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

• • • s1t1v1ty wenl. ·cd w 11.h noLect t Scott Chnm– suys has h ad a ee on h er work . ml selector for (,!ueensland ArL "hnw, said yes- 1.:' pieces were c11d or current. English trends which were r, ~ fleeted In the exhibition ··tma~e "nd Idea", on show nLthe gallet·y from Britain earlier this yenr. Mr Shaw snld Ms Bnrrow was an lnLellecLUally senslLl\"C and l'cry capable potter. with hrr work . bclng expro~sh 1 e rather than functional. This was 111- dicativc QI a developing t rend. 'rl1c 1982 survey or contempo– rary Australian crafts wlll fea– ture thrCe main C1'Bft nrcns: clny. labric-llbrc and mctal-Jewc!lcry. Craftsmen LhroUQhOUt Australia hnl'c been Invited to submit works for considera tion. ~; n– quiries should be directed Lo the Queensland ArL Gallery and ma!'ked "cralls exhibition." ,tI at Queen Elizabeth II soon have their days ~s on the walls. · William Knox, today c Queensland Art Gal– mg In t he two llospt- . a;, the loo.n of the ',:~• to 'place art works 1 st people. the late Arthur Rich– •ln•chle! or The c ou- atft of the Queem– d Art Gallery &nd k part tn the ptannln1 r the new gallery nbw cter construction on the ULh bank of the Brla– ne River. Ho leaves a widow ~Y l:llta, a son, and o dttughtera. A Requiem Ma.sa wlll held at St Cecllla'a urch, Hamilton at s m. today followed by a neral to Nud1ee ceme– ry. FR IDAY, JULY 18, 1980 t ,I, . _, l1y IHS l'AHIHIU(,l QUEEHSLAND Art Gallery vice president of trustees, Dr Norman Behan, with potter Sue Barrow and her works, a wall sculpture ot a caged axe and a large stoneware pot. • music 11eeds the dancers I have remarked more than once tllat ballet uslc without the ballet Is not always successful n the concert hall, since '\Y development is na t– rally likely to be more South Ba11k co11ccrt. Is a case In point: without the ,·1sual n1d cf dH.ncing and mime. and rtcspltc some lntcr•connection or thematic muLcrinl. it ,~ spasmodic, lacking musical lo~lc. horeograhphlc t h a n usical. "Appalnclunu. lasL n[Ght'S AL the risk ol being dubbed whnt Ernest Newman called n. ··senslLised plate crlLic", I Tile Hallan commu~1~;." came ouL In force 10 ~·•!• • come the ltal tan Am– bassador to Au,trAl!a Dr lSer~lo An~•l•tll Rnct' !us w_tfe Jrrnr. \\'ho -o.•tre n s– ltl~g ~ ueenslnnd at tiiir.' in\.ltat1on or the Premier.• rmrn, "i\ ho Is ln\'nl 'Pd To :,onor t.be occaslon 1 c. v. 11 11 t ht· cnn:-iul;1LP's cul– ~~ tai~ party WAI hOfl-:! 1ur:1l li''l l\'ltll'~. )\n; 1111, - 1 Y i.t • lt.all&n Con1u h• url All,in, m en nnd :Hi hJ &rlo 81an1a , Ciinn Sarri. <iina cnrt the R~d wir,MCettlla at 1',.trr rlr :\1arlinl. f(o..,;a Spring H,~ Ai°tor Inn. ll l'cl ;\l1•lu rium:n.a, an d were ,·ke-~o .,ol present. )larl~ ('n, t•·llanu. Zullanl and"5hi., Tu!llo Our.11 : thf• \\ M k Ur lnJe. \\l!e An,:rlcUI, his \\ Ill' Jrr ne Amon~ th• lnl'ltrrl • ·ere D:m te Society prr.\- 1<1rnt )In< Brandl•, !lrl•· bane Ctty Snccrr Club P re si d en t (lino ~l,rlo a.nc1 hl" wi!t .. \Ian·, l'rn– fp .. ,~or ,fnhn Grilnirtr n Cn-orrhn:H11111 of Itnlrnr; .l\s,s1,cin1 ions prcsldttnL Ro.,· Zac;hlnl, his w11r Cath)', lta!tnn Wel fn r• Cor1111tilt("P \"ICC· f1rC.H· d_cn t ( '1rm,•ln ( 'ari11o.n, his \\ 1fe ltlna, 1rnd .\nna anet Alf Barbl. Al;o thrrt' w.rr Domt-nlca ond f'rauk ,re Pasquale, l..lbrnlt1 nur• must admit that I goL lltlle II any more so.tls!actJon from Gershwln's pinna concerto which was brilliantll' played by Geoffrey Madge. excellently backed up by the orchestra. \Vhate\'er t11e argu1.icnu, or the supporters or a. Jazz .il'.!iom as a basis for ccmposltion on a s~·mphonlc ~calc. my awn re– action ls that It quickly wears out. lls welcome. ILs llmllnllons. hannonlco.– lly, melodically, rhythmically and muslcallr, become all too evident 1111 too soon ; It was a pit;- 1,hRL Mr Madge hnd to expend so much energy on 5uch a warlt. Unlorluuatcly I w,~ able to . henr only the curly pa n ol the linnl Items, Stravinsky's Sym– phon;• ln c. ILis. ol course. a work ol lhe utmost competence - com– p c Lc n cc whlcll was well matched by the orchestral playing. - W. LOVELOOK Jli• ,aitf h1• ,rn-. .,Urf" FrrrJ ( 'amph,•11, hi'\ Wlff' ~fat• l :\tcmbrr rnr ..., c r I h r r non J, :a 11 ,, l:_!.i;; w1 fe &-r,·I anu ,\1111 ' a m 1• h r I I wl1n wns rr<:~n, lr mudr. :1 Rr~1ch n~I t llr Orclpr of Mrri t. of :.ie Rrpull ,c or Hair . the R,•,11111111- of 11:tlJ' \\011111 oanl lo r,rr...,•nl \\ork .. tu lht• 11rt i,:allr,n· n-llr•n it oJWtH'rl, and h~ ••~1,n•sl"rft thfl hopr thal 1hr lta lhan cumn1unllv In «l 11 r ~n,l1111d "'nuld follow suit AJ,o prr"t'rll ,,. rt:' Pro– fes,or .luhn \\'illrll lnhn (.llf~d<1,·r or " the Q u • <' n ., Ian d C O0 • :;,•n A or:um of .\f1mr. h1.s \\ 11e Jeanrlle Hnd r arn itlld f.Juu:.:· ,\l cl..~an, ' *