Name Dale Frank | Role Artist | |
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Artwork Abandoned Abaft it is Not Inconceivable to See Row After Row Abatement Soliciting Meaningless Nothing in the Everything | ||
Roslyn oxley9 gallery dale frank
Dale Frank (born 1959) is a contemporary Australian artist best known for his biomorphic abstract paintings. His practice has included found object-sculptures, performance installations, drawings and most recently paintings with sculptural elements. Frank lives and works in the Hunter Valley, New South Wales, Australia.
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Roslyn oxley9 gallery dale frank
Early life
Frank was born in Singleton, in the Hunter Valley, New South Wales, Australia. At the age of 19 he moved overseas to pursue a career as an artist in Europe and the United States. In 1998 he returned to live in Australia permanently.
Work
Frank’s artistic explorations in the mid 70s consisted of abstracted landscapes and assemblages that contained materials such as hardwoods and furniture. Later his performance based sculptures included: staging an elaborate lighting and sound disco together with a DJ at Roslyn Oxley9 Gallery, Sydney, and the Canberra Contemporary Art Centre; and installing eight large professional pool tables and associated paraphernalia of a Pool Hall, at the Institute of Modern Art, Brisbane. At the Hotel Art Fair in 1996 Frank was given a luxury suite, where he installed hired four transgender "hostess’s" to serve Swiss Chocolates and Champagne throughout the Fair with the room sculpture becoming the focal point of the Fair. Other sculptures include having himself hypnotised before attending an empty exhibition opening with certain code words prompting certain responses from the artist.
Sculpture installations include in 1994, at the Australian National Gallery, in Canberra, installing high performance miniature speakers, that played out across the entry forecourt a continuous repeat of 5 David Bowie albums, Diamond Dogs, Pin Ups, Aladin Sain, Hunky Dory, Ziggy Stardust, creating the feeling of a daytime disco for those approaching. Another sculpture, at Roslyn Oxley9 Gallery, 1996, consisted of the gallery strewn with filled ash trays and all the detritus of a wild party, as if it had been held the night before.
From 1981 - 1994 Frank created surreal large-scale drawings. Composed of intense tightly held lines they were up to 320 x 720 cm in size. They were exhibited worldwide, including New York (Willard Gallery), Amsterdam (Museum Stedelijk Fodor) and the Art Gallery of New South Wales (Sydney Biennale 1982).
Around 1995 Frank employed varnish as the sole material of his paintings and developed signature his 'monochromes'. Although not the main development of his work at the time, this practice by 2002 saw the introduction of colour and the rapid experimentation of chemical, time and motion studies within the paintings. This distinct technique of layering thick varnish to create abstract hypnotic paintings, resulted in compositions that hint at the psychedelic, and are notable for their vibrant and distinctive use of colour. Although the foundation of this process is not unique to Frank, he has developed and refined his technique over his 35-year career to create a personal sensibility and aesthetic. Australian curator and writer Stuart Koop wrote: 'Since 2001 I'd suggest, Frank's paintings don't depict, or represent anything. Rather in a scientific sense they illustrate the behaviour of different painting materials, in isolation or in combination with others'.
The titles of his paintings are phrases invented or overheard that ‘read like short stories’[1] such as To Cool To Matter, and His Common Law ex wife moved to Port Fairy and Went on the Game, adding ambiguity and psychology to the works. Koop writes: 'The works' titles remind us of Frank's creative intercession in these chemical exchanges: snippets from life conversations, things read, influences at large, big and little ideas that might suggest a subject, but perhaps better reflect the life of the artist in parallel - forming a montage whose doubtful inherent logic might still truly reflect the chaotic complexity of influence.'
Australian art critic Andrew Frost stated: ‘Dale Frank's work is out there, all on its own, largely untroubled by recent theory or passing fashion. It stands alone, majestic and strange.’ However, his current works in particular ascribe to the ‘expanded notion’ theory of painting: sculpture, and performance could be considered in as part of the painting medium. Frank’s 2015 exhibition at Neon Parc, Melbourne demonstrated this. The show included found objects turned sculpture such as Bust, a white chocolate fountain, whose abject nature and painterly chocolate flow correlated with the accompanying paintings
Dale has shifted from working on canvas to Perspex in his current practice, which he states has added a new dimension to the work both 'spatially and conceptually'. The reflective nature of Perspex alters the paint quality, and in addition the work becomes a 'performance' activated and completed when the viewer stands before it.
In 2014 Dale Frank donated 85 works valued at $4 million AUD to the National Gallery of Canberra, which they stated was the most significant gift by a living artist since Arthur Boyd Gift in 1975. Gallery director Ron Radford described Franks as ‘one of Australia’s most important painters’.
Exhibitions
Frank’s exhibition history comprises Australian and international exhibitions. It includes inclusion in the Venice Biennale, in the Aperto section in 1984 and in the collateral exhibition Personal Structures in 2013. In 2010 he participated in the 17th Biennale of Sydney: The Beauty of Distance, Songs of Survival in a Precarious Age.
Solo museum exhibitions include a survey show in 2000 at the Museum of Contemporary Art Sydney, Dale Frank: Ecstasy – 20 Years of Painting. He has held numerous exhibitions at commercial galleries including Roslyn Oxley9, Anna Schwartz, Gow Langsford and Neon Parc.
A monograph So Far: the Art of Dale Frank 2005-1980 (Schwartz Publishing) was published in 2007 and follows the publication of his earlier monograph Dale Frank (Craftsman House, 1992).
Solo Gallery Exhibitions include:
PS 1, New York, USA, 1981
Roslyn Oxley Gallery, Sydney, since 1982
Willard Gallery, New York, USA, 1982
Studio d’Arte Cannaviello, Milan, Italy, 1984, 1985
Massimo Audiello Gallery, New York, USA, 1986
Studio Marconi, Milan, Italy, 1987
Jack Shainman Gallery, New York, USA, 1988, 1994
Galerie Albert Baronian, Brussels, Belgium, 1986, 1993
Anna Schwartz Gallery, Melbourne, 1997 to 2013
Neon Parc Gallery, Melbourne, since 2014
Pearl Lam Galleries, Hong Kong since 2015
Solo Public Exhibitions include:
Dale Frank Paintings, Musee de Arte Modern di Ville Liege, Liege, Belgium, 1987
Dale Frank Drawing Retrospective, Monash University Gallery, Melbourne, Australia, 1993
Dale Frank, Art Gallery of New South Wales Project Space, Sydney, Australia, 1994
Dale Frank, Ecstasy, 20 Years of Painting, Museum of Contemporary Art, MCA, Sydney, Australia, 2000
Public Group Exhibitions include:
4th Biennale of Sydney, Art Gallery of New South Wales, Sydney, Australia, curated by William Wright, 1982
Panorama della Post-Critica, Musei Palazzo Lanfranchi, Pisa, Italy, with Thomas Lawson and Anselm Kiefer selected by Helena Kontova and curated by Achille Bonito Oliva, 1983
Aperto 84, Arte e Arti: Attualita e Storia’, Biennale of Venice; Venice, curated by Flavio Caroli, 1984
Recent Australian Art - An American Perspective, Solomon R. Guggenheim Museum, New York, curated by Diane Waldman, 1984
Nuove Trame dell’Arte, Castello Genazzano, Rome, curated by Achille Bonito Oliva, 1985
Anniottanta, Museum of Modern Art, Bologna; curated by Renato Barilli, Flavio Caroli, 1985
Nature Re-defined, Galerie Segal-Steinberg, Montreal, 1987
Documentation, Danial Newburg Gallery, New York, 1987
8th Biennale of Sydney, Art Gallery of New South Wales, Sydney, curated by Rene Bloc, 1990
Wit's End, Museum of Contemporary Art, Sydney, 1993
Virtual Reality, National Gallery of Australia, Canberra, curated by Mary Eagle, 1994
Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, curated by Christopher Chapman, 1996
Australia: Familiar and Strange, Seoul Arts Centre, Seoul, Korea, curated by Tim Morrell, 1996
Moral Hallucinations, Museum of Contemporary Art, Sydney, 1999
‘Sublime’, Art Gallery of Western Australia, Perth, curated by Jennifer Duncan, 2002
Optimism, Gallery of Modern Art, Queensland Art Gallery, Brisbane, 2008
17th Biennale of Sydney, Sydney Cockatoo Island, Sydney, curated by David Elliot, 2010
Inner Worlds; Portraits and Psychology, National Portrait Gallery, Canberra, curated by Christopher Chapman, 2011
New Psychedelia, University of Queensland Art Museum, Brisbane, 2011
Personal Structures, Palazzo Bembo, Venice Biennale, Venice, 2013
Luminous World, Art Gallery of Western Australia, Perth, 2013
Adelaide Biennale of Australian Art, Art Gallery of South Australia, Adelaide, curated by Nick Mitzevich, 2014
Lurid Beauty, National Gallery of Victoria, Melbourne, curated by Simon Maidment, 2015
Collections
Frank’s works are held in museums and private and corporate collections in Australia, Asia Pacific, Europe and the United States. These include, but are not limited to:
Recognition
Frank was awarded the 2005 Arthur Guy Memorial Painting Prize from the Bendigo Art Gallery, worth $50,000.