SELECTED ARTISTS
Official Opening 6-8pm Thursday May 5 2022
REBECCA AGNEW
ALISON BINKS
HANNAH GOLDSTEIN
PETRA KLEINHERNE
BRIGITA LASTAUSKAITE
MONIQUE MORTER
KATYA PETETSKAYA
EMMA STUART
GILLIAN WARDEN
May 4 – May 21 2022
For further information / inquires
info@jacobhoernergalleries.com
+ 61 (0) 412 243 818
Andrew Sibley
PAINTINGS
Official Opening 6-8pm Thursday March 24 2022
March 23 – April 23 2022
Born in 1933 in Kent, England, Andrew Sibley migrated to outback Queensland with his family in 1948. After leaving the family property he spent a short time stationed in Papua New Guinea before returning to Brisbane in the late 1950’s.
In the early 1960’s Sibley was a part of the ‘Brisbane School’ with Jon Molvig, Roy Churcher and, further away on Bribie Island, Ian Fairweather. Sibley found early success winning prestigious prizes and was invited to exhibit at the Whitechapel Galley in London in 1962 and the Paris Biennale in 1963. In the mid 1960’s Sibley moved to Sydney and was a part of the Rudy Komon stable that included many of the most important Australian artists of the time and where he established life long connections. After moving to Melbourne in the late 1960’s Sibley was appointed a teaching position at RMIT (1968 – 1988) being influenced and inspired by many of his fellow lecturers who were also recognised for their work during this period such as Jan Senberg, Les Kosatz & George Baldessin as well as imparting his knowledge and particular understanding of making Art on generations of Melbourne based artists at that time.
Paintings is an exhibition of Oil & Enamel Paintings on board & also on linen from the 1960s ranging from 1964-1969. A small survey of an important decade when Sibley commenced his critically and commercially successful career that lasted over 50 years until his passing in 2015.
Paintings runs March 23 – April 16 2022
For further information / inquires
info@jacobhoernergalleries.com
+ 61 (0) 412 243 818
Alex Hamilton
The Land will not run down to the Sea
Official Opening 6-8pm Thursday March 3 2022
March 2 – 19 2022
“An illustration of an unrealised Apple outlet in Federation Square Melbourne, a one word poem rearranging the letters of the word “monoxide”, and a music score by the artist rendered into cut out holes for pianola player piano, underpins free drawing between fragmented horizon lines. ”
– Alex Hamilton 2022
Rebecca Agnew
INFINITE WEST
Premiere Screening 4-8pm Thursday February 10 2022
February 9 – 26 2022
A twilight into Spaghetti Western comedy, Rebecca Agnew presents her long awaited stop motion animation. Invisible hands occupy the Death Valley desert, bearers of the devotional and ceremonial raising of the Infinite West.
The world asunder, thematic narratives loosely follow Hatshepsut’s rise to the throne of Egypt in 1478 BC, and the enchantment with warlike women of nomadic cultures through the evolution of activewear fashion and the divisiveness of sexual wellness in contemporary culture and social media.
A homily to the coming of age story, the vast scenes in fields laden with spaghetti diverge into a complex and world of unconscious imagination; formulating questions of imperialism, identity, race and sexuality in the ultimate release of moral responsibilities.
Rebecca Agnew is a painter, sculptor and stop-motion animator. Her work explores the human condition in our expanding cultural economy, reflecting on these themes through referencing history, art and artefact she uses the figure and traces of human intervention as a centrepiece.
Infinite West runs February 9 – 26 2022
Explore
Sydney Contemporary 2021
Officially Opening 3-5pm Saturday November 13 2021
Preview ‘by Appointment’ Wednesday November 10 2021 (RSVP Essential)
November 11 – 21 2021
REBECCA AGNEW
HANNAH GOLDSTEIN
ALEX HAMILTON
SEAN HOGAN
DAVID PALLISER
Jacob Hoerner Galleries Reopening IRL at 1 Sutton Place Carlton from 11.11.21
+ Online via the Sydney Contemporary Explore Platform that also opens 11.11.21
_
After a long hiatus between exhibitions in real life Jacob Hoerner Galleries is thrilled to reopen our doors and resume our Exhibition Program during Standard Opening Times from Thursday November 11 with our first presentation taking place at our Sutton Place premises & Online as a part of Explore Sydney Contemporary 2021.
Explore is a newly designed and custom-built digital platform allowing visitors from around Australia and overseas the opportunity to view gallery presentations, discover new artists, enquire about artworks and connect directly with gallerists at this year’s Online Edition of Sydney Contemporary.
To view Explore visit www.sydneycontemporary.com.au
For an Exhibition Catalogue for this Special Art Fair presentation contact Jacob Hoerner Galleries
Jacob Hoerner Galleries
1 Sutton Place
Carlton Melbourne 3053
Naarm Australia
Open
12-5pm Wed-Sat
(& by Appointment)
www.jacobhoernergalleries.com
info@jacobhoernergalleries.com
+61 (0) 412 243 818
CLICK CLICK
October 7 – November 6 2021
SEAN HOGAN
PETRA KLEINHERNE
BRIGITA LASTAUSKAITE
MONIQUE MORTER
KATYA PETETSKAYA
GILLIAN WARDEN
JAMIE WHITESIDE
Online ‘Click & Collect’ Exhibition until the lifting of LD6
‘By Appointment’ following the conclusion of LD6 restrictions
Exhibition Catalogue Available – Click Here
Jacob Hoerner Galleries
1 Sutton Place
Carlton Melbourne 3053
Naarm Australia
Open
12-5pm Wed-Sat
(& by Appointment)
www.jacobhoernergalleries.com
info@jacobhoernergalleries.com
+61 (0) 412 243 818
SEAN HOGAN
‘Subtractive’
Opening 6-8pm Thursday November 25 2021
November 24 – December 11 2021
The Art practice of Sean Hogan spans painting, print and sculpture. Hogan creates system based works by developing sets of rules that utilise formal aesthetics – geometry, colour theory, proportion, material – to reciprocate algorithmic thinking and as a result, highlight ideas relating to human engagement with both tangible and digital spaces.
Jacob Hoerner Galleries
1 Sutton Place
Carlton Melbourne 3053
Naarm Australia
Open
12-5pm Wed-Sat
(& by Appointment)
www.jacobhoernergalleries.com
info@jacobhoernergalleries.com
+61 (0) 412 243 818
SPRING 1883
2021 Edition – Satellite Fair
The seventh edition of SPRING1883 due to take place at The Hotel Windsor has been impacted by the current event restrictions.
A number of participating galleries will now showcase their fair ‘booths’ at satellite spaces across Melbourne including Jacob Hoerner Galleries. The fair can also be viewed online on Artsy from 4–29. August, 2021.
Now taking place at Jacob Hoerner Galleries & Various Spring 1883 Participant Galleries – For further information and a list of all galleries visit www.spring1883.com
Jacob Hoerner Galleries
Spring 1883 Program
VIP Private View
6-8pm Wednesday August 4 2021
(Rsvp Essential)
Vernissage – Open Invite
6-8pm Thursday August 5 2021
(Rsvp Pref.)
REBECCA AGNEW
HANNAH GOLDSTEIN
ALEX HAMILTON
SEAN HOGAN
JOHN LENNOX
DAVID PALLISER
ANDREW SIBLEY
Spring1883 is a young and exciting alternative art fair that presents the best of contemporary art practice from Australia and New Zealand. The seventh edition will see participating galleries present compelling work in physical spaces and online throughout August.
Satellite Spaces
4-29. August
Online Spring1883 x Artsy
4–29. August
Spring1883’s exclusive partnership with Artsy—the leading online marketplace for discovering and collecting art—allows collectors to enquire about and buy art directly from participating galleries.
Jacob Hoerner Galleries – Artsy Link here
www.artsy.net/show/jacob-hoerner-galleries-jacob-hoerner-galleries-at-spring1883-2021
For further information and a list of all participating galleries visit www.spring1883.com
For all Inquiries in relation to the Jacob Hoerner Galleries presentation be in contact via this link
To Request an Online Catalogue for Jacob Hoerner Galleries at Spring 1883 – Email info@jacobhoernergalleries.com
Jacob Hoerner Galleries
1 Sutton Place
Carlton Melbourne 3053
Naarm Australia
Open
12-5pm Wed-Sat
(& by Appointment)
www.jacobhoernergalleries.com
info@jacobhoernergalleries.com
+61 (0) 412 243 818
Catalogue Essay by Saskia Beudel
When we meet in David Palliser’s studio above a shop on Brunswick Street, he refers to his working methods as a ‘mad chess game’, a series of calibrations and recalibrations between figuration and abstraction, ‘line versus mass’ and ‘drawing versus painting’. Add to this colour, flatness, the illusion of depth, and a range of textures and viscosity in the paint. A day’s work, he says, might be scrubbed out to retain a few small remnants.
‘It’s a torturous process of getting the mechanics of the picture right so that no one thing dominates,’ he says. ‘The drawn sections come very early. The most agonising thing is getting the colour to work, trying to make all the parts animated so that they “sing” or have a “bite” or an emotional punch that you can’t quite put your finger on.’
Painting is, for Palliser, unequivocally process driven, propelled by discovery of ‘anomalies’ and solutions through the creative act rather than by preconceived outcomes. The same holds for his hopes for the viewer. ‘The paintings are about the experience of looking rather than looking at something,’ he says.
‘Are they purely formal exercises?’ I ask. There’s no hint, say, of socially engaged art (Mierle Laderman Ukeles’ landmark Manifesto for Maintenance Art of 1969 springs to mind). Neither do they, as Peter Westwood puts it, ‘merely address some chic criteria’. Palliser is unapologetic in his self-confessedly obsessive focus on the ‘canvas world’ and its technical, tactile, retinal and aesthetic demands. Ironically, he invites an anarchic element into his work, to ‘screw things up’ to see what happens, and yet all this occurs via the most traditional of materials in art historical terms: oil paint on linen.
‘The paintings contain things that are on the verge of becoming something,’ he replies. ‘There is a figurative force trying to animate these things.’ This seems a powerful, apt description. He elaborates further: ‘Spatial play becomes a figurative force that animates chance inventions and shapes discovered on the canvas.’
‘How does your abstraction differ from mid-twentieth-century abstraction,’ I ask, ‘From the work of Willem De Kooning for example, with his concern for mark, gesture and the materiality of paint?’
‘Some of the language is there,’ Palliser says, ‘but I create my own concoction, it’s scrambled in my own way. I bring a different kind of spatial complexity and ambiguity to abstraction. The rhythm is different and I work on a much more intimate scale.’ He doesn’t aim for the ‘heroic’ scale adopted by many abstract expressionists.
He finds lineage in early twentieth-century European painting (Gorky, Miro, Picabia) and for many years has been interested in post-war German art, which had to grapple with the difficult question of art-making in the wake of catastrophe. ‘From the post-war period onwards, German artists seem to have been painting a dilemma. I find that so invigorating. Their visual language is more used to mixing things up, abstraction and figuration can coexist. There’s also a great understanding of the ways in which paint and mark can play out on the canvas and act as a generator of content.’
During a second conversation, Palliser refers to his work as ‘very thin sculptures’ almost like bas reliefs. He means this literally – layers ranging from spare, airy washes and dripping fluid to dense, opaque pigment – and in terms of the spatial illusions the paintings perform. As I write I bring up several of his new works on my screen and they sit for days, in among other files, with their quirky, opaque titles Arrow in Japan (2021), Truce (2021), Falling Complexions (2021), The Them (2021). Spaces between blocked-in colour afford glimpses ‘inward’ as if through apertures to underpainting, in places overlaid with playful, puzzling linework. A shape begins then becomes other, hinting at some unnameable object; a twist of lime-green sits against flat orange; something resembling delicate brickwork begins then terminates.
‘In a way, these are disassembled paintings,’ says Palliser, ‘reassembled through the viewing.’ As I continue looking, over days, just what might be reassembled remains an open question. And this may be precisely the point: to hold open the question of what is this we’re looking at? And what kind of experience of looking and encountering does the work generate?
His work defies genre and interpretation. On one hand, they are ‘just pictures’ he says in a half-joking, self-effacing moment. On the other, everything is staked in the act of painting, and the improvisations that occur. He speaks of the elevation of ‘slight moments and slight shapes’ generated by that improvisation into ‘something more sculptural.’
‘It’s a great time to be painting now,’ he says as we finish talking, ‘In terms of evolution of painting, it seems there’s nothing but to find your own voice and to work forward with that.’
Saskia Beudel
July 2021
REFERENCES
Peter Westwood, ‘The brain hand thing’, Imagine: The Creativity Shaping Our Culture, Heide Museum of Art, 2006
For further information please contact Jacob Hoerner Galleries
E – info@jacobhoernergalleries.com
Ph – 0412 243 818
