Terri Brooks

Spectrum : The possibilities of light

July 13 - 30

TACIT ART

www.tacitart.com.au

Selected works:

Crossings, 2022, oil on canvas, 90 x 122 cm. AU$5800

Weathered White, 2021, oil on canvas, 102 x 102 cm. AU$5800

Base Grid, 2021, oil on canvas, 84 x 61 cm. AU$3200

Material as Metaphor, 2021, oil on canvas, 61 x 66 cm. AU$2750

Brown Stripes, 2021, oil on canvas, 61 x 50 cm. AU$2300

Basket, 2022, oil on paper, 29 x 29 x 12 cm. AU$900

Check Oval, 2022, oil on paper, 27 x 20 x 5 cm. AU$750

Installation images:

The Butterfly Effect

Stand with Ukraine

100 artists have donated works for UNICEF

Ukraine Emergency Appeal

Bidding closes August 18

Gallery exhibition 1-18 August

Poimena Gallery, Launceston Grammar, Launceston, Tasmania

Sapphire Blue, 2019, oil on hardened paper, 27 x 21 x 9 cm.

Tacit Galleries

TJ Bateson

Voices

TACIT ART

Melbourne

To May 28

A benefit exhibition to support TACIT while Tim undergoes life saving treatment.

I wish Tim the very best and a good recovery.

Voices, Tacit Galleries

Slow Drawing, 2022, oil on canvas, 41 x 31 cm.

April '22 news

Fine White Grid, 2020, installed with Miik Green
at Ultimointeriors, with Linton and Kay Galleries Perth

Stone Crown, 2017 (top left) with the work of artist Diana Miller
private collection of the artist, NSW

Grey Lines, 2016, private collection Melbourne

Five works have travelled to private collections
on the east and west coast of the USA this year
including Veiled White Marks, 2018, oil on canvas, 122 x 122 cm.

Introducing studio visit tickets.
These can be purchased via the shop upon email request
terribrooksartist@gmail.com

White Variations, 2014, oil on canvas, 153 x 153 cm.

Paintings and paper works are live for direct purchase via my shop page

https://www.terri-brooks-artist.com/shop

Works in the shop include shipping with insurance. Small works shipped via Australia Post Express and larger paintings with Pack and Send/DHL.

Delivery times vary between one to three weeks. Please note: Fine art is import duty (tax) exempt in most countries.

Payment options: Stripe, PayPal (including credit card and Pay in 4), and internet banking, PayID or account transfer. AU$ = .75USD.

Currently there is a 'Running out of storage space' sale!

Selected works up to 50% off. Includes shipping.

6th biennale of international non objective art

Que des femmes/Only women
Melbourne virtual satellite 'The home show'
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November
Curated by Terri Brooks and Louise Blyton
International curator Billy Gruner
Bienniale Curator Roland Orepuk

Rose Moxham (qld), Marlene Sarroff (nsw), Suzan Shutan (us), Louise Gresswell
Irene Barberis, Jennifer Joseph, Wilma Tabacco, Louise Blyton, Karen Schifano (us)
Anna Caione, Emma Langridge, Suzie Idiens (nsw), Susan Buret (nsw)
Bogumila Strojna (fr), Danielle Lescot (fr), Connie Goldman (us), Sarah Robson (nsw)
Munira Naqui (us), Wendy Kelly, Terri Brooks

When Kazimir Malevich exhibited the revolutionary painting ‘Black Square’ circa 1915, he transformed Modernism. Malevich said of the painting ‘the experience of pure non-objectivity in the white emptiness of a liberated nothing’.

A century on from the genesis of non-objectivity and concrete art within Western Art there has been a succession of relative movements in Modernism, some of which are Suprematism, Constructivism, De Stijl, Bauhaus, ZERO, Arte Povera, Op Art, Minimalism, Hard Edge Painting, Process Art and Neo-Geo.

Coinciding with the Women’s Liberation Movement gaining traction in the 1960s a few non-male artists such as Agnes Martin, Anne Truitt, Jo Baer and Bridget Riley gained major recognition within ‘Abstraction’. ‘Que des femmes’/Only Women, is the 6th Biennale of Non Objective Art and is dedicated to the work of women. The premier exhibition is in France, with satellites, including this Melbourne edition.

The history of Western Art is by and large a male artist history.

Today women artists are free to invent their own histories.

Artists work L-R: Anna Caione, Irene Barberis, Rose Moxham, Connie Goldman, Susan Buret,

Bogumila Strojna, Suzie Idiens, Emma Langridge, Suzan Shutan, Sarah Robson,

Marlene Sarroff, Terri Brooks, Karen Schifano, Louise Gresswell, Louise Blyton,

Danielle Lescot, Wilma Tabacco, Munira Naqui, Wendy Kelly, Jennifer Joseph.

Clement Meadmore chorded chair, c1952, courtesy of Anna Caione.

Photography Louise Blyton.

Jennifer Joseph represented by Niagara Galleries Melbourne.

Kazimir Malevich exhibition 1915

The Home show interiors

Terri Brooks, White Paint, 2021,

oil on paper, 27 x 20 x 12 cm. (ceramics Kris Coad.

Louise Blyton, X, 2021,

acrylic on linen on wood, 31 x 31 cm.

Yarra Bend Gallery exteriors

Anna Caione, La Mamma Disperso, 2020,

mixed media, acrylic paint, 40 x 12 cm.

Sarah Robson, Unfolding geometries (shirt grid), 2018,

cotton shirt, 50 x 25 cm. Pinned to the wall.

6th international biennale of non objective art

Que des femmes/Only women
Melbourne virtual satellite
Hosted by Art Thoughts AU at Yarra Bend Gallery
September 22 - 19 November

Terri Brooks and Amanda Ryan at the opening of Direction Now,
Town Hall Gallery, Melbourne 2014.

I created Art Thoughts AU in 2008 as an educational resource and record of Abstract art in Australia. At the time I was nearing the completion of my PhD.

Later during 2013-5 I project managed the national touring abstraction exhibition Direction Now. So it gives me great pleasure to host and co curate the Melbourne satellite of the 6th Biennale of Non Objective Art with Louise Blyton.

‘Terri Brooks has held over twenty five solo exhibitions and has participated in shows in public, university, commercial and artist runs spaces including art fairs nationally and in the United States, United Kingdom, The Netherlands, Italy, Germany, China, New Zealand, Poland and Greece.

Brooks is currently represented by Flinders Lane Gallery and Linton and Kay Galleries in Australia and Richeldis Fine Art in the United Kingdom.’

L-R Hinged Edges, Veiled Black Dots and Black Square, Direction Now, Caboolture Regional Art Gallery, Qld, 2015.

Terri Brooks and Tracey Lamb

Opening August 14 at 1 pm

Cross Gallery

Bundaberg QLD

Thirteen paper works exhibited for the first time including:

White Square, 2018, oil on paper, 30 x 30 cm. Sold prior to opening.

White Diagonal, 2019, oil on paper, 28 x 22 x 10 cm.

Hessian Stripes, 2020, oil on paper, 35 x 30 x 10 cm.

Brown White Black, 2020, oil on paper, 35 x 30 x 10 cm x 2 (Diptych)

Red Line Square Box, 2020, oil on canvas, 24 x 22 x 17 cm.

Installation view

MUGA

Museum Galerie Heerenveen
3
Terri Brooks
Kees de Vries
Harmen van der Tuin

10 JULI T/M 22 AUGUSTUS 2021

Gallery MUGA cordially invites you and your friends to the start of the exhibition 3 artists
Saturday 10 July from 13.00-17.00.

Tuesday to Friday from 11 am to 5 pm, Saturday and Sunday from 13.00-17.00

Museum Heerenveen
11 Minckelersstraat
8442 CE Heerenveen, NL

Terri Brooks, Line Crunch 2, oil and enamel on paper, 40x30 cm.

Kees de Vries, Zoutsculptuur, salt with acid and so 2 zeezout afm, 60x60 cm.

Harmen van der Tuin, Opaal Afmeting,123,6 x 200 x 14 cm. Gemengde techniek.

Some install shots

Jurjen K. VanderHoek, 'ZERO to Downunder', Tumblr, August.

https://jurjenkvanderhoek.tumblr.com

Since 1989 Terri Brooks has held over twenty solo shows in Australia, New Zealand, Italy and the Netherlands as well as participating in numerous exhibitions including art fairs in the US, UK, Germany, Italy, the Netherlands, Greece, Poland and Hong Kong. Her work is in the Neubrandenburg Museum Collection, Germany, The Macquarie Group Collection, Westpac Bank, many other corporate and private collections around the world. For over ten years her work has been been incorporated into projects by leading interior designers and architects for exclusive and award winning interiors. In 2018 she completed two major commissions for the Westin, Perth and Sheraton Four Points, Sydney.

Line and Weight

'In her seminal 1979 essay ‘Grids’, Rosalind Krauss writes that ‘logically speaking, the grid extends, in all directions, to infinity’. The grid within an artwork is therefore ‘a tiny piece arbitrarily cropped from an infinitely larger fabric’. The paintings in Line and Weight convey both this sense of the infinite spatial grid and, through the building up of layers, the infinite and repetitious nature of time. Washed over, painted across, re-written, line by line.' Anna Dunhill 2019.

Over the Edge

`The neglected zones of urban existence – alley ways, awnings, walls, gutters and shutters – occupy a unique place within the history of painting. Perhaps inadvertently, artists have been depicting such insignificant elements as cracked window ledges or the dark recesses of architraves since the time of Giotto. Ubiquitous, utilitarian and often worn down, the marginal nature of such sites and the phenomenological questions they raise has dominated Terri Brooks practice for the past two decades and continues to inform her work today.' Phe Luxford, 2011.