(Australia 01 May 1935 – 26 Jun 2005)
241.0 x 168.0 cm stretcher; 244.5 x 172.0 x 4.0 cm frame
Aspden spent much of 1980 in the United States, including a residency at the Australia Council’s Greene Street Studio in New York. The year, with its new and diverse visual and intellectual stimuli, was a regenerative experience and resulted in a marked change in Aspden’s work, with the compression of forms into the foreground of the canvas, a darkening of his palette and a return to oil paint after many years of favouring acrylic. The dense urban environment of Manhattan, and especially the rooftops of buildings, was a direct stimulus for this painting and the related Ali’s bar (New York).
Deborah Edwards, Australian art: in the Art Gallery of New South Wales, 'Mosaic and figure', pg. 213-214, Sydney, 2000, 237 (colour illus.), 300.
Deborah Edwards, Two centuries of Australian painting: a selection from the Art Gallery of New South Wales, 'Introduction', pg. 8-14, Sydney, 1986, 14, 45 (colour illus.). cat.no. 5
Jeffrey Makin., Sun, 'Outback at its best', Sydney, 18 Mar 1981.
John McDonald, The Sydney Morning Herald, 'Harmonious effects', pg. 14-15, Sydney, 13 Aug 2011-14 Aug 2011, 14 (colour illus.), 15. Article appears in 'Spectrum' supplement.
Anne Ryan, David Aspden: the colour of music and place, 'David Aspden: the colour of music and place', pg. 6-11, Sydney, 2011, 9, 10, 50 (caption), 51 (colour illus.), 82, 88.
Project 41 - the mosaic, the grid, Sydney, 1983, 3. cat.no. 18
David Aspden, Melbourne, 1981, cover (colour illus.). cat.no. 15
David Aspden (1981), Realities Gallery, 02 Mar 1981–20 Mar 1981
Project 41: The mosaic -The grid (1983), Art Gallery of New South Wales, Sydney, 25 Mar 1983–24 Apr 1983
Two centuries of Australian painting, a selection from the Art Gallery of New South Wales, Orange Regional Gallery, Australia, 19 Apr 1986–15 Jun 1986
Australian abstraction 1965-1985: from the collection, Art Gallery of New South Wales, Sydney, 09 Dec 2006–25 Jan 2007