From musty Merion to a new home in Philadelphia
by Patrick McCaughey
In mid-May the Barnes Foundation opened at its new location in the cultural corridor of downtown Philadelphia. A cloud of controversy followed it to the end. The new building, handsome if flawed, from the gifted New York studio of Tod Williams and Billie Tsien, ha ...
The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde edited by Janet Bishop, Cécile Debray, and Rebecca Rabinow
The Donald Friend Diaries: Chronicles & Confessions of an Australian Artist edited by Ian Britain (foreword by Barry Humphries)
Patrick McCaughey’s article ‘NativeGrounds and Foreign Fields: The Paradoxical Neglect of Australian Art Abroad’ (June 2011) caught my attention because of its title, then its content. The ...
Twenty years ago, when I was at the Wadsworth Atheneum in Hartford, I heard of an Arthur Boyd exhibition in SoHo. Recklessly, without seeing the show, I urged my American friends to see one of Australia’s foremost contemporary painters. The gallery, unknown to me, turned out to be small and unimpressive. There were five or six late paintings, including one of those large, multi-figured bathers, with that disconcerting quality of Boyd at the end of his career, both slapdash and commercial at the same moment. ‘So this is what contemporary Australian painting looks like?’ my companion asked ironically, just within the bounds of good manners.... (read more)
Encounters with Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas
Never far from one’s mind these days, the events of September 11, 2001, and their direct aftermath in Afghanistan and elsewhere, had to be prominent in this month’s issue of ABR, such is their complex resonance and ubiquitous iconography. To complement Morag Fraser’s essay in this issue on the consequences of ‘September 11’ for civic ...