Patrick Hartigan, Tim Johnson, Josey Kidd-Crowe,
Emily Kame Kngwarreye, Clare Milledge, Jonny Niesche,
Andre Piguet, Mary Teague, Michelle Ussher
Press Release:
“Paintings: lifeless images rendered in colorful goop.”
— Bart Simpson, “Treehouse of Horror IV”, 1993
“…Perhaps this is a word that might be seized upon for the thinking of painting: squeamishness, a term that holds the slippery, squelchy quality of paint, the insistent becoming of a medium that has been variously condemned as anachronistic, stuck, limited and dead, and the hesitancy enacted by painting as it seeks to preserve ambiguity in the discomfiture of addressing the fraught or taboo. Whether or not its continuation is accepted, there is a sense in which painting is a form of self-insistence: it will always stretch and contort, and find a way to justify its continuity, its taking place. As a painter today one works within this space of insistence, and might find within it a means by which to question. “
— Helen Johnson,“Painting is a Critical Form”, p 84, 2015
Documentation:
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
Jonny Niesche, ‘XO, David.B’, 2015, Glitter (incl holographic and shaped), Acrylic, Linen, 2 parts: (each) 122 × 147 × 4.2 cm
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
Emily Kame Kngwarreye, “Untitled”, 1995 , acrylic on canvas, 77 × 61 cm
Diena Georgetti, “KNIGHT the LIGHTNING”, 2015, acrylic on canvas, frame, 63.5 × 84 cm
Diena Georgetti, “KNIGHT the LIGHTNING” (detail), 2015, acrylic on canvas, frame, 63.5 × 84 cm
Patrick Hartigan, “Conversation Piece”, 2014, oil on canvas, 51 × 38 cm, Courtesy Darren Knight Gallery, Sydney
Hany Armanious, “Depiction”, 2012, pigmented polyurethane resin, 102 × 102 × 4cm, Courtesy Roslyn Oxley 9, Sydney
Hany Armanious, “Depiction” (detail), 2012, pigmented polyurethane resin, 102 × 102 × 4cm, Courtesy Roslyn Oxley 9, Sydney
Mary Teague “Sticky Fingers”, 2015, paper, water-based oil paint, expandable foam, synthetic, 56 × 76 cm, Courtesy The Commercial Gallery, Sydney
Mary Teague “Sticky Fingers”, 2015, paper, water-based oil paint, expandable foam, synthetic, 56 × 76 cm, Courtesy The Commercial Gallery, Sydney
Andy Boot, “Untitled (blue)”, 2015, Rhythmic gymnastic ribbon, wax, frame, 100 × 70 cm
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
Michelle Ussher, “Watery Tart (Blue Nude)”, 2015, oil on linen, 87 × 117 cm
Clare Milledge, “Paleo-Internet”, 2015, Cyathea fern, metal hook, dimensions variable, Courtesy The Commercial Gallery, Sydney
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015
Josey Kidd-Crowe, “Wrigley’s Idea”, 2015, oil on jute, shoelaces, 90 × 115 cm, Courtesy Neon Parc, Melbourne
Josey Kidd-Crowe, “Wrigley’s Idea” (detail), 2015, oil on jute, shoelaces, 90 × 115 cm, Courtesy Neon Parc, Melbourne
Tim Johnson (assisted by Yiwon Park), “Piero”, 2014, acrylic on linen, 182 × 151 cm, Courtesy Dominik Mersch Gallery, Sydney
Tim Johnson (assisted by Yiwon Park), “Piero” (detail), 2014, acrylic on linen, 182 × 151 cm, Courtesy Dominik Mersch Gallery, Sydney
Tim Johnson (assisted by Yiwon Park), “Piero” (detail), 2014, acrylic on linen, 182 × 151 cm, Courtesy Dominik Mersch Gallery, Sydney
Andre Piguet, “Untitled”, 2015, oil, pigment, expoxy resin, compressed gallium, cast acrylic, insulation foam, office pins, tetrahedral dungeon dice, 86 × 78 × 6 cm
Andre Piguet, “Untitled” (detail), 2015, oil, pigment, expoxy resin, compressed gallium, cast acrylic, insulation foam, office pins, tetrahedral dungeon dice, 86 × 78 × 6 cm
“Casual Conversation”, installation view, Minerva, Sydney, 27 June – 8 August, 2015