View list of exhibitions

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

Michael Johnson 2013-2016

20 April - 26 May 2018


"The first painting my father, Michael Johnson, looked at closely as a child was an intense nocturnal work by Albert Pinkham Ryder called ‘Toilers of the Sea’. In art historical terms, Ryder inspired the early Modernists but was attributed with a naive crudity. Some considered him a cult Romantic landscape painter. Yet through Johnson’s lifetime this small oil painting from the late 19th century moved with him, mapping an evolution of experience, from night fishing in Sirius Cove, to painting minimal shaped canvases in nocturnal hues, through a long passage of gestural work, right up to a painting finished in the first lunar month of this year, Helix (2016).

The force of Ryder’s painting, glowing with a heavy moon, advancing with great curves of paint and receding into the darkness of its own palette, inspired in Johnson two very strong preoccupations. The first was the dynamic relationship between colour and form. And the second was the power of pure abstraction to transmute elemental realities, to put the sea or the night into a painting without depicting it literally.

These ideas sustain and connect a relentless, consistent experimentation with colour and are possibly the only narrative he will ever offer up. His works change but there is a larger tidal force beneath each wave.”

(Anna Johnson, “Michael Johnson: An Abstract Life”, Artist Profile, issue 34, 2016. p.58)

Michael Johnson

Diagonal 2015-2016

Michael Johnson

Confrontation 2014

Michael Johnson

Kelimutu 2013-2014

Michael Johnson

Helix 2013-2016

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