'Marco Breuer: Line of Sight' at de Young Museum | San Francisco Chronicle Review/Interview

andrew fox / fine arts museums of s.f.

Conceptual artist Marco Breuer installs his exhibition "Line of Sight" at the de Young.

By Kenneth Baker, Chronicle Art Critic

"Despite the technical training in photography that Marco Breuer received in his native Germany, no one calls him a photographer without irony. "Conceptual artist" fits better, as visitors to his exhibition "Line of Sight" at the de Young Museum will agree. 

Besides his own work made by abusing photo-sensitive paper in various ways, the show contains an antique costume, a figure-eight-shaped shield from New Guinea, a 19th century American portrait painting masked by conservators with a patchwork of paper swatches to stabilize its crumbling surface, and an antique child's chair whose circular cushion echoes the concentric rings in Breuer's scored "Spin (C-818)" (2008). 

Yet for all the strategic thinking in it, the exhibition also makes plain Breuer's fascination with aesthetics - just not with the aesthetics of pictorial representation.

A resident of upstate New York in recent years, Breuer came to San Francisco in late March to install his show. We spoke just after he finished.

Q: This show involves much more than your own work. How did you approach it?

A: As sort of a three-part process. The first part was coming here last fall and looking at the museum collection. And you know, it's a very peculiar collection. It's deep in some areas - such as in textiles, it's incredibly deep - and in other areas it's very thin. But the range is enormous, and I had access to conservation and storage as well.

Then, I wanted to mirror that in my own work without making something new in response, so I went through my archive looking for work with the de Young objects in mind.
The third stage was working here in the gallery. ... To put it all together and respond to the peculiarities of the space and the institution.

Q: Is there an order in which the show is meant to be read?

A: No. It started with the idea of a line of sight. The original proposal was that I'd go into the collection and pull out a single piece and respond with something of mine, but then the space was much bigger than I realized, and the idea just grew and grew. ... This original line of sight starts with this - a not-very-significant painting that the conservators began to work on and stopped, because it was not worth the expense of finishing. I took the pattern of Japanese tissue they left on its surface and projected it onto the opposite wall several times, and used that as a template to hang both framed work and scraps. ... So this is how it's organized. There are different axes through the space. You can pick something up in one place and maybe find it somewhere else.

Q: There seems to be a play with mirrors and doubling, evoking the redoubling that conventional photography involves, and with shooting, as with the four-barreled shotgun over there. But there are no photographs from the Fine Arts Museums' collection.

A: The core of the photographic collection is at the Legion of Honor, and I decided to set the parameters a little tighter than that, using only what's in this building.

Q: One element I don't get is the antique costume. What is that about?

A: This particular dress, because it is so faded, is a sort of walking photogram. It used to be Prussian blue. It's like an extended recording. ... No object is done after it's made. It keeps on gathering information. ... Almost everything is light-sensitive, depending on how much time you have.

Q: What about the "Pointing Stick," represented here only by a descriptive label and a chart purporting to match the range of hues on it? Does it really exist?

A: It does exist.
We tried a lot of approaches in terms of how to access the collection. We tried through the online database, but many things I responded to online I found, in coming here, didn't do anything for me as objects, with the exception of this piece" 

Read full review/interview at the San Francisco Chronicle

MARCO BREUER | "Line of Sight’ Review in the SF Examiner

Line of Sight’ at the de Young contrasts old, new

Updated interpretation: New York artist Marco Breuer used the de Young Museum’s portrait of Mrs. Mary Jane White by Samuel Walker – which is in the process of being restored – as the basis for a new piece in “Line of Sight.” (Courtesy photo)

By: Cathy Bowman 04/27/11 
Special to The Examiner
 

"Artist Marco Breuer has combed the de Young Museum’s collection to create an exhibition that allows visitors to view museum art in an unconventional way.

"Marco Breuer: Line of Sight," organized by the Fine Arts Museums in cooperation with the Von Lintel Gallery in New York, is part of the de Young’s Collection Connections program, which features the work of contemporary artists alongside objects from the museum’s permanent collection.

The New York-based artist spent time last year looking at the de Young’s collection — including objects in storage waiting to be restored — then assembled the exhibit during a few days in spring.

“We hope this will stimulate our audience to think about the museum and what it collects and cares for in a new and interesting way,” says Julian Cox, the de Young’s chief curator.

Breuer’s abstract photographs are placed to create a dialogue with items that include a 19th-century English shotgun, a pair of gilded girandoles with mirrors, an Oceanic shield and a French silk-taffeta dress.

One of the most interesting pieces Breuer chose from the museum's collection is artist Samuel Walker’s portrait of Mrs. Mary Jane White, whose husband served as San Francisco’s sheriff from 1868 to 1871. The portrait, which is in the process of being restored, has several squares of Japanese tissue paper covering areas of the painting that need repair."

Read full review at the San Francisco Examiner

TIM MAGUIRE | Opening Reception Thurs May 5, 6—8 PM

TIM MAGUIRE

May 5—June 4

Opening Reception Thurs May 5, 6—8 PM

Von Lintel Gallery is pleased to announce its fourth exhibition of new paintings by Australian artist Tim Maguire.

Tim Maguire's large canvases are full of lush plant life—tightly cropped angles of multi-colored poppies in various stages of bloom and decay. Maguire's floral scenes are striking, yet for the artist the work is less about subject than the duality of process for which he is known. Melding mechanical printmaking techniques with traditional painting, the artist flips normal order on its head. Working from his own photographs of nature, Maguire builds up layers of value and tone by applying only three successive colors of paint to the canvas: cyan, magenta and yellow—successfully mimicking the buildup of color used in the CMYK mode of digital printmaking.

From a distance, Maguire's bold imagery and riotous color coupled with the paintings' smooth surfaces makes them look almost like mechanical reproductions. It is only upon closer inspection that we notice the artist's hand, surfaces interrupted by brushstrokes and sprays of solvent. The elements of Maguire's compositions break down and become abstract, more about shape and color than something figurative.

Tim Maguire has exhibited extensively in Europe and Australia for more than two decades, including a recent one-person exhibition at Birmingham's Ikon Gallery, UK. His work is held by virtually every Australian museum and is included in major public and private collections throughout Europe. The artist lives and works in France and the United Kingdom.

TIM MAGUIRE | SELECTED WORKS

Tim Maguire

Untitled, 2010

oil on canvas

38.2 x 38.2 inches

Tim Maguire

(detail above painting)

Tim Maguire

Untitled, 2008

oil on canvas

78.7 x 78.7 in (200 x 200 cm)

Tim Maguire

Untitled, 2007

Oil on canvas

71.7 x 63.8 in  (182 x 162 cm)

Tim Maguire

Untitled, 2007

Oil on canvas

71.7 x 63.8 in  (182 x 162 cm)

Tim Maguire

Untitled, 2007

Oil on canvas

47.2 x 47.2 in (120 x 120 cm)

Tim Maguire

Untitled, 2007

Oil on canvas

63.0 x 58.3 in  (160 x 148 cm)

Tim Maguire

Untitled, 2005

Oil on canvas

70.9 x 198.5 in  (180.1 x 504.2 cm)

 

Tim Maguire

Untitled, 2005

Oil on canvas

58.3 x 46.5 in  (148 x 118 cm)

 

Tim Maguire

Tree with snow (blue), 2005

Oil on canvas

57.1 x 47.2 in  (145.0 x 119.9 cm)

 

Tim Maguire

Tree with snow (blue), (detail)

 

Tim Maguire

Untitled, 2004

Oil on canvas

47.2 x 47.2 in (120 x 120 cm)

Tim Maguire

Untitled, 2004

Oil on canvas

71.7 x 63.8 in (182 x 162 cm)

TIM MAGUIRE | SELECTED PRESS

Christie's to Stage Second Modern + Contemporary Australian and South African Art Auction

April 21, 2011

Australian Modern and Contemporary Art Highlights

 
Leading this section is a single-owner collection of nine pictures by the pioneering Australian modern artist Grace Cossington Smith, including Wattle (estimate: £20,000-30,000). The property of the artist’s sister Mabel, the suite of pictures features five fine still lifes dating from the 1920s to the 1940s. Cossington Smith was one of the first Australian artists, along with de Maistre and Wakelin, to take an interest in colour. She developed her own individual technique and her works demonstrate the influence of the impressionist and post-impressionist revolution on Australian art. Painting in single dabs of pure colour, Cossington Smith created a language which was completely new in Australian art at the time and which placed her work in the vanguard of modernist art in 1930s Sydney.

Moving forwards by almost a century, the sale will include six flower pieces dating from 1993-94 and 2007-08 by the contemporary Australian artist Tim Maguire. Maguire’s work resonates with that of Cossington Smith, as he too explores the nature of pure colour, this time in the digital age. In his latest work Maguire’s dots of magenta, cyan and yellow, mixed in a computer, generate a uniquely new and intense fluorescence. One of a group of early still lifes from 1993-4 to be offered is the powerful Untitled 94U09 (estimate: £35,000-45,000). Maguire’s extravagantly enlarged images of flowers, blown up from digital DNA - derived from photographed details of those intensely observed 17th century Dutch and Flemish still lifes, and more recently from the artist’s own photographs of flowers – might be viewed as the 21st century cousins of Cossington Smith’s vibrant flowerpieces.  

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Tim Maguire's floral passion

Tim Maguire ... "the local artistic patrimony doesn't apply when you get to Europe."
Photo: David Rose

Stephanie Bunburry
May 12, 2007

IT IS ASTONISHING how one's luck can turn. Twenty-three years ago, Tim Maguire was a young landscape painter on his way from Sydney to art school in Rhode Island with a large cheque from the Australia Council in his pocket.

"And then Keating floated the Australian dollar while I was in the air on my way to Los Angeles," the artist recalls. "When I arrived, I discovered that, during the time it had taken to cross the Pacific, I'd lost thousands of dollars."

There was no point going on. He could no longer afford the American school's fees. Instead Maguire, now 49, ended up at the Kunstakademie in Dusseldorf, where the tuition was free but the atmosphere ferociously constrained. He was only accepted thanks to the grace and favour of a Dutch professor who insisted that, before he lifted a brush, Maguire should travel around Europe's galleries for at least six months to gain some idea of what art should look like.

"I didn't particularly want to be there," Maguire says now. "And in no sense did the Kunstakademie want me either. But I was really lucky at the same time."

The legacy of that first grand tour is all around us in Maguire's London studio: vast canvases, some of which take up entire walls, showing magnified details of flowers, cacti and winter branches. These light and luminous natural abstractions have made Maguire one of the art market's great success stories. "When I started working with this floral imagery," he says, "they were based on Dutch still-life painting from the 17th century." He would choose a detail - perhaps a small square of petals from a still life of flowers on a table - and rework that tiny scrap as a large canvas, blown up to the point of abstraction.

It sounds precious, even academic, but the effect is bold, lush and intensely physical. And, paradoxically, very Australian. "One reason I was drawn to that, I think, was because of a sensitivity to issues of cultural dislocation you might experience as an artist who has grown up and been educated in Australia and then goes to Europe and sees, for the first time, those paintings you had known only in reproduction."

At that time, he says, he felt entirely excluded from the contemporary art world. "The local artistic patrimony doesn't apply when you get to Europe," he says. "You are a fish out of water and you have to try to link up, not only your personal world, but your cultural world with this other cultural world you are now moving through."

The story of Australian art was largely about the struggle to use European artistic strategies within the local context, a battle of zero interest to Europeans themselves. He felt, he says, as if his tongue had been ripped out. "Not only could I not speak the language, but none of my ideas seemed to connect with anything."

Back in Australia, meanwhile, there was a tug-of-war going on between a hard core of formalists, who talked about painting as mark-making, and the painters keen to overthrow the traces of abstract expressionism in favour of imagery. "I suppose I was between those two things," he says, "trying to find some sort of third way where the way you made things and what you made were intrinsically bound."

Maguire always knew he wanted a career outside the confined world of Australian art. In the early '90s he went to London and was gradually establishing himself when the gallery handling his work went out of business. It was, he thought, simply too difficult to begin again, so he and his family returned to Australia, the artist resigned to pursuing a local career. Then in 1993 he won the prestigious Moet et Chandon scholarship, which allowed him to work in France under a premier cru name. It changed everything, he says. He worked, exhibited and made contacts; he wasn't going to be excluded again. After a decade in France, he is once again based in London.

Maguire was hardly the first visitor to the Louvre or the Prado to be struck by how different it felt to look, at last, at the real thing. But the experience led him to reflect on that peculiarly Australian experience of learning a culture second-hand. "These paintings, where I would take little details from Dutch paintings and reconfigure them, were as much to do with the idea of the source and how that gets broken down, how they are changed by reproduction and by their story being told and retold, in a sort of game of Chinese whispers."

Read full article

Tim Maguire

By Louise Bellamy

November 5, 2005

Tim Maguire in his London studio. "Everything I do is process driven".
Photo: David Rose

Tim Maguire's Unnatural
Tolarno Galleries
289 Flinders Lane, Melbourne 

MENTION Tim Maguire and massive canvasses chock-a-block with flamboyant flowers and bulbous berries come to mind. But little more seems to be known about this 46-year-old painter, one of the hottest mid-career Australian artists around.

Maguire was raised in Melbourne and Sydney, moved to France in 1992, then Britain in 2002, and still calls Australia home.

Born in Surrey of Australian parents who were teaching in Britain, Maguire came to Melbourne as a baby. Influenced by his mother, who encouraged her children to play instruments and mix powder paints, Maguire's primary interest at Huntingtower School, Glen Waverley, was music.

But believing he wouldn't be good enough to be a solo performer, he spent years after graduating bumming around on the dole, "rebelling against my rigid family background, where the notion that God was all things good and that anything bad was regarded as a misconception".

"Like many youthful experiences, these issues have long since been resolved," he says.

The artist who paints for a living, plays sax in a band that recently supported Joe Cocker, adores golf and has a French farmhouse in the Loire Valley.

It was an accidental decision, when he was 21, to go to art school: "A friend was enrolling at East Sydney Technical College and I thought it might be fun."

During post-graduate studies he lost faith in the modernist values he'd initially embraced "because I had come to identify them with the religious values I'd rejected", and stopped using paint altogether.

Maguire is quick to dispel the misconception "that flowers and fruit is what I do", and emphasises that since art school his practice has taken many forms. He's referring to a project based on slides of photographs of news items projected onto canvas draped over an armchair; the idea developed in a squat in Sydney's Newtown and clinched him a year's scholarship at the Kunstakadamie, Dusseldorf, under influential Dutch photographer, Jan Dibbets, in 1985.

In Germany, away from Australia for the first time, in an unfamiliar culture and not speaking German, he began painting self-portraits with the brush in his mouth, or drawing with his feet, or with his eyes closed, "as if handicapped, being linguistically disabled and culturally disconnected".

His loss of cultural identity led him to his Australian roots and an ironic series of landscapes featuring barbecues and water tanks in flood plains.

Link

TIM MAGUIRE | SELECTED PUBLICATIONS

Tim Maguire 

Tony Godfrey: Essay
Jonathan Watkins: Interview
Cate Blanchett: Foreword

Publisher:
Piper Press
2007

252 pages, 290x270 mm,
200 colour images, hardback
ISBN 9780975190128
Piper Press

Tim Maguire paints images of overwhelming beauty. Frequently cinematic in scale and distinctive for their rich colouration and technical skill, his works hover between realism and abstraction. The enormous scale of his still-life paintings make them simultaneously alluring and disorientating, and once captured, the viewer is drawn to the painted surface where layers of pure colour erupt. Maguire's work is embedded in the traditions of painting while also engaging with the contemporary world.

Writing about Maguire's painting is Tony Godfrey, renowned author of Conceptual Art and Painting Today (two Phaidon Press titles). Godfrey focuses on Maguire's exploration of light, his depiction of the metaphorical 'skin' of the painted surface and his preparedness to confront our perceptions of the role of beauty in contemporary art.

Jonathan Watkins, Director of Britain's Ikon Gallery and former Director of the Biennale of Sydney, interviews Maguire, discussing his practice and processes, including his use of digital technology.

Cate Blanchett's foreword describes Maguire's painting "unabashedly revelling in its own beauty yet charged with the promise of death and decay" as well as "the beguiling eroticism of a Maguire painting's surface".

Tim Maguire presents the substance and texture of a career spanning twenty-five years, providing an opportunity to appreciate a body of work that is compelling and unique. 

Link

TIM MAGUIRE | SELECTED GROUP MUSEUM EXHIBITIONS, COLLECTIONS & AWARDS

Art Gallery of New South Wales, Sydney

Tim Maguire, Untitled, 1994, oil on canvas, 200.0 x 400.0 x 3.0cm overall: Each part

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Tim Maguire, Untitled, 1998, oil on canvas, 250.0 x 208.0cm

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Tim Maguire, Untitled, 1983, charcoal, 178.5 x 127.0cm

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Tim Maguire, Intimate Dialogue II, 1983, charcoal, 178.2 x 126.8cm

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Gow Langsford Gallery

DOUBLE TAKE

9 - 23 December 2009

One is the loneliest number

A group show in December that features the multiple is hardly an unfamiliar concept.  Less familiar however, is when the multiple nature of the multiple is highlighted, manipulated, and embraced.  In their doubling, multiplicity and visual play, the works in Double Take become unfamiliar, even uncanny.  Featuring a number of local and international artists from the gallery stable, the exhibition will include editions and series, works that explore the use of doppelganger, and pieces that invite a literal double take from the viewer in their play with the optical field.  

For many of the artists in the exhibition, doubling and multiplicity is a key component of their practice.  Artist Gregor Kregar embraces the use of the multiple within much of his practice, using it to transform his everyday subjects into something other.  In his work in Double Take, around seventy ceramic pigs are arranged by color on the floor of the gallery.  While one work is easily recognizable as an innocuous everyday object one imbued with the nostalgia of childhood memories, as a collective and a crowd, the pigs exude an entirely different sort of power.

Likewise, Cuban-born photographer Anthony Goicolea is well-known for his employment of the double, or rather, the doubling and replication of his own image, in his photography.  This repetition of the self, the visualisation of a doppelganger, is uncanny, and introduces an eerie note to the works.  Not only visually unexpected, catching a glimpse of one's own doppelganger also portends bad luck, danger, even death.

In a much more playful way, local artists such as Sara Hughes, James Cousins and David McCracken also interrogate the visual field.  Sara Hughes explores the optics of colour and works such as Bubble and Burst seemingly shimmer under our gaze as concentric circles of colour play tricks with the eye.  James Cousins uses imagery of the natural world as his source material, but such images are then weaved into and around a fractured optical field.  David McCracken meanwhile, plays with the illusionistic, defying traditional associations of materials such as stainless steel.

Link

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Queensland Art Gallery  | Gallery of Modern Art 

Contemporary Australia: Optimism

2008

This initiative celebrates artists from the 'Contemporary Australian Art: Optimism' exhibition, with the production of a series of limited edition objects by selected artists from the show.

‘Contemporary Australia: Optimism’ is the first in a major new national triennial series of thematic contemporary Australian art exhibitions.

Encompassing many facets of contemporary Australian visual art and culture, the exhibition includes painting, sculpture, drawing, photography, installation, video and video installation, cinema, animation, performance, music and comedy. 

The exhibition presents work by more than 60 emerging, mid-career, and senior Indigenous and non-Indigenous contemporary artists from every state and territory, including Lisa Adams (QLD), Vernon Ah Kee (QLD), Tom Alberts (VIC), Tony Albert (QLD), Del Kathryn Barton (NSW), Chris Bennie (QLD), Daniel Boyd (NSW), Matthew Bradley (SA), Stephen Bush (VIC), Sean Cordeiro & Claire Healy (NSW/Berlin), Aleks Danko (VIC), Christian de Vietri (WA/New York), Rolf de Heer (SA), Gabrielle de Vietri (VIC), James Dodd (SA), Emily Floyd (VIC), Juan Ford (VIC), Julie Fragar (QLD), Dale Frank (NSW), Mirdidingkingathi Juwarnda Sally Gabori (QLD), Mark Galea (VIC), Tarryn Gill and Pilar Mata Dupont (WA), Kristin Headlam (VIC), Petrina Hicks (NSW), Timothy Horn, (VIC/New Mexico), Jamin (TAS), Natasha Johns-Messenger (VIC/New York), Christine Dew, Dave Jones & Students of Macleay Island State School, (QLD & VIC), Kayili Artists (Nola Campbell, Pulpurru Davies, Mary Gibson, Jackie Kurltjunyintja Giles, Ngipi Ward) (WA), Clara Law (VIC), Sam Leach (VIC), Michael Leunig (VIC), m3architecture (QLD), Robert MacPherson (QLD), Michael McWilliams (TAS), Tim Maguire (NSW/London), Thomas Meadowcroft (QLD/Berlin), Tom MooreJan Nelson (VIC), George Nona (QLD), Raquel Ormella (ACT), Robert Owen (VIC), Debra Phillips (NSW), Patricia Piccinini (VIC), Anna Platten (SA), Scott Redford (QLD), Victoria Reichelt (QLD), Tony Schwensen (NSW/Boston), Ritchey Sealy (NSW), Ivan Sen (NSW), Gemma Smith (QLD), Darren Sylvester (VIC), Regan Tamanui (VIC), Kathy Temin (VIC), Arlene TextaQueen (VIC), Jane Turner (VIC), Nawarupu Wunungmurra (NT), Michael Zavros (QLD). (SA), Arlo Mountford (VIC), Kate Murphy (NSW),

‘Contemporary Australia: Optimism’ celebrates the ways contemporary artists envision the world, exploring it with hope, energy, passion, playfulness and, above all, with the commitment to questioning and invention that comes out of the artist’s studio.

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Bendigo Art Gallery

STRANGE CARGO: CONTEMPORARY ART AS A STATE OF ENCOUNTER 

A Newcastle Region Art Gallery touring exhibition 

31 March - 13 May 2007     

In recent years Bendigo Art Gallery and Newcastle Region Art Gallery have established themselves as active collectors of Australian contemporary art. In the past ten years, Bendigo Art Gallery has acquired over 1,000 works; in the past five years Newcastle has collected over 1,500. This exhibition showcases over 30 of these pieces including paintings, drawings, photography, sculpture, installation and video. While the works resist a single curatorial categorisation, their inclusion, alongside Bendigo Art Gallery’s permanent display of contemporary art, may reveal the many stories associated with recent developments in Australian contemporary art practice.

Leading Australian artists represented in the exhibition include James Angus, Hany Armanious, Peter Atkins, Lionel Bawden, Mikala Dwyer, Dale Frank, Fiona Hall, Bill Henson, Rosemary Laing, Tim Maguire, Tracey Moffatt, Ken O’Regan, Fiona Hall, Patricia Piccinini and Hossein Valamanesh.

This exhibition is supported by Visions of Australia, an Australian Government Program supporting touring exhibitions by providing funding assistance for the development and touring of cultural material across Australia.

Link

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McClelland Gallery & Sculpture Park

So You Wanna Be A Rock ‘n’ Roll Star: Australian painting from the NGV Shell Collection 

March – 1 May 2005  

Purchased by Shell Australia in the late 1980s and early 1990s, the collection focuses on the work of young Australian artists including: Jon Campbell, Mandy Martin, Stephen Bush, Dale Frank, Philip Hunter, Jan Nelson, Lin Onus, Liz Coates, Stewart Macfarlane, Tim Maguire, Hilarie Mais and Jenny Watson. All of these painters have gone on to have significant careers both within Australia and internationally.  So you wanna be a rock’n’roll star offers a revealing and entertaining glimpse into the artistic and cultural influences that shaped Australian art at the end of the 20th Century. The twenty-one large scale works in the exhibition are, all important and exciting, examples of Australian painting from the period and should not be missed.

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SELECTED MUSEUM COLLECTIONS INCLUDE:

2009 

Double Take, Gow Langsford Gallery, Auckland
Summer Exhibition, Martin Browne Fine Art, Sydney
Heidi Comes to Town – works from the Heidi Museum Collection, Australian
Club, Melbourne

SELECTED GROUP EXHIBITIONS INCLUDE:

2009 Double Take, Gow Langsford Gallery, Auckland
Summer Exhibition, Martin Browne Fine Art, Sydney
Heidi Comes to Town – works from the Heidi Museum Collection, Australian
Club, Melbourne
Shanghai University Public Arts Project & linked Group Exhibition, Shanghai
University Gallery, Shanghai
Botanica, Martin Browne Fine Art, Sydney
Optimism, Queensland Art Gallery, Gallery of Modern Art, Brisbane
In voller Blüte, Museum Villa Rot, Burgrieden-Rot

2008

Clock the Ton, Gow Langsford Gallery, Auckland
Optimism, Queensland Art Gallery, Gallery of Modern Art, Brisbane
Autumn Collectors Exhibition, Martin Browne Fine Art, Sydney
Galerie Andreas Binder, Munich at Korea International Art Fair, Seoul
In voller Blüte, Museum Villa Rot, Burgrieden-Rot

2007

Strange Cargo: Contemporary Art as a State of Encounter, Bendigo Art
Gallery, Bendigo
Snap Freeze: Still Life Now, TarraWarra Museum of Art, Healesville, Victoria
Blue Chip IX The Collectors’ Exhibition, Niagara Galleries, Richmond, Victoria

2006

Place Made, Prints from the Australian Print Workshop, National Gallery of
Australia, travelling to Hamilton Art Gallery, Victoria
Martin Browne Fine Art, Sydney at Melbourne Art Fair
Tolarno Galleries, Melbourne at Melbourne Art Fair

2005

L’Atelier Franck Bordas, Grandes Galeries de l’Aitre Saint-Marlou, Rouen
Studio Franck Bordas, Paris
Blumenstück – Künstlers Glück. Vom Paradiesgärtlein zur Prilblume, Museum
Morsbroich, Leverkusen
Atelier Bordas – Galerie Stepánská 35 + Museum Kampa, Prague
So You Wanna Be A Rock n’ Roll Star: Australian Painting from the NGV Shell
Collection, McClelland Gallery & Sculpture Park, Langwarrin, Victoria
Hothouse: The Flower in Contemporary Art, Monash University Museum of Art
Touring Exhibition (Victoria), State Library of Victoria, Melbourne; Geelong Art
Gallery; Ballarat Fine Art Gallery; McClelland Gallery & Sculpture Park,
Langwarrin; Gippsland Art Gallery, Sale
Tableau, BBK, Munich, Germany
Home Sweet Home: Works from the Peter Fay collection, National Gallery of
Australia, Canberra

2002

It's a Beautiful Day, The Ian Potter Gallery, The University of Melbourne
Tolarno Galleries at ARCO, Madrid
Tolarno Galleries, Melbourne
Botanica, Adam Art Gallery, Wellington, New Zealand
Australian Identities in Print Making: The Australian Print Collection of Wagga
2000 Manifesto I, The Blue Gallery, London
Sensational Painting, Tolarno Galleries at Holmes à Court Gallery, Perth
Galerie Andreas Binder, Munich at Art Cologne
Galerie Urs Meile, Lucerne
Tolarno Galleries: The Moore’s Building, Perth Festival, Fremantle, Western
Australia

1998

Sets and Series, Tolarno Galleries, Melbourne
Blondes, Gaha, Maguire, Galerie Cokkie Snoei, Rotterdam
La Peinture, Positionen zeitgenossischer Malerei, Mitchell Madison Group,
Munich

1997

Galerie Cokkie Snoei, Amsterdam KunstRAI
Recent Acquisitions of Contemporary Australian Art, National Gallery of
Victoria, Melbourne
Mori Gallery, Sydney
Angelus Novus – The Until It’s All Carried Away in Turmoil Peepshow, Galerie
Sanguine, Paris
Visy Board Art Prize, The Orangery, Richmond Grove Winery, Tanunda,
South Australia
Film Still, Still Life, Le Case d’Arte, Milan
Hidden Treasures, Art in Corporate Collections, S.H. Ervin Gallery, National
Trust Centre, Sydney
Floressence, Ivan Dougherty Gallery, College of Fine Arts, University of New
South Wales, Sydney
Spirit & Place: Art in Australia 1861–1996, Museum of Contemporary Art,
Sydney
Contemporary Art Society Invitational Exhibition, London Art Fair
Blumenstücke Kunststücke, Kunsthalle Bielefeld, Bielefeld

1994

The John McCaughey Memorial Art Prize Exhibition, National Gallery of
Victoria, Melbourne

1993

Prospect 93, Frankfurter Kunstverein, Frankfurt
Approaches to the Sublime, Ivan Dougherty Gallery, College of Fine Arts,
University of New South Wales, Sydney; Ipswich Regional Gallery,
Queensland
In Between, in conjunction with Adem Yilmaz & Jarg Geismar, Venice
Biennale
Moët & Chandon Touring Exhibition, Australian State galleries
Translating Bunker to Bunker, Tin Sheds Gallery, The University of Sydney,
Sydney

1992 T

he Story so Far, Waverley City Gallery, Melbourne
The Temple of Flora, Waverley City Gallery, Melbourne; Elizabeth Bay House,
Sydney and Australian regional galleries
Blast, Mori Gallery, Sydney
The Sir John Sulman Prize exhibition, Art Gallery of New South Wales,
Sydney
Contemporary Australian Painting, Westpac Gallery, Melbourne

1991

The Flower Show, Flaxman Gallery, London
Contemporary Australian Art, Deutscher Brunswick Street, Melbourne
Moët & Chandon Touring Exhibition, Australian State galleries
1990 1990 Adelaide Biennial of Australian Art, Art Gallery of South Australia,
Adelaide
L’Eté Australien à Montpellier, Musée Fabre and Galerie Saint-Ravy,
Montpellier
Skies, Galleria Cristina Busi, Chiavari
Architecture of Light, Mori Gallery, Sydney
Paperworks, Flaxman Gallery, London
The Melbourne Savage Club Invitational Drawing Prize, R.M.I.T. Gallery,
Melbourne
One Hundred Artists Against Animal Experimentation, Deutscher Brunswick
Street, Melbourne
Homage to the Square 2, Flaxman Gallery, London

1989

Art and Nature, Flaxman Gallery, London
En Serie, John Hansard Gallery, Southampton
Irony, Humour and Dissent, Manly Art Gallery and Museum, Sydney; Monash
University Gallery, Melbourne
Australian Perspecta 1989, Art Gallery of New South Wales, Sydney

1988

Drawings in Australia: Drawings, Watercolours and Pastels from the 1770s to
the 1980s, Australian National Gallery, Canberra
Homage to the Square, Flaxman Gallery, London
The Face of Australia: the Land and the People, the Past and the Present,
Ballarat Fine Art Gallery, Victoria
A New Generation 1983–1988: The Philip Morris Arts Grant, Australian
National Gallery, Canberra
Contemporary Prints, Pomeroy Purdy Gallery, London

1987

A New Romance, Australian National Gallery at the Australian National
University, Drill Hall Gallery, Canberra
Urban Anxieties: Australian Drawings of the 1980s, Australian National Gallery
at the Australian National University, Drill Hall Gallery, Canberra
Stories of Australian Art, Commonwealth Institute, London; Usher Gallery,
Lincoln
Young Australians – The Budget Collection, National Gallery of Victoria,
Melbourne
Future Directions: Four Artists, Flaxman Gallery, London
Voyage of Discovery: Contemporary Australian Art, Crescent Gallery, Houston
Big Drawings, Canberra Contemporary Art Space, Canberra
Mori Gallery at United Artists, United Artists, Melbourne
Backlash: The Australian Drawing Revival 1976–1986, National Gallery of
Victoria, Melbourne

1986

Symbolism and Landscape, Biennale of Sydney Satellite Exhibition, Ivan
Dougherty Gallery, College of Fine Arts, University of New South Wales,
Sydney
The Hand and the Photograph, Australian Centre for Photography, Sydney
Monumental Drawings, Contemporary Art Society, Adelaide
A Certain Likeness, Artspace, Sydney
Oz Drawing Now, Holdsworth Contemporary Galleries, Sydney
Recent Acquisitions of Australian Contemporary Art, Australian National
Gallery, Canberra
Ballarat Invitation Exhibition, Ballarat Fine Art Gallery, Victoria

1985 

Third International Drawing Triennale, Kunsthalle Nürnberg, Nuremberg;
Neuen Galerie der Stadt, Linz
The Most Beautiful Show in the World, Mori Gallery, Sydney
Dad and Dave Come to Town: 3 Australians in Düsseldorf, Neben der
Sicherheit, Cologne
True to Life (performance), Tropeninstitute, Düsseldorf

1984

Last Supper at Eurunderee (installation), Streetspace, Mark Foys Building,
Sydney
Last Past the Post-ism, Art Unit, Sydney

1983

Attitudes to drawing, Ivan Dougherty Gallery, College of Fine Arts, University
of New South Wales, Sydney; Penrith Regional Gallery & The Lewers
Bequest, New South Wales
Bunker to Bunker: Six Artists from Betaville, Art Unit, Sydney


AWARDS

 
1981 The Rural Bank Painting Prize
1984 Peter Brown Memorial Scholarship, Australia Council
1985 Jury Prize, Third International Drawing Triennale, Nuremberg
1986 Hugh Williamson Award (Best Male Emerging Artist), Ballarat, Victoria
1989 Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
1993 Moët & Chandon Australian Art Fellowship


PUBLIC AND CORPORATE COLLECTIONS
 
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
National Gallery of Victoria, Melbourne
Parliament House Collection, Canberra
Philip Morris Arts Grant Collection, National Gallery of Australia, Canberra
Tasmanian Museum and Art Gallery, Hobart
Kunsthalle Nürnberg, Nuremberg
Ballarat Fine Art Gallery, Victoria
Bendigo Art Gallery, Victoria
Derwent Collection, Tasmania
Hamilton Art Gallery, Victoria
McClelland Gallery & Sculpture Park, Langwarrin, Victoria
Orange Regional Gallery, New South Wales
Tamar Collection, Tasmania
Academisch Ziekenhuis, Leiden
Deakin University, Melbourne
Monash University Museum of Art, Melbourne
Queensland University of Technology, Brisbane
University of Launceston, Tasmania
The University of Melbourne, Melbourne
The University of Sydney
Darwin College of Advanced Education, Darwin
Griffith Artworks, Brisbane
Allens Arthur Robinson, Sydney, London and New York
Artbank, Australia
AMP Insurance, Sydney
BP Collection, Australia
Conalco, UK
Deutsche Bank, London
Federal Airports Corporation, Australia
IBM, Australia
JMH Bank, Frankfurt
Macquarie Bank, Sydney
News Limited, Australia
OTC, Australia
Potter Warburg, Sydney
Qantas Collection, Sydney
Royal Automobile Club of Victoria
St Thomas’ Hospital, London
Shell, Australia
Siemens AG SFS, Munich
Siemens, Frankfurt
Target Partners, Munich
Telstra, Australia
Wesfarmers Collection, Perth
Westpac Bank Collection, New York
Zurich Insurance, Zurich
TarraWarra Museum of Art, Victoria, Australia
Fidelity Corporate Art Collection, London, UK

PUBLIC AND CORPORATE COLLECTIONS

 
National Gallery of Australia, Canberra
Art Gallery of New South Wales, Sydney
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
National Gallery of Victoria, Melbourne
Parliament House Collection, Canberra
Philip Morris Arts Grant Collection, National Gallery of Australia, Canberra
Tasmanian Museum and Art Gallery, Hobart
Kunsthalle Nürnberg, Nuremberg
Ballarat Fine Art Gallery, Victoria
Bendigo Art Gallery, Victoria
Derwent Collection, Tasmania
Hamilton Art Gallery, Victoria
McClelland Gallery & Sculpture Park, Langwarrin, Victoria
Orange Regional Gallery, New South Wales
Tamar Collection, Tasmania
Academisch Ziekenhuis, Leiden
Deakin University, Melbourne
Monash University Museum of Art, Melbourne
Queensland University of Technology, Brisbane
University of Launceston, Tasmania
The University of Melbourne, Melbourne
The University of Sydney
Darwin College of Advanced Education, Darwin
Griffith Artworks, Brisbane
Allens Arthur Robinson, Sydney, London and New York
Artbank, Australia
AMP Insurance, Sydney
BP Collection, Australia
Conalco, UK
Deutsche Bank, London
Federal Airports Corporation, Australia
IBM, Australia
JMH Bank, Frankfurt
Macquarie Bank, Sydney
News Limited, Australia
OTC, Australia
Potter Warburg, Sydney
Qantas Collection, Sydney
Royal Automobile Club of Victoria
St Thomas’ Hospital, London
Shell, Australia
Siemens AG SFS, Munich
Siemens, Frankfurt
Target Partners, Munich
Telstra, Australia
Wesfarmers Collection, Perth
Westpac Bank Collection, New York
Zurich Insurance, Zurich
TarraWarra Museum of Art, Victoria, Australia