Page 51 - Studio International - October 1970

Australia Square, Sydney (Harry Seidler, architect)
with Calder Colour Stabile 1968
2
Jos Manders
General Communication 1968
PVC and polyester 200 x 200 cm.
3
Vladimir Preclik
Throne with Periscopes 1963 69 x 43 cm.
4
Gianfranco Pardi
Terrace Garden 1968
Painted three-ply board and aluminium sheet
Allen Jones
Come In 1967
Canvas with metal plastic-faced steps
184 x 152 cm.
6
Nicholas Krushenick
Untitled 1965
Lithograph
7
Richard Stankiewicz
Australia 15 Welded metal 28 ft.
Sydney University

than in undergraduate studies. Indeed, it is
in the post-graduate school that John Power's
special vision of a 'Faculty' possessed of an
informed, alert and critical interest in the
most recent contemporary art should come in-
to its own.
The Power Gallery of Contemporary Art has
been established by the University to provide
a teaching collection for the Department and
to exercise that public function, envisaged by
Dr Power, of bringing the most recent con-
temporary art of other countries to the people
of Australia. Approximately one-quarter of
the annual income of the Bequest is set aside
for the purchases of works of art from coun-
tries other than Australia. The works of
Australians (including expatriates) are not,
in accordance with its terms, purchased by
means of Bequest Funds. This will allow a
specialized collection to be developed in
Australia that does not include, as all other
public collections in the country do, a large
proportion of Australian work. It should, for
this very reason, be of special value to Austra-
lian artists and collectors. The Institute,
nevertheless, recognizes an obligation to
Australian art and is hopeful that it will be
able to encourage the growth of a collection
of Australian art in the University from other
gifts and bequests.
The first purchases for the Power Gallery
were made by Mr Gordon Thompson, Deputy
Director of the National Gallery of Victoria,
and were exhibited at Australia Square,
Sydney (Seidler) in February 1968, when
that building was opened to the public. The
exhibition aroused great public interest, not
only because it was the first exhibition of
purchases by the Bequest, but also because it
was the first occasion that kinetic art was
exhibited in Australia in quantity. The 1967
purchases paid special attention to Latin-
American kinetic art and to British sculpture.
The 1968 acquisitions, made by myself,
directed attention to contemporary art in