Work

  • Untitled, 2017 • acrylic and oil on canvas, 140 x 95 cm
    Untitled, 2017 • acrylic and oil on canvas, 140 x 95 cm
  • Untitled, 2017 • acrylic and oil on canvas, 180 x 125 cm
    Untitled, 2017 • acrylic and oil on canvas, 180 x 125 cm
  • Untitled, 2017 • acrylic and oil on canvas, 180 x 130 cm
    Untitled, 2017 • acrylic and oil on canvas, 180 x 130 cm
  • Untitled, 2015 • acrylic and oil on canvas, 140 x 95 cm
    Untitled, 2015 • acrylic and oil on canvas, 140 x 95 cm
  • Unpainting, 2017 • Installation view at the Art Gallery NSW, Sydney, Australia (AUS)
    Unpainting, 2017 • Installation view at the Art Gallery NSW, Sydney, Australia (AUS)
  • Advancing All Electric, 2016 • acrylic, MDF, digital printing, aluminium, ca. 400 x 300 x 300 cm
    Advancing All Electric, 2016 • acrylic, MDF, digital printing, aluminium, ca. 400 x 300 x 300 cm
  • Call me Snake, 2015 • Commissioned by SCAPE Public Art., Christchurch (NZ)
    Call me Snake, 2015 • Commissioned by SCAPE Public Art., Christchurch (NZ)
  • Call me Snake, 2015 • Commissioned by SCAPE Public Art., Christchurch (NZ)
    Call me Snake, 2015 • Commissioned by SCAPE Public Art., Christchurch (NZ)
  • Space work 7, 2014 • Installation view «Cinema & Painting», group show at the Adam Art Gallery, Wellington (NZ)
    Space work 7, 2014 • Installation view «Cinema & Painting», group show at the Adam Art Gallery, Wellington (NZ)
  • Giraffe-Bottle-Gun, 2009 • Installation view New Zealand pavilion, Biennale di Venezia 2009
    Giraffe-Bottle-Gun, 2009 • Installation view New Zealand pavilion, Biennale di Venezia 2009

News

Frozen Gesture

In 1965 Roy Lichtenstein created his famous «brushstrokes» and in so doing transformed the subjective gesture of heroic Modernism into a trivial comic drawing, transposed into the large format of a museum. The spontaneous movement of the brush on canvas mutated into a quote, the emotional exploration of depth morphed into a Pop surface in signal colors. The purported immediacy of the expressive painterly act thus became an ironic reflection on the medium of painting using the means of mass culture. This distanced and self-reflective approach had defined contemporary painting since the end of Modernism. It highlighted the fundamental elements of the image, such as the appearance of the colors and the pigment, the color fields and their limits, and not least the application of paint in the form of a gesture.

This gesture had long since abandoned directly expressing existence in favor of any number of different discursive strategies and painterly approaches. To this day, artists underscore the problematic nature of the impact of the application of color and are forever reinterpreting it – from the gesture as a semiotic abbreviation for painting through to its diverse transformations in images.

In the form of the extensive «Frozen Gesture» exhibition Kunst Museum Winterthur is presenting the sheer range of gestures in contemporary painting. The exhibition brings together important individual pieces by outstanding protagonists of Abstract Art, such as Gerhard Richter and David Reed, with extensive work groups of contemporary artists such as Franz Ackermann, Pia Fries, Katharina Grosse and Judy Millar – to create a fascinating display of works of exceptional painterly quality and inconceivable sensory appeal.

THE FUTURE AND THE PAST PERFECT

Judy Millar (* 1957 Auckland) is New Zealand’s most important painter. At the latest by her spectacular installation Giraffe-Bottle-Gun on the occasion of the 53rd Biennale di Venezia 2009, she was also known in Europe. Thanks to the regular presence of her work in our Gallery, Switzerland has been well informed since 2004 and loves her open, expressive work against well-practiced viewing habits. For the first time, the Kunstmuseum St.Gallen offers the opportunity to survey the entire oeuvre that has been created in Auckland and Berlin over the past 40 years. In addition to the well-known serial paintings and the installation paintings in the room, which the artist often created for New Zealand museums, early drawings from the 1980s will be the basis of her work.

Gallery Exhibitions

Group Show (Adieu Gessnerallee!)