Cal­lum Mor­ton | John Nixon | David Noo­nan | Mike Parr | Nightshifts

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Callum Morton, Farnshaven, Illinois 2001, International Style 1999 and Brent Harris, Swamp 4 & 7 2000. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Laresa Kosloff, Stock Exchange 1998 and Callum Morton, International Style 1999.Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Callum Morton, Farnshaven, Illinois 2001, International Style 1999 and Brent Harris, Swamp 4 & 7 2000. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Laresa Kosloff, Stock Exchange 1998.Michael Buxton Collection, the University of Melbourne Art Collection. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Laresa Kosloff, Stock Exchange 1998 and Callum Morton, International Style 1999.Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Mike Parr, Bronze Liars series 1996 and Teelah George, Sky Piece, Night (Melbourne) 2021. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Mike Parr, Bronze Liars series 1996 and Marco Fusinato Mass Black Implosion series 2007-08. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Mike Parr, Bronze Liars series 1996 and Marco Fusinato Mass Black Implosion series 2007-08. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring John Nixon, Untitled (white monochrome) 2011, Untitled (black and white monochrome) 2013, Silver Monochrome 2003 and Mabel Juli, Garn’giny Ngarrangkarni. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring David Noonan, Owl 2006, Tracey Moffatt, Invocations #5 2000. Michael Buxton Collection, the University of Melbourne Art Collection. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring John Nixon, Untitled (black and white monochrome) 2013, Silver Monochrome 2003, Mabel Juli, Garn’giny Ngarrangkarni and Mira Gojak, Prop for instabilities 2 2013. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring John Nixon, Untitled (black and white monochrome) 2013, Silver Monochrome 2003, Mabel Juli, Garn’giny Ngarrangkarni and Mira Gojak, Prop for instabilities 2 2013. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring John Nixon, Untitled (black and white monochrome) 2013, Silver Monochrome 2003, Mabel Juli, Garn’giny Ngarrangkarni and Mira Gojak, Prop for instabilities 2 2013. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Peter Booth, Untitled [tower with moon] 1998, Untitled [red moon] 2000, Untitled [graveyard] 1998, John Nixon, Untitled (black and white monochrome) 2013, Silver Monochrome 2003 and Mabel Juli, Garn’giny Ngarrangkarni.Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Featuring Peter Booth, Untitled [tower with moon] 1998, Untitled [red moon] 2000, Untitled [graveyard] 1998, John Nixon, Untitled (black and white monochrome) 2013, Silver Monochrome 2003 and Mabel Juli, Garn’giny Ngarrangkarni.Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

  • Installation view of nightshifts, Buxton Contemporary, the University of Melbourne, 2023. Michael Buxton Collection, the University of Melbourne Art Collection. Courtesy of Anna Schwartz Gallery. Photography by Christian Capurro.

/

night­shifts

26 May – 29 Octo­ber 2023
Bux­ton Contemporary

night­shifts con­sid­ers the impor­tance of soli­tude through con­tem­po­rary arts prac­tice. Shift­ing in and out of focus like a dream­scape, the exhi­bi­tion looks to the shad­ows and ​‘after hours’ as metaphors for the work and think­ing that hap­pens beneath the sur­face, away from the pub­lic gaze: time alone in the stu­dio, dur­ing the qui­et of the night and while asleep.

Span­ning a range of his­to­ries and media, works from the Michael Bux­ton and Uni­ver­si­ty of Mel­bourne Col­lec­tions includ­ing pieces by Cal­lum Mor­ton, John Nixon, David Noo­nan and Mike Parr, along­side new com­mis­sions, offer­ing a con­tem­pla­tive coun­ter­point to the recur­ring empha­sis on col­lab­o­ra­tion and hyper-vis­i­bil­i­ty in con­tem­po­rary practice. 


These artists demon­strate the nat­ur­al cycles and shift­ing con­di­tions of work­ing alone, from rumi­na­tion to med­i­ta­tive, flow-like states and the peri­ods of qui­et and rest that nec­es­sar­i­ly fol­low. Solo human jour­neys and cos­mic tra­jec­to­ries diverge and con­nect, and per­spec­tives on Deep Lis­ten­ing demon­strate the pow­er of sin­gu­lar focus to sharp­en atten­tion and reveal things unseen. 


Curat­ed by Han­nah Pres­ley and Anni­ka Aitken.

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