Generated by All in One SEO v4.9.6.2, this is an llms.txt file, used by LLMs to index the site. # Fox Jensen Gallery FOXJENSEN & FOXJENSENMcCRORY ## Sitemaps - [XML Sitemap](https://www.jensengallery.com/sitemap.xml): Contains all public & indexable URLs for this website. ## Posts - [GRAVITY - JOHN ARMLEDER, PAUL CZERLITZKI, IAN DAVENPORT, KOEN DELAERE, MARK FRANCIS, CALLUM INNES, INGO MELLER](https://www.jensengallery.com/gravity-john-armleder-paul-czerlitzki-ian-davenport-koen-delaere-mark-francis-callum-innes-ingo-meller/) - “The body, she says, is subject to the force of gravity. But the soul is ruled by levity, pure.” Saul Bellow Saul Bellow probably didn't have Marilyn Monroe in mind and nor she when she famously said “I defy gravity". For a time Marilyn certainly seemed to as her star soared, resisting the weight of - [A Long Line of Attention - Colin McCahon & Aida Tomescu](https://www.jensengallery.com/a-long-line-of-attention-colin-mccahon-aida-tomescu/) - Not in a million years could I have predicted a phenomenon like McCahon. In fact, I went to the Ivan Dougherty show on its last day, at the insistence of my friends. I went with zero expectations and that visit changed everything.Finally, there was a painter, a near contemporary, (he passed two or so years - [RAIN](https://www.jensengallery.com/rain/) - Into each life some rain must fall. Henry Wadsworth Longfellow We live between two countries, between two climates and between two private histories. Australia is a vast continent whose climate is extreme – its sheer scale, comparable to all of the so-called ‘United’ States, drives its terrifying heat and aridity and nourishes its unexpectedly lush - [BLOOM](https://www.jensengallery.com/bloom/) - These paintings invite joy and melancholy in fairly equal amounts. Of course, that is inherent in the nature of flowers… impossibly radiant, blooming one minute then tainted by forces beyond their control, wilting, fading, their sweet aroma dissipating as they begin to turn, becoming unwelcome. But as much as these paintings have flowers as their - [JANE BUSTIN - SISTERS](https://www.jensengallery.com/jane-bustin-sisters/) - I’ve been searching for the daughter of the devil himself I’ve been searching for an angel in white I’ve been waiting for a woman who’s a little of both And I can feel her, but she’s nowhere in sight One of these nights The Eagles, 1975 In 1975 we weren’t obsessing about algorithms and the - [Ingo Meller](https://www.jensengallery.com/ingo-meller-exhibition/) - Stand close to Ingo Meller’s paintings and you can almost hear their rasp. Each brushstroke is a strident expression of concision, intent and resolve. His predominantly wide brush comes fully loaded to this generous linen field, discharging its consignment in urgent staccato gestures that are utterly liberated from any obligation to advertise or flaunt their - [JAN ALBERS rOguerOuge](https://www.jensengallery.com/jan-albers-roguerouge/) - I’m looking over the wall, and they’re looking at me Johnny Rotten Holidays In The Sun 1977 There have been few moments of such symbolic social and political union as the collapse of the Berlin Wall in 1989. With the demolition of this horrifying barricade came an almost universal restoration of hope and faith. Yet little more - [PIP CULBERT ANTI-UTILITARIAN](https://www.jensengallery.com/pip-culbert-anti-utilitarian/) - I began cutting away the cloth of found garments, tarpaulins etc. to leave the seams. The structure is rediscovered when the seams are pinned to the wall, when I find them, they have lost their form, there is deconstruction + reconstruction and something altogether different. There has been a choice of angle and space. Is - [AIDA TOMESCU: MESSIAEN](https://www.jensengallery.com/aida-tomescu-messiaen/) - I give bird songs to those who dwell in cities and have never heard them, make rhythms for those who know only military marches or jazz, and paint colours for those who see none. Olivier Messiaen Olivier Messiaen was Professor of Harmony at the Paris Conservatoire. This sounds as much a diplomatic post rather than one - [FOX JENSEN SYDNEY](https://www.jensengallery.com/fox-jensen-sydney/) - Fox Jensen & Fox Jensen McCrory are delighted to announce the acquisition of a major new gallery space in Sydney. Located on the corner of Brennan and McEvoy Streets in Alexandria, the new space will allow the galleries’ artists to present work in a site befitting the ambition of their vision. Andrew Jensen opened his - [ROBERT MALHERBE - PAINTING](https://www.jensengallery.com/robert-malherbe-painting/) - Nothing spoils a good story like the arrival of an eyewitness. Mark Twain Vision is not a stable proposition. It is restless – even erratic and mostly utterly unreliable. The fact that is not fixed suits Robert Malherbe down to the ground. Robert’s approach to what he sees - and it is mostly directly in - [SOFIE MULLER - SOLITARIES](https://www.jensengallery.com/sofie-muller-solitaries/) - [MATTHEW ALLEN ROOM TONE](https://www.jensengallery.com/matthew-allen-room-tone/) - Matthew Allen is a patient painter. Certainly his graphite surfaces can’t be rushed. There is no opportunity for flourish and ornamentation. Even with the addition of the beautifully modulated colour that now join the assembly of graphite panels, so as to build rhythmic sequences of colour and light, one has the sense that his painting - [PLASTIC SOUL](https://www.jensengallery.com/plastic-soul/) - If a composer could say what he had to say in words he would not bother trying to say it in music. Gustav Mahler The best painting neatly evades language in very much the same way that Mahler suggested music does. There ought to be no surprise in this and yet most days I am asked, - [ROBERT MALHERBE](https://www.jensengallery.com/robert-malherbe/) - ROBERT MALHERBE FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST Let’s get lostLost in each other’s armsLet’s get lostLet them send out alarms Let’s Get Lost, Chet Baker Paint can clearly be disorderly – yet off the shelf, seductively packaged in its shiny taut tube, it feels neat and contained, spring-loaded with potential. However, once liberated, its nature and behaviour - [KOEN DELAERE](https://www.jensengallery.com/koen-delaere/) - KOEN DELAERE FEATURED WORKS ARTIST CV EXHIBITIONS ENQUIRE ABOUT THE ARTIST These may even be contemporary examples of Harold Rosenberg’s “action paintings”. Certainly they are “not a picture but an event” and though they eschew the pictorial as Rosenberg would’ve wished, there is a revealed metaphorical quality in the fundamental dualism, something that is at - [KOEN DELAERE WHITE NOISE RAINBOW](https://www.jensengallery.com/koen-delaere-white-noise-rainbow/) - The big moment came when it was decided to paint…Just to Paint. The gesture on the canvas was a gesture of liberation, from value – political, aesthetic, moral. Harold Rosenberg Rosenberg’s view of the act of painting as an act of liberation, albeit one brimming with existentialist and psychological implications, feels like a position that - [SHADOWLANDS MULLER/KUNITZBERGER](https://www.jensengallery.com/shadowlands-muller-kunitzberger/) - The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased. Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow Leonardo Da Vinci Shadowlands places the sculptures of Sofie Muller amidst the paintings - [LIAT YOSSIFOR - BRAIDED TIME](https://www.jensengallery.com/liat-yossifor-braided-time/) - If we opened people up, we’d find landscapes.Agnes Varda Varda’s statement demonstrates the illusory, even hallucinatory distinctions between our inner and outer worlds. Her poignant metaphor certainly speaks to the importance of memory and story-telling in human existence. It is a more common convention to suggest that all paintings are a version of self-portraiture but - [FARBEN](https://www.jensengallery.com/farben-2/) - There are a clutch of exhibitions that quietly emerge every few years in new and surprising versions. Farben is certainly one of these. This is the fourth iteration of Farben we have made over two decades. Obviously, colour is the shared creed amongst these works even if each artist operates from differing belief systems. With - [FOX JENSEN & FOX JENSEN McCRORY ART BASEL HONG 2025](https://www.jensengallery.com/fox-jensen-fox-jensen-mccrory-art-basel-hong-2025/) - Our presentation at Art Basel Hong Kong centres on Abstraction spanning three generations including two of Europe’s most acclaimed painters, Imi Knoebel & Hanns Kunitzberger. Kunitzberger currently has a celebrated exhibition in the Kuppelsaal (Domed Hall), at the Hamburger Kunsthalle. Sixteen grand paintings fill this historical space in a manner evokes the natural world – one thinks - [TERRAIN](https://www.jensengallery.com/terrain/) - By early evening all the sky to the north had darkened and the spare terrain they trod had turned a neuter gray as far as the eye could see. They grouped in the road at the top of a rise and looked back. The storm front towered above them and the wind was cool on - [NO ONE'S ROSE](https://www.jensengallery.com/no-ones-rose/) - The language with which I make my poems has nothing to do with one spoken here, or anywhere. Paul Celan The dislocation of language Painting can dislocate vision, dismantling the structures we fervently believe we depend on to make sense of our visual world. Amidst this reorganisation of vision, new structures can emerge that - [WINSTON ROETH - THE UNBEARABLE LIGHTNESS OF SEEING.](https://www.jensengallery.com/winston-roeth-the-unbearable-lightness-of-seeing/) - I first met Winston Roeth in 1995. To say that he swiftly became central to the unfolding position and approach of the gallery would be a significant understatement. Winston’s tenacity and focus, hissensitivity and gracefulness have always inspired us. These very traits that describe the man are, not surprisingly, profoundly evident in his work. These are paintings - [GARY McMILLAN - CITY IN PROGRESS](https://www.jensengallery.com/gary-mcmillan-city-in-progress/) - Some say they see poetry in my paintings; I see only science. Georges Seurat Some say they see poetry in my paintings: I see only science fiction. Gary McMillan Of course, Gary didn’t say that, but he might of. Painting negotiates a line between science and fiction, between material fact and illusion, between reason and irrationality - [BILL CULBERT - A BRIGHT WHITE LIGHT](https://www.jensengallery.com/bill-culbert-a-bright-white-light/) - From early in his life, Bill Culbert repeatedly tugged at the deeply set anchor tethering him to New Zealand’s shores. Determined to set sail for Europe, he was happily and fatefully the recipient of a scholarship to study at the Royal College of Art In London in 1957, where he would not only be exempted - [GEOFF THORNLEY - measure of.](https://www.jensengallery.com/geoff-thornley-measure-of/) - We sit here stranded, though we’re all doin’ our best to deny it.Bob Dylan Splendid Isolation: The title of Geoff Thornley’s new body of paintings is “measure of.” This new title is, like the painter himself has long been, quietly enigmatic. It is not the leading description most folk yearn for with titles - rather it - [MARK FRANCIS](https://www.jensengallery.com/mark-francis/) - MARK FRANCIS FEATURED WORKS ARTIST CV EXHIBITIONS ENQUIRE ABOUT THE ARTIST Paint is a membrane; brushes are instruments of inquest and yet who would’ve thought that such an apparently inquiring and methodological approach would give rise to such beauty and mystery. Well anyone who’s has looked at a night sky or looked through a microscope - [MARK FRANCIS HARMONIC FIELDS](https://www.jensengallery.com/mark-francis-harmonic-fields/) - Guglielmo Marconi, the inventor of radio, believed that sound waves never completely die away, that they persist, fainter and fainter, masked by the day-to-day noise of the world. Marconi thought that if he could only invent a microphone powerful enough, he would be able to listen to ancient times. Hari Kunzru, White Tears Transmission – Listen to - [ERIN LAWLOR - ARIADNE'S THREAD](https://www.jensengallery.com/erin-lawlor-ariadnes-thread/) - Erin Lawlor’s London studio is a partial refuge, where the contingencies and irrationality of life can be temporarily suspended. It is a place that doesn’t simply service imagination, indeed it is a place where she weaves a fabric using shared historical filaments. These fibres entwine to construct a swirling, turbulent vortex that forcefully fuses pigment - [FOX JENSEN/SYDNEY & FOX JENSEN McCRORY - ART BASEL HONG KONG 2024](https://www.jensengallery.com/art-basel-hk-2024/) - Fox Jensen & Fox Jensen McCrory are pleased to present works by five celebrated artists, Mark Francis (UK), Shila Khatami (GER), Jan Albers (GER), Koen Delaere (NL) and Tomislav Nikolic (AUS) at the 2024 edition of Art Basel Hong Kong. Mark Francis has long tested colour’s mutability by stressing the viscosity of oil paint through - [Gideon Rubin The Anatomy of Seeing](https://www.jensengallery.com/gideon-rubin-the-anatomy-of-seeing/) - A gentle surveillance We understand that the paintings of Gideon Rubin’s are revealing, but what is disclosed has considerably less to do with the modest amount of apparel he paints, and more to do with the emotional veracity that the paintings carry. Rubin’s gaze falls willfully on the nude, the landscape and the occasional flower. - [TOMISLAV NIKOLIC - Being's Believin'](https://www.jensengallery.com/tomislav-nikolic-beings-believin/) - ‘There is a lot of libido in the works of Tomislav Nikolic. An excess of desire which throbs and pulsates - palpitates - like some disco night atmosphere full of adrenaline and exaggerated lust. No!, you say. Nikolic’s works are exquisite, beautiful, serene, transcendent, mystical, spiritual. Yes, Ok they are, but they are also a - [MATTHEW ALLEN - UMBRA - AUCKLAND](https://www.jensengallery.com/matthew-allen-umbra-auckland/) - It isn’t necessary for a work to have a lot of things to look at, to compare, to analyse one by one, to contemplate. The thing as a whole, its quality whole, is what is interesting. The main things are alone and are more intense, clear and powerful. Donald Judd There are many contradictions in - [BILL CULBERT](https://www.jensengallery.com/bill-culbert/) - BILL CULBERT BILL CULBERT FEATURED WORKS ARTIST CV EXHIBITIONS ENQUIRE ABOUT THE ARTIST Bill Culbert was less interested in the minimalist language of fellow “fluorescent” Dan Flavin and more connected to the conceptual footprint left by Dada. His life, spread as it was between two geographical poles, two landscapes, two differently illuminated worlds meant that - [PORTRAIT WITHOUT A FACE](https://www.jensengallery.com/portrait-without-a-face-2/) - Portrait Without a Face probes the curious intersection of abstraction and figuration and their unexpectedly shared capacity to deal with identity. Twelve artists, each making highly individuated work across both painting and sculpture, each with divergent ambitions and processes, demonstrate that what coalesces, particularly when we view them alongside each other, is that undiscovered - [JAN ALBERS rEdEdgEs AUCKLAND](https://www.jensengallery.com/jan-albers-rededges-auckland/) - Cutting into colour reminds me of the sculptor's direct carving. Henri Matisse Jan Albers studied painting at the illustrious Dusseldorf Kunst Académie, an institution whose storied history has proven to be an incubator for many of the 20th century’s most important artists. Joseph Beuys undoubtedly casts the longest shadow, but so too Gerhard Richter, Blinky Palermo - [SNOWBLIND](https://www.jensengallery.com/snowblind/) - But never where we’re going.They always show us where we’ve been, Our footprints always follow us… AA Milne via WTP. It may be more scholarly to begin with a quote not offered up by a stuffed bear but there you go… and as Pooh also said “wherever you go there you are” … though that may - [MELANCHOLIA](https://www.jensengallery.com/melancholia/) - Melancholy, the subject of our present discourse, is either in disposition or in habit. In disposition, is that transitory Melancholy which goes and comes upon every small occasion of sorrow, need, sickness, trouble, fear, grief, passion, or perturbation of the mind, any manner of care, discontent, or thought, which causes anguish, dulness, heaviness and vexation - [TODD HUNTER - REMAIN IN LIGHT - AUCKLAND](https://www.jensengallery.com/todd-hunter-remain-in-light-auckland/) - “painting seems like some kind of peculiar miracle that I need to have again and again.” Philip Guston Talking with Todd in his studio recently, we spoke of how drawing remains a fundamental instrument for initiating composition and acknowledging narrative, for building form and for a quieter process of orientation. I look at the marks and - [NEXUS](https://www.jensengallery.com/nexus/) - Helmut Federle’s new paintings appear to have set aside the last vestiges of the structural scaffolding that have quietly ‘held’ his compositions over many, many years. Of course Federle’s paintings have long been closer to organicism and poetry than to geometry and calculus. In this sense he is more aligned to Mondrian, to Pollock and - [HELMUT FEDERLE](https://www.jensengallery.com/helmut-federle/) - Helmut Federle is without question one of Europe’s most respected painters. Though Federle paints a relatively modest amount each year the cumulative weight of his practice situates him alongside other senior painters such as Richter, Knoebel and American painters such as Kelly and Ryman. Beside these contemporaries though, Federle’s work is driven by twin forces - [PLASTIC SOUL - AUCKLAND](https://www.jensengallery.com/plastic-soul-auckland/) - Plastic Soul brings together paintings by artists whose work insinuates deliberate sonic qualities, qualities that appear to invite a broader sensory experience. Though it is unlikely that each painter sets out with synaesthetic ambitions, you do get the sense that assonance finds its way in somehow, and that these artists open the door for it. The nature - [NINA WARING - DOG DAY AFTERNOON](https://www.jensengallery.com/nina-waring-solo-exhibition/) - “I bark. That man there, see him? [points to Sal] He bites.” In Sidney Lumet’s magnificent “Dog Day Afternoon” 1975, male desperation, sexual anxiety, machismo, and poor planning combine to disassemble a bank robbery plan that was always destined to go off the rails. Sonny and Sal played by Hollywood greats Al Pacino and Johnny Cazale respectively, are - [KOEN DELAERE - WHITE LIGHT WHITE HEAT](https://www.jensengallery.com/koen-delaere-white-light-white-heat/) - There is a lot of painting that isn’t.... really painting. Like X-rays – you choose the limb - sure you see the bones but all the flesh is missing. Of course, this flimsy, skeletal approach to gesture, colour and idea can’t stand on its own two feet for long. These approximations of painting are doubtless - [AIDA TOMESCU "the ear in the river and the prayer in the stone"](https://www.jensengallery.com/aida-tomescu-2/) - [GARY McMILLAN - OUTSIDE](https://www.jensengallery.com/gary-mcmillan-outside/) - Outside Visual kinetics in the paintings of Gary McMillan “Every atom you possess has almost certainly passed through several stars and been part of millions of organisms on its way to becoming you” (or a Gary McMillan painting…) Bill Bryson, A Short History of Nearly Everything. Gary McMillan is a patient man. His paintings coalesce - [RED SEA](https://www.jensengallery.com/red-sea/) - Red rain coming down Over me in the red, red sea Over me Over me Red rain. Peter Gabriel Red Sea brings together works by Gideon Rubin, Liat Yossifor, Hanns Kunitzberger, Imi Knoebel, Aida Tomescu and Tomislav Nikolic. Each of these painters, some more candidly than others, accept the emotional capacity that colour can deliver. Some painters - [DELUXE - IMI KNOEBEL & WINSTON ROETH](https://www.jensengallery.com/deluxe-imi-knoebel-winston-roeth/) - Deluxe "Before, when I didn't know what colour to put down, I put down black. Black is a force: I depend on black to simplify the construction. Now I've given up blacks." Henri Matisse At the end of the 2021 we presented a beautiful exhibition called Raven in both the Auckland and the Sydney galleries. Each of the - [FOX JENSEN SYDNEY](https://www.jensengallery.com/february-first-saturday-paddington/) - FOX JENSEN OFFICE 1/8 SOUDAN LANEPADDINGTON, NSW 2021 TUE – SAT 11.00 – 4.00TELEPHONE +61 2 8084 4298ANYTIME BY APPOINTMENT - [MARCH / APRIL 2022](https://www.jensengallery.com/february-2018/) - FOX JENSEN McCRORY / AUCKLAND 2022 DELUXE Imi Knoebel and Winston Roeth - [MARCH - COEN YOUNG - AUCKLAND](https://www.jensengallery.com/march-coen-young-auckland/) - “For the most part people are not curious except about themselves.” - John Steinbeck, The Winter of Our Discontent Coen Young knows this. Thus, he shrewdly leverages our abundant narcissistic urge simultaneously engaging and disrupting our gaze. Young’s ongoing series, however mirror-like, obstruct pure reflection through the glitches of material and contingencies of making. Whatever - [UPCOMING](https://www.jensengallery.com/upcoming/) - FOX JENSEN McCRORY / AUCKLAND 2022 Imi Knoebel and Winston Roeth - [FEBRUARY – CALLUM INNES – ALEXANDRIA](https://www.jensengallery.com/february-callum-innes-alexandria/) - The paintings of Callum Innes have long expressed his desire to use the practice of painting as an act of analogue accounting. Not one that simply seeks to define time but one that measures pressure and release, and evidences touch and persuasion of a material that might well resist or misbehave, given its own tenacious - [TOMISLAV NIKOLIC](https://www.jensengallery.com/tomislav-nikolic/) - Nikolic’s provocations don’t initially appear sufficiently wilful to start a revolution. Of course the best art doesn’t mount a coup, rather it takes over our senses with stealth, unravelling the fabric of assumptions we weave that underpin and serve our own visual status quo. When I first saw Tomislav’s painting in late 2010 I had - [JENNY TOPFER](https://www.jensengallery.com/jenny-topfer/) - I remember that as I was writing a poem on 'Snow' when I was eight, I said aloud, 'I wish I could have the ability to write down the feelings I have now when I am little, because when I grow up, I will know how to write, but I will have forgotten what being - [TODD HUNTER](https://www.jensengallery.com/todd-hunter/) - My writing is jagged and harsh, I want it to remain that way; I don't want it smoothed out. - Charles Bukowski Neither the gesture nor the palette of Todd Hunter’s paintings are determinedly jagged or harsh and yet nor are they smooth. There is a vigour and angularity that is enabled by a highly energetic - [JANE BUSTIN](https://www.jensengallery.com/jane-bustin/) - In Jane Bustin’s London studio, exquisite ceramics, and delicate gauzes insinuate themselves into her sensitive work palette, meshing with elements more easily identifiable as “painting”. The ceramics forcefully resist the current fashion for extravagant and wilfully obtuse decoration, preferring instead to speak to the understatement of Japanese Sengoku period pottery. This is reinforced by Bustin’s - [FEBRUARY - BILL CULBERT - AUCKLAND](https://www.jensengallery.com/february-bill-culbert-auckland/) - My primary exploration is about light - light-marks in space or light-in-light, light in darkness, night-light, daylight, those kinds of things just intrigue me. - Bill Culbert Light, light, light, in the light Light, light, light, in the light, ooh, yeah Light, light, light, in the light In the Light Led Zeppelin 1976 It’s lyrics like - [RAVEN](https://www.jensengallery.com/raven/) - “Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before.”– Edgar Allan Poe, The Raven My painting represents the victory of the forces of darkness and peace over the powers of light and evil.Ad Reinhardt (1975). “Art-as-art: the selected writings of Ad Reinhardt” The image of Ad - [NOVEMBER – RAVEN – ALEXANDRIA](https://www.jensengallery.com/november-raven-sydney/) - Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before.The Raven, Edgar Allan Poe (1845) My painting represents the victory of the forces of darkness and peace over the powers of light and evil.Ad ReinMy painting represents the victory of the forces of darkness and - [AIDA TOMESCU](https://www.jensengallery.com/aida-tomescu/) - Aida Tomescu is without question one of Australia’s most important painters. She has been the recipient of the Sulman, Wynne and Dobell prizes and had a major survey of her painting at the Drill Hall Gallery in 2009. This survey was accompanied by an important essay by Dr. Deborah Hart of the National Gallery, one - [HANNS KUNITZBERGER](https://www.jensengallery.com/hanns-kunitzberger/) - The paintings of Hanns Kunitzberger take an approach to colour that feels rooted in nature and the forces of meteorology. However his colour is not captive to describing these phenomena, rather it marries with a sophisticated and tender gesture to evoke atmospheres that are as much cerebral as visceral, as much metaphysical as physical. In - [ERIN LAWLOR](https://www.jensengallery.com/erin-lawlor-2/) - Lawlor’s painting practice rests on a foundation that is secured by the act of painting itself. This act ought not to require justification, though as a medium much continues to be demanded of it. Lawlor’s response is not to embellish or subvert painting by bending to fashionable will, especially one that views painting as marginal - [SOFIE MULLER](https://www.jensengallery.com/sofie-muller/) - SOFIE MULLER CATALOGUE There is more wisdom in your body than in your deepest philosophy. – Friedrich Nietzsche Nietzsche’s notion that wisdom resides in the body is augmented in Louise Bourgeois’ statement “I am not what I am, I am what I do with my hands…” Her deceptively simple proposition suggests that identity, perhaps even - [NOVEMBER – RAVEN – PADDINGTON](https://www.jensengallery.com/october-fox-jensen-paddington/) - Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before.The Raven, Edgar Allan Poe (1845) My painting represents the victory of the forces of darkness and peace over the powers of light and evil.Ad ReinMy painting represents the victory of the forces of darkness and - [OCTOBER – HELLO – AUCKLAND](https://www.jensengallery.com/october-hello-auckland/) - Over the years we have made various projects that have taken the exploration of colour as the compelling thread that connects the works… Most notably the various iterations of The Architecture of Colour (2012), (2013) Farben (2003), (2013), and Chromofection (2016). This latest celebration of colour is simply called Hello. Hello because we are reacquainting ourselves after %#€?ing lockdown, Hello because these works come out to - [JUNE – JANE BUSTIN – AUCKLAND](https://www.jensengallery.com/june-jane-bustin-auckland/) - VIEW THE EXHIBITION CATALOGUE HERE I am always conscious of this secret disruption in me– Katherine Mansfield Jane Bustin's works can present themselves as straight-up, face on, unflinching, precise – shaped by Modernism’s call for clarity. Whilst there is an intriguing distortion and shimmer visible in the smaller copper sections where the polished surfaces snare fragments - [JUNE - RAVEN - AUCKLAND](https://www.jensengallery.com/june-raven-auckland/) - “Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before.” - Edgar Allan Poe, The Raven My painting represents the victory of the forces of darkness and peace over the powers of light and evil.Ad Reinhardt (1975). “Art-as-art: the selected writings of Ad Reinhardt” The - [LIAT YOSSIFOR](https://www.jensengallery.com/liat-yossifor/) - HYPERALLERGIC REVIEW ARTIST CV Liat Yossifor’s paintings quietly demand a leap of faith from the viewer. It seems only reasonable to agree to this given the commitment she has made to these concentrated “alla Prima” performances. Standing in front of her large, deceptively monochrome paintings then we have a choice…to look with only our eyes - [ELISABETH VARY](https://www.jensengallery.com/elisabeth-vary/) - These gems have life in them: their colors speak, say what words fail of. Mary Ann Evans (aka George Eliot) Vary’s works shun the orthodox rectilinear formats common to painting and though artists such as Frank Stella and Elsworth Kelly broke with the rectilinear in the 1960s, Vary’s approach to the painted object is distinctive- - [FRED SANDBACK](https://www.jensengallery.com/fred-sandback/) - Fred Sandback’s work, more clearly than any other artwork I know, speaks to the complexity of simultaneous presence and absence. The dis-equilibrium that these ethereal drawings evoke in us remind me most recently, at an experiential level at least, of Richard Serra’s monumental “Torqued Ellipses”. How odd that Sandback’s whispering haikus are capable of matching - [JAMES CASEBERE](https://www.jensengallery.com/james-casebere/) - Our town is very pretty We have a pretty little square We have a woman for a mayor Our policy is firm but fair Now that God is in the house Nick Cave & The Bad Seeds James Casebere was born in Michigan in 1953. After studying at Michigan State University and the Minneapolis College - [MATTHEW ALLEN](https://www.jensengallery.com/matthew-allen/) - “The hands want to see, the eyes want to caress” Goethe Goethe’s apparent inversion of otherwise defined sensory roles tells us much about the sensuality of vision, its complicity with truth and fiction and the quality of tactility that vision can extend. On a late November day in Amsterdam, Matthew Allen’s works line up with - [JAN ALBERS](https://www.jensengallery.com/jan-albers/) - Jan Albers works seamlessly across various media. Having studied painting at the Kunstakademie Dusseldorf he sensed early on that working within the established protocols of paint and canvas felt limiting. Thus his practice sees him fold, cast, paint, shape, cajole and pressure material to make objects that conflate and enliven the orthodoxies of the dominant - [JUDITH WRIGHT](https://www.jensengallery.com/judith-wright/) - …I can’t help but think of Peter Pan, who had his shadow separated from him, which resulted in him being destined to never grow old—youthful and brave, but denied the dimensions that come with age. I was always horrified by the image of Wendy stitching Peter’s shadow back on, but have learned that we require - [LAWRENCE CARROLL](https://www.jensengallery.com/lawrence-carroll/) - 1954 - 2019 In an art world that I often don’t understand and at times don’t like very much, meeting Lawrence and Lucy in Bolsena in 2018, on a gorgeous clear autumn day reminded me why we are involved in this unlikely liaison. When we first set foot in Lawrence’s viewing room, a raw and - [OCTOBER – HANNS KUNITZBERGER – ALEXANDRIA](https://www.jensengallery.com/october-hanns-kunitzberger-alexandria/) - FOX JENSEN ALEXANDRIA 68 – 70 BURROWS ROADALEXANDRIA, NSW 2015THU – SAT, 12.00 to 4.00or anytime by appointmentTELEPHONE 0478 006 359 GALLERY@FOXJENSENGALLERY.COM Hanns Kunitzberger Exhibition PDF Andrew Jensen There is no such thing as bad weather, only different kinds of good weather.– John Ruskin The Possibility of Beauty. Our first visit to Hanns Kunitzberger’s - [JUNE - AIDA TOMESCU - SYDNEY](https://www.jensengallery.com/june-aida-tomescu-sydney/) - VIEW THE EXHIBITION PDF In Patti Smith’s magnificent version of Van Morrison’s 1964 single Gloria: In Excelsis Deo Smith lays bare the roiling temerity and sense of self determination that characterise her career as singer, poet, writer and confessor. The line Van Morrison never sung in his own version – “Jesus died for somebody’s sins - [WATCH](https://www.jensengallery.com/watch/) - AIDA TOMESCU - PULL FOCUS ART COLLECTOR AIDA TOMESCU - TALKING WITH PAINTERS JAN ALBERS - STUDIO KUNSTMUSEUM BONN LAWRENCE CARROLL - FINDING A PLACE TRAILER ERIN LAWLOR - ART COLLECTOR AT HOME IMI KNOEBEL - SELECTED WORKS TONY OURSLER – STUDIO VISIT WINSTON ROETH – ARTTFORM GIDEON RUBIN - ART COLLECTOR AT HOME JUDITH - [GIDEON RUBIN](https://www.jensengallery.com/gideon-rubin/) - GIDEON RUBIN CATALOGUE We Thought It Was Heaven Tomorrow There is an ambiguity in Gideon Rubin’s title for these twin exhibitions. We thought it was heaven tomorrow is borrowed from Jane Hebbard’s collected interviews published in the wake of WWII. The implication that either earthly or divine salvation was just around the corner rested on a wistful - [Jane Bustin](https://www.jensengallery.com/jane-bustin-2/) - JANE BUSTIN - [DECEMBER - BURROWS ROAD - ALEXANDRIA](https://www.jensengallery.com/december-burrows-road-alexandria/) - FOX JENSEN ALEXANDRIA 68 – 70 BURROWS ROADALEXANDRIA, NSW 2015TELEPHONE 0478 006 359 GALLERY@FOXJENSENGALLERY.COM Fox Jensen Alexandria is currently exhibiting a selection of large scale works from Tomislav Nikolic and Jan Albers. Fox Jensen Alexandria will be closed from the 17th of December, reopening on Saturday the 13th of February with an exhibition by Gideon - [MAY – JENNY TOPFER – AUCKLAND](https://www.jensengallery.com/may-jenny-topfer-auckland/) - The Taste of River Water There was a time when we would’ve thought nothing about bending to drink directly from the river’s edge, never questioning the sources purity, nor musing about what possible role we might have in any downstream contamination. Even now this image in my mind is about pleasure and reward, sustenance and - [MAY - ELISABETH VARY - PADDINGTON](https://www.jensengallery.com/may-elisabeth-vary-paddington/) - Fox Jensen Sydney announces the first solo project in their Soudan Lane site. On the first floor of 8 Soudan Lane we are presenting an installation of paintings by Elisabeth Vary. The private viewing space is blessed with a grand “niche” that encourages installations of a single artists work - and no painter seems more - [NOVEMBER - LUMINOSITY - AUCKLAND](https://www.jensengallery.com/luminosity/) - FOX JENSEN McCRORY 10 PUTIKI STREETGREY LYNNAUCKLAND 1021NEW ZEALANDWED – FRI 11.00 to 5.00 SAT 11.00 – 3.00TELEPHONE +649 360 9161GALLERY@FJMGALLERY.COM Luminosity I like light, colour, luminosity. I like things full of colour and vibrant. - Oscar de la Renta I’m with Oscar...and so too are each of the artists included in this exhibition. For each of them - [MARCH – SOFIE MULLER – SYDNEY](https://www.jensengallery.com/march-sofie-muller-sydney/) - SOFIE MULLER CATALOGUE There is more wisdom in your body than in your deepest philosophy. – Friedrich Nietzsche Nietzsche’s notion that wisdom resides in the body is augmented in Louise Bourgeois’ statement “I am not what I am, I am what I do with my hands...” Her deceptively simple proposition suggests that identity, perhaps even - [MAY - GÜNTER UMBERG & JAMES WHITE CONVERSATION/S - SYDNEY](https://www.jensengallery.com/may-gunter-umberg-james-white-conversation-s-sydney/) - VIEW THE EXHIBITION CATALOGUE Let us make a special effort to stop communicating with each other, so we can have some conversation. – Mark Twain I must begin with an acknowledgement of three generous spirits – Günter Umberg, James White and their shared gallerist Thomas Zander. I have known Günter Umberg for many years now – he - [APRIL - C6 H10 O5 III - AUCKLAND](https://www.jensengallery.com/april-c6-h10-o5-iii-auckland/) - [MARCH - TOMISLAV NIKOLIC - AUCKLAND](https://www.jensengallery.com/march-tomislav-nikolic-auckland-2/) - to explain how it feels Colours collide in seemingly irresolvable contests. It is as if the colour itself possesses will and determination - even those that might appear to be initially subservient resist submission and gleefully jostle for parity. The spectacular frames are substantial so as to hold these chromatic frays within a field of - [FEBRUARY – GIDEON RUBIN – AUCKLAND](https://www.jensengallery.com/february-gideon-rubin-auckland/) - We Thought It Was Heaven Tomorrow There is an ambiguity in Gideon Rubin’s title for these twin exhibitions. We thought it was heaven tomorrow is borrowed from Jane Hebbard’s collected interviews published in the wake of WWII. The implication that either earthly or divine salvation was just around the corner rested on a wistful naivety. Much like - [FEBRUARY – GIDEON RUBIN – SYDNEY](https://www.jensengallery.com/february-gideon-rubin-sydney/) - We Thought It Was Heaven Tomorrow There is an ambiguity in Gideon Rubin’s title for these twin exhibitions. We thought it was heaven tomorrow is borrowed from Jane Hebbard’s collected interviews published in the wake of WWII. The implication that either earthly or divine salvation was just around the corner rested on a wistful naivety. Much like - [JULY – EROS – AUCKLAND](https://www.jensengallery.com/may-eros-auckland/) - We don’t see things as they are, we see them as we are.Anais Nin …Or as we secretly want to be…treated, viewed, touched, adored, violated, loved, fucked, kissed, held, worshipped, degraded, caressed, seduced, hurt, restrained, entered, torn apart, made whole again. Secluded in the bottom drawer or high up in the closet under the winter - [MAY - EROS - SYDNEY](https://www.jensengallery.com/may-eros-sydney/) - We don't see things as they are, we see them as we are.Anais Nin …Or as we secretly want to be…treated, viewed, touched, adored, violated, loved, fucked, kissed, held, worshipped, degraded, caressed, seduced, hurt, restrained, entered, torn apart, made whole again. Secluded in the bottom drawer or high up in the closet under the winter - [ALEXANDRIA](https://www.jensengallery.com/alexandria/) - https://jensengallery.com/october-hanns-kunitzberger-alexandria/ - [FEBRUARY - CARBON - SYDNEY](https://www.jensengallery.com/february-carbon-sydney/) - CARBON Variously described as the “king of all elements”, Carbon is the common denominator to all known life…a kind of atomic glue that insinuates itself into every facet - so much so that the “carbon cycle” imparts energy to us, to the sun and to the stars. This endless conversion of material - elements taking one - [MARCH - ANALOGUE - AUCKLAND](https://www.jensengallery.com/march-analogue-auckland/) - Fox Jensen McCrory is thrilled to present the curated exhibition Analogue. The exhibition brings together painting, sculpture and drawing to quietly celebrate the notion of analogue, not only as a counterpoint to the compressed and clipped digitisation that increasingly overwhelms our visual world but to remind us that seeing is a deeply felt, analogue opportunity that feels - [AUCKLAND](https://www.jensengallery.com/sydney/) - https://jensengallery.com/luminosity/ - [PADDINGTON](https://www.jensengallery.com/paddington/) - OFFICE SPACE 1/8 Soudan Lane Paddington NSW 2021 Fox Jensen / Sydney & Fox Jensen McCrory / Auckland announce two new spaces including a major exhibition space in Alexandria, Sydney as well as a new office in the heart of the Paddington Art Precinct. Since opening in Sydney a decade ago, Fox Jensen has continued - [PADDINGTON](https://www.jensengallery.com/auckland/) - https://jensengallery.com/paddington/ - [SEPTEMBER - GÜNTER UMBERG - SYDNEY](https://www.jensengallery.com/september-gunter-umberg-sydney/) - FOX JENSEN PADDINGTON CNR HAMPDEN STREET & CECIL LANE PADDINGTON NSW 2021WED – SAT, 12.00 to 5.00TELEPHONE +612 8084 4298 “I realized that the "thing" and the "concept" were substituted for feeling and understood the falsity of the world of will and idea” ? Kazimir Malevich On first sight the paintings of Günter Umberg seem to assert a deep - [OCTOBER – GARY McMILLAN – AUCKLAND](https://www.jensengallery.com/october-gary-mcmillan-auckland/) - FOX JENSEN McCRORY 10 PUTIKI STREETGREY LYNNAUCKLAND 1021NEW ZEALANDWED – FRI 11.00 to 5.00 SAT 11.00 – 3.00TELEPHONE +649 360 9161GALLERY@FJMGALLERY.COM “And we would go on as though nothing was wrongAnd hide from these days we remained all alone Staying in the same place, just staying out the time Touching from a distance Further all the time” - Ian - [JULY – LIAT YOSSIFOR – SYDNEY](https://www.jensengallery.com/july-liat-yossifor-sydney/) - LIAT YOSSIFOR CATALOGUE No second chances in the land of a thousand dances. Ry Cooder From my first visit I knew Liat Yossifor’s paintings didn’t only belong in L.A. Of course they are made there amidst the particularities of the California condition, the light, the bleached colour, the unswept horizon – and it is even tempting, in - [JANUARY – AIDA TOMESCU – AUCKLAND](https://www.jensengallery.com/january-aida-tomescu-auckland/) - Reality is infinitely varied compared to all the deductions of abstract thought, even the most clever ones, and it will not tolerate clear-cut or strict distinctions. Reality strives towards fragmentation. We all had our own particular kind of life, whatever kind that may be, and it was not just the official kind, but an inner, - [GARY McMILLAN](https://www.jensengallery.com/gary-mcmillan/) - Georges Seurat said of his work “some say they see poetry in my paintings; I see only science” It could be said of fellow pointillist Gary McMillan…”some may see poetry in my paintings; I see only science…fiction”. Like Seurat, McMillan atomises the picture plane – atoms of colour are split – a slow ‘fusion’ that sets - [CELEBRATING 30 YEARS](https://www.jensengallery.com/30-years/) - [JUNE - FRED SANDBACK - SYDNEY](https://www.jensengallery.com/june-fred-sandback-sydney/) - Increasingly consensus suggests that this is a time for listening. We have reached a moment when bombast and white noise must be completely tuned out, a time when ideas and imagination must prevail over ideology and ignorance. I have never wanted to have a gallery that pontificates about notions of the socio-political – there are - [APRIL – LIAT YOSSIFOR – SYDNEY](https://www.jensengallery.com/april-liat-yossifor-sydney/) - VIEW LIAT YOSSIFOR CATALOGUE ENQUIRE ABOUT LIAT YOSSIFOR No second chances in the land of a thousand dances. - Ry Cooder I have always known that Liat Yossifor’s paintings don’t belong just in LA. Of course they are made there amidst the particularities of the California condition, the light, the bleached colours, the unswept horizon - [JULY - MATTHEW ALLEN - AUCKLAND](https://www.jensengallery.com/july-matthew-allen-auckland/) - Over the last few years Matthew Allen’s paintings appear to have been shunning colour. His patient working of the graphite forced his substitution of the brush for comfortable burnishing tools as he set about to extricate any available light in the material itself. In the past Matthew, in effect rendered light through veils of translucent - [GÜNTER UMBERG](https://www.jensengallery.com/gunter-umberg/) - For many years, Günter Umberg devoted a space alongside his own studio in Köln to a clear project called Raum Für Malerie. More often than not Raum Für Malerie’s presentations obliged the audience to engage with a single painting in a single room. The implications of being placed in direct relationship with a painting may - [GEOFF THORNLEY](https://www.jensengallery.com/geoff-thornley/) - Thornley’s practice is rare in Australasia. It neither depends on local narrative nor does it leverage the landscape either literally or metaphorically as the all too common framework for describing, yet again, what we already know. Freed from this obligation to attend to local conditions, Thornley has been able to build a painting practice that - [WINSTON ROETH](https://www.jensengallery.com/winston-roeth/) - Winston Roeth is less a painter of colour as he is a painter of sensation. Not the Saatchi definition that confuses sensation with “shock” and “sensational” but rather the notion of sensation as a function of feeling and perception. And yet colour remains the fundamental conduit to this awareness, albeit held within carefully defined compositions - [JUNE – ERIN LAWLOR – AUCKLAND](https://www.jensengallery.com/april-erin-lawlor-auckland/) - Memory of a Free Festival “In the depth of winter, I finally learned that within me there lay an invincible summer.” Albert Camus I’m sitting in front of Erin Lawlor’s large diptych Memory & Desire (Sous La Glycine). Even at half the size of the cinemascope quartet This Fearful Country (Enchanted Trifles),and certainly less sense-around than the symphonic Seasons - [IMI KNOEBEL](https://www.jensengallery.com/imi-knoebel/) - Imi Knoebel is one of the most celebrated painters working anywhere in the world today. His work has been the subject of major surveys including Works 1966-2014 at the Kunstmuseum Wolfsburg in 2015, the Stedelijk Museum in Amsterdam, the Hamburger Banhof in Berlin and the Neue Nationalgalerie 2009 in Berlin. Large-scale installations are held in - [ART BASEL](https://www.jensengallery.com/art-basel/) - Art Basel Online Viewing Rooms 18 — 25 March, 2020 Twenty years ago Jensen Gallery made an exhibition titled Six Degrees of Separation. It included the work of Imi Knoebel, Helmut Federle, Gunter Umberg, Callum Innes and Karin Sander. The assumption was that there were multiple points of connection - a kind of conceptual - [PERMAFROST](https://www.jensengallery.com/permafrost/) - Permafrost Lawrence CarrollWinston RoethAida TomescuJenny TopferGeoff ThornleyBoomoonTomislav NikolicLiat YossiforCallum InnesKemal SeyhanHanns KunitzbergerStruan Teague Permafrost brings together artists from Europe, USA and Australasia. For the first time in Australia, the gallery will stage a major exhibition in a stunning private exhibition space in Alexandria, Sydney. And also for the first time we will present works by new - [FEBRUARY – LAWRENCE CARROLL – SYDNEY](https://www.jensengallery.com/february-lawrence-carroll-sydney/) - Everyday I am here For more than thirty years now I have been acutely aware of the privilege and risk of entering an artist’s studio. Creative sites can be loaded with the atmosphere of invention, littered with clues as to the conjuring and alchemy that is practiced inside. Most often however, there is an oddly - [SEPTEMBER – AIDA TOMESCU – SYDNEY](https://www.jensengallery.com/september-aida-tomescu-sydney/) - Walking into Aida Tomescu’s new studio earlier this week, it was clear she has now colonised every corner. The cacti are doing well situated at the new northern window, there is a comfortable sofa and a CD player with Mahler on repeat. Scented candles work hard to curb the chemistry of oil paint - but primarily this - [6 DEGREES OF SEPARATION](https://www.jensengallery.com/six-degrees-of-separation/) - They have a certain nudity to them, these vibrant instruments. They only glister, at first. They are paintings that don’t reveal much thickness of visual event initially. It depends on what you are used to. They’re in your face but they don’t say much. They don’t say much but they want you to pay close - [CIMMERIAN SHADE](https://www.jensengallery.com/cimmerian-shade/) - [APRIL - E=MC2 - AUCKLAND](https://www.jensengallery.com/april-emc2/) - [FARBEN](https://www.jensengallery.com/farben/) - [THE ARCHITECTURE OF COLOUR](https://www.jensengallery.com/the-architecture-of-colour/) - The Architecture of Colour includes the work of Imi Knoebel, Winston Roeth, Tomislav Nikolic Gunter Umberg, Jude Rae, Leigh Martin, Elisabeth Vary and Fred Sandback. In each of the artists practice colour has implications beyond the purely chromatic. The manner in which Knoebel and Umberg's approach colour could not be more different. Where Knoebel's colour has - [THE AUTHORITY OF DEATH](https://www.jensengallery.com/the-authority-of-death/) - The title for the exhibition The Authority of Death comes from Gabriel García Marquez's masterpiece, Love in the Time of Cholera, first published in 1985. The line described a character entering a darkened room, where there was barely enough light to see. Despite this diminished visibility, the atmosphere was such that he could register "the authority of death". This registration depends - [CARBON](https://www.jensengallery.com/carbon/) - Variously described as the “king of all elements”, Carbon is the common denominator to all known life…a kind of atomic glue that insinuates itself into every facet - so much so that the “carbon cycle” imparts energy to us, to the sun and to the stars. This endless conversion of material - elements taking one form - [NOVEMBER – GEOFF THORNLEY – AUCKLAND](https://www.jensengallery.com/november-geoff-thornley-auckland-3/) - Geoff Thornley’s painting practice is unquestionably one of the most considered and refined in New Zealand. Few painters have pursued abstraction so resolutely, resisting the fashion for appropriation and pastiche - the convenient cultural and stylistic diversions so often favoured by commentators. His clarity and conviction serve to guide discussions about his work back to - [NOVEMBER - JENNY TOPFER - SYDNEY](https://www.jensengallery.com/november-jenny-topfer-sydney/) - Graham Greene said of “human nature (that it) is not black and white but black and grey.” Something similar might be said of Jenny Topfer’s white paintings which, like those of Robert Ryman, pretend to be white but are in fact substantiated by a complex morphology of other pigments and structures, of gestures and body. - [OCTOBER – WINSTON ROETH – AUCKLAND](https://www.jensengallery.com/october-winston-roeth-auckland/) - In September 2020 paintings by American artist Winston Roeth will be gathered from the corners of the globe to Wiesbaden, Germany. Together they will form a major survey of his highly refined and passionate practice. Fox, Jensen & McCrory will be at the Kunstmuseum to celebrate with Winston – the friend and the painter. I was - [MARCH - THE ARCHITECTURE OF COLOUR - SYDNEY](https://www.jensengallery.com/march-the-architecture-of-colour-sydney/) - [OCTOBER – MATTHEW ALLEN – SYDNEY](https://www.jensengallery.com/october-matthew-allen-sydney/) - At first glance Matthew Allen’s work has a crispness and clarity, a latent sense of formality about it that one could be forgiven for assuming that technology played a role in its manifestation…and of course it did. Wood, linen, graphite, paint, brush, burnishing tools – all determinedly analogue technologies in a pervasively digital age. Allen’s - [EROS](https://www.jensengallery.com/eros/) - We don’t see things as they are, we see them as we are.Anais Nin …Or as we secretly want to be…treated, viewed, touched, adored, violated, loved, fucked, kissed, held, worshipped, degraded, caressed, seduced, hurt, restrained, entered, torn apart, made whole again. Secluded in the bottom drawer or high up in the closet under the winter - [PORTRAIT WITHOUT A FACE](https://www.jensengallery.com/portrait-without-a-face/) - In 1989 Imi Knoebel painted his first Grace Kelly Portrait. For a painter whose fundamental vocabulary is colour and whose approach to the architecture of the object tends towards the rectilinear and obdurate, making a painting that captures the gentle contour, beauty and eleganceof American actress Grace Kelly seems a curious proposition. But Knoebel shared Matisse’s - [POINTS OF ORIENTATION](https://www.jensengallery.com/points-of-orientation/) - Points of Orientation seeks to re-engage the viewer with the notion that cultures have, for thousands of years, been making and re-making objects of both practical and metaphorical importance and that this repetition provides critical co-ordinates that cross spiritual, social and existential dimensions. One further implication of this collision of objects spanning 6000 years is - [MAY - MATTHEW ALLEN - AUCKLAND](https://www.jensengallery.com/may-matthew-allen-auckland/) - “The hands want to see, the eyes want to caress” Goethe Goethe’s apparent inversion of otherwise defined sensory roles tells us much about the sensuality of vision, its complicity with truth and fiction and the quality of tactility that vision can extend. On a late November day in Amsterdam, Matthew Allen’s works line up with - [JUNE - ASH KEATING - AUCKLAND](https://www.jensengallery.com/june-ash-keating-auckland/) - Fox Jensen McCrory are delighted to announce their first exhibition of the work of Australian painter Ash Keating. Keating’s approach to scale and site are highly ambitious, though his aspirations are deeper and more complex than the bravado that might be inferred by magnitude alone. Looking at Keating’s Gravity System Response paintings one finds a - [JUNE - PORTRAIT WITHOUT A FACE - SYDNEY](https://www.jensengallery.com/june-portrait-without-a-face-sydney-2/) - In 1989 Imi Knoebel painted his first Grace Kelly Portrait. For a painter whose fundamental vocabulary is colour, and whose approach to the architecture of the object tends towards the rectilinear and obdurate, making a painting that captures the gentle contour, beauty and elegance of American actress Grace Kelly seems a curious proposition. Yet Knoebel - [SEPTEMBER – PORTRAIT WITHOUT A FACE – AUCKLAND](https://www.jensengallery.com/september-portrait-without-a-face-auckland/) - In 1989 Imi Knoebel painted his first Grace Kelly Portrait. For a painter whose fundamental vocabulary is colour and whose approach to the architecture of the object tends towards the rectilinear and obdurate, making a painting that captures the gentle contour, beauty and elegance of American actress Grace Kelly seems a curious proposition. But Knoebel - [NOVEMBER - GEOFF THORNLEY - SYDNEY](https://www.jensengallery.com/november-geoff-thornley-sydney/) - Geoff Thornley’s new paintings are titled History. It is tempting to see this title as something of a summation, a long look back over his shoulder. It is certainly true that Thornley’s practice is one that has moved ahead with great care, always cognisant of what has gone before. His development and history isn’t linear but - [FEBRUARY - PEP LLAMBIAS - SYDNEY](https://www.jensengallery.com/february-pep-llambias-sydney/) - Electric Poet – Pep Llambias Prior to the feverish jostling and politicking that accompanied the birth of Suprematism and the wild acts of Dada’s chief iconoclast Marcel Duchamp, Kasmir Malevich, under the radically less recognised “ism” – Fevralism, was making “word and verse images” that shared something of Dada’s conceptual insurrection. Prior to the 0’10 exhibition, “the Russian - [FEBRUARY - WET WET WET - AUCKLAND](https://www.jensengallery.com/february-wet-wet-wet-auckland/) - “people will never understand what we are doing if they can’t feel. All art is abstract. All music is abstract. But it’s all real…We are all trying to bring spirit, that spontaneous energy, into our work” Joan Mitchell The overdue recalibration of Abstract Expressionism’s (his)tory to attend to the legacy of major painters such as - [APRIL - JANE BUSTIN - SYDNEY](https://www.jensengallery.com/april-jane-bustin-sydney/) - To hold a thing, whether with our hand or our gaze is to capture a feeling, giving meaning to the object, not the subject. - Jane Bustin 2019 Ezra Pound said that “glance is the enemy of vision” and - [APRIL - JAN ALBERS - AUCKLAND](https://www.jensengallery.com/april-jan-albers-auckland/) - Jan Albers works seamlessly across various media. Having studied painting at the Kunstakademie Dusseldorf he sensed early on that working within the established protocols of paint and canvas felt limiting. Thus his practice sees him fold, cast, paint, shape, cajole and pressure material to make objects that conflate and enliven the orthodoxies of the dominant - [MAY - EVENFALL - AUCKLAND](https://www.jensengallery.com/may-evenfall-auckland/) - In nature, light creates the color. In the picture, color creates the light.? Hans Hofmann The “mesopic” state marks the transition between the cones and rods in the internal architecture of the eye. As this exchange occurs amidst waning light the more sensitive rods come to the fore allowing a new, heightened receptivity to colour. - [JULY - TONY OURSLER - SYDNEY](https://www.jensengallery.com/july-tony-oursler-sydney-2/) - If Picasso had a digital camera.... The cubist dissection of the face and its radical reassembly along the flattened planes of the canvas opened the way for a new psychological intrusion into the psyche of the sitter. Picasso’s painting of Dora Maar, Buste de femme at chapeau (Dora) 1939 * with its kooky facial architecture, manages - [NOVEMBER - XS - AUCKLAND](https://www.jensengallery.com/november-xs-auckland/) - I always considered myself a minor writer. My province is small, and I try to explore it very, very thoroughly. Leonard Cohen The Province of the Small. Jan Albers purplEbikEbEndEr started out as an M. Folded, compacted and contorted it now fits neatly into its small grape coloured container. Sitting proudly on the wall it has become - [SEPTEMBER – IMI KNOEBEL – AUCKLAND](https://www.jensengallery.com/september-imi-knoebel-auckland/) - Imi Knoebel is one of the key members of a generation of German painters who collectively shaped much of the second half of 20th century’s art history. A student of Joseph Beuys at the famed Kunstakademie in Dusseldorf, Knoebel along with Blinky Palermo, Imi Giese and Gerhard Richter found early success on both sides of - [AUGUST – TOMISLAV NIKOLIC – AUCKLAND](https://www.jensengallery.com/august-tomislav-nikolic-auckland/) - Fox Jensen McCrory is delighted to announce an exhibition of new works by Tomislav Nikolic. It is the ninth solo exhibition held with the galleries. This new group of works "pay the prophets to justify your reason” continues Nikolic’s engagement with art historical exemplars. Most often his own works are heartfelt responses to artworks that move him - [NOVEMBER - GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/november-geoff-thornley-auckland-2/) - [SEPTEMBER - PERMAFROST - SYDNEY](https://www.jensengallery.com/september-permafrost-sydney/) - Permafrost an offsite exhibition at 68 -70 Burrows Road Alexandria Lawrence CarrollWinston RoethAida TomescuJenny TopferGeoff ThornleyBoomoonTomislav NikolicLiat YossiforCallum InnesKemal SeyhanHanns KunitzbergerStruan Teague Permafrost brings together artists from Europe, USA and Australasia. For the first time in Australia, the gallery will stage a major exhibition in a stunning private exhibition space in Alexandria, Sydney. And also - [DETOX](https://www.jensengallery.com/detox/) - [SEPTEMBER - OCULAR FUSION - AUCKLAND](https://www.jensengallery.com/september-ocular-fusion-auckland/) - [OCULAR FUSION](https://www.jensengallery.com/ocular-fusion/) - While the Women are Sleeping is a tragic short story written by Javier Marías. At its heart is the transgression of casual observation into voyeurism, ending ultimately in violence. Filtered through the gaze of a borrowed sunhat, the central character's visual deficiencies are diminished by the curious phenomenon wherein the gauze serves to filter the peripheral - [E=MC2](https://www.jensengallery.com/e-mc2/) - “Contradiction provides the dialectic that makes it possible to see” Jeremy Gilbert Rolfe, ‘Appreciating Ryman’, Arts Magazine, 1975 The elegant and deceptively simple poetry of Einstein’s equation E=mc2 seemed an appropriate key to this exhibition. As a title it suggests that at some perceptual level, contradiction — matter and its inverse, absence and presence, visible - [A DISCREET VESSEL](https://www.jensengallery.com/a-discreet-vessel/) - The painting practices of Callum Innes, Gunter Umberg and Jude Rae share qualities that are uncommon in an increasingly glib visual culture. Against a relentless tide of overblown scale and theatre standing in for more critical judgement, each of these artists’ approach “making” clear in the knowledge that every consideration of composition, touch and finesse - [TONY OURSLER](https://www.jensengallery.com/tony-oursler/) - Tony Oursler is regarded alongside Bill Viola, Bruce Nauman and Gary Hill as one of the most influential pioneers of video art. Recognised for ‘freeing’ the video from its two dimensional frame and projecting images onto three dimensional forms, Oursler has developed a medium he amusingly describes as ‘digital clay’. Oursler’s works explore the potential - [NOVEMBER - RIM - SYDNEY](https://www.jensengallery.com/november-rim-sydney/) - [MAY - POINTS OF ORIENTATION - SYDNEY](https://www.jensengallery.com/may-points-of-orientation-sydney/) - [AUGUST - C6 H10 O5 II - AUCKLAND](https://www.jensengallery.com/august-c6-h10-o5-ii-auckland/) - [THERE'S JOY IN REPETITION](https://www.jensengallery.com/theres-joy-in-repetition/) - [AUGUST - TOMISLAV NIKOLIC – SYDNEY](https://www.jensengallery.com/august-tomislav-nikolic-sydney/) - Tomislav Nikolic’s exhibition, vestiges of now, marks the fifth variation of this major group of paintings, within one of the most idiosyncratic and compelling painting practices in Australia. His approach to colour embraces the multifarious strands that are loosely entwined in the esoteric colour theory described in the Seven Rays. This ancient concept has held allure for - [FEBRUARY - CARBON - AUCKLAND](https://www.jensengallery.com/february-carbon-auckland/) - Variously described as the “king of all elements”, Carbon is the common denominator to all known life…a kind of atomic glue that insinuates itself into every facet of life - so much so that the “carbon cycle” imparts energy to us, to the sun and to the stars. This endless conversion of material - elements - [LUX](https://www.jensengallery.com/lux/) - [SATURATION](https://www.jensengallery.com/saturation/) - [ANATOMY OF GESTURE](https://www.jensengallery.com/anatomy-of-gesture/) - “It's a rather rude gesture but at least it’s clear what you mean.” Katherine Hepburn Gesture can be risky. At the very least it is a tainted term, one that gets bundled up with authorship and authenticity and from there it’s only a hop, skip and a jump to emotionality and the human condition. This - [NAKED](https://www.jensengallery.com/naked/) - [OCTOBER - THE AUTHORITY OF DEATH - SYDNEY](https://www.jensengallery.com/october-the-authority-of-death-sydney/) - The Authority of Death The title for the exhibition The Authority of Death comes from Gabriel García Márquez’s famous novel Love in the Time of Cholera first published in 1985. The line in the novel describes a character entering a darkened room, where there was barely enough light to see. But despite this diminished visibility, - [MARCH - THE AUTHORITY OF DEATH - AUCKLAND](https://www.jensengallery.com/march-the-authority-of-death-auckland/) - The title for the exhibition The Authority of Death comes from Gabriel García Marquez’s masterpiece, Love in the Time of Cholera, first published in 1985. The line described a character entering a darkened room, where there was barely enough light to see. Despite this diminished visibility, the atmosphere was such that he could register “the authority of death”. This registration depends - [NOVEMBER - THE ESTRANGEMENT OF JUDGEMENT - SYDNEY](https://www.jensengallery.com/november-the-estrangement-of-judgement-sydney/) - [MARCH - SUBJECT AS OBJECT: CONSIDERING PORTRAITURE - AUCKLAND](https://www.jensengallery.com/march-subject-as-object-considering-portraiture-auckland/) - [MAY - JAMES CASEBERE - SYDNEY](https://www.jensengallery.com/may-james-casebere-sydney/) - [AUGUST – GARY McMILLAN – AUCKLAND](https://www.jensengallery.com/august-gary-mcmillan-auckland/) - Georges Seurat said of his work "some say they see poetry in my paintings; I see only science” It could be said of fellow pointillist Gary McMillan…"some may see poetry in my paintings; I see only science…fiction”. Like Seurat, McMillan atomises the picture plane - atoms of colour are split - a slow ‘fusion’ that sets - [JULY - JUDITH WRIGHT - SYDNEY](https://www.jensengallery.com/july-judith-wright-sydney/) - For the greater part of the last decade Judith Wright has commited her considerable energies to making a group of major sculptural installations. 2012 A Wake, Contemporary Australia: Women, Queensland Art Gallery & Gallery of Modern Art, collection of Queensland Art Gallery & Gallery of Modern Art. 2012 A Journey, 18th Biennale of Sydney: All - [JULY - ERIN LAWLOR - AUCKLAND](https://www.jensengallery.com/july-erin-lawlor-auckland/) - This last week in London was hot and dry when we visited Erin’s Fish Island studio to see her newest paintings. Despite the warm summer light, Lawlor’s studio retains an atmosphere and temperature that feels driven more by the meteorological drama that inhabits her paintings and envelops us, rather than the variability of England’s summer. - [APRIL - JAN ALBERS - SYDNEY](https://www.jensengallery.com/april-jan-albers-sydney/) - Jan Albers works seamlessly across various media. Having studied painting at the Kunstakademie Dusseldorf he sensed early on that working within the established protocols of paint and canvas felt limiting. Thus his practice sees him fold, cast, paint, shape, cajole and pressure material to make objects that conflate and enliven the orthodoxies of the dominant - [FEBRUARY - ERIN LAWLOR - SYDNEY](https://www.jensengallery.com/february-erin-lawlor-sydney/) - FOX/JENSEN Sydney is thrilled to announce the first solo exhibition of English painter, Erin Lawlor. The gallery will be present Lawlor’s newest paintings alongside selected works from her 2016 solo exhibition Erin Lawlor, Maleri.Nu/Paint.Now, Ny Carlsberg Glyptotek Museum, Copenhagen and the 2017 exhibition onomatopoeia at Daugavpils Mark Rothko Centre for Art in Latvia. Lawlor hones - [FEBRUARY - JAN ALBERS, MATTHEW ALLEN, CALLUM INNES - SYDNEY](https://www.jensengallery.com/february-sydney/) - Jan Albers Matthew Allen Callum Innes - [NOVEMBER - AIDA TOMESCU - SYDNEY](https://www.jensengallery.com/october-aida-tomescu-sydney/) - AIDA TOMESCU UNDER THE IRON OF THE MOONAIDA TOMESCU The Poetics of resistance “Art begins with resistance - at the point where resistance is overcome. No human masterpiece has ever been created without great labour” Andre Gide. “...where the moon shudders before the linen screen.” Thomas Bernhard Everywhere in Tomescu’s studio are signs of resistance... - [NOVEMBER - BLUE - AUCKLAND](https://www.jensengallery.com/november-blue-auckland/) - Elisabeth Vary, Geoff Thornley, Gunter Umberg, Erin Lawlor, Winston Roeth, Gary McMillan, Leigh Martin, Tomislav Nikolic. “I want to die with my blue jeans on” Andy Warhol Blue has no dimensions; it is beyond dimensions, whereas the other colours are not... All colours arouse specific associative ideas... while blue suggests at most the sea and - [OCTOBER - TOMISLAV NIKOLIC - AUCKLAND](https://www.jensengallery.com/october-tomislav-nikolic-auckland-3/) - Nikolic’s capacity to finesse pigments behaviour, encouraging it, compelling it, inviting it to enter the most beautiful and at times boisterous relationships is a singular talent. He is something of a chromatic diplomat, negotiating unlikely détentes between colours all set to clash. This simplifies what is an extraordinary ability to bring about the most delicious - [VISCOSITY](https://www.jensengallery.com/viscosity/) - [MARCH - PAINTING 'WELL' AFTER FORMALISM - AUCKLAND](https://www.jensengallery.com/march-painting-well-after-formalism-auckland/) - [AUGUST - GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/august-geoff-thornley-auckland/) - The grand series of paintings titled Voice of Mimesis seems increasingly to have been a moment in Geoff Thornley’s practice, where the expressed structural foundations receded and gave way to a more poetic and fundamental expression. The manner in which form opens and closes around gesture, and the role that tone has in establishing the - [PINK](https://www.jensengallery.com/pink/) - There are a handful of colours that exceed their role as adjectives and nouns….blue, black, grey, red or green for example. These colours carry a life beyond their more modest roles as chromatic definitions. Pink is without question one of these…to be politically pink is to carry the stain of socialism….yet were we in the - [APRIL - THERE'S JOY IN REPETITION - AUCKLAND](https://www.jensengallery.com/april-theres-joy-in-repetition-auckland/) - [FEBRUARY - LUX - AUCKLAND](https://www.jensengallery.com/february-lux-auckland/) - [APRIL - CALLUM INNES - AUCKLAND](https://www.jensengallery.com/april-callum-innes-auckland/) - [DECEMBER - MELANCHOLIA - AUCKLAND](https://www.jensengallery.com/december-melancholia-auckland/) - [FEBRUARY - DETOX - AUCKLAND](https://www.jensengallery.com/february-detox-auckland/) - [JULY - TONY OURSLER - AUCKLAND](https://www.jensengallery.com/july-tony-oursler-auckland-3/) - [NOVEMBER - WINSTON ROETH - AUCKLAND](https://www.jensengallery.com/november-winston-roeth-auckland/) - [MARCH - HEADSPACE - AUCKLAND](https://www.jensengallery.com/march-headspace-auckland/) - [JULY - VISCOSITY - AUCKLAND](https://www.jensengallery.com/july-viscosity-auckland/) - [NOVEMBER - JACQUELINE HUMPHRIES - AUCKLAND](https://www.jensengallery.com/november-jacqueline-humphries-auckland/) - [JANUARY - JAMES CASEBERE - AUCKLAND](https://www.jensengallery.com/january-james-casebere-auckland/) - [MARCH - 20/20 - AUCKLAND](https://www.jensengallery.com/march-2020-auckland/) - [MAY - FRED SANDBACK - AUCKLAND](https://www.jensengallery.com/may-fred-sandback-auckland/) - [JUNE - TONY OURSLER - AUCKLAND](https://www.jensengallery.com/june-tony-oursler-auckland/) - [FEBRUARY - WINSTON ROETH - AUCKLAND](https://www.jensengallery.com/february-winston-roeth/) - [AUGUST - CALLUM INNES - AUCKLAND](https://www.jensengallery.com/august-callum-innes-auckland/) - [FEBRUARY - WINSTON ROETH - AUCKLAND](https://www.jensengallery.com/february-winston-roeth-auckland/) - [MAY - MALEREI - SYDNEY](https://www.jensengallery.com/may-malerei-sydney/) - [JUNE - C6 H10 05 IV - AUCKLAND](https://www.jensengallery.com/june-c6-h10-05-iv-auckland/) - [JULY - THE ESTRANGEMENT OF JUDGEMENT - AUCKLAND](https://www.jensengallery.com/july-the-estrangement-of-judgement-auckland/) - [FEBRUARY - KELLY KNOEBEL ROETH INNES JUDD - AUCKLAND](https://www.jensengallery.com/february-kelly-knoebel-roeth-innes-judd-auckland/) - [MARCH - GüNTER UMBERG & ELISABETH VARY - AUCKLAND](https://www.jensengallery.com/march-gunter-umberg-elisabeth-vary-auckland/) - [MAY - NAKED - AUCKLAND](https://www.jensengallery.com/may-naked-auckland/) - [JULY - TONY OURSLER - AUCKLAND](https://www.jensengallery.com/july-tony-oursler-auckland-2/) - [SEPTEMBER - CIMMERIAN SHADE - AUCKLAND](https://www.jensengallery.com/september-cimmerian-shade-auckland/) - [MARCH - CALLUM INNES - SYDNEY](https://www.jensengallery.com/march-callum-innes-sydney/) - [APRIL - NAKED - SYDNEY](https://www.jensengallery.com/april-naked-sydney/) - [JUNE - E=MC2 - SYDNEY](https://www.jensengallery.com/june-emc2-sydney/) - [FEBRUARY - JUDITH WRIGHT - AUCKLAND](https://www.jensengallery.com/february-judith-wright-auckland/) - [JUNE - C6H10O5 V - AUCKLAND](https://www.jensengallery.com/june-c6h10o5-v-auckland/) - [JULY - TONY OURSLER - SYDNEY](https://www.jensengallery.com/july-tony-oursler-sydney/) - [JULY - TONY OURSLER - AUCKLAND](https://www.jensengallery.com/july-tony-oursler-auckland/) - [SEPTEMBER - SATURATION - SYDNEY](https://www.jensengallery.com/september-saturation-sydney/) - [NOVEMBER - GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/november-geoff-thornley-auckland/) - [NOVEMBER - TOMISLAV NIKOLIC - SYDNEY](https://www.jensengallery.com/november-tomislav-nikolic-sydney/) - [MARCH - WINSTON ROETH. TOMISLAV NIKOLIC. IMI KNOEBEL. GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/march-winston-roeth-tomislav-nikolic-imi-knoebel-geoff-thornley-auckland/) - [FEBRUARY - WINSTON ROETH - SYDNEY](https://www.jensengallery.com/february-winston-roeth-sydney/) - [MARCH - JUDITH WRIGHT - SYDNEY](https://www.jensengallery.com/march-judith-wright-sydney-2/) - [JUNE - THE ANATOMY OF LOSS - AUCKLAND](https://www.jensengallery.com/june-the-anatomy-of-loss-auckland/) - [JULY - THE ARCHITECTURE OF COLOUR - AUCKLAND](https://www.jensengallery.com/july-the-architecture-of-colour-auckland/) - [OCTOBER - TOMISLAV NIKOLIC - AUCKLAND](https://www.jensengallery.com/october-tomislav-nikolic-auckland-2/) - [FEBRUARY - IMI KNOEBEL - AUCKLAND](https://www.jensengallery.com/february-imi-knoebel-auckland-2/) - [MARCH - FIREFLY - AUCKLAND](https://www.jensengallery.com/march-firefly-auckland/) - [APRIL - TOMISLAV NIKOLIC - SYDNEY](https://www.jensengallery.com/april-tomislav-nikolic-sydney/) - [APRIL - GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/april-geoff-thornley-auckland-2/) - [JUNE - COLOUR POEMS - AUCKLAND](https://www.jensengallery.com/june-colour-poems-auckland/) - [JULY - FARBEN - SYDNEY](https://www.jensengallery.com/july-farben-sydney/) - [SEPTEMBER - EXHIBITION - AUCKLAND](https://www.jensengallery.com/september-exhibition-auckland/) - [OCTOBER - JUDITH WRIGHT - AUCKLAND](https://www.jensengallery.com/october-judith-wright-auckland/) - [OCTOBER - TOMISLAV NIKOLIC - SYDNEY](https://www.jensengallery.com/october-tomislav-nikolic-sydney-2/) - [NOVEMBER - UN-THINKING VISION - SYDNEY](https://www.jensengallery.com/november-un-thinking-vision-sydney/) - [MARCH - WINSTON ROETH - SYDNEY](https://www.jensengallery.com/march-winston-roeth-sydney-2/) - [MAY - COEN YOUNG - AUCKLAND](https://www.jensengallery.com/may-coen-young-auckland-2/) - [MAY - C6H1005 - SYDNEY](https://www.jensengallery.com/may-c6h1005-sydney/) - [JULY - CURRENT - AUCKLAND](https://www.jensengallery.com/july-current-auckland/) - [JULY - GEOFF THORNLEY. VOICE OF MIMESIS - SYDNEY](https://www.jensengallery.com/july-geoff-thornley-voice-of-mimesis/) - [SEPTEMBER - GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/september-geoff-thornley-auckland/) - [JULY - ROT - AUCKLAND](https://www.jensengallery.com/july-rot-auckland/) - Tomislav Nikolic, Aida Tomescu, Judith Wright, Winston Roeth, Imi Knoebel. Red sails in the sunset. Roses are red. If I don’t have red, I use blue. I’m a redhead, I’ll get away with this. Love is that little girl with red hair. Red hair, sir, in my opinion is dangerous. I became a Yankees fan - [OCTOBER - TOMISLAV NIKOLIC - AUCKLAND](https://www.jensengallery.com/october-tomislav-nikolic-auckland/) - [DECEMBER - PINK - SYDNEY](https://www.jensengallery.com/october-soft-alchemy/) - [FEBRUARY - JUDITH WRIGHT - SYDNEY](https://www.jensengallery.com/march-judith-wright-sydney/) - JUDITH WRIGHT SIGNIFICANT OTHERS Significant Others is a remarkable return to painting for Judith Wright after a decade dominated by the trio of epic sculptural installations Journey, Destination & Ancestors. These large-scale installations explored, in the most theatrical way to date, the interior lives and melancholy environments of childhood play and imaginings. In Significant Others, - [APRIL - GEOFF THORNLEY - AUCKLAND](https://www.jensengallery.com/april-geoff-thornley-auckland/) - [APRIL - GEOFF THORNLEY -SYDNEY](https://www.jensengallery.com/april-geoff-thornley-sydney/) - [JUNE - CHROMOFFECTION - AUCKLAND](https://www.jensengallery.com/june-chromoffection-auckland/) - [NOVEMBER - COEN YOUNG - AUCKLAND](https://www.jensengallery.com/november-coen-young/) - [JULY - A DISCREET VESSEL - AUCKLAND](https://www.jensengallery.com/july-a-discreet-vessel-auckland/) - [JULY - IMI KNOEBEL - SYDNEY](https://www.jensengallery.com/july-imi-knoebel-sydney/) - [OCTOBER - SOFT ALCHEMY - AUCKLAND](https://www.jensengallery.com/october-soft-alchemy-auckland/) - [OCTOBER - TOMISLAV NIKOLIC - SYDNEY](https://www.jensengallery.com/october-tomislav-nikolic-sydney/) - [NOVEMBER - A DISCREET VESSEL - SYDNEY](https://www.jensengallery.com/november-a-discreet-vessel-sydney/) - A DISCREET VESSEL The painting practices of Callum Innes, Günter Umberg and Jude Rae share qualities that are uncommon in an increasingly glib visual culture. Against a relentless tide of overblown scale and theatre standing in for more critical judgement, each of these artists’ approach “making” clear in the knowledge that every consideration of composition, - [FEBRUARY - IMI KNOEBEL - AUCKLAND](https://www.jensengallery.com/february-imi-knoebel-auckland/) - [MARCH - THE ANATOMY OF GESTURE - AUCKLAND](https://www.jensengallery.com/march-the-anatomy-of-gesture-auckland/) - [MARCH - WINSTON ROETH - SYDNEY](https://www.jensengallery.com/march-winston-roeth-sydney/) - WINSTON ROETH Winston Roeth is less a painter of colour as he is a painter of sensation. Not the Saatchi definition that confuses sensation with “shock” and “sensational” but rather the notion of sensation as a function of feeling and perception. And yet colour remains the fundamental conduit to this awareness, albeit held within carefully - [APRIL - GUNTER UMBERG - SYDNEY](https://www.jensengallery.com/april-gunter-umberg-sydney/) - [FEBRUARY - THE TRUTH THAT LIES TELL - AUCKLAND](https://www.jensengallery.com/february-the-truth-that-lies-tell-auckland/) - [MARCH -TOMISLAV NIKOLIC - AUCKLAND](https://www.jensengallery.com/march-tomislav-nikolic-auckland/) - [FEBRUARY - FRED SANDBACK - SYDNEY](https://www.jensengallery.com/february-fred-sandback-sydney/) ## Pages - [Front Page](https://www.jensengallery.com/) - FOXJENSEN & FOXJENSENMcCRORY - [AIDA TOMESCU](https://www.jensengallery.com/aida-tomescu/) - AIDA TOMESCU AIDA TOMESCU FEATURED WORKS EXHIBITIONS ARTIST CATALOGUE ENQUIRE ABOUT THE ARTIST Like blooms that appear quite startlingly before winter’s end, only to be ravaged by frost and wind and then renewed when the season of their being arrives, Aida Tomescu’s works are in a constant state of becoming. Over the years she has developed her - [TOMISLAV NIKOLIC](https://www.jensengallery.com/tomislav-nikolic/) - TOMISLAV NIKOLIC TOMISLAV NIKOLIC FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST Who told you that one paints with colours? One makes use of colours, but one paints with emotions. – Jean-Baptiste-Simeon Chardin A glorious contradiction. The paintings of Tomislav Nikolic offer a multitude of contradictions. Their respect for precedent is signalled overtly in - [About](https://www.jensengallery.com/about/) - Andrew Jensen opened the gallery in New Zealand in 1988 and over the course of more than thirty-five years it has set itself aside in terms of its seamless presentation of international work alongside the most considered practices from the region. In early 2011 the gallery expanded to Australia opening a second gallery in Sydney. - [JAN ALBERS](https://www.jensengallery.com/jan-albers/) - JAN ALBERS JAN ALBERS FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST ARTIST WEBSITE Jan Albers’ work is considered one of the central positions of abstract contemporary art. – Dr. Viola Weigel, Curator of the Ruth Baumgarte Art Foundation Jan Albers works seamlessly across various media. Having studied painting at the Kunstakademie Dusseldorf he - [2026](https://www.jensengallery.com/archive/2026-2/) - [TODD HUNTER](https://www.jensengallery.com/todd-hunter/) - TODD HUNTER TODD HUNTER FEATURED WORKS ARTIST CV EXHIBITIONS ENQUIRE ABOUT THE ARTIST My studio is never silent, everything is accompanied by music. It intimately influences my work. Almost all my titles are derived from lyrics or song titles that have influenced that work and the psychological overtones the music has imbued on - [Contact](https://www.jensengallery.com/contact/) - FOX JENSEN GALLERY CNR McEVOY & BRENNANALEXANDRIA, NSWWED – SAT 10.30 – 4.00TELEPHONE +61 421 753906ANYTIME BY APPOINTMENT 111-117 McEvoy street is well supported by public transport options. We are 11 minutes walk from the Waterloo Metro Station. We are 12 minutes walk from the Green Square Train Station. We are on a bus route. Hirable - [IMI KNOEBEL](https://www.jensengallery.com/imi-knoebel/) - IMI KNOEBEL IMI KNOEBEL FEATURED WORKS ARTIST COLLECTIONS EXHIBITIONS ENQUIRE ABOUT THE ARTIST If you want to do something, to stay alive, you have to think of something at least as radical. – Imi Knoebel Imi Knoebel is one of the most celebrated painters working anywhere in the world today. His work has - [HANNS KUNITZBERGER](https://www.jensengallery.com/hanns-kunitzberger/) - HANNS KUNITZBERGER HANNS KUNITZBERGER FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST There is no such thing as bad weather, only different kinds of good weather.– John Ruskin Our first visit to Hanns Kunitzberger’s Berlin studio was in late October 2018, an autumn day when the sky matched the pavement. With time it - [WINSTON ROETH](https://www.jensengallery.com/winston-roeth/) - WINSTON ROETH WINSTON ROETH FEATURED WORKS ARTIST ESSAY EXHIBITIONS ENQUIRE ABOUT THE ARTIST Winston Roeth is less a painter of colour as he is a painter of sensation – Andrew Jensen I was introduced to Winston back in 1996. His studio was on a third-floor walk-up in Little Italy, right above the famed - [JUDITH WRIGHT](https://www.jensengallery.com/judith-wright/) - JUDITH WRIGHT JUDITH WRIGHT FEATURED WORKS ARTIST CATALOGUE ESSAY EXHIBITIONS ENQUIRE ABOUT THE ARTIST TOP BANNER IMAGE The National 2021: New Australian Art, JUDITH WRIGHT, NATURE/NURTURE, 2020, Synthetic Polymer paint and wax on Japanese Rice Paper, wood lightbox & Single Channel Digital video (looped), INSTALLATION VIEW: MUSEUM OF CONTEMPORARY ART, SYDNEY, Australia, 2021, PHOTOGRAPH: ANNA KUCERA …I - [ELISABETH VARY](https://www.jensengallery.com/elisabeth-vary/) - ELISABETH VARY ELISABETH VARY FEATURED WORKS ARTIST ESSAY EXHIBITIONS ENQUIRE ABOUT THE ARTIST These gems have life in them: their colors speak, say what words fail of. – Mary Ann Evans (aka George Eliot) Vary’s works shun the orthodox rectilinear formats common to painting. And though artists such as Frank Stella and Elsworth - [GÜNTER UMBERG](https://www.jensengallery.com/gunter-umberg/) - GÜNTER UMBERG GÜNTER UMBERG FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST Silence is one of the great arts of conversation – Marcus Tullius Cicero For many years, Günter Umberg devoted a space alongside his own studio in Köln to a clear project called Raum Für Malerie. More often - [GIDEON RUBIN](https://www.jensengallery.com/gideon-rubin/) - GIDEON RUBIN FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST In heaven, all the interesting people are missing. – Friedrich Nietzsche There is much about Rubin’s paintings themselves that carry or rather transmit something crucial about optimism. Amidst the tender introspection and melancholia that accompanies some of his images and the - [SOFIE MULLER](https://www.jensengallery.com/sofie-muller/) - SOFIE MULLER SOFIE MULLER FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST The rough stone (alabaster) imitates human skin in color, semi-transparency and grain; the break lines are synonymous with the (mental) scars that a person gains in his life. – Sofie Muller There is more wisdom in your body than in - [GARY McMILLAN](https://www.jensengallery.com/gary-mcmillan/) - GARY McMILLAN GARY McMILLAN FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST I’m obsessed with light. I’m trying to achieve the effect of blasted-out light that film and photography can capture but the eye alone can’t perceive. – Gary McMillan Georges Seurat said of his work “some say they see poetry in - [ERIN LAWLOR](https://www.jensengallery.com/erin-lawlor-2/) - ERIN LAWLOR ERIN LAWLOR FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST I find [oil paint] endlessly fascinating, and the medium is very much at the root of my work. Oil paint has historically often been equated with a form of skin, and what no doubt brought me to it in the first place - [LIAT YOSSIFOR](https://www.jensengallery.com/liat-yossifor/) - LIAT YOSSIFOR LIAT YOSSIFOR FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST No second chances in the land of a thousand dances… -Ry Cooder The program of this gallery has long been about the dismantling of distance. Nothing grand or political in this ambition – just a selfish need to live in - [GEOFF THORNLEY](https://www.jensengallery.com/geoff-thornley/) - GEOFF THORNLEY GEOFF THORNLEY FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST As a rule, we assume that an artist’s vision will get darker as he or she gets older, their thoughts moving inexorably towards the end of the day. But Thornley with his morning paintings calmly dissolves that assumption. Wake up, the - [SHILA KHATAMI](https://www.jensengallery.com/shila-khatami/) - SHILA KHATAMI FEATURED WORKS ARTIST CV EXHIBITIONS ENQUIRE ABOUT THE ARTIST Shila Khatami paints with a gesture brimming with glorious contradictions. There should be nothing discrete about a mark that covers so much territory with such directional urgency – and yet these wide, dissipating strokes can at times be delicate, translucent – almost veil-like. Andrew - [2025](https://www.jensengallery.com/archive/2025-2/) - [Artists](https://www.jensengallery.com/artists/) - [Artists Portfolio](https://www.jensengallery.com/artists-portfolio/) - [FRED SANDBACK](https://www.jensengallery.com/fred-sandback/) - FRED SANDBACK FRED SANDBACK FEATURED WORKS ARTIST COLLECTIONS EXHIBITIONS ENQUIRE ABOUT THE ARTIST The line is a whole, an identity, for a particular place and time. – Fred Sandback Fred Sandback’s work, more clearly than any other artwork I know, speaks to the complexity of simultaneous presence and absence. The dis-equilibrium that - [2024](https://www.jensengallery.com/archive/2024-2/) - [HELMUT FEDERLE](https://www.jensengallery.com/helmut-federle/) - HELMUT FEDERLE HELMUT FEDERLE FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST The basic value inherent in every work of art lies in the metaphysical quality of form and not in form per se. Form serves as a vehicle for an immaterial quality which cannot be recognized as such or as a - [2023](https://www.jensengallery.com/archive/2023-2/) - [MATTHEW ALLEN](https://www.jensengallery.com/matthew-allen/) - MATTHEW ALLEN MATTHEW ALLEN FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST The hands want to see, the eyes want to caress – Goethe Goethe’s apparent inversion of otherwise defined sensory roles tells us much about the sensuality of vision, its complicity with truth and fiction, and the quality of tactility that - [JANE BUSTIN](https://www.jensengallery.com/jane-bustin/) - JANE BUSTIN JANE BUSTIN FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST I’m interested in the organic, material qualities of how a painting is constructed… from the type of support – wood, metal, silk – to the properties of pigment, binders, the effect of light, the physicality of material and the effect - [JENNY TOPFER](https://www.jensengallery.com/jenny-topfer/) - JENNY TOPFER JENNY TOPFER FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST I remember that as I was writing a poem on ‘Snow’ when I was eight, I said aloud, ‘I wish I could have the ability to write down the feelings I have now when I am little, because when I - [2022](https://www.jensengallery.com/archive/2022-2/) - [TONY OURSLER](https://www.jensengallery.com/tony-oursler/) - TONY OURSLER TONY OURSLER FEATURED WORKS ARTIST COLLECTIONS EXHIBITIONS ENQUIRE ABOUT THE ARTIST If Picasso had a digital camera…. The cubist dissection of the face and its radical reassembly along the flattened planes of the canvas opened the way for a new psychological intrusion into the psyche of the sitter. Picasso’s painting of Dora Maar, Buste - [Home-old](https://www.jensengallery.com/masonry-2-columns/) - In accordance with our respective rules in Sydney,Fox Jensen / Paddington, & Fox Jensen / Alexandria will be open to in-person visitorsin accordance with NSW government check-in and vaccination requirements.Fox Jensen Sydney is registered as a COVID safe business. Paddington Tuesday – Saturday 10 – 5Alexandria Wednesday – Saturday 12 – 4+ 61 421 753 906or email gallery@foxjensengallery.com - [JAMES CASEBERE](https://www.jensengallery.com/james-casebere/) - JAMES CASEBERE JAMES CASEBERE FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST I look at making art as a process of social dialogue. Now I’m trying to reduce the images to their bare essentials. The interior rooms are not only a reflection of my studio but also a reflection of the mechanisms of - [LAWRENCE CARROLL](https://www.jensengallery.com/lawrence-carroll/) - LAWRENCE CARROLL LAWRENCE CARROLL FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST As I change the painting changes, and as the painting changes, I change. – Lawrence Carroll Everyday I am here For more than thirty years now I have been acutely aware of the privilege and risk of entering an artist’s - [Elementor #11871](https://www.jensengallery.com/elementor-11871/) - Aaron Test Aaron Test FEATURED WORKS ARTIST CATALOGUE EXHIBITIONS ENQUIRE ABOUT THE ARTIST Lorem ipsum dolor sit amet, consecteturadipiscing elit. Ut elit tellus, luctus nec ullamcorpermattis, pulvinar dapibus leo. Lorem ipsum dolor sit amet, consectetur adipiscing elit. 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