Education Resource the World Turned Modern the NGA Holds a Significant Group of Rare Works Across Toward New York
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Education resource The world turned modern The NGA holds a significant group of rare works across toward New York. From Cubism, Crowley brought a range of media by Crowley, Dangar and Black, which painting toward Geometric Abstraction, a purely non- ‘Realistic painting has proved to be a blind alley. not only illustrate the great early influence of European representational iteration of the form. Other artists We have reached the end of that alley, and been Cubism but also, more importantly, unequivocally show practiced a more organic abstraction, such as Inge King obliged to turn around and retrace our steps. the critical role progressive women played in opening up in her early carved stone and wood sculptures made Now we have started on the new track, and already avant-garde practices to artists at home in the 1920s at the Abbey in Hertsforshire in the 1940s—two of find it rich in new discoveries.’ and in redirecting public taste away from conservative, which, Animal shapes in space c 1948 and Figure in oak Dorrit Black, 16 March 1932 heroic landscapes and portraiture of the Edwardian 1949, are included in Abstraction. She then travelled to era. Without doubt, when the world turned modern New York in 1949, where she adopted metal, which was In her draft speech for the formal opening of her at the outbreak of the First World War, it was largely a transformative experience for her practice. progressive Modern Art Centre in Sydney in 1932, Black women who—along with Roy de Maistre and Roland summed up with clarity the remarkable ideological Wakelin—embraced abstraction as the new path for Another Australian, Yvonne Audette arrived in New York shift that had taken place in all art forms in the early Australian art, and they have since been among its a few years later, in 1952. It was a time of momentous twentieth century. It was a shift she was determined to most influential contributors. and transformative changes in the art world, ushered impart to the more conservative forces of the Sydney in by Abstract Expressionism. She saw exhibitions by art world when she returned in 1930 from a long sojourn One of Australia’s quintessential modernists, Margaret Jackson Pollock and Willem de Kooning, and a visit to in France and England with her friends and fellow Preston, whose reductive and abstracted woodblock Franz Kline’s studio had the indelible effect of teaching modernists Grace Crowley and Anne Dangar. prints open this new touring exhibition, did not mince her how to ‘paint space’. Her The flat landscape 1959 is her words when she stated in Art and Australia in 1933, a critical example of Kline’s influence, philosophically These pioneering women transferred to Australian ‘Cubism is the foundation of all twentieth century and technically. audiences an evangelical zest and enthusiasm for thoughtful original work’, explaining that it is ‘a revulsion modernism’s great project. Each, in her own way, against the anecdotal type of art’ of the nineteenth In Australia, Abstract Expressionism took a number of brought back the theory and techniques learnt under century, which she saw as the antithesis of modernism. forms, some of which were derived from the Tachiste the Cubist masters André Lhote and Albert Gleizes in The women represented in Abstraction, and the grand painters of Europe. Works such as West 1960 by France and while studying the modernist teachings sweep of time covered by the exhibition, show the many Margo Lewers, and Earth in spring 1968 by her friend of Claude Flight and Cyril Power at the Grosvenor incarnations of a movement that was as influential in School in London. In Sydney, Black shared her newfound art-historical terms as the rediscovery of perspective by Eva Kubbos, show the reach of these merged idioms. knowledge at her Modern Art Centre while Crowley did Filippo Brunelleschi in Quattrocento Florence. Kubbos recounted in an interview with James Gleeson so at the Crowley-Fizelle School on George Street— in the late 1970s, ‘I sort of felt the urge I wanted to be their lessons augmented by lavish doses of on-the-spot From the starting point of Cubism and Constructivism bold and big. I wanted to have this greater freedom in theory and technique courtesy of Dangar’s illustrated in the first decades of the twentieth century, general in expressing myself as an artist. I think that letters to Crowley sent from the Gleizes’s artist abstraction evolved globally, and so too did the probably was the main reason why I sort of finally dived commune in the Rhône-Alpes. geographic centre shift away from Paris and London into Abstract Expressionism’. The movement seemingly dominated the art world water sites or ‘jila’, which are so fundamental, not only Indigenous artists have mobilised abstraction as a for over two decades but by the early 1960s, hard- to her peoples’ survival but also interwoven into their powerful technique to express their spiritually rich visual edge abstraction and Op Art began to make their spiritual beliefs and ceremonies. Many jila are inhabited language replete with symbols and patterns informed presence felt. The NGA acquired many works by the by powerful ancestral figures. Here she has captured by their ancestors. artists included in the ground-breaking 1968 exhibition the impossible – the rising, shimmering heat haze over The Field, which traced this new form of abstraction. the waterways. In marked contrast, in My grandfather’s Viewed at times as a rather ‘blokey’ style, only three country, Sally Gabori reduces the palette to two colours Lara Nicholls, women were included in The Field, two of whom, only, punctuating the red field with a dramatic patch of Assistant Curator, Australian Painting and Sculpture Normana Wight and Janet Dawson, are represented black creating one of her most abstracted evocations of in the NGA’s touring show. Like many of the works country within her oeuvre. in Abstraction, Dawson’s Study for lighthouse 1968 is about something intangible and fleeting—in this case, Dumbrell and other women, such as Elizabeth Gower the moment when darkness switches to light in the and Virginia Coventry, were also constructively leading intermittent flash of a lighthouse globe. While it is the charge into a new feminist perspective with the hard-edge in immediate style, it is also ethereal and formation of the Women’s Art Register in 1975 and enigmatic, a quality that would often allude Dawson’s the publication of the highly influential journal Lip. male counterparts. As a young mother in Hobart, surrounded by children’s paraphernalia and an endless stream of junk mail, The quest to capture a transient, elusive, mutable Gower began to take her immediate ‘feminine’ domain subject or event inspired many artists to harness and repurpose it in her linear abstractions of everyday abstraction. It was no longer about theory or life in works such as Then and now 1987. philosophy. Instead, emotional response became a primary factor in the later decades of the twentieth The importance of Indigenous artists cannot be century. Lesley Dumbrell, whose language is entirely underestimated. Indeed, it took an Indigenous abstracted, found it to be the only solution for depicting woman, Emily Kam Kngwarray, living in the Central the invisible. Her monumental Foehn 1975 draws its Desert region of Utopia, to crack open the mystery of title from the wind force that moves from the ocean abstraction for a wider Australian audience. Prior to over mountains. She describes the work as capturing her rise in our consciousness, abstraction had been a the sense and feeling of the changing wind current or highly regarded but seemingly niche practice, collected the cold of sudden drops of rain or snow at the top mostly by institutions and the cognoscenti. In a manner of the ridgeline. In the work of Indigenous women that was deeply tied to concepts of land and country, painters, the deeply spiritual nature of weather her exuberant fields of colour painted on heroic scale, patterns and phenomena are seen as intrinsically linked quashed much of the remaining conservative opposition to ancestral creation mythologies. In her delicate work to abstraction and opened to now willing audiences Ilyara, Mary Meribida paints the aerial view of the living that ‘new track’ Black had spoken of in 1932. Indeed, From European Cubism to Abstraction in Australia ‘It is a revulsion against the anecdotal type of art … André Lhote, travelling on to his summer school in Cubism is the foundation of all twentieth century Mirmande for further study. thoughtful original work.’ However, their practice was revolutionised by Margaret Preston, Manuscripts, No 4 February 1933 Albert Gleizes, who taught a wholly abstracted form of painting. Such was his power that Dangar Margaret Preston summed up the remarkable permanently settled at his utopian artist colony in ideological shift that had taken place in all art forms the French countryside near Lyon, allowing her the in the early twentieth century. In 1912, the year opportunity to create and exhibit in the midst of the that Albert Gleizes and Jean Metzinger published European avant-garde. When her friends returned Du Cubisme and Marcel Duchamp exhibited his to Sydney, Crowley established the Crowley-Fizelle revolutionary painting Nude descending a staircase, School in George Street and Black set up her Modern Preston commenced her second sojourn in Europe, Art Centre. where she absorbed the wide-ranging tenets of modernism feeding into the evolution of abstraction. When she returned to Sydney in 1919, she set about In her own way, each woman brought back to Australia making Australian art modern, paving the way for a range of avant-garde theories and techniques abstraction to take root.