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Other Side Art: Trevor Nickolls University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 2011 Other Side Art: Trevor Nickolls Ian McLean University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation McLean, Ian, "Other Side Art: Trevor Nickolls" (2011). Faculty of Law, Humanities and the Arts - Papers. 1314. https://ro.uow.edu.au/lhapapers/1314 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Other Side Art: Trevor Nickolls Abstract In a review of Gordon Bennett's retrospective at the National Gallery of Victoria in 2007, Rex Butler claimed that there have been two revolutions in Australian art, the first at Papunya in 1971 and the second, an echo of the first, around 1990, when Bennett burst upon the scene. Keywords era2015 Disciplines Arts and Humanities | Law Publication Details McLean, I. "Other Side Art: Trevor Nickolls." Artlink: Australian contemporary art quarterly 31 .2 (2011): 54-57. This journal article is available at Research Online: https://ro.uow.edu.au/lhapapers/1314 Artists Trevor Nickolls Brush with the Lore 2010, synthetic polymer on canvas, 187 x 140 cm. Photo: Angelika Tyrone. © Trevor Nickolls/Licensed by Viscopy, 2011. Trevor Nickolls Ian McLean n a review of Gordon Bennett’s retrospective at the “crude” predecessor of sophisticated postmodernist urban National Gallery of Victoria in 2007, Rex Butler claimed Aboriginal art. that there have been two revolutions in Australian art, The phrase “artistically crude” is, like the term “primitive”, the first at Papunya in 1971 and the second, an echo of a classic example of othering. For centuries it relegated the first, around 1990, when Bennett burst upon the Indigenous art to the dustbin of art history and justified a scene. Eurocentric cosmology. This changed in the early 20th century, I“Of course, before Bennett there existed what was called when artistic crudity became the weapon of choice for the urban Aboriginal art, by artists such as Trevor Nickolls avant-garde. To be otherwise was to be academic. and Robert Campbell Jr, but it was Bennett who brought If Nickolls’ art is “crude”, he is no naïve. He was a precocious a conceptual rigour to these often artistically crude and drawer and began formal training at the age of eight. Not expressionistic works. It’s hard to imagine the ambiguous many kids growing up poor in Findon (near Port Adelaide) aphorisms of Richard Bell or the media-savvy strategies of discover Picasso so young. He completed his undergraduate Brook Andrew without Bennett’s example.” 1 studies at the South Australian School of Art in 1970 and Bennett may well be the revolutionary who instigated a new postgraduate at the Victorian College of Arts (VCA) in 1980. era in Australian art, but no matter how “artistically crude” He has won numerous awards, is a prolific exhibitor, is Nickolls’ paintings might seem, he cannot be footnoted as a represented in all State galleries and represented Australia at the 1990 Venice Biennale. 54 | vol 31 # 2 [2011] < www.artlink.com.au What then would make a contemporary art historian judge Nickolls’ journeying towards a dreamtime world took another Nickolls’ art as lacking sophistication? Is it because the art direction after meeting Rover Thomas in 1990 and travelling seems the result of a compulsive neurosis? You feel it in the to Venice. Now dreamtime is not so much the antinomy of obsessive draftsmanship, as if he can’t resist adding another machinetime but haunts or pervades it. Nickolls’ art is a mark, another sign. His paintings have the manic intensity careful diaristic record of a mad world not a mad mind. He is and the horror vacui of some outsider art. This so marks his the Breughel of our times. work that there appears to have been no significant conceptual Neither mad nor naïve, Nickolls was drawn to the “artistically development over the years, just the same relentless anxiety to crude” for much the same reason as early modernists: it was cover the canvas with the imprint of a deep and constant disquiet. perceived to be pure and free from corruption, a utopia, a There is some support for this interpretation in Nickolls’ bridge.3 Nickolls’ appreciation of it began in those innocent biography. He owes his early art classes to his mother’s years of childhood when he was an aficionado of comics and worry. She sent him to a psychiatrist, who diagnosed advertising. His early experience drawing them is evident in Saint Vitus’ dance. Realising that young Trevor was “using the graphic, iconic and didactic quality of his imagery. The drawing to communicate”,2 the psychiatrist recommended screaming upturned face in Guernica spoke expressly to him, it as therapy. However to think that Nickolls’ works is simply and he adopted it as both a self-portrait and an icon of the the manifestation of mental disturbance is to misread his anguish of dreamtime in an age dominated by the ‘white paintings. It misses not just their content but also their spirit’ of machinetime.4 aesthetic and conceptual accomplishment. Nickolls’ search for an age of innocence was evident at art As much as Nickolls appears to depict an unchanging manic school, where he became deeply interested in the so-called inner world, closer examination of his oeuvre reveals that primitifs: “I was interested in Giotto and the time before within it are distinct periods that directly relate to real events Giotto”.5 Contemporary art at the time left him cold. The and places. Whenever Nickolls moved his style and subject only modern art movement that attracted his attention was matter also changed. For example, in 1984, after moving from surrealism. Nickolls saw a relationship between surrealist Melbourne to Sydney, his signature urban scenes of ceaseless theory and what he called “the concept of dream time”.6 By battle between dreamtime and machinetime gave way to the time he left art school he had developed a distinctive style gentle wry landscapes in which, at this site of first invasion that combined features of surrealism, the magic realism of where Colby and Bennelong were kidnapped and the Governor many Fourth World artists, and most of all, the alternative speared, dreamtime persists. underground of the 1960s. There is, observed Ulli Beier, a Trevor Nickolls Roving in Thomas Town 1994, synthetic polymer paint on canvas, 153 x 213 cm. Private collection. Photo: Michal Kluvanek. © Trevor Nickolls/Licensed by Viscopy, 2011. www.artlink.com.au > vol 31 # 2 [2011] | 55 Trevor Nickolls The Adventure(s) of Wanda Wandjina 2001, oil on canvas, 122 x 211 cm. Private collection. Photo: Michal Kluvanek. © Trevor Nickolls/Licensed by Viscopy, 2011. “touch of black American panache” 7 in Nickolls’ art and pose, in an artwork, and in 1978 taught in the politically radical but at heart he was a hippy. Bob Dylan was his teenage muse. Black Studies unit at Swinburne Institute of Technology with the likes of Gary Foley. But even in this company he felt the Nickolls’ distaste for art theory can in part be explained by the outsider: “It was too political. Those guys were just interested misfortune of attending art school in the late 1960s and again in radical politics. But ... my art is not my politics. I simply in the late 1970s. Nickolls was the classic outsider, the kid who cannot make such direct, literal political statements in my did not fit: “I feel that my spirit inside comes from another painting.” 11 Political spiritual (1981) is another one of his time, another space, that it’s quite alien to this time.” 8 The dichotomous subjects. However, as this painting suggests, psychiatrist diagnosed Saint Vitus’ dance, but Nickolls had his real interest is not the difference between binary terms his own term: “encapsulated”. The great encapsulators were – between machinetime and dreamtime – but how they are technology and consumerism, what he glossed as “white man entwined. and science and greed”. 9 While Nickolls grew up knowing he was Aboriginal, his mother For Nickolls art and nature are not two opposed things but ‘played down her Aboriginality’ 12 and he had little contact driven by the same will for life (spirit) and expression. In the with an Aboriginal community. Only at art school in his early 1970s he realised that there was a similar symbiosis between 20s did he begin to become familiar with Aboriginal culture. nature and Aboriginal art. He felt a deep nostalgia for what it From an art historical perspective what he did with it put him represented: a “dreamtime” when humans were not alienated at the forefront of his generation. This is because Nickolls’ from nature. He felt condemned to walk a tightrope between career as an artist began at the same time as the Papunya the “machinetime” of this life and “what I know instinctively, Tula revolution. inherently, in the other lifetime, the Dreamtime.”10 Revolutions are the measure of their time. At first Papunya Despite Nickolls’ Manichean tendency to split the cosmos into Tula was a silent and invisible revolution. But this changed in a binary scheme, and his tendency to envisage machinetime the early 1980s when it seemingly compelled certain sections as ‘white’, he didn’t divide the world into opposed races. In of the artworld to recognise it as contemporary and not Garden of Eden (1982), he is the naked black man holding primitive art, and engage with it accordingly. Nickolls was an hands with a naked smiling white woman.
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