Anna Schwartz Gallery

John Nixon will present a solo exhibition, 'EPW: Applied Paintings - Project for a Kindergarten I & II' at PICA, Perth.
Exhibition dates: 3 November - 30 December, 2012

For his solo exhibition at PICA he presents a connected pair of projects made in 2006 and 2011. Project for a Kindergarten 1 from 2006 was inspired by the discovery of a book about the design of the Kindergartenhaus Wiedikon in Zurich, by Swiss Architects in 1932, whereas Project for a Kindergarten 2 was a response to the design of a kindergarten in the Swiss mountains by contemporary architects Marianne Burkhalter and Christian Sumi.

As with many of Nixon's Applied Painting projects, the paintings, sketches and prints in this exhibition, which number over 80, represent a catalogue of images for potential placement throughout the kindergarten buildings.

For more information please click here.

Work by Stieg Persson will be included in 'Luminous World-Contemporary Art from the Wesfarmers Collection' at the Art Gallery of Western Australia, Perth.

Exhibition dates: 20 October, 2012 - 11 February, 2013

The Wesfarmers Collection is amongst the pre-eminent corporate collections of Australian Art and reflects the vision of successive Managing Directors in developing and supporting such a major artistic resource. The contemporary area of this distinguished Collection is a notable strength and it is this aspect which the exhibition highlights.

For more information, please click here.

Emily Floyd has completed a major, architecturally integrated, sculpture titled New Ways of Thinking at Lacrosse, an Elenberg Fraser/Pan Urban project for Melbourne's Docklands Precinct.

Peter Cripps' exhihibition Endless Space will be on view at the IMA, Brisbane, 13 October - 24 November 2012.

Melbourne artist Peter Cripps has been a key figure in Australian art since the 1970s. He emerged at a time when minimalism and conceptualism were challenging an older idea of art generally, and of sculpture specifically. As an expression of those challenges, his work has been concerned with logics and technologies of display. Cripps explores the relationships—both formal-phenomenological and conceptual-ideological—between objects and the spaces in which they are presented.

Endless Space exhibition spans Cripps's career. The earliest works were produced in the late 1960s, while the latest works were made specially for the show. The show traces several ongoing strands of his inquiry. One strand is mirrors. The show includes examples of Cripps's mirror studies from the 1970s (which explore the spatial paradoxes mirrors produce) and the Public Project works that he has been making since the early 1990s (Tatlinesque towers mounted with convex surveillance mirrors). Another strand is the influence of landscape. Cripps's sculpture was informed by his childhood environment, particularly its distinctive coastal architecture (with its concrete-block bathing pavilions and World War II bunker remnants) and the Mordialloc timber yard (with its typography of drying kilns, timber stacks, and railway lines). This influence is apparent in the Above and Below Ground constructions he began making in 1968.

Alongside minimalism and conceptualism, museology has been a key influence. While working as an artist, Cripps has been employed as a curator, making institutional exhibitions of other artists' works. In the 1970s, he was an assistant curator at Melbourne's National Gallery of Victoria, and, from 1982 to 1986, he was Director of the IMA. Partly because of this, thinking about archives and museums, and their languages and technologies of display, underpins much of his work. The exhibition includes Shells of Past Activities, a personal museum composed of photos, texts, and state-library reading cards.

For more information, see the IMA website.