2010.Q3 | artonview 63 Spring 2010

SPRING 2010 | 63

MONUMENTAL MAKEOVER & OPENING SEASON LIFE, DEATH AND MAGIC ANTON BRUEHL SPACE INVADERS TASMANIAN COLONIAL ART

IN THE SPOTLIGHT Anton Bruehl photographs 1920s–1950s SEE PAGE 24

Spotlights are personal friends of mine, and I’m lonesome when I don’t have a couple on the set.

Anton Bruehl, Commercial Photography, no 4, 1952

ARTONVIEW 1 Anton Bruehl not titled (Ballet dancers in the Anton Bruehl studio) 1952, National Gallery of Australia, Canberra, gift of American Friends of the National Gallery of Australia, Inc, New York, NY, USA, made possible with the generous support of Anton Bruehl Jr, 2006

SPRING 2010 | 63 Published quarterly by the National Gallery of Australia, PO Box 1150, Canberra ACT 2601, Australia artonview.editor@nga.gov.au | nga.gov.au © National Gallery of Australia 2010 Copyright of works of art is held by the artists or their estates. Apart from uses permitted under the Copyright Act 1968, no part of Artonview may be reproduced, transmitted or copied without the prior permission of the National Gallery of Australia.

ENQUIRIES copyright@nga.gov.au Produced by the National Gallery of Australia Publishing Department DESIGNER Kristin Thomas PHOTOGRAPHY by the National Gallery of Australia Photography Department unless otherwise stated RIGHTS AND PERMISSIONS Nick Nicholson PRINTER Blue Star Print, Melbourne PREVIOUS ISSUES nga.gov.au/artonview ISSN 1323‑4552 PRINT POST APPROVED pp255003/00078 RRP A$9.95 | FREE TO MEMBERS MEMBERSHIP membership@nga.gov.au | nga.gov.au/members TEL (02) 6240 6528 FAX (02) 6270 6480

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(cover) The building’s new entry (back cover) Looking into the Gandel Hall from the granite paved courtyard (this page) Looking across the Australian Garden to the National Gallery of Australia’s new building and the illuminated, ARTONVIEW 3 spectacular Gandel Hall Photographs: John Gollings

SPACE INVADERS australian . street . stencils . posters . zines . stickers SEE PAGES 28 & 42 4 ARTONVIEW Ash Keating Documentation of AO series in Higson Lane, Melbourne 2004 (detail), National Gallery of Australia, Canberra, Gordon Darling Australasian Print Fund, 2007, Š Ash Keating

SPRING 2010 | 63 6

From the Director

FEATURES 10

Monumental makeover & opening season

Ron Radford

16

Under construction

photographs by Barry Le Lievre

20

Ancestral bronzes of Southeast Asia: precious survivors from the past

Melanie Eastburn

EXHIBITIONS 24

In the spotlight: Anton Bruehl photographs 1920s–1950s

Gael Newton

28

Space invaders: australian . street . stencils . posters . zines . stickers

Jaklyn Babington

32

Colonial Tasmania

Ron Radford

ACQUISITIONS 36 Tasmanian colonial portraits by Mundy and Strange 38 Nagé people Ancestral horse with two riders 40 Jumbo and Zap X-ray man-machine pointing a ray-gun at the amphibians 42 Ray James Tjangala Untitled 43 Jerimia Bonson Warrah Bun Bun 44 Travelling exhibitions 46 News from the Foundation 48 Creative partnerships 50 Thankyou … 52 Facesinview

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From the Director This is a momentous time in the history of the National Gallery of Australia. The new Stage 1 building in Canberra is about to be unveiled, accompanied by a spectacular opening season of exhibitions and events.

The building extends our permanent display space by adding 11 new galleries dedicated to Aboriginal and Torres Strait Islander art. With this—the first new display space for the collection since the Gallery opened in 1982—we begin to address the challenges of displaying a fast‑growing national art collection for the benefit of all Australians.

Visitors will enjoy the new galleries as well as the magnificent new and more accessible street level entrance. The new Gandel Hall, for exhibition openings and functions, is generously sponsored by John and Pauline Gandel of Melbourne.

As well, we have a new sidewalk cafe, adjacent to the main entrance, and a more extensive Gallery Shop.

We want the ‘new look’ National Gallery of Australia to be more than a great place to view great art. It will be a superb place for meeting friends, enjoying a relaxing

Australian art, European and American art, Pacific art and Asian art, the National Australia Bank Sculpture Gallery and the new Sidney Nolan—Ned Kelly series

The 13 000 new members who joined during Masterpieces from Paris this year could not have done so at a more opportune time. lunch, finding that special art book or gift, learning about art from around the world, conducting business, studying, enjoying a family day out or simply sitting in the gardens and soaking up the creative atmosphere.

The 13 000 new members who joined during Masterpieces from Paris this year could not have done so at a more opportune time.

We are delighted to welcome you all to the National Gallery of Australia.

Of course, as many of our members will already know, over the past few years we have revamped our collection spaces for

gallery. The latest, a new display exclusively for Tasmanian colonial art, features newly acquired portraits by Benjamin Duterrau, Henry Mundy, Thomas Bock, Frederick Strange and WB Gould, and newly acquired landscapes by Joseph Lycett, John Skinner Prout and a landscape after Rubens by William Duke, all of which you will read about on page 32. Anne Gray has also written a fascinating article on the Tasmanian portraits by Mundy and Strange on page 36.

This new display complements the Robert Dowling: Tasmanian son of Empire exhibition,

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(opposite) Mick Namarari Tjapaltjarri and/or Timmy Payungka Tjapangati (attributed) Untitled c 1975 (detail) synthetic polymer paint on composition board 168 x 98.5 cm National Gallery of Australia, Canberra gift of Tim and Vivien Johnson, 1990

Henri Matisse Costume for a mourner c 1920 cotton, wool, silk, steel wire 166.5 cm (centre back) National Gallery of Australia, Canberra purchased 1973

To be featured in the summer show Ballets Russes: the art of costume

which is held across two floors (in the Orde Poynton Gallery and Project Gallery).

I would like to applaud former Gallery Chair and benefactor Harold Mitchell AC, the Gallery’s Senior Curator of Decorative Arts and Design Dr Robert Bell AM, Foundation board member Sandy Benjamin OAM, former Foundation board member Dr Gene Sherman AM and Jason Yeap OAM for receiving Australian honours earlier this year. I was also delighted to see the inclusion of senior Aboriginal artist John Mawurndjul AM. We welcome Jane Hylton from South Australia to the National Gallery of Australia’s Council. The Council provides strategic guidance and vision to the Gallery and Ms Hylton’s 30 years of experience in the arts, specialising in Australian art, will be a valuable asset.

We are extremely grateful for the generous and visionary support of the Australian Government, the ACT Government, and

our partners and many donors. They have helped develop the National Gallery of Australia into the premier institution it is today and enabled the Gallery to bring you the very best exhibitions and works of art from Australia and worldwide. The Gallery has a reputation for building creative partnerships with industry leaders and local and national businesses wishing to support the Australian community through the arts.

One such creative partnership is with Wesfarmers. The Gallery launched the Wesfarmers Arts Indigenous Fellowship at the National Press Club in June. This unique initiative has been established to increase the number of Indigenous people in leading roles in the visual arts sector.

Applications for the Fellowship closed on 31 August and we will soon announce the first two recipients.

Of course, the new building and the opening season of exhibitions and public programs would not have been possible

without the extraordinary efforts of the National Gallery of Australia’s Council, Foundation, staff and volunteers, and the building contractors, who all continue to prove their dedication to the arts through their support of Gallery programs.

As part of the ‘new look’ National Gallery of Australia we have developed a new visual identity that is now being adopted— including, you will notice, the new look of Artonview.

Ron Radford Director

ARTONVIEW 9

The new extension to the National Gallery of Australia in Canberra will open to the public very soon. The Gallery will have a striking new entrance, 11 new Aboriginal and Torres Strait Islander art galleries and the monumental skyspace Within without 2010 in the new Australian Garden, as well as a new sidewalk cafe and the extensive Gallery Shop. With this new building, we begin to address the challenges of displaying a fast‑growing national art collection for the benefit of all Australians.

Designed by Andrew Andersons of PTW Architects, it is the most significant development to the building since it opened in 1982, and we are pleased to present an opening season to celebrate this historic occasion, including an exciting line-up of

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exhibitions and public programs. During the opening season, there will be something for everyone.

The National Gallery of Australia holds the largest collection of Indigenous Australian art in the world. We are proud to open these new galleries with such a representative and diverse selection of works by some of the finest Indigenous artists from around Australia.

As I said in my introduction to this issue of Artonview, we want the Gallery to become a place for engaged social activity, a place to relate to others through a shared understanding and appreciation of creativity and art—whether the art is from Australia or our nearest neighbours in Asia and the Pacific, from Europe or America, or from

other parts of the world. We would like the Gallery to be a place for you to spend time with friends and family, to study or conduct business in a creative atmosphere.

Now, when you visit the National Gallery of Australia, you will enter from street level into a welcoming, light‑filled space. The first work of art you see through the glass as you approach the Gallery is The Aboriginal Memorial 1987–88 in its new dramatic setting. One of the most important works in the collection, the memorial has recently undergone extensive conservation work in preparation for the opening. Above the area between the memorial and Gallery Shop floats a spectacular new 12-metre-long metal sculpture based on an early Arnhem Land fish trap in the national art collection.

Also on the ground level, a stunning new function space, the Gandel Hall, opens out into the new Australian Garden with views to James Turrell’s magnificent Within without, the Gallery’s largest work. The experience inside the skyspace varies at different times of the year and different times of day so each visit is a new experience.

Up one level (where the main entrance used to be), the existing galleries are connected by a bridge to ten new Indigenous Australian art galleries, the first galleries in Australia designed specifically to display different aspects of Indigenous art. For example, there are spaces for early Papunya paintings, Kimberley paintings, bark paintings, Hermannsburg

watercolours, textiles, prints and drawings.

Five of the main galleries will be lit from above by natural light. The others are designed for light‑sensitive works such as the textiles, baskets and works on paper.

There will be nearly 650 works on display at any one time.

Throughout the new building and in parts of the old, we introduce new gallery furniture specially designed for us by renowned Australian furniture designer Khai Liew.

Of course, while the main event of the opening season will be the launch of the new extension in September, the season began in July with the opening of Robert Dowling: Tasmanian son of Empire. The history of Australian art holds a special

(previous page) Ramingining artists The Aboriginal Memorial 1987–88 (detail) natural earth pigments on wood height (various) up to 327 cm National Gallery of Australia, Canberra purchased with the assistance of funds from National Gallery admission charges and commissioned in 1987

(top row) Director Ron Radford with Ngamberri traditional owner Paul House, who conducted the important Aboriginal smoking ceremony for the new building and James Turrell’s skyspace Within without 2010 | the new building entry | the Gandel Hall, featuring the large marble vases from the Ducal Palace in France that are in the Gallery’s collection | the undulating ceiling above the new Gallery Shop photographs: John Gollings (except far left)

(bottom row) James Turrell’s skyspace Within without 2010 | inside the skyspace; the marble ‘curtain’ on the inside of the west wall of the new building | looking into the Gandel Hall from the granite paved courtyard outside | inside the Gandel Hall photographs: John Gollings

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place for Robert Dowling, who was raised in the artistic community of Tasmania and became Australia’s first locally trained artist and the leading portrait and figure painter of the late colonial period. Later, he was the first Australian‑trained artist to establish a career in London and exhibit successfully at the Royal Academy. This retrospective reveals Dowling’s great diversity. Among the highlights are his moving group portraits of Tasmanian and Victorian Aborigines and European settlers with Aborigines.

Other exhibitions in our stimulating and diverse opening season of celebrations include our ground‑breaking exhibition Life, death and magic: 2000 years of Southeast Asian

ancestral art, which opened in mid August.

In the spotlight: Anton Bruehl photographs 1920s–1950s and Space invaders: australian street . stencils . posters . zines . stickers open towards the end of October. Our summer blockbuster show, Ballets Russes: the art of costume, opens 10 December.

Life, death and magic is the first major survey of the animist arts of our nearest neighbours in Southeast Asia. The exhibition assembles a careful selection of the rarest, finest and most striking works of Southeast Asian animist art from the national collection and museums around the world. One of the most arresting works in the exhibition is a new acquisition, a large wooden sculpture of a mythical

horse‑like creature ridden by a pair of ancestral figures, one male and one female.

Life, death and magic includes splendid textiles and gold ornaments that reveal the power of art for rituals of life and death, sculptures and architectural elements, ceremonial vessels and weapons in stone, metal, wood and clay.

In the spotlight is an exhibition of photographer Anton Bruehl’s work in New York from the 1920s to 1950s, the era in which American‑style consumer culture spread across the world. South Australian‑born Bruehl was an inventive and stylish photographer who left Australia for America, where he built a successful photography studio catering to the

OPENING SEASON

LIFE, DEATH AND MAGIC

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SPACE INVADERS

IN THE SPOTLIGHT

advertising industry. His work, however, went beyond advertising campaigns to include highly crafted images of musicals and glamorous images of Hollywood movie stars, the development of a new style of photography as well as personal documentary photography.

Space invaders is built around recent vibrant art created on the streets of Australia. It explores the playful and often political work of street artists and the many techniques and aesthetics they adopt.

It recognises the significant role of street art in the development of Australian art over the past decade. Space invaders is Australia’s first major museum exhibition of street art and is drawn entirely from the national art

collection, the only public art collection to include a representative selection of works by street artists.

Ballets Russes: the art of costume is a dramatic exhibition of Serge Diaghilev’s Ballets Russes costumes. It includes spectacular costumes designed by major artists, including Henri Matisse, Giorgio de Chirico, Natalia Goncharova, Michel Larionov, Pablo Picasso, André Derain, Robert and Sonia Delaunay, Georges Braque and André Masson. We will reveal more about this long‑awaited exhibition in the next issue of Artonview.

Each of these exhibitions is or will be accompanied by a high-quality, generously illustrated publication.

In 2011, the opening season continues with Art of the Solomon Islands, the first major exhibition in Australia to bring together the finest traditional arts from the Solomons.

A host of exciting public programs related to each exhibition in the opening season will entertain and educate audiences with the aim of bringing people together through the arts. I encourage you not to miss this exciting season of exhibitions and programs, to enjoy the new facilities and engage with art in the national collection, which is owned by all Australians.

Ron Radford Director

OF EXHIBITIONS Kayan people east Kalimantan, Borneo, Indonesia Mask (hudoq) 19th – early 20th century (detail) wood, clay, soot, lime 81 x 59.5 x 26.5 cm KIT Tropenmuseum, Amsterdam

Meggs not titled (the boys #1) 2004 stencil, printed in colour from multiple stencils on paper printed image (irregular) 153.2 x 56.2 cm sheet 172 x 76 cm National Gallery of Australia, Canberra Gordon Darling Australasian Print Fund, 2007 © Meggs

Anton Bruehl Ruth Curlett modelling red sun hat, Vogue, New York, 1 July 1936 (detail) colour print image 33 x 25 cm support 50.8 x 41.2 cm National Gallery of Australia, Canberra gift of American Friends of the National Gallery of Australia, Inc, New York, NY, USA, made possible with the generous support of Anton Bruehl Jr, 2006

Paddy Jupurrurla Nelson, Paddy Japaljarri Sims and Kwentwentjay Jungurrayi Spencer Yanjilypiri Jukurrpa (Star Dreaming) 1985 (detail) synthetic polymer paint on canvas 372 x 171.4 cm National Gallery of Australia, Canberra purchased 1986 © the artists. Represented by VISCOPY, Australia

Giorgio de Chirico Costume for a male guest 1929 wool, cotton grosgrain, rayon ribbon, ink National Gallery of Australia, Canberra purchased 1984 © Giorgio de Chirico. Represented by VISCOPY, Australia

INDIGENOUS GALLERIES

BALLETS RUSSES

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photographs by Barry Le Lievre

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FEATURE | ARTONVIEW 17

STAGE 1 OF THE NATIONAL GALLERY OF AUSTRALIA’S BUILDING DEVELOPMENT TAKING SHAPE

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A great deal of thought and effort has gone into the construction of Stage 1 of the National Gallery of Australia’s building development, including the surrounding landscape.

This remarkable building, designed by Andrew Anderson of PTW Architects, effectively utilises Australia’s natural light to improve energy efficiency and to greatly enhance viewer experience of some of the finest Indigenous Australian works in the national collection.

Manteena, a Canberra-based construction company who are celebrating their 30th anniversary this year, has done an amazing job in realising our vision for the Gallery.

10 000 m3 of concrete, 200 tonnes of structural steel, 14 000 tones of reinforced steel, 200 m2 of composite cladding, 175 m2 of glass balustrades and 2475 m2 of new floor space. 3000 m2 of grass, 1650 m2 lake, 600 m2 of granite and 1000 m2 of slate, 35 000 plants and 275 trees.

Many of the high-quality materials used in the construction are Australian. The marble on the west wall and in the bathrooms is from Chillagoe in Queensland, the slate from Mintaro in South Australia and the external stone is also from Australian quarries.

State-of-the-art security, lighting, airflow, fire detection, humidification, audiovisual and water usage systems have been installed.

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(opposite) Late Bronze Age collected Kalimantan, Borneo, Indonesia Ceremonial urn or flask 1st–3rd century bronze 74 x 45.8 x 20.5 cm Musée Barbier-Mueller, Geneva

Dian culture Yunnan, China Dagger 300–200 BCE bronze 27.5 x 8 x 1 cm Musée Barbier-Mueller, Geneva

Ancestral bronzes of Southeast Asia precious survivors from the past

Life, death and magic: 2000 years of Southeast Asian ancestral art 13 August – 31 October 2010 | nga.gov.au/lifedeathmagic Sculptures in bronze are a vital component of the exhibition Life, death and magic: 2000 years of Southeast Asian ancestral art. With works of art spanning the broader Southeast Asian region, from Taiwan to East Timor, this exhibition celebrates art produced in veneration of immediate and legendary ancestors as well as spirits of nature.

Although overlaid with Buddhist, Hindu, Islamic and Christian religions, animism and ancestor worship are the oldest of faiths and continue to be practised in many parts of Southeast Asia.

To attract benevolence and ward off evil, suitable objects are vital to ceremonies held to ensure prosperity, survival and the maintenance of cosmic balance. Fine bronzes have remained among the most important and valuable instruments in celebrations throughout animist Southeast Asia. In Life, death and magic, ancient bronzes appear alongside striking objects in wood, stone and clay as well as magnificent gold jewellery and textiles.

While cloth, for instance, rarely survives vast periods, early bronzes suggest connections

between observances of the distant past and the present.

Among the oldest works in the show is the Makalamau, a large Vietnamese Dong Son culture drum featuring finely‑incised depictions of everyday and ceremonial imagery: houses, people, domestic and mythical animals, weapons, tools and drums, as well as boats with crews wearing extravagant headdresses. From the evidence of goods interred in ancient burials, boats have long been connected with funerary rites, and boat‑shaped coffins have been used for thousands of years. Ships appear on a range of bronze drums, bells, containers and weapons and are still a feature of textiles and sculptures used in rituals of transition, especially birth, marriage and death, when the ship carries the deceased into the next life. Makalamau is one of a small number of named bronzes—the title was given to the drum by villagers on the island of Sangeang, near Sumbawa, Indonesia. When recorded by Dutch officials in 1937, the drum was still in active ritual use, prized for its efficacy in

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(left) Late Bronze Age, possibly Borneo collected east Flores, Indonesia The Bronze Weaver 6th century bronze 25.8 x 22.8 x 15.2 cm National Gallery of Australia, Canberra purchased 2006

(right) Late Bronze Age collected upper Wahau River district, east Kalimantan, Borneo, Indonesia Maternity figure 4th–6th century bronze 33 x 14 x 10.2 cm Honolulu Academy of Arts, Hawaii gift of the Christensen Fund, 2001

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Dong Son culture, Vietnam collected Sangeang Island, Sumbawa, Indonesia Makalamau, heirloom kettledrum 1st century BCE – 2nd century CE (detail) bronze 83.5 x 116 (diam) cm National Museum of Indonesia, Jakarta

attracting rain and its power to cause fire in enemy villages.

The Dong Son culture developed in the Red River delta in the Bac Bo area of north Vietnam from the middle of the first millennium BCE and is famed for its bronzes, which were highly valued and traded throughout the Southeast Asian region. While Dong Son material has been a subject of research since the late seventeenth century, more‑recent archaeological and chance discoveries, often of gravesites, have revealed a greater diversity of bronzes. Once attributed to the Dong Son culture, many of these exceptional works appear instead to be products of regional smelting sites that were scattered throughout mainland Southeast Asia.

The Bronze Weaver in the National Gallery

of Australia’s collection and a maternity figure in the collection of the Honolulu Academy of Arts are two of the most intriguing bronzes. The Bronze Weaver, found in Flores in Indonesia but undoubtedly made elsewhere, possibly in Borneo, depicts a woman seated at her back‑strap loom, weaving a textile and breastfeeding her child. Thermoluminescence testing of The Bronze Weaver’s clay core shows it was made in the sixth century, hundreds of years after the demise of Dong Son bronze production but predating the sculpture of the region’s Indian‑influenced Hindu and Buddhist kingdoms. The maternity figure from the Honolulu Academy of Arts, found in the upper Mahakam River district of east Borneo, stands holding a suckling infant.

The style of the figure indicates a similar

date to the weaver. Although the intended purpose of the sculptures will probably never be known, their combination of traditional male skills of metalworking and distinctly female, fertile imagery reflects an enduring Southeast Asian cosmology in which the complementary duality of male and female elements is crucial to all endeavours.

Also fascinating is a group of bells (or gongs, as they are designed to be struck from the outside rather than within) and flasks that first came to light in the early twentieth century, with many more appearing since the 1990s. These objects have been found in Indonesian sites in Sumatra, Madura and Borneo as well as in Thailand and Cambodia. One pair of bells was revealed in Cambodia in 2002 as a chance result of a landmine‑clearing project. The function of these objects, which display motifs reminiscent of Dong Son metalwork, is yet to be discovered but their scale suggests ritual rather than daily use. Their true origin is also mysterious; although, Cambodia and Malaysia are currently considered most probable. With the generous assistance of anthropologist Dr David E Pfanner, the Gallery recently acquired an impressive bronze bell decorated with bold spiral patterning.

In spite of, or perhaps because of, their enigmatic nature, ancient Southeast Asian bronzes continue to be revered and hold a central position in the region’s animist and ancestral ritual. Life, death and magic provides an opportunity to see these remarkable ancient works of art.

Melanie Eastburn Curator, Asian Art

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Anton Bruehl Harlem number, Versailles cafe 1943, print made after 1946 colour print, dye imbibition (Kodak Dye Transfer) 46 x 37 cm George Eastman House, New York museum purchase with National Endowment for the Arts support courtesy of George Eastman House, International Museum of Photography and Film

IN THE SPOTLIGHT Anton Bruehl photographs 1920s–1950s 23 October 2010 – 6 February 2011 | nga.gov.au/bruehl South Australian‑born brothers Anton and Martin Bruehl, aged 19 and 24, arrived in New York from Melbourne in 1919, seeking a new home for themselves, their sister, Charlotte, and parents parents, Dr Siegwart and Minna Bruehl, were German immigrants of long standing whose life in Australia had soured during World War I. Anton had been working as an electrical engineer in Melbourne, and Martin as a structural draftsman. Neither could have imagined that their futures from 1927 to 1966 would be side by side as photographers in the Anton Bruehl studio.

The studio was one of the most famous and inventive in New York in the decade when magazines and advertising agencies were switching over to photographic rather than graphic art illustration—long before the ‘Mad Men’ of the 1960s, recently popularised by the hit HBO television series. The Bruehl brothers were a strong

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team but Anton was the founder and at all times the star and creative force behind the studio.

In 1923, after working for four years at the Western Electric Company in New York, Anton sought a new career based on his hobby of photography. He enrolled at the Clarence H White School of Photography, where students were taught how to apply artistic photography and design to commercial work and professional portraiture. He was an instructor at the school by 1924 and a successful exhibitor in art photography salons by 1926. Following Clarence H White’s premature death in Mexico in early 1925, Anton opened his own studio on 47th Street in 1926. He was in partnership with Ralph Steiner, another White School graduate, and they made their name with an ingenious series of menswear advertisements for Weber and Heilbroner. The series, The Fabric Group,

shows the amusing adventures of three cut‑out figures dressed in suits. Steiner, however, dropped out of the studio after only a month, so Anton asked his brother to join him in the business. The Fabric Group advertisements ran weekly in The New Yorker from January 1927 to December 1928 and were replaced by a range of Bruehl’s photographs until December 1929, when Weber and Heilbroner collapsed under the impact of the stock market crash. The Anton Bruehl studio, however, survived and went on to supply advertising images to the new Time Inc business magazine Fortune in 1930, and to the top Condé Nast magazines such as Vanity Fair, Vogue, House and Garden throughout the 1930s–1950s, after he was appointed their chief colour photographer in 1932.

As well as product and fashion advertising of all kinds, Bruehl photographed many of the leading stars of stage and screen.

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(top) Anton Bruehl Little girl with hyacinths, cover of Pictorial Review 24.8 x 26.5 cm National Gallery of Australia, Canberra

(bottom) Anton Bruehl one of the The Fabric Group advertisements, The New Yorker magazine, 1927–28 National Gallery of Australia, Canberra gift of American Friends of the National Gallery of Australia, Inc, New York, NY, USA, made possible with the generous support of Anton Bruehl Jr, 2006

(opposite) Anton Bruehl Mexican dancer and accordionist c 1936 Bruehl‑Bourges process colour print 33.6 x 25.4 cm National Gallery of Australia, Canberra gift of American Friends of the National Gallery of Australia, Inc, New York, NY, USA, made possible with the generous support of Anton Bruehl Jr, 2006

He is most famous, however, for pioneering colour photography for magazines; typically, these were elaborate tableaux created inside the studio, not on location. This reputation began in 1932 under a contractual partnership between Bruehl, New York commercial photographer Fernand Bourges and engravers from Condé Nast to perfect a process of high‑quality colour reproductions. The first of a hundred Bruehl–Bourges images appeared in Vogue in May 1932 and in various publications well into the 1940s, before being superseded by the high‑quality, easier‑to‑use Kodachrome direct colour film released in 1935.

Bruehl received numerous awards throughout his career. Early on, his 1933 book of black‑and‑white documentary photographs, Mexico, won an award; although, he rarely exhibited or published such personal work—until his 1970 book Tropic patterns on Florida flora. Breuhl did well financially and retired into Florida in the late 1960s. He contributed to a number of New York dealer gallery exhibitions of his work over the decade before his death

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in San Francisco in 1982, two years after the death of his brother Martin in New York.

Anton’s son, Anton Bruehl Jr visited the National Gallery of Australia in 2001 and felt, somewhat intuitively, that his father wanted him to bring his work home, to Australia. In 2006, through the American Friends of the National Gallery of Australia, Anton Bruehl Jr presented over 100 black‑and‑white and colour photographs, magazine illustration sheets and ephemera covering his father’s career from the 1920s to the 1960s. A number of purchases of Bruehl’s photographs were also made in 2002 with funds provided by The Farrell Family Foundation. Anton Bruehl’s first gallery retrospective, In the spotlight: Anton Bruehl photographs 1920s–1950s comprises a selection of these works and begins its Australian tour at the National Gallery of Australia in Canberra on 23 October.

Gael Newton Senior Curator, Photography, and curator of In the spotlight

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Yok Griffin lore 2006 from the Gargoyle series 2003–10 laser print in black ink on paper 109.2 x 160 cm (overall) National Gallery of Australia, Canberra gift of the artist, 2010 © Yok

space invaders australian . street . stencils . posters . zines . stickers 30 October 2010 – 27 February 2011 | nga.gov.au/spaceinvaders Drawn entirely from the collection of the National Gallery of Australia, the first Australian institution to have collected this type of work, Space invaders: australian . street . stencils . posters . zines . stickers surveys the past 10 years of Australian street art. Featuring 150 works by over 40 Australian artists, this exhibition celebrates the energy of street‑based creativity and recognises street stencils, posters, paste‑ups, zines and stickers as comprising a recent chapter in the development of Australian prints and drawings. 

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Sync not titled (Yoda) 2004 stencil, printed in colour ink from multiple stencils on paper printed image 77.1 x 50.2 cm sheet 84.3 x 58 cm National Gallery of Australia, Canberra Gordon Darling Australasian Print Fund, 2007

(opposite) HaHa Ned’s head triptych 2009 stencil, sprayed in coloured aerosol paint from multiple stencils on paper printed image 70.4 x 132.6 cm sheet 101 x 164 cm National Gallery of Australia, Canberra acquired with the support of Calypso Mary Efkarpidis, 2010 © Regan Tamanui

Space invaders looks at artists and their iconic street‑based works at the point of their transition from the ephemeral to the collectable and from the street to the gallery.

Taking a thematic approach to what is a highly complex creative scene, Space invaders sets out to explore a number of artistic positions and approaches.

While modern hip‑hop inspired graffiti reached Australia in the early 1980s, Australian street art is a relatively recent phenomenon. The transition of many practitioners from graffiti styles to street art experimentation is often still strongly rooted in graffiti culture. Many artists hold fast to the established codes of conduct and rules of the game that define the graffiti culture at its purist core: skill in placement, originality of style and degree of risk associated with the creative act. However, by diversifying a freestyle spray‑can practice with sprayed stencils, screenprinting techniques and hand‑drawn paste‑ups, Melbourne’s infamous Everfresh crew and Perth‑based artist Yok show their

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skill in transitioning between the internally coded, abstracted writing of graffiti and the mass‑communication motivations of street artists. Stencilling, as one form of street art, peaked in Australia in 2004. Out of the street stencil craze, an Australian Neo‑Pop culture of sampling and appropriation materialised. Space invaders presents Ned Kelly, Yoda, science‑fiction monsters, subhumans and robots, the screaming face of Marion Crane in Hitchcock’s Psycho, media celebrities and cultural icons such as Diana and Charles as the subject matter for a generation of street artists who, over the past decade, have enthusiastically embraced television, computer games, films and animation as primary subjects. These artists have harnessed the disseminating power of the internet, digital photography and quick‑copy scanners and printers in their pursuit of new forms of figuration.

A major strength of Australian street art is its ability to mix pop‑culture imagery with political messages. From hard‑hitting protest to political satire, clever combinations of

sarcasm, mockery and parody, the means to mix art, politics and the street press is now in the hands of a new generation of Australian artists. With an impenetrable line of riot police beneath a banner that reads, ‘Welcome to Australia’, Vexta comments on the highly politicised topic of immigration.

Artist‑activist Azlan takes up his spray can in a hard‑hitting approach to terrorism. The socially minded Civil encourages people to act together to force political change.

Street art veteran Marcsta and the driven Mini Graff arm themselves with the weapons of irony and humour in the creation of iconic adbusting prints and stickers that serve as scathing commercial counter attacks on the large multi‑national corporations who dare assume ownership of Australian public space. In Space invaders, all of these artists show their skill in utilising the street, and now the gallery, as a means to reach the Australian populous on topics of national and international concern.

Space invaders also explores a paradox that has emerged in Australian street

art in which an early flirtation with new technology has given way to the sentimentality for the traditional and the handmade. Artists such as Anthony Lister, Al Stark, Nails, Twoone, Ghostpatrol and Miso have led the way in the recent embrace of labour‑intensive and traditional modes of art making, including detailed papercut pieces, ink drawings, etchings, linocuts and collage installations. Australian street artists are crossing from the streets to the gallery with new and inventive expressions of street‑inspired creativity.

While numerous approaches and diverse creative philosophies make up the Australian street art scene in 2010, the true and central constant has been the do‑it‑yourself ethos. Space invaders takes a close look at street art and the many ways that artists are getting up, getting out there and getting seen.

Jaklyn Babington Assistant Curator, International Prints, Drawings and Illustrated Books, and curator of Space invaders

EXHIBITION | ARTONVIEW 31

Colonial Tasmania

Colonial Tasmania gallery at the National Gallery of Australia, Canberra, July 2010: (from left) WB Gould’s Mr John Mezger c 1842, a double-ended sofa by King’s Yard Hobart, Henry Mundy’s Elizabeth, Mrs William Field c 1842, Thomas Bock’s Mr David Barclay 1840s, Benjamin Duterrau’s Dinah, Mrs Clement Gatehouse c 1834 and Mr Clement Gatehouse c 1834, Gould’s Mr John Marney 1841 and Mrs John Marner c 1841, and Knut Bull’s The wreck of ‘George the Third’ 1850.

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The National Gallery of Australia has created a completely new display in the early Australian colonial gallery with art exclusively from Tasmania dating from the late 1820s to the mid 1850s.

This new display shows works long‑owned by the Gallery and a large number of new acquisitions never before shown. It includes oil paintings, watercolours, prints, drawings, photographs, silver, furniture and objects made from whalebone. It demonstrates the rich early Tasmanian culture from which Robert Dowling, Australia’s first locally trained colonial artist emerged in 1850. The retrospective Robert Dowling: Tasmanian son

of Empire is currently on show in the Orde Poynton Gallery and upstairs in the Project Gallery until 3 October.

Tasmania was colonised as the convict settlement of Van Diemen’s Land in 1803, 15 years after the settlement of the mother colony of New South Wales. Over the next 25 years, Van Diemen’s Land developed into a small and prosperous society of free and ex‑convict settlers and included a healthy art scene. Indeed, Tasmanian colonial art from the 1830s to the early 1850s was richer and more diverse than the art of any other Australian colony.

In Tasmania, a balanced microcosm of late‑Georgian British culture supported

sophisticated architecture, furniture makers, silversmiths, print makers, frame makers and a great number of portrait painters, as well as still‑life, marine and landscape painters. In this period, Tasmania had portrait painters of a high calibre, such as the two convict artists Thomas Bock and Thomas Wainewright as well as Henry Mundy, Benjamin Duterrau, Knut Bull, WP Dowling, Frederick Strange and Robert Dowling.

WB Gould produced still‑lifes of fruit, flowers and game as well as portraits.

William Duke and Knut Bull made marine paintings and prints and other landscapes. Importantly, Tasmania could

boast Australia’s finest painter of the early colonial period, the landscape painter John Glover, who arrived in 1831 with an already distinguished British career behind him. John Skinner Prout painted lively landscapes in the 1840s.

From the late 1840s, Tasmania produced daguerreotypes and other photographs, including those by portrait painter Thomas Bock. David Barclay was the major silversmith, and major frame makers included Robin Hood from Hobart and William Wilson from Launceston.

All the above artists are represented in this new comprehensive showing of Tasmanian art from the collection. Glover,

EXHIBITION | ARTONVIEW 33

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(opposite) Benjamin Duterrau Dinah, Mrs Clement Gatehouse c 1834 oil on canvas mounted on board 92 x 72.1 cm

(top right) Thomas Bock Mr David Barclay 1840s oil on canvas 75.4 x 64.2 cm

National Gallery of Australia, Canberra purchased 2009

National Gallery of Australia, Canberra purchased 2009

(top left) WB Gould Mr John Mezger c 1842 oil on canvas 76.3 x 63.3 cm

(bottom) William Duke European landscape (after Rubens) c 1845 oil on canvas 69.2 x 91.2 cm

National Gallery of Australia, Canberra purchased 2010

National Gallery of Australia, Canberra purchased 2010

Prout and Wainwright as well as Gould, Duterrau and Dowling are now particular strengths of the collection. Many of the paintings are also in original Robin Hood or William Wilson frames that have been restored, while others are in replica frames.

The Gallery has also conserved a number of the oil paintings and works on paper over the past year or so.

Although the Gallery has long collected the art of early Tasmania, the collection has recently doubled in size, despite the fact that it is now difficult to secure major early colonial works: the artists were not prolific, many works have not survived and particularly since few significant works remain in private hands. The early colonial gallery has been painted in a rich Regency gold colour consistent with the period—a suitable background for early colonial paintings and furniture.

In this issue of Artonview, Anne Gray has written about two newly acquired portraits

by Henry Mundy and Frederick Strange, teachers of Robert Dowling (see page 36).

Some other new acquisitions by Duterrau, Bock, Gould and Duke are also on display.

The National Gallery of Australia now has an exceptionally fine collection of Tasmanian colonial art. It is one of the most representative of this important period of Australian art.

Ron Radford Director

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Early Tasmanian colonial portraits

by Mundy and Strange Henry Mundy Elizabeth, Mrs William Field c 1842, oil on canvas, 103.2 x 86.3 cm, purchased 2009 Frederick Strange Misses Isabella and Fanny, daughters of the Reverend William Browne c 1845, oil on canvas, 81.3 x 64.2 cm, purchased 2010 Australian colonists liked to have their portraits painted or drawn and a surprising number of portraitists touted for commissions in Tasmania. Notably, among these artists were Henry Mundy (c 1798–1848) and Frederick Strange (1807–73).

Mundy worked as a painter and lithographer in London before immigrating to Van Diemen’s Land in 1831 as a free settler. After working for seven years as a tutor in drawing, music and French at Ellinthorp Hall (a private school for young ladies near the town of Ross), he moved to Launceston to establish himself as a portrait and landscape painter. He transferred to Hobart four years later, where he opened a school of painting. Mundy tragically died from an overdose of laudanum in 1848, after suffering from depression for several years.

Elizabeth, Mrs William Field c 1842 shows Mundy’s ability to observe the character of his subjects. Elizabeth Field gazes directly out of the picture, her eyes wide and with a gentle smile. Her curled hair, stylish dress, gold jewellery and ornate feathered bonnet suggest she was careful with her appearance. Clothed in black, with a white handkerchief in her hand, she emerges from a dark background, a widow of confidence and dignity.

Elizabeth Field (née Richards or Riches) originally came to Australia as a convict. She was sentenced for life for the humble offence of stealing cotton and lace and was transported to New South Wales in 1805. The following year, she married Private Edward Robley of the 73rd Regiment. They moved to Launceston in 1812, but by 1814 Robley had abandoned his wife and children and moved to Ceylon. In 1815, Elizabeth met William Field, with whom she had five sons. Field’s was a colonial success story.

Transported to Van Diemen’s Land for selling stolen meat in his butcher’s shop, he became a pastoralist and amassed a fortune.

He commissioned Mundy to paint this portrait of his wife as well as portraits of two of his sons and their wives.

Unlike Mundy, Strange did not come to Australia of his free will.

A portrait painter and house painter by trade, he was transported to Hobart Town after he was tried in Colchester on 22 June 1837 for breaking and entering a grocery shop and stealing a watch.

The name ‘Frederick Strange’ was an alias he assumed at the time of trial, as he was ‘a stranger in the town’. He moved to Launceston

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in 1841, where he established himself as a portrait painter and drawing master. He participated in the Launceston Art Exhibition in 1851 and advertised lessons in landscape drawing in 1855, offering to make portraits in oils or daguerreotype. He died of rheumatic fever in Launceston on 31 March 1873.

Misses Isabella and Fanny, daughters of the Reverend William Browne c 1845 is a rare double portrait by Strange. It is his finest known portrait. It includes the children’s pet cat on a balustrade, as well as a floral wreath of freshly picked garden flowers, with roses and fuchsias. The portrait is characteristic of Strange’s work: the thin handling of paint and a sophisticated naivety. Like Mundy’s portrait of Elizabeth Field, it sits in a superbly moulded frame by the Launceston frame‑maker William Wilson.

The father of the two sisters, William Henry Browne (1800–77) was an Irishman and a Church of England clergyman who was appointed colonial chaplain on 27 February 1828 and gazetted to St John’s in Launceston. Stalwart and independent in his Evangelical faith, he was fearless of man and unawed by authority. Browne’s first wife, Caroline, whom he had married in 1829, died in Georgetown on 26 February 1845.

This portrait was likely painted after the girls’ mother died and the wreath they are holding is in memory of her. Isabella Anne was aged 12 at the time, and Fanny Louisa aged 10. The girls support each other in the portrait: Isabella has her right arm over Fanny’s shoulder, and Fanny has her left arm around her sister’s waist.

Isabella has a steady gaze and a wan smile. Fanny looks to the left, with a tentative expression, as if seeking support from her sister. It is a powerful image of siblings expressing their closeness and concern for each other.

These portraits by Mundy and Strange can be viewed as part of the Gallery’s display of early Tasmanian colonial art, arranged in conjunction with the exhibition Robert Dowling: Tasmanian son of Empire. Dowling was inspired by the portraits of Henry Mundy and took lessons from Frederick Strange.

Anne Gray Head of Australian Art Elizabeth, Mrs William Field and Misses Isabella and Fanny, daughters of the Reverend William Browne are in the exhibition Colonial Tasmania (see page 32).

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Nagé people, Flores, Indonesia

Ancestral horse with two riders 19th century or earlier, wood, 120 x 320 x 50 cm purchased 2010

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Monumental wooden horses (ja heda or jara heda) with one male or a pair of male and female ancestor riders are among the largest and most striking Southeast Asian animist sculptures. Such sculptures were installed in front of the clan temples (sao heda) in the Nagé and Kéo regions of central Flores, not far from where Homo floresiensis (Flores Man, nicknamed ‘hobbit’) was recently discovered.

Throughout Flores, noble descendants of the ancestral, sometimes mythical, founders of a village take precedence over other lineages and clans. Ja heda are always associated with the descendants of the founding ancestors of major villages. In eastern Indonesian cultures, the horse is a symbol of the strength and the hunting (including headhunting) skills of the local ruler or chief, and equine motifs are prominent in the arts associated with noble families. The creation of the ja heda and erection of a new sao heda shrine require great wealth and elaborate ritual since hundreds of buffalo are sacrificed to the ancestors during the process.

The ja heda acts as a guardian at the entrance to the clan temple where the sacred clan heirlooms—textiles, buffalo horns from

ancestral sacrifices, ivory and gold—are stored and pairs of wooden ancestor figures installed. The horse’s enormous size, standing high on long poles, makes it a powerful protector. Identified as spirit guardians capable of conferring wealth and power, these creatures, with their long graceful bodies, represent both horse (jara) and horse‑headed serpent (naga). The flanks of the horse are deeply carved with decorative motifs also found on other central Flores art forms such as textiles, gold jewellery and architectural facades of clan houses.

Ancestors in animist Indonesia are usually perceived as couples who together created the universe and the community that now venerates them. In a dualist cosmology that recognises the complementary nature of male and female elements in all aspects of life and death, it is fitting that an ancestor couple (ana deo) is depicted. However, where a male equestrian appears alone, the horse and rider represent the male aspects and the clan temple is conceived as female. This is also the case in the neighbouring Ngada district of central Flores, where the male ancestor is represented

as a thatched post and the female is now symbolised by a small house‑shaped form.

The Gallery’s recently acquired sculpture has a finely carved and particularly charming pair of ancestor riders. The female sits side‑saddle with her hand placed fondly on the shoulder of her male partner who confidently holds the rein. These equestrian figures are associated with the founders of the major village, ancestral leaders whose exceptional powers allow them to mount and fly on naga.

The erect penises on both horse and male rider allude to fecundity.

This rare sculpture is a key work in the current major exhibition Life, death and magic: 2000 years of Southeast Asian ancestral art at the National Gallery of Australia and will subsequently be on permanent display, from 2011, in the Southeast Asian gallery.

Robyn Maxwell Senior Curator, Asian Art Ancestral horse with two riders is in the exhibition Life, death and magic: 2000 years of Southeast Asian ancestral art.

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Jumbo and Zap

X‑ray man‑machine pointing a ray‑gun at the amphibians 2010, synthetic polymer paint on paper, 247 x 586 cm acquired with the support of Calypso Mary Efkarpidis, 2010 © Jumbo and Zap

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The Sydney‑based scoundrels getting up all over town are the flamboyant street art duo Jumbo and Zap. While the real identities of these two artists remain closely guarded, the pair have attained a cult following that has launched them into the spotlight as two of Australia’s most progressive street artists.

Jumbo has been working on the street in Australia and the United Kingdom since 2004. The ligne claire (clear line) illustration technique, developed in the 1940s by Belgian artist Hergé (creator of The Adventures of Tintin), and the German comic magazine Strapazin, which was first published in 1984, have both been central to Jumbo’s artistic development. Through years of experimentation, his passion for ‘lots of detail and plenty of good patterns’ and his panache with the technique of collage have developed into a distinctive style. His street posters are an eye‑popping collision of decorative elements that provide the concrete city with an electric visual buzz.

Zap chose his pseudonym as a reference to the 1970s comic‑ book speech‑bubble text of the ‘ZAP’, ‘POW’ and ‘BAAAM’ variety.

His works have been appearing in inner‑city Sydney since 1986, and he is a key figure in the development of Australian street art. Zap has successfully navigated the subcultural and aesthetic divide between the coded text‑based forms of graffiti and the image‑based, mass‑communication impetus of street art.

The content of the billboard‑sized poster X‑ray man‑machine pointing a ray‑gun at the amphibians 2010 is as intense as the title of the work itself. In what can be described as a visual mash‑up, the image is an epic narrative in which Zap’s science‑fiction monsters chase Jumbo’s comic‑book subhumans across a backdrop that is alive with patterns, decorative elements and word fragments, all pulsating under the deliberate clash of neon against an otherwise 1980s colour palette. This head‑on collision of style, colour, word and image has been termed a ‘megamix’ by the artists, who deliberately set out to throw various elements together in their chaotic collaborative works.

The term ‘megamix’ is recognised within the contemporary musical scene as a remixed track containing multiple songs in

rapid succession; similarly, ‘mash‑up’ was originally coined by the music industry to describe the appropriation and overlaying of two or more songs when composing a new track. Jumbo and Zap have applied to their art practice the techniques of sampling, appropriation, repetition, re‑mixing and overlaying that lie at the core of contemporary popular music. Together, they are creating megamix posters that vibrate with a unique beat.

Through the very generous support of Nectar, Johnathan and Calypso Efkarpidis, the National Gallery of Australia has been able to acquire X‑ray man‑machine pointing a ray‑gun at the amphibians for the national art collection.

Jaklyn Babington Assistant Curator, International Prints, Drawings and Illustrated Books, and curator of Space invaders X‑ray man‑machine pointing a ray‑gun at the amphibians is in the exhibition Space invaders: australian . street . stencils . posters . zines . stickers (see page 28).

ACQUISITION | ARTONVIEW 41

Ray James Tjangala Pintupi people

Untitled 2004, synthetic polymer paint on canvas, 183 x 240 cm donated through the Australian Government’s Cultural Gifts Program

by Ray Wilson OAM in memory of James Agapitos OAM, 2010 Ray James Tjangala is a Pintupi artist. He was born around 1958 at Yunala rockhole, west of Kiwirrkurra in Western Australia, and is the son of Anatjari Tjampitjinpa and Tjunkaya Napangati.

Tjampitjinpa and his family were one of the last groups to come in from the dessert in 1963 under the Welfare Patrols led by the young patrol officer Jeremy Long. They had encountered Long at the Wudungunya rockhole, north‑west of Jupiter Well, before moving to the Papunya settlement in the Northern Territory.

Tjampitjinpa was a founding member of Papunya Tula Artists in 1971 and Tjangala began painting for Papunya Tula Artists in the early 1990s. Tjangala currently resides at Kiwirrkurra and has exhibited regularly in Paris, The Netherlands, Slovenia and Australia.

His works typically feature a geometric grid of undulating squares. However, Untitled features dotted lines of fine rolling waves in greys, browns and pale creams, giving the impression of heavy clouds rolling across a darkened sky and rain falling in contrasting colours across the canvas.

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Some aspects of this painting are secret and are known only to the initiated. However, we do know that it depicts the site of Yunala, which is west of Kiwirrkurra and is where a large group of mythological Tingari men camped before they travelled east to Pinari, north‑west of Kintore. While at Yunala, the Tingari men collected bush banana, an edible root otherwise known as silky pear vine (Marsdenia australis), which was readily available throughout the area.

Untitled was generously gifted to the National Gallery of Australia in 2010 by Ray Wilson OAM in memory of James Agapitos OAM and is a wonderful addition to the Gallery’s collection of art by Pintupi artists. This mesmerising work sits seamlessly alongside other great abstract paintings by Australian artists on display at the National Gallery of Australia.

Tina Baum Curator, Aboriginal and Torres Strait Islander Art

Jeremiah Bonson Jinang/Marung peoples, Gamarang/Dhuwa skin

Warrah Bun Bun 2010, synthetic polymer paint on wood, 192 x 90 cm (variable) purchased 2010 Jeremiah Bonson is a Jinang/Marung artist. He was born in Darwin but raised at the outstation Gamourgouyoura, his mother Mathilda’s country, and is now living with his wife in Galiwin’ku on Elcho Island. Bonson is a dancer, musician (he plays the yidaki or didgeridoo), painter and sculptor. Although an emerging artist, he was taught his traditional culture and traditional song line (bourgur) by his adoptive father Jimmy. His practice is informed by a culture thousands of years old.

Warrah Bun Bun 2010 is a stunning group of eight mimi spirits or Mokuy who belong to his mother’s dreaming; they are her totem and come from her country of Gamourgouyoura. These spirits sleep during the day and can only be seen at night when they come out to hunt, dance, sing, laugh and play. They are tall and skinny and jubilantly gather water and hunt for food (natha) at local billabongs—their favourite food is the yam. But, although they are happy, joyful spirits, they will take you away if you get too close. When they dance, they are covered with ochre, which Bonson represents in his sculptures by the white dots. He skilfully captures the playful spirit of these mimi, making them distinctly his own with their armless, slender bodies and friendly faces.

Warrah Bun Bun wonderfully complements the Gallery’s collection of works by artists from Galiwin’ku and is the first work of art by Bonson to be acquired by the National Gallery of Australia.

Tina Baum Curator, Aboriginal and Torres Strait Islander Art

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Travelling exhibitions nga.gov.au/travex

ROBERT DOWLING Tasmanian son of Empire

IN THE JAPANESE MANNER Australian prints 1900–1940

24 Jul – 3 Oct 2010 National Gallery of Australia, Canberra, ACT

8 Sep – 31 Oct 2010 Mornington Peninsula Regional Gallery, Vic

19 Nov 2010 – 13 Feb 2011 Art Gallery of South Australia, Adelaide, SA

20 May – 14 Aug 2011 Perc Tucker Regional Gallery, Qld 2 Sep – 21 Nov 2011 Geraldton Regional Art Gallery, WA

IN THE SPOTLIGHT Anton Bruehl photographs 1920s–1950s 23 Oct 2010 – 6 Feb 2011 National Gallery of Australia, Canberra, ACT 29 Apr – 13 Jun 2011 Araluen Arts Centre, Alice Springs, NT 25 Jun – 11 Sep 2011 Monash Gallery of Art, Wheelers Hill, Vic

In the Japanese manner at Lake Macquarie City Art Gallery, 2010

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(details from left) Robert Dowling Mrs Adolphus Sceales with Black Jimmie on Merrang Station 1856, purchased from the Founding Donors Fund, 1984 | Murray Griffin Cannas 1935, purchased 1978 | Anton Bruehl Ruth Curlett modelling red sun hat, Vogue, New York, 1 July 1936, gift of American Friends of the National Gallery of Australia, Inc, New York, NY, USA, made possible with the generous support of Anton Bruehl Jr, 2006 | Phibs Blue heart (on orange) 2004, Gordon Darling Australasian Print Fund, 2007 | Albert Tucker Man’s head 1946, purchased 1981

Elaine and Jim Wolfensohn Gift nga.gov.au/wolfensohn

SPACE INVADERS australian street . stencils posters . zines . stickers 30 Oct 2010 – 27 Feb 2011 National Gallery of Australia, Canberra, ACT 1 Sep – 5 Nov 2011 RMIT Gallery, Melbourne, Vic 18 Nov 2011 – 18 March 2012 Western Plains Cultural Centre, Dubbo, NSW

AUSTRALIAN PORTRAITS 1880–1960 paintings from the National Gallery of Australia collection 29 Jan – 27 Mar 2011 University Art Museum, University of Queensland, Brisbane, Qld 9 Apr – 10 Jul 2011 Museums and Art Galleries of the Northern Territory, Darwin, NT 23 Jul – 4 Sep 2011 Warrnambool Art Gallery, Warrnambool, Vic

The Elaine and Jim Wolfensohn Gift enables people from all around Australia to discover and handle art. Made possible by Jim Wolfensohn, the gift comprises three art‑filled suitcases—Blue case: technology, Red case: myths and rituals and Yellow case: form, space and design—and the 1888 Melbourne Cup. The Gallery has been touring the Wolfensohn Gift cases to schools, libraries, community centres, regional galleries and nursing homes since 1990. To make a booking for 2011, contact travex@nga.gov.au or (02) 6240 6650.

Travelling exhibitions supporters

National Collecting Institutions Touring & Outreach Program

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News from the Foundation The Foundation has supported the National Gallery of Australia since 1989.

We provide people with the opportunity to be part of the bigger picture in Australia, to help build the nation’s heritage through the arts. To be involved, contact Maryanne Voyazis on +61 2 6240 6691 or at maryanne.voyazis@nga.gov.au.

Members Acquisition Fund 2009

Founding Donors 2010

The response to the inaugural Members Acquisition Fund has been outstanding. In excess of 540 donations from our loyal and generous members have contributed over $72 000 to the purchase of Campbell’s Wharf 1857, an exquisite watercolour by Conrad Martens. While the work is not currently on display (to prevent overexposure to light), it made an appearance at a special champagne reception in July to show our appreciation to the many members who have donated. The Members Acquisition Fund 2010 will be announced soon.

As we celebrate the opening of the new building, the National Gallery of Australia Foundation has much to celebrate. In the spectacular new entrance foyer of the Gallery, the Founding Donors 2010 Honour Board heralds the success of the program that aimed to raise $1 million through the generous support of 100 donors. We are delighted to have exceeded our target and deeply grateful for the generous support of many people. The proceeds will be used to strengthen the Gallery’s collection through the acquisition of works of art for the new Indigenous galleries.

(left) Charles Curran, Chairman of the Foundation, and Elisabeth Holdsworth at the Bequest Circle lunch (above) Jo Tuck-Lee, Membership Coordinator, and Helen Campbell at the Members Acquisition Fund champagne reception

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Masterpieces for the Nation 2010 The focus of this year’s Masterpieces for the Nation fundraising efforts, Robert Dowling’s Miss Robertson of Colac (Dolly) 1885–86, has made a strong impression on visitors to the exhibition Robert Dowling: Tasmanian son of Empire while on tour around Australia. The exhibition was well received at Queen Victoria Museum & Art Gallery in Tasmania and then Geelong Gallery in Victoria and is currently at the National Gallery of Australia in Canberra, before concluding its tour at the Art Gallery of South Australia in Adelaide.

National Gallery of Australia Bequest Circle Sydney collector and Bequest Circle member Ray Wilson OAM gave a stirring speech at this year’s Bequest Circle lunch. He spoke about the importance of including cultural institutions in your will, as a way of strengthening the heritage of the arts in Australia and of supporting institutions that enrich your quality of life. He said that the decision to make a bequest was an easy one for him and his late partner James Agapitos OAM. The Bequest Circle has recently welcomed Robert Cadona, Sanya Ritchie OAM and Mark Young as new members.

For more information, contact Liz Wilson, Manager of Membership and Development Programs, on (02) 6240 6469.

(above) Deborah Hart, Senior Curator, Australian Painting and Sculpture post-1920, speaking in the Sidney Nolan—Ned Kelly series gallery for the Bequest Circle lunch

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Creative partnerships The National Gallery of Australia is committed to forging strong creative partnerships and is grateful for the support and vision of our sponsors and partners. If you are interested in creating ties with the Australian community through the arts, contact Frances Corkhill on +61 2 6240 6740 or at frances.corkhill@nga.gov.au or Belinda Cotton on +61 2 6240 6556 or at belinda.cotton@nga.gov.au.

Wesfarmers Arts Indigenous Fellowship

Collaborative partnership for Space invaders

The consultation report and Wesfarmers Arts Indigenous Fellowship was launched at the National Press Club of Australia on 30 June 2010. Aden Ridgeway, Partner of Cox Inall Ridgeway, and Ron Radford AM, Director of the National Gallery of Australia, each gave an address in the presence of representatives from Wesfarmers, National Australia Bank, Qantas, other corporate partners, the press and the visual arts industry. Aden Ridgeway summed up the Fellowship best when he said it creates ‘a path for a new wave of talented Indigenous Australians to lead and grow this industry into the future’.

The Gallery has once again joined forces with Canberra‑based property developers Molonglo Group for the new exhibition Space invaders: australian . street. stencils . posters . zines . stickers (see pages 28–31). Molonglo have created the NewActon Precinct in the heart of Canberra, which includes the apARTments and the Nishi building (currently under construction). Molonglo have a long history of supporting the arts and artists by collecting contemporary works of art and commissioning works, such as the street art piece on the 65‑metre‑high cement wall in the 19‑floor lift shaft of the apARTments.

Aden Ridgeway, Ken Randall, President of the National Press Club, and Ron Radford

The lift-shaft work was created by four artists: Dan ‘Byrd’ Maginnity, Michael Porter, Al Stark and Gregos Theopsy.

It and other street art works at NewActon align perfectly with Space invaders. The partnership between Molonglo Group and the National Gallery of Australia is an example of a dynamic, successful and enjoyable contemporary creative and collaborative business partnership.

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Ghostpatrol Rebel yell 2010, National Gallery of Australia, Canberra, acquired with the support of Calypso Mary Efkarpidis, 2010 To be featured in Space invaders

Manteena celebrate 30 years by supporting the National Gallery of Australia Canberra-based construction company Manteena are celebrating their 30th anniversary this year. It has been a big year for Manteena: as well as their anniversary, they have just completed the extensive Stage 1 building project for the new look National Gallery of Australia in Canberra (see more on pages 10–19) and have won a master builder’s award for their fine work in realising James Turrell’s skyspace Within without 2010. They have also partnered with the Gallery for the exhibition Robert Dowling: Tasmanian son of Empire, which is at the Gallery until 3 October.

Australia‑India Council The Australia‑India Council have joined the National Gallery of Australia in supporting a visit to Australia by leading contemporary Indian photographer Pushpamala N. The artist presented masterclasses, public lectures and studio work and spoke at the international symposium Facing Asia: Histories and Legacies of Asian Studio Photography, in Canberra on 21–22 August. This partnership is part of the Gallery’s Building Links through Visual Arts program and the Australia‑India Council’s generous support has enabled the Gallery to bring the first initiative in this program to fruition.

Pushpamala N Sunhere Sapne (Golden Dreams): A photoromance #2 1998, National Gallery of Australia, Canberra, purchased 2006

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Thank you …

Exhibitions, programs and acquisitions at the National Gallery of Australia are realised through the generous support of our partners and donors. The National Gallery of Australia would like to thank the following organisations and people:

Grants The American Friends of the National Gallery of Australia Inc, New York, made possible with the very generous support of Kenneth Tyler and Marabeth Cohen‑Tyler The Australian International Cultural Foundation The Gordon Darling Foundation The National Gallery of Australia Council Exhibitions Fund The Sidney Myer Fund

Australian Government Department of Health and Ageing through the Dementia Community Grants Program Department of the Environment, Water, Heritage and the Arts through: The National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia, and through Art Indemnity Australia The Contemporary Touring Initiative is administered through Visions of Australia, an Australian Government program, and the Visual Arts and Craft Strategy, an initiative of the Australian Government and state and territory governments Department of Foreign Affairs and Trade through the Australia–India Council

Sponsorship ABC Radio Accor Hospitality (Novotel Canberra)

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ACT Government (through Australian Capital Tourism) ActewAGL Aesop The Age Conrad Bali The Brassey Hotel of Canberra The Canberra Times Casella Wines Diamant Hotel Eckersley’s Art & Craft Forrest Hotel and Apartments JCDecaux Manteena Mantra on Northbourne Molonglo Group National Australia Bank National Gallery of Australia Council Exhibitions Fund Nine Network Australia Qantas R.M.Williams, The Bush Outfitter The Sydney Morning Herald Wesfarmers Limited WIN Television Yalumba Wines

Donations Includes donations received from 23 April to 22 July 2010 Roslynne Bracher and the Paspaley family Charities Aid Foundation America Charles P Curran AC and Eva Curran The Ferris Family Foundation Rosemary Foot AO Warwick Hemsley John Kaldor AM and Naomi Milgrom‑Kaldor Macquarie Group Foundation Robert Maple‑Brown and Susie Maple‑Brown Harold Mitchell AC and Bevelly Mitchell Cameron O’Reilly and family Roslyn Packer AO Greg Paramor Jason Prowd

Gifts Christine Andrews and Arthur Shorter Susan Armitage Philip Bacon AM Roger Brideson Roger Butler Paul Costigan Stephen Dupont Ivan Durrant Jim Farrell Michael, Bee Fong, Bronwyn and Jonathan Gunn Brent Harris Claudia Hyles Richard Larter Judy Laver Kevin Lincoln Robyn Maxwell John McPhee John Millwood James Mollison AO Roslyn Packer AO Caroline Rannersberger Rudy Komon Gallery Silk Cut Foundation Spectrum Consultancy Pty Ltd William Strutt John and Annette Teschendorff Tim Maguire Pty Ltd David Walker Deirdre Willis Ray Wilson OAM Salvatore Zofrea

Founding Donors 2010 Rick Allert AO In memory of Kathy Avdiev John and Maureen Barrow Phillip Benjamin and Sandy Benjamin OAM Graham Bradley AM and Charlene Bradley Andrew Buchanan PSM and Kate Buchanan Harold and Krystyna Campbell‑Pretty Maurice Cashmere R and M Champion de Crespigny Foundation

Dr Ray Cook and Diane Cook Ian and Min Darling Dimity Davy and Bill Davy The Hon Mrs Ashley Dawson‑Damer In memory of Katarina (Katie) Fely Philip Flood AO and Carole Flood John Grant AM and Inge Grant Ginny and Leslie Green Richard Griffin AM and Jay Griffin Andrew and Hiroko Gwinnett Peter Hack Rolf Harris AM, CBE Bill and Alison Hayward Meredith Hinchliffe Victor Jennings OBE and Margaret Jennings Norman Korte and Vanessa Carlin Kowalski family Wayne N Kratzmann Leonard Joel Auctioneers Dr Andrew Lu OAM and Dr Geoffrey Lancaster AM Dr Cathryn Mittelheuser AM and Margaret Mittelheuser AM Callum Morton Rupert Myer AM and Annabel Myer Edgar Myer Adelaide Myer Walter Myer Jemima Myer Charles Myer Charlotte Myer The Myer Foundation Stephen and Rachael Nano Marianna and Tony O’Sullivan Gretel Packer Terry and Mary Peabody Dr David E Pfanner Lady (Primrose) Potter AC Denis Savill and Anne Clarke Carol Schwartz AM Penelope Seidler AM SERVICE ONE Members Banking Emeritus Professor Barbara van Ernst AM Lang and Sue Walker and family Lou Westende OAM and Mandy Thomas‑Westende

Masterpieces for the Nation Fund 2010 David Andrew Adams Ross and Lenore Adamson Cynthia Anderson Dorothy Anderson Margaret Aston Michelle Atkinson Dr Lesley Baker Suzanne J Baker‑Dekker Judy Baskin Sheila Bignell Noel Birchall Phoebe Bischoff RD Blacklow Sarah Brasch Margaret and Geoffrey Brennan Mary E Brennan Cheryl Bridge Howard and Jenny Brown Antony W Buckingham Ruth Burgess Robert and Lena Cansdale Daphne Carlson Deb and Jim Carroll Dr Patricia Clarke OAM Richard Coleman and Cynthia Coleman Graham Cooke Anne and Bill Coupland Merrilyn Crawford Georgia Croker David and Lauri Curtis Patricia R Dale OAM Henry Dalrymple JW de B Persse Dr Moreen Dee Dr Stephen Dyer Peter Eddington and Joy Williams Dr Peter Elliott AM Katherine Engel Brian Fitzpatrick Jan Forshaw Robert Foster David C Franks Joseph Gani Neilma Gantner Maryan and Richard Godson June Gordon Lyn Gorman

Ross Gough Claire Haley John Harrison and Danielle Kluth Pat and Frank Harvey Ann Healey Bruce Heiser Shirley Hemmings P and H Henderson Marian Hill Janet Hine Michael and Doris Hobbs Rev Theodora Hobbs Bill and Rosemary Huff‑Johnston Elspeth Humphries Claudia Hyles Dr Anthea Hyslop Major General Michael Jeffery AC, CVO, MC and Marlena Jeffery Dr Joe Johnson CSC, AAM and Madelaine Johnson WG Keighley Pamela V Kenny King O’Malley’s Irish Pub Valerie Anne Kirk Robyn Lance Janet Launder Paul and Beryl Legge‑Wilkinson Dr Frederick Lilley and Penelope Lilley Liz and Michael Lynch Elizabeth Mackie Svetlana Manns Jennifer Manton Pam and Jim Maple‑Brown MJ Mashford Simon McGill Selma McLaren Dr Stephen McNamara The Hon GP Miller QC and R Miller The Moore Family Philanthropic Foundation Anne and John Moten Dr Angus McLean Muir Patricia and Philip Mulcare Joahanne Mulholland and David Rivers Neil C Mulveney Donald W Nairn Claude Neumann Graham O’Neill

Milton Osborne David and Elizabeth Pearse Gwen Pearson Suzannah Plowman Estella Rachel Pracy Lady Praznovsky Richard L Price Anne Prins Colin Rea Lady Ardyne Reid Joan Richards Lyn Riddett S Rogers Alan and Helen Rose Roslyn Russell Museum Services S and O Saducas Raoul Salpeter and Roslyn Mandelberg Kenneth and Audrey Shepherd Mike and Judy Slee Elizabeth J Smith Phyllis Somerville David and Anne Stanley Stefanoff family Robyn Stone Susan Sutton Helen Topor and Peter Fullagar Neil Truscott AM and Claire Truscott Morna Vellacott Forrest Hotel and Apartments Gough and Margaret Whitlam Muriel Wilkinson D and M Williams Andrew Williamson Liz Wilson In memory of Donald Wilson SM Wood Donna Woodhill

Melody Gough Memorial Fund John Calvert‑Jones AM RJ and LE Corkhill and family Alan Froud and Judy Froud Larry Geraghty Callum Morton Rupert Myer AM and Annabel Myer Anna Saboisky Jo Tuck‑Lee Maryanne Voyazis Edith Young

Members Acquisition Fund 2009 Phillipa Barry Ivor Bowden Jennifer Bryson Kerry‑Anne Cousins Robert and Helen Crompton Irene and Ted Delofski Michael Flynn Roy Garwood Ian Gilbert and Kris Trott In memory of Dr Phillip Hanratty Bernard Hughson Dr Peter Kenny Jeanette Knox Elizabeth Loftus Andrew MacIntyre Judith MacIntyre Shirley Meldrum OAM The Hon Barry O’Keefe AM Helen Parry Jeanette Richmond Helene L Stead Lucille Warth

For more information about developing creative partnerships with the National Gallery of Australia, contact: Frances Corkhill +61 2 6240 6740, frances.corkhill@nga.gov.au Belinda Cotton +61 2 6240 6556, belinda.cotton@nga.gov.au For more information about making a donation, contact: Maryanne Voyazis +61 2 6240 6691, maryanne.voyazis@nga. gov.au.

ARTONVIEW 51

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Hans Heysen 1 Philip and Mary Constable 2 Jenny and Deane Terrell 3 Anna Gray, Humphrey McQueen and curator of the exhibition Rebecca Andrews 4 Sue Thomas and Iain Teasdale 5 Pauline Dyer and Heather Duffy 6 An assisted tour of the exhibition

52 ARTONVIEW

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Robert Dowling 7 Exhibition partners Manteena: Simon Butt, Rod Mitton, Mark Baver and Lou Agnello

Members Acquisition Fund event 8 Ron Radford and Robert Campbell

Super shiny sculpture 9 Children creating their very own super shinny sculptures at the Gallery

12

Draw and explore: Buddha and his buddies 10 Children drawing in the Southeast Asian gallery, assisted by Kate Collins and Kate Murphy

International Museum Day 11 Gulumbu Yunupingu, Franchesca Cubillo and Will Stubbs on stage in the James O Fairfax Theatre 12 Will Stubbs, Merrki Ganambarr and Gulumbu Yunupingu

ARTONVIEW 53

Canberra | nga.gov.au

OPENING SEASON Explore the new Aboriginal and Torres Strait Islander art galleries and more 54Digital ARTONVIEW | EXHIBITION rendering of the new installation of The Aboriginal Memorial by Ramingining artists 1987–88 The National Gallery of Australia is an Australian Government Agency

23 OCTOBER 2010 – 6 FEBRUARY 2011

30 OCTOBER 2010 – 27 FEBRUARY 2011

10 DECEMBER 2010 – 20 MARCH 2011

IN THE SPOTLIGHT

SPACE INVADERS

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Anton Bruehl photographs 1920s–1950s

australian . street . stencils . posters . zines

the art of costume

Anton Bruehl Harlem number, Versaille Cafe, Esquire canteen series 1943 (detail), George Eastman House, New York, museum purchase with National Endowment for the Arts support, courtesy of George Eastman House, International Museum of Photography and Film

Prism not titled (red shoes) 2004, National Gallery of Australia, Canberra, Gordon Darling Australasian Print Fund, 2007

Henri Matisse Costume for a mourner c 1920, National Gallery of Australia, Canberra, purchased 1973

EXHIBITION | ARTONVIEW 55

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important australian and international fine art auction sydney • 1 september 2010 melbourne exhibition thursday 19 – sunday 22 august 11.00am – 6.00pm daily 105 commercial road south yarra 3141 03 9865 6333

FRED WILLIAMS Lysterfield V, 1968 91.5 x 106.5 cm EST. $400,000 – 600,000

sydney exhibition thursday 26 – tuesday 31 august 11.00am – 6.00pm daily 55 oxford st (cnr pelican st) surry hills 2010 02 9287 0600 catalogue online mid august

important aboriginal and oceanic art auction melbourne • 6 october 2010

ROVER THOMAS (JOOLAMA) Kununurra Bridge, 1986 90.0 x 180.0 cm EST. $420,000 – 480,000

sydney exhibition thursday 23 – sunday 26 september 11.00am – 6.00pm daily 55 oxford st (cnr pelican st) surry hills 2010 02 9287 0600 melbourne exhibition thursday 30 september – tuesday 5 october 11.00am – 6.00pm daily 105 commercial road south yarra 3141 03 9865 6333 catalogue online mid september

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EXHIBITION | ARTONVIEW 59

Million dollar views AVAILABLE NOW The Display Suite is open 12–2pm and 4–6pm weekdays, 12–5pm weekends. Located within the NewActon precinct at apartment 102 / 19 Marcus Clarke Street, Canberra. Call Derek Whitcombe at Colliers International on 6257 2121 or 0418 623 290

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Proud supporter of the National Gallery of Australia 60 ARTONVIEW | EXHIBITION

Invite your friends and family to an after-dark spectacular Stroll among a million blooms illuminated by breathtaking lighting effects and immerse yourself in five magical nights when Floriade transforms into NightFest.

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EXHIBITION | ARTONVIEW 61

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JEFFREY SMART Approach to a City III 1968-69 Sold June 2010 $840,000 including buyer’s premium

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EXHIBITION | ARTONVIEW 67

Canberra | nga.gov.au

ROBERT DOWLING

Tasmanian son of Empire Now showing until 3 October 2010 tickets nga.gov.au

Principal Partners

Exhibition Partners

Media Partners

Robert Dowling Miss Robertson of Colac (Dolly) 1885–86 (detail), National Gallery of Australia, Canberra, acquired with the assistance of the Masterpieces for the Nation Fund 2010 The National Gallery of Australia is an Australian Government Agency

Proud supporters of creativity and excellence in performance, arts and design.

Explore the 11 stunning new Indigenous Australian galleries opening in Spring 2010

SPRING 2010 | 63

MONUMENTAL MAKEOVER & OPENING SEASON LIFE, DEATH AND MAGIC ANTON BRUEHL SPACE INVADERS TASMANIAN COLONIAL ART