the artists being Peter Booth, G. S. Christmann, Dale Hickey, Robert Hunter, Michael Johnson, Alun Leach-Jones, Tony McGillick, Alan Oldfield, Wendy Paramor, Robert Rooney, Rollin Schlicht, Eric Shirley, Dick Watkins, John White, and Normana White. Dialogue : writings in art history. Echoing emerging international stylistic tendencies of the time, The Field sparked immediate controversy and launched the careers of a new generation of Australian artists. The art was appropriate to a launch of the new venue itself, designed by architect Roy Grounds, and emphatically rectilinear; cubes nested in a basalt rectangular box amongst the other buildings of the new Arts Centre, each based on a geometric solid. In New Zealand, most Jews live in Auckland and Wellington with smaller populations in Dunedin and Christchurch. Founded by philanthropists and art collectors Eva and Marc Besen, it is the first museum of art in Australia supported by a significant private endowment.[1]. [9] The working title had been Conceptual Abstraction, characterising the style of many of the works, but it was changed to The Field (a double-entendre joining Greenbergian flatness with racetrack associations) at the suggestion of Rollin Schlicht, one of the exhibitors.[10]. [1], The collection includes works by notable Australian artists, such as Arthur Boyd, John Brack, Russell Drysdale, Rosalie Gascoigne, Dale Hickey, Susan Norrie, John Olsen, Patricia Piccinini, Clifton Pugh, Jeffrey Smart, Brett Whiteley and Fred Williams. [9], The third Biennial, in 2012, Sonic Spheres, was curated by the museum’s director Victoria Lynn. [2] The museum was then formally launched by Prime Minister John Howard on 24 April 2002 in a temporary location in North Melbourne, awaiting completion of a purpose-built museum in the Yarra Valley. Allen & Unwin, North Sydney, "The Field Revisited Exhibition Artwork Labels", "Artificial landscape 67/5 | James DOOLIN | NGV | View Work", "Corner square diagonal | John PEART | NGV | View Work", "Golden breach, 1965 by Ron Robertson-Swann", https://en.wikipedia.org/w/index.php?title=The_Field_(exhibition)&oldid=983077003, Short description with empty Wikidata description, Creative Commons Attribution-ShareAlike License, Untitled, 1968, painted plywood, 196.8 cm (height). TarraWarra Museum of Art is an art museum in Tarrawarra, Victoria, 45 kilometres northeast of Melbourne.Founded by philanthropists and art collectors Eva and Marc Besen, it is the first museum of art in Australia supported by a significant private endowment.. TarraWarra Museum of Art Limited was registered in 2000. Australia 1929- United States 2005, United States from 1963, England born 1916, New Zealand 1955-60, Australia 1960-86, New Zealand from 1986, Czechoslovakia 1943- Australia 2002, Australia from 1949, Egypt born 1938- Australia 2016, Australia from 1956, England born 1944, Australia 1963-64, United States 1967-77, No title, 1966, enamel paint on canvas, 12.7 x 335.3 cm. "[5] In addition to the initial gift from the Besen's collection, TarraWarra has continued to acquire works. In the 1950s, Gandel took control of his parents' women's clothing business (then named Sussan) in the 1950s and with his brother-in-law Marc Besen grew it into a chain of over 200 stores. The vast majority of Jews in Oceania (estimation 120,000) live in Australia, with a population of about 7,000 in New Zealand (6867,[1] according to the 2013 NZ Census). The official number of people who practised Judaism in the 2001 census was only 83,459 but this number is expected to be much higher, as it did not count those overseas (i.e. Goldman, L. M. (1958). The Financial Review Rich List 2019 is the 36th annual survey of the 200 wealthiest people resident in Australia, published by The Australian Financial Review on 31 May 2019.. Untitled, 1968, remade 2017, synthetic polymer paint on canvas, 243.8 x 367.0 cm. Purchased, 1969 (69.95), New Zealand 1930- Australia 2003, Australia 1939-50, England 1950-53, Australia from 1953, This page was last edited on 12 October 2020, at 03:06. [10], "TarraWarra Museum of Art: A private vision made public", "ParlInfo - Transcript of launch, north Melbourne: Tarrawarra Museum of Art", "Project Overview: TarraWarra Museum of Art by Powell & Glenn / TLP", "LIFE STYLE TV-ARTS-ENTERTAINMENT Modern-art display", "Prime Ministers Series: TarraWarra Biennial 2016", "in the loop sept 5: quick picks & opportunities: tarrawarra biennial 2012: sonic spheres", Powell & Glenn Architects - TarraWarra Museum of Art, Foster and District Historical Society Museum, Castlemaine Art Gallery and Historical Museum, Mulberry Hill (Langwarrin South, Victoria), Bonegilla Migrant Reception and Training Centre, Cohuna & District Historical Society Museum, Royal Australian Armoured Corps Memorial and Army Tank Museum, Lilydale & District Historical Society Museum, https://en.wikipedia.org/w/index.php?title=TarraWarra_Museum_of_Art&oldid=959719655, Art museums and galleries in Victoria (Australia), Short description is different from Wikidata, Infobox mapframe without OSM relation ID on Wikidata, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 30 May 2020, at 07:44. All practised hard-edge, geometric, colour and flat abstraction, often in novel media including coloured or transparent plastic, fluorescent acrylic paints,[6] steel and chrome. Private collection, Brlsbane, Untitled, 1968, aluminium, 269.2 x 1250.0 x 1000.0 cm (variable). Critic James Gleeson however, denied that the artists in The Field were exercising 'conscious imitation of specifically American attitudes, but that while Two Decades of American Painting provided an additional stimulus, 'the revolution in Australia had already begun.' Untitled, 1968, synthetic polymer paint on canvassynthetic polymer paint on canvas, 174.6 x 401 .8 cm. Collection unknown, Untitled, 1968, painted steel, 111.8 cm (height). Director of the NGV, the English curator Eric Westbrook, was determined to have the new gallery engage with contemporary art and accessible to broader audiences,[7] and he supported curators of the exhibition John Stringer, Exhibitions Officer, and Brian Finemore, Curator of Australian Art, in their aim to showcase contemporary Australian art not previously seen in major institutions, but which had been emerging in a few commercial galleries, and in which the artists reflected an international tendency. Wikipedia is crowd-sourcing’s poster child, and crowd-funding is MP3 to venture capital’s ... has recently taken up the position of Eva and Marc Besen Chair of Design Research at Monash University. Selected for exhibition were forty artists then working in a flat, abstract, patterned, geometric or colour field style. Collection unknown, Australia 1939-2015, Europe and England 1961-66. ', The Herald, 24 Aug. 1968, p.16. [15]The Field, being at the NGV, Gleeson emphasised, simply brought much wider attention to revolutionary young artists sought out while still in art school by curators who were obliged to ‘show what is happening at the spearhead of art.’[4]. Collection unknown, Untitled, 1968, transparent synthetic polymer resin, 121.9 x 35.0 x 182.5 cm (variable). In Sydney the major areas of Jewish settlement are in the east and on the North Shore, in particular the suburbs of Bondi, Dover Heights, Rose Bay, Vaucluse, St Ives and Hunters Hill. Brian Finemore & John Stringer, Untitled introduction, The Field, National Gallery of Victoria, Melbourne, 1968, p. 3. Hailed then,[3][4] and regarded since as a landmark exhibition in Australian art history,[5] it presented the first comprehensive display of colour field painting and abstract sculpture in the country in a radical presentation,[1] between silver foil–covered walls and under geometric light fittings, of 74 works by 40 artists. Most are Ashkenazi Jews, with many being survivors of the Holocaust arriving during and after World War II. Stringer had worked as consulting curator for the Museum of Modern Art (MoMA), New York, travelling exhibition Two Decades of American Painting, which opened at the NGV in 1967. Collection unknown. Defenders included art patron John Reed, director of the gallery styled, after MoMA, the ‘Museum of Contemporary Art Australia’, and also writers of The Field catalogue Elwyn Lynn, and Age newspaper critic (and later, from 1981, Director of the NGV) Patrick McCaughey[18] who announced the show ‘a new direction’, in his essay 'The significance of The Field published in Art & Australia in December 1968,[19] and as suggesting different conventions, beliefs and pre-suppositions about the nature of the work of art and the role of Australian artists. The latter identified and promoted Colour Field painting, and while in Melbourne judged the 1968 Georges Invitation Art Prize awarding it to Sydney Ball (who between 1963 and 1965 had been living in New York) for his colour field painting, thus legitimising the work of contemporary Australian abstraction. [8] It was intended to be the first of a series of exhibitions presenting aspects of contemporary Australian art. Eva and Marc Besen began collecting art in the 1950s. The vast majority of Australia's Jews live in inner suburbs of Melbourne and Sydney with smaller populations, in numerical order, in Perth, Brisbane, the Gold Coast and Adelaide. Gleeson, in summing up the year, proclaimed; "As far as art is concerned, 1968 will be chiefly remembered as the year of the Field Exhibition. [17] Dealer Rudy Komon and sculptor Norma Redpath delivered scathing assessments of the show on opening night,[2] and artists Clifton Pugh and Albert Tucker criticised the exhibition for its 'internationalism’ on broadcast television. See: advertisement. Instead, the emphasis was on internationalism, especially the influence of contemporary movements in American art, of which Sydney Ball, Ian Burn, Clement Meadmore and Mel Ramsden had direct experience, alongside James Doolin, a visiting American who via his teaching in Sydney and Melbourne, introduced many, particularly Robert Jacks, Dale Hickey, Robert Hunter and Robert Rooney to the hard-edge, colour field, minimal and geometric styles.
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