Page 52 - Studio International - October 1970

The first accessions of the Power Gallery of Con-
temporary Art include works by the following:
ACQUIRED IN 1967: Edmund Alleyn, Martha Boto,
Roger Cook, Carlos Cruz-Diez, Sergio Dangelo,
Hugo Demarco, Waldemar D'Orey, Garth Evans,
Lars Frederikson, Juan Genoves, Lily Greenham,
John Hoyland, Terence Ibbott, Allen Jones, Julio
Le Parc, Jeremy Moon, Bridget Riley, Zaburnian
Sarkis, Tim Scott, Richard Smith, Jean Tinguely,
Luis Tomasello, Gregorio Vardanega, Victor
Vasarely, Hugh Weiss, Isaac Witkin, and Yvaral.
ACQUIRED IN 1968: Valerio Adami, Gaetulio Alviani,
Francesco Arduini, Enrico Baj, Domenico Canta-
tore, Giuseppe Capogrossi, Nino Cordio, Lucio del
Pezzo, Piero Dorazio, Sergio Fergola, Lucio
Fontana, Nunzio Giulino, Riccardo Licata, Enzo
Mari, Umberto Mastroianni, Alberico Morena,
Gianfranco Pardi, Beverly Pepper, Gio Pomodoro,
Concetto Pozzati, Enrico Ricci, Guido Rossi,
Luigi Spacal, Arman, Gunter Frühtrunk, Rup-
precht Geiger, Gotthard Graubner, Hans Har-
tung, Patrick Heron, Alain Jacquet, Jiri Kolar,
Kaspar-Thomas Lenk, Ovidu Maitec, Jos Man-
ders, Mikulas Medek, Kenneth Noland, Anna Let-
ycia Quadros, Ramon, Shinkichi Tajiri, Takis,
Joe Tilson.
ACQUIRED IN 1969: Emanuel Araujo, Natvar
Bhaysar, Jack Brusca, Leonor Cecotto, Wojciech
Fangor, Margot Fanjul, Jasper Johns, Craig
Kauffman, Nicholas Krushenick, John Levee,
Norberto Nicola, Robert Murray, Sam Richard-
son, Ivan Serpa, Leon Polk Smith, Antoni Tapies,
Utaka Toyota, Larry Zox.

Italy, and to central Europe—to countries by encouraging Australian artists to study versity students studying the Fine Arts. It is
whose art is less well-known in Australia than and work abroad. Because they come back. hoped that it will be possible to establish such
is that of Britain, the U.S.A. and France. The Shortly after its establishment in 1967 the visits as annual events.
1969 purchases, made by the Curator of the Power Institute purchased one of the studios The Power Research Library which is being
Power Gallery, Mr Elwyn Lynn, gave special in the Cite Internationale des Arts, Paris; and developed as a specialized collection for the
attention to the U.S.A. The Power Gallery since that time seven Australian artists have study of contemporary art will become of in-
has tended in its first acquisitions to present worked in the Power Institute Studio there. creasing importance for the research and post-
only the most recent contemporary art, and Dr Power's desire that the most recent ideas graduate teaching of the Institute as these are
has sought diversity both in the art forms and and theories of contemporary art be continu- developed. An Institute building and gallery
countries represented. ously discussed falls at the moment primarily is in the early planning stages. Because of the
The Institute has also provided hospitality to upon the first-year course of the Department. lack of a gallery acquisitions are at present
contemporary artists from abroad. In April This has aroused considerable interest in the held largely under storage conditions, with
1969, it arranged for Enrico Baj to visit Aus- University at large, especially among under- special access provided for students of Fine
tralia and discuss his art; in August, Richard graduates. But an annual series of lectures, Art. Only when the Institute Building is
Stankiewicz, then visiting Australia on a The John Power Lecture in Contemporary Art, has completed will it be possible to do full justice
working holiday, conducted a series of semi- also been established towards this end. The to the Power Institute's public obligation
nars on contemporary sculpture for the Power first John Power lecturer, Clement Greenberg, under the Bequest, that is to say, 'to bring the
Department of Fine Arts. Later, Stankiewicz spoke in 1968 about Avant-Garde Attitudes; people of Australia in more direct touch with
lent to the University one of the finest welded- the second, Dr Donald Brook in 1969, on The the latest art developments in other countries'.
metal sculptures he has produced, Australia 15. Flight from the Object; and the third, Professor
It has been placed in a prominent position in Charles Mitchell in July 1970, on Very Like a
the University grounds adjacent to the Whale; the spectator in modern art. The lectures
Fisher Library and the main entrance. The are published by the Institute.
Institute also co-operated with Christo in the One of the great problems confronting teachers
project in which he wrapped up a portion of in Australia who wish to develop searching
the Sydney coastline at Little Bay; and Christo and critical interests in both contemporary
discussed his art at a public meeting at the art and the art of the past (and I do not know
University arranged by the Institute. Others how one can be developed without the other)
who have addressed the Institute include: is the comparative lack of art masterpieces in
Michael Cardew (ceramics), Professor P. K. Australian public or private collections—
Hoenich (Robot art), James Harithas (Con- especially in Sydney. It is absolutely essential,
ceptual art). therefore, for the Institute to find ways and
One of the ways in which the most recent means of enabling its students to travel. The
forms of contemporary art may be brought to Institute planned a visit to Italy this August, 9
Christo
Australia is paradoxically, and yet obviously, available at special rates to Australian uni- Wrapped Coastline at Little Bay, New South Wales