(Australia 01 May 1935–26 Jun 2005)
241.0 x 168.0cm stretcher; 244.5 x 172.0 x 4.0cm 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).
Barry Pearce (Australia) (Author), Australian art: in the Art Gallery of New South Wales, Domain, 2000, 237 (colour illus.), 300.
Deborah Edwards (Australia) (Author), Two centuries of Australian painting: a selection from the Art Gallery of New South Wales, New South Wales, 1986, 14, 45 (colour illus.). cat.no. 5
Project 41 - the mosaic, the grid, Sydney, 1983, 3. cat.no. 18
'Outback at its best' by Jeffrey Makin., Sun 18 Mar 1981, 18 Mar 1981.
David Aspden, Melbourne, 1981, cover (colour illus.). cat.no. 15
Anne Ryan (Australia) (Curator), Helen Campbell (Australia) (Assistant Curator), David Aspden: the colour of music and place, Sydney, 2011, 9, 10, 50 (caption), 51 (colour illus.), 82, 88.
'Harmonious effects' by John McDonald, pg. 14-15., The Sydney Morning Herald 13 Aug 2011-14 Aug 2011, 13 Aug 2011-14 Aug 2011, 14 (colour illus.), 15. Article appears in 'Spectrum' supplement.
David Aspden (1981), Realities Gallery, 02 Mar 1981–20 Mar 1981.
Project 41: The mosaic -The grid (1983), Art Gallery of New South Wales, 25 Mar 1983–24 Apr 1983.
Two centuries of Australian painting, a selection from the Art Gallery of New South Wales, Orange Regional Gallery, 19 Apr 1986–15 Jun 1986.
Australian abstraction 1965-1985: from the collection, Art Gallery of New South Wales, 09 Dec 2006–25 Jan 2007.