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Summer 2022-23
In Colour - Robert Klippel: Sculpture and Works on Paper 1962-1998
A life of art – from the Estate of Jocelyn Plate
Sydney Contemporary
A Curator's Collection: Works from the Estate of Sally Couacaud
Winter 2022
Julie Green: New Drawings 2020-22
Autumn 2022 - from Private collections
Summer 2021-2022
Explore - Sydney Contemporary Online 2021
Spring 2021
Autumn 2021
Early Works – Tim Johnson 1969-1998
Summer 2020
Robert Klippel on Paper, 1950-1963
Winter 2020
Summer 2019
Michael Johnson, Dance of Line 1979
Spring 2019
Winter 2019
Tiwi, Wigram and Elcho Island Art from the Laverty Collection
Carl Plate, The Last Show He Never Had 1971-1976
Summer 2018
Poetically Microscopic from the Estate of Robert Klippel
Spring 2018
Liane Rossler - inside. outside. upsidedown.
Fred Cress Full Circle: Paintings and works on paper 1965-2009
Winter 2018
Michael Johnson 2013-2016
Other Worlds
Summer 2017
Carl Plate - Hard Colour: Paris Works 1970-1971
Michael Johnson 1968-1978
Winter 2017
Masters of Australian Photography - A Private collection
Autumn 2017 - Part II
Autumn 2017
Sweet Nature
Louise Hearman
Winter 2016
Autumn 2016
Spring 2015
Michael Johnson Diagonal Light - Works from 1980-1986
A Private Collection 2
Winter 2015
Shelfie - Liane Rossler
A Private Collection - Gary Sands
Summer 2014
Winter 2014
Michael Johnson London-Sydney-New York 1960s & 1970s
Contemporary History 1974-2009
Summer 2013-2014
Spring 2013
Winter 2013
Summer 2012-2013
Winter 2012
Autumn 2012
Summer 2011
Spring 2011
Autumn 2011
Summer 2010-2011
Fairweather, Williams and others
Winter 2010
Summer 2009-2010
Spring 2009
Winter 2009
BIG NAMES little sculptures


Michael Johnson
Two Decades
Three Cities
Vault magazine

In Colour - Robert Klippel: Sculpture and Works on Paper 1962-1998

14 October - 3 December 2022

Show exhibition essay

Robert Klippel was driven by the desire to innovate. Being interviewed in 1995, he explained, ‘The whole point is to make something new. That’s basically what I’m interested in; in seeing something I haven’t seen before.’[1] This aim was reflected in his inveterate experimentation: with materials – from the junk metal used to create his best-known sculptures from the 1960s onwards, to the large-scale wooden pattern-parts of his late works – as well as with form, an element of his practice which was persistently diverse. Colour too, played an important role in Klippel’s art, moving in and out of prominence, but always reflecting his distinctive aesthetic and unique way of seeing. 

Klippel likened time spent in the studio to an adventure and the sense of discovery and delight he found in making art is palpable. There is a playfulness in his use of colour, from the cut out and collaged pieces of coloured paper arranged like leaves on the ‘branches’ of No. 867 c.1967, to the painting and collage that embellishes the wooden surfaces of No. 235 1967.  As Deborah Edwards observed, he uses colour as ‘a clarifying force’, to emphasise planes and forms in his sculpture.[2]
 

Many of the works in this exhibition show Klippel responding to the pre-existing colour of found objects, which he gathered like a bowerbird. A tower striped blue, yellow, black and red, is created from a collection of translucent plastic boxes, while another combines cone-shaped toy trumpets, brightly patterned with spots and stripes. It is seemingly not only colour that attracted Klippel to the items he collected, but also their texture – the smooth sheen of the plastic, the visible grain of wooden blocks – and of course, their form. Colour and texture enliven the form here, demonstrating his ability to identify, select and unite these various elements in works which have a strong visual appeal. However, it is the apparent logic within Klippel’s sculptures that distinguishes them; as if their creation – and the artist’s deft combination of colour, texture and form – was inevitable. Kirsty Grant, 2022.

[1] Robert Klippel interview, 24 March 1995, quoted in Deborah Edwards, Robert Klippel: Large Wood Sculptures and Collages, Art Gallery of New South Wales, Sydney, 1995, p. 41.
[2] Deborah Edwards, Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, p. 31.

Robert Klippel

No. 235 1967

Robert Klippel

No. 234 1967

SOLD

Robert Klippel

No. 853 c. 1967

Robert Klippel

No. 233 1967

Robert Klippel

No. 867 – Standing Mobile c. 1967

Robert Klippel

No. 139 – Oval Metal Relief 1962

Robert Klippel

No. 869 with No. 872 c. 1990 (both)

Robert Klippel

No. 874 with No. 875 c. 1990 (both)

Robert Klippel

No, 309A (b), (c), (d) 1974-1982

Robert Klippel

No. 1182 c. 1980s

Robert Klippel

No. 757 1989

Robert Klippel

No title (No. 83b; No. 53; No. 44; No. 39; No. 8... 1985-1995

Robert Klippel

No. 933 1998

Robert Klippel

No. 939 1998

Robert Klippel

AKD x28 1992

Robert Klippel

AKD W5 1994

Robert Klippel

AKD 842 1993

SOLD

Robert Klippel

AKD W4 1994

SOLD

Robert Klippel

AKD 522 1991

SOLD

Robert Klippel

AKD 487 1978

SOLD

Robert Klippel

AKD0445 1986

Robert Klippel

AKD87/06/130 1987

Robert Klippel

AKD87/06/146 1986

Robert Klippel

AKD W27 1987

Robert Klippel

AKD W30 1987

SOLD

Robert Klippel

AKD519 1987

Robert Klippel

Installation of exhibition 2022

Robert Klippel

Installation of exhibition 2022

Robert Klippel

Installation of exhibition 2022

Robert Klippel

Installation of exhibition 2022

Robert Klippel

Installation of exhibition