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| Untitled (Door to the Herrenzimmer), 1978, latex impression with mother of pearl pigment. |
Official Website: https://heidibucher.com/
Heidi Bucher
Official Website: https://heidibucher.com/
Nicolas Daubanes Jdp
France
Artist representation, Galerie Maubet https://galeriemaubert.com/artistes/nicolas-daubanes/
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Selected images: wall drawings, iron powder on paper
The process:
'Artist-Vandal, Nicolas Daubanes finds in the plastic precarious of his work a way to upset the power and authority of his subject. The drawing is not in proper drawing but rather laid, suspended from the paper, held by the only force of attraction of a magnetic surface. The pattern is first cut into a magnetic sheet, then placed on a metal plate and covered with white paper. The iron filings is then distributed to its surface and fixed by magnetization by mechanical marrying the form of the pattern. The weak balance of the material has the effect of making the drawing potentially ephemeral, itself trapped in a visibly fallible device, which cannot afford a second of release. The obvious non-durability of the building is supported by the irregularities of the line, which reveal more blurred surfaces, in a rendering close to an old postcard. The threatening impression left by the first sight then succeeds the feeling of an almost touching vulnerability to these buildings of the past, about to collapse.'
Florian Gaité, instructions for the FRAC Occitanie Montpellier (extract).
The process:
'Artist-Vandal, Nicolas Daubanes finds in the plastic precarious of his work a way to upset the power and authority of his subject. The drawing is not in proper drawing but rather laid, suspended from the paper, held by the only force of attraction of a magnetic surface. The pattern is first cut into a magnetic sheet, then placed on a metal plate and covered with white paper. The iron filings is then distributed to its surface and fixed by magnetization by mechanical marrying the form of the pattern. The weak balance of the material has the effect of making the drawing potentially ephemeral, itself trapped in a visibly fallible device, which cannot afford a second of release. The obvious non-durability of the building is supported by the irregularities of the line, which reveal more blurred surfaces, in a rendering close to an old postcard. The threatening impression left by the first sight then succeeds the feeling of an almost touching vulnerability to these buildings of the past, about to collapse.'
Florian Gaité, instructions for the FRAC Occitanie Montpellier (extract).
Mark Jones
Not in Service
To 23 February
Neon Parlour
Thornbury
Emerging artist, Mark Jones' exhibition explores the contemporary culture of underground graffiti artists utilising various traditional medias including photography, sculpture, collage and installation.
The found objects had an interesting effect in a gallery context, raising the perception of the discarded, forgotten and useless.
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To 23 February
Neon Parlour
Thornbury
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| Comeng Seat |
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| Yard Fence |
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| Train Door |
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| Metro Vest |
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| Yard Fence, Epping |
Emerging artist, Mark Jones' exhibition explores the contemporary culture of underground graffiti artists utilising various traditional medias including photography, sculpture, collage and installation.
The found objects had an interesting effect in a gallery context, raising the perception of the discarded, forgotten and useless.
;
Crossing Lines
Keith Haring | Jean-Michel Basquiat
To April 13
National Gallery of Victoria
Melbourne
'Keith Haring (American 1958–90) and Jean-Michel Basquiat (American 1960–88) changed the art world of the 1980s through their idiosyncratic imagery, radical ideas and complex socio-political commentary...' NGV website
Selected images
To April 13
National Gallery of Victoria
Melbourne
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| Installation view |
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| Jean-Michel Basquiat |
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| Jean-Michel Basquiat |
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| Keith Haring |
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| Jean-Michel Basquiat |
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| Jean-Michel Basquiat |
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| Keith Haring |
Selected images
Blanc sur Blanc
Blanc sur Blanc
Gagosian
Paris, France
To March 6
Images Gagosian
Gagosian
Paris, France
To March 6
Artists: Jean (Hans) Arp, Agostino Bonalumi, Enrico Castellani, Edmund de Waal, Lucio Fontana, Theaster Gates, Diego Giacometti, Wade Guyton, Simon Hantaï, Sheila Hicks, Thomas Houseago, Y.Z. Kami, Imi Knoebel, Bertrand Lavier, Sol LeWitt, Sally Mann, John Mason, Olivier Mosset, Giuseppe Penone, Seth Price, Paolo Scheggi, Setsuko, Rudolf Stingel, Cy Twombly, Andy Warhol, Franz West.
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| Installation image |
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| Installation image |
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| Installation image |
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| Lucio Fontana (detail) |
Images Gagosian
Image_Object
curated by Paul Snell
Through February
Poimena Gallery
Mona Foma 2020
Launceston
Tasmania
This survey exhibition brings together a broad range of mediums and approaches to abstraction and includes both local, national and internationally recognised practitioners.
Jake Walker, Tineke Porck, Lev Khesin, Billy Gruner, Paul Moncrieff, Suzie Idiens, Sarah Keighery, Carolyn Wigston, Anya Pesce, Louise Blyton, Diane Scott, Stephen Wickham, Aaron Martin, Deb Covell, Lisa Sharp, Eloise Kirk, Steven Carson, Dan Rocha, Anne Mestitz, Terri Brooks, Pia Løye, Nicola Staeglich, Ivan De Menis, Ryllton Viney, Lisa Patroni, Michael Muruste, Paul Snell, Noah Spivak, Patrizia Biondi, Molly Thomson, Marlene Sarroff, Ian Wells, Monique Lacey, Paul Bishop, Ryan Sarah Murphy, Magda Cebokli, Michelangelo Russo, Jennifer Jabu, Pim Piët , Susan Andrews, Kevin Lund, David Marsden, Jamin Kluss, Ilkka Parni, Jeff Conefry, Brent Hallard, Louise Gresswell.
Selected works:
Through February
Poimena Gallery
Mona Foma 2020
Launceston
Tasmania
Exhibiting Artists
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| At the opening |
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| Installation image |
Selected works:
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| Louise Gresswell Au |
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| Brent Hallard Au |
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| Ivan De Menis It |
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| Susan Andrews Au |
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| Paul Snell |
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| Steven Carson Au |
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| Nicola Staeglich De |
Image_ Object, examines the relationship between the visual and the physical in non-objective works. Most artworks, it can be argued, are fusions of imagery and objecthood. This exhibition reveals an increasing emphasis upon texture and surface qualities. The predilection for large areas of undifferentiated or barely fluctuating colour, the exploitation of the edge, of the shaped or moulded support, and the physical juxtaposition of disparate or borrowed elements.
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Images courtesy of the artists and curator Paul Snell.
Roger Kemp
Roger Kemp: Visionary Modernist
The Ian Potter Centre: NGV Australia
To March 15
'Roger Kemp: Visionary Modernist is the first major exhibition to chart the development of acclaimed Australian abstract artist Roger Kemp’s career. Best known for his large-scale tapestries that hang in the National Gallery of Victoria’s Great Hall, Kemp is recognised as one of the great inventors in abstract art, striving ‘to make visible the invisible’.' Ian Potter Centre NGV website
Selected images:
The Ian Potter Centre: NGV Australia
To March 15
'Roger Kemp: Visionary Modernist is the first major exhibition to chart the development of acclaimed Australian abstract artist Roger Kemp’s career. Best known for his large-scale tapestries that hang in the National Gallery of Victoria’s Great Hall, Kemp is recognised as one of the great inventors in abstract art, striving ‘to make visible the invisible’.' Ian Potter Centre NGV website
Selected images:
Louise Weaver
Between Appearances: The art of Louise Weaver
Curated by Melissa Keys
Buxton Contemporary
University of Melbourne
To 9 February 2020
'Between appearances features more than 100 works in an array of media including sculptural installations, paintings, drawings, printmaking, collage, textiles, movement and sound. The exhibition spans three decades of the artist’s practice and reveals Weaver’s longstanding interests in fields as diverse as visual culture, art history, natural history, science and design.' Excerpt gallery website.
Selected images
Curated by Melissa Keys
Buxton Contemporary
University of Melbourne
To 9 February 2020
'Between appearances features more than 100 works in an array of media including sculptural installations, paintings, drawings, printmaking, collage, textiles, movement and sound. The exhibition spans three decades of the artist’s practice and reveals Weaver’s longstanding interests in fields as diverse as visual culture, art history, natural history, science and design.' Excerpt gallery website.
Selected images
Helga Groves
Last day
Melbourne
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| Fallen Star series #8, 2019, laser cut Perspex, 63 x 91 cm |
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| Patterns from the heart of a planet, 2019, oil and wax on canvas, 120 x 120 cm |
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| Installation image |
'Rocks are verbs, writes Marcia Bjornerud in ‘Timefulness’, her account of geology’s study of earth’s planetary history. By offering visible evidence of processes — eruption, accretion, growth — rocks make time legible. Like Bjornerud, Helga Groves reads time’s legibility in the surfaces and markings of stone, transforming them into abstract images and sculptural forms...' Ingrid Periz, Slow Moving Structures, Helga Groves exhibition essay 2018.
Images and text Sutton Gallery Website.
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