Tim Price taps into the zeitgeist of these turbulent times with Pandemonium – the title of this new painting, (24 panels, mixed media on plywood, 695 x 765). The price is $1375 (framed, inclusive of GST). Tim and Trev Clay have a show opening at Gallery 9, Sydney, on November 12.

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…as an aesthetic impact. According to New York Mayor Bloomberg: “Public art is a signature of New York City and we are proud to welcome Olafur Eliasson’s exciting new project, the Waterfalls. Not only does public art excite and inspire New Yorkers, it helps draw visitors and adds millions of dollars into our economy. Olafur Eliasson’s innovative and monumental project reflects the revitalization of our waterfront throughout the five boroughs, and I thank the Public Art Fund for bringing this unforgettable work to our City while taking steps to protect the environment.” Take a look. And see our previous post on this artist’s work at MoMA… And (thanks to Max) see this great review in the NYT. And read what they think about it in Toronto: a public art show even a mayor can love, by Simon Houpt (Globe and Mail). Essential reading for Public Art in Canberra 101…

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while we’re waiting for the announcement of Canberra’s Northbourne Mounument here’s a stunning echo of Vladimir Tatlin’s Monument to the IIIrd International. This version of a work by Ai Weiwei titled Chandelier, 2002 (spotted in the SMH Good Weekend’s publicity for his show at the Campbelltown Arts Centre) is unfortunately not in the show. Apparently Chandelier is an early version of “Working Progress (Fountain of Light)” 2007, here shown at the Tate Liverpool. We wish.

Want to go deeper? In addition to the exhibition at CAC curated by Charles Merewether (past director of the Biennale of Sydney), there is another show at Sherman, and a new book by CM himself. Listen to CM and AW on Artworks, with Amanda Smith. For more chandeliers, of a different kind, go here.

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Or maybe not. Clearly stylistic breadth is his strong suit… This is one of four paintings (this one, Hi God People, is 60×90, acrylic on canvas) that Tim Price is bringing up for a group exhibition The Painting Depot at M16 studios, to open on Thursday April 3rd. The others in the show are Dionysia Salas Hammer, Fiona Little, and Julia Castiglioni Bradshaw.

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when ANU School of Art Honours Painting students came visiting Tim Price’s exhibition at ArtWranglers. ArtWranglers is open Saturday and Sunday this weekend from 11.00 to 5.00. See Tim’s Gallery in the sidebar for snaps of the works…

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If you were born in 1983, by the time you were literate your mum or dad might have bought their first baby Macintosh, by the time you were ten the internet had happened and Pac-men were old hat, when you were 15 you were using Google to do your homework, and when you were at Uni your lecturers were worrying about online plagiarism at the same time they were teaching you about postmodernity. With the web, google, facebook, youtube, flickr, and the wireless library your access to images had doubled every few years of your life. Printmedia echo’d the image explosion. And by some anachronistic twist of fate you discovered you wanted to be a painter…

The story of painting became four dimensional in a new way. Images came to you in sequences, sometimes with an historical thread, sometimes structured by their medium, mostly as a matrix with a high degree of random association. Mainly of photographic origin, overwhelmingly mediated, usually modified, images came flooding at you whether you wanted it or not – and rarely via art’s history. In its simplest sense, this is a four dimensional experience, as you experience your senses being battered by the mediated character of the 21st century image-world. But for a painter – as the producer of even more images – the four dimensions of experience have another potentiality, building on the lines and patches of paint as they are made to interact to create graphic and colouristic illusions of form and space.

The unique thing about the painted image is that it carries its own material history, its intrinsic depth, and in every micro-narrative of its surface can be read the substance of its application. The reworking of source imagery involves the arrest of the passage of time, and the creation of the new time-frame of the painterly image, all alluding to the experience of time in a quite different directions.

Tim Price’s paintings pull images from everywhere, and he crunches them together, both side-by-side and layered on top of one another. In this process he interrupts their original temporal flow, and the historical logic of their origins, while at the same time making new conjunctions of image to image, and image to matter, the material of their being painted. Sometimes the paint itself takes over, and the representation of form and illusion are arrested, left incomplete. The substance of the painting itself – paint – becomes its subject matter. This has strangely disruptive affects: harsh and grotesque images and events are interrupted by the artist’s own processes and meditations and the effects these collected subjects have on his day to day life and identity. In their simplest sense, a collection of his paintings is like a non-linear diary – but in another sense, they draw the viewer into a complex set of shared experiences.

Come and see, or take a look in the side-bar galleries…

(The paintings above are: 07 family, 2 panels, 402 x 300, and Interplanetary ruin, 2 panels, 400 x 300)

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…this Friday, Saturday, Sunday and all next week by appointment (02 6257 0949)

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Tim Price has been painting up a (fire)storm down in Melbourne, so stand by for our first show of the year opening on Friday 22 February. This work (titled Ceremony) gives us a clue, but we can’t wait to see how the other dozen paintings relate… Some of his previous (see gallery) will also be on show…

We’re open to visitors on Saturday and Sunday on the weekend of the 23rd and 24th, and the following weekend 1st and 2nd March. Or in between by appointment. Please call and make a time…

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See!

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Nobody was surprised when this title won the ArtWranglers Award for the Best Title at the ANU School of Art Graduating exhibition last night. And the Best Performance of the Best Title, etc. etc.. See also Tim’s work currently at Gallery 9 in Sydney.

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