Queensland Art Gallery Presscuttings Book 8 : Pressclippings, 1977-1981

2 - THE COURIER-MAIL I ~riB l~N D mmr·~ II ~I IN M IN ~ J FRIDAY, MAY 23, 1980 Queensland Art Gallery '.>lh Floor, MI M:Jl1.1lld1ng I 6Q Ann Slreet. Orisbane 4000 Tel<> I1one (0 7l 2?9 2 138 'Gallery Hours · . MoqdiJy to &itllrd,1y : Friday •. , " S1rndc1v •, ;: • 10 oti am - ~ 110 nm · ' 1000 am •1(1[11ir11 · ;100,prn "") llO ;im - Queensland Art Gallery 5th Floor. Ml M Building 160 Ann Street. Brisbane 400[1 Tele hone (0 7) 229 2 t 38 Lecture Friday 4July at 7p.m. C;,roline Caunitz-Schwer, Educalion Officer, Queensland Art Gallery, "Young America and Its Arl " an Independence Day Lect 11 re 1l/11strated w1/h slides, showing th'e deve/opme11t of American Art /rom 1 Coloma/ limes to the end ol the 19th century EXHIBITIONS Art Nouveau in Australia unlil 7 July Co11Lempor;iry Swedish Printmakers 24 Jnnc-8 July Rediscovering the emblems T HE exhibition Art Nouveau in Australia has been on display at the Queens– land Art Gallery , and the emblems of I.he era have been recalled in work from Sydney Long lo Mildred Lovell . But several forgotU•n local crnftsmcn hnve nlso been n•– dlscovcred through this lm– portnnL survey of the past. It may lrad to a ,ww cnn– sldcratlon of QuePnsland 's neglected decorative an.~. Prosperity nnd pat riotism merged nL the beginning ot the century nnd prompted a boom In ctoml'stic r.raft. Howrvcr, tlwy produ cd more thnn a preferen ce tor nntlvr timber nnd exotic !ants. illWU DIANNE BYRNE Artists emigrated from n Europe bogged clown In Lill' morbid fancies of the fin cir slccle. A few l'hnse to ply their Lrnde In Australia's newrsl State. Lt1wls J. l-lnrvPy was born in llcrkshirl' and camr to this country at an 1•arly nl(1'. liP work,•d I or n lime as a picturr frnnwr, then bccamr an Instructor al Lill' llri,;– banr Trchnitnl CollcAI'. l-lr tnul(ht wonrl-cnrv1111( nnd sl'! up the first sllldln LO ch•nl with pouery as an art. IIC' drsig1wd furniture and public sc11ipturr 1 nd tutored Daphne Mayo and William Bowles. Martin Moronry arrlvrcl from NPw Zealand nnd srtl– lecl In Victoria 1 rouml 1893. He took a ob at Brooks Robinson and Company, then worked on the Bendigo gold fields . By 1903. he had moved to Brlsbnnc and established a business in Elizabeth Street. He desib"lled stained-glnss windows nnd decorated pot– tery with floral motifs. His clay cnmr from a local colliery and his vases were shaped inn mould. Each was signed or stamped with a monoi:rnun and marked with Lhl' date, G lndloli and l(Ulll· nut, frcqut'ntly featured and t he lyrf'blrd became n popular df'VJCe, But his fln– l'SL plrccs were ('lrgnnt ar– ran gements of cobalt hh1e and whltr. A IPW Yf'l\rs ago, there was 1l p1•culiar crnzc in Califor– nia. A trnm of scholarly spies produced profiles or public pc rsonnillle.~ by sif– ting through their rubbish bilrn. Used tu bes were cxn– mlned and ce lcbrntcd scraps were anal sed. There nrc no Vcuve Cil– quot lnbcls In Elwyn Lynn's collngcs, and no empty bott– les or Chanel No. 5, but his new works aL Lhc Ray Hughes Gallery arc guide– books to the good Ille. There Is something or the voyeur In everyone. We like to know whnl other people buy; yet thr artist Is too eager to make II. obvious thnt he cats Swiss chocolate nnd reads Thr TImi's. Most of his collng,•s ar1• composed of eye-catching objrcts (fashlunnblc fripper– ies like J apanese rans). Some hnvc 11 grisly, sinister side. Pieces ol nrwspapcr are artfully shredded. Canvases arc smeared with scaling wnx. The viewer is provided with nn lmal(c or anarchy and spilt blood. These nrc the eclectic cren– Uons or n learned collector. rather thnn art works or passion and depth. \