at Curtin University,
and we have participated in all but 2 Australian Contemporary
Art Fairs in Melbourne since 1988.
"We would like to take this opportunity
to thank all our artists - past, present, future - supporters,
colleagues, clients and friends. We warmly invite you all to
share in our celebrations on Sunday 12 November - 3 pm and view
a special screening of 30 years of Galerie Düsseldorf images
" Douglas + Magda
Galerie
Düsseldorf : 30 YEARS ON
Celebration exhibition featuring works by :
Su Baker, Susanna Castleden, Douglas Chambers, Lesley Duxbury,
Sarah Elson, Galliano Fardin, Caspar Fairhall, Pamela Gaunt,
Simon Gevers, Richard Giblett, Jocelyn Gregson, Richard Gunning,
Marie Hobbs, Bevan Honey, Jill Kempson, Janet Laurence, Brian
McKay, Phillip McLeish, Hilarie Mais, Allan Mitelman, Frank
Morris, Tom Mùller, Jánis Nedéla, John
Peart, Jon Plapp, Kevin Robertson, Megan Salmon, Douglas Sheerer,
Mike Singe, Bruce Slatter, Ted Snell, Alex Spremberg, Howard
Taylor, John Teschendorff, Valerie Tring, Virginia Ward, David
Watt, Joshua Webb
     
Illustrated
::: Jill Kempson ::: Simon Gevers ::: Pamela Gaunt ::: Brian McKay
::: Caspar Fairhall ::: Bruce Slatter
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........
2007 Exhibition Programme follows shortly ........
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