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Patrick McCaughey

Gallery Notes by Patrick McCaughey

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February 2005, no. 268

We had agreed to meet at the Frick Collection. My train from New Haven was late, but there they were – Chris Wallace-Crabbe and Father Peter Steele SJ – waiting at the trim and modest entrance of one of New York’s noblest institutions. I had looked forward to a day of gallery-hopping with two poets and old friends, both with an appetite and an aptitude for the visual arts. What would their take be like on a pleasantly random group of shows?

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Best Books of the Year 2004

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December 2004–January 2005, no. 267

To celebrate the best books of 2004 Australian Book Review invited contributors to nominate their favourite titles. Contributors included Dennis Altman, Brenda Niall, Kerryn Goldsworthy, Morag Fraser and Chris Wallace-Crabbe.

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What’s wrong with contemporary art? by Peter Timms

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August 2004, no. 263
Patrick McCaughey reviews ‘What’s wrong with contemporary art?’ by Peter Timms

Peter Timms is ‘dismayed’ by the state of contemporary art and by the hype that surrounds it and the reality of the experience. He has written a book mired in exasperation and frustration. It is not hard to share Timms’s sentiments. Visit any sizeable biennale-type exhibition and you are engulfed in flickering videos in shrouded rooms, installations of more or less hermetic appeal, large-scale photographs – these often prove to be the most interesting – scratchy ‘anti-drawings’ and a handful of desultory paintings. Noise is ‘in’, too. ‘Biennale art’ is the term frequently used to describe the phenomenon.

Quite who is to blame for this occupies much of the first half of Timms’s book. Artists hell-bent on having careers rather than seeking vocations are part of the problem, and so are curators of contemporary art who nourish the artist’s every need. Art schools are next, where cultural theory has replaced the teaching of art history. The superficialities and the susceptibility to trendiness in the Australia Council are further contributors.

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'September 11: A Symposium'

September 2002, no. 244

Never far from one’s mind these days, the events of September 11, 2001, and their direct aftermath in Afghanistan and elsewhere, had to be prominent in this month’s issue of ABR, such is their complex resonance and ubiquitous iconography. To complement Morag Fraser’s essay in this issue on the consequences of ‘September 11’ for civic ...

Gallery Notes

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September 2001, no. 234

Ten days in Australia in July brought a remarkable round of studio visits plus an exhibition of new Australian painting, Phenomena, at the Art Gallery of New South Wales. Painting has had a hard time of it lately. Michael Wardell, curator of Phenomena, goes further: ‘throughout the twentieth century, painting has been under threat,’ claims the slightly melodramatic opening sentence of his otherwise modest and useful catalogue. The claim became even more of a reach at the AGNSW where, on the floor below Phenomena, you could see the pictures from the Orangerie with superb Cézannes, Picassos, Soutines and Rousseaus. None of them looked particularly threatened to me.

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Australian Art by Andrew Sayers

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May 2001, no. 230
Patrick McCaughey reviews 'Australian Art' by Andrew Sayers

Andrew Sayers has one large and important idea that distinguishes his account of Australian art from all others: the story must include equal attention to Aboriginal art and to the art of white European settlement. However commanding and commendatory the idea, it will not, I suspect, be a popular one.

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Fred Williams by Patrick McCaughey

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March 1981, no. 28
Robert Rooney reviews 'Fred Williams' by Patrick McCaughey

Patrick McCaughey’s Fred Williams is a rare event in Australian publishing, a substantial and scholarly monograph on a living Australian artist. Fred Williams, born in 1927, belongs to the so-called ‘heroic years’ of modern Australian painting (1940-65), yet his reputation as ‘Australia’s leading painter’ was made during the decade that followed. Unlike his contemporaries – among them Charles Blackman – who made their reputations before going overseas, Williams spent most of his formative years (1951-56) in England. The works from this period are mainly figurative and shaped by his experience of London life music hall and other genre subjects.

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