Auction Target Points to a Bargain Boyd

The Australian, Australia 18 Nov 2014, by Michaela Boland

General News, page 3 - 143.00 cm² National - circulation 116,854 (MTWTF)

Auction target points to a bargain Boyd

Australia in Canberra. The Boyds Ceci Cairns and her brother and MICHAELA BOLAND and the Murrumbeena Artists ex- sister, the siblings having hibition is currently being staged inherited it from their parents in IN a sign of just how far the art at the National Gallery of Victor- 2004. They offered it for sale market has fallen, an Arthur Boyd ia. And the Heide Museum of through dealer Bridget McDon- painting offered for sale in 2008 Modern Art in Bulleen, Mel- nell in 2008 but could not find a for $1.25 million will be auctioned bourne, will stage a Boyd exhibi- buyer in a rapidly cooling market. next Monday with expectations tion from November 29. “It’s a very unusual painting; I of selling for half that amount. All of which means it should be think that’s why it hasn’t sold,” Boyd’s The Prodigal Son was a great time to offer for sale a Ceci Cairns said. “Arthur used to painted in 1946-47, a couple of major work by the painter, who paint in our orchard and our fam- years before the artist rendered died in 1999. ilies were often at Murrumbeena another, more famous Prodigal But Mark Fraser, the Austra- beach together. It’s a beloved part Son scene, on the wall of a house lian chairman of auctioneers Bon- of our family but we’ve come to owned by his uncle, novelist Mar- hams, says the sale of The Prodigal terms with this.” tin Boyd. Son is a matter of coincidence Forty-two works will be That Prodigal Son was re- rather than opportunism. offered at the Bonhams auction in DAVID GERAGHTY cently displayed for the first time The Prodigal Son for sale, with Sydney. Ceci Cairns with Arthur as the centrepiece of a Boyd retro- an estimate of $600,000 to Boyd’s The Prodigal Son spective at the National Gallery of $800,000, is the property of artist ARTS P 14-15

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Age, Melbourne 28 Nov 2014

The Shortlist, page 6 - 1,967.00 cm² Capital City Daily - circulation 130,767 (MTWTF--)

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11am Media arts organisation 11.15pm You’ll need nerves of Experimenta joins RMIT Gallery steel to go the distance at the to present Experimenta Friday the 13th marathon, part Recharge: Sixth International Biennial of Cinema Nova’s Monster Fest of Media Art. Features photography, program. Take a trip to Camp Crystal installation, robotics, 3D printing and Lake and watch Jason Voorhees slash more. Today, take a curator’s tour and his way through the first eight films, meet the contributing artists from Friday the 13th to Friday the 13th (12.30pm), attend video artist Matthew Part VIII: Jason Takes Manhattan. Perkins’ book launch (5pm) and check CINEMA NOVA, 380 LYGON STREET, CARLTON, out a film screening (6pm). $30-$35, 9347 5331, CINEMANOVA.COM.AU RMIT GALLERY, 344 SWANSTON STREET, CITY, FREE, 9925 1717, EXPERIMENTA.ORG 8pm Rock veteran Kim Salmon, of The Scientists and Beasts of 7pm Fresh from a US tour, Dick Bourbon, is the focus of tonight’s Diver perform for a hometown show at Yah Yahs. Salmon is in his 37th audience. The jangle-pop year of performing music, beginning quartet have been working on their with some early punk bands in Perth third album, recorded with producer and, notably, with influential band The Mikey Young. In support will be Holy Scientists in the late ’70s. Support from Balm, The Native Cats and Hierophants. Drunk Mums and Dumb Punts. THE HI-FI, 125 SWANSTON STREET, CITY, $21.50, 1300 YAH YAHS, 99 SMITH STREET, FITZROY, $15, 9419 4920, 843 443, THEHIFI.COM.AU YAHYAHS.COM.AU

8pm Jumpers for Goalposts continues at Red Stitch Actors Theatre. It’s off to the amateur leagues with Barely Athletic, a team in the gay, lesbian and transsexual football league in northern England city Hull. Directed by Tom Healey. Runs until December 20. RED STITCH ACTORS THEATRE, REAR 2 CHAPEL STREET, ST KILDA, $20-$39, 9533 8083, 7.30pm Talk show host and REDSTITCH.NET scribe Chelsea Handler recently published her new book, Uganda Be Kidding Me. A collection of travel essays, complete with tongue-in- cheek tips and suggestions, the book also inspired her latest live show, which she performs in Melbourne tonight. PALAIS THEATRE, LOWER ESPLANADE, ST KILDA, $80, 136 100, TICKETMASTER.COM.AU Age, Melbourne 28 Nov 2014

The Shortlist, page 6 - 1,967.00 cm² Capital City Daily - circulation 130,767 (MTWTF--)

10am The Australian Print Workshop cuts the ribbon on its major fundraising exhibition this weekend. Impressions 2014 celebrates the art of printmaking with limited- edition prints from more than 150 prominent and emerging Australian artists, including Reg Mombassa, Rick Amor and Vicki Couzens. The works reflect the processes available at the workshop, including etching, lithography and relief printing. AUSTRALIAN PRINT WORKSHOP, 210 GERTRUDE STREET, FITZROY, FREE, 9419 5466, AUSTRALIANPRINTWORKSHOP.COM

2pm/7.30pm With narration by Billy Connolly and dancing by an acclaimed Brazilian dance troupe, Brazouka shares the story of freestyle lambazouk dancer Braz Dos Santos. Dos Santos began his life in a small village, and eventually made Various Until December 7, the his way to the 2014 Japanese Film Festival will international screen films at several stage. The Melbourne cinemas. Some showing performance is this weekend include The Chart of led by Dos Love, a romance and sequel to the Santos himself 2011 film, In His Chart; the family and concludes friendly The Round Table; and little its Melbourne forest – summer/autumn, a story run on Saturday. about a girl who lives off the land. THE PALMS AT CROWN, 8 WHITEMAN STREET, VARIOUS VENUES, $15-$18, SOUTHBANK, $51-$102, 1300 795 012, JAPANESEFILMFESTIVAL.NET TICKETEK.COM.AU Age, Melbourne 28 Nov 2014

The Shortlist, page 6 - 1,967.00 cm² Capital City Daily - circulation 130,767 (MTWTF--)

fri sat BY SEAN WILSON ANDsun ERIN MUNRO fri sat sun 30 [email protected]

10am The National Gallery of 5pm Calpurnia Descending, Victoria’s olfactory art the story of a faded screen installation, Hyper-Natural, goddess, bids audiences adieu curated by New York Times perfume on Sunday with a final performance. critic and author Chandler Burr, closes Created by Ash Flanders and Declan this weekend. In the gallery’s sculpture Greene and presented by Sisters garden, the exhibition explores how Grimm, the play stars Paul Capsis as designers select synthetic fragrances Beverly Dumont, a reclusive has-been when creating scent art. offered a final shot at stardom. 7pm Them Swoops have saved NGV INTERNATIONAL, 180 ST KILDA ROAD, CITY, THE COOPERS MALTHOUSE, 113 STURT STREET, their only headline show of FREE, 8620 2222, NGV.VIC.GOV.AU SOUTHBANK, $30-$60, 9685 5111, 2014 for the end of the year, MALTHOUSETHEATRE.COM.AU having spent much of the year on their follow-up to last year’s Glimmers EP. Supporting will be The Worriers, 8pm Terry Mann’s bedroom Singing For Humans and Pretty City. project Coach Bombay has THE TOFF IN TOWN, 252 SWANSTON STREET, CITY, grown into a band of five. The $7-$10, 9639 8770, THETOFFINTOWN.COM group’s most recent single is Girls,a summery, bubble-gum-bright electro- pop song with vocals by Mann and 7pm Fractures plays at the fellow band mates Luci Hodgson, Abbotsford Convent as part of Cynthia Sear, the Hallowed Ground tour, Andrew following shows in the US and Europe. Congues and Ed The solo project of Melbourne Sharp-Paul. musician Mark Zito, Fractures released 10am Works by painter Arthur Coach Bombay a debut self-titled EP earlier this year. Boyd are being exhibited at the perform at SHADOW ELECTRIC BANDROOM, INDUSTRIAL former home of John and Boney with SCHOOL, ABBOTSFORD CONVENT, 1 ST HELIERS Sunday Reed, opening this weekend. special guests STREET, ABBOTSFORD, $15, 9415 3600, *Brides* is an exhibit based on Boyd’s Lanks. ABBOTSFORDCONVENT.COM.AU Love, Marriage and Death of a Half BONEY, 68 LITTLE Caste series, painted between 1957 COLLINS STREET, CITY, and 1960. Open until March 9 2015. $8-$12, 9663 8268, HEIDE MUSEUM OF MODERN ART, 7 TEMPLESTOWE BONEY.NET.AU ROAD, BULLEEN, FREE-$16, 9850 1500, HEIDE.COM.AU

4pm/8.30pm Portugal The Noon The Bridge Hotel Man continue their Australian Richmond presents its Bridge tour with free shows in Caribbean Laneway Festival. Brunswick and Frankston today. The afternoon street market is part of Originating from Alaska, the band 8pm Drone and electronica Good Food Month. Enjoy the likes of moved down to the warmer climes of outfit Black Cab released their jerk chicken, tostones and pina Portland, Oregon, to play their brand fourth studio album, Games Of coladas from the pop-up stalls, while of indie psychedelic music, before The XXI Olympiad, this month. They’re listening to live entertainment. moving on to the big stages of marking the accomplishment with a THE BRIDGE HOTEL, 642 BRIDGE ROAD, RICHMOND, Coachella, Bonnaroo and Lollapalooza. launch show. Support acts include FREE ENTRY, 9429 5734, 4PM THE PENNY BLACK, 420 SYDNEY RD, Lowtide and Queens Head. MELBOURNE.GOODFOODMONTH.COM BRUNSWICK; 8.30PM THE DECK, 2-4 DAVEY STREET, HOWLER, 7-11 DAWSON STREET, BRUNSWICK, $15, FRANKSTON, FREE, CORONAEXTRA.COM.AU 9077 5572, H-W-L-R.COM 2pm You Beauty play an “arvo” show to celebrate the release of 8pm Illy plays a hometown their album Jersey Flegg on show in the middle of his One vinyl. The quartet mine Australian For The Cities national tour. The culture for song material. Supported Frankston rapper is supported by Tkay by Tim Richmond, Monnone Alone Maidza and special guests. and Magic Steven. FORUM THEATRE, CORNER FLINDERS AND RUSSELL THE EVELYN HOTEL, 351 BRUNSWICK STREET, STREETS, CITY, $48, 136 100, TICKETMASTER.COM.AU FITZROY, $12, 9419 5500, EVELYNHOTEL.COM.AU

The Weekly Review - Eastern, Melbourne 03 Dec 2014

General News, page 24 - 578.00 cm² Suburban - circulation 89,988 (--W----)

WHAT'S ON \ boutique craft, fine food and music Day of People with a Disability at the Fine Design Market. The aim celebrations. It is a fun fitness class \ EASTERN of the market is to support emerging using music and some equipment to and established designers and artists improve self-esteem, strength and DANCE by providing a platform to showcase co-ordination, and is open to people their quality works and connect them of all abilities and fitness levels. ACADEMY OF DANCE VICTORIA with their audience. Carers and support workers are This Doncaster-based dance • December 7, 10am-3pm. welcome. academy will hold its two annual Manningham City Square, • December 10, 1-1.45pm. concerts in December. Students 687 Doncaster Road, Doncaster. from the school's junior and senior Pines Learning Centre, 1/520 Entry: gold coin donation. Blackburn Road, Doncaster East. classes will interpret classic story www.thefinedesignmarket.com.au books and tales, including Peter Cost: free. Bookings: 9842 6726. Rabbit, The Secret Garden and Alice www.pineslearning.com.au ROUND SHE GOES In Wonderland. The budding young COMMUNITY This pre-loved fashion market allows dancers are trained in a range of women to sell their unwanted quality genres, such as ballet, jazz, hip hop NUNAWADING MEN'S PROBUS CLUB items, with the option to donate any and song and dance, making for a The group helps retired and varied and exciting show. unsold items to the Red Cross. There semi-retired men make the transition • December 7 (4.30pm) and will be Christmas party frocks and from their working life by keeping December 12 (6.30pm). Whitehorse one-of-a-kind gifts to browse. The them active and broadening their Centre, 397 Whitehorse Road, market has more than 60 stalls, an outlook. The group meets on the Nunawading. Cost: $29.50; indoor cafe and a food truck will stop second Tuesday of each month, with concession $25. Bookings: tickets® by at lunchtime. speakers at each meeting. • December 7, 10am-3pm. whitehorse.vic.gov.au or 9262 6555 • December 9, 10am. Willis Box Hill Town Hall, 1022 Room, Whitehorse Council Whitehorse Road, Box Hill. Cost: chambers, 379 Whitehorse Road, THEATRE $2 entry. Inquiries and to book a Nunawading. Inquiries: 9877 3452. stall: [email protected] www.whitehorse.vic.gov.au OTHER PEOPLE'S MONEY www.roundshegoes.com.au Set in the cut-throat business world, Jerry Sterner's award-winning play CLASS MUSIC features key players on opposing sides battling it out during a COLOUR MAGIC THE AMICI STRING QUARTET corporate takeover. Directed by Style guru Fiona Etty-Leal will use theatre, film and television veteran Local musicians Anne and Zsolt her image skills to help participants John Gauci, the production, from Martonyi, and Christine and Keith boost their image by wearing Tangled Web Theatre Productions, Johnson - the Amici Quartet - will and matching correct colours. A features actors Greg Pandelidis, play an assortment of light classical personalised swatch with 50 shades and popular music at this event. can be bought for an additional $77 Michael Bate, Emma Officer, Edward They have performed with the at the workshop. Participants are Kennett and Gillian Hoi ley. Melbourne Symphony Orchestra asked to wear little or no makeup on • Until December 14. December and Queensland Symphony and the day. 10-13, 8pm; matinees December Theatre Orchestras, and have toured • December 6, 9am-noon. 13 and 14, 2pm. Doncaster extensively overseas. RSVP required Cost: $60. Mitcham Community Playhouse, 679 Doncaster Road, by December 6. House, 19 Brunswick Road, Doncaster. Cost: $25; concession • December 7, 2pm. All Saints' Mitcham. Inquiries: 9873 4587 $22; group of 15, $18 each. Anglican Church, corner of or [email protected] www.tangledweb.com.au Bookings: Whitehorse Road and Edward www.mitchamcommunityhouse.org \ [email protected], phone Street, Mitcham. Cost: $21 COMPILED BY BRENDAN BALE 9748 1468 or 0404 942 143 or (includes afternoon tea). Inquiries: www.trybooking.com/FPXB 9878 3463 or allsaintsmitcham® bigpond.com MARKET FIT TO MUSIC THE FINE DESIGN MARKET This exercise and dance program Explore independent design, art, forms part of this year's International The Weekly Review - Eastern, Melbourne 03 Dec 2014

General News, page 24 - 578.00 cm² Suburban - circulation 89,988 (--W----)

WANT YOUR EVENT LISTED? To be considered for a listing email \ [email protected] EXHIBITION \ BRIDES Arthur Boyd's iconic Brides series of paintings was created between 1957 and 1960 after the artist travelled to central Australia. It represents a defining achievement in his career and in Australian art of the 20th century, and offers a critique of Australia's racial divide through the use of an invented love story. Until March 9, Tuesday-Sunday 10am-5pm. Heide Museum of Modern Art, 7 Templestowe Road, Bulleen. Cost: adult $16; seniors $14; concession $12; children under 12 and members free. Inquiries: 9850 1500. www.heide.com.au

EXHIBITIO Arthu after th career and divide throug Until Marc 7 Templestow childre Melbourne Observer, Melbourne 10 Dec 2014

General News, page 15 - 81.00 cm² Suburban - circulation 22,000 (--W----)

At Heide Museum A fantastic new exhibition has opened at the Heide Museum olIVfodern Art in Bulleen Arthur Boyd's Brides is on show at the museum until March 9, Also known asLove, Marriage and Death of a Half Caste, the series was painted between-1957 and 1960 after the famed artist travelled to central Australia. The works represents a defining achievement in both the artist's career and in Austra- lian art of the twentieth century. A milestone in the advancement of local modernism and its humanist themes, the series offers a critique of Australia's racial divide in the form of an invented love story. The series earned Arthur critical acclaim but was gradually dispersed across public and private collections around the world. In recent years many of the works have returned to Australia, providing an opportu- nity to bring much of the collection together. Hdde'sexhibitionpresentanumberofflie Brides, along with related drawings and ce- ramicpieces, Heide is open Tuesday toSunday, 10am- 5pm. • • Fiona Byrne is a former Journal- ist and is the Public Relations Man- ager at Sofitel Melbourne On Collins. [email protected] Weekend Australian, Australia 13 Dec 2014, by Christopher Allen

Review, page 16 - 1,597.00 cm² National - circulation 238,138 (S)

be of interest is Sydney Buddha by Zhang Huan It’s the time of the year at Carriageworks. Two enormous figures of Buddha will face each other, one the metal when galleries pull out mould in which the other was shaped; the latter, compounded of incense ash gathered from tem- their big guns, the ples and shrines and thus representing the physical but ephemeral remains of myriad blockbusters, writes prayers, will gradually collapse in the course of the exhibition, demonstrating the transitory na- Christopher Allen ture of all form according to Buddhist doctrine. Finally, in a completely different vein, Manly HIS is the season when the galleries Art Gallery has an exhibition of 19th-century or put up their summer blockbusters as possibly earlier copies from old master paint- fishermen put out their nets, then ings — the sort of works that would have been leave and wait to see what kind of common in the grander homes of the colonial haul they pull in. The existences of period and thus have a place in the history of art Tart world professionals and of the general public in Australia, yet that largely have been con- are thus counter-cyclical, the former gratefully signed to the reserves of museums for the past escaping the grind of exhibitions and gallery life century or so. just as the holiday crowds look for something to In Canberra, the principal summer exhibi- do with the family on a rainy day. tion is a retrospective of James Turrell, an In Sydney, one of the most highly publicised American artist who is concerned with light and attractions is the Art Gallery of NSW’s Pop to space and structures that frame and shape our Popism blockbuster, which brings together im- perception of light, most often chambers open portant works by figures such as Roy Lichten- to the sky, such as Within Without, a permanent stein and Andy Warhol as well as many things structure commissioned by the National Gal- of lesser but complementary interest, and a lery of Australia and built in 2010. Impressions large sample of the art made in Australia more of Paris, meanwhile, is a survey of prints and or less under the impulse of pop. works on paper by Honore Daumier, Edgar If you feel the need for a more extreme ex- Degas and Henri de Toulouse-Lautrec. All are perience, the Australian Museum’s Aztecs is an of great interest, but as we have seen many of introduction to a society dominated by warfare the works by the last two quite recently, it is the and the capturing of prisoners to be offered up extensive collection of prints by Daumier that is as sacrifices to appease bloodthirsty and seem- particularly fascinating, casting a sometimes ing insatiable gods; the exhibition offers a strik- bitterly satirical and sometimes gently humor- ing picture of one of the most unappealing ous but always acutely perceptive eye over the civilisations that has existed on earth. Recom- realities of everyday life in the emerging mod- mended and thought-provoking holiday read- ern metropolis of Paris. ing afterwards is Ruth Benedict’s classic At the National Portrait Gallery, there is a Patterns of Culture (1934) in which she shows small but rewarding exhibition of portraits by how radically a culture can affect the tempera- Rick Amor, spanning a range of media from ment of its individual members. After this, any metaphysical anxieties about drawing and prints to painting, but always invit- the nature of identity raised by the MCA’s ing us to follow the process of artistic thought in Chuck Close exhibition will seem, quite liter- the specificity of each medium. At the National ally, First World problems. This is, however, an Museum, Spirited celebrates the place of the absorbing show in which we see how the artist horse in Australian society since the late 18th develops from his photorealist beginnings, century, from the period when it was the princi- which cast doubt on the veracity of the photo- pal source of energy in rural work or city trans- graphic image, into a deeper inquiry that is all port, to its role in war and finally, after the loss the more penetrating for being grounded in the of most of its practical functions, to its contin- meticulous practice of such printmaking tech- ued place in recreation and sport. niques as etching and mezzotint. In the other capitals, there has been an extra- Another Sydney exhibition that promises to ordinary capitulation to fashion shows: this Weekend Australian, Australia 13 Dec 2014, by Christopher Allen

Review, page 16 - 1,597.00 cm² National - circulation 238,138 (S)

must be the first time the state galleries of Mel- bourne, Adelaide and Brisbane have all placed Still, even the capitals that have sold their their biggest summer bets on frocks instead of souls to the fickle demons of fashion have exhi- art. What is interesting is that these are all gal- bitions that deserve notice. In Adelaide, Art leries that have made much of their commit- Gallery of South Australia has a survey of the ment to contemporary art, even though this has work of Nicholas Folland as well an exhibition been largely because the contemporary itself is of contemporary calligraphy from Japan, China fashionable and appeals to corporate money. and Mongolia, and Rembrandt and the Etching The reality has been a tendency to dilute and Revival, focused on an important new acqui- sition by the Dutch master. In Brisbane, there degrade the concept of art by including design are two exhibitions of modern and contempor- in various forms, thus opening the door to as- ary Japanese art, one devoted to the woodblock similation with a commercial culture whose val- print since 1950, the other to art after 1989. ues are antithetical to those of art. In Hobart, the Museum of Old and New Art As for the frocks, they are essentially a cyni- is showing River of Fundament by American art- cal way of tapping into an enormous potential ist and filmmaker Matthew Barney, best known audience of women who would not otherwise for the Cremaster Cycle film series (1994-2002); come through the gallery doors, and who care the present work is a loose, and operatic, in- for art, as the old French saying goes, as a fish terpretation of Norman Mailer’s novel set in does for an apple. It is disingenuous to imagine Pharaonic Egypt, Ancient Evenings (1983). that after admiring the dresses they will stay for In Perth, the Art Gallery of Western Austra- a careful look at the engravings or immerse lia will show Treasures of the Jewish Ghetto of themselves in Bill Viola’s Ocean Without a Venice, precious ceremonial objects that were Shore. But these worthless attendance figures buried in 1943 by religious leaders who subse- will be used to impress the political masters. quently died in German concentration camps; Fortunately there are several other things on the treasure was recovered during recent resto- at the National Gallery of Victoria, including ration work in the ghetto and is on tour before the whimsical and oddly engaging David Shrig- returning to permanent display in the Museo ley and a survey of the imagery of the Mambo Ebraico in Venice. group; Sacred and Profane is an exhibition of Those travelling overseas will be spoiled for Renaissance prints, and there is Takahiro Iwas- choice. In London, the most spectacular exhibi- aki’s elaborate reconstruction of the shrine of tion will undoubtedly be Rembrandt: The Late Itsukushima floating on a still expanse of water. Work at the National Gallery. The British Mu- Meanwhile, the Australian Centre for Contem- seum has Germany: Memories of a Nation as porary Art, not far from the NGV, has Men- well as a new exhibition devoted to the history agerie, devoted to the role animals play in the of trade in the Indian Ocean — a route between imaginative lives of humans, and the Ian Potter East and West as important, since antiquity, as Museum at the University of Melbourne has an the Silk Road far to the north. The Tate Gallery, exhibition of the portraits of Richard Avedon. coincidentally, has Late Turner: Painting Set On the outskirts of Melbourne, Heide has a Free, while the Tate Liverpool has Transmitting survey of Arthur Boyd’s Bride series, perhaps Andy Warhol for anyone whose appetite has the artist’s single most important body of work. been whetted by the Sydney exhibition, of Farther out again, Ballarat Art Gallery has two which Warhol was the star. shows: an impressive selection of prints from The Victoria and Albert Museum has Con- the Baillieu Library of the University of Mel- stable: The Making of a Master. It also has just bourne, Radicals, Slayers and Villains, and the reopened the Italian Cast Room, which includes beautiful exhibition of Greek and Russian icons, among other remarkable things a full-scale cast mostly from a private collection, that was re- of Michelangelo’s David, newly restored. The viewed in this column last week. And farther Royal Academy is showing the first scholarly afield still, Mildura has an exhibition that will be survey of Giovanni Battista Moroni, a very able discussed next week, recalling the Mildura 16th-century portrait painter who used to be Sculpture exhibitions of the 1960s and 70s. dismissed as superficial but is here reappraised. Weekend Australian, Australia 13 Dec 2014, by Christopher Allen

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Towards the end of January the RA will open an important new exhibition: Rubens and His Leg- acy: Van Dyck to Cezanne. In Paris, there are exhibitions devoted to ancient Rhodes and medieval Morocco at the Louvre, to Hokusai and Niki de Saint-Phalle at the Grand Palais, and to Marcel Duchamp and his relation to painting at the Centre Pompidou. In Rome, the Scuderie del Quirinale has Flemish master Hans Memling, and Palazzo Barberini is presenting an exhibition of baroque painting including works from the collection of art historian Denis Mahon — a rare example FOUNDATION

of an expert wealthy enough to own works by masters on whom he was the pre-eminent

authority. WARHOL In New York, the Metropolitan Museum has ANDY an exhibition devoted to Cezanne’s portraits of © his wife, a survey of the strange and often erotic Clockwise from main picture, Pan German mannerist Bartholomaeus Spranger, and Syrinx (1617) by Rubens; and Assyria to Iberia at the Dawn of the Classical Untitled (1983) by Tetsuro Age, dealing with the Mediterranean reach of Sawada; Self-Portrait No 9 (1986) near eastern and Phoenician civilisation before by Andy Warhol; Boat of Ra the rise and colonial expansion of Greece. At (2014) by Matthew Barney the Museum of Modern Art, there is an exhibition of the paper cut-outs that occupied the last years of Henri Matisse.

In Washington, the National Gallery of Art © ANDY WARHOL FOUNDATION has an exhibition commemorating the 400th anniversary of the death of El Greco, and from the beginning of February Piero di Cosimo: The Poetry of Painting, on the complex figure whose iconography is still debated. At the Freer and Sackler galleries, Nasta’liq shows how classic Persian calligraphy evolved from ornamental lettering into something more like a meditative practice in which word and meaning become one with the art of penmanship CONTEMPORARY ART IS FASHIONABLE AND APPEALS TO CORPORATE MONEY Weekend Australian, Australia 13 Dec 2014, by Christopher Allen

Review, page 16 - 1,597.00 cm² National - circulation 238,138 (S)

Wedding Group (1958) by Arthur Boyd, from his Bride series, on display at the Heide Museum of Modern Art until March 9 Weekend Australian, Australia 13 Dec 2014, by Christopher Allen

Review, page 16 - 1,597.00 cm² National - circulation 238,138 (S)

Copyright Agency licensed copy (www.copyright.com.au) ID 351697372 BRIEF HEIDE INDEX 1 PAGE 5 of 6 Weekend Australian, Australia 13 Dec 2014, by Christopher Allen

Review, page 16 - 1,597.00 cm² National - circulation 238,138 (S)

The blockbusters Liverpool to February 8 Constable: The Making of a Master at Victoria & Albert to January 11 Sydney Giovanni Battista Moroni at the Royal Academy to Pop to Popism, AGNSW to March 1 January 25; Rubens and His Legacy: Van Dyck to Aztecs, Australian Museum to February 1 Cezanne from January 24 Chuck Close, MCA to March 15 Sydney Buddha, Carriageworks to March 15 Paris European copies, Manly to February 1 Rhodes: A Greek Island and Gateway to the East, the Louvre to February 10; Medieval Morocco: An Canberra Empire from Africa to Spain to January 19; James Turrell, NGA to June 8 Hokusai at Grand Palais to January 18; Niki de Impressions of Paris, NGA to March 10 Saint-Phalle to February 2 Spirited, National Museum to March 9 Marcel Duchamp: La Peinture, Meme, Centre Rick Amor, NPG to March 1 From the Spirited exhibition, National Pompidou to January 5 Museum of Australia, Canberra Melbourne Rome Sacred & Profane, NGV to March 15 “We Can Make Another future”: Japanese Art Hans Memling at Scuderie del Quirinale to David Shrigley, NGV to March 1 after 1989, GOMA to September 20 January 18 Takahiro Iwasaki, NGV to April 6 From Guercino to Caravaggio: Sir Denis Mahon EIKON: Icons of the Orthodox Christian World, Hobart and Italian 17th-Century Art at Palazzo Barberini Ballarat Art Gallery to January 26 Matthew Barney’s River of Fundament, MONA to to February 8 Arthur Boyd, Brides, Heide to March 9 April 13 Menagerie, ACCA to March 1 New York Richard Avedon People, Ian Potter Museum to Perth Madame Cezanne at the Metropolitan Museum to March 15 Treasures of the Jewish Ghetto of Venice, AGWA March 15; Bartholomaeus Spranger: Splendour to March 16 and Eroticism in Renaissance Prague to Adelaide February 1; Assyria to Iberia at the Dawn of the The Extreme Climate of Nicholas Folland, AGSA to London Classical Age to January 4 January 26 Rembrandt: The Late Works, National Gallery to Henri Matisse: The Cut-Outs at MOMA to Brush and Ink: Contemporary Asian Calligraphy, January 18; Peder Balke to April 12 February 8 AGSA Germany: Memories of a Nation, British Museum Rembrandt and the Etching Revival, AGSA to January 25; Connecting Continents: Indian Washington Ocean Trade and Exchange to May 31 Piero di Cosimo: The Poetry of Painting in Brisbane Late Turner: Painting Set Free, Tate London to Renaissance Florence at the National Gallery of Hanga: Modern Japanese prints, QAG to April 26 January 25; Transmitting Andy Warhol at Tate Art from February 1; El Greco to February 16. Beat Magazine (Melbourne), Melbourne 17 Dec 2014

General News, page 22 - 179.00 cm² Magazines Lifestyle - circulation 30,485 (--W----)

THIS WEEK: * ON DISPLAY ON SCREEN Arthur Boyd's series Love, Marriage and Death of a Half Caste, more commonly known as the The Cameo Outdoor Cinema will return this Brides, was painted between 1957 and 1960 after week to kick of its 2014/2015 season. Over Boyd travelled to central Australia. It represents the season the program features cult classics a defining achievement in both the artist's such as The Blues Brothers, Monty Python's Life career and in Australian art of the twentieth of Brian, Pulp Fiction and E. T, as well as new century. A milestone in the advancement of local release arthouse, family and blockbuster titles, modernism and its humanist themes, the series including The Hobbit: The Battle of Five Armies, offers a critique of Australia's racial divide in the Fifty Shades of Grey and Chappie. The Cameo form of an invented love story. The two main Outdoor Cinema season will run from Thursday protagonists in the allegory—an Aboriginal man December 18 to Sunday April 5, and this week and his mixed-race bride—face the trials of a love features The Princess Bride, Paddington, The Water thwarted by both personal and cultural conflict. Diviner and Annie. Head to cameocinemas.com. They embark on a metaphorical journey that is au for more information. traced symbolically through complex imagery denoting cyclical growth, decay and renewal. It's currently on display at the Heide Museum of ON STAGE Modern Art. Lully Lullay: Songs For Christmas, an intimate recital of beautiful Christmas music featuring mezzo soprano Lotte Betts-Dean PICK OF THE WEEK and friends, will take place this weekend. The program includes an array of well known as well Jenny Lovell and Anna Renzenbrink are joining as lesser performed Christmas music: a collection forces for a Charles Dickens infused Christmas of beautiful songs including Peter Cornelius' show this week. What the Dickens! is improvised Weihnachtslieder Op 8, Frank Martin's Trois theatre carefully balancing cheeky audience Chants de Noel for voice flute and piano, as well participation, carol singing and story-telling to as songs by Britten, Grieg, Reger and Gounod celebrate the classic themes of Dickens' novels among others, a selection of solo piano works and stories - moral dilemmas, lost fortunes, by Percy Grainger, some yuletide favourites and found love and orphans. Anna Renzenbrink carols and a special a capella performance of and Jenny Lovell worked together in the Impro Bach's masterwork Motet BWV 227 Jesu Meine Melbourne Ensemble for over ten years before Freude. Joining Lotte will be Konrad Olszewski creating Bonnet Productions. Drawn together (piano), Caitlin Ayers (flute), Daniel Thomson by their mutual passion for period romance and (tenor), Greta Williams (soprano), Niki Ebacioni BBC bonnet dramas, over the last three years (alto) and Matthew Tng (baritone). Lully they have successfully performed In the Parlour Lullay: Songs For Christmas will take place from in various festivals including Short &c Sweet, 3pm on Sunday December 21 at the Richmond Melbourne International Comedy Festival Uniting Church. and most the recently New Zealand Improv Festival. What The Dickens! will come to The Butterfly Club from Wednesday December 17 until Sunday December 21. Herald Sun (Melbourne), Melbourne 12 Jan 2015, by Simon Plant

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Copyright Agency licensed copy (www.copyright.com.au) ID 360343141 BRIEF HEIDE INDEX 1 PAGE 1 of 2 Museums honour for Boyd

SIMON PLANT delighted to find so many Boyd — compelled to paint familiar objects on show. Not from an early age — sensed OPEN Country has long been just paintings by her gifted dad that empathy first- shut. from the 1940s and ’50s, but hand. The sprawling glazed earthenware tiles, “I don’t Murrumbeena plot which ceramic angels and pots, most remember being potter Merric Boyd established of them drawn from the taught anything, in 1913 was bulldozed in 1964, NGV’s own collection. really,’’ she says, its pottery studio and “It’s quite wonderful seeing “but Dad was weatherboard cottage cleared it all together, one thing always very to make way for a block of alongside the next,” she says. encouraging. flats. But 50 years on, the spirit Another summer Was it ever of freedom which animated exhibition, at the Heide intimidating this fabled cultural site on the Museum of Modern Art, picks having such a edge of a railway reservation up where Outer Circle leaves famous father? has been reawakened in a off. “No, it was National Gallery of Victoria Arthur Boyd: Brides unites never, ‘Will I be good exhibition. core paintings from a huge enough?’ It was always, ‘This Outer Circle: The Boyds series of works that Boyd will be OK, next time it might and the Murrumbeena Artists, completed between 1954 and be better’,” she says. at NGV Australia, recounts 1960 after visiting Central “There was a very good the exuberant post-war Australia. Deeply affected by workaday attitude (at Open production of paintings, the plight of indigenous Country). The memory I have drawings, ceramics, sculpture Australians, he conceived a is of being in the landscape, and furniture at Open love story between an painting what was around me. It was such a terrific feeling.” Country by Merric’s son, Aboriginal man and his Arthur, his good friend John Polly Boyd — who mixed-race bride and the contributed a family tree to Perceval and a host of other resulting cycle — titled Love, art makers. the Outer Circle exhibition — Marriage and Death of a Half continues to make art. “This property, on what was Caste — was at once beautiful then the southeast fringe of “I’ve got some ideas ... a bit and disturbing, conveying a of painting, a bit of pottery. I Melbourne, saw universal message about the the coming and love using clay. Always have. human condition. And when the urge to do it going of some of The Brides, as the series is the most again came back a few years commonly known, elevated ago, I was determined to important figures Boyd to the front rank of in 20th century conquer it. Just like my father Australian painting and the did.” Australian art,’’ co- Heide show is a rare chance to curator David re-evaluate the pictures that Hurlston says. Outer Circle: The Boyds secured his reputation. and the Murrumbeena Black and white By chance, a third Boyd photographs Artists, NGV Australia exhibition has landed at (Federation Square), until convey the semi- Mornington Peninsula rural atmosphere, March 1. Free entry. Regional Gallery. An Active Arthur Boyd: Brides, Heide but the most Witness, a touring show evocative image Museum of Modern Art, organised by the Bundanon Bulleen, until March 9. may be Perceval’s pencil Trust, shows how the artist’s sketch of Open Country’s Arthur Boyd: An Active political concerns (for social Witness, Mornington ramshackle garden with its equity, for environmental washing line, vegetable patch Peninsula Regional Gallery, protection) were played out on until February 15. and mismatched chairs. his canvases. Arthur Boyd’s daughter, “Art for Boyd was a way to Polly, remembers the scene combine compassion,’’ the well and, visiting Outer Circle curators explain. And Polly at Federation Square, she was Herald Sun (Melbourne), Melbourne 12 Jan 2015, by Simon Plant

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Where Magazine (Melbourne), Melbourne 01 Dec 2014

General News, page 22 - 1,559.00 cm² Magazines Lifestyle - circulation 32,341 (Monthly)

11M* ••••-•' # 1^ \ gpiFi

Above: Nikon-Walkley Community Regional Prize- winner Adam Hourig Images from The Daily Examiner. Eric Lyons stands in front of his carav and a wall of flame, after helping his neighbour, Allan Lawrence, burn i IN DECEMBER paddock at his Palmers Island property. From The Nikon-Walkley Press Photography exhibition at the State Library of Victoria. THIS MONTH MELBOURNE IS FILLED WITH A WIDE RANGE OF EVENTS TO EXCITE AND INSPIRE. Photographs by John Rendell, were taken by Rendell in January 1978 and 9 years later Award winning Photographic Essay, Portrait Prize Night, O Come All Ye Faithful, in January 1987 just after the photos on show and Community/Regional Prize. Once in Royal David's City and opening of the Musee d'Orsay. The works of some of Australia's Ongoing, State Library of Stille Nacht. Rendell's subjects are the best press photographers are Victoria, 328 Swanston Street, 6 December, Melbourne familiar iconic images of Paris on display at the State Library Melbourne. 8664 7000. Recital Centre, 31 Sturt Street, and follow in the tradition of of Victoria. The Nikon-Walkley slv.vic.gov.au Southbank, 1300 782 856. other photographers of that city Press Photography exhibition brandenburg.com.au including Henri Cartier-Bresson, showcases 89 works by Celebrate Xmas with Robert Doisneau, BrassaT, and photojournalists shortlisted for the Brandenburg Iconic Paris on show at Sofitel Eugene Atget. the prestigious Nikon-Walkley Noel! Noel! The Christmas To celebrate its 50th From 9 December, Lobby, awards. Heartbreak, triumph, program of the Australian anniversary French hotel Sofitel Melbourne on Collins, jubilation, devastation, it's all on Brandenburg Orchestra brand Sofitel Luxury Hotels 25 Collins Street, Melbourne. show. The annual awards are promises magical singing commissioned Donald Williams 9653 0000. the pinnacle of achievement for thanks to the Brandenburg of Global Arts Projects sofitel-melbourne. com Australian press photographers Choir as well as music of to curate an exhibition of and are judged by a panel of yesteryear with the orchestra's compelling and evocative Mapping Melbourne senior photographers and period instruments. images of Paris by San Multicultural Arts Victoria picture editors. The exhibition Highlights of the program Francisco-based, Melbourne (MAV) is presenting Mapping includes images from finalists include a Gregorian chant, born photographer, Jon Melbourne 2014, a four-day in such awards as Photo of the medieval carols, French and Rendell. The results are on showcase of independent Year, Press Photographer of German hymns, English display at Sofitel Melbourne. contemporary Asian arts the Year, Sport Photography, Christmas songs and many Most of the Paris photographs celebrating the vibrant News Photography, Feature/ favourites such as Christmas in the exhibition. Iconic Paris, influence Asia continues Where Magazine (Melbourne), Melbourne 01 Dec 2014

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to have on Melbourne's cultural humanist themes, the series dynamism. With over 40 local offers a critique of Australia's and international artists, this racial divide in the form of an multidisciplinary four-day festival invented love story. spans art, theatre, music, Ongoing, Heide Museum spoken word, dance and film of Modern Art, 7 Templestowe in the heart of Melbourne. Road, Bulleen. 9850 1500. Mapping Melbourne 2014 also heide.com.au features three major exhibitions and special projections featuring NICA's Dreams newly made works and some The National Institute of Circus never shown before in Australia. Arts (NICA) is presenting 3-6 December, various Dreams from the Second Floor, locations around Melbourne. a new circus work featuring multiculturalarts.com.au/ NICA's graduating artists. events2014/mapping.shtml Dreams from the Second Floor explores different types

Arthur Boyd at Heide of dreams - from those Art Aquarium makes a splash at SEA LIFE Melbourne Aquarium Heide Museum of Modern which come to us at night, Art is staging Arthur Boyd's sometimes so vivid that we rope, German wheel, hand life as it's magically released series Love, Marriage and can smell, taste and touch, balancing, hula hoops, roue into the huge nine-metre virtual cyr, dance trapeze, tightwire aquarium where it moves and tumbling. like a real sea creature in the Until 6 December, NICA virtual underwater world. The National Circus Centre, experience is part of the all-new 41 Green Street, Prahran. Coral Caves tropical wonderland. 9214 6975. nica.com.au Other school holiday highlights include special presentations, St Kilda's Openair Cinema interactive animal encounters Ben and Jerry's Openair and 12-zones of discovery where Cinema features an you can learn about how fish assortment of the latest and swim, what they like to eat and greatest new releases, a how they survive in the wild. selection of sci-fi thrillers, cult From 20 December, classics and family favourites. SEA LIFE Melbourne Aquarium, On Saturdays and Sundays Corner King and Flinders Streets, entertainment also includes Melbourne. 1800 026 576 live music from an array of melbourneaquarium.com.au Melbourne's best up-and- coming artists. Top cricket at MCG Until Sunday 21 December, Attending the Boxing Day Arthur Boyd. Bride Watching Soldiers Fight 1958-59. Oil on composition board. 136.8x183.5cm. South Beach Reserve, Cricket Test at the Melbourne Shepparton Art Museum. Gift of Frank McDonald 1976.1976.1 © Bundanon Trust. From the exhibition Biidesat Heide Museum of Modern Art. St Kilda Esplanade, St Kilda. Cricket Ground is a Melbourne openaircinemas. com. au/ tradition and this year's match Death of a Half Caste, more to those which we carry melbourne/home between India and Australia commonly known as the with us through our waking is set to be just as popular. Brides. Painted between reality. Performers weave School holiday fun at Sea Life There's keen competition 1957 and 1960 after Boyd their way through their own A new Art Aquarium is a special between players from both travelled to central Australia, dreams, where things are feature of SEA LIFE Melbourne countries while fans can be it represents a defining uncharted and the world is Aquarium's school holiday equally as passionate. achievement in both the upside down. Twenty one program. After seeing hundreds 26-30 December, artist's career and in Australian artists will present high level of amazing tropical fish visitors Melbourne Cricket Ground, art of the 20th century. A circus skills on a range of can use their imagination to Brunton Avenue, milestone in the advancement apparatus, including aerial create their very own sea Richmond. 9657 8888. of local modernism and its ring, aerial straps, contortion. creature and watch it come to cricket.com.au

Weekend Australian, Australia 31 Jan 2015

Review, page 8 - 1,321.00 cm² National - circulation 238,138 (S)

Christopher Allen Art Gallery of South Australia), or The Reflected bride (1957-58, NGA), are in public collections, Arthur Boyd: Brides but most remain in private hands. Heide Museum of Modern Art. Until March 9 It will be interesting to see how this situation evolves over the next decade or so. One would T is a credit to the Heide Museum to be expect more works to come on to the market, presenting this important exhibition de- and it would be a good thing if the NGV could voted to Arthur Boyd’s Bride series, but acquire several more of the essential pictures in Ialso slightly puzzling, because one might the series, such as Half-caste child (1957) and have expected work of this significance to Bride running away (1957), as well as perhaps be shown at the National Gallery of Victoria. The Frightened bridegroom (1957-58) — this After all, the series is the one with which Boyd smaller version is much better painted than the established himself as one of the handful of de- larger one made in 1958, Bridegroom going to his fining Australian painters of the postwar years, wedding (1957-58) and one or two others from and it is one whose originality and evocative 1958. The subsequent pictures made in 1959 and power was never surpassed and perhaps not 1960 generally lack the focus and intensity of equalled in his later oeuvre. the earlier ones. In this regard it is comparable to Sidney We could eventually look forward to a room Nolan’s Ned Kelly series of a decade earlier: the or bay at the NGV grouping the core of the Kelly pictures made Nolan’s reputation, and Bride series, which would be given the promi- they remain arguably the most memorable nence it deserves and become accessible as part works he produced; there was a vast output in of the narrative of Australian art in the decades the decades that followed, but of disturbingly after World War II. But the fact the show is on variable quality. at Heide does not suggest the NGV has any- Both series have always been recognised as thing like this in mind. Perhaps it will take an outstanding contributions to the Australian art enlightened gift or bequest to set something like of their time, but the circumstances of their this in train. painting and subsequent ownership has meant Part of the problem seems to be a reticence Nolan’s Kelly series became better known. about the subject matter of the series, even a Most of them remained together in the collec- distinct angst about the artist’s treatment of Ab- tion of John and Sunday Reed until the latter original themes. Boyd, who had hardly seen any gifted a set of 25 to the National Gallery of Aus- Aborigines as he grew up, encountered the re- tralia in 1977 — confirming their place in the ality of their lives during a trip to the outback in history of Australian art. 1951. He was struck by a number of things: the Boyd’s pictures did not have the good for- poverty, the exploitation and the constraints tune of belonging to a single patron, but were under which they lived. But as an artist, he was sold to many collectors and scattered around especially gripped by the image of brides riding the world, and have only in recent decades to a wedding in the back of a ute, and he was begun to make their way back to Australia. This moved by the pathos of half-caste children who made it hard to see them as a series, and many seemed to belong neither to the indigenous nor of them have rarely if ever been shown since to the white world. their first commercial exhibitions. Outstanding There is a first picture in which some of these individual pieces, such as Shearers playing for a themes appear, but do not yet cohere into a po- bride (1957, NGV), Persecuted lovers (1957-58, Weekend Australian, Australia 31 Jan 2015

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etic narrative: Half-caste wedding (1954). It was all become, in Boyd’s imagination, universal only in 1957 that the impressions of the trip ma- symbols of love, desire, loss, loneliness and pain; tured in his imagination and produced two im- ultimately, images of the impossibility of whole- ages that are fundamental to the series. In one, ness and harmony. Half-caste child, we see what appears to be a Boyd was not an intellectual, a theorist or an white girl clinging to a black man; then we re- ideologue; he followed his imagination in alise she has black legs and feet, a strikingly sim- searching for images that could articulate his ple way of visually representing her mixed deepest instincts about the human condition. parentage. The narrative is clear: the weeping Here we can see that quite early in the series, he Aboriginal woman in the door of the hut behind abandons the half-caste theme and emphasises is her mother, and she is the product of an adul- instead the tension of black suitor and white terous relationship with a white man; the man bride. Time and again, he evokes longing, appe- from whom she seeks affection and who looks tite, separation and despair: the bridegroom rid- away so grimly is not her father. ing a horse that has the head of the bride; the The other remarkable early picture from the bride weeping over the dead groom. These are same year is Bride running away, in which the not subjects that can be decoded into a political girl — here represented as all white — is shown iconography, they are simply intuitive images of fleeing from an older man who is presumably the impossibility of union. her father, or at least her mother’s husband. The impossible conjunction is primarily that The third fundamental early picture in the series is Shearers playing for a bride, where the of man and woman, and commentators never girl, on the right, seems to be waiting for fate to fail to recall the painful memories he had of his decide which of the three black shearers will mother refusing his father entry to her bed- win her. The game of cards is played by moon- room. Other pictures allude, as his recent bi- light, with moths gathering around a lamp ography has shown, to a difficult time in his own life, when his wife had suffered a nervous above, just as the shearers are drawn to her. Her breakdown, and he was engaged in a secret liai- role is deeply ambiguous: she is impassive but son with another woman. It was typical of the for a certain melancholy; she holds a bouquet of way Boyd’s imagination worked that whatever flowers, while Boyd’s ramox — a dark horned he was experiencing would become grist to the beast symbolic of lust and base passions — is mill of his work. jumping up on her like a dog. The picture of lovers threatened by a man The reasons these pictures and themes have with a gun has been plausibly identified as re- caused unease today is perhaps to do with what flecting his dread of being found out by his might be considered an exaggerated treatment lover’s husband. Here, Boyd is the black bride- of Aboriginal features, though any exaggera- groom and the bride is his lover. It is significant tions need to be seen in the context of Boyd’s that the man with the rifle is represented with a expressionistic style in which figures from the black face; Boyd clearly wanted to exclude any visionary early pictures to the Nebuchadnezzar superficial and distracting reading of him as a series are all violently distorted. Perhaps there is white man threatening a black man. By this concern about the subject of the half-caste bride time the white and black colours were almost and the alienation entailed by her mixed-raced nothing to do with their original Aboriginal status, especially in light of what we now know referent, but primarily stood for the polar op- about the removal of mixed-race children. position of male and female. One can see how even Boyd himself, 20 This use of the colours black and white to years after the pictures had been painted, could signify the irreconcilable difference between be led by changing cultural attitudes to feel a lit- the lovers is much less to do with any observa- tle guilty about the series. He is reported to have tion about the difficulties of relations between said he could have been more explicit or force- individuals of different ethnic and cultural ful in his commentary on Aboriginal disadvan- backgrounds than an archetypal symbol of tage. On the other hand some recent admirers what is antithetical and yet complementary, of Boyd’s work and of this series in particular like male and female or the moon and the sun. have tried to argue for a politically engaged Indeed the more we look at these pictures, reading of his images. the more we find the overt subject transform- But Boyd was a poetic, not a political painter, ing into poetic ideas of more general conno- and the truth is the series is not primarily about tation. The impossibility of the union or the plight of the Aborigines any more than the synthesis of male and female itself transcends Nebuchadnezzar series is literally about the the objective distinction between the sexes and Biblical character. The figures of the shearers seems to become a more universal principle and the brides and the half-caste children have within the human subject, something like Weekend Australian, Australia 31 Jan 2015

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j, g Jung’s idea of the animus and the anima. The pictures, ultimately, seem to speak of the irreconcilable duality within the human Nicholas Rider soul: the dark and the light, the masculine and the feminine, the assertive and the receptive. In ONE CAN SEE a classical and humanist view of the world, these elements may come into a harmonious HOW EVEN BOYD synthesis or rhythmic alternation. In Boyd’s bleak post-Christian vision of a world populat- COULD BE LED BY ed with suffering, guilty sinners, they are eternally at odds, eternally in tragic opposition. CHANGING So the Bride pictures, although initially inspired by glimpses of Aboriginal life, are far CULTURAL wider and more general in meaning. This cer- tainly does not mean Boyd was indifferent to ATTITUDES TO the suffering of Aborigines. In the end his greatest tribute to the Aboriginal people was FEEL A LITTLE not in making any superficial and tendentious statement about their social situation, but rath- GUILTY ABOUT er in adopting them as powerful symbols of universal human experience and suffering. THE SERIES International Round-up

NEW YORK Museum of Modern Art The Paris of Toulouse-Lautrec: Prints and Posters MoMA is exhibiting the works of French artist, Henri de Toulouse-Lautrec. The exhibition concludes on March 22.

PARIS The Louvre Animals and Pharaohs — The Animal Kingdom in Ancient Egypt This show explores the bond between the

Egyptians and the animal world. On display are TRUST

more than 430 objects, most of which come from the Louvre collection. Runs until March 9. BUNDANON

LONDON © The National Gallery Bridegroom waiting for his bride to grow up Monet: The Water Garden at Giverny (1958), right; Shearers This free exhibition displays the National playing for a bride Gallery’s holdings of Monet’s Giverny paintings. (1957), below It is the first time in 17 years these pictures have been shown together.

LONDON The British Museum Ancient Lives, New Discoveries Discover the hidden secrets of eight mummies at the British Museum’s latest exhibition. Ends April. Weekend Australian, Australia 31 Jan 2015

Review, page 8 - 1,321.00 cm² National - circulation 238,138 (S)

Weekend Australian, Australia 31 Jan 2015

Review, page 8 - 1,321.00 cm² National - circulation 238,138 (S)

NEW YORK Museum of Modern Art The Paris of Toulouse-Lautrec: Prints and Posters MoMA is exhibiting the works of French artist, Henri de Toulouse-Lautrec. The exhibition concludes on March 22.

PARIS The Louvre Animals and Pharaohs — The Animal Kingdom in Ancient Egypt This show explores the bond between the

Egyptians and the animal world. On display are TRUST

more than 430 objects, most of which come from the Louvre collection. Runs until March 9. BUNDANON

Review, page 8 - 1,321.00 cm² National - circulation 238,138 (S)

Copyright Agency licensed copy (www.copyright.com.au) ID 366873777 BRIEF HEIDE INDEX 1 PAGE 4 of 5 Weekend Australian, Australia 31 Jan 2015

Review, page 8 - 1,321.00 cm² National - circulation 238,138 (S)

Half-caste child (1957), top; Bride running away (1957), left © BUNDANON TRUST Canberra Times, Canberra 31 Jan 2015, by Sasha Grishin

Arts & Entertainment, page 19 - 675.00 cm² Capital City Daily - circulation 36,829 (MTWTFS-)

Copyright Agency licensed copy (www.copyright.com.au) ID 367206142 BRIEF HEIDE INDEX 1 PAGE 1 of 2 Boyd’s powerful Brides reunited

Arthur Boyd: Brides problem of attempts made to read butterfly in his beard, are motifs that Heide Museum of Modern Art, the series as a narrative on par with can be traced back to Flemish art, 7 Templestowe Road, Bullen, Victoria the continuous narrative principle as which Boyd had studied in the Closes March 9, Tues – Sun found in Nolan’s Kelly series. As in collection of the National Gallery of 10am – 5pm Boyd’s preceding works, although the Victoria. The exaggerated size of the Reviewed by Sasha Grishin figurative and narrative aspects are feet and hands, and the curious always strong, there exists no literary dislocation of the features of the face, arlier in 2014 the National equivalent, only a series of lyrical are all reminiscent of early Picasso. digressions on a theme, or in the Gallery of Australia held its The effective power of the Brides magnificent Arthur Boyd: words of the art historian, Franz Philipp, a ‘‘dream play’’. paintings lies in the fact they Agony and Ecstasy transcend mere commentary on the Eexhibition, which was largely drawn The leading theme of the series is an existentialist notion of frustration suffering of the Aboriginal peoples, from Boyd’s gift to the gallery of and serve as a broader comment on thousands of works from his own – the figures are endlessly waiting, but are self-conscious of their own humanity. collection. Although Boyd’s gift to the In a way, the tormented half-castes nation was outstanding in its size and futility. Boyd wrote of his own response to the Aboriginal peoples he are no different from the tormented depth, covering much of his work whites, both suffer through their from the late 1930s through to the came into contact with: ‘‘They are forced into this position and it has a attempt to survive, and the series can early 1970s, an obvious gap was his be interpreted as a broad Brides series of paintings. I recall serious effect on you, when you are not used to it ... you suddenly come existentialist comment on the Boyd telling me the Brides sold well ‘‘everyman’’. and in those days he was not in a against it after imagining that they are noble savage types living in the The Brides are without doubt a key financial position to put aside works group of paintings in the history of for his own collection, as he was to do bush. In their rites and in their later. dances ... there is a sort of rhythm Australian art and in Arthur Boyd’s The Brides consists of between 30 but there isn’t any fire in the same development as an artist. However, and 40 paintings executed mainly way as the Africans. It is an Australian seeing them now half a century later, between 1957 and 1960, whose full subject – I suppose – because they how do these paintings appear as title is Love, Marriage and Death of a are, as far as I know, the only native, works of art? Half-caste. It was the series which aboriginal race that has this In them there is a combination of firmly established Boyd’s reputation tremendous softness and passivity.’’ lyricism and dramatic intensity, but as an artist nationally and In a key painting in this series, this is seen through the prism of internationally. The early paintings in Shearers Playing for the Bride, 1957, appropriations from Chagall and the series were first shown in we see the half-caste child in her Picasso. The brushwork is bold and Melbourne at the Australian Galleries wedding dress, with the bridal train rough in places, the in 1958, then some of the paintings pinned down by the feet of the draughtsmanship uneven. In the were included in the notorious shearers, who are trampling on her strongest pieces, including Shearers Antipodean show of the following dress together with the beast. The Playing for the Bride, 1957, year, and the supplemented series bunch of flowers held by the bride is Bridegroom Going to His Wedding, was exhibited to considerable critical a patented hallmark by the Russian 1957-58, Persecuted Lovers, 1957-58 acclaim in London at the Zwemmer artist Marc Chagall. In Chagall’s art, Gallery in 1960. and Phantom Bride, 1957-58, there is flowers are a sign of celebration, of a pure and intense power. Other This exhibition at Heide, John and joy in marriage or the happiness of paintings appear as overstated, Sunday Reed’s original property on lovers, but for Boyd’s bride the somewhat repetitive and a little the outskirts of Melbourne, is the flowers are a sign of funerary hollow in their pictorial rhetoric. most comprehensive attempt to date bereavement. The exaggerated Among the Brides are great to bring together the key paintings of insects, which appear on the figures, paintings, but they are very much of the Brides for a timely reassessment. the 1950s and Boyd was to develop The Brides suffers from the such as the beetle on the foot of the extreme left-hand shearer or the into a much finer artist later in life. Canberra Times, Canberra 31 Jan 2015, by Sasha Grishin

Arts & Entertainment, page 19 - 675.00 cm² Capital City Daily - circulation 36,829 (MTWTFS-)

Unlike Nolan’s early Kelly series, with which the Brides are so frequently compared, Boyd’s Brides do not transcend the period of their creation.

Shearers Playing for a Bride, 1957.

Persecuted Lovers by Arthur Boyd, 1957.