A Field of Colour Tony McGillick – A Retrospective 9 JULY – 10 SEPTEMBER 2018 A Field of Colour Tony McGillick – A Retrospective 9 JULY – 10 SEPTEMBER 2018 A Macquarie University Art Gallery exhibition A Macquarie University Art Gallery exhibition

FIND OUT MORE Macquarie University Art Gallery The Chancellery 19 Eastern Rd Macquarie University, NSW 2109 T: +61 (2) 9850 7437 artgallery.mq.edu.au Opening hours: Monday – Friday 10am – 5pm

CRICOS Provider 00002J J3230 ACKNOWLEDGEMENTS CURATORS: We wish to thank the following MACQUARIE UNIVERSITY ART GALLERY Rhonda Davis, Lauren McGillick individuals and institutions for their The Chancellery 19 Eastern Rd and Paul McGillick tremendous assistance and support in the Macquarie University REGISTRAR: loan of works: Brent Wilson, Art Gallery NSW 2109, Australia Emily O’Neill of ; Charles Nodrum T: +61 (2) 9850 7437 and Kate Nodrum, Charles Nodrum EXHIBITION COORDINATOR: Art Gallery; Imogen Hourn, artgallery.mq.edu.au Rhonda Davis Karen Johnston and Raymond Foung, ESSAY AUTHORS: IBM Australia; Ross and Irene Langlands; A FIELD OF COLOUR Rhonda Davis, Lauren McGillick, Tabatha Lovelace; Elizabeth McGillick; TONY McGILLICK – A RETROSPECTIVE Paul McGillick and Eric Riddler Tom McGillick; Ieva Kanepe, 9 July – 10 September 2018 PHOTOGRAPHY: Senior Registrar, Loans, and Macquarie University Art Gallery Effy Alexakis, Photowrite Michelle Stockman, National Gallery of Victoria; Elena Taylor, Senior Curator CURATORIAL INTERN: and India Zegan, Collection Management RESPONDING TO THE WORK Binqian Ding Officer, University of New South Wales OF AUSTRALIAN VISUAL ARTIST CATALOGUE DESIGN: Art Collection; Tania Creighton, TONY MCGILLICK Paper Monkey Curator/Manager and Janet Ollevou, Assistant Curator, UTS Art, MEREDITH BRICE ON THE TRIANGLE COPYEDITOR: University of Technology, . IN THE WORK OF TONY MCGILLICK Jacqui Stone Thank you to Effy Alexakis for her 19 July – 24 August 2018 INSTALLATION: brilliant photography, Lester Bunnell Macquarie University Library Led by Cameron Oldfield at Paper Monkey for his outstanding Exhibition Space Mark Davis catalogue design, Cameron Oldfield LIMITED EDITION PRINT RUN: for his fine and careful attention Published by Macquarie University 400 to the installation, Jacqui Stone for Sydney 2018 her meticulous editing of the text and to our wonderful colleagues at ISBN: 978-1-74138-471-0 Macquarie University: Kate Hargraves, All rights reserved. Apart from fair Leonard Janiszewski, Christina Levada, tdealing permitted under the Copyright Emily O’Neill and Andrew Simpson. Act 1968, no part of this publication To David Freeman from Burchall may be reproduced, stored in a retrieval Art Transport and Stephen Copland system or transmitted by any means for all their support. electronic, mechanical, photocopying, Meredith Brice for all her fantastic recording or otherwise without the prior contribution in producing new work permission of the publisher. for this exhibition as a response to the practice of Tony McGillick. Thank you again to International Conservation Services for their valuable contribution to this exhibition project. Thank you to Ian Milliss for his ongoing support and for opening the exhibition. A Field ofA FIELDColour OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 1 Tony McGillick – A Retrospective 9 JULY – 10 SEPTEMBER 2018 A Macquarie University Art Gallery exhibition Curators: Rhonda Davis, Lauren McGillick and Paul McGillick

COVER: Tony McGillick (Australia, b. 1941, d. 1992) Billboard (detail) 1963 synthetic polymer paint on canvas 92 x 107 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 2 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Foreword

We are extremely pleased to be We wish to thank and acknowledge collaborating with International the ICS team’s specialised and Conservation Services (ICS) for our major dedicated work, especially given exhibition this year, A Field of Colour: the brief time frame that was available Tony McGillick – A Retrospective. to perform this important recovery: The remarkable ICS conservation Matteo Volonte, Senior Paintings team has helped us to present this Conservator; Adam Godijn, important research exhibition that Senior Conservation Manager; recounts the life and work of one of Eden Christian, Graduate Paintings Australia’s foremost abstract artists, Conservator; Suaty Gutiérrez, Tony McGillick (1941–92). The exhibition Paintings Conservator; and is a testament to ICS’s expertise and Alexandra Taylor, Conservation Assistant. knowledge in returning works to their near original state. Before treatment, RHONDA DAVIS the paintings lacked lustre and displayed the effects of age over time, but the ICS team have managed to reveal McGillick’s shimmering textured layers, allowing viewers to digest and appreciate the nuances of the artist’s sojourns into abstraction. A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 3

CONSERVATION OF THE As conservators we strive to preserve INTERNATIONAL MCGILLICK COLLECTION the integrity of the artwork and the CONSERVATION SERVICES Adam Godijn, Senior Conservation artist’s intent. As with many artists, International Conservation Services Manager at ICS, comments: Tony’s work changed over time. celebrates 30 years of playing a significant ‘As conservators we are always excited One of the challenges in conserving this role in preserving Australia’s heritage. to be undertaking exploration into an collection has been to accurately reflect As Australia’s largest private artist’s work, and this process has been the changing artist’s intent. Tony used conservation practice, with a staff of 30, a particular delight with Tony McGillick’s greater freedom of brushstrokes and including 24 professionally qualified stunning artworks. Conserving these variations with more vibrant colours conservators and collection managers, artworks has given us the chance to study in later years. The resulting beauty we bring together our diverse the construction, brushstrokes, colours of flat colour and delicate surfaces specialisations and skills in paintings, and materials, which all help give us presents major conservation challenges. paper, objects, sculpture, furniture, an intimate view into the artist’s hand. Despite Tony’s changing approaches metals, archaeological conservation and collections management. McGillick’s commonly used materials to his practice over a lifetime, one common theme that emerged through Through working closely together we include cotton canvas stretched on timber, are able to provide a unique conservation oil paint, acrylic, wax and pigments. our conservation work was the revelation of vibrant colours and depth. All of this service that provides practical solutions Incorrectly used, these materials can to the highest international standards. often fail, sometimes spectacularly, was hidden by layers of dust and dirt yet Tony’s artworks have withstood accumulated over years of storage We are proud to be the Official the ravages of time and responded well and display. Gloss, colour and texture, Conservator to the National Trust, to careful treatment. This stability of such wonderful features of Tony’s work, the Preferred Provider to White Rabbit the artworks speaks to us about Tony’s have been satisfyingly revealed Gallery and the Conservation Partner material knowledge and his ability to through the conservation process. for Artbank. navigate their interacting sensitivities. ICS is very proud to be part of the Tony McGillick retrospective, and we wish to thank Rhonda Davis, Senior Curator; Andrew Simpson, Honorary Fellow; and Lauren McGillick and Paul McGillick. 4 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 5

LEFT: Tony McGillick (1941–92) Untitled [side profile of man holding mug] circa 1957 ink and wash on pastel drawing board 30.8 x 23 cm Collection Paul McGillick ABOVE: (c) Estate of Tony McGillick Contact sheet portrait photograph of Tony McGillick Photography Effy Alexakis, Photowrite Collection Paul McGillick 6 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

From idea to vision TAKING PAINTING SERIOUSLY

In 1978, there was a major survey In other words, the context of exhibiting Painting was a serious business – and an exhibition of the work of Tony McGillick paintings was crucial: it had to support intellectually rigorous one. While this at the National Gallery of Victoria (NGV), the seriousness with which the paintings retrospective exhibition clearly reveals curated by Robert Lindsay. I wrote the had been made; otherwise, the values the intuitive and strongly emotional catalogue essay and began with a quote which informed those paintings risked character of Tony’s work, the actual from the American abstractionist, being compromised. So, perhaps it practice was highly rational and Clyfford Still, a painter Tony admired. is not so surprising that, apart from had to be unambiguously centred on Now, for the first major survey of Tony’s solo shows at Central Street Gallery in an ‘epistemology’ of painting: a clear work since that exhibition,1 it is worth Sydney and Pinacotheca in Melbourne understanding of what painting was, revisiting what Still had to say about in 1968, Tony never exhibited except for what made it unique and how it related retrospectives (in the catalogue to a a number of group shows.3 At the time of to the great Western tradition of survey of his work 1936–57). He presented his premature death in November 1992, easel painting. Crucial to this was a clear the work, he wrote, with ‘the hope to he was preparing his first solo show since acknowledgement of one’s influences make clear its conceptual germination 1978 at Sherman Galleries in Sydney and a commitment to confronting those of idea and vision, without which all art – a show which was to signal his total influences and working through them. becomes but an exercise in conformity commitment to painting and his final Which brings me back to Still’s 2 with shifting fashions or tribal ethics’. break with advertising from which he remarks because, while some Still’s comment reveals the fiercely ethical had earned an income, more or less artists can bear the scrutiny of conviction which governed his practice. without a break, throughout his adult life. a retrospective exhibition, many can’t. It was a conviction that Tony shared, This wariness about the context of Still implies that there has to be as was clear in a personal statement showing the work extended to selling it. a consistent through line, a steady in the 1978 catalogue: Objecting to the commercialisation investigation of how the idea Painting pictures is a separate and of art, he wouldn’t sell a painting becomes vision – how consistent different activity to displaying them, without the guarantee that it would intellectual premises become realised which is an anomaly I have never never appear on the secondary market. as concrete visual artefacts marking comfortably resolved. However, I am As a consequence, he sold little except the stages of an ongoing artistic convinced that painting, as the to institutional collections. journey of exploration. If this is absent, priority activity, deserves to be a retrospective will expose the lack of presented in sympathy with its integrity in an artist’s œuvre. initial premises and not, as is so often the case, as a commodity, a teaching aid or interior decoration. A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 7

ABOVE: Tony McGillick (1941–92) Quattro 1989 oil and wax on canvas 198 x 289.5 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 8 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

I use the word ‘integrity’ advisedly. Key elements of that approach included PAINTING IN SERIES First, it describes how an artist’s output the idea that what mattered was not what Tony always painted in series, over an entire lifetime holds together art meant, but what it did; that painting with each series investigating as evidence of a single-minded quest. was essentially non-referential; that there a particular proposition. Once again, But it is also applicable to individual is a constant tension between what is though, the value of this retrospective works of art which – if we can say represented and how it is represented; is that we can see how certain themes of them that they are successful – and the importance of ongoing link the whole career and how elements exhibit integrity or, to use Clement critical reflection – that art cannot take from one series get ‘cannibalised’ Greenberg’s preferred term, unity. its medium for granted and that it is in subsequent series. But overall ‘Unity,’ he said, ‘is the first requirement in a constant dialectical relationship I think we can see a shift over 25 years 4 of a work of art.’ And elsewhere to the past with an obligation to from the polemical to the personal, he comments: ‘The task of art is to constantly ‘make it new’ as Ezra Pound from the institutional to the domestic. impose the greatest possible organic famously said. unity upon the greatest diversity.’5 In the 1978 catalogue, Tony drew This suggests a didactic approach attention to the ‘procedural nature It always struck me how comprehensively and his early work was indeed didactic of my development through Tony had internalised Greenberg’s – setting up propositions in order various influences and techniques’. position on modernism. Certainly, Tony was to test them. Up until the late 1970s, This process begins with the first an admirer. In 1980, when Greenberg Tony’s paintings were based on (barring juvenilia) series of paintings was in Sydney for the Dobell Lecture, working drawings and transferred (and sculptural numbers, such as Five Tony organised a kind of seminar between to canvas largely without any change. and Two) which show him confronting Greenberg and a group of local artists at Nonetheless, there is from the beginning the influence of Jasper Johns: the use the former Central Street Gallery space. a strongly personal element, a gestural of a token iconic image stripped of any But was it a case of Greenberg simply and intuitive character, a delight in narrative content through overuse to act articulating an approach which Tony colour and in the materiality of painting. as the ‘subject’ of the painting, and the use had already arrived at independently? of oil paint and wax mixtures (encaustic) as an expressive impasto material. (In fact, Sharman Repeat and Sharman 1–6 from 1964 anticipated this move with the use of the well-known Jimmy Sharman Boxing Troupe as a token subject and RIGHT: expressively painted in oil on canvas.) Tony McGillick (1941–92) Autograph 1991 oil and wax on paper 126 x 96.5 cm; 146 x 114.5 x 3.5 cm framed University of New South Wales Purchased with funds from the U Committee, 1993 © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 9 10 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Tony’s token icon was the front cover The series was flagged by Jasper’s Forming a kind of subset to the of Time. The magazine’s covers then were gesture (1966), a four-part construction corner-cut square constructions were far more expressive than its present-day of corner-cut squares each in an five constructed (but non-modular) photographic covers. And it featured individual tone but with subtle paintings beginning with Spraygun the font, Times Roman (later to reappear modulation of the surface and the virus (1969), which incorporated in Tom’s Toy Box, 1986, and some barest suggestion of tonal depth. the cut-square shapes but which were other pictures), which was an ironical Particularly interesting is Republic, dominated by a powerful V-shape. comment on Tony’s dual personality painted for the didactically driven Black For these, primary colours were applied as painter and advertising artist – and White Show at Central Street Gallery using a spray gun (possibly inspired irony also being a characteristic of Johns. in 1967. Tony subsequently (in 1970) by James Doolin’s arched paintings The encaustic medium ensured that painted over this three-panelled shown at Central Street Gallery everything happened on the surface black acrylic and wax painting in in 1970, but of which Tony had (no illusion of depth with its implication of encaustic green, leaving the black foreknowledge) to set up subtle tonal representation), while the primary colours as under-painting and introducing shifts across the surface. These paintings – again anti-illusionist – with the odd an expressive gesturalism in the were concerned with reconciling star hinted at the pervasive Americanism paint application – “to take it out of the objective and subjective perception which Time magazine embodied. schoolroom” as he later put it, making it – namely, what we actually see and The next two series, in fact, overlapped. less didactic and more expressive. how the brain interprets what we see. Paintings like Toledo, Shchukin (1966) The corner-cut square, of course, and Untitled (1966) used primaries, strongly implies an isometric box and, but in a flat, non-expressive all-over therefore, depth. But the V-shape is treatment and employing ‘jellybean’ uncompromisingly two dimensional. shapes as their ‘subject’ which were At the same time, there is an implied a cross between an arrowhead and gravitational disruption, a kind of a split tail. At the same time, Tony began embodied vortical impulse (as is also exploring modularity, using squares the case with the modular paintings) with one corner cut off and the pieces as the massive V-shape seems bolted together to make up a dynamic about to pull the whole thing family of forms – inspired by the sleeve around and down. So, there is both in Titian’s Portrait of a Man (A Man with a an axial and a perspectival tension Quilted Sleeve) and possibly encouraged confronting the viewer, who then by the English painter John Walker, becomes a participant in trying to who was then using a repeated abstract resolve a seemingly visual paradox. image derived from Velásquez. In this way, the experience of the painting becomes an analogy to how we visually process the everyday world – as we constantly tussle with often apparently contradictory visual cues. A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 11

All these constructed paintings dispense Paintings like Tabby’s Tantrum (1978) and BEYOND THE DIDACTIC with the traditional ‘window frame’ Manœuvre (1978) are ‘worked’ paintings, The decade after the 1978 survey show at to stand alone as non-referential no longer based solely on preliminary the NGV was not exactly a fallow period, visual statements. Moreover, they create drawings but the result of constantly but it was certainly a very private and their own language (language being reworking the surface. These paintings introspective one as Tony took on another Johnsian preoccupation) hint at a frame within a frame with the challenge of finding his own voice, where the parts form a group identity angled bars pushed to and sometimes of going beyond the polemical. If art – or language – which is greater than beyond the edges with a densely painted was autonomous, then this surely implied the sum of the parts themselves. internal field. They are personal, they are that the artist was also autonomous The small group of unstretched canvases domestic and – while they continue and not a slave to ideology. beginning with Imogen’s ensign (1973) and to be all-over paintings and use the There were long, late-night hours in Bivouac (1974) mark an almost entropic remnants of earlier formal elements, the studio (initially on the first floor conclusion to the various investigations even reintroducing the Times Roman of the former Central Street Gallery so far. Or perhaps they represent a kind font in some pictures like the later Tom’s building in downtown Sydney; later in of muted implosion because they are Toy Box (1986) and Quattro (1989) the downstairs space) after a day of work made up of the same canvas segments – they leave behind all vestige of in the advertising studio. It was a time as the constructed paintings, but with the didactic. Quattro, in fact, is almost of rigorous self-questioning. Not all of the colour stained into the canvas, a summing up. ‘Quattro’ probably the work which resulted was successful and pinned casually to the wall – refers to the Quattrocento – the 1400s but when it was – some examples being as though beyond resolution as orthodox in Italy and the painting of that era Tom’s Toy Box, Starters Orders (1984), stretched paintings. But their very – which, for Tony, was the great Watagan (1984) and Talisman (1992); ‘disarray’ seems deeply personal and reference point, dominated as it was by all oil and wax on canvas – it shows a strongly emotional. They represent Piero della Francesca, seen by Tony and strong all-over unity, with generally richer an end, but also a beginning. many of his contemporaries as the key and more extroverted tones and a new, proto-Modernist. So, the typographic celebratory freedom in applying the paint. ‘Quattro’ is code for where this painting has come from, along with the three cut-corner squares which now merge with his newly liberated, scumbled and high-keyed surface. 12 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

The oil and wax on canvas paintings This reaches its apotheosis in the final few They are also a celebration of colour. of the 1980s often employ an explicit years (from 1989, but primarily 1991–92) Tony was always a gifted colourist; ‘frame within a frame’ along with with the oil and wax on paper paintings. his late paintings liberate colour but vestiges of the cut-corner squares, Having never worked on paper before – also remind us that in a crucial sense, even explicit isometric box forms excepting, of course, the advertising work, colour had always been the true subject whose implied depth locks into some caricatures and theatre posters of his painting. a dynamic tension with the all-over, – Tony relished the luminosity which Impulse, material and expression come richly coloured and deliriously free the white paper support provided. together in these late oil and wax on paper paint work. Epitomising these themes It was also the perfect collaborator as works in a totally satisfactory conclusion and highlighting Tony’s infallible Tony’s newfound painterly spontaneity to a career tragically cut short and sense of scale and instinctive feel played out a dance with the orthogonal promising so much still to come. for the unity of a picture are the structural elements which had persisted two square oil and wax paintings right from the beginning. The largely PAUL MCGILLICK on canvas from the IBM Collection square formats sustained that perfect JUNE 2018 from 1990–91. Especially when seen sense of scale – now smaller and more as a pair, these paintings highlight how domestic than institutional – as the ENDNOTES he would take a set of certain given pictorial elements reverberated 1 A smaller survey curated by the late William formal elements and explore a painterly within the new ‘window’ of the frame. Wright was mounted shortly after Tony’s death by Sherman Galleries in Sydney in March 1993. proposition exhaustively, except now in For me, these late works are sublime, the spirit of free inquiry rather than in Then, in November 2000, Tom Langlands not just for their painterly qualities, curated a small survey entitled The Sense of the earlier didactic mode. but also for the way they reveal, in a Making: Tony McGillick – Selected works from If the decade after 1978 was one totally new context, Tony’s outstanding the 60s, 70s and 90s. The show consisted of 24 works, including the sculpture, 5, and was held of struggle, one thing Tony never graphic ability – an ability previously in Tony’s Annandale studio. lost was an infallible sense of scale restricted to graphic design and 2 Clyfford Still 1959, introduction to the catalogue for and balance, an instinctive feel for colour, a few caricatures. Their public exposure Paintings by Clyfford Still, Buffalo Fine Arts Academy. an unmistakable individuality and has been limited, but Elwyn Lynn, 3 These included exhibitions during his years in a capacity for pictorial invention. reviewing the Sherman Galleries London: Young Commonwealth Artists’ Exhibition, RBA Galleries, London and Commonwealth Gallery, show in February 1993, called them Edinburgh as part of the Edinburgh Festival, 1962; ‘masterpieces’.6 These late works on Group Exhibition, New Vision Gallery, London, 1963; paper are exhilaratingly calligraphic Australian Painting and Sculpture in Europe Today, in inspiration, foregrounding an impulse Folkestone Art Centre, England, and Städelsches Kunstinstitut, Frankfurt, Germany, 1963. which had previously emerged 4 Cited in Donald B Kuspit 1979, Clement Greenberg: only intermittently – for example, Art Critic, University of Wisconsin Press, Madison, in the typographical gestures of Wisconsin, p. 30. the early paintings. 5 Cited in Kuspit, ibid., p. 34. 6 Elwyn Lynn 1993, ‘Capturing the new shape of abstraction’, in Weekend Review, February 20–21. A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 13

BELOW: Tony McGillick (1941–92) Spraygun virus 1969 synthetic polymer paint on canvas (shaped canvas) 163.6 x 243.6 cm (irreg.) National Gallery of Victoria, Melbourne Purchased 1986 © Estate of Tony McGillick Photo: National Gallery of Victoria 14 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Talisman

A talisman, an object with no use but One of the last works Tony McGillick Tony wrote a course of letters addressed whose loss, standing in for all others, painted the year of his death was a picture to his beloved family back home while would be vast. he titled Talisman. Speculating about living in London. This is the first MICHELLE DE KRETSER the choice of this title is fruitless but, publication of the letters held within held within the context of de Kretser’s the collection of Tony’s brother Paul. latest novel The Life to Come (2017), As a group, the letters sketch out the work metaphorically links with biographical material showing the the presence of the artist. The picture influence of the London years on his contains softly muted colours sweeping whole practice. The letters impart an across what seems like vast areas of inventive form of visual scriptwriting, the surface in a slow, rhythmic beat. embellished with sketches, graphics Encoded inscriptions lay deep within and stencilling. They fluently stitch the surface; it is a picture not meant to the experiences of a young artist be read but relished for its innate powers. amid a swinging London art scene. In 1960, Tony McGillick, at the age of 19, Stylistically hermetic in their form left Australia for London and stayed for and consistency, the letters cover five years with the intention of infiltrating a range of topics – the climate, landscape, the London art scene, an intention he travel, people, work and exhibitions. felt imperative in becoming a successful From the grind of making a living painter back in Australia. The London through advertising work at Benton years had a lasting influence; they led him & Bowles to the heights of meeting the to the wonders of discovery and released Australian ambassador to Germany him from the shackles of parochialism at the Städel Museum, the letters bring he found hard to bear in Australia. a narrative to situations as they were happening, conveying a sense of the now. A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 15

The letters reveal a confident and forensic McGillick conveys the mood and Tony rented several studios which also attention to detail. Wanting to become atmosphere of bohemian life in London, combined living quarters − Mill Hill Road, part of the art world as it transpired from Carnaby Street cool to the lively Acton Town; Ormiston Avenue; in London essentially amplified but squalid scenes of the Ladbroke 129 Ladbroke Grove, Kensington; Tony’s practice. He could foresee Grove area. Each letter wields an evolving and Flat 1, 104 Chepstow Road. The Acton this period as activating future career narrative that captivates the reader flat was ‘tiny, little … with roses on opportunities back in Australia. in wanting to read and know more. the wallpaper’ but the space provided And pursuing exhibiting possibilities McGillick relishes the whole idea of being McGillick fertile ground for refining both in London and Europe was crucial a painter living in London – soaking up his technique and in producing the in securing this trajectory: ‘If I have the atmosphere and the latest ideas, larger scaled paintings necessary to something settled in London then and engaging in the seriousness of be taken seriously by London dealers. I’ll contact an Australian gallery to follow the interactions. All that compelled him to Paintings are getting more fluid up as soon as possible with a show there. stay for that five-year period despite some & lively with figurative passages A London show opens the doors in of the hardships he faced. Conveying the coming back again, mostly in red, black, Australia and holds a lot of weight solidarity among the Australian artists ochre, white. I think gradually improving 1 in the public eye.’ living at Ladbroke Grove, he wrote: in technique and certainly in size The Australians who live around (now doing 5’ x 5’ and one 6’ x 5’).3 about are a terrifically close clan Tony devised a course of action to and this sort of unity has many benefits. seek a range of exhibition possibilities One shares ideas, is open to criticism especially allied in group shows of at all times and the competition is fierce. : I enjoy this atmosphere and work well in it ... The talk is all paint and any diverting I’ve managed to get into another group show. subjects would be considered in there [sic] The Young Commonwealth Exhibition. relationship to art only.’2 Jim [Cook] has a big piece ready as well and today we must somehow get them into Piccadilly. Even so its [sic] not as bad here as at home where one would be ridiculed for carrying a painting through the streets.4

NEXT PAGE RIGHT: Tony McGillick (1941–92) Billboard 1963 NEXT PAGE LEFT: synthetic polymer paint on canvas Photograph of Tony McGillick 92 x 107 cm Ormiston Avenue London © Estate of Tony McGillick circa 1963 Photography Effy Alexakis, Photowrite 16 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 17 18 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

He proceeds to let the family know about Anyway it worked out and I was Week by Week more pictures are produced the success of Brett Whiteley’s paintings more or less ready when she arrived. and the studio is packed with canvases. being shown in London and the impact Suitable [sic] impressed she asked me Very happy with the way things are going on the overall reputation of Australian art to enter a large picture in “The Survey just now and will approach the galleries on the international stage: of Contemporary Australian Art” in JAN. or FEB. with ideas of a show in Last week a friend of mine Brett, I may which will be a very significant show ’64. I feel pretty confident of some success 8 have mentioned him before, opened a one just at this time.6 on that score. man show in a leading London gallery. The reception for Australian art had At the Ladbroke Grove studio, Its [sic] quite an achievement for one reached zenith proportions in London McGillick had been frustrated by so young (22) and it made a good mark between 1963 and 1965. Exhibitions of earlier efforts and began to re-use 5 for Australian Painting overall. Australian artists at the Whitechapel painted canvases, producing paintings On Tony’s birthday, 22 February 1962, Art Gallery and Tate in London were such as Billboard (1963) and Sharman news of further exhibition possibilities ardently acclaimed by both critics and Repeat (1964); blending the suggestions was afoot. Through Brett Whiteley, the public. McGillick wrote: ‘The critics of abstract with figurative elements. Tony was introduced to a London are raving about Aussie painting and He wrote: art dealer, who chose a large picture of Aust. Culture is the high fashion here Been working through a series of pictures his for the group exhibition Tony refers at the moment. Plenty of big names based on Jimmy Sharmans boxing troupe, to as the ‘Survey of Contemporary in the show: Nolan, Boyd, Blackman etc. a subject that seems inexhaustible. Australian Art’. Very prestigious.’7 The picture going now is a giant of A week before a woman rang me who After leaving Acton, Tony found it 7’ x 5’ which Id like to be the finale 9 happened to be an Art Dealer who is at difficult to find studio space but did secure to the years work. present organizing some large exhibitions by accident but with much commotion On the back of Billboard, elements of of Australian Art. Well, apparently Brett the Ladbroke Grove studio. The paintings Graham Sutherland’s markings, stripes, had got her onto me and she wanted to by 1963 were progressing well, no doubt and blocks of muted earthy colours can come out to see the work. Wow! But she aided by the Ladbroke Grove studio, be seen; these are also reminiscent of gave me only a week to get ready! which McGillick described as a space McGillick’s close friend Brett Whiteley’s So, I really had to get going! Had to ‘filled with light’ and surrounded works of the London period. frame things and mount gouaches etc. by artists, writers and musicians. Several pictures to finish up as well it In this environment, Tony became was all pretty hectic and I didn’t get charged even more so. much sleep that week. A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 19

In 1963, some Australian artists living Tony had two paintings in the exhibition: The next day, Thursday, was the in London, including Michael Johnson, Icarus, a four-feet by four; and Prometheus, official opening and spent the morning were selected for the exhibition a fair-sized painting at five feet by five. making ourselves as presentable as Australian Painting and Sculpture in The sizes were in keeping with the London possible for the occasion. Some task Europe Today, which was presented at the currency of exhibiting works in such for me as I had come in rather shabby one of the most prestigious and significant shows as Situation: An Exhibition clothes not expecting such attention art museums in Germany, the Städelsches of British Abstract Painting that as all this … Anyway we turned up Kunstinstitut in Frankfurt. Tony made commanded large abstract paintings at the gallery and were immediately the journey to Frankfurt accompanied that retained flatness over the picture. thrust before the Lord Mayor … All the by his close friend Fred Cahill and Linked to Greek mythology, while I was conscious of my shabby Australian painters John Howley, the titles did not reflect the content appearance in comparison with now 86 and continuing to exhibit with but were rather emblematic of the the grey stripes and tails crowd … Australian Galleries; and Max Robinson, artist’s surroundings. The context of Afterwards we all went to a party with a fellow designer and artist who exhibited the production more influenced Tony’s the Australian Embassy where I had a in 1961 at the Whitechapel Art Gallery decisions in generating titles that nice little talk with Blakeney11 the Aust. in London. Tony found Frankfurt vital would resonate at an institutional level. Ambassador and got along fine.12 and exhilarating after spending a week The day before the opening, At the opening, Tony was introduced to cruising around the city. He wrote: Tony was conscious of the need to Hanna Bekker vom Rath, the art collector All good fellows. After an exhausting train, be suitably dressed. Attuned to the and dealer. The next day they were all boat, train journey which took 12 hours advent of post-painterly abstraction, invited to meet at her gallery and were we arrived in Frankfurt at 1.A.M. London artists were using fashion as a subsequently escorted to her country Anxious to get some sleep we made a bad vehicle in promoting the artist’s image home near Wiesbaden where her famous choice of a hotel near the station which as cultured, forward-looking and cool. art collection was housed – filled with was 25/- each a night, even so we took works by Max Beckmann, Ernst Ludwig the offer and spent 10 hours sleeping.10 Kirchner and Paul Klee. The next day the group was unexpectedly Wow! What a place! It would take pages flocked by journalists waiting at the to describe the house and setting! … gallery to interview the exhibiting artists. we estimated the collection to be worth The journalists paid them a great deal a couple of million … She was obviously of attention, one reason being they interested in my work and will probably were the only artists who turned up offer me a show when she comes to London that morning. next month.13 20 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

This chance encounter perhaps had I guess my Xmas will be pretty quiet, ENDNOTES a lasting impression, instilling in the maybe a party or two, and I’ll spent Xmas 1 Letter dated Dec. 16, Dear Family, circa 1963, p. 2. young and promising artist the workings Day with Vernon [psychedelic Australian 2 ibid., p. 5. of the art world and its establishment, artist Vernon Treweeke] & Anita 3 Letter dated July 12, circa 1963, to Mum, and all else. and inventing a style to match (young Aust painter) and maybe others 4 Letter dated 21 March, Dear family, 1962. 5 ibid. his expectations. will join us … Everyone getting drunk 6 Letter undated from Acton Town, Dear Mum, 14 By the end of 1963, the harshness of the so as not to get homesick. Dad, Kids, postmarked 28 February, circa 1963. London weather coupled with feelings The London period was instrumental in the 7 ibid. of homesickness by the impending development of Tony McGillick’s practice. 8 Letter dated Dec. 16, Dear Family, circa 1963, p. 2. Christmas festive season is evidenced He returned to Australia in late 1965 9 Letter dated Nov 20, Dear Family, 129 Ladbroke Grove, circa 1963. in his letters. The humorous caricature with renewed confidence and energy, 10 Letter undated, Dear Family, 129 Ladbroke Grove drawing of himself garbed against the spreading the news as the prime mover W. 11, circa 1963. forces of the chill illustrate just how he and shaker. The letters open a new chapter 11 Frederick Blakeney was the Australian ambassador was feeling: on the life and work of Tony McGillick, to the Federal Republic of Germany. His appointment a painter not to be forgotten. was from 1962 to 1968. I spend most of the time just about sitting 12 op. cit. no. 10. in the gas fire and get around dressed 13 ibid. something like this: RHONDA DAVIS 14 op. cit. no. 1. pp 3–4. JULY 2018

LEFT: Letter dated Dec. 16, Dear Family, circa 1963, p. 3. Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

RIGHT: Photographs of Jim Cook and Tony McGillick in London circa 1963 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 21

A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 23

LEFT: Letter undated, Dear Family, 129 Ladbroke Grove W. 11, circa 1963. Collection Paul McGillick ABOVE: © Estate of Tony McGillick Photographs of Jim Cook and Tony McGillick in London Photography Effy Alexakis, Photowrite circa 1963 24 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Lots of leaping and twirling in midair

Whatever Tony said felt important. Those he chose were not there Tony’s works here with their He constructed his thoughts internally, for their enhancement of the space industrial-size eyelets and delivering a considered, economic but there because he counted them as heavy stitching, their folding and and articulate viewpoint. A pause significant and, therefore, they had a right overlapping and their scale also have usually followed while others listening to occupy a permanent place in our lives a delicate appeal, just as the works adjusted their next comment. A deeper installed on the walls of our spaces. of Meredith Brice do in her response understanding and new possibilities Jasper’s gesture went up everywhere to Tony’s work. regularly emerged from what followed we went, just as a child makes sure his In this show, Meredith shows how on from Tony’s input. favoured toy is close by. Quattro hung she reciprocates with incredible With his beautiful, mesmerising voice as a backdrop to friends and family at colour selection reminiscent of works commanding and persuading, he inspired dinner in the studio gathered to celebrate by Milton Avery, fine detailing and people to engage their higher thinking Tony’s 50th birthday. Acid Even was impeccable finishing. to distil or expand complex ideas. installed in our office. Other ways you might get to know There was a lighter, playful side too. In the 1970s and early 1980s, Tony made Tony better are through his avid collecting I saw lots of leaping and twirling midair a series of works as unstretched canvases. of Britain’s lead soldiers, his photography, in the studio to CPE Bach or Mozart at In one of his notebooks is a note to self: his loyal support of Carlton, his love of full volume. This energy often ended up ‘make a thing that might as well have typography and his belief that everyone on the canvas. fallen off the back of a truck’. must pay their dues on their journey to becoming a useful and productive Whenever we moved house/office/studio, Tony’s mother was a designer/seamstress the usual packing and unpacking human and, if you could see it … and their home was a field of threads, his boogie-woogie. disrupted our familiar spaces fabric offcuts and bolts of material. and patterns. Was the experience of growing up in his LAUREN MCGILLICK ‘Pinning up’ helped to normalise us in mother’s work environment (her studio) 10 JULY 2018 the new spaces. Two constants in our now pushing through and asserting itself field of vision over many years were: onto Tony the painter? REFERENCE: a well-worn, edges-curled-and-torn Charles Nodrum essay introduction – Piero della Francesca The Nativity print Charles Nodrum said of the work Bivouac: trio of concurrent solo shows: Paul Partos, from the National Gallery (London); “It hangs, unstretched on the wall – Michael Johnson and Tony McGillick. and Titian’s Portrait of a Man (A Man loose, casual, laid back,” and that the work Charles Nodrum Gallery, 7–30 October 2010. with a Quilted Sleeve), c. 1510. For Tony, “carries within it one of those internal these two references were as necessary contradictions that often prove to be the wellspring of the work’s strength: RIGHT: as oxygen is to breathe. Tony McGillick (1941–92) it says ‘Let’s take things easy and not Over the years, many paintings Tom’s Toy Box fuss too much’ and, in the same breath, 1986–92 emerged and joined the finished works. ‘don’t do anything of the sort! You can’t oil and wax on canvas From these, he selected a handful to be casual about being casual. Being easy 197.5 x 197.5 cm be hung in our office and at home. © Estate of Tony McGillick isn’t easy.’” Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 25 26 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 Tony McGillick: Serial framework; OR ‘IT IS DAMNED DIFFICULT TO LOVE A MODULE’

‘I was a Kings Cross kid – I lived in While working in London, McGillick, During 1966, Tony McGillick began the asphalt and ran between parks, although heavily influenced by the experimenting with modular shapes, up and down Macleay Street’ early pop stylings of Jasper Johns, using a square with one corner TONY MCGILLICK, 19921 became increasingly interested in cut off as the basis for his colour the colour abstracts by artists like abstract paintings. Interviewed by Robyn Denny, who lived close to Terry Smith in 1969, McGillick explained Tony McGillick grew up in Sydney’s Michael Johnson, and Michael Tyzack, that his first (partially) modular painting, bohemian world in the 1940s and 1950s. whose work The Most Sizzling, End Result, 1966, was made as an attempt He began working as a commercial artist Joyous Painting of All would later to emulate the ‘kind of movement that in the late 1950s and found himself be seen in Sydney at the Central he had seen in a Larry Poons painting’ moving in the same circle as a number Street Gallery.3 at the Museum of Modern Art.5 The first of other up-and-coming young artists While visiting New York on the way fully modular painting, Jasper’s gesture, including , Michael Johnson, borrowed its name and colour scheme Vernon Treweeke, Dick Watkins home to Sydney in 1965, McGillick also became interested in the recent from McGillick’s earlier influence, and Brett Whiteley; and, like them, 6 work of Ellsworth Kelly, Larry Poons, Jasper Johns. The composition of was soon heading for Europe and London some of the singular module paintings, to expand his artistic experience.2 Frank Stella and others. On his return, McGillick teamed up with his half-brother, like Inside Favourite and Easy Chrome, London in the early 1960s was home John White, and Harald Noritis to open play with the structure of the module to a burgeoning, youthful art scene and the Central Street Gallery in Sydney’s in a similar way to Frank Stella’s work. a lively series of contemporary exhibitions entertainment district in 1966. at institutions like the Whitechapel Art Gallery and the Tate. Shows like Young There was no doubting that the Contemporaries, at Whitechapel in 1964, Central Street Gallery’s house style was and British Painting in the Sixties, influenced by what had been happening hosted by both Whitechapel and the in New York’s major galleries around the Tate in 1963, highlighted the growing time of McGillick’s visit. Central Street’s pop and abstract movements locally, 1967 Black and White exhibition with expatriate Australian contribution, was inspired by a similarly themed notably Brett Whiteley. The Whitechapel show at New York’s Jewish Museum Art Gallery’s exhibitions of leading in 1963, while the artworks featured in American artists gave young expatriate exhibitions like The Shaped Canvas at the artists the chance to see the work of Solomon R Guggenheim Museum in 1964, Jasper Johns, Robert Rauschenberg and The Responsive Eye at the Museum of and Mark Rothko at first hand. Modern Art in 1965, helped to establish the young gallery’s aesthetic motifs.4 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 27

Republic, 1967, was one of the first The modular paintings had their greatest The reception was encouraging, if not of McGillick’s modular works to public exposure during the winter and universally welcoming. John Henshaw be exhibited, at Central Street’s Black spring of 1968. In early June 1968, wrote in The Australian: ‘Tony McGillick and White exhibition, along with May Central Street hosted McGillick’s builds his shaped canvases … Day and Revolution. With its stark but first solo exhibition, dominated with an eye to their architectural function. textured blackness, Republic exemplified by the recent modular paintings. Mostly they work.’ Writing for The Bulletin, the catalogue essay’s point that the Afterwards, Juxjacent, National and Elwyn Lynn also recognised the Central Street artists’ personal disciplines Cuba/Si travelled to for the architectural aspect of the modular works: were ‘to their advantage in focusing more Directions exhibition, held at Albert ‘If you have ever inhabited a polygonal room, acutely on the specific issues they choose Hall in July, and Polaris and Arbitrator you’ll realise how intriguing is the balance to examine’, although, as Terry Smith travelled to Melbourne for the National between these equally shaped modules.’ reflected in 1969, ‘McGillick’s struggle Gallery of Victoria’s groundbreaking Donald Brook and John Coburn both for two years after the Black and White exhibition The Field, held in its brand new drew comparisons with heraldic practice; exhibition was to sort out and solve St Kilda Road gallery; and later toured Brook noting that Cuba/Si ‘appeals to problems of colour with the serial to the Art Gallery of New South Wales; the unreflective eye like a great blazon or framework of his modular shapes.’7 while the balance of the modular heraldic cloth of powerful – and deceptive Polaris and Juxjacent were the paintings works were regrouped for another solo – simplicity’, and Coburn observing McGillick selected for the Central Street exhibition at Melbourne’s Pinacotheca that ‘their bold heraldic colours are artists’ group exhibition held, for better Gallery in Melbourne in October. tough and handsome.’ The Age’s Patrick or for worse, to coincide with New York In November, the ambitious seven module McCaughey was enthusiastic: ‘McGillick’s art critic Clement Greenberg’s visit to painting Tuxedo was commended in the colour is sensuously warm to the point of Sydney in May 1968.8 Transfield Prize exhibition at Sydney’s blatant hedonism. Like any good paintings Bonython Galleries, with Elwyn Lynn they excite the eye, quicken and exhilarate stating: ‘it surges with power and glory.’9 the senses.’ Like Henshaw, however, the Melbourne Herald’s Alan McCulloch was more ambivalent: ‘McGillick attains a finely attuned balance of pure, simple colours in his best work, but the limitations of the style preclude promise of more substantial development.’10 When The Australian’s columnist Laurie Thomas praised traditional Asian art over contemporary Australian art in July with the line ‘it is damned difficult to love a module’, there could be little doubt as to whom he was referring.11 28 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

ABOVE: Tony McGillick (1941–92) Imogen’s ensign 1973 synthetic polymer paint on canvas 226.5 x 324.0 x 80.0 cm Art Gallery of New South Wales Purchased 1974 © Estate of Tony McGillick Photo: AGNSW A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 29

ABOVE: Tony McGillick (1941–92) Republic 1967 synthetic polymer and wax on canvas in three modular sections 236.2 x 236.2 cm overall size repainted in encaustic green over the original black in 1970 © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 30 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Reflecting on the modular paintings McGillick’s work in the late 1960s In 1973, Imogen’s ensign, one of in 1969, Noel Hutchison wrote that continued with more complex shaped McGillick’s unstretched canvas paintings, ‘they had social implications that canvases, inspired by the shape of the was included in Recent Australian Art, McGillick, himself, did not wish spray gun he was now using to achieve his the Art Gallery of New South Wales’ to take up’.12 The abstraction of the colour gradations. When McGillick and contribution to the works was often accompanied by Dick Watkins held a retrospective of their opening festival. Although McGillick a title evocative of the politics of 1960s work at Central Street in mid 1969, was interested in conceptual art, the 1960s; such as Republic, May Day, Noel Hutchison noted that McGillick contributing a storyboard for an Revolution, National, Scottsboro, was ‘moving out into new things’.15 As the experimental film to the New South Wales Polaris and Cuba/Si. Evocative as 1970s began and conceptualism took branch of the Contemporary Art Society’s they were, these titles didn’t necessarily art ‘off the wall’, McGillick’s canvases Broadsheet in 1974, his profile as an suggest propaganda: even the title most lost their structural framework and exhibiting artist was no longer as visible explicitly sourced from a political slogan, took on a much looser form. as it had been during the late 1960s.17 ‘Cuba Si!’, was one adopted by both When the Central Street Gallery closed After the Survey 6: Tony McGillick pro-Castro and anti-Castro activists. and the New South Wales branch of retrospective at the National Gallery Presumably McGillick’s parents’ the Contemporary Art Society took of Victoria in 1978, relatively little new experiences within and without the over the space in the early 1970s, work by McGillick was seen in public. Australian Communist Party during McGillick’s involvement moved to Two works from a 1984 series of abstracts his Cold War era youth had taught a more curatorial role. He co-curated were exhibited at the Art Gallery of 13 him to be wary of the zealous. The Situation Now, a survey of New South Wales in The Subject of When Central Street Gallery’s new conceptual art in Sydney, with Terry Painting in 1985, a collaboration between ground floor gallery space, designed by Smith in 1971, and Coca-Cola: 20th the gallery and the Contemporary Art Rollin Schlicht, opened with a group Century Icon, a display ‘designed to Society curated by his younger brother exhibition (aka Gallery Mixture) examine the nature of the cultural icon’, Paul McGillick. In 1992, Tony McGillick in December 1968, Fontanelle became with John White and Gus Cohen in 1972.16 was working on a new series of abstract the last of McGillick’s modular painting paintings for a planned solo exhibition series to make its public debut. at Sydney’s Sherman Galleries, with the As McGillick himself explained when modular form returning as a motif, interviewed by the National Gallery when he passed away. of Victoria for his Survey exhibition a decade later, “the modules were ERIC RIDDLER very handy, particularly for this colour JUNE 2018 preoccupation that I had and others [had] at the time. But it was becoming for me a bit of a convention and I didn’t think I could really make a career on one convention …”14 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 31

ENDNOTES 1 Margaret Throsby & Graham McCarter 1992, 4 Black and White, Central Street Gallery 10 John Henshaw 1968, ‘A few shocks for the icy Sydney People & Places, ABC, p. 60. (catalogue note), Sydney, May 1967. national capital’, The Australian, Sydney, 6 July; 2 John White 1959, ‘Moving?’ Australian Commercial 5 Terry Smith 1969, ‘Dick Watkins: Tony McGillick: Elwyn Lynn 1968, ‘Confrontation’, The Bulletin, and Industrial Artists’ Association News, a selection of work’, Honi Soit, Sydney, 12 June, p. 9. Sydney, 15 June; Donald Brook 1968, ‘The power of Sydney, 25 February, p. 3; Brom Shanahan 1961, (See also Rhonda Davis 2002, ‘The hidden seam’, the modular idea’, Sydney Morning Herald, 6 June; ‘Letter from London’ (addendum), Australian Central Street Live, Macquarie University & Penrith John Coburn 1968, ‘The ’60s look’, Canberra Times, Commercial and Industrial Artists’ Association News, Regional Gallery and the Lewers Bequest, pp. 21–31.) 4 July; Patrick McCaughey 1968, ‘Rejuvenation in Sydney, 26 September, p. 2. (See also Margot Hilton 6 Smith 1969, ibid.; Noel Hutchison 1968, show scramble’, The Age, Melbourne, 9 October; & Graeme Blundell, Whiteley: an unauthorised life, ‘Noel Hutchison tracks around the galleries’, Alan McCulloch 1968, ‘Emphasis on Nordic craft’, Macmillan, Sydney, 1996.) Honi Soit, Sydney, 11 June, p. 12. The Herald, Melbourne, 9 October. 3 Donald Brook 1969, ‘Good art and bad theory’, 7 Black and White, 1967, op. cit. 11 Laurie Thomas 1968, ‘The art of being nobody’, The Australian, Sydney, 23 July. Sydney Morning Herald, 16 June. 8 Smith 1969, op. cit., p. 8. 12 Noel Hutchison 1969, ‘Catching up on past events’, 9 Elwyn Lynn 1968, ‘The Transfield – an unfortunate year’, The Union Recorder, Sydney, 11 June. The Bulletin, Sydney, 16 November. 13 Thomas C ‘Tony’ McGillick (senior) was jailed for rioting at a May Day rally in Port Adelaide in 1931, and later represented Australia at the Soviet Union’s May Day celebrations before becoming disillusioned with the Communist Party during World War II; see ‘Demonstration falls flat: police ensure quiet May Day: eight arrests’, Advertiser and Register, Adelaide, 2 May 1931, p. 15; ‘McGillick at City Hall’, Workers’ Weekly, Sydney, 1 November 1938, p. 4; and Roland Pullen 1944, ‘The looking glass’, Daily Telegraph, Sydney, 24 December, p. 9. 14 Tony McGillick 1978, Survey 6 interview, National Gallery of Victoria, Melbourne. 15 Hutchison 1969, op. cit. 16 John White, Tony McGillick & Gus Cohen 1972, ‘Coca-Cola: 20th century icon’, Contemporary Art Society (NSW Branch) Broadsheet, Sydney, March, p. 2. 17 Tony McGillick 1974, untitled storyboard, Contemporary Art Society (NSW Branch) Broadsheet, Sydney, May, pp. 36–7.

LEFT: Tony McGillick (1941–92) Fontanelle #2 1968 acrylic and perspex in modular sections edition 4 64.5 x 79 cm modular size; 91.5 x 122 cm mounted on laminated MDF Courtesy of Charles Nodrum Gallery, Melbourne © Estate of Tony McGillick 32 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Plates

LEFT: Tony McGillick (1941–92) Untitled 1963 acrylic and collage on canvas 91 x 57 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

RIGHT: Tony McGillick (1941–92) Jimmy Sharman 6 1964 synthetic polymer paint on canvas 105 x 105 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 35

LEFT: Tony McGillick (1941–92) Time 1965 oil and wax on hardboard 35.5 x 28.3 x 0.5 cm; 38.5 x 31 x 0.58 cm framed Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

LEFT: NEXT PAGE RIGHT: Tony McGillick (1941–92) NEXT PAGE LEFT: Tony McGillick (1941–92) Sharman Repeat Tony McGillick (1941–92) Five 1964 Primary 1965 oil and wax on canvas 1965 oil and wax over fabricated canvas 152 x 106.5 cm; 155 x 109.4 cm framed oil and wax on canvas with wood collage in the shape of numeral ‘5’ Collection Elizabeth McGillick 168 x 120.8 cm; 172 x 124.7 cm framed 120 x 76 x 20.5 cm © Estate of Tony McGillick © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite 36

38 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 39 40 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

PREVIOUS PAGE LEFT: ABOVE: Tony McGillick (1941–92) PREVIOUS PAGE RIGHT: Tony McGillick (1941–92) Untitled Tony McGillick (1941–92) National 1966 Shchukin 1968 synthetic polymer paint on canvas 1966 synthetic polymer paint on canvas 166 x 165 cm synthetic polymer paint on canvas 168 x 275 cm Collection Paul McGillick 167.5 x 167.5 cm; 168.5 x 168.5 cm framed Courtesy of Charles Nodrum Gallery, Melbourne © Estate of Tony McGillick © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 41

NEXT PAGE LEFT: Tony McGillick (1941–92) ABOVE: Jasper’s gesture NEXT PAGE RIGHT: Tony McGillick (1941–92) 1966 Tony McGillick (1941–92) Juxjacent synthetic polymer paint and wax on canvas, Acid Even 1969 in four modular sections 1968 synthetic polymer paint on canvas 170.1 x 162.5 cm overall (irreg.) synthetic polymer paint on canvas 177 x 222 cm Art Gallery of New South Wales 144 x 143 cm University of Technology Sydney Art Collection D G Wilson Bequest Fund 2003 Collection Ross and Irene Langlands © Estate of Tony McGillick © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photo: AGNSW Photography Effy Alexakis, Photowrite 42 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 43 44 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

ABOVE: NEXT PAGE LEFT: Tony McGillick (1941–92) Tony McGillick (1941–92) Plaza Tabby’s Tantrum 1974 1978 synthetic polymer paint on canvas synthetic polymer paint and wax on canvas 210.8 x 269.2 cm 122 x 122 cm © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 45

ABOVE: NEXT PAGE RIGHT: Tony McGillick (1941–92) Tony McGillick (1941–92) Bivouac Manoeuvre 1974 1978 synthetic polymer paint on canvas oil and wax on canvas 210.8 x 269.2 cm 162.5 x 162.5 cm; 166.4 x 166.4 cm framed © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite 46 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 47 48 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 49

LEFT: Tony McGillick (1941–92) Untitled 1985 oil and wax on four shaped canvases 198.5 x 197.5 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

RIGHT: Tony McGillick (1941–92) Untitled 1987 oil and wax on canvas 256.5 x 167.5 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 50 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 51

LEFT: ABOVE: Tony McGillick (1941–92) Tony McGillick (1941–92) Untitled Untitled 1988 1989–90 oil and wax on canvas oil and wax on five shaped canvases 152 x 153 cm 216 x 190.5 cm © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite 52 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

ABOVE: Tony McGillick (1941–92) Untitled 1990–91 oil and wax on canvas 121.5 x 121.5 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 53

ABOVE: Tony McGillick (1941–92) Untitled 1990–91 oil and wax on canvas 197.5 x 197.5 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 54 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

ABOVE: Tony McGillick (1941–92) Untitled 1990–91 oil and wax on canvas 122 x 121.6 cm IBM Collection © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 55

ABOVE: Tony McGillick (1941–92) Untitled 1990–91 oil and wax on canvas 122 x 121.6 cm IBM Collection © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 56 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

RIGHT: Tony McGillick (1941–92) Untitled 1990–91 oil and wax on canvas 121.5 x 91.3 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

FAR RIGHT: Tony McGillick (1941–92) Untitled 1990–91 oil and wax on canvas 152 x 121.5 cm © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 57 58 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

ABOVE: Tony McGillick (1941–92) Palladium 1991 oil and wax on paper 57.5 x 57.5 cm image size © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 59

ABOVE: Tony McGillick (1941–92) Rubidium 1991 oil and wax on paper 58 x 57 cm image size © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 60 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

ABOVE: Tony McGillick (1941–92) Germanium 1991 oil and wax on paper 57.5 x 57.3 cm image size © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 61

ABOVE: Tony McGillick (1941–92) Brimstone 1991 oil and wax on paper 57.5 x 57.5 cm image size © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 62 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 63

ABOVE: Tony McGillick (1941–92) LEFT: First Tartan (For Margaret) Tony McGillick (1941–92) 1991 Talisman oil and wax on paper 1992 127 x 97.5 cm oil and wax on canvas Macquarie University Art Collection 117 x 116.8 cm Gift of Margaret Throsby, 2013 © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite 64 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Early and commercial works

LEFT: Tony McGillick (1941–92) Other Voices 1970 black and white poster print 66.3 x 47 cm Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

RIGHT: Tony McGillick (1941–92) Untitled [studies for Two and Five] circa 1965 pencil on paper 19 x 36 cm Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 65 66 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 67

LEFT: Tony McGillick (1941–92) Jack Hibberd playwright cover illustration for Paul McGillick’s book Jack Hibberd (1988) 1988 pen drawing 14 x 12 cm Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

RIGHT: Tony McGillick (1941–92) Untitled [Japanese soldiers] circa 1957 synthetic polymer paint on maidstone drawing board 34.5 x 19.5 cm image; 43.5 x 27.5 cm sheet size Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 68 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

RIGHT: ABOVE: Tony McGillick (1941–92) Tony McGillick (1941–92) Untitled [Russian Cossack] Untitled [study for Jimmy Sharman] 1957 circa 1963 synthetic polymer paint on board gouache on paper 27.5 x 21.5 cm image; 35 x 29.4 cm sheet size 26.5 x 25.6 cm Collection Paul McGillick © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 69 70

RIGHT: Tony McGillick (1941–92) 1957 synthetic polymer paint and collage on cardboard 36 x 18.7 cm Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite

FAR RIGHT: Tony McGillick (1941–92) Ancol Science Book notebook circa 1966 27.6 x 22.3 cm; 27.8 x 44.8 cm opened Collection Paul McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 71 72 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 73

LEFT AND ABOVE: NEXT PAGE LEFT AND RIGHT: Tony McGillick (1941–92) Tony McGillick (1941–92) Ancol Science Book Untitled [portraits of Elwyn Lynn and Laurie Thomas] notebook 1978 circa 1966 pen drawings on paper 27.6 x 22.3 cm; 27.8 x 44.8 cm opened Two works each at 26.5 x 19 cm Collection Paul McGillick Collection Paul McGillick © Estate of Tony McGillick © Estate of Tony McGillick Photography Effy Alexakis, Photowrite Photography Effy Alexakis, Photowrite 74 75 76 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Tony McGillick (1941–92) SHORT BIOGRAPHY AND SELECTED EXHIBITIONS

1941 1966 1968 Born in Sydney 19 Apr: Opened Central Street Gallery, 7 Feb–2 Mar: 21st Show, Sydney, with John White and 14 Painters/17 Paintings, group 1955–9 Harald Noritis exhibition, Central Street Gallery, Sydney Studied at Art School, 30 Aug – 24 Sep: Three Painters, 18–25 May: Group exhibition, Sydney and the National Art School, a group exhibition of Tony McGillick, Central Street Gallery, Sydney, Darlinghurst, Sydney Rollin Schlicht and Royston Harpur, and University of Sydney, Staff Club Central Street Gallery, Sydney 1960 5–29 Jun: Solo exhibition, Tony McGillick: Works on Paper Modular Paintings 1966–8, Travelled to England and lived in London 21 Dec – 28 Jan 67: , Central Street Gallery, Sydney Central Street Gallery, Sydney 1962 July: Directions, Albert Hall, Canberra 1967 Young Commonwealth Artists’ Exhibition, The Australian Painters 1964–6 6–18 Oct: Solo exhibition, Tony McGillick, R.B.A. Galleries, London Mar: , The Corcoran Gallery of Art, Pinacotheca Gallery, Melbourne Group exhibition, Commonwealth Gallery, Washington D.C., USA Georges Invitational Art Prize, Edinburgh Festival, Edinburgh 28 Feb – 18 Mar: New Generation Sydney, Georges Gallery, Melbourne Gallery A, Melbourne Renting Collection Exhibition, 1963 Pinacotheca Gallery, Melbourne Australian Painting and Sculpture in 10 May – 3 June: Black and White – a group Europe Today, Folkestone Art Centre, exhibition of paintings and sculpture 21 Aug – 28 Sep: The Field, National England, and at Städelsches Kunstinstitut, in black and white, Central Street Gallery, Gallery of Victoria, Melbourne, Frankfurt, West Germany Sydney and Art Gallery of New South Wales, Sydney Group exhibition, New Vision Gallery, C.A.S. Annual Exhibition, London Blaxland Gallery, Sydney 10 Dec 68 – 21 Jan 69: Group Show: 23 Aug: Aubusson Wool Tapestry Design Painting and Sculpture, 1965 Competition, Hungry Horse Art Gallery, Central Street Gallery, Sydney Returned to Australia via New York Sydney 1969 28 May – 14 Jun: Dick Watkins Tony McGillick a selection of work. 1962–67, Central Street Gallery, Sydney 9 July: Central Street Gallery Group exhibition, South Yarra Gallery, Melbourne 12–29 Nov: A Group Exhibition of Paintings and Sculpture, Central Street Gallery, Sydney A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 77

1970 1987 2002 Established the art magazine Other Voices Field to Figuration, National Gallery 16 Nov – 23 Feb: Central Street Live, with Paul McGillick and Terry Smith of Victoria, Melbourne Penrith Regional Gallery & The Lewers Colour and Structure: Recent British and Minimal Art in Australia, Bequest, Sydney Australian paintings, Blaxland Gallery, Museum of Contemporary Art, Brisbane Sydney 2003 1990 7 Mar – 5 May: Central Street Live, 1971 Central Street 1966–9, Macquarie University Art Gallery, Sydney Co-curated the exhibition The Situation Now: Charles Nodrum Gallery, Melbourne object or post-object art? with Terry Smith, 2010 Central Street Gallery, Sydney 1991 6–28 Feb: Tony McGillick, Central Street 1966–9, presented by Paul McGillick, 1972 Ray Hughes Gallery, Sydney SNO Contemporary Art Projects, Sydney Co-curated the exhibition Coca-Cola: 7–30 Oct: Solo show, Tony McGillick, 20th century icon, with John White and 1993 Charles Nodrum Gallery, Melbourne Gus Cohen, Central Street Gallery, Sydney Tony McGillick 1941–1992 Paintings, Sherman Galleries Goodhope, Sydney 2012 1973 Group exhibition, 18 Sep – 31 Oct: Sixties Explosion, Recent Australian Art, Art Gallery Sherman Galleries Hargrave, Sydney Macquarie University Art Gallery, Sydney of New South Wales, Sydney 1995 2014 1978 Antipodean Currents US tour, 1994–5 9 June – 11 July: Macquarie University 21 Oct – 26 Nov: Survey 6: Tony McGillick, Art Collection: 50 Highlights, National Gallery of Victoria, Melbourne 1997 Macquarie University Art Gallery, Sydney Solo exhibition, Ballarat City Art Gallery, Geometric Painting in Australia Ballarat 1941–1997, University Art Museum, 2018 Brisbane 26 Apr – 19 May: Abstraction 17: A Field 1981 of Interest, c. 1968, Charles Nodrum Gallery, 39 Paintings and 2 Sculptures, Melbourne Australian Paintings and Sculpture Charles Nodrum Gallery, Melbourne 1956–81, Art Gallery of New South Wales, 27 Apr – 26 Aug: The Field Revisited, Sydney 2000 National Gallery of Victoria 23 Nov – 16 Dec: The Sense of Making: 1985 Tony McGillick – Selected works from The Subject of Painting, Art Gallery the 60s, 70s and 90s, Annandale Studio, of New South Wales, Sydney Sydney 78 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

List of works

Billboard Jasper’s gesture National 1963 1966 1968 synthetic polymer paint on canvas synthetic polymer paint and wax on canvas, synthetic polymer paint on canvas 92 x 107 cm in four modular sections 168 x 275 cm Estate of Tony McGillick 170.1 x 162.5 cm overall (irreg.) Courtesy of Charles Nodrum Gallery, Melbourne Art Gallery of New South Wales Untitled D G Wilson Bequest Fund 2003 Juxjacent 1963 1969 acrylic and collage on canvas Shchukin synthetic polymer paint on canvas 91 x 57 cm 1966 177 x 222 cm Estate of Tony McGillick synthetic polymer paint on canvas University of Technology Sydney Art Collection 167.5 x 167.5 cm; 168.5 x 168.5 cm framed Jimmy Sharman 6 Estate of Tony McGillick Spraygun virus 1964 1969 synthetic polymer paint on canvas Untitled synthetic polymer paint on canvas (shaped canvas) 105 x 105 cm 1966 163.6 x 243.6 cm (irreg.) Estate of Tony McGillick synthetic polymer paint on canvas National Gallery of Victoria, Melbourne 166 x 165 cm Purchased 1986 Sharman Repeat Collection Paul McGillick 1964 Imogen’s ensign oil and wax on canvas Republic 1973 152 x 106.5 cm; 155 x 109.4 cm framed 1967 synthetic polymer paint on canvas Collection Elizabeth McGillick synthetic polymer and wax on canvas 226.5 x 324.0 x 80.0 cm in three modular sections Art Gallery of New South Wales Five 236.2 x 236.2 cm overall size Purchased 1974 1965 repainted in encaustic green over the original black oil and wax over fabricated canvas in the shape in 1970 Bivouac of numeral ‘5’ Estate of Tony McGillick 1974 120 x 76 x 20.5 cm synthetic polymer paint on canvas Estate of Tony McGillick Acid Even 210.8 x 269.2 cm 1968 Estate of Tony McGillick Primary synthetic polymer paint on canvas 1965 144 x 143 cm Plaza oil and wax on canvas with wood collage Collection Ross and Irene Langlands 1974 168 x 120.8 cm; 172 x 124.7 cm framed synthetic polymer paint on canvas Estate of Tony McGillick Fontanelle #2 210.8 x 269.2 cm 1968 Estate of Tony McGillick Time acrylic and perspex in modular sections 1965 edition 4 Manoeuvre oil and wax on hardboard 64.5 x 79 cm modular size; 91.5 x 122 cm 1978 35.5 x 28.3 x 0.5 cm; 38.5 x 31 x 0.58 cm framed mounted on laminated MDF oil and wax on canvas Collection Paul McGillick Courtesy of Charles Nodrum Gallery, Melbourne 162.5 x 162.5 cm; 166.4 x 166.4 cm framed Estate of Tony McGillick A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 79

Tabby’s Tantrum Untitled WORKS ON PAPER 1978 1990–91 synthetic polymer paint and wax on canvas oil and wax on canvas Autograph 122 x 122 cm 121.5 x 121.5 cm 1991 Estate of Tony McGillick Estate of Tony McGillick oil and wax on paper 126 x 96.5 cm; 146 x 114.5 x 3.5 cm framed Untitled Untitled University of New South Wales 1985 1990–91 Purchased with funds from the U Committee, 1993 oil and wax on four shaped canvases oil and wax on canvas 198.5 x 197.5 cm 197.5 x 197.5 cm Brimstone Estate of Tony McGillick Estate of Tony McGillick 1991 oil and wax on paper Tom’s Toy Box Untitled 57.5 x 57.5 cm image size 1986–92 1990–91 Estate of Tony McGillick oil and wax on canvas oil and wax on canvas 197.5 x 197.5 cm 121.5 x 91.3 cm Ex Libris Estate of Tony McGillick Estate of Tony McGillick 1991 oil and wax on paper Untitled Untitled 127 x 96.5 cm sheet size 1987 1990–91 Estate of Tony McGillick oil and wax on canvas oil and wax on canvas 256.5 x 167.5 cm 152 x 121.5 cm First Tartan (For Margaret) Estate of Tony McGillick Estate of Tony McGillick 1991 oil and wax on paper Untitled Untitled 127 x 97.5 cm 1988 1990–91 Macquarie University Art Collection oil and wax on canvas oil and wax on canvas Gift of Margaret Throsby, 2013 152 x 153 cm 122 x 121.6 cm Estate of Tony McGillick IBM Collection Germanium 1991 Quattro Untitled oil and wax on paper 1989 1990–91 57.5 x 57.3 cm image size oil and wax on canvas oil and wax on canvas Estate of Tony McGillick 198 x 289.5 cm 122 x 121.6 cm Estate of Tony McGillick IBM Collection Palladium 1991 Untitled Talisman oil and wax on paper 1989–90 1992 57.5 x 57.5 cm image size oil and wax on five shaped canvases oil and wax on canvas Estate of Tony McGillick 216 x 190.5 cm 117 x 116.8 cm Estate of Tony McGillick Estate of Tony McGillick 80 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

Rubidium Eric Baume Untitled [Japanese soldiers] 1991 “I Hate! Como’s” circa 1957 oil and wax on paper circa 1957 synthetic polymer paint on maidstone drawing board 58 x 57 cm image size collage and ink on cardboard 34.5 x 19.5 cm image; 43.5 x 27.5 cm sheet size Estate of Tony McGillick 17.5 x 16.2 cm Collection Paul McGillick Collection Paul McGillick Vanadium Untitled [man with cigar holding up left hand] 1991 Flanders, 1916 circa 1957 oil and wax on paper 1957 ink on board 116 x 87.5 cm pencil on paper 13.8 x 10.9 cm Estate of Tony McGillick 27.6 x 18.6 cm Collection Paul McGillick Untitled [Mexican gunfighter speared with arrow] circa 1957 EARLY AND COMMERCIAL WORKS French Convict ink and gouache on cardboard circa 1957 11.5 x 0.85 cm A Friend in Need ink and gouache on cardboard Collection Paul McGillick 1955 11.2 x 0.98 cm gouache on paper Collection Paul McGillick Untitled [Russian Cossack] 27.5 x 37.5 cm 1957 Gondolier synthetic polymer paint on board Alexander Bell & The Wright Bros 1957 27.5 x 21.5 cm image; 35 x 29.4 cm sheet size 1955 ink and gouache on paper Collection Paul McGillick gouache on paper 16.4 x 0.95 cm 27.5 x 37.6 cm Collection Paul McGillick Untitled [side profile of man holding mug] Collection Paul McGillick circa 1957 Goulburn St Sydney ink and wash on pastel drawing board Untitled circa 1957 30.8 x 23 cm 1955 ink wash on paper Collection Paul McGillick gouache on paper 41 x 47.7 cm 27.5 x 37.6 cm Collection Paul McGillick Untitled [black ink drawing reminiscent Collection Paul McGillick of Robert Motherwell’s work] Qantas 1963 Untitled 1957 ink on paper 1955 synthetic polymer paint and collage on cardboard 17.6 x 25 cm gouache on paper 36 x 18.7 cm Estate of Tony McGillick 27.5 x 37.5 cm Collection Paul McGillick Collection Paul McGillick Untitled [study for Jimmy Sharman] Untitled [battlefield] circa 1963 Untitled [man on phone or singing] circa 1957 gouache on paper 1956 gouache on cardboard 26.5 x 25.6 cm synthetic polymer paint on cardboard 14 x 18.6 cm 21 x 11 cm Collection Paul McGillick A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 81

square Untitled [portraits of Elwyn Lynn NOTEBOOKS AND SKETCHBOOKS circa 1965 and Laurie Thomas] pencil on paper 1978 Wire-O Sketch Book No. 1 41 x 31.5 cm pen drawings on paper cartridge drawing paper Estate of Tony McGillick Two works each at 26.5 x 19 cm circa early 1950s Collection Paul McGillick 25 x 32.5 cm; 25 x 65.5 cm opened Untitled [studies for Two and Five] Collection Paul McGillick circa 1965 Jack Hibberd pencil on paper playwright Ancol Science Book 19 x 36 cm cover illustration for Paul McGillick’s book notebook Estate of Tony McGillick Jack Hibberd (1988) circa 1966 1988 27.6 x 22.3 cm; 27.8 x 44.8 cm opened Other Voices pen drawing Collection Paul McGillick 1970 14 x 12 cm black and white poster print Collection Paul McGillick Collins Diary 66.3 x 47 cm 1968 No. 144 Collection Paul McGillick Journey to the End 1968–73 Carnivale, Seymour Centre 26 x 20.5 x 2.5 cm; 26 x 40 cm opened Flash Jim Vaux (Nimrod Street Theatre Company) 1991 Collection Paul McGillick Ballad opera by Ron Blair colour poster print 1971 59 x 41.6 cm Spirax colour poster print Collection Paul McGillick Sketch Book No. 578 57.5 x 44.5 cm drawing cartridge paper Collection Ron Blair 1967–1978 24.5 x 27 cm; 24.5 x 53.7 cm opened Face to Face Estate of Tony McGillick 1977 produced for Ken Unsworth’s famous performance in 1977 black and white poster print 63 x 45 cm Collection Paul McGillick 82 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 Responding to the work of Australian visual artist Tony McGillick

The Renaissance triangle or triangular McGillick’s experimental approach MEREDITH BRICE composition practised by the involves a method of adding High Renaissance artists – a method two additional angles or sides to ON THE TRIANGLE using shapes and lines of perspective a triangle to make a five-sided triangle, and placing figures into a triangle remaking this shape across modular, IN THE WORK OF in the composition – takes on new interconnected compositions. perspectives as the agency of a five-sided The McGillick five-sided triangle TONY MCGILLICK triangle becomes object itself to express becomes the architecture of innovative new pictorial ideas in the image-making relation as it repeats and is reinvented of Australian visual artist Tony McGillick. across a range of media and supports. The artist’s conceptual approach The painterly conversation between the and minimalist aesthetic extracts modular arrangements continues in the abstract form from observing studio as it becomes a departure point the High Renaissance portrait in the artist’s inventive compositions. painting by Titian (Tiziano Vecellio My response to the innovative gestures b. 1490), Portrait of a Man (A Man of Tony McGillick picks up on the with a Quilted Sleeve) (c. 1510), artist’s unconventional approach during the 1960s. The quilted sleeve to painting; and his enduring fascination foregrounded in the painting becomes with the modelling and constant absorbed into McGillick’s innovative reinvention of the five-sided triangle as visual language, and his geometry it became subject, object and integrated of triangulation the means for compositional element for inventive abstract expression. artistic expression. The artist’s fluid fields of colour and enfolding geometries have inspired and coloured my response.

MEREDITH BRICE JULY 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 83

List of works Thread note Type 2018 2018 Template vintage handwoven natural linen, cotton thread, acrylic, gloss enamel 2018 acrylic sheet, found object – wood 44.5 x 42 x 0.5 cm hand-dyed silk, duck feathers, cotton, polyester 80 x 80 cm 48 x 48 x 22 cm Pink Rock Dissolve 2018 Au busson 2018 glass, gloss enamel 2018 canvas, textile dyes, cotton thread 44 x 38 x 1 cm cotton, silk, felt, polyester, acrylic, PVA, on canvas dimensions various 152.5 x 147 cm Sleeve Pigment 2018 2018 digital reproduction of a painting by Titian: canvas, acrylic, cotton thread Portrait of a Man (A Man with a Quilted Sleeve) dimensions various (c. 1510) digital print on canvas 38 x 26 cm

Untitled 2018 This work changes the eye direction of the original portrait by Titian to suggest a direct 21st century gaze. digital print on canvas 38 x 26 cm

CLOTH/NEEDLE SKETCHES: 1 blue Acid Fields 1 Fields 2 Gesture Pantone 18-3838

LEFT: Tony McGillick (1941–92) Spirax Sketch Book No. 578 drawing cartridge paper 1967–1978 24.5 x 27 cm; 24.5 x 53.7 cm opened © Estate of Tony McGillick Photography Effy Alexakis, Photowrite 84 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 85

LEFT: BELOW: Meredith Brice Meredith Brice Untitled Template 2018 2018 This work changes the eye direction of the original portrait hand-dyed silk, duck feathers, cotton polyester by Titian to suggest a direct 21st century gaze. 48 x 48 x 22cm digital print on canvas Courtesy of the artist 38 x 26 cm Photography Effy Alexakis, Photowrite Courtesy of the artist 86 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

RIGHT: Meredith Brice Dissolve 2018 canvas, textile dyes, cotton thread dimensions various Courtesy of the artist Photography Effy Alexakis, Photowrite A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 87

LEFT: Meredith Brice Pigment 2018 canvas, acrylic, cotton thread dimensions various Courtesy of the artist Photography Effy Alexakis, Photowrite

NEXT PAGE LEFT: Meredith Brice Au busson 2018 cotton, silk, felt, polyester, acrylic, PVA, on canvas 152.5 x 147 cm Courtesy of the artist Photography Effy Alexakis, Photowrite

NEXT PAGE RIGHT: Meredith Brice Type 2018 acrylic, gloss enamel 44.5 x 42 x 0.5 cm Courtesy of the artist Photography Effy Alexakis, Photowrite 88 A FIELD OF COLOUR TONY McGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018

LEFT: xxxx A FIELD OF COLOUR TONY MCGILLICK – A RETROSPECTIVE 9 JULY – 10 SEPTEMBER 2018 89 FIND OUT MORE Macquarie University Art Gallery The Chancellery 19 Eastern Rd Macquarie University, NSW 2109 Australia T: +61 (2) 9850 7437 artgallery.mq.edu.au Opening hours: Monday–Friday 10am–5pm

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