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

raise for tapestry TllERE can be no Jonge10:b~~t t~:l~ workshop very healthy state 1 of crafts In Aus- t.ralla. Exciting t.hlngs are happening all the time, and one ot these \\'U the birth or the Vlclo• . rl;.n Tapestry Work• • hop, set up by the Vic• torlan Oovernment only two years a.go and al– ready a v!goroua con• cem. * The Melbourne-based workshop makea A111• tralla one oJ the num• bered count\'les capable ot producing large-scale woven wall hangings. It alao Is set up as a train• Ing centre. No longer need Aus• t r a Ila n artists have the I r dealgru, \\'oven abroad. Aa a matter ol fact, the workshop al· r,e ad y has attracted commlulons from abroad, A 1hort-tenn eshlbl• lion (which ended ,:H• terday) of aome fine 1&111pl,- from the work• 1hop created Interest at I h e Queensland Art Gallery. A large tapestry, W9• ven lrom a painting by Richard Larter, showed how creatlvely ,the weavers have translated the designs In terma or their medium.· · Also I was lmpre~ b y t h e marvellously vibrant tapestry from 111 excellent de,Jgn by Alun Leach-Jones. There are thlnp Id, be pleued about In Brl•• !lane, and one of thHe I• the achlenment from humble bf(lnnlnp by the Qneen • land Pollen' Auoelallon. * This la a 1•oluntary, ie I !-supporting organ• .Mtl011 111th spacious, :ented premises at the ,orner or Lelchhardt md Birley Streets. 1 The R550Clatlon In• ltlatea various projects, such aa exhibitions, workshope and regular classea. At present, an ex• citing exhibition .bf '•. Alan Pea.scad hea been highly successful. Tills 35-years-old pot• ter already looks back on much recognition. His rather unusual ce• ramies are strongly In· nuenced by the ancient ceramic art of the Near and Middle Ea.st, where he atudled under a re– search grant from the Australian Council. * Heavlly potted ewer • and large jal'll with bel– led out bodies tapering to a narrow :t >a.se seem to noa.t; an effect retn– lorced by t he dry, mat, Iridescent glazes In the most gorgeous deep blues, purples and tur– quoise. The Iridescence - In · Im I tat I o n or ancient pots whose Iridescence haa been acquired through the chemlca.l react.Jon of the soil upon the glaze - Peascod achieves wl th a,evera.l layers of copper carbo• nlde applied with an airbrush. Then there are rich 1•essel• with gold lustre overglazes and finely crazed decorations breaking through from underneath. * There ls magic In this collection which makes one think ol the vessels u•ed by kha.llfs and sul– tans. There are some lush watorcolors In Joel Elenberg's eshlbltlon at Philip Bacon: a swirling deslrn of fleshy, aen111ous, light • filled leaveo; another, "'Ith llght-rllled •lems rising ac,..• a llquld.,,.cenl surface, shimmering ln creen an4 amber. But Jn most of the large 11•atcrcolors a spir– it of greater austerity prevaJls. Stlll•llfe and archl• tectural m o t If a : A~ exhibition M wa• tecolors by Sir Leon and 'Cady Trout v,·JII be open unm June e. Jn the Q.l)tfn,ltnd Art Oallery, llUM b u l I d Jn g , Ann Street, City, Hours are Monday to Sat.urda)·, 10 Lm. to 5 p.r~., Sunday, 2 p.m. lo 5 p.ln . treated with a aerene objectivity and cla.ss! cal •ense or cool precision, geometric order and clarity. There are these amaz• Ing five patient versJoru, of a. cupboard with white crockery on Its shelves, the llluslonlstlc effect relnrorced by the prespex box frame. There are the verstona or a window with Its shut t e u, •et sym• metrically Into a 11·ashy field, suggesting peeled paint. The Melbourne born artist, 30, divide& his In– terests between painting and sculpture. The classical •Plrlt seems to have claimed him. * For the last two yean he has been living In Italy nenr the marble quarries of Carrara and In Arthur Boyd'&hou•e near P11111. Last year Davida Allen has been living In an old houll! al Boonah and hu been looklnr with feelln)I' at the land.. ape around. Now she Is showing her Boonah painting ~ pt RaJ' Hughes. Da11da C•tlll young> never lost that preclou• childhood gift, the ablll• ty or putting· down her first, natural, unadulte• rated reaction to things. or course, now u a tralned artist •he Is fully aware ol 11•hat •he I• doing, but luoltlly her trnlnlng ne,-.r •polled her. * She Is ftlso aware of (ensy to see why) artists such M Nolde, Soutlne and Nolan. I enJoi•ed her exhlbl· tlon or moody pnlnt!nga, some Jo yous , aome sombre, and some u 11ensltlve aa the little grisaille ol wet cowa &tragglln1 home &fter the rain. And there are a fflW lithographic drawings which show her talent ao well. Rod Wllhen, one ot the rerulan at Ra:, H11rh••• ahowa -• amall pulela upstaln. one group of them I.a based on planes and look& Uke pattema - from the air. In another group he explore& linear move– m e n t and counter– movement In apace. The •:ork la gracel'Ul, tha touch U1ht, the pu– te14 bloom. QUEENSLAND ART GALLERY &th Floor, MIM Bldg, 160 Ann Street, Brisb11m1 .. Paul Nash The Bri11sh Council 11nd the Australian G111/cry Oirec1ors C~uryc,I present photographs, painlings and draw,ngs by this 1mpot1ant 201h century British artist, to 28 June. P1fnting1 and Printl pr111nt1d by Sir Leon end L • dv Trout to 28 June Andrew 1nd LIiian P1deraen Memorial Prize for Sm1IJ Sculptur•. 1978 II Der • dt COLOMIIAN Gold orese~ted in associa11on wI1h 1he Austra!lrrn Art hh1b1110ns C0tp01al1on and sponsored by The Benson and Hedges Companv. IJ July to IJ August, 1978 Adml11ion Adult • S1.50 Children, School Students, Penaloner • 75c. Pr••Boo~•~ evening• $5,00 per per • on, Acl!lll!'t~llln f•l111rµ 1•,11 up/ih· unh to . Cul11rnhi1111 f;oltl E~ 1il•iti oi1. 1-.utrr fo otlu•r (:ullny , 0 .rl,ihitiu11 s i.• fn•r. Nolf' Tht Outt!n1tanct All Gr,lltfywill bt clo1-,t1 trom 29 °.Jt.l!Ht tn- t?h~k>n: 'u;~~~~:!m~;~:fn:I ~:,!~,~;:,<Jo ;:~~,.?tll~h~~:~ t tlQUll't f'l"om lht 0,11.,v·• Educ11mn Olf1ce 111 229 2 13 8 1 Betlma M1tcA 0l1ty (M,sJ CunHar