To celebrate twenty years in business, Roslyn Oxley9 Gallery is presenting the work of more than twenty-five gallery artists past and present spanning a period of two decades. The growth of Roslyn Oxley9 Gallery has paralleled the careers of the artists it represents most of whom came to the Gallery as unknown names and have gone on to be some of the very best in Australian contemporary art.

Exhibition Dates: 7 February – 9 March 2002

Twenty years ago, Roslyn and Tony Oxley opened the Roslyn Oxley9 Gallery on MacDonald Street in Paddington, Sydney. Since then, the Gallery has been committed to promoting cutting-edge Australian contemporary art, winning critical and commercial recognition for its artists both in Australia and overseas. The growth of Roslyn Oxley9 Gallery has paralleled the careers of the artists it represents most of whom came to the Gallery as unknown names and have gone on to be some of the very best in Australian contemporary art.

Over twenty years, Roslyn Oxley9 Gallery's exhibition program has been courageous, being the first to promote the most challenging and innovative forms of recent artistic inquiry. Many early exhibitions were important landmarks in the development of new directions in contemporary art in this country.

The Gallery's second show, a section of the Sydney Biennale, was raided by the Australian Federal Police Vice Squad who removed works by Chilean artist Juan Davila because they were deemed to be offensive to public morals. When public outcry ensued, New South Wales State Premier, Neville Wran, intervened and Davila's work was re-installed, marking an important win for contemporary art as both agitator and watchdog in important social and political issues. Today, Roslyn Oxley9 Gallery continues to be committed to the often confronting cultural messages presented by its artists.

In 1990, the gallery moved to Soudan Lane in Paddington where it still is today. The new site offered one large gallery space and a smaller project room. The exhibition program continued to evolve in the new space, incorporating a younger generation of artists around the core of more established, high-profile artists.

One of the Gallery's most important achievements has been recognising that contemporary art in Australia had to meet rigorous world standards. It tested the quality of its artists by taking them several times each year to prestigious international art fairs, such as The Cologne Art Fair, Art Basel and The Armory Show in New York exposing them to an international audience. These efforts overseas have paid off for the artists many of whom now have a following internationally. Roslyn Oxley9 Gallery artists have consistently been selected to represent Australia at important international and local critical survey exhibitions.

From February 7th until March 9th, to celebrate twenty years in business, the Roslyn Oxley9 Gallery is presenting the work of more than twenty-five gallery artists past and present spanning a period of two decades. The exhibition will include work of Bill Henson, dating from the early 1980s, that has never been seen before in Australia and two major works by Rosalie Gascoigne. Other artists included are James Angus, Robert Campbell Jnr., Tony Clark, Destiny Deacon, John Firth-Smith, Fiona Foley, Dale Frank, Simryn Gill, Fiona Hall, Lindy Lee, Tracey Moffatt, Callum Morton, Nell, David Noonan, Bronwyn Oliver, Patricia Piccinini, Julie Rrap, Kathy Temin, Jenny Watson, John Wolseley and Anne Zahalka. The exhibition will provide a fascinating look back over the last twenty years of contemporary Australian painting, sculpture, photography, video and installation.
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Juan Davila Welcome to Australia, 1993; oil & collageon wood, perspex & paper; 270 x 152 cm; enquire
Juan Davila Welcome to Australia, 1993
oil & collageon wood, perspex & paper
270 x 152 cm
Juan Davila Untitled, 1994; acrylic and collage on canvas; 91 cm diameter; enquire
Juan Davila Untitled, 1994
acrylic and collage on canvas
91 cm diameter
Tracey Moffatt Beauties (in mulberry), 1994; black and white photograph, colour tinted in lab during printing process; 110 x 89 cm; (framed); Edition of 20; enquire
Tracey Moffatt Beauties (in mulberry), 1994
black and white photograph, colour tinted in lab during printing process
110 x 89 cm; (framed)
Edition of 20
Tracey Moffatt Beauties (in wine), 1994; black and white photograph, colour tinted in lab during printing process; 110 x 89 cm; (framed); Edition of 20; enquire
Tracey Moffatt Beauties (in wine), 1994
black and white photograph, colour tinted in lab during printing process
110 x 89 cm; (framed)
Edition of 20
Tracey Moffatt Beauties (in cream), 1994; black and white photograph, colour tinted in lab during printing process; 110 x 89 cm; (framed); Edition of 20; enquire
Tracey Moffatt Beauties (in cream), 1994
black and white photograph, colour tinted in lab during printing process
110 x 89 cm; (framed)
Edition of 20
Fiona Hall Platonic sour, 1994; Steel graters, plastic, lemon; 5 pieces each approx. 24 x 24 x 24 cm; enquire
Fiona Hall Platonic sour, 1994
Steel graters, plastic, lemon
5 pieces each approx. 24 x 24 x 24 cm
John Firth-Smith Echo #5, 1999; oil on linen; 112 x 243.8 cm; enquire
John Firth-Smith Echo #5, 1999
oil on linen
112 x 243.8 cm
Dale Frank The Fall of Pointless Intercourse (The Warped Canvas), 1992; enamel on canvas; 280 x 200 cm; enquire
Dale Frank The Fall of Pointless Intercourse (The Warped Canvas), 1992
enamel on canvas
280 x 200 cm
Robert Campbell Jnr Cry of Asia, 1989; acrylic on canvas; 223 x 283.5 cm; enquire
Robert Campbell Jnr Cry of Asia, 1989
acrylic on canvas
223 x 283.5 cm
Bill Henson Untitled, 1982; Type C colour photograph; 97.5 x 122.2 cm; Edition of 10; enquire
Bill Henson Untitled, 1982
Type C colour photograph
97.5 x 122.2 cm
Edition of 10
Bill Henson Untitled, 1982; Type C colour photograph; 97.5 x 122.2 cm; Edition of 10; enquire
Bill Henson Untitled, 1982
Type C colour photograph
97.5 x 122.2 cm
Edition of 10
Bill Henson Untitled, 1982; Type C colour photograph; 97.5 x 122.2 cm; Edition of 10; enquire
Bill Henson Untitled, 1982
Type C colour photograph
97.5 x 122.2 cm
Edition of 10
Tony Clark Pilaster Painting, 1995; acrylic on wood; 300 x 20 cm; enquire
Tony Clark Pilaster Painting, 1995
acrylic on wood
300 x 20 cm
Bronwyn Oliver Rouleau, 2002; copper; 215 x 40 x 30 cm; enquire
Bronwyn Oliver Rouleau, 2002
copper
215 x 40 x 30 cm
Destiny Deacon Over the fence, 2000; from the series Sad & Bad; Lamda print from Polaroid original; 80 x 100 cm; Edition of 15 + 3 APs; enquire
Destiny Deacon Over the fence, 2000
from the series Sad & Bad
Lamda print from Polaroid original
80 x 100 cm
Edition of 15 + 3 APs
Destiny Deacon Meloncholy, 2000; from the series Sad & Bad; Lamda print from Polaroid original; Edition of 15 + AP 3; enquire
Destiny Deacon Meloncholy, 2000
from the series Sad & Bad
Lamda print from Polaroid original
Edition of 15 + AP 3
Destiny Deacon Where's Mickey?, 2002; Lamda print from Polaroid original; 109 x 90.5 cm; Paper size: 100 x 80; Edition of 15 + 2 APs; enquire
Destiny Deacon Where's Mickey?, 2002
Lamda print from Polaroid original
109 x 90.5 cm; Paper size: 100 x 80
Edition of 15 + 2 APs
Rosalie Gascoigne Paper Square, 1982; 256 wads of newspaper nailed to plywood; 246 x 240 cm; 8 panels; enquire
Rosalie Gascoigne Paper Square, 1982
256 wads of newspaper nailed to plywood
246 x 240 cm; 8 panels
Rosalie Gascoigne Habitation, 1984; 32 enamel mugs & 7 woooden drink crates; each crate approx  45 x 28 x 24 cm; enquire
Rosalie Gascoigne Habitation, 1984
32 enamel mugs & 7 woooden drink crates
each crate approx 45 x 28 x 24 cm
Fiona Foley Too a Black Cock, 1993; postage stamps and acrylic and black ink on paper; 13 pieces each 27 x 19.5 cm, overall dimension approx. 114 x 215 cm; enquire
Fiona Foley Too a Black Cock, 1993
postage stamps and acrylic and black ink on paper
13 pieces each 27 x 19.5 cm, overall dimension approx. 114 x 215 cm
James Angus Metaball, 2000; leather; 180 cm diameter; enquire
James Angus Metaball, 2000
leather
180 cm diameter
Robyn Backen SSO calling all...this is our last cry before our eternal silence, 2001; fibre optics, electronic morse code generator; variable sizes; enquire
Robyn Backen SSO calling all...this is our last cry before our eternal silence, 2001
fibre optics, electronic morse code generator
variable sizes
Simryn Gill Beads #5, 2002; paper and cotton, beads made from strips of pages of: John Barrow ed., Captain Cook’s Voyage of Discovery, J.M. Dent & Sons Ltd, London, 1941; approx. string length 82 cm; enquire
Simryn Gill Beads #5, 2002
paper and cotton, beads made from strips of pages of: John Barrow ed., Captain Cook’s Voyage of Discovery, J.M. Dent & Sons Ltd, London, 1941
approx. string length 82 cm
Simryn Gill Stamp, 2001; rubber stamp; 5.5 x 5.5 x 7 cm; Edition of 100; enquire
Simryn Gill Stamp, 2001
rubber stamp
5.5 x 5.5 x 7 cm
Edition of 100
Lindy Lee Entry into the inconceivable, 2002; acrylic, wax and photography on stonehenge paper on board; 20 panels: 163.5 x 145.5 (total dimension); enquire
Lindy Lee Entry into the inconceivable, 2002
acrylic, wax and photography on stonehenge paper on board
20 panels: 163.5 x 145.5 (total dimension)
Julie Rrap Persona and Shadow: Conception, 1984; cibachrome print; approx. 194 x 105 cm; Edition of 9 + 2 A/Ps; enquire
Julie Rrap Persona and Shadow: Conception, 1984
cibachrome print
approx. 194 x 105 cm
Edition of 9 + 2 A/Ps
Kathy Temin Black Problem, 1996; wood, fake fur, stuffing, synthetic velvet; 35 x 245 cm; 7 pieces each 35 x 35 cm; enquire
Kathy Temin Black Problem, 1996
wood, fake fur, stuffing, synthetic velvet
35 x 245 cm; 7 pieces each 35 x 35 cm
Jenny Watson My father's music, 2001; Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland; 76 x 55 cm; 56 x 27 cm  set of 5 images (2 pieces each) edition of 20; Edition of 20; enquire
Jenny Watson My father's music, 2001
Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland
76 x 55 cm; 56 x 27 cm set of 5 images (2 pieces each) edition of 20
Edition of 20
Jenny Watson My father's music, 2001; Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland; 76 x 55 cm; 56 x 27 cm  set of 5 images (2 pieces each) edition of 20; Edition of 20; enquire
Jenny Watson My father's music, 2001
Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland
76 x 55 cm; 56 x 27 cm set of 5 images (2 pieces each) edition of 20
Edition of 20
Jenny Watson My father's music, 2001; Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland; 76 x 55 cm; 56 x 27 cm  set of 5 images (2 pieces each) edition of 20; Edition of 20; enquire
Jenny Watson My father's music, 2001
Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland
76 x 55 cm; 56 x 27 cm set of 5 images (2 pieces each) edition of 20
Edition of 20
Jenny Watson My father's music, 2001; Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland; 76 x 55 cm; 56 x 27 cm  set of 5 images (2 pieces each) edition of 20; Edition of 20; enquire
Jenny Watson My father's music, 2001
Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland
76 x 55 cm; 56 x 27 cm set of 5 images (2 pieces each) edition of 20
Edition of 20
Jenny Watson My father's music, 2001; Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland; 76 x 55 cm; 56 x 27 cm  set of 5 images (2 pieces each) edition of 20; Edition of 20; enquire
Jenny Watson My father's music, 2001
Stone lithographs on various fabrics, Lithographer: Muka Press, Auckland
76 x 55 cm; 56 x 27 cm set of 5 images (2 pieces each) edition of 20
Edition of 20
Jenny Watson Night Room (Candy), 1983; oil on fabric; 305 x 198 cm; enquire
Jenny Watson Night Room (Candy), 1983
oil on fabric
305 x 198 cm
John Wolseley Javan leaf and Tiwi leaf, continental drift, 2001; watercolour on paper; 56 x 199 cm; enquire
John Wolseley Javan leaf and Tiwi leaf, continental drift, 2001
watercolour on paper
56 x 199 cm
Vivienne Shark LeWitt Feet, 2001; oil on linen; 56 x 61 cm; enquire
Vivienne Shark LeWitt Feet, 2001
oil on linen
56 x 61 cm
Jacqueline Fraser Number nine, 2001; from the series The Acute Massacre of the Blessed by the Cruel Scientific Curse. >; ribbon, laminated tracing paper, wire, green tulle, green sequins; 255 x 90 cm; enquire
Jacqueline Fraser Number nine, 2001
from the series The Acute Massacre of the Blessed by the Cruel Scientific Curse. << The Genetic Engineer looks our way with forceps. >>
ribbon, laminated tracing paper, wire, green tulle, green sequins
255 x 90 cm
Mandy Martin Lago, 2002; ochre, pigment, acrylic on arches paper; 30 x 40 cm; enquire
Mandy Martin Lago, 2002
ochre, pigment, acrylic on arches paper
30 x 40 cm
Mandy Martin Volcán, 2002; ochre, pigment, acrylic on arches paper; diptych, total dimensions 30 x 112 cm; enquire
Mandy Martin Volcán, 2002
ochre, pigment, acrylic on arches paper
diptych, total dimensions 30 x 112 cm
Linda Marrinon Man with Towel, 1999; Terracotta; 19.5 x 13.5 x 17 cm; enquire
Linda Marrinon Man with Towel, 1999
Terracotta
19.5 x 13.5 x 17 cm
Linda Marrinon Man with Aviator Glasses, 1999; Terracotta; 28.5 x 14.5 x 13 cm; enquire
Linda Marrinon Man with Aviator Glasses, 1999
Terracotta
28.5 x 14.5 x 13 cm
Angela Brennan Room enough to be anywhere, 2000; oil on linen; 122 x 138 cm; enquire
Angela Brennan Room enough to be anywhere, 2000
oil on linen
122 x 138 cm
Nell Fly, 2002; watercolour on paper; 35.5 x 24.5 cm; enquire
Nell Fly, 2002
watercolour on paper
35.5 x 24.5 cm
Patricia Piccinini Tropical, 2001; ABS plastic and automotive paint; 12 panels, each 49.5 x 49.5 x 4.5 cm, overall dimensions 148.5 x 198 cm; enquire
Patricia Piccinini Tropical, 2001
ABS plastic and automotive paint
12 panels, each 49.5 x 49.5 x 4.5 cm, overall dimensions 148.5 x 198 cm
David Noonan and Simon Trevaks 100 mph, 2000; video; 3 minutes; enquire
David Noonan and Simon Trevaks 100 mph, 2000
video
3 minutes
Anne Zahalka National Motor Racing Museum, 2000; from the series Leisureland; type C photograph; 115 x 145 cm; Edition of 12; enquire
Anne Zahalka National Motor Racing Museum, 2000
from the series Leisureland
type C photograph
115 x 145 cm
Edition of 12