Everything old is new again at the National Gallery of Australia. A trip to see Tom Roberts meant an additional opportunity to take in old favourites in new spots. What a difference a re-hang can make! We missed some familiar faces but there was a chance to see what a wall and light can do for a work.
Sculptor Inge King exhibition
“All Australian paintings are in some way a homage to Tom Roberts”. Arthur Boyd
Starting with Tom Roberts, we avoided the increasing crowds and got in early so we had him all to ourselves. This advantage meant we could go into the kids interactive room with no kids. I just wish there was a space like this for adults. Little easels for re-creating portraits, dress-up, saddled lambs and an app projected onto a wall to allow movement of figures into the landscape in a playful way. Simply playing opens new and wonderful ways of working. Why do we have to stop? Standing in front of works studying the paint and structure is a wonderful opportunity to examine Roberts underglazing of luminous pink peeking from under the cracks, but how wonderful would it be to have a room to express that on the spot, to sketch without feeling slightly wanker-ish in front of gallery on-lookers.
“Here is a workshop, there are no rules, do what you want to do.” Kenneth Tyler
Stella: The Fountain
Upstairs the Tyler Graphics exhibition: Behind the Scenes, showed play at an expert and amplified level. Extraordinary works of printing and the use of paper pulp by Rosenquist and Caro left me wanting to shred, pulp and construct. The fabulous line and strength of Joan Mitchell’s marks showed the ability to translate freshness into print. A sequence of short films gave an insight into the complexity and flexibility of printmaking and the process to produce Frank Stella’s “The Fountain” left me feeling nervous, exhausted and a newfound respect for prints of multiple techniques at this size.
Caro: Angle #8
After the intensity of Roberts and Tyler, a small unobtrusive exhibition simply called BLACK pared it all back. The entrance lured us in with a glimpse of too abstract expressionist giants: Motherwell and Guston side by side. Inside Serra sat comfortably alongside ancient forms, the “ground breaking” blackness of Malevich and the light inside the darkness of Soulages. This exhibition was a fabulous use of stored masterpieces within the NGA collection. Darkness all aired out.
BLACK: Motherwell & Guston
Above all the new hang and the changes within the NGA have been wonderful, a breath of fresh paint.