On Three Decades On (original) (raw)

Notes on the Centre Two Decades of American Painting in Australia

Tate Papers, no. 32, 2019

In 1967 the exhibition Two Decades of American Painting, organised by the Museum of Modern Art, New York, travelled to Sydney and Melbourne. While the exhibition has often been framed as introducing Australian artists to new forms of abstract painting, this paper argues that the paintings exhibited were just one manifestation of the transnational proliferation of abstraction globally, and that the exhibition precipitated a series of resonances, contacts and missed contacts between New York and Australia.

The Watershed: Two Decades of American Painting at the National Gallery of Victoria

Art Bulletin of the National Gallery of Victoria, 2011

Two Decades was the result, unfashionable though it might seem to downplay covert hegemonic force, of the agency of cosmopolitan, internationalist individuals: NGV director Eric Westbrook and his exhibitions officer, John Stringer, and at the AGNSW, an energetic young curator, Daniel Thomas.

Chapter 22 Visual Arts in Australian culture

It Wasn’t Me, I Won’t Do It Again, 2022

An illustrated memoir by Victor Gordon, a socially-engaged South African-born Australian artist. His art practice incorporates strongly-held social views and personal concerns peppered - with humour. Prolifically illustrated throughout with over 260 images addressing an extensive range of social issues. www.victorgordon.com

The artist at work: new material knowledge about a complex Australian mural

This paper explores the making of an iconic mural, painted in Melbourne in 1986 by the French born artist Mirka Mora, a key figure of the city’s artistic and social scene. Developed out of conservation practice, the research investigated the materials and methods employed to produce this mural, in close collaboration with the artist during many interviews and with access to her studio and diaries. This material–based research provided new knowledge about the period of creation, in the broader historic and social context of feminism, the craft movement and community art practice in the 1980s. Understanding how its materials and creative processes embody various layers of significance links the mural more closely to the history of the time and how it reflected on a public artwork in one of Australia’s major cities. This adds an historic dimension to the citizen-friendly character that was always essential to this mural, and is integral to its conservation process, present and future.