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Making 18 01–20 05 artonview art o n v i ew ISSUE No.49 I ssue A U n T U o.49 autumn 2007 M N 2007 N AT ION A L G A LLERY OF LLERY A US T R A LI A The 6th Australian print The story of Australian symposium printmaking 18 01–20 05 National Gallery of Australia, Canberra John Lewin Spotted grossbeak 1803–05 from Birds of New South Wales 1813 (detail) hand-coloured etching National Gallery of Australia, Canberra nga.gov.au InternatIonal GallerIes • australIan prIntmakInG • modern poster 29 June – 16 September 2007 23 December 2006 – 6 May 2007 National Gallery of Australia, Canberra National Gallery of Australia, Canberra George Lambert The white glove 1921 (detail) Art Gallery of New South Wales, Sydney purchased 1922 photograph: Jenni Carter for AGNSW Grace Crowley Painting 1951 oil on composition board National Gallery of Australia, Canberra Purchased 1969 nga.gov.au nga.gov.au artonview contents 2 Director’s foreword Publisher National Gallery of Australia nga.gov.au 5 Development office Editor Jeanie Watson 6 Masterpieces for the Nation appeal 2007 Designer MA@D Communication 8 International Galleries Photography 14 The story of Australian printmaking 1801–2005 Eleni Kypridis Barry Le Lievre Brenton McGeachie 24 Conservation: print soup Steve Nebauer John Tassie 28 Birth of the modern poster Designed and produced in Australia by the National Gallery of Australia 34 George Lambert retrospective: heroes and icons Printed in Australia by Pirion Printers, Canberra 37 Travelling exhibitions artonview ISSN 1323-4552 38 New acquisitions Published quarterly: Issue no. 49, Autumn 2007 © National Gallery of Australia 50 Children’s gallery: Tools and techniques of printmaking Print Post Approved 53 Sculpture Garden Sunday pp255003/00078 All rights reserved. Reproduction without 54 Faces in view permission is strictly prohibited. The opinions expressed in artonview are not necessarily those of the editor or publisher. Submissions and correspondence should be addressed to: The editor, artonview National Gallery of Australia GPO Box 1150 Canberra ACT 2601 [email protected] Advertising (02) 6240 6557 facsimile (02) 6240 6427 [email protected] RRP: $8.60 includes GST Free to members of the National Gallery of Australia For further information on National Gallery of Australia Membership contact: Coordinator, Membership GPO Box 1150 Canberra ACT 2601 (02) 6240 6504 [email protected] front and inside front cover: A provisional concept design developed by Andrew Anderson PTW Architects for the front entrance for stage one of the approved building additions to the National Gallery of Australia building director’s foreword A provisional concept design We are extremely excited and grateful that the government appropriate space for openings and functions. Stage one for the building additions, at the end of 2006 approved financial support for stage includes a large, flexible space for nearly 1000 people to featuring a skyspace by internationally renowned one of our two-stage redevelopment. It means above attend stand-up functions, or 320 for seated functions. artist James Turrell all that the Gallery will receive its first increase in the The space, which can be divided, will also be used for permanent collection display space since the building was educational purposes during the day. The area will open conceived. Most of this will be appropriately dedicated out into an Australian garden that will eventually, in stage to Aboriginal and Torres Strait Islander art of which the two, join up with the current Sculpture Garden. Gallery holds the largest collection. There will be special As well as the Australian Indigenous galleries, there spaces dedicated to different aspects of Indigenous art, will be a new home on the main floor for the Gallery’s from smaller galleries for the earlier and smaller dot and most iconic Australian work – the Ned Kelly series by bark paintings to larger galleries suitable for the larger dot Sidney Nolan. Stage one also includes a street level and bark paintings from the 1980s onwards. There will entrance, shop and facilities, with the Aboriginal Memorial also be a designated space for city-based Indigenous art. Poles displayed by the entrance as the first work people see In contrast with these galleries, which will be lit with when they enter the building. natural light, there will also be smaller side galleries for Construction work on stage one should begin in mid light sensitive works, lit artificially. These Indigenous 2007 after the necessary planning approvals are received, galleries will include areas for the Hermannsburg and it is anticipated that the new extensions will be watercolours, baskets, textiles and prints. They will be completed by 2009. The government has committed the first suite of galleries especially designed around the $93 million to the building program which includes different needs and scale of Australian Indigenous art. $20 million for the almost completed refurbishment of the The Gallery has long flagged the need for a more existing building. The extensions have been developed by accessible and compliant entrance and facilities worthy of Andrew Andersons of PTW working in close collaboration a national institution. We will now have such an entrance. with Gallery staff, the Gallery Council and myself. We The Gallery has also been hampered by a lack of an appreciate the valuable consultation undertaken during 2 national gallery of australia Provisional concept designs showing the interior entrance of the National Gallery of Australia the design development in 2004 and 2005 by the architect New South Wales, and we are delighted to introduce of the original building, Colin Madigan. For a three- her remarkable work in this touring exhibition to a new dimensional fly-through of the proposed building changes generation of Australians. Many paintings have been visit nga.gov.au. especially cleaned for this exhibition and their true original We continue to receive positive feedback for the new colour can once again be enjoyed. The exhibition includes Southeast Asian Galleries (which follow on from the new several recently rediscovered paintings and the largest Indian Gallery) and especially for the radical new-look number of Crowley’s abstract paintings ever assembled, International Galleries. Visitors are keen to explore the enabling a new appraisal of Crowley’s achievement. While Gallery’s panorama of international art, Impressionism Crowley has long been recognised as one of the most to Pop Art, which investigates the story of modernism important of the ‘modern Australian women’ who revitalised from the middle of the nineteenth century onwards. Australian art during the inter-war period, the later phase Impressionism to Pop Art now dominates the entrance of her career is not so well known. Abstraction was slow to level of the Gallery with each of the eight bays designed gain a foothold in Australia and Crowley’s great achievement to reflect the ambience of the artists’ visions and stories. has not received due recognition. In her late abstract works For the first time, visitors move through chronological we can see her brilliance as a colourist; one of Australia’s themes displayed in separate bays that are organised finest. In her abstract paintings of the 1950s her own voice around a range of art historical movements and stood out, a sophisticated, intelligent and above all joyous interconnected concepts. Work is now progressing on expression of her beliefs of what it meant to be an artist. the eagerly anticipated restored Sculpture Gallery, which I believe they are her best works. The exhibition is supported we expect will open in April. by a range of public programs and events including At the beginning of February Grace Crowley: being floortalks, lectures, performances and screenings. modern was formally launched by Daniel Thomas. It has As we begin to celebrate our twenty-fifth birthday it is been over thirty years since Daniel Thomas organised timely to turn our attention to ourselves with the launch the first retrospective of her work at the Art Gallery of at the end of March of the Gallery’s major twenty-fifth artonview autumn 2007 3 credit lines anniversary exhibition, The story of Australian printmaking Donations 1801–2005. This exhibition showcases the Gallery’s Ross and Florence Adamson largest and one of its most impressive collections – the Andrew Andersons collection of Australian prints, posters and illustrated Robyn Burke books. This unparalleled collection of over 36,000 works Charles Curran, AC and Eva Curran is the most comprehensive collection of Australian prints Joan Daley held anywhere and is the culmination of twenty-five years of inspired and rigorous collecting by curatorial Gifts staff, especially Roger Butler, judicious support by the Philip Bacon, AM Gallery’s previous Directors and Council members, and George C Baxley long-standing, generous funding from donors, particularly Jessie Birch Gordon Darling. The exhibition coincides with the Vincent Bray publication of a series that covers the history of Australian Peter Burgess printmaking from its colonial beginnings to the present, Brian Freeman told through the Gallery’s collection. The series presented Gordon Darling Australasian Print Fund the Gallery with the opportunity to document, rediscover Claudia Hyles and reveal the riches of its outstanding collection. The Chips Mackinolty exhibition and books are supported by Hindmarsh and the The Orde Poynton Bequest Gordon Darling Foundation. Presbyterian Ladies College Despite the wealth of information covered in the series, Gift of the Lax Family in memory of books cannot encompass the entirety of a collection the Anthony Walter Lax 2006 size and depth of our Australian prints collection. In 1997 Theo Tremblay the Gallery initiated its Australian prints and printmaking Gift of Kenneth Tyler and Marabeth web presence and, ten years later, the National Gallery Cohen-Tyler in memory of Harry of Australia is the nation’s leading institution in providing Seidler 2006 electronic access to its collection.
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