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

''COURIER MAIL" lrillNne, Q. Afine exhibition of French tapestries T WELVt: years have passed since we had the first exhibition here of French Tapestries. They were the s11le111tld resulls of the revival of the ancient crnft, whkh had fallen Into decad– ence bv the hlle 18th century. Now ,iL the Q11een, land the rigorous !ormnl purtsm A1 L Oallcr.v we 111Rl' see an- of Minima l ArL. His two r1e- other ruw exhibition. of tnn- slqns are free from a=c1- e:,tr1cs tram Auhu~ on. n11011R. \\'h~•rras In the pre,·10111 The warn, app~al . ~how thrn• was a 1>rr- wool (Australian "ool Is pondcrancc of rl,;-urath·r rle- U?rord ••scluslvcl)•I and the wla-nA, abatracl compoilllon1, r u u,; h, cxccllentl~· lntl- prc,•all In the prt:sent one. a1wrfl trxturc or the ra - Howcver, with some rx- mous wea,·ers of Auhu~~mn, ccpllons. they Invoke naturp rnhance ircatly the de- experiences and moo<ls. •!f."'· . . . . Only six artls~• are reprc- his ghes n.n ncstheu c ex- sented. three French anct perlence o( a specltll kh)dj three AusLnillnn. and or the and one Bnsbanc peopl~ wt! 10 -tcces. 26 are deslgnerl by have only a brief oppo1 Lun- .•atlne,.u Mate,nt, a rersa- ILy LO enJoy. (t1e. nrt"sL who Is dlfllcult to Where tl a Aubusson la- usses.s. l\~s!r\~iJ'blle~e 0 }o~:~~ll~ b~~l:J~ .Ha.. mony /;~~~. ";,.~t~~~·,.:u~~;al~~~;"~; T"\ rarumntc here. He ,·nr!c• rro111 the rlrn- The exhibition 1, showing 11111 tlc . to the softly lyric11l : here until October 13. TI1ts s0111eumr.• he composes w1r!l will conclude Its Australian 1Rq;r ,Jlli.nc:; ln dramnLlc tour. 1rn:-,10 1, sorncUmcs wilh the snontaneous vcrre or acLlon ~~,\•~tlnK nnd stressing llne- Toowoomba, Qld. 18 SEP 1968 lli1' ,·olour schemes ra1u::n !ro111 LIie swrct. harmony or " Le Port" to Lhe darln,r dls– sonRnces or "Olscau de Fet1." Some or his desl~ns are In blRt k nnd while, "AdaRIO" for exRmple. whfch shows a G,',;;~lcnlly Informed grnph- c,~t',ll r(;,Yi'g-., Pl~ce 5 ~~,;J~~~ Mtroesque whlmslcnllly ar– ises from the canriclous. br!Qhl Iv colourod free-shapes invaded C\'Crywherc by the sumptuous black or the MONEY FOR CULTUI~, BUT NOT JUST YET grounci. R1•11r •·umcron, hos 110 ~•,\~ 10 ~~~h gp~'i,°:c/lre e,[i~\f, hns Its dl!frrent appeal. wheU,cr a crlso Rraohlsm anJmatcs a ,·li;orous ori:i:nnic form. or plnc1rl plnncs nrc strung out in slow progrrss– ton. Australian !\I a II rice Andre s1rikr."' s o 111 b r c notes Jn ··Lnh– y I' I ll l h e ,, :rnd nh.o Ill "Comet" ll'ith Its dla~onnl thrust of SL'IHIPl'C(I sparks on a dRl'k Rround, The Austrnlinn t.;ipcstrle."i, n I. 0 \\'O\'Cll 111 Auhusson. Rl'C ~~~d1;;:,L!~s lri!t nyecno;n,:;lui.w: ney. · · Carl rlale floats loose nml ~race!ul con!isurntlons in 'ltllC't, colours on spncJous off- whitr. grounrts. ,John f'ohurn's hard-edge pointing style 1, excellently suitcrl for lrnnsln1!011 into tnpc:,try. Hr 11rnk£1~ nnc of 1he ~I ro11f,!rst. hnpnrts here with two tnpf."slrles in rc:;o- 11n 11t colours nnri one In l1lnck nnd whllr. With his C' 1 f' n 11-c U t lllOllUJ11r111n l ~hnr,cs nnrt ~e11~ltl\·c plnoini;:, hr rreni rs tt sh:mificnnt, tm – a ~cry. He <peaks. wilh !1111 fcr lhtQ, of 1hr <11bl1111e. Rollln Schlicht adheres to ART GALLERY DIRECTOR DnlSBANE, \\'rd - \ II', J . F' WIC'llt~k(', ;q,pnhllcrl Din·ctor of thl! QIICt' ll~· la n d ,\rt G;1llrrv ln~t yc:11'. w i ll {'Olll h \11(' 111 t11t' pos· ; 1,,11 Thr '.\llnistrr 101 ducatton a11U Culturnl /\ cl l\'ltlC$.o 1J\tr. Flrteh1<rt nkt to•clrl\' t.hi ,; llflcl bC•·ll 1 cclclcd h)' Slfllf' C.-l hhWI n the 11t111ntmo11!i rc,·0111• m t·ndatlt111 or the Queen~- I Jnncl Art. Gallrr}· Trustrr!\ ! BRISBANE. - Porcelain pedestals before Picasso is the practical message, which, in effect, the Lord Mayor (Aid. Clem Jones) has given the people-some of whom, a little jealous of Melbourne's multi-million dollar art centre, are wondering why we couldn't have a little of this sort of thing in Brisbane. Our public art P,allery is housed on the ground· floor of the Museum. We haven t an opera house--and, at Sydney prices, don't want one. However, these t.hlngs coul~ be coming because tho Lord Mnyor st1ys Llrnt once Lile majur Job of scwcrtng Brisbane Is flnlshed-wlLhln three or fo11r yenrs-the city will hnve nbouL S6,OOO,O00 a year to spend on culturnl and nesthetlc del'elopment. dcl'elopmcnt, he sa id. imct plnnn111g could now be Sllll'lCd Oil bringin ~ the best enjoyment or tho surroundmi;s for ciLlzens. But Brisbane nreded more money, snld t.hc Lora '.\tnyor. who is 111 the middle or a pul>llcltr c11rnpn1gn lo try to conx cloll:in, frot11 the citizens nrn11y of wh01 11 ~CClll to lll\\'O lont; pocket::, and short. nrms. T he S:!,()(1O.OOU rut-h a 11ll COll\'C' l'Sion lo.lit 110\\ opr11 nnrt bll ~r.rl 011 tlic Htchllne - "Brlslmnc tile ~l'Oll'lh ciLY" -Is not. being r11shcd C\'cn nL !l~ p,"r cent. int.erc.,t. Alcirrrnnn J011rs s11y." or thls: "There I:,, a cnmpln - c1u~y wtuch Is cit1n~crous it1 R rapidly J.?l"OWillg city \\'Ith the r lrnllcngcs we hn,·c to meet.." The lonn publlclt)', how– c1·er, Is nlbblin~ nwny n U1c ch('f!IIC books wit h 611Ch punch lines ns : "The mush– room look hns nrrlvcd:'' "l3rlsbnnc is In the throes of bccnmint; n wol'ld rccog~ nlscd metropo,L~."