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ABR Arts

Usually the subject’s death signals the end of a biography, but for Dylan Jones it is the starting point. Three decades after his death in 1977, Elvis Presley has proven even more ubiquitous, and lucrative, than he was in life. When he died – with the official cause listed as heart failure, but a vast cocktail of drugs playing an undeniable role – his manager, ‘Colonel’ Tom Parker, declared, ‘Why, I’ll go right on managing him.’ And from there Parker helped set the template for a superstar entertainer’s posthumous success.

But that’s not all that Jones, who is Editor of GQ, is interested in here. In truth, it can be difficult to pin down just what he is trying to add to the oversaturated conversation about Presley. Elvis Has Left the Building bears the tagline ‘The extraordinary story of how the rock star who changed everything lives on’, yet Jones takes a more roundabout approach in this book. Jones is a sharp and affable writer, but the book has little in the way of sustained focus. He flits between various themes and anecdotes, and even dips in and out of autobiography.

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If Shakespeare’s tragedies, Macbeth seems the most prescient, apposite to a species rapidly running out of world. Upon hearing of the Witches’ prophecy, and resolving her course with chilling alacrity, Lady Macbeth invokes the nether realm of her potentialities:

Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me, from the crown to the toe, top-full
Of direst cruelty.
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Jonas Kaufmann in Concert

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18 August 2014

Six words would suffice to describe Jonas Kaufmann’s Melbourne début. He came, he sang, he conquered.

This was Kaufmann’s second appearance in Australia, after a gala in Sydney (repeated on August 17). It’s not often that an impresario or Opera Australia manages to lure a great tenor to this country. The inimitable Carlo Bergonzi visited in 1979 and g ...

Don Giovanni

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11 August 2014

Enterprisingly, Opera Australia has enticed Scottish director David McVicar to create new productions of three Mozart operas, beginning with Don Giovanni, currently playing in Sydney (Figaro and Così will follow in 2015 and 2016, respectively). We saw the fifth of thirteen performances scheduled in this long opening season, and already the prod ...

The last time the National Gallery of Victoria devoted an exhibition to furniture was in 1988 (Featherston Chairs), and only the most dedicated design aficionados will remember the gallery’s most recent group show of furniture design: One Hundred Chairs, back in 1974. Mid-Century Modern, broad in its ambition, covers Australian furniture design in the thirty-year immediate postwar period. It forms an interesting comparison to the recent touring exhibition from the Los Angeles County Museum, California Design, 1930–65, shown at Gallery of Modern Art, Brisbane last summer and reviewed here in December 2013–January 2014.

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Hedda Gabler (1890) occupies a somewhat schizophrenic position in Henrik Ibsen’s work. On the one hand, it is normally seen as the apotheosis of Ibsen’s realist period, his sardonic homage to the fashionable ‘well-made play’ of the time. But, on the other hand, from early in its theatrical life there have been productions which have reacted against the naturalistic style in which the play seems to have been couched.

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Behind the Doors: An art history from Yuendumu by Philip Jones with Warlukurlangu Artists

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August 2014, no. 363

The painting of the Yuendumu doors in 1984 by Warlpiri artists, whose country is north-west of Alice Springs, represented an extraordinary moment in Australian art and modern art generally. In the 1980s some Aboriginal elders painted the doors in the Yuendumu School building to prompt students to show respect for their school and as a marker of their culture. It was the first time that they had painted using acrylics (not ochres), in colours never before used, to record the major stories of their community.

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Book reviewers and the editors of periodicals that commission them are used to sour assessments of their worth, but Professor John Dale’s article on The Conversation yesterday is in a class of its own.

What a clichéd, ungenerous and discreditab ...

I have been looking at the world through tartan frames recently, thanks to the current exhibition ‘For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation’ and its accompanying catalogue ($75 hb, 335 pp). Actually, to call it a catalogue doesn’t do it justice; its 335 pages ransack dozens of different angles of the Caledonian experience, with essays by its curators,Alison Inglis and Patricia Tryon Macdonald, the Art Gallery of Ballarat’s director Gordon Morrison, and a dozen others.

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He painted Kate Moss naked. The Kray twins threatened to cut off his painting hand over bad gambling debts. He was officially recognised as father to fourteen children by numerous partners, but the unofficial tally could be as high as forty (three were born to different mothers within a few months). He is Lucian Freud, grandson of Sigmund Freud, born in Berlin on 8 December 1922. All of his gambling disasters came from using his ‘lucky’ birth number, eight. Fittingly, he died at the age of eighty-eight in 2011.

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