Melinda Schawel

Second Chances

Flinders Lane Gallery
137 Flinders Lane Melbourne

To  May 19

Right Here 2018, ink and pencil on torn and perforated paper, 105 x 75 cm (120 x 89 cm framed size) 

Crown of Thorns I 2018, perforated paper, 75 x 105 cm (91 x 120 cm framed size)

‘The abstracted compositions of Melinda Schawel conjure a kind of visual ecology; a symbolic world where concept and construct interact in quiet symbiosis. Immersing herself in the often-overlooked alchemy of paper, the American born, Melbourne-based artist summons formal dialogues between texture and mark to present her experiential vision of the natural world.’ Elli Walsh 2018 (catalogue excerpt).

Melinda Schawel monograph launch coinciding this exhibition opening see Flinders Lane Gallery website:  www.flg.com.au

A Field of Interest - c 1968

ABSTRACTION 17
April 26 - May 19, 2018
Charles Nodrum Gallery
Richmond


'A group exhibition of hard-edge colour-field works to coincide with the re-staging of 1968 The Field exhibition at the National Gallery of Victoria.'

Included in this exhibition are additional works from artists in the original exhibition and artists of the period who may have been included in the seminal exhibition if circumstances were different (namely, in this case, women artists).

L: Tony McGillick, National, 1968, acrylic on canvas, 168 x 275 cm.

R: Richard Dunn, NYC #1, 1968, pigment, acrylic and enamel on canvas, 183 x 488 cm.

L:Margaret Worth, Untitled, 1968, SPE on two shaped marine plywood panels, 122 x 30 x 30 cm.
 R: David Aspden, Jnana, c. 1966, acrylic on canvas, 175.5 x 150 cm.

L: Ron Robertson-Swann, Across Matisse, 1964, acrylic on cotton duck, 56.8 x 86 cm.
R: Ron Robertson-Swann, Pink Alice, 1968, acrylic on cotton duck, 259 x 104.8 cm.

L: Michael Johnson, Frontal, 1968, acrylic on canvas, 198 x 172 cm.
R: Margaret Worth, Genus O No. 1, 1966 - 1967, SPE on canvas, 91 x 275 cm.

Virginia Coventry, Solid Blue Silence, 1969, acrylic on cotton duck, in original aluminium frame, 106.5 x 244 cm.

Trevor Vickers, Untitled, 1967.

Col Jordan, Blue Falling, 1967, acrylic on shaped marine ply, 220 x 220 x 15 cm.

It all looks so wonderfully medieval.

Abstraction Twenty Eighteen - Langford 120

Curated by Steven Wickham.
Selected work:

Wilma Tabacco, Bronze Construction 1 and 2,
Blue Construction, all 2013, acrylic on panel, 40 x 40 cm.

Andrew Christofides, Patriot, 2003, acrylic on canvas, 112 x 76 cm.

Emma Langridge, yaw, 2017-18, enamel / acrylic on wood, 40 x 50 cm.

Christopher Heathcote, Swingin' Easy, 2016, oil on linen, 112 x 56 cm.

Wendy Kelly, Traverse, 2017. Oil, acrylic, thread and inert pigment on linen, 61 x 51 cm.

Louise Blyton, Long Red Line, 2018, acrylic on linen, 190 x 26 x 5 cm.

Dan Wollmering, Penaga (1.2), 2016-7, balsa wood, acrylic paint, soap 2 part work;
15 cm D x 8 cm H, 4.4 cm D x 2.2 cm H.

Abstraction Twenty Eighteen - Five Walls

Five Walls Hall

Curated by Steven Wickham.

Selected works:

Adrian de Giorgio ‘Shadowplay’
Acrylic on Tasmanian oak coverstrap on board.

L-R Donna Comfort ‘’Proto Type’ 2018, Steel construction.
Magda Cebokli, Light Painting #2 2008, Acrylic on canvas.
Aaron Martin, Double Monochrome (cadmium orange) 2018,
 oil and epoxy enamel on linen.

Chris Packer ‘Pythia’ 2017 Gesso on cotton tape on canvas.

Troy Innocent, Non-Objective World 68, 2018, laser cut plywood
and acrylic on hardboard with playable augmented reality.

Adrian De Vries, Lily Pads, 2018, Gouache, plaster on steel hooks.

Abstraction Twenty Eighteen

The biggest thing in Australian art right now! The inaugural opening of the new National Gallery of Victoria held 'The Field' exhibition in 1968. On the 50th anniversary the NGV is staging 'The Field Revisited'. In conjunction many Melbourne galleries are holding satellite exhibitions. Most notably Abstraction Twenty Eighteen. Curated by Stephen Wickham.

Marcia Hafif

“I’m just not painting a subject, other than the painting itself.” Marcia Hafif, 1929-2018, ArtNews

Black painting II, 1979. Ultramarine Blue, Burnt Umber on canvas, 84 x78”

Marcia Hafif (R) 1960s

‘Hafif, like many other female artists of her generation, was overlooked by most of the art world until recently.’ Ivy Olsen, The Art Newspaper April 19.

Lottie Consalvo

In the remembering

Heidi III

March 10 - June 17
Museum of Modern Art

Melbourne

Ages and Ages, 2018. Synthetic polymer paint in masonite.  

Ages and Ages, 2018. Synthetic polymer paint in masonite.  

The single white line running through Ages and Ages, 2018, was painted by Lottie Consalvo in situ as part of a private performance.

Eurovisions

Heidi II, Museum of Modern Art
Contemporary art from the Goldberg Collection

Selected works:

Heimo Zobernig, Unititled, 2004, acrylic on canvas. 

Katharina Grosse, Untitled, 2013. Acrylic on aluminium and canvas. 

Ugo Rondinone, Black blue pink mountain, 2015, Painted stone stainless steel.

Sarah Lucas, Tit-Cat Eames Chair, 2015, Cast concrete, cast bronze. 

The Abstract Project

Work from Paris
Elizabeth Bodey
Jan Handel
Alexandra Kennedy
11-21 April
Factory 49
49 Shepherd Street
Marrickville Sydney

Elizabeth Bodey

Work made in situ or response to three residencies at Abstract Project, Paris, 2017.

http://www.abstract-project.com/

Samara Adamson-Pinczewski

Spatial Persuasions
22 March - 14 April, 2018
Charles Nodrum Gallery
An exhibition of shaped paintings inspired by Oblique theory and Brutalist architecture.

Neon Crease (from the left) 2018, acrylic, iridescent acrylic,
fluorescent acrylic and Topcoat with UVLS on wood, 111.50 x 156.50 x 17.00 mm.

Irised, 2018, acrylic,
iridescent acrylic, fluorescent acrylic and Topcoat with UVLS on wood, 111.00 x 151.00 x 7.50.

Excerpt from the exhibition essay by Kate Nodrum:

‘The specific inspiration for this series of works was a visit to the Church of St. Bernadette du Banlay, an example of Brutalist architecture built in 1966 and designed by Paul Virilio and Claude Parent. The founding principle of the design was the pair’s theory of the ‘Fonction Oblique’, whereby the convention of building on the horizontal or vertical is literally broken by sending the architectural lines of a building off the diagonal or by blocking them all together. The sense of sudden jarring or disorientation that this produces is exemplified at St Bernadette and translates directly into Samara’s existing practice of devising geometric formations that are themselves Oblique, fractured, and yet resolved. On her visit the artist studied and photographed the interior and exterior of the church throughout the day. These photos were converted into monochrome line drawings, then made into studies in aluminium sheeting; each line, fold and hole in the study referring to a wall, shadow or void in the building. For the final works, made of custom-cut plywood, the artist undertook a painstaking process of trial and error to select a colour and application technique for each plane of the composition that would produce just the right balance of movement and tension, but also harmony.'