Queensland Art Gallery Presscuttings Book 10 : Record of press coverage, March 1982 - May 1984

,~- ------- ··-.:; he Courier-Mail 22 December 1983 A 4isplaY for all taste~. AUSTRALIAN Pcrspccta, a Art Review· Of course, rcsurrccti011i arc biennial survey or contcmpo- ------- in vogue. · rary Australian art, is the s~ra. Bcfntoe Murphy 'has Richard Llttr can easily fit brainchild of Bernier Murphy, d•wcll, Jiadptg from the cat- into his known style a joyous re– curator or Contemporary Art ~ - original Pcrspcc- viva I of Orphism . In catalogue, it could Mumoudl's "Colorcd at the Art Gallery or New more helpful in- Squares", his Islamic back- South Wales. ror..ation on the artists and ground comes into play. The 'first Pcrspccta was held their work. The subtleties of Minimalism there in 1981 . Painting dominates the cxhi- survive well in the works of Pcnpccta 1983, in an abbrc- bition, and this reflects the re- Robert Huntrr and Madonna Yiated version, is now on view at gained status of the picture on Stauntoa. But prevalent these the Queensland Art Gallery un- the wall. The expressiveness of day is narrative, figurative art. til Jan 11ry IS. the personal mark ia valued Though sculptures (with two again. American pop art is the .accplions), video installations Danda Alim makes the moat source of Ja • Dania'• "Senti• and 1011nd art had 10 be e1tclud- of it in her riveting. awirt1r d&- mental History of Australian ed fl'OIII the travelling section, livered, anguished painunp. Art", rull of complex "quota– thl1, focusing on painting , Robfrt Boynes checks the dra- tions"fortheamuscmcntorthe graphic art and photography, matic impulse with a cubist well-informed viewer. still provides the viewer wuh a structure. The paint-texture or Social, political, cnvironmen– fairly broad spectrum of con- Bill Roblmoll'• farmyard is aa- tal concerns occupy the minds ccms of artists in the early '80s. vorcd· u something precious. of many artists. And whil , Brisbane gallery Jolt Walkfr, the brilliant, Tony ColflDC stands out with goers will have seen solo e1thibt- internationally acclaimed Brit- his "Black September". lions or many of the artists in-· iih painter, now living in Aus- Sally L' Eatra•e ia rather eluded here (Ray Hughes can traha, shows the oulllanding detached. The gritty surfaces of list 11 of "his", others have paintina," 1 by- Victor Rlllll • and hillp Huntrr rinth", w ' _...:;..a • • 1· f shown at Philip Bacon, Victor down 1 • 1"-U give nac to a surrca ,imagery o Mace, the Institute of Modern evil. Art and at 123 Charlotte thcrichneu Environmental co1\CCrn1 arc. Street) an "overview" is invalu- tra 5t ed areas. d~II with in some· uccllcnt able. Walker avoids easy tions p~hic.work. One may expect also that and turns his admiration for The. f. theme gets a many more people will visit the Velasquez and the painterly h . ent by A . .aette Queensland Art all""'. tradition to fresh purpose. , ! ·""'. A anirvellously manipulated riguing one in An " · · • ' ii poses freshness draws us irresistibly p~tographs by much t' on the jQtG,lbf movement of Firth• selector , " b:icxisting fftimltli'1'1inter Rounds". The The fascinating etchings of directions evancc have to rhyt!Jmic fturicacics or Peart's Neddkopoulol and the attrac- be cx~d (as well as varied "Blue Kirtan" (influenced by tive assemblage sculptures by mcd.ia , representation must be Fairweather) arc explored PrterColeareamong the many SOUJ~ from all states of·Aus- more meditatively, whereas works here that had been ap– traha and (air space allolled to Htlen Eager's pastel drawing of praised in my reviews when WO!!l~·an4 Ah9riginals: an interior excites with its shown in Brisbane previously. -Considering ·an. these prcs- verve. _ Dr GERTRUDE LANGER ·•·