Arts

An appropriately elegant publication, Khai Liew is the eleventh in the Wakefield Press series of monographs on South Australian artists, which was initiated by the South Australian Living Artists Festival (SALA) and is assisted by Arts SA.

If you were to tell me that a book had been written that covered a century of art in Asia, from 1900 to 2000, and that its geographic range moved from Japan to Pakistan and Indonesia, to Nepal, the Australian outback, and Cambodia, I would initially ask how many volumes it contained. That such a book exists, in a fairly slim volume, is tribute to the skills of its author, Alison Carroll. How has she done it?

Imagine living in a world also inhabited by the spirits of the ancestors, whose goodwill is essential to the ongoing fertility and prosperity of the community. Life, Death and Magic: 2000 Years of Southeast Asian Ancestral Art reveals this view of the cosmos, and explores the relationship between art and the world of the ancestors in South-East Asia. It is published in association with the ground-breaking exhibition of the same name curated by Robyn Maxwell, Senior Curator of Asian Art at the National Gallery of Australia, where it was recently on display.

Arnold Shore: Pioneer Modernist, by Rob Haysom, fills in the gap between late Impressionism, tonal Meldrumism, and Fred Williams. Attractively presented and illustrated, Haysom’s well-written and informative text examines Arnold Shore’s personal insecurity and the searching nature of his alla prima art, especially his concern with texture and colour; and his contribution as an art teacher and long-time critic.

In his conclusion to this book, Kevin Brophy states a key principle of creative composition: ‘to be responsive to what happens, what is thrown into the mind, what one comes upon.’ This is at once a statement of advice for an artist at work, and a theoretical proposition. Through the course of the ten essays that make up the volume, Brophy develops a hypothesis about the kinds of brain function involved in creativity and, in particular, the role of consciousness in relation to other mental and sensory forms of intelligence. Without drawing the terms ‘theory’ and ‘practice’ into play – a great relief to those of us who have grown weary of that inevitable binary – he suggests that the work of an artist or writer may be facilitated by an exploratory interest in the operations of consciousness.

A sarcastic little slogan on a wall in Australia’s arts funding organisation in the mid-1990s read ‘Il y a trop d’art’. All right, it was meant in jest, but it seemed to hint broadly at shared bureaucratic resentment of importunate artists, even though they were the Council’s clients and the reason, indeed, for its very existence. Remember the national health hospital in Yes Minister that ran perfectly until it had to take patients?

Ever since Plato famously proposed to banish poets and their ‘embellished tales’ from his ideal Republic, the relationship between art and politics has been strained. On the negative end of the spectrum hovers the warning example of a failed Austrian landscape painter who proceeded to push the world into total war. What makes things even worse is that the remarkable appeal of Hitler’s ghastly vision in 1930s Germany owed much to the efforts of sympathetic artists such as Leni Riefenstahl or Gottfried Benn. But even more inspiring figures on the positive end of the spectrum – Václav Havel and Melina Mercouri come to mind here – usually fall from popular grace once they accept political office.

Last year marked the centenary of Robert Helpmann’s birth. Apart from a tribute at the Helpmann Awards ceremony – the ‘Bobbies’ – in July 2009, no Australian performing arts company celebrated the anniversary of this polymorphous artist and early advocate for a national artistic life created by Australians, not by northern-hemisphere exporters. Two new books and a vibrant touring exhibition went part of the way towards providing a fitting tribute.

Eva Gandel and Marc Besen Married in Melbourne in 1950 and soon began collecting current art. After the closure of John Reed’s privately established but short-lived ‘Museum of Modern Art & Design of Australia’, they bought a few of its de-accessioned possessions, paintings by John Perceval and Sidney Nolan. In the 1970s they added works by recentlydeceased Sydney artists William Dobell, Ralph Balson, and Tony Tuckson. These were perceived ‘gaps’ in a collection of recent Australian art. Perhaps the systematic history of Australian art then profusely displayed in the private collection formed by their relative Joseph Brown, and first published in 1974 as Outlines of Australian Art, had inspired the Besens to be more systematic. Hitherto, they had mostly encountered local work by living artists.