Art

Like the theatre backstage, the artist’s studio has the look, sound and smell of the creative moment. For romantics, this is the place where genius ignites invention, where the down-to-earth mess of paints, brushes and canvas is transformed by an inspiring atmosphere. For historians such as Alex Taylor, however, the myth masks a different kind of reality: the social manoeuvring, economic strategies and self-conscious publicity of artists in search of a living. His scholarly book is a welcome alternative to recent photographic publications that attest to the continuing glamour of artists in their studios.

Sidney Nolan’s Ned Kelly (1946), and the Ramingining artists’ Aboriginal Memorial (1988), are the only two Australian works in a new and highly commercial picture book, 30,000 Years of Art: The Story of Human Creativity across Time and Space. The Ramingining installation of 200 painted hollow-log poles, the kind used as containers for human bones, was categorised as ‘Aboriginal Culture’. Nolan’s painting was categorised as an example of ‘Surrealism’, but the caption concluded, sensibly, with the concession that he was more than a Surrealist: ‘Ultimately Nolan never adopted a single idiom, instead exploring different moods and techniques to portray his themes of injustice, love, betrayal and the enduring Australian landscape.’

Among those in the field, Bob Noye was known for his exhaustive collection of, and research into, the history of nineteenth-century South Australian photography. The website he established was the most detailed information available on the topic, yet he was extremely secretive about his holdings. When Noye died suddenly in 2002, several institutions vied for his collection, with the Art Gallery of South Australia the fortunate recipient of the Noye family’s goodwill. With generous funding assistance, AGSA acquired the collection, which comprised nearly five thousand photographs and negatives, plus his research archive. This publication, and the exhibition it accompanies ­– the first to focus on the first hundred years of South Australian photography – is dedicated to Noye and is founded upon his passion.

Lawrence Alloway observed that Abstract Expressionism was the creation of middle-aged artists and not an avant-garde. Jackson Pollock was in his mid-thirties and already a considerable painter when he laid a canvas on the floor and began to swing paint on a stick. Willem de Kooning and Barnett Newman were in their forties before they found their signature styles. For twenty years, those painters explored a variety of styles and thoughtfully drifted towards individual expression; yet the change, when it came, seemed to pounce into their art rather than extend neatly from the preparation. The case was similar with Tony Tuckson.

Jan Senbergs’ art is not easy to like. Sombre, brutal, austere in colour, it nevertheless represents one of the most sustained meditations on the industrial landscape in Australian art. Patrick McCaughey, well-known gallery director, academic and critic, has written about the artist and his work in a way that deliberately blurs biography, autobiography and visual critique. The result is an engaging and unusually meticulous account of the evolution of an artistic career, documenting the emergence of ‘Senbergs country’ as a force in the Australian aesthetic imagination.

Art Since 1900: Modernism, Antimodernism, Postmodernism manages to be simultaneously comprehensive yet skewed, innovative yet inert, and pluralistic yet doctrinaire. As a theoretically sophisticated rewriting of modern art from 1900 to 2003, it is a major achievement and will surely be of central importance in the field for years to come. Its authors are among the leading art historians of their generation and have often worked together. They are perhaps best known for their ground-breaking work in the pages of October, the US journal of art and theory, which was founded by Rosalind Krauss, among others. They have also often collaborated on other projects such as Formless: A User’s Guide (1997), by Krauss and Yve-Alain Bois. It is probably not overstating the case to say that together Hal Foster, Krauss, Bois and Benjamin Buchloh have had as significant an impact on the discipline of art history as Aby Warburg, Erwin Panofsky and Ernst Gombrich had earlier in the century.

This timely monograph presents the life and work of an artist whose paintings have altered the way we see the modern world, particularly the industrial landscapes fringing our cities. Jeffrey Smart’s intensely realised paintings have the effect of making the ‘familiar strange’. They force us to reconsider both our relation to and perception of man-made environments, dominated as they are by factories, apartment blocks, freeways and street signs. Smart’s paintings display a mastery of classical composition, light and perspective as well as revealing the artist’s ongoing concern with the interplay between realism and abstraction. The 252 plates included in this volume allow the reader to appreciate the development of Smart’s unique oeuvre over a period spanning more than sixty years. Accompanying these illustrations is a text by Australian modernist scholar and curator Barry Pearce. This provides a valuable addition to the existing literature on the artist.

To commemorate the centenary of Alfred Felton’s death in 1904, the National Gallery of Victoria and Macmillan Art Publishing have published the five illuminated medieval manuscripts and the single leaf ac-quired for the Gallery through the Felton Bequest. This stunning volume is profusely illustrated with colour plates taken by the photographic team of the NGV of all the decorative features in the manuscripts; in addition, there are numerous coloured figures of comparative works in other collections. Decorative elements from each Felton manuscript ornament the opening pages of each section, and embellish the title and end pages of the book. In design and illustration, this volume is itself a work of art, with hundreds of coloured images to delight the eye.