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Transformations # Helen Frankenthaler

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haler T ions • helen franken T Transforma issUe no.44 summer 2005–06 artonview ISSUE No.44 SUMMER 2005–06 NATIONAL GALLERY OF AUSTRALIA The WATERFRONT CANBERRA’S MOST ANTICIPATED OPEN FOR INSPECTION The time has finally arrived. You are invited to make Canberra’s most exclusive address your home. The Waterfront offers superb, north-facing apartments on the banks of Lake Burley Griffin. Here you can experience a superb level of living, complete with the most stunning views imaginable. The Waterfront features iconic architecture by leading architects PTW, in conjunction with the Stockland Design Team, which is eloquently complemented by sumptuous interiors and expressive seasonal landscaping. At home on the Kingston Foreshore you will experience a lifestyle like no other with arts, cafés, dining and entertainment just beyond your door. This is an exceptional opportunity to acquire one of Canberra’s finest apartments. Luxury two and three bedroom apartments and penthouses are now available. WE INVITE YOU TO VISIT THE WATERFRONT MARKETING SUITE & DISPLAY APARTMENT, OPEN 7 DAYS FROM 1PM - 5PM. MUNDARING DRIVE, KINGSTON FORESHORE. ALTERNATIVELY, PLEASE CALL 1800 098 831 OR VISIT WWW.THE-WATERFRONT.COM.AU FOR FURTHER INFORMATION. 26 November 2005 – 5 February 2006 Helen Frankenthaler Tales of Genji VI 1998 colour woodcut and stencil Purchased with the assistance of the Orde Poynton Fund 2002 National Gallery of Australia, Canberra 4709_4 contents artonview Publisher National Gallery of Australia 2 Director’s foreword nga.gov.au 4 Director’s vision Editor  Eve Sullivan 8 Transformations: the language of craft Designer  Sarah Robinson 22 Against the grain: the woodcuts of Helen Frankenthaler Photography  Eleni Kypridis Barry Le Lievre 28 Discovering Constable: rediscovering nature Brenton McGeachie  Steve Nebauer 31 New acquisitions John Tassie Designed and produced  42 The magic of slow time: contemporary works on display  in Australia by the  National Gallery of Australia in the Australian galleries Printed in Australia by  Pirion Printers, Canberra 46 Travelling exhibitions: Darwin Art-port artonview ISSN 1323-4552 50 Imagining Papua New Guinea Published quarterly:  Issue no. 44, Summer 2005 © National Gallery of Australia 52 The National Gallery of Australia Photography Fund Print Post Approved  pp255003/00078 54 Behind the scenes: installing St Petersburg 1900 All rights reserved. Reproduction without permission is strictly prohibited. The 56 Membership news opinions expressed in artonview are not necessarily those of the editor or 58 The art of caring publisher. Submissions and correspondence  62 Faces in view should be addressed to:  The editor, artonview  National Gallery of Australia  GPO Box 1150  Canberra ACT 2601  [email protected] Advertising  (02) 6240 6587  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] Correction Apologies to the artist Bert Flugelman: Caryatid Minotaur 2004–05, exhibited courtesy of the artist in the 2005 National Sculpture Prize, was incorrectly captioned ‘Private collection, Perth’ in the spring 2005 edition of artonview. This caption was a reference to the original maquette submitted for preselection to the prize. (Ed.) front cover: Dale Chihuly Polished ivory seaform set with charcoal lip wraps 2000 blown glass © Chihuly, Inc. National Gallery of Australia, Canberra back cover: Edward Eberle Tin feathers metal wings 2001 porcelain with painted terra sigillata decoration National Gallery of Australia, Canberra director’s foreword Ron Radford in front of a I commenced my term as Director of the National This season of exhibitions features in particular the Kota School temple hanging from Rajasthan, one of the Gallery of Australia determined to hold off making any most substantial survey yet of works from our Decorative recent acquisitions currently definitive statements about my vision for the National Arts and Design Collection in Transformations: the on display in the Asian Art Gallery of Australia until I had a sufficient overview of the language of craft, with many international and galleries. collections and issues to do with the building, staffing and Australian practitioners working in a diverse range of the management structure across the Gallery’s broad field media represented in this exhibition who were here for of operations. Eight months on, after much consultation the opening and to attend the conference and forums. with Gallery staff and Council, I have come up with a I also attended the launch in Sydney of the Decorative brief centred upon a mandate for the future development Arts and Design Collection Development Fund generously of the national collection and its presentation to the hosted by Ashley Dawson-Damer. My special thanks go public in an enhanced Gallery building that I hope is clear to Raphy Star, David Thomas and Meredith Hinchliffe for and comprehensive. As discussed in the first part of the their support of the purchase of works for the collection. Vision for the National Gallery of Australia published Meredith also volunteered many days to assist Senior here, art museums must come to terms with so many Curator, Robert Bell, with research for this extensive competing objectives to do with building the collection, project. The sponsorship of Qantas Freight, through the and serving a broad range of audience needs both now particular support of Ben Andrew, and Kingsley Mundey and in the future to perform the representative role of a of International Art Services, assisted the Gallery to ‘national gallery’. There are no big surprises here, but it cover the transport costs of bringing so many fragile and is all the same aspirational and conservative in the best delicate objects to Australia. Thank you also to Channel sense, highlighting the high and also I believe realistic Seven for their support with advertising. expectations of what can be achieved. Another highlight of this season’s exhibitions Even apart from the broader fundraising objectives is Against the grain: the woodcuts of Helen and ongoing development of plans for the building, in Frankenthaler, featuring the marvellous collection consultation with stakeholders, including the Minister, of woodcuts – and some of the original woodblocks the Department, Gallery Council and Foundation, and the – produced in an extraordinary collaboration with architects, there is already a clear approach to privileging master printer Ken Tyler, joining other works from the core areas of the collection that is well underway and Gallery’s renowned Kenneth Tyler Collection, supported evident to visitors from the works on display now. You so generously by Tyler himself. Tyler’s visit at the end of need only walk into the Asian Art galleries to see old and November was a highlight for those able to attend his new acquisitions recently unveiled to see for yourself our master class and demonstration class in Canberra, and strengths in this area, along with the new acquisitions and other associated events. donations on view in the Australian Art galleries, including Another treasure that must wait till next issue to be those works recently donated by Alcoa Australia, under featured is the cycle of fifty-one prints, Der Krieg (War), the Australian Government’s Cultural Gifts program. by Otto Dix which will open in the Project Gallery later this month to further draw on the riches in our collection of International Prints, Drawings and Illustrated Books. 2 national gallery of australia credit lines Imagining Papua New Guinea, the small exhibition Donations of works on paper currently showing in the Children’s William Anderson Gallery, displays many works from a collection recently Roslynne Bracher Meredith Hinchliffe acquired by the Gallery from Ulli and Georgina Beier, Michael Joel AM further confirming our focus on art of this region and, in Simon R McGill particular, neighbouring Oceania. Kathleen Montgomery Opening in late February is the exhibition Crescent Dame Elisabeth Murdoch AC DBE moon: Islamic art & civilization in Southeast Asia, Gene Sherman and Brian Sherman AM sponsored by Santos Limited, currently showing at the Art Gifts Gallery of South Australia, the outcome of a successful Bill Beresford joint curatorial collaboration, which features many Imron Cotan important works from the national collection. So, too, K David G Edwards Constable: impressions of land, sea and sky, opening Estate of Dr George Martin J Berger in March, has been organised by the National Gallery of Estate of Mrs Ruth Komon Australia and will tour to the Museum of New Zealand, Maureen and Bernard Laing Te Papa Tongarewa. In its presentation here, the exhibition Robyn Maxwell will draw significant links with the development of Daphne Morgan Mike Parr Australian landscape painting in an extended display. Jon Plapp and Richard McMillan Canberra has never been so abundant and green, Raphy Star following the generous rains, as a reminder of a previous era when our aspirations were indeed more European. Grants I would like to take this opportunity to extend to all our Gordon Darling Foundation members, donors and sponsors our very best wishes for Thomas Foundation Principal Sponsors the festive season. Santos Ltd Supporting Sponsors Qantas Freight Seven Network Sponsors Casella Wines Ron Radford, Hyatt Hotel Director International Art Services Malaysia Airlines Saville Park Suites The Brassey Canberra Voodoo Hosiery artonview summer 2005 3 Vision for the National Gallery of Australia: part one This vision statement was presented by Ron Radford, Director of the National Gallery of Australia, to the National Gallery of Australia Council in draft version in June and August 2005. Publicly launched at the Gallery’s birthday on 12 October, it presents the Director’s vision for  the national collection, and a concept for an improved National Gallery of Australia building.
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