To November 7
Art Atrium
Sydney
https://artatrium.com.au/
http://www.katebriscoe.com.au/
Urbino, 2020, enamel on masonite, 36 x 30 cm. |
Quiet Time, 2020, enamel on masonite, 36 x 30 cm. |
I Can't Make You Love Me, 2020, enamel on masonite, 36 x 30 cm. |
Ampere, 2020, enamel on masonite, 51.5 x 44.5 cm. |
Blanket, 2004-2020, venetian blind cords and powder coated steel and aluminium base, 144 x 115 x 23 cm (Gallery website) |
Between, 2020, polyester and polypropylene rope on polished aluminium frame, 65 x 65 x 11 cm x 4 |
Dani Marti artist talk Domink Mersch Gallery |
Yellow blocked out sketch on brown ground, 2019, oil on cotton 127 x 100 cm. |
Installation image (Eleanor Louise Butt). |
Pierrot, 1979, oil on linen canvas, 152 × 152 cm (Artsy) |
‘John Nixon is Australia’s most influential conceptual artist, exhibiting nationally and internationally since the mid-1970s. Nixon attended the National Gallery of Victoria Art School in Melbourne (1969-1970), establishing a reputation for his minimalist abstract paintings from the early 1970s.’ Ocula website
Untitled (Red and White Cross), 2014, Enamel and wood on canvas, 25 × 25 cm (Image Artsy) |
As an art student I chose John Nixon to interview for Art Theory. I’ll always remember the length of time he spoke to me at little notice about all things including how his work related to both Russian Constructivism and Australian culture. At the time he was sitting his solo exhibition (artist run space) in Hardware Lane, Melbourne, 1980s.
Elisabeth Bodey, MKH, 2020, acrylic on linen on board, 70 x 60 cm. |
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Elisabeth Bodey, installation image (Vespers 1 and 2). |
Elisabeth Bodey, opening night. |
Ariana Luca, Unfold, Stretch and Rearrange, Watecolour, gouache and graphite on paper. |
Sebastian Ingram, Untitled (diffuse 001), 2020, materials including fabricated Steel, acrylic and laser print, dimensions variable. |