|Issue 162 | September 2012
Toulouse-Lautrec | Carol Jerrems | Treasure a Textile | Members news | Events
The National Gallery of Australia is offering all artonline subscribers an exclusive 3 day pre-sale ticket opportunity valid from 9am Monday 3 September until 5pm Wednesday 5 September 2012 for the summer blockbuster exhibition Toulouse-Lautrec: Paris & the Moulin Rouge opening on 14 December 2012.
This is the first major retrospective in Australia of the art of Henri de Toulouse-Lautrec and will include more than 100 paintings, posters, prints and drawings from major international collections, as well as from the National Gallery of Australia’s own holdings.
Toulouse-Lautrec: Paris & the Moulin Rouge will present spectacular images of Parisian café society, the high and low life of Bohemian Paris, famous dance halls such as the Moulin Rouge and much more.
Henri de Toulouse-Lautrec
'La Goulue at the Moulin Rouge (La Goulue entrant au Moulin-Rouge)' 1891-92 The Museum of Modern Art, New York Gift of Mrs David M. Levy © 2012 The Museum of Modern Art, New York / Scala, Florence
Pre-sales are only available to purchase through Ticketek online. All tickets are timed-entry.
(banner image) Henri de Toulouse-Lautrec 'Mademoiselle Eglantine’s troupe [La troupe de Mademoiselle Eglantine]' 1896 (detail) National Gallery of Australia, Canberra The Poynton Bequest 2012
||Carol Jerremsphotographic artist
Photographs are selected fragments of time and space, preserved forever, which communicate feelings, in the interest of giving something of one’s insight, vision and experience to others. My pictures are mostly portraits because I love people.
– Carol Jerrems, letter to the director of the Australian Centre for Photography, 1975.
Carol Jerrems was a unique talent amongst a generation of young Australian artists in the late 1960s and 1970s that saw photography as a medium in tune with their quest for greater freedom of expression in a more inclusive society. Graduates of the first tertiary art photography courses in Australia, Jerrems and her contemporaries spurned commercial and commissioned work in favour of a personal-documentary style of imagery.
From 1967 Jerrems applied the stamp ‘carol jerrems photographic artist’ to her prints. She fought for the equality of her work as a woman artist and her medium among the traditional fine arts. The stamp provided the title for the exhibition which seeks to illuminate her gift for portraiture.
(above) Carol Jerrems '(Carol Jerrems, self–portrait with Esben Storm)' c.1975 National Gallery of Australia, Canberra Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems
(banner image) Carol Jerrems 'Flying dog' 1973 (detail) National Gallery of Australia, Canberra Purchased 1976
© Ken Jerrems and the Estate of Lance Jerrems
Iconic images such as Vale Street 1975 have a mythic, timeless atmosphere and an unsettling tension between the photographer and the photographed. This, coupled with a sensitive use of natural light and sophisticated compositional choices, is where their fascination lies. Jerrems's attraction to people, an obsessive desire to understand and connect, made her a great portraitist; yet her photographs are rarely portraits alone.
Carol Jerrems '(Vale Street)' 1975 National Gallery of Australia, Canberra Purchased 1976
© Ken Jerrems and the Estate of Lance Jerrems
Along with mid to late career images, the exhibition includes a large group of student works which have never been seen since Jerrems submitted them for assignments at Prahran Technical College from 1967-70.
Since her premature death in 1980 Jerrems’s images have come to define an era. Carol Jerrems photographic artist expands our understanding of Jerrems’s work and life, which are often sensationalised through misunderstanding of her sexuality, lifestyle and tragic early death.
Join us on September 8 and 9 for a celebration forum, including screenings, talks and events focusing on Carol Jerrems's achievements and legacy.
Carol Jerrems photographic artist is on display in the Project Gallery until 28 January 2013.
Sydney Long Curator's Dinner
If you have not yet had an opportunity to see Sydney Long: the Spirit of the land we still have places available for the Curator's Dinner on Friday 14 September. Members are invited to tour the exhibition after hours with exhibition curator, Anna Gray, followed by a three course dinner in Gandel Hall. Book online here or phone (02) 6240 6528. Sydney Long is proudly supported by Maddocks law firm as Exhibition Partner.
The Brassey Hotel of Canberra as Accommodation Partner of Sydney Long is offering Members attending the Sydney Long Curator’s Dinner a special accommodation offer of $199 per night in a premium Heritage Room, including a full buffet breakfast. For more information contact The Brassey on (02) 6273 3766. All bookings are subject to availability.
Sculpture Garden Restaurant and Street Café
With the arrival of spring we are pleased to announce that the Sculpture Garden Restaurant and the Street Café are now open. To celebrate we are offering all NGA members a lunch special throughout September. For full details and to view the menu please click here.
Director Ron Radford and members discuss Margaret Olley's 'Hawkesbury wildflowers and pears' c.1973, acquired through the Members Acquisition Fund
Members Special Offer
NGA Members are invited to attend the inaugural CHASS forum being held in Canberra 24 – 26 September. The Council for the Humanities, Arts and Social Sciences (CHASS) is the peak body that advocates for humanities, arts and social sciences or the HASS disciplines and practices. Members are offered an additional 20% off the registration fee. There are a limited number of discounted tickets, so book early to access this special offer. To book your ticket please phone (02) 6292 9000. For more information about the event visit www.chass.org.au or the National Forum website.
||Treasure a Textile
in Divine Worlds
The National Gallery of Australia’s Treasure a Textile program supports the specialist conservation of textiles held in the national art collection. With the assistance of generous donors to this program, many beautiful, delicate textiles have been conserved.
We are currently seeking support for the conservation of Map of Jain sacred site Shatrunjaya 1897–98; a remarkable work featured in the newly opened Divine worlds exhibition.
Divine worlds presents Indian paintings from the National Gallery of Australia collection. Dating from the 15th to the 20th century, images range from exquisite miniatures to hunting scenes and monumental pilgrimage maps. Rich in legend, drama and romance, the paintings celebrate the traditions of Jain, Hindu, Islamic, Sikh and secular India.
Kota school, Rajasthan, India, 'Krishna's fluting summons the entranced gopis for Autumn Moon festival [Sharad purnima]; shrine hanging [pichhavai]' c. 1840 National Gallery of Australia, Canberra Purchased 2005
Gujarat or Rajasthan, India 'Map of Jain sacred site Shatrunjaya
pilgrimage painting [tirtha pata]' 1897-98 National Gallery of Australia, Canberra Purchased 2005
On display for the first time is this magnificent Jain pilgrimage painting on cloth which depicts the mountain temple complex of Shatrunjaya, encompassing over 800 temples, countless shrines and thousands of devotional images. This extraordinarily fragile map is in urgent need of further conservation.
It can take up to 1000 hours by a specialist conservator to restore a textile such as this to its original strength and beauty. With your help, we will be able to secure the future of this work for the enjoyment of many generations of visitors to come.
To make a donation please click here.
Join us throughout October for a conservation talk series focusing on works and techniques featured in Divine worlds.
Divine worlds: Indian paintings is on display in the Temporary Exhibitions Gallery until 11 November. For a full program of exhibition events click here.
||Birds of Sydney Long
Sydney Long’s distinctive poetic landscapes, especially those populated by nature sprites, are indelible images. In many of these images he included Australian birds, such as brolgas,magpies and kookaburras.
In The music lesson 1904 he depicted a young Aboriginal girl playing a flute to an audience of magpies clustered around her. Is she teaching the birds to sing, or are they teaching her, or are both the girl and the magpies teaching us the song of the land?
Sydney Long 'The music lesson' 1904 Art Gallery of New South Wales, Sydney Purchased 1969
In The West Wind 1909 the warm sky appears to be thick with dust, with a slow, hot dusty wind bringing summer lethargy. Here Long showed the Spirit of the West Wind, playing a pipe and enticing the nearby magpies into the air with her music.
And in An incident in the bush 1909 he created a narrative depicting a group of magpies with a kookaburra standing around a skull. He animated the birds in such a way that they appear to be discussing what they see before them. Behind the birds is an Art Nouveau stand of white tree trunks, and a smoky haze, suggesting that a bushfire may have recently passed through this area.
These evocative works are joined by more than 100 other paintings, watercolours and prints in Sydney Long: the Spirit of the land, the first major survey of Long's work in over thirty years. As Australia's foremost Art Nouveau painter, Long occupies a unique place in Australian art history.
Sydney Long: the Spirit of the land is on display
until 11 November 2012 in the Temporary Exhibitions Gallery. Tickets are available through Ticketek or at the NGA front desk. Tours of the exhibition run daily at 11am (meet in the exhibition foyer). For a full program of exhibition events click here.
Sydney Long is proudly supported by Maddocks law firm as Exhibition Partner.
Sydney Long 'The West Wind' 1909 Art Gallery of South Australia, Adelaide A.M. and A.R. Ragless Bequest Fund 1972
(banner image) Sydney Long 'An incident in the bush' 1909 (detail) Private collection
||The New York School
The radical painters who worked in New York City during the 1940s and 1950s are known collectively as Abstract Expressionists or the New York School. Characterised by a spirit of revolt and aggressive self-determination, they shared a similar outlook rather than a cohesive style. The New York School is regarded as the first major American art movement, and its development marks the waning of Paris as the centre of the art world.
Hans Hofmann 'Pre-dawn' 1960 National Gallery of Australia, Canberra Purchased 1976
© Renate, Hans & Maria Hofmann Trust/ARS. Licensed by Viscopy
Abstract Expressionism has its roots in the social and artistic climate of the 1920s and 1930s, a period dominated by social realism and regionalism. The European émigrés to the United States who escaped the horrors of Nazism and World War II included Hans Hofmann, who founded an art school in New York in 1934. He influenced generations of younger artists from Clyfford Still to John Seery, and was known for his defence of abstraction, automatic painting and innovative techniques such as dribbled and ‘pulled’ paint. Other immigrants, such as Willem de Kooning, also contributed to this lively cultural milieu.
Arshile Gorky 'Untitled' 1944 National Gallery of Australia, Canberra Purchased 1972
©Arshile Gorky/ADAGP. Licensed by Viscopy
In New York, the newly-established Museum of Modern Art and the Museum of Non-Objective Art (now Guggenheim), offered artists diverse opportunities to assimilate outside developments. Arshile Gorky’s works show the impact of Surrealism, especially the influence of Pablo Picasso. Mark Rothko retains Surrealist elements in Multiform 1948, while his later canvas, suffused with paint, anticipates Colour-field painting.
Abstract Expressionism is on display in the International galleries until February 2013. Tours of the exhibition run daily at 2pm (meet in the Main Foyer).
||Permanent collection news
Nolan to Tucker
The Gallery’s iconic Ned Kelly series by Sidney Nolan will be shown at the Irish Museum of Modern Art in Dublin in October 2012. Interest in loaning this groundbreaking, popular series began several years ago, driven in part by Nolan’s Irish ancestry and also by the remarkable nature of the 26 works. The exhibition in Ireland represents a chance to engage in connections between Irish and Australian culture and the rich stories that we share.
The paintings, largely set in the Australian landscape, tell aspects of the story of the 19th-century outlaw Ned Kelly, whose forebears were also Irish. Not only does this series reflect an important part of our social history but the works also represent a defining moment in Modernism and Australian art history. As such, the works have been shown in recent times in a dedicated space at the National Gallery.
Sidney Nolan 'Ned Kelly' 1946 National Gallery of Australia, Canberra Gift of Sunday Reed 1977
The loan presents the opportunity for the Gallery to exhibit another significant group of works, Albert Tucker’s series Images of modern evil painted in the 1940s, around the same time as Nolan’s series. These powerful works take as their subject the tumult in Australia caused by World War II.
While Nolan’s works are set in the open landscape, Tucker’s focus on the underbelly of downtown Melbourne in wartime. Against Nolan’s bright sunlight, Tucker’s images are often of the streets at night—of artificial streetlights and trams beaming their headlights into the darkness.
(banner image) Albert Tucker 'Image of modern evil 8' 1944 (detail) National Gallery of Australia, Canberra Gift of Barbara Tucker 1989 © Barbara Tucker courtesy Barbara Tucker
The atmosphere of these paintings also represents the dark night of the soul: men and women are shown as visceral, sexual beings with an emphasis on transformation and surreal ambiguity. The leitmotif of the series is the exaggerated bright-red crescent mouth.
Albert Tucker 'Image of modern evil: Spring in Fitzroy' 1943 National Gallery of Australia, Canberra Gift of the artist 1982
© Barbara Tucker courtesy Barbara Tucker
These are highly inventive paintings, yet they also represent very real aspects of the artist’s state of mind. Like Nolan, Tucker was deeply inspired by European Modernism. He brought this inspiration into his own locale. Tucker and Nolan were friends. They were both part of the Heide circle in Melbourne. Both gave us bodies of works that were like stage sets—poetic distillations of our place at a critical period in history.
We hope that our visitors enjoy seeing Tucker’s Images of modern evil at the National Gallery, just as we hope that many people find fresh inspiration from Nolan’s Ned Kelly series during their sojourn at the Irish Museum of Modern Art in Ireland.
Albert Tucker’s Images of modern evil will be on display from Saturday 22 September 2012 until February 2013.
For information on upcoming curator's talks on the series click here.
||Outreach Art and dementia at the National Gallery of Australia
I am leading the best life I ever have.
– Chris, Art and Alzheimer’s program participant, NGA.
Opportunities for intellectual stimulation and social engagement are often few and far between for people living with dementia. In 2007 the National Gallery of Australia instigated a program of discussion based on tours of works of art for small groups of people with dementia.
The program has grown to include two weekly tours coordinated in partnership with Alzheimer’s ACT, tours for people living in residential care and monthly tours for people to share with a friend or carer. The program seeks to maximise access to the Gallery's collection so that people at different levels can participate.
Program participants discuss Sidney Nolan's painting 'The trial' 1947
In 2010 the expertise and knowledge gained was developed to establish the Art and Alzheimer’s Outreach Program. A two-day training workshop for both arts and health professionals provides the opportunity for communities to consider the value of the program and to establish dialogue between the arts and health sectors in regional communities.
Sidney Nolan 'The trial' 1947 National Gallery of Australia, Canberra Gift of Sunday Reed 1977
The Outreach program training workshops have been delivered in 12 regional galleries in NSW, Victoria, Queensland and the NT. Support for both programs is strong and highlights the ability of the visual arts to provide meaningful activities and connection for people at a point when their circumstances and their family's lives are being profoundly challenged.
The next Art and Alzheimer's program will take place on Friday 7 September. For further information click here.
Fred Williams: Infinite horizons | Art Gallery of South Australia, Adelaide SA, 31 August –
4 November 2012
The Elaine and Jim Wolfensohn Gift: 1888 Melbourne Cup | Walkway Gallery, Bordertown SA, 28 August – 1 October 2012
The Elaine and Jim Wolfensohn Gift: Red Case: Myths and Rituals Yellow Case: Form, Space and Design | Surfcoast Secondary College, Torquay VIC, 15 August – 20 September 2012
The Elaine and Jim Wolfensohn Gift: Blue Case: Technology |
Mt Isa Civic Centre, Mt Isa QLD, 8 August – 10 September 2012
Sidney Nolan 'Head of soldier' 1942 National Gallery of Australia, Canberra Purchased 1976
© Sidney Nolan Trust
Australian Capital Territory
Australian portraits 1880–1960 | Canberra Museum and Gallery, Canberra ACT, 1 September – 21 October 2012
||Indian Dance Performance
Win a double pass to Intensely soul: transformational Odissi dance and music
In conjunction with Divine Worlds: Indian paintings we have a double pass to Intensely soul: transformational Odissi dance and music in James O Fairfax Theatre on Saturday 15 September at 7pm. Sydney based Nirmal Jena and his Delhi based sister, Pratibha Jena Singh present powerful dance and music from Orissa, India in their first Australian tour together.
Respond by email to email@example.com to enter. The winner will be notified by email by COB Monday 10 September.