Queensland Art Gallery Presscuttings Book 4 : Presscuttings, November 1967 - June 1972

British paintings stiIDulating show • ID a ,vhets • ART REVIEW by Dr. Gertrude Lanaer appetite fOR "Rercnt Britiah l'uiutini;•," on ..xl1ihitio11 until mid-October 111 the Queenalund Arl c;ullery, we ure hult•hlt',I om·e 111nr1• lo l't'ler S1uyH111u111, The exhlbiLlon had to be •oolallon, 6 Nace! Street, l!rL5l arttsts Include aem01·s By Frederic Rogers IT is • 9ru1 pily 011r Queensland Gallery, •••• with ih 11or111ol 1howin1 entirelr removed from the wall,. could not eccoM• mo<lato the whole of lh• Peter Stuyvesant touring eahibition of Recent Brit• i1h Pointin91. our1alled because the entire Gall... llm Nicholson and Kemwth spa.·c of our State On1lery ~larlln, Anthony 11111, ad– coulrl nccommoctate only 57 henng to strict purism. and ol the 00 works. Pasmol'f', whose en&ra\'ed By comparison, th,i Onl– lcry of South Austrntln had room noL only for lhe whole show but could sta"e at the same lime Lie huge Mexican Exhibition ond n Leonarrl Frrnch Retros1,ec11\•e w, well. llo" e,•er, e,·cn In its dl• mlnlslwd ~ltt', thl!i Is a mruit cslcm, h•e, ,th·e,,.e aml i-illmulaUUJC' SUl'\'t'Y or trends 11nd pt•nmn • lltles wllh 11·orks 1anrl orten of llw be•tl hc1ween the mid• lwcnllc1 anrl 1987. ..,,? \i.\!~• 5 ic 1 :!<;:"c1:• 11 :f:!1.~~. "Self-portrait" which affords lnslwht tnto a complex mind nnd ls n mastrr-plece or ~~'ll'';~;~~~~. t..!~!'i::· ~~ir~ erland'• symbollsllc "Foun– tain", a landscape by h'on Hitchens, Frank Auerhaeh's expcnsh'e "Head of EOW IV" emerging slowly from :~~~t 0 Jnl~g~t :~~il~:~\~t scape by Kossnrr. Abstract The painterly pnlnters ol ~':~f~~ctlo~:turfn;lu~fi 11 n~h; Cornish group nnd their friends: Cerl Richards with his masterpiece "La Cather– t"Ble Engloutle," Roser HIi– ton with his evocative "Arai sea." Patrick lloron with his "Space - In - color" paint– Ing "Blue Nol'ember," Henry Mundy, William ~colt, and Terry Frost with Lhelr sensl• tll'e, sparse works. Alan Davie stancls apart with the dark humour and nervy cxprcsstonlsm of "White Mnglclan" or '58, a strlc from which he cte– pnrtcd Jn a more recent palntln~ here. The linenr nnct canst.rue ... "TELEGRAPH" "L1nenr I\Iotlf" ls flushed with drl1cate color. TIison continues to con– slrucLnrres11ng symbols w11h 'O'OOd and color. Robert Dennr creates his mystical appea wllh hier– atic symme!ry and re!lned, sertous coJors. Whnt is sho\\'lng I• r nou~h 10 whet the opJlC· u, e for more and ~ c;i– h I y woulc1 ha\'e 111• 1r ort11c e d e,·en more Feeling 7 1 ~:-~1{!~ d~~~~:~6~ton for There Is lterr some• Brldrel RIiey, with an oul– standlng work, demonsLra1es lhaL not Just sklll and ln– te1lectun1 dlsc~Une but ln- ~~~ 1 ~ ns 1 ~\'rtl1 1::~;len~~e~i ~-~\~~~\k,"gg p~~\!f;~f-; luminous color circles, ralsr the hackles of those \\'hn like Iheir art im111t· rllately capable of inler– pretnt1011. Stimulate Huxle)', Hoyland and ~loon are Involved with huge ,·olor llelds. Far from their Mlnlm•l ArL ts Bernard Cohen', large f~~~lnc;n;~~ds~lth mazes of Jack Smith uses the field for a scnllcr-pntlern or col– orful cryptographs. Further we hn,·e a grnup or younger pointers who bring Lhe image back for more than pictorial 1·ensons. Francis Bacon's "Self r ortrnlt" will win mw1y r r I e nd s and stimulate thou~hL: Pcwr Sedfielcy's "Hlghll11hL'' anrl "QURII· tum II" will hnvc patrons 11shmg to lhe opllclnn : 1111d Ivon Hllchens' "Blue Lake and Sky" wlll cn– ccurngc mnny a pu.rent. to o hope ror the nrllstlc l11ture of n klncte1·gnrlen child. The y lncturte the ln- 11~!~" 0 i1~11r•~~~~re ~::J (;.\\~nti~~ve:n~hccl~:•:~nl~~laJ/ his lma~ery ohscure. David lloc:knt(I', In "R0<•kr Mountain. Tired Jndlnns," combines emollonal com– mitment with a cool mastery of fonnal means. appear to hne no rea- 1on, there are work• llke C,•rl IUchards' "l,a Calh– cdrale En1toutle" that entrance and draw the viewer back aptn and qaln. As for Richard Smith's "GUI Wrap" - my opin– ion ls that, if this is art, let us r urn to nature. Beautiful Alan Jones' "Buses" is also one of the most beautiful palnt.lngs here. It Is Impossible to overlook "GIIL Wrap" by Richard Smith: the exuberant reali– sation is on an enormous scnle, with extension of lhe ~~ 1 ~.l.e~tta~'h~~•\ox~~~rwh'i~1~ creoles sensations of kinetic chan e. , , / People can't keep their hands off the exhibition of recent British paintings. One paintln!: Is com– pose,! or lum1>s of paint so lhlck that it Is sup– posrd lo rake ubouL 20 yeurs lo dry. But it m;c u 1try murh SOOlll'r thn. flt n:,; \'i('W- ers keep p 11g oll bits or it. Today, as work men be– gan hnngl11g the exhibits l11 the Nntionnl ArL Gal– lery, <•,·en worse von– dalism Wl\.'t fou nd, SomronC' hncl lhrust n t h r C c-p r O 11 I; C d hook t.hrouµh n11othr"r cnnvns. Could it be furious re– nctlo11 by nrl enthuslnsts to nlOCl('f'll Rrl '? No, 11 ·~ d11lrlrf'n , snys Gcor~c Hawkes. execu– tl\'C clirrrtor in 1\11!-:lrnlin ror tlH~ P<•1r1· 8111n·r~n nt Trn!-it wh lrh uwi1s the ' ,·olll'r l1011. All 01'1 roll<•c·11mu, hnvc 1:.n1frrrl'1I rrom t lw n11t-1t- 11ons of ,·nrnfa b . he M1ys. 90 IN IT, BUT .. J3 r I S l) n 11 ,~ /llHI Nf'\\'• rn:-.llc 111'(' tilt' nil ly IWO Austrnllnn 1·111.-.s hn\ m g U1c rxh ibll inn \\ l11ch t·a n- 11ot arro111111orlu1r ull the pnln1 !nµs. Tllf'n• nn• !lO i11 thr roJ. lect 1011, 11111 Oll i\' f,!l will L.,., h1111g 111 Un~lla rw. And one nf lhC'sC' cll1(' to nrrivc lntrr tnclny mn~t' 11111 gel 1hrou1,: h thr frn111 door. Brisbane, Old. A11:-1rnlin is Ihr first ro11111r.,· to "-fll' 1 h(' collec– lU)ll tJ\1 1,;idr Ell):lnnrl. Jt wus l)rnu~ht to Ausrrn lin for th,• :\ rll'lnulr> Fr:--11\ n l and wi ll hr '-''Pll 1n i.:nl – l<'l'lt'!-- uro1111d tlw \\nrl<l 1 '-"( • . , . ' . ' ,. 111. t_lw n1•x t ""' r 11 )'1•r1 r, I Jw r~ l11h11 lu ll m H i l'i• h:111r will b1• rit I f'lltl ly flf)f'llr'fl al till' , , 1 n n 1- 11,, Y l1tlllfll'l'O~ lltdll Rl 8 l\llcl \\ Ill ro111 m1 w fof lnUI' w1•~k '-