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"Brave New World: Australia 1930s" opens at the National Gallery of Victoria
Douglas Annand, Australia 1903–76, Max Dupain, Australia 1911–92, Australia, (c. 1937), colour and process lithograph, 105.3 x 68.4 cm (image and sheet), Australian National Maritime Museum, Purchased, 1991 (00015603), © courtesy of the artist’s estate.


MELBOURNE.- High-rise buildings, fast trains and engineering feats such as the Sydney Harbour Bridge jostled against the Great Depression, conservatism and a looming Second World War during the 1930s, one of the most turbulent decades in Australian history.

A major exhibition at the NGV, Brave New World: Australia 1930s, explores the way artists and designers engaged with these major issues providing a fresh look at a period characterised by both optimism and despair.

Tony Ellwood, Director, NGV, commented, ‘Brave New World explores an important period of Australian art history during which Abstraction, Surrealism and Expressionism first emerged, and women artists arose as trailblazers of the modern art movement. It offers an immersive look at the full spectrum of visual and creative culture of the period, from Max Dupain’s iconic depictions of the Australian body and beach culture to a vast display of nearly 40 Art Deco radios, which were an indispensable item for the Australian home during the 1930s.’

The exhibition presents a broad-ranging collection of more than 200 works spanning photography, painting, printmaking, sculpture and decorative arts as well as design, architecture, fashion, graphics, film and dance.

Presented thematically, Brave New World shows how artists and designers responded to major social and political concerns of the 1930s. The Great Depression, which saw Australia’s unemployment rate rise to 32% by 1932, is seen through the eyes of photographer F. Oswald Barnett in his powerful images of poverty-stricken inner Melbourne suburbs such as Fitzroy, Collingwood and Carlton, and in the works of Danila Vassilieff, Yosl Bergner, Arthur Boyd and Albert Tucker who were among the first artists to depict Australia’s working class and destitute.

In contrast, many other artists at the time chose to focus upon the vibrant city streets, cafes and buildings of contemporary Australian cities, such as renowned modernist Grace Cossington Smith with her energetic canvasses of flat colours and abstracted forms. Other artists featured in Brave New World including Hilda Rix Nicholas and Elioth Gruner concentrated on more traditional scenes of the Australian bush, which was seen as a place of respite from the frenetic pace of modern city life.

The exhibition explores artists’ responses to the growing calls for Indigenous rights during the 1930s, which was accompanied by a rising interest in Aboriginal art and particularly the work of Albert Namatjira, the first Indigenous artist of renown in Australia; and the rise of the ‘modern woman’, a female who favoured urban living, freedom and equality over marriage and child rearing.

The 1930s also saw the idea of the ‘Australian body’, a tanned, muscular archetype shaped by sand and surf, come to the fore of the Australian identity. Artists who engaged with this idea, including Max Dupain, Charles Meere and Olive Cotton, are being presented in Brave New World.

Brave New World is accompanied by a fully-illustrated, 212-page hardback publication, featuring essays by leading writers on each of the exhibition themes. Available for $49.95 from the NGV design store and online.






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