Sheridan Palmer

Childhood memories often merge real life with imaginary nostalgia, but in Growing up Modern, Roger Benjamin’s memoir of his family’s 1956 modernist Round House, in the then rural Canberra suburb of Deakin, we find adolescent memories collaged with a mix of archival, architectural, social, and personal histories. It is set mainly during Australia’s postwar years of the 1950s when reconstructive policies drove economic, scientific, educational, and cultural reform. this was also a time when an influx of immigrants, multicultural labourers, and specialist émigrés inserted themselves into Australia’s Anglocentric landscape. The book tells a Canberra and Melbourne story about architectural and cultural modernism, so often imported with the émigrés, that countered Australia’s cultural cringe and anachronistic nationalism. 

Australian Galleries opened in Melbourne in June 1956. One year later, Andy Warhol established Andy Warhol Enterprises in New York. Warhol’s art of making money became an art form in itself, with the artist elaborating that ‘good business is the best art’. Gallerists Anne and Tam Purves would have agreed. This husband-and-wife team took selling art seriously and introduced a professionalism unlike anything that had existed in Melbourne. Their new modern enterprise occupied a converted front section of their Derby Street paper-pattern factory in the working-class suburb of Collingwood. While the couple had no experience in art dealership or gallery management, they were confident that the arts were ready for something different. Anne, accomplished in commercial design, had considerable artistic aspirations, while Tam merely transferred his well-established business acumen across the factory threshold into their smart new premises. As with any business venture, timing was important, and they capitalised on the leverage that the 1956 Olympic Games brought to Melbourne.

Old friendships and close collaborations between author and subject can be either a blessing or a curse in biography – a tightrope between discretionary tact and open fire. Both call for intimate but balanced subjectivity, especially where virile egos are concerned. The Boy from Brunswick, a massive tome with sixty chapters and 540 pages, offers a bit of everything ...

The editors begin their introduction to Antipodean Perspective with some ground clearing: ‘The putting together of a series of responses to an important scholar’s work is a classic academic exercise. It is undoubtedly a worthy, but also necessarily a selective undertaking. In German it is called a Festschrift …

It’s absurd to pretend that we are or ever have been no more than exiled Europeans … forever condemned to inhabit some irrelevant, Antipodean limbo.’ This statement encapsulates Joan Kerr’s determination to rewrite established codes of Australian art history and to expand the lexicon of its cultural heritage ...

A conversation is an interactive exchange usually of a spontaneous nature. Janet Hawley’s essays are a mix of journalistic intention, conversational ruminations, observations, enquiries, and a gentle goading of her subjects about the ‘twin crucibles’ of creativity – the personality of the artist and what occurs in his or her sanctum, the studio. Assuming the role of confessional nursemaid and curious witness, Hawley profiles more than thirty successful artists, grand old men and women of the art world, explorers of real and psychological terrains, and deceased enfants terribles. These ‘conversations’ make unexpectedly compelling reading.

Jaynie Anderson, the third Herald Professor of Fine Arts at the University of Melbourne, initiated the study of Australian art historiography with fine accounts of the three scholars – Ursula Hoff, Franz Philipp and Joseph Burke – who form the focus of this book. Surprisingly, Professor Anderson’s contributions are barely mentioned, and she is not listed among the fifty-five people Sheridan Palmer has consulted. Some published memoirs of past students of Philipp and Burke go unmentioned in the text and are omitted from the bibliography. None of this encourages.