Kirsty Grant

It was the great American Conceptual artist Sol LeWitt who organised Melbourne artist Robert Jacks’s first show in Manhattan. This was held at the New York Cultural Centre in 1971, part of a program where each exhibited artist nominated his successor. Jacks had been enjoying a stellar rise since his début solo exhibition at Gallery A in Melbourne in 1966, when he was twenty-three years old. All twenty-five abstract paintings in that show sold. Each one had a title referencing James Joyce’s Ulysses, such as Mr Bloom with his stick gently vexed (1965). The largest, Timbrel and harp soothe (1965), was bought by the National Gallery of Victoria even before the show opened.

John Brack (1920–99) is one of the most remarkable of Australian painters, and a salient figure in the generation that included Arthur Boyd, Fred Williams, John Perceval, Leonard French, and John Olsen, of whom only two survive. Many viewers would see him as the imagination that made our suburbs viable as art; others have been in two minds about his clarity and perfectionism. Hard edges can make for tough responses.