THE SOURCE Our Desire to Know the Motivating Influences and Hidden Meaning Behind Art Works Is Insatiable

THE SOURCE Our desire to know the motivating influences and hidden meaning behind Art works is insatiable. Thinking that there 'must be more to this than meets the eye' we constantly MICKY ALLAN refer to Art books and reviews to help decipher and understand Art works. But generally these JONAS BALSAITIS explanations and insights, whilst being informative, are secondhand. PETER ELLIS It is rare to see the raw source material such as preliminary drawings and studies, sketches, KEITH LOOBY doodles, photographs, found objects and images, earlier work experiments, notes or souvenirs JAN MURRAY that stimulated and informed the Art work. This material although I crucial to the thought process GEOFF PARR and development of the work has traditionally been seen as private, unresolved and 'messy' STIEG PERSSON and usually never leaves the studio. 'The Source' attempts to redress ROBERT ROONEY this by enabling the Artists to exhibit such material alongside completed works. A written VICKI VARVARESSOS statement by each Artist also accompanies this visual docu ment providing further guide JENNY WATSON lines and insights into their Art. The exhibition does not attempt to promote one particular style or dogma, but to show a range of ideas and diversity of University of Tasmania approaches to painting. It is a Centre for the Arts Gallery didactic exhibition and a unique opportunity for us to glimpse Hunter Street Hobart behind the scenes. 11 July - 3 August 1986

Elizabeth Gower Curator , . ,,, \ ____...,~ \--

MICKY ALLAN

Artist's Statement of other people's paintings from Flaming Pearl over the Bay For internal adventure, for high the bookshop of the Louvre; I of Naples play, I follow the patterns of my lived my life; I remembered my Oil and oil pastel on linen thought and watch their motion past work; I broke away. 130x88.5cm in paint. I chose from all over because I 1985 The four paintings in this show felt all over, able to connect with 2 Seti I are from a body of work called anything, anywhere, should I Oil and oil pastel on linen liuvels Without My Aunt. They choose. 129x96cm were made in 1985 in Paris, Culture was like a force of nature 1985 where I painted for 6 months in to me, and a delight. 3 I Clutch my ideas the Power Institute Studio at the Sometimes I copied other work Oil and oil pastel on linen Cite lnternationale des Arts. A trip exactly, sometimes I imagined 130x88.5cm to Naples during this time was completely; my identity 1985 particularly significant. Out of its remained the same. Baroque exhuberance and 4 Detail of a Renaissance decay I chose complex I drew from the past and from Landscape simplicity. the present, but often felt it was Oil on linen the Future drawing itself into 130x88.5cm During their evolution, I made manifestation through me. 1985 sketches from books in shops Imagination was the combining and of the things I saw around force. me; I took photographs to remind me of detail and tone; I read; I thought; I felt what it was like being where I was, in particular; I collected postcards

JONAS BALSAITIS

Artist's Statement 5 Unchartered Waters 'The source' is a blank space, Acrylic on canvas The training of the humanist, 130x290cm The training of the Artist, 1985 The building of the Project 6 Night A Painting The idea of two Versions, Acrylic on canvas Changes in plan followed 130x290cm developments. 1985 The source is a blank space that 7 Space Time Structures begins with the training of the 16mm colour film humanist, then the training of the 366m Artist. The building of the Project 48000 frames creates the idea of two Versions, Changes in plan followed by developments. Night A Painting , '

PETER ELLIS

Artist's Statement Polaroid photograph Madame Polaroid photograph Fash.bn The painting Inside the Warrior de Pointier by Jean Clouet. Mongrel and Frock, Peter Ellis, oil Woman ... has its beginnings in I have always been fascinated on canvas, 1985. 229 x 198cms. two main events. Firstly, in the by this painting especially the This has the empty dress as woman automatic way of spilling liquid hands which I have used in this image. Also contains selfportrait. paint over the entire surface to painting and variations of them Polaroid photograph Self 'conjur up' an image, without in other works of 1985. Portrait, Peter Ellis, oil and collage pre-conceived ideas. Polaroid photograph The Analyst on wood, 1984 (Private collection, Then the recollection of an old Peter Ellis, oil on canvas, 1985 Canberra). incident dominates the painting. (Collection Robert Holmes a Court). Polaroid photograph Slug, Peter Ellis, drawing on paper, 1986. 122 Once upon-a-time, in a The hands of Clouet are also in x153cms. somewhat romantic mood, with this work. A woman as an empty dress with the sun setting and ice in glasses Polaroid photograph Malic a slug like sucker inside her, she is clinking, I told a woman that she Moulds Marcel Duchamp tampering with another slug. 'had eyes like Limpid Pools'. But The concept of clothes as an due to slight slurring of outer shell, symbolising the vocabulary on my part, she human figure is a re-occurring 8 Inside the Warrior Woman, She thought I said 'You have eyes like interest of mine. The Duchamp is Had Eyes like limpets Bruised Limpets Bruised!' not a direct influence but Oil on 2 wooden panels Sources something I searched out 132x97cm Polaroid of Inside the War.brWoman afterwards. 1984 Two drawings about 20 x 25cm, Polaroid photograph. 9 Confession pen and gouache. Illustration of an American riding Oil on canvas These are sketches of the work dress circa 1800's. 122x137cm in-progress. Black Taffeta. 1986 Inside the Warior Woman, She Had Eyes like limpets Bruised 'Z- I -- I ' KEITH LOOBY

Artist's Statement The landscapes in this exhibition m Tasmanian Landscape Tasmanian Landscapes are from my present Oil on canvas A landscape image, like any environment, around the Triptych other image of mine, must grow Swansea area on the east coast 153x183cm from an obsession with and in of Tasmania looking over Oyster 153x183cm the local life I lead. Bay to the Freycinet Peninsula. 183x183cm 1986 The only other landscapes I have These paintings are from my new ever done were of Sydney Heads situation where I view the which I viewed every day from constant changes in weather my Manly house and studio. Only along with the ploughing and the initial paintings and some planting of a Botanical Garden etchings succeeded from this 'Kerigan', similar to the constant too singular view. act of painting. Characters of the environment in some cases My Manly Garden done just replant themselves. before I left Sydney to live in Tasmania at the end of 1984, was a painting that ploughed the human figures from my work in the similar way I weeded the Manly garden. For landscape to succeed for me I would have to be living where the landscape overwhelmed other interests. _. , \ _,/. I , ~, ' , ' L.. _,. ' I J 9 -

'~ -- , , '- / ~ I ~ . t' \ A " -\ • I

Tasmanian Landscape " I I I .. ~ \ " JAN MURRAY

Artist's Statement guarded over by winged painted in the latter part of my Both paintings, lm Zwischenraum victories, found adorning the stay in Berlin and in part and Blue Angel, were made church spires and monuments expresses my impending whilst in residence at Kunstlerhaus throughout both East and West departure. I suppose it is about Bethanien, Kreuzberg, Berlin. This is Berlin; for example the famous walking away feeling liberated, particularly relevant because golden angel over Unter Den but on another level it's about the images developed from my Linden (once major Berlin displacement and dislocation - immediate environment- in the avenue). The church is the the act of taking a monument of broader sense I guess one could square that Bethanien faced victory/peace from its pedestal class them 'site specific'. lm had such angels. and bringing it down to earth. Zwischenraum (translated The other form present in the The glowing spires in the means 'in between space1, painting, the inward curve, background are derived from draws reference from the space projects another kind of focus - it the Bethanien Towers, a childrens between East and West Berlin -a is adapted from a Tantric Yoga hospital before the war. They are kind of no-mans land inhabited symbol for fertility. This image, the pedestal for the angel. It is by tank traps and viewable from balanced with the Nike, the relationship between the my studio windows. The Nike communicates the idea of towers and the angel that figure is adapted from the nurturing. lm Zwischenraum talks expresses removal from a given Samathrace Nike in the Louvre about the kinds of contradictions context and creation of a new, in but my source was an Yves Klein I felt while living in Bethanien and this way conveying a truer sense miniature of this, pigmented with the damaged identity of Berlin. of Kreuzberg, the suburb in which Yves Klein blue- I saw this in I lived. In both paintings there is Munchengladback in West Blue Angel also uses the blue an emphasis on what I felt was Germany. The reason for the Nike image and deals again with the earth-bound nature of the interest in the Nike angel statue the use of fragmented images in German culture, and heavy, was that Berlin is ironically an abstract field. This work was ponderous qualities therein. -v v """ "-I(_'I ._,

lm Zwischenraum (in between space)

11 Blue Angel Oil on linen 230x240cm 1984 12 lm Zwischenraum (in between space) Oil on linen 185x250cm 1984 rr~ ' c0 1 ' - • I J /J~ GEOFF PARR

Artist's Statement children, but children deprived 13 Notes on Colonialism: The Black Notes on Colonialism: The Black by their own culture of the Line of 1830 Une of 1830 is one of a group of condition of innocence. The Mixed media works which are still in progress attempt at coercion, through 600 (width) x 400 x 280cm and to which I have given the force of arms was the colonisers' 1985-86 umbrella title of 'Histories', using solution to problems of cultural as they do, events from coliision. Australian History and references Notes on Colonialism: The Black from Westem Art History. Une of 1830 is a confederation of 'The Black Line' was perhaps the signifiers -the scientific artist single most overt Govemment the rifleman emerging from the action taken to subdue the black canvases-the bush indigenous population of landscape- symbols of the first Tasmania and the utter Tasmanians. Separately and ineffectiveness of the project, together they describe visages of both in its concept and its that debacle of 1830. The Black execution, is rooted in the Line, and of that wider causation, colonial dilemma: a profound present still in today's world: ignorance of local knowledge, colonialism. an absence of sensibility towards June,1986. the 'new' land and its inhabitants and an abiding arrogance confirmed by technological superiority. Arriving in the antipodes, the colonists were as Notes on Colonialism: The Black Line of 1830 • ,-.~~ -- (I 1 ' - • I

, GEOFF PARR

Artist's Statement children, but children deprived 13 Notes on Colonialism: The Black Notes on Colonialism: The Black by their own culture of the Line of1830 line of 1830 is one of a group of condition of innocence. The Mixed media works which are still in progress attempt at coercion, through 600 (width) x 400 x 280cm and to which I have given the force of arms was the colonisers' 1985-86 umbrella title of 'Histories', using solution to problems of cultural as they do, events from collision. Australian History and references Notes on Colonialism: The Black from Western Art History. line of 1830 is a confederation of 'The Black Line' was perhaps the signifiers- the scientific artist single most overt Government the rifleman emerging from the action taken to subdue the black canvases - the bush indigenous population of landscape - symbols of the first Tasmania and the utter Tasmanians. Separately and ineffectiveness of the project, together they describe visages of both in its concept and its that debacle of 1830. The Black execution, is rooted in the Line, and of that wider causation, colonial dilemma: a profound present still in today's world: ignorance of local knowledge, colonialism. an absence of sensibility towards June, 1986. the 'new' land and its inhabitants and an abiding arrogance confirmed by technological superiority. Arriving in the antipodes, the colonists were as Notes on Colonialism: The Black line of 1830 - '- ( ~. ·Ji( - ~ r

STIEG PERSSON

Artist's Statement Pathway to Health'. On the left is probably the most overt of the The work of 1983 generally took a a large, s1ylized image derived works of this period, while format of an image imposed on from a da Vinci deluge drawing, Landscape - Exotic is the most a landscape. These were my first its form reminiscent of the Maori esoteric. large scale black paintings and Tikis. Because of the ascetic used images from 'black and nature of the painting process I white' sources, ie. graphic arts became interested in the 14 Landscape- Patriotic and printed matter. decorative composition, hence Oil on raw cotton duck Landscape-Patriotic, 1983, grows the patterning with white balls 181 x216cm out of the national chauvinism of (wattle flowers) which were 1983 that year - the castle is from a taken from a 1913 Australian 15 Landscape- Exotic World War II Chinese stamp. Oil on raw cotton duck propaganda poster, the In both cases the source material 181 x223cm landscape an early Australian is used simply as a method of 1983 Colonial print, and the statement introducting particular themes was a direct appropriation from which may or may not be known the Chinese poster with the to the viewer. The images are translated text having had the obviously politically and words 'our culture' substiMed for culturally loaded, however no the word 'China'. 'correcf or 'sound' position is Landscape- Exotic, 1983, is a implied. Althought the lines of continuation and elaboration of investigation are pre-established the same themes- the interpretation is entirely up to the landscape is from a 1933 New viewer. Zealand stamp entitled The Landscape- Patriotic is Landscape- Patriotic ROBERT ROONEY

Artist's Statement figures. Among these were my armed seNice annuals and post I have always preferred to work first works with war themes, such war volumes of 'As You Were', from secondary sources, as those based on shots of advertisements in 'Fortune' particularly mass-media ones, Mussolini hanging, Korean War magazines and 'Esquire' (mostly rather than paint or draw from images, casts of figures and a from the 40's and 50's) and an the actual subject. fls a student dog from Pompeii, which were illustrated prospectus for the 'Art (1954-57), following the example sometimes combined with Training Institute' of Ben Shahn, I based by Malevich-like abstract bars and correspondence course. paintings and drawings on layers of hard-edge stripes. The image in Speed Victory childhood snaps and photos I My abstract paintings (1967-70) (1983) is an enlargement of one had taken with a Brownie box were based on my large of the four canvases in the camera. collection of breakfast cereal painting What Price Victory? The sources for the paintings of cut-outs and other found (1983), which also included a car accidents and proto-Pop material such as knitting copy of the same tiny lineblock images of teenage subculture in pattems. found in a 'War Savings' stamp my first exhibition (1960) were When I retumed to painting in folder. more varied, being derived from 1982, I rediscovered a lot of the photographs in 'Life' magazine, old material while cleaning out local newspapers and lV shows my studio. Since then my such as Six O'Clock Rock collection has grown larger and I Documentation 1 (1963 was have made about 500 slides of compiled at the end of my images. However, the primary 'Bacon' period and presents sources for my recent paintings some of the phobs I used in a have been linocuts in 'A series of paintings of single Commenr, illustrations in various As You Were

16 Documentation I Ink conte, crayon and magazine photos (collage) 66.5 x 85.5cm 1963 17 Speed Victory Acrylic on canvas 152.5 x 152.5cm 1983 18 As You Were Acrylic on canvas 122x198cm 1983 VICKI VARVARESSOS

Artist's Statement rarely I do a sketch - I paint 19 Women with Drinks I have often used media images directly onto the board - no Enamels in my work. While my early work preliminary drawing or scaling 122x138cm was actually 'commenting' on up or anything like that. This 1986 these images (especially in their process differs from my drawings 20 Woman on Phone portrayal of women) I no longer where I only draw from life. Enamel deal with them in this way. Naturally, they are quite different 122x92cm in content- mainly still-lites. However, I still use media images 1986 as a source for anatomical Family Group references only. Having a theme 21 in mind, I start to collect images Enamel 122x138cm which might best aid me. 1986 Sometimes I can have an image/theme for years before a 'composition' comes to mind. I often collect bodies in complicated/awkward positions in case I ever need them. For example: 'A' and 'B'. Naturally, if I don't find what I want, I ask someone to pose and I draw them or use myself in a mirror. Then I proceed to paint directly from these images (no matter how small, that's what I use). Very I 'I

Woman with Drinks (~ '! \~-- JENNY WATSON

Artist's Statement do with 'found' material to do 22 sam (portrait) Although I have said in recent with my eccentric interests, which Oil on canvas board years that my 'source' of working lately has found its way to pre 26x20cm is to do with dreams, thoughts, technological 19th Century life. 1980 memories and sensations of that The source photo for Selfportrait 23 A Painted Page: The Herald nature, my work prior to 1980 was is a Governess and Child 1895 is Oil on canvas much more conceptually hard from the Weekly Times 76x46cm headed, quite self-conscious newspaper and is of a school 1979 about what was 'acceptable' art teacher in the country. This subject matter. I thought it would newspaper deals with nostalgia 24 Alice Discovers Gold be interesting in a show to of past country life on a Oil and acrylic on hessian demonstrate how that had particular page each week. 92x61cm 1984 changed. From the simple The Se/fportrait as a Child at portrait of Sam Sejavka, where hunt was repainted from a print 25 Self Portrait as a Governess the source material is quite of a painting found in an and Child simply a 25 x 20cm black and opportunity shop, this image Acrylic and gouache on brown white photo taken by me, to the and other recent ones being paper painting of the front page of the vaguely along the lines of what 76x61cm Herald newspaper (a most one might have been in another 1986 unaesthetic object in life. The shift in usage from the Melbourne) where the source is 26 Self Portrait as a Child at a hunt, late 70's to mid 80's seems to date unknown the actual newspaper and the parallel some of the changes in painting is the same size, through Gouache on paper approaches to and reasons for, 76x61cm to the recent work where my painting. source material is much more to 1986 Self Portrait as a Child at a hunt, date unknown BIOGRAPHIES

MICKY ALLAN Selected Group Exhibitions Since 1973 Individual and Group Exhibitions Born 1944, Melbourne. Lives in 'Recent Australian Art, 'Project 9', Since1964 Melbourne. 'Documents, Film, Video', Art Gallery of Carpini Gallery (Rome), Vietti Gallery NSN. 'Artist's Artists', '5 Artists', National (Turin), North Adelaide, Bonython Studied Gallery of Vic. 'Innovation in Australian Gallery (AdeQ, Ray Hughes Gallery (Bris, University of Melbourne, National Film', Travelling. 'Drawings Some Syd), Brian Johnston Gallery (Bris), Abraxis Gallery School (Melb). Definitions', Ewing & George Paton Gallery (Canb), Macquarie Gallery Individual Exhibitions Since 1978 Galleries (Melb), Institute of Modern Art (Canb, Syd), Argus Gallery, Powell Street George Paton Gallery (Melb), 4 shows (Bris). 'Pinacotheca at Watters', Watters Gallery, Realities (Melb), von Bertouch at Watters Gallery (Syd), Art Gallery of Gallery (Syd). 'Preston to Phillip' Gallery (Newcastle), Barry Stern Gallery, SA. National Gallery of Victoria, Reconaissance Gallery (Melb) . David Reed Gallery, Bloomfield Gallery, Roslyn Oxley9 (Syd) . Australian Centre for Photography (Syd), Films Adelaide Festival of the Arts, 200 'Processed Process', 'Space Time Publications Gertrude Street, (Melb), 'Pavillion of Structure), 'Restrain Roloc', 'Erratica'. Art and Australia, Vol12 No 14, 'Keith Death, Dreams and Desire- The Family Looby The Artist as Idealist, by Room', Adelaide Festival1982. Publications T McMullin, p 362; Hemisphere Recent Australian Art (Cat) Art Gallery Magazine, Vol19, No 10, October 1975, Selected Group Exhibitions Since 1975 ofNSN. 'Three Photographers', 'Drawing -Some 'Ideas and Ideals' by J Hopkins, 'Funny as Definitions', Ewing and George Paton Life', H McQueen. Gallery (Melb), 'A Survey of Post-Object PETER ELLIS Art in Australia', Experimental Art Born 1956, Sydney. Lives in Melbourne. JAN MURRAY Foundation (AdeQ, 'Pacific Artists', Studied Born 1957, Ballarat. Lives in Melbourne. Tamura Gallery (Tokyo), 'The CSR Royal Melbourne Institute of Studied Photography Project', The Australian Technology. Centre for Photography (Syd), 'Survey Ballarat College of Advanced 12', NGV, 'Contemporary Photography', Individual Exhibitions Since 1983 Education, Victorian College of the Arts. 'Contemporary Australian Paperworks', 3 shows at Powell Street Gallery (Melb). Individual Exhibitions Since 1983 Art Gallery of SA Maude-Visard Roslyn Oxley 9 (Syd), Kunstlerhaus Wolholen Art Purchase Award, Selected Group Shows Since 1975 Eye Ball Gallery (Melb), South Australian Bethanien (Berlin), Melbourne University 'Contemporary Australian Drawings Gallery (Melb). and Prints', 'Project 38: Reconstructed Student Exhibition, Oz Gallery (Melb), 'A Tribute to George Baldesin', Realities Vision', 'Australian Perspecta' 1981 Art Selected Group Exhibitions Since 1982 Gallery of NSN, 'Eureka! Artists from (Melb), Melbourne Printmakers, Rudy 'New Painting', Roslyn Oxley9, (Syd), Australia', Serpentine Gallery (Lond), 'A Komon (Syd), 'Our Natural Dispositions', Young Melbourne Painters', Exhibition Decade of Australian Photography', Whatever Happened To Me?', Gallery, Monash University (Melb), 'Keith Australian National Gallery (Canb), 'A Drummond St, Gallery (Melb), 1980 and Elisabeth Murdoch Travelling Critical Distance', Artspace (Syd), Michell Endowment Exhibition, NGV, Fellowship Exhibition', Victorian College 'Portrait of Elizabeth', City of Elizabeth Works on Paper', 'Still-life and the of the Arts Gallery (Melb), 'Australian and NGV, 'Hugh Williamson Prize', Interior', 'New Drawings', Powell Street Perspecta 1983', Art Gallery of NSN. Ballarat Fine Art Gallery, Victoria. 'Some Gallery (Melb), Sydney Biennale, 'D'un autre continent: L'Australie. Le reve Quieter Statements', 'Abstracted 'Forcing Wisdom' works on paper (with et le reel', ARC 2: Musee d'Art Moderne Landscapes', Watters Gallery, Sydney, J Cattapan). 'Some Melbourne de Ia Ville de Paris, 'Selected Works from 'Big Pictures Australian Photography Printmakers', Ruskin School of Art, Oxford the Michell Endowment', Vox Pop', 1975-85', University Drill Hall Gallery (Eng) University of Bayreuth, Darmstadt, National Gallery of Victoria, 'Form (Canb), 'Slouching Towards Bethlehem', Nurnberg (Germany), Bangkok Image-Sign', Art Gallery of WA (Thailand). 'Crisis Drawings', 'Animals and Gertrude Street, Melb, 'Oz Drawing 'Australian Visions', Solomon R Animism in Australian Art, 'Figure Fantasy Now', Holdsworth Galleries (Syd). Guggenheim Museum (New York), 'The Fetish', 'Selections from the RMIT Australians', CDS Gallery (New York), Publications Collection', RMIT Gallery (Melb). 'Animal 'Group Show', Powell Street Gallery M Allan, My Trip, self-published, Melb Imagery in Contemporary Art Ballarat (Melb), 'Triad', Adelaide Festival. 1976, P Brown, 'Micky Allan's Family Fine Art Gallery, Bendigo Art Gallery; Room',Artlink, Vol2, No 1. J Burke, 'The Wollongong Art Gallery. Selander Publications Melbourne Scene', Art and Australia, Gallery, Canberra. 'Image Codes - Art M Holloway, New Painting (Cat/ Autumn, 1981. A Cohn, 'The Adelaide About Fashion', Australian Centre of Broadsheet), Roslyn Oxley9, Young Festival of Arts 1982', Art and Australia, Contemporary Art (Melb), 'Under the Melbourne Painters (Cat) Monash Uni Vol 20 No 1. S Davies, 'Micky Allan - Hand, Behind the Eye', Deakin University Gallery, 'Closing the Gap' Studio Photographer', Up, Vol4, 1978-79, Gallery (Melb). Fremantle Drawing International. Vol196, No 1002, 'A C Godden, 'Photography in the Show rfVA), 'Slouching Towards Powerful View Across The Berlin Wall', Australian Art Scene', Art in Australia, Vol Bethlehem', Preparatory Drawings, The Age, June 29, 1985. B Murphy, 18, No 2, H Grace, 'Beyond Social Gertrude Street Gallery (Melb), 'Fears 'Recent Painting in Australia', Flash Art, Concern', Art Network, No 5, I North, and Scruples', Melb Univ Gallery. No 110. B Murphy & J Parfenovics, 'Photography at the Australian National Australian Perspecta 1983 (Cat), Art Gallery', Art and Australia, Vol20, No 1. N Publications Gallery of NSN. S Davies & R Dunn, Waterlow, Australian Perspecta 1981 Animals and Animism in Australian Art, 'Grappling with Diversity: Australian Directory ofAustralian (Cat), Eureka! Artists from Australia (Cat). RMIT, 1981 (Cat). Perspecta 1983',Art Network, No 10. L Printmakers. M Germaine, Artists and Paroissien/S Page, D'un autre continent: Galleries ofAustralia, A Muscullock. L'Australie. Le reve et le reel (Cat), Musee JONAS BALSAITIS Encyclopedia of Australian Art. d'Art Moderne de Ia Ville de Paris, 1983. Born 1948, Germany. Lives in Melbourne. R Lindsay, Vox Pop (Cat), NGV, Dec 1983. Studied KEITH LOOBY J Faure Walker, 'Australia', Artscribe, No Preston Institute of Technology, Prahran Born 1940, Sydney. Lives in Tasmania. 44. J Montgomery, 'Australia -The Technical College, National Gallery French Discovery of 1983',Art & "Text, No Studied School. 12 & 13. J Phipps, 'Entre deux Mendes East Sydney Technical College. Australians in Paris', The Age Monthly Individual Exhibitions Since 1970 Review, Jan 1984. K Larson, 'Upstairs from 7 shows at Pinacotheca (Melb). Downunder'. NeWYork Magazine, Oct 8, I - J

1984. K Levin, 'They came from down ROBERT ROONEY Image: A Study ofAustralian Artist's under', Village Voice, Oct 9, 1984. B Born 1937, Melbourne. Lives in Books, Robert Rooney: The Poetics of Schultz, Jan Murray in Berlin (Cat), 1985. Melbourne. Waiting (Cat) 1978. J Burke, Self-Portrait! J Barbour, Review Art Network, 1985 Self-Image (Cat) 1980, M Eagle, Bulletin, Studied Winter. F Lindsay Triad, Adelaide Arts The National Gallery Society of Victoria Swinburne College of Technology, Festival1986 (Cat). Jan/Feb 1981. M Plant, Quattrocento Preston Institute of Technology. Melbourne: .Aspects of Finish 1973-77, Individual Exhibitions Since 1960 Studies in Australian Art, University of GEOFF PARR Melb. P Taylor, Popism (Cat) NGV 1982, Born 1933 Earlwood, NSW. Lives in 'I Rise in Flame', Richman Galleries 'Angst in My Pants', Art & Jext, No 7, Tasmania. (Melb), South Yarra Gallery (Melb), Terry Clune Galleries (Syd), 'Kind-Hearted September 1982, 'Popism', Real Ute Studied Kitchen-Gardens and Sl ippery Seals', Magazine, No 9, New York. Winter 1982. No full-time study. Strines Gallery (Melb), 'Information: .As You Were (Broadsheet/Cat), Roslyn Oxley9, 1984. D Thomas, A Melbourne Individual Exhibitions Since 1965 Robert Rooney', Brighton Polytechnic (Eng), 'Project 9: Robert Rooney', Art Mood: Coo/ Contemporary Art (Cat), Lloyd Jonc~ Sallery (Hobart). Fine Arts Gallery of NSW, 'Survey 3: Robert ANG, 1983, R Radford, Recent Australian Gallery, University of Tasmania. Queen Painting: A Survey 1970-1983, Art Gallery Victoria Museum &Art Gallery Rooney', NGV, 'As You Were', Roslyn Oxley9 (Syd), 'Canine Capers and of SA 1983. D Robinson, Meaning and (Launceston). r:eveloped Image Excellence, ANZART (Cat) 1984. (Adelaide),Avago (Syd). Cereal Bird Beaks', 'Superknits and Snaps', 'Dale Hickey/Robert Rooney/ Publications by Artist Group Exhibitions Since 1978 Simon Klose', 'Selected Photographic Australian Skipping Rhymes, 'Down Under, Down Under Show', Works 1970-75', 'Portraits', 'Eitham Factory Moonflower Press 1956. War Savings Brummels (Melb). 'Modern Australian Landscape and Complete Photoworks Streets, (Photomap in folder), 1970. Photography', National Gallery of 1970-81', 'As You Were', 'One Complete Words and Phrases in 'Inverted' Victoria. 'Six Tasmanian Photographers', Abstract Painting Included in Every Commas from the Complete Works of The Australian Centre of Photography Picture', Pinacotheca Gallery (Melb). IBMR (I Burn and M Ramsden) xerox (Syd). 'China', University of Tasmania, book 1972. Interview with Thomas 'Australian Contemporary Photography', Selected Group Exhibitions Since 1963 Lawson, Art & Jext, No 8, Summer 1982/ Art Gallery of SA 'Anzart' (Hobart). lady 'Survey 63', 'Survey 64', 'New Generation 83. 'Don't Dare Breathe', Art & Text, Nos Warwick Fairfax Photography Open 1965', Museum of Modern Art and 12 & 13, Summer 1983-Autumn 1984. Award Exhibition', 'Australian Perspecta Design (Melb), 'Contemporary 'Artists and Models', Art & Jext, No 19 '85', Art Gallery of NSW. Australian Drawing', Newcastle City Art October-December 1985. 'On the Prowl: Gallery (NSW), 'Australian Young Gareth Sansom Talks', ~reth Sansom: Publications Contemporaries', Argus Gallery (Melb). He Sees Himself, Melbourne University 'Six Australian Photographers', Creative 'Four Pinacotheca Artists Using Gallery 1986. 'Philip Evergood: Art on the Camera, UK March 1978. Australian Photography', lnhibodress (Syd), 'The Beach', Artist's Choice No 22, Art and National Gallery - An Introduction, 1982. Situation Now: Object or Post-Object Australia, Vol 22 No 3 Autumn 1985. Island Magazine 16, September 1983. Art', CAS Gallery (Syd), '1st Pan Pacific Studio International, Vol196, UK October Biennale: Colour Photography and its 1983. Australian Art Review 2, 1983. Art Derivqtives', Auckland City Art Gallery VICKI VARVARESSOS Network 8, Summer 1983. Australian (NZ), 'The Road Show: Attitudes to the Born 1949, Sydney. Lives in Sydney. Perspecta 83, Photofile, Spring 1983. Car', Shepparton Arts Centre (Vic), Studied Australian Perspecta 85. Photofile, 'Acquisitions 1976 and 1977', Ballarat Fine National Art School. Summer 1985. Art Gallery (Vic), Works on Paper: Road Show' (touring exhibition within Individual Exhibitions Since 1975 Australia), Visual Arts Board Regional 9 shows at Watters Gallery (Syd), Stuart STIEG PERSSON Development Prog No 2, 'Self-Portrait/ Gerstman Galleries (Melb), Niagra Born 1959, Melbourne. Lives in Self-Image', VCA Gallery (Melb), 'The Galleries (Melb). Melbourne. Monash University Art Collection', Melb Selected Group Exhibitions Since 1975 Studied Univ Gallery, 'Pinacotheca Artists at 'Women in Art', WM (Perth), 'East Coast Victorian College of the Arts. Watters', Watters Gallery (Syd), 'Artists Drawing: Towards Some Definitions', Books: Book Works', 'Art in the Age of Individual Exhibitions Since 1983 Institute of Modern Art, (Bris), Works on Mechanical Reproduction', 'Photostats' 2 shows United Artists Gallery (Melb), George Paton Gallery (Melb), 'The Field', Paper', 'Recent Women's Images of Yuiii/Crowley (Syd) . 'Artist's Artists', 'Performance, Documents, Women', Watters Gallery (Syd), Australian Women Artists, CAS Exhibition, Selected Group Exhibitions Film, Video', 'Popism', NGV, 'Recent Australian Art', 'Origins, Originality and Paddington Town Hall (Syd), lost and Keith and Elizabeth Murdoch Travelling Found/Objects & Images', Ewing Gallery Beyond', Sixth Biennale of Sydney, Art Fellowship, VCA Animal Imagery in (Melb), 'Drawing 79', Stuart Gerstman Contemporary Art, Regional Touring, Gallery of NSW, 'Australian Art of the Last Ten Years: The Phillip Morris Collection', 'A Galleries (Melb), Australian Perspecta 'The Australians', Three Generations of '1981, 1985' 'Private Symbol. Social Drawing, CDS Gallery (New York), 'Off Melbourne Mood: Cool Contemporary Art',ANG. Metaphor'. Fifth Biennale of Sydney, Colour', Yuiii/Crowley (Syd), Visual 'Australian Painting & Sculpture 1956- Tension', ACCA Melb and IMA (Bris), Publications 1981' Survey from the Collection, Art 'Pleasure of the Gaze', Art Gallery of WA A McCulloch, Encyclopaedia of Gallery of NSW, 'Five Contemporary Perspecta, Art Gallery of NSW, Australian Art, GR Lansell, 'First and Last', Australian Painters', Tasmanian School of 'Slouching Towards Bethlehem', Nation, Melbourne, 11 May 1968, Art, (Hobart) and Queen Victoria Gertrude Street (Melb), 'Pharmakon', 'Subversive Rooney', Nation, Melbourne, Museum and Art Gallery (Launceston), Yuiii/Crowley (Syd), 'Fears and Scruples', 19 Sept 1970. B Smith, Australian Painting 'Six by Six Exhibition', Orange Festival of University of Melbourne Gallery. 1788-1970.A. McCulloch,Art Arts (NSW). 'Attitudes to Drawing', Ivan Dougherty Gallery (Syd), "The Publications International, 20 Oct 1970, Art Woolloomooloo Mural Project' (Syd), Art Network, Summer 1985 (Review), International, Mar 1971. R. Lindsay, 'Romanticism and Classicism in Visual Tension, ACCA Feb 1985, Pleasure 'Robert Rooney', Art and Australia, Vol14 Contemporary Australian Painting', of the Gaze, 1985 (Cat), Art Gallery of No 1, 1976, Some Recent Acquisitions Geelong Art Gallery and Regional WAAustralian Perspecta 1981 (Cat), Art 1979-81, NGV 1981. G Catalano, The Galleries in Victoria. The Hugh Gallery of NSW. Years of Hope: Australian Art and Criticism 1959-1968, The Bandaged Williamson Memorial Invitation Art ~ I r(.- I ' ' I' ...~.. \ I

Award, Ballarat Fine Art Gallery (Vic), Paton Gallery, Melbourne. Perspecta 81-83', '4th & 5th Biennale of Works on Paper Invitation Purchase AU.S.T.RA.L.IA.', Zona (Fierenze). 'Drawings Sydney' Art Gallery of NSW. 'Art '84', Exhibition, Campbelltown Art Gallery from the Face and Figure', Heide Park Jean-Louis Pradel (Ed) (London) (New (NSW), 'Recent Acquisitions of Australian and Art Gallery, (Mel b), 'From Another York). Visual Tension', 'Image Codes', Prints', Australian National Gallery, 'Still Continent: Australia. The Dream and ACCA (Melb), 'Queensland Works', Life', Studio Education Gallery, Art The Real', ARC II, Musee d'Art Modern Queensland Univesity Art Museum (Bris) . Gallery of NSW, 'Pleasure of the Gaze', (Paris). 'Australian Art in Amsterdam', 'lsolaustralia', Fondazione Bevilacqua La Art Gallery of WA. Galerie Biederberg Muller (Amsterdam). Masa (Venice). 'Close Remarks', 'Recent Australian Painting: A Survey of Artspace (Syd). '3rd lnternationale Publications the 70's & 80's, Art Gallery of SA Triennale der Zaichnung', Stadt G Catalano, 'Watters at Pinacotheca: a 'Painting/Painting', 'MacPherson, Parr, Kunsthalle (Nurnberg) ., 'Jenny Watson. Partisan Review', Arts Melbourne Vol2, Watson, Nixon', Art Projects (Mel b). Painting and Drawings 1972-1985', Melb No 11977. M Plant, 'Quattrocento 'Mattera Exhibition', Newcastle Region Univ Gallery. Interviews: 'The Virgin Press' Melbourne: Aspects of Finish 1973-77', Art Gallery (Newcastle). 'Form-Image Feb 1982. J Nixon, Young Blood', 'From A Studies in Australian Art, Melbourne Sign', Art Gallery of WA (Perth). Dream', Notes on Art Practice Art University. B Murphy, Australian 'Apocalypse + Utopia', Melb Univ Projects. A Crawford, 'Interview', The Perspecta 1981. 1985, Art Gallery of NSW Gallery. 'Australian Perspecta 1981', '4th Virgin Press, Nov 1982. M Gilchrist, (Cat), J Burke, 'Art for the End of the and 5th Biennale of Sydney', 'Some 'Biennale of Sydney', Art Network No 6. World', Meanjin 3/1981. Vicki Australian Drawings 1880-1980', Art 'What is this thing called Pop', Australian Varvaressos',Art &Australia IXX/41982, J Gallery of NSW. 'Australian Art of the Vogue, Jan 1983. R Dunn, The Pursuit of Phipps, 'Painting', Australian Art Review, Seventies', 'A Melbourne Mood: Cool Meaning', Art & Text, No 61982. J No 2 Warner 1983. V Spate, 'Whatever Contemporary Art, ANG 'Dreams and Mendelssohn: 'Exhibitions- Jenny Happened to the Art of the 70s?', Art & Nightmares', Rosllyn Oxley9 (Syd) . Watson', Art Network No 10,1983. F Text, No 14 1984. N Waterlow, Private 'Symbols, Emblems, Signatures: Lindsay, 'A Melbourne mood', Art & Text. Symbol: Social Metaphor, Fifth Biennale Australian Drawings 1984', Govett No 11. 1983. B Murphy, 'Painting', of Sydney (Cat) Art Gallery of NSW. Brewster Art Gallery (New Plymouth). Australian Art Review 1982, 'Recent Visual Tension', 'Images Codes', Painting in Australia', Flash Art, Milan Jan JENNY WATSON Australian Centre for Contemporary Art 1983. '10 years of Aust Art', 'A Melbourne Born 1951 Melbourne. Lives in (Melb). 'lsolaustralia', Fondazione Mood: Cool Contemporary Art Melbourne. Bevilacqua La Masa (Venice). Artists (Catalogues), ANG P Taylor. 'Jenny books, 'Anzart in New Zealand' Watson's 'Mod'ernism', Art International Studied (Auckland). 'Close Remarks'. Artspace, Jan 81. 'Australian Neco Wave and the National Gallery School. State College Syd '3rd lnternationale Triennale der Second Degree', Art & Text, No 1. 'Popism of Victoria. Zaichmung', Stadt Kunsthalle (Nurnberg). - The Art of White Aborigines', On the Individual Exhibitions Since 1973 Beach No 11983 and Flash Art, May 5 shows Powell Street Gallery (Melb), Publications 1983. 'Popism', Real Ute Magazine 83, Abraxas Gallery (Canb), Ray Hughes 'Illusion and Reality', Australian State 'ArtNews',AustVogue Oct1983. N Gallery (Bris), Institute of Modern Art Galleries. 'Still Life Still Lives', Australian Underhill, '40 Years of Australian Art', Art Regional Galleries. 'Real Super Real', (Bris), Q Space Annex (Bris), Axiom Press, Oct 1983. J Montgomery, 'Australia Gallery (Melb), David Reid's Gallery Albury Art Gallery. 'New Painting', -The French Discovery of 1983', Art & (Syd), Melbourne University Gallery 'Dreams & Nightmares', Roslyn Oxley9 Text No 12/13. S Cramer, Vox Pop' (Melb). Roslyn Oxley9 (Syd) . (Syd). 'Minimalism', Institute of Modern (Review) Art & Text No 12/13. J Watson Art (Bris). 'From Another Continent: 'Urgent Images', Art & Text 14. A Pohlen, Selected Group Exhibitions Since 1974 Australia. The Dream + The Real ARCII'. 'Taking the Pulse of Art',Artscribe July 'The Supernatural Natural Image', Musee d'Art Modern (Paris). 'Recent 1984. 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ACKNOWLEDGEMENTS

The curator wishes to thank the facilitated by a general purpose Catalogue published by the artists and the following for their grant from the Tasmanian Arts Centre for the Arts Gallery, July assistance: Advisory Board 1986 John Neeson, Pat Brassington R Cover Design: Elizabeth Gower ©Copyright 1986 This exhibition was assisted by a Catalogue Design: Tracy Crome generous grant from the Visual The Artists, the author and the assisted by Lynda Womer University of Tasmania Arts Board, Australia Council Photography: John Farrow ISBN 0 85901 330 8 The ongoing exhibitions Typesetting: Photolith pty Ltd programme of the Centre for Printing: Focal Printing the Arts Gallery is greatly