Pinacotheca was a gallery in Melbourne, Australia. Established in 1967 by Bruce Pollard, it was ideologically committed to the avant-garde and represented a new generation of artists interested in post-object, conceptual[1] and other non-traditional art forms.[2]
Art gallery located in Melbourne, Australia 1967–2002
Wes Placek (1971) Facade of the Pinacotheca Gallery building in Waltham Place, Richmond, Melbourne
History
Bruce Pollard opened the Pinacotheca gallery in May 1967, at 1 Fitzroy Street, a dark St Kilda bayside Edwardian mansion.[2]
He relocated it to Bedggood's[3] Shoe Factory,[4][5] at 10 Waltham Place, Richmond, Melbourne in June 1970. An early owner of the building was notorious entrepreneur D.J. Henry 'Money' Miller.[6][7][8]
The gallery closed in October 1999 and the business was de-registered in 2001,[9] but re-opened in August 2002 for its very last exhibition, then closed permanently.[10][11][12]
Ethos
After the demise of John Reed's Museum of Modern Art Australia in 1966, Pinacotheca became the only gallery in Melbourne showing experimental work in the late 1960s and 1970s,[13] exhibiting works by Art Language artists Ian Burn, Roger Cutforth and Mel Ramsden, and Dale Hickey’s ironic 1969 work in which he commissioned a fencing contractor to install suburban-style fences of unpainted planks around the walls, of different heights tailored to the gallery’s three separate rooms; the first only knee-high, the second intermediate and the third about chin level.[14]
Pinacotheca's exhibitors were in the vanguard of Conceptualism; during The Field, the controversial show of Australian conceptual abstraction that opened the new premises of the National Gallery of Victoria on St Kilda Road, Pinacotheca, then in St Kilda, and concurrently with the NGV show, advertised 'for viewing' 15 of The Field artists in its stockroom alongside a solo by Rollin Schlicht;[15] then in the next year, Joseph Kosuth coordinated the "exhibition" of part of his Second Investigation at several international galleries, each chosen as being adventurous venues showing conceptual art, that included the Pasadena Art Museum, Leo Castelli Gallery (New York), and Pinacotheca. The work was initiated by, and was executed in, Kosuth's request of the gallery directors to advertise his Second Investigation in newspapers, with any further action being left to them. Bruce Pollard placed Kosuth’s statements as advertisements in national newspapers, including The Age, The Sun News-Pictorial and Newsday from his own funds.[16]
Pinacotheca's avant-garde stance was paralleled only by Sydney's Inhibodress and Watters galleries,[12] and indeed in 1977 a show Watters at Pinacotheca, during 4–28 May, showed Suzanna Archer, John Armstrong, George Barker, Jenny Barwell, Vivienne Binns, Hilary Burns, Tim Burns, James Clifford, Tony Coleing, Aleks Danko, John Delacour, Helen Eager, Jeanne Eager, Stephen Earle, Marr Grounds, Adrian Hall, Ian Howard, Noel Hutchison, Robert Jenyns, Ron Lambert, Richard Larter, Bruce Latimer, Frank Littler, Bridgid McLean, Marie McMahon, Patricia Moylan, Chris O'Doherty, Robert Parr, John Peart, Geoffrey Proud, David Rankin, Jon Rhodes, Ken Searle, Imants Tillers, Tony Tuckson, Vicki Varvaressos, Robin Wallace-Crabbe, and Max Watters.[17] In 1984 David Thomas described the work exhibited at Pinacotheca, Watters and Inhibodress:
Already by 1970 Pinacotheca Gallery in Melbourne was a focus for reflective, quiet concern with everyday life, its processes and its visual banalities, as in the work of Robert Rooney and Dale Hickey. Watters Gallery in Sydney was a centre for the rougher, more casual, funky art of Mike Brown, Tony Coleing and John Armstrong. Inhibodress Sydney, 1970–72 was the place to see conceptual art, body art, performance and video by Mike Parr and Peter Kennedy. [18]
Its spacious accommodation in Richmond was in impression not unlike a New York SoHo loft,[19] and supported a similar sensibility;[20]
...a large concrete expanse, broken by scrubbed wooden pillars lay beyond the forbidding metal door. It was austerity and doggedness in timber, bricks and mortar, the aesthetic was primitive and cool, the art work was stripped of anything reassuring, and if the lights were off the visitor was expected to turn them on...Clive Murray White described the aesthetic of the gallery as having the "air of New York: if you took a photograph of your work, it would look like a major international avant-garde show." Jonathon Sweet.[21]
Its ambience was described by Ailsa O'Connor in a 1977 review as "austere, almost dungeon like",[22] but it was well suited to the display of large works by Peter Booth, Dale Hickey, Robert Hunter and Robert Rooney who were some of the first artists represented there, in a group exhibition.
In 1971–72 the gallery operated as an artists' cooperative of around twenty, including Robert Hunter, Bill Anderson, Jonas Balsaitis, Peter Booth, Dale Hickey, Simon Klose and Robert Rooney, while Pollard was travelling overseas.[2][20] During this period Mike Brown, Kevin Mortenson and Russell Drever, with numbers of others held the Dada-ist happening The Opening Leg Show Party-Bizarre.Patrick McCaughey, The Age art critic, described it as "more or less, according to taste, than clean good fun"
Pollard's early attitude to representing women artists was exposed in 1975 when Kiffy Rubbo, curator (1971–1979) at the avant-garde George Paton/Ewing Gallery asked Lesley Dumbrell to escort Lucy Lippard, a feminist critic of Pop Art and Minimalism who was then visiting from the United States as part of celebrations for International Women’s Year. They visited galleries including Pinacotheca. When Pollard invited Lippard to view the stock room, she explained she was interested only in seeing women artists and he was unable to show her any. Pollard took umbrage and Lippard walked out, after berating him.[23][24]
An example of the often hermetic austerity of some exhibitions was Hunter's 1970 solo show for which he stencilled 11 grids onto the gallery's walls with grey paint, explaining later that: "I want to make something alien - alien to myself" and described his intention to avoid the creation of objets d'art.[20][27] As minimal and more cryptic still, conceptually, was Robert Rooney/Simon Klose (Collaboration), from 10–20 August 1972, consisting of banks of deadpan photographic prints of urban landscape and interiors, with bluestone pitchers installed in grids on the gallery floor. Critic Patrick McCaughey, announced it a symptom of ‘the demise of the avant-garde into the easy, the predictable, the familiar,’[28] while Alan McCulloch reported that it was 'Everything or Perhaps Nothing.'[29] They were unaware that the defiant conceptual premise of the show was Klose's proposition that the pair should each produce work for the other—in the other's style and presenting it as theirs—and yet reveal the fact to no-one, even the critics, when questioned by visitors to the gallery, bar a few intimate friends.[30]
Selected exhibitions
In an anti-establishment gesture, documentation and catalogues were deliberately kept to a minimum[11] and consequently parts of Pinacotheca's exhibition history is limited and some dates of shows are only approximate, while precise details are being assembled by Trevor Fuller, custodian and convenor of the Pinacotheca archive project.[31][11]
St Kilda
1967: Sunday 25 June – Friday 14 July. David Gillison, Paintings[32][33]
1967: Sunday 30 July – Friday 18 August 1967. John Martin, Paintings[34]
1967: Sunday 15 October 3 – Friday 3 November. Two Printmakers: Normana Wight and C. Tolley[41]
1967: Sunday 12 November – Wednesday 29 November. Brian Kewley, Paintings[42]
1967: Sunday 3 December – Sunday 24 December. Bruce Petty, Cartoon Collages, Drawings
1968: February – March. Trevor Kretchmer, Magic Clowns, Paintings[43][44]
1968: March. Erica Baneth-Goodey, Sculpture, bronze and aluminium casting; relief casting and woodwork[45]
1968: April. Barry Cleavin, Graphics and Robert Trauer, Prints[46]
1968: 14 May – 26 May. John Davis, Margaret Dredge, Dale Hickey, Robert Hunter, Michael Johnson, Alun Leach – Jones, Ken Leveson, Victor Majzner, Tony McGillick, Dick Watkins, Normana Wight, The Renting Collection, Paintings, prints, drawings, sculpture. [47]
1969 31 October — 14 November. Joseph Kosuth, The second investigation. 15 locations 1969/1970; art as idea; the communication of ideas[119][120][121]
1970 Monday 8 June- Saturday 27 June. Peter Booth, Mike Brown, Peter Davidson, Bill Gregory, Dale Hickey, Robert Hunter, Kevin Mortensen, Ti Parks, Robert Rooney, Rollin Slicht, Trevor Vickers, Painting, Sculpture, Installation [122][123][124][125][126][127][128]
1981: Rosalie Gascoigne[25]* 1981: Ray Hughes Gallery at Pinacotheca, Pinacotheca Art Gallery (Richmond, Vic.) in 1981[188] * 1981: James Clayden Paintings[189] * 1982: Steven Cox[189]
Gardner, Anthony; Green, Charles, 1953- (author) (2016). Biennials, triennials, and documenta: the exhibitions that created contemporary art. Wiley Blackwell. p.40. ISBN978-1-4443-3665-8.{{cite book}}: |last2= has generic name (help)CS1 maint: multiple names: authors list (link)
Sweet, Jonathan D. (Jonathan David); Prendergast, Maria; Pinacotheca (Art gallery) (1989), Pinacotheca, 1967-1973, Prendergast Publishers, ISBN978-0-9587850-2-0
Hone, J. Ann, "Bedggood, John Charles (1847–1911)", Australian Dictionary of Biography, National Centre of Biography, Australian National University, retrieved 26 August 2019
University of Melbourne National Trust of Australia (Vic) classified historic building 3254 National Trust of Australia File No 3254
City of Richmond Rates Book. 1883-1889 The uast. Melb. 21 March 1874, 22 September 1877. 21 May/ 1881.
Mellor, Suzanne G., "Miller, Henry (1809–1888)", Australian Dictionary of Biography, National Centre of Biography, Australian National University, retrieved 26 August 2019
"CORPORATIONS LAW Subsection 601AA(4)". Commonwealth of Australia Gazette. No.P4. 28 February 2001. p.2. Retrieved 7 March 2021– via National Library of Australia.
J. Sweet, Pinacotheca, Trevor Fuller, ‘Bruce Pollard and Pinacotheca: Psychological Content’, Artlink, vol.26, no.4, 2006, pp 92-93
Green, Charles (22 March 1997), "Pinacotheca: a private art history. (art gallery, Melbourne, Australia)", Art and Australia, Art and Australia Pty. Ltd, vol.v34, no.n4, pp.484(6), ISSN0004-301X
Haese, Richard; Brown, Mike, 1938-1997 (artist) (2011). Permanent revolution: Mike Brown and the Australian avant-garde 1953-1997. Miegunyah Press. ISBN978-0-522-86080-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
Hickey, Dale; McAuliffe, Chris; Zika, Paul (2008), Dale Hickey: life in a box, Ian Potter Museum of Art, retrieved 22 August 2019
the artists being Peter Booth, G. S. Christmann, Dale Hickey, Robert Hunter, Michael Johnson, Alun Leach-Jones, Tony McGillick, Alan Oldfield, Wendy Paramor, Robert Rooney, Rollin Schlicht, Eric Shirley, Dick Watkins, John White, and Normana White. See: advertisement, The Age 20 August 1968 page 4
Green, Charles (2001), The third hand: collaboration in art from conceptualism to postmodernism, University of Minnesota Press, ISBN978-0-8166-3712-6
"A shocking kind of beauty". The Canberra Times. Vol.61, no.18, 922. Australian Capital Territory, Australia. 25 July 1987. p.16. Retrieved 23 July 2019– via National Library of Australia.
Robert Hunter quoted in Gary Catalano, 'Robert Hunter', Art and Australia, 17/1, March 1979, p.78
Patrick McCaughey, ‘Review: His Brilliance Breaks Edwardian Cocoon’, The Age, 16 August 1972, p. 2.
Alan McCulloch, ‘Everything or Perhaps Nothing’, The Herald, 9 August 1972, p. 25
David Homewood 'RR/SK: Public Exhibition'. In Hughes, Helen (publisher) (2011), Discipline, Helen Hughes, ISSN1839-082X
"Watercolour on display". The Australian Jewish News. Vol.LII, no.28. Victoria, Australia. 21 March 1986. p.25. Retrieved 7 March 2021– via National Library of Australia.
Catalano, G: The Bandaged Image; a Study of Australian Artists' Books, August 1969, p291
Lansell, Ross: Nation, 23 August 1969, p19 and also in an aside in Nation 6 September 1969, p18
Warren, Alan: The Sun, 11 September 1969, p24 (George Johnson only)
Guberek, Peter: The Sun, 7 October 1969, p19
Lansell, Ross: Nation Review, 1 November 1969
Adam, Rosemary: Art monthly, Number 22, July 1989, p9, 10,11; Catalano, G, 'The dailiness of life: Dale Hickey interviewed by Gary Catalano', Art & Australia, vol. 31, no. 3, 1994, p.358
Galbally, Ann; The Age 1969
Lansell, Ross: Nation, 15 November 1969, p20 & 21
Lansell, Ross: Nation, 13 December 1969, p17
Larkin, John: The Age, 23 October 1969
McAuliffe, Chris: Don't Fence Me In: Artists and Suburbia in the 1960s, in Beasts of Suburbia, edited by Sarah Ferber, Chris Healy, Chris McAuliffe, MUP 1994
McCulloch, Alan: The Herald, 29 October 1969
The Sun, 31 October 1969, p16
Green, Charles: Visual Arts and Culture, n.d, p178-181
Green, Charles (2001), The third hand: collaboration in art from conceptualism to postmodernism, University of Minnesota Press, ISBN978-0-8166-3712-6
McCulloch, Alan: The Herald; The Age: 12 November 1969
Galbally, Ann: The Age, 10 June 1970, p2
Haese, Richards: "Permant Revolution. Mike Brown" , p167, Miegunyuh, MUP
Lansell, Ross: Nation, 11 June 1970, p18
McCulloch, Alan: The Herald, 1 July
Smith, Terry: Other Voices, Vol 1, Number 2, August/September 1970 (refers to Schlicht, Parks and Vickers)
Sweet, Jonathan: Pinacotheca
Warren, Alan: The Sun, 10 June, p48
Galbally, Ann: The Age, n.d
Lansell, Ross: Nation, 11 July 1970, p18 & 25 July 1970, p19
McCulloch, Alan: The Herald, 1 July 1970
Plant, Margaret: The Age, 11 July 1970, The Sun, 2 July 1970, p21
Lynn, Elwyn: The Bulletin, 15 August 1970, p40
McCulloch, Alan: The Herald, 8 July 1970, p26
The Sun, 8 July 1970, p30
Galbally, Ann: The Age, 29 July 1970
Lansell, Ross: Nation, "Paintings for a Fortnight", 8 August 1970, p16 & 17 Lynn, Elwyn: The Bulletin, 15 August 1970, p40
McCulloch, Alan: The Herald, "Graphics and White Walls", 29 July 1970, p17
Warren, Alan: The Sun, 9 September 1970, p44. McCulloch, Alan: in Letter From Australia, 1970, in a European journal talks of Pinacotheca exhibitions, but only specifically of Robert Rooney and his "kitchen garden" themes paintings.
Boles, Bernard: Nation, n.d 1970
Galbally, Ann: The Age, 23 September 1970
Lansell, G.R: Nation, 11 July 1970
The Sun, 23 September 1970, p55c
Galbally, Ann: The Age, 23 September 1970
McCulloch, Alan: The Herald
Warren, Alan: The Sun, 23 September 1970, p55c
Galbally, Ann: The Age, 23 September 1970
Lansell, Ross: Nation, 19 September 1970
McCaughey, Patrick: The Age, n.d. 1970 "Balson-Best in a Decade"
The Sun, 7 October 1970, p36
The Sun, 22 October 1970, p36
Galbally, Ann: The Age, 28 November 1970
McCulloch, Alan: The Herald, 17 November 1970
McCulloch, Alan: The Herald
Galbally, Ann: The Age, 11 November 1970
Galbally, Ann: The Age, 11 November 1970
Warren, Alan: The Sun, 4 November 1970
reproduced in Aspect Art and Literature, vol 4 autumn '76, p48-52.
Galbally, Ann: The Age, 28 November 1970
McCulloch, Alan: The Herald, 17 November 1970
see also mention p166 &167 in Richard Haese's book "Permanent Revolution: Mike Brown"
Galbally, Ann: The Age
McCulloch, Alan: The Herald
Warren, Alan: The Sun, 2 December 1970, p47.
Rooney, R. (1970). War savings streets / Robert Rooney. Richmond [Vic.]: Pinacotheca.
Galbally, A., ‘A reward from the minimum’ in The Age, Melbourne, 2 September 1970
"ART IN TUNE". The Australian Jewish News. Vol.L1, no.35. Victoria, Australia. 24 May 1985. p.19. Retrieved 7 March 2021– via National Library of Australia.
Henson, B., Heyward, M., & Pinacotheca. (1986). Bill Henson: Pinacotheca, 26 July-23 August 1986 / essay by Michael Heyward. [Richmond, Vic]: Pinacotheca.
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