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Published by the students of the National Art School, Sydney Technical College, for the students. Circulation 7,500.

* the arty April, 1962

*E

FUTURE OF OUR ART GALLERY

Why Any Wild Oar' Arty means "pretentiously artistic-. Being fully aware of this and conscious of the responsibility we carry, we intend to publish noarticle smacking of pseudo intellectualism. One sows one's wild only in that period between adolescence and 'outwits. We will n ot slab here specifically how, and where one SOWS Them, except to suggest that you arenow looking at a virgin Ifyld. Any material - art, short stories, poems, and articles of any kind — will he carefully considered by the editors.

brought to the surface after aprolonged submersion. He was inteniewed at his home by Martin Sharp.

What is the purpose of into small courts conve- bought.Healso has a limitapublic art gallery?The iently, and so the scales of cd sum at his disposal to purpose is threefold. the 4ifferent pictures clash spend atwill. The directorial badly. Amost lamentable assistants — Tony Tuckson One, to disseminate incample of this is the pm- and Daniel Thomas, um formation aboutpainting sent sculphirc court, where also, theoretically allowed and sculpture by shownumber of unrelated pieces to recommend works for ing the public painting arc stacked promiscuously purchase. andsculpture. like bones i charnel Theoretically? The hos-

9 ffSst,

Therefore we have the udicrous situation where the N.S.W. Gallery's collection and always has been de. ermined by one who have no claim toany competence as judges of art Why not appoint Billnubdi as presi-

house, and one cannot look tees always ignore their mat a Stephen Walker without commendations. the strings of a Barbara Are the toot., appointed Hepworth getting in the way. For life? Not quite. though

new, by showing itgood

BATA.? What Is else remedy? The them is nocompulsory re- dent of the only foreseeable remedy — tiring age. They can Le conBut surely the Pant tall I mesa remedy,not local sidered dismissed if they they can onlsact onthe

anaesthetic — demolition and construction of a new think — monthly meetings gallery. I oninformed that in a row. Or, if they die, Dots the N.S.W. Art Galit would cost 000,000 to are pronounced insane, axe lery do these jobs adeair condition theexisting dismissed by direct interquately? No. premises. Onecould build vention of leeGovernorHus R. ever done them a gallery for Ma. The Gov, General, or simply resign, adequately? No. eminent, however, puts or they may. under theterms Then the New South io a Vie's,. circle onthe of the N.S.W. Galleries Act, Wales Gallery has remained matter: 1300.000 is too be deemed to have vacated static slime Its inception? much tospend onaircon-their Net Net atall_ Ithas test red ditianing, hut. why build substrulialiy. Apastamlurly new gallery?We've got largeimprovement hastaken the old one place overthelast twelve Improvements have, of years. But ithas still not raised itself tothe standard course, been made, such as of, let us say, a medium- the mw srnall Loom, desired provincial art gallery signed by Hal Missingham• in thelaid-western States nf to house a recent bequest of America; or the municipal Chinese pottery figures. No galleries of Leeds or Birm-complete solution la WI sible. Thelighting is poor current oversew mactice generally favours artifinal light throughout, so that rinc's enjoyment of a Cars you Rise as somein' Tom Roberts doesn't depend stances? Yes. In the first onthe weather but it place, the gallery is physi- cost the Gallery recently cally inadequate. It is noth- 124,000 to illuminate one ing momthan asuccession court with colour-adjusted of large, dimly-lit barns strip lighting. Since the Gal-

Inadequate

director's recommeadadan imposes some sort of check on them? Itdoes. Butdon't overvalue it. Iam in favour.

generally, of committee deslalom, provided the committee Is no bigger than live

Vidtel Bunning, an ircht

The Finances What Is the effect of all this on the Gallery's collection? One canonlyqUOIC few examples. Did you know that a mention&reproduction of Annigonik portrait of the Queenwasacquired by the trustees in 1959? That is mica Thai-are worm than that. For in the trances refused to buy Marchand's Spring when it was urged them for 1000 a few Farsback: it changed handsin London ago.They foFf5.400 a ye yes,

and preferably three.and, at that, made up of experts who genuinely love and un- co ld has • .hair bet derstand Maur., of any number if Drysdales Thc obvious defect of the for around£150 each a few new systemMetter I agree, years back,andfinally, after than the old, where the much havering, bought one director couldn't buy atall several years later for 1400 and the trustees wcrc on — the same picture .. Do their own) is thatyou have you want this togo on? in incompetent committee No. stop. Bat what of he s im, acting on one man' which :an, Of course, le col- general patters of me coloured with prejudice. So or lection? Verypoor.except in terms of recent Australian arc still far from perfect. painting, and that'star from Despite their lack of era perfect. The Gallery pospolies. have the routers sesses not one major Cubist seemedgenuinely Interested or post-Impressionist pie In an? Put itthis way. If tare, and only one substanthe director of Terry Chines tial work of the ImpressionGallery toldyouthat at ist movement in France. a least three of themhad never been taside it evenwhen The German Expression• they were rostcrcd for buying duty, would you think in3 arc not represented at so? This actually happened. all. We have anKlee, n Mondrian codaoexampl e But aren't someof (hem of American abstract xprofessional arfisb? You pressionism. In fact, the gaps can put that in inverted would take more time to commas, if you don't mind. catalogue than the collet,

with lcry'sannual grant is t7o i • 7 -ro n' d "ener' 133,000, relighting throughous and illogical —Tare out would force then, to DOBELL is, for instance, nn direct pawn their Drysdale:. Head of B.M.A.? fink between the staff offices and the gallery stores, and Does this system seem blind you, there was atime the director to are the head perfect? No. Not atall. curator, must walk nearly during thewar when Will Why? In the first place, Ashton then director of the How IstheGallery con100 yards. Nor are the storage rooms either ade- stituted? heat Ls, who buys the trustees are not asked Gallery, refused to hang an quately large or air condo foe Itand makesthe admInt- Odom their appointment for exhibition of Picasso's, Modboned. The ventilation, strative decisions? You have any proof or evidence of iglianis and so forth there a director, assisted by a de- their competence as judges rcause, moreover, is insufficient. at he salt]. there Waiputy director, a curator, an of art. This would not mat- n% space. Twenty paintings Consequently. numerot -pictures are annually desbistant curator and so ter overseas, where it is not by histrustees ere w hanguncommon for a gallery to ords There are also aptroyed byfoxing,dampand ing there then . pointed, by the Minister for have up to 200 trustees. The mildew. Are there NO trustees, The gallery space itself a Education, a board of thir- difference is that there they not suited to advanced teen Trustees. Thedirector have no say in buying, they then, who know what they're methods of display, such as may recommend purchases only raise money; and here doing with modern art? Yes, irs. H. V. Evan, who is onc finds in overseas gaiter. to the trusters, who decide they raise not a penny, but sympathetic to it, and Mr. it cannot be divided finally on what is to be buy.

Trustees

on us again."

feet.

f

S

THE ART GALLERY, 1900, AS SEEN BY PHIL MAY...

We arc uninhibited by precedent. Unequivocally therefore, we can state that our aim is originality. At the some time we are providing aservice to you, which is at the moment Licking. (Scc our back Page.) Any

LeMl, don't look now. but I think

that artist is sir, ing

Two, to play an active role inthepublic's imagination. and toimprove its taste andimaginativeaware.

miss a number — six, I

11—C)F1 IA L. I

SEI.F EXPRESSION. One of the first necessities of self expression is a medium by which it can be communi• cated. To us this seems the means.

Robert Hughes, artist, critic and writer, last week criticised, in an outspoken interview, the New South Wales Art Gallery and its traditions.

painting and sculpture. Three, to collect the best possible representation of the best inits own country's art.

t

wild oat

On Sidney Nolan's "Leda and the Swan."

In this interview, which is a thoughtful insight into the Gallery by one of Sydney's leading artists, a very real and important issue is

tt'rlibit

Student in Indonesia

Our Art Gallery is a national disgrace—we fully concur with the facts presented by Mr.RobertHughes in our lead article inthisissue.

The author of this article, Lawrence Beck, is a youngsculpture student. Late last yearhe left Sydney on a mammoth"voyage of discovery". He had little money, and his aim was to work his way to London.

But alter the criticism, the fact remains: We are stuck with the present An Gallery, probably as long as we are stuck with the present Government.

Solution? We offer In this letter, written in an unprofessional but reircshmg style, be talks or has impressions seve.al., One obvious of Indonesia and Indonesians. Hefound the In- answer is the Opera donesians in Djakarta to be delightfully friendly, House Lottery. This is asourcc of considerable and questioned them on the Dukh-New revenue, and after the dispute among other things. completion of the Opera A group of Chinese and SAW m Ibis is what I Djakarta on December ind°,a9slal9..ha wen. also House could be used to pay for a new Gallery. l "'Z'str' ht, '"yir:nod 'IlY he ship i' .?,en 31, 1961. siopped outside t h a combinationpidgm.and.sign

Of course the logical Ill tuctikwatel at 6 Wm. and language cunffirsation source of money for an Immediately =gistlittle them, [Ike thist'Indonesians and institution such as an Art US: native boats paddled out il Gallery should he aGovol the darkness andChinese here max well?" ,Vol MY bands and en- ernment gmnt, but with '

bought carious id

cis

a Government which teems to be utterly opposed to any advanceWhet,' (more ment of Australian culture, and with Governflood mental finances in their in,A1 Ares bun very present state, Mr. Rengaud bloke," tonnes an shaw (the Treasurer) oseedi. might not feel very lib-

arcites fromthecrewand

ltilff"c'L,.. ""fu

With an entirely male committee we are sadly lacking afeminine viewpoint. We with to encourag• Lein in ism, (in females at least!) We await to he swamped with female contribu. tions. We hope to publish a contemplative article on a serious subject in each issue. (See front page.) The arts in Australa will have an important place —interviews with the known and the yet undiscovered, as well as reviews on many aspects of culture. (See this rage.) We have presented what we feel tobe a well balanced, but embryonic, vehicle of expression.

(big arum

haggled tor about an hour, then made MI ha<saan again for theshore. No- 10.1. body seemed to mind ""r fhb hidepiece of smug- bi

with the puree suillga. A final scheme could follow in the footsteps of the National Heart Campaign but in a smaller way. Donations by private and public contrihulions, however, would be a slow and uncertain way to raise several hundred thousand pounds. Whatever the answer, the problem is with us now. Unless someaction is taken, both in the provision of respectable and serviceable quarters. and the drastic rc - vamping of selection of material for the Gallery, future ages will look hack to the legacies we have left them and snort with derision. oral

'Inc atop berthed at12 poop', ttko r,,a. a.m., and when we'd heel our spacial vino check.' him," I HEAL •-Lverybody love and our money &main r lion. I think if is perfectly went with twO other bioges aocaainu."(Vec were Omaghfair to say thatno parson aml bargained with a mob mg ace mad ay no what who wandered into it could rasa para. Matt ot any Indurrearan even begin to gauge what In front ofionatthe moment is a sheet of drIVerr for a rale to the Loch no g000t,e, has Men happening in paper —20 inches by ISinches. Thu-re see Lmicis ae city, which was eight Macs I IlLtsit Europe over the last eighty ,499mother copies, exactly the same, throughout awsy. geed.(stonesell round., Years. • nature we could Leave the tee, nuns ua foe about Sydney. What about Old Masters? who, arcs we were acazahul 20 mum., but weword On each sheet is print- very diverse, and not a Too cxpcnsivc. The Gallery lull lorcign 0200.1, We war, Ind no more trom Mealon ers' ink, laid out in the little critical, group who has only ill,000 a year to of wilowed to Ming =or) NeW tamined m Australia, buy with, after other exform of illustrations and form the committee. Other eurrcncy w, and not and when we were sour penses — running amts. W take any Incloneasati out. have May maistad c, pay. txpe For example: Discuscleaning, lavatory upkeep the road to 1.14aarra mg tor oar natal. Um of

!A Note from the Publisher

1

Cont. back page

But behind the ink, sion about the front page and what you are read- lead story raged on late ing, there lies much into the night. The &cis"blood, toil, tears and ion to use the illustraWe lea the tam m a Sort bad closed. liverybody shook sweat". Not much blood, lion by Martin Sharp 01 Markelplace andwand- hands cad welulL Imagine crud about I only sawtwo a Chmesc coming to Sydney plenty of Mil, some tears wan an agonising one, beggars that Eby, and no-.sad coons such arex:mama! and a few gallons of and a number of differNMI, raced out andgest:redImpossible: Ilic duce at us sweat that has dribbled ens illustrations were us to bus their goo& —care masonic with the over furrowed brows, con.sidered before the ve great contrast to Culombo .randimiss. had ner went into the organise. finalchoicewas made. be late this. them ocre k6Witsaasatoned to non, compilation, distilAfter selection, the ne wailed on affilasioss *Wet alall. lation and finally produc- typed out "copy" is alwhich We wont into a nay af. •VUP'' lion of the simple sheets located a place in the almost:Ind to .acre nail) wweliNsioh and code, that I particular shop bathtubs combtned.Moat Or of paper in your hands. paper and a crawl along, with a No profit has been layout and then sent to Luddi le, were two Cvery two yards, and rat the down in a nudger catewherc ', burr Cement mattered, with made by any of the mem- the printers where it is fruit meals were serves'. No- toed roots .Vicar ii(much hers of the committee— all set in the form of body spokeRolston, tter-ActsChins.— air the ears. indeed the reverse is true_ metal slugs ready for an or French, andoneof tat:lading Hoidens and Men- A great deal of organis. publishing. 1%1 se-. ing thought went into the the blokes with me who cedes Bent, bad 4 The committee, headspoke Dutch was willingtoStn. hccadatt• hid hen articles published (which eyj by the eyh tort, t num ditough wateresi paddy mem promised Wbuy tome hal& whichwareirrigated stamps and post two letters uy canals. .1bad, bacausc the peal 011iee

about outquarter he cost Bar 0.6„, uy it are mutelyby slafknt” examine the final proofs, language, we soon had seven There were a lot of Rusaian and their %leen& the "go" order is given plates full of 'even&Hemettrucks and canabout Also, every article had and the 7,500 compare had never heard fruits that I Continued hack page. to run the gauntlet of the printed. of before.


2

the arty wild

oat, April, 1962.

2

Spoilt child of God A Paradise Lost

It is amazing that no one ever questions the truth of the story of a lost Paradise. How beautiful, after all, was the Garden of Eden, and how ugly, after all, is the present physical universe? Have flowers ceased to bloom since Eve and Adam sinned?

Has God cursed the apple tree and forbidden it to bear fruit because one man sinned, or has He decided that its blossoms should be made of duller or paler colours? Have orioles and nightin - God pointed out the blue hills sadasked him gales and skylarks ceased to jn the distance if m'bet'd were ea : ere e7eato 'm' oi; sing? Is there no snow upon the mountain tops and are and ordinary. there no reflections in the Next God showed him else lakes? Are there no rosy p ew, of the orchid and the sunsets today and no rain- pansy, and asked him to put bows and no haze nesting out ha targets and touch goody over villages, and are there they velvety lining and asked was not, no falling cateracts and a the colour scheme sod the gurgling streams and shady exquisite, r trees? Who,therefore, in- 'No .In no infinite pua.cince,

Himalayas, and the cliffs of the Yangtse Gorges. and the granite peaks of the Yellow Mountains, and the sweeping cataract of Niagara Falls, and an asksd him it He had not done everything possible to make this planet beautiful to delight his eyes and his ears and his stomach, and the man still clamoured for aHeaven with Pearly Gates.

"This planet," the man said, "is not good enough for me." "You presumptuous, ungrateful ratl" said God. "So this planet is not good enough for you. I will therefore send you to Hell where you shall not see the sailing clouds and the flowering trees, nor bear the gurgling brooks and live there for ever till the end of your days." And God sent him to live in boo to a mountain lake and a city apartment. By LIN YUTANG 1 Chinese writer and phlke .! showed him the light of the His name was Christian rambo, awls i o ads onset, seater, the sothd of winds whuili98 through a Pm. forest. i aphilosophy of quietude, the serenity ot the rocks and tolerance andpagan good the beautoul reflection in the !humour. : lake, and the mancaulthat

hint yth that the Dodd d Te'q vented them gorgeoM ',7,ion,. %°;:i shape of Hawauan "Paradise" was "lost"and r. that today we are living in hams,andthe man said he was an ugly universe? We are not eotereseed. (sod then took indeed ungrateful spoiled bun under ashady treeand children of God. commanded a cool breeze to parable has to be written blow and asked him if he couldn't enjoy that, and the of this_spoiled child. unto replied again that hc was ----

The Bulletin—fold-up

You may have noticed the considerable drop in the number of cartoons published in the "Bulletin", or perhaps you haven't? I suppose very few of you have ever heard of the "Bulletin". In case you haven't, it is a rather ineffectual weakly weekly journal with a policy that changes as often as the weather. Nevertheless the "Bulletin" was the only publitation which paid a "decent" amount for Australian cartoons, (S gns., 10 gns. for a full page). The weekly allowance for cartoons was £140, this has just been cut to £50, (thank you

Sir Frank!). would late 'to thole world famous cartoonist _bTiid-row who-started his caraa od the "Bulletin" io the "good old days". He says_ "the answer to the question: 'Why did.73ustialig produce so many caricaturists and comic artists?' was the Sydney 'Bulletin', the red covered weekly known throughout Australia as the 'Bushman's Bible'." 'The men behind the Bulletin', notably 'Jules Francoise' Archibald, a master journalist, and Witham Mauleod, an artist with solid business ability, had made it a major policy of they paper to encourage native Australian talent. The supply of poets and writers began to flow almost immediately. That of comic artists and caricaturists had to be primed at first by a couple of importations. Livingstone Hopkins (Hop)

from America and Phil May from Britain. "With thew first class masters setting the example in the 1880's and 90's the local talent was not long in appearing and at the beginning of the century the 'Bulletin' had grown a team of social and political artists it would have been hard to beat anywhere in the world. "No more imported governors nor doggerel oational anthems, no more pompous borrowed generals. foreign titles, foreign capitalists, cheap labour, diseased immigrants. "The Crimson Bonds of the Empire be damned/ Its caricaturists found in this spirit the perfect inspiration for caustic satire." "It was the dearest wish of every black and white artist to get into the SuIle-

tin'. If. Australia, said the 'Bulletin', were to become a nation, she must have her own manufacturing industries. Britain in the character of dumper of cheap goods, that would hinder the growth of these industries, was asunwelcome as any other foreign dumper. 'Australia for the Australiansl'. 'Australia a nationP, Advance Australiar, 'Give 'em air born" The "Bulletin" became the most influential rice in Australian politics, inspiring the Labor Party with ideals and ideas to an extent rare in political journalism. The "Bulletin" is apparently bowing-out as the long-standing home of the Australian cartoonist, are its days numbered altogether? It seems a shame that when people become wealthy they tend to turn ablind eye to any sense of duty.

The Saga of the Gretel "Give it a good hard w hack Dame Pattie," came the furtive voice. "I name this yacht Gretel," Dame Pattie Menzies said, and so saying, whacked a bottle of champagne stems the bows with considerable gusto, spraying herself with the fizzing liquid. Watching benignly challenge to America, but through a huge pair ' ofFrankPackers. The design and .nstruction dark-rimmed sun glasses, ed by a of theyacht was financed Sir Frank Packer smiled headed by Sir Frank his approval. Packer (of Consolidated Press, etc.) with Mr. W. G. Walkley In appreciation of Dame (managing director of Ampoll Pattie's efforts, SO then r. I: I. Foley (chairman of 0 Frank ? sa cnd ri 3o doM mo . e g,ly poi: ilat er nmen hoac r in W. D. and H. 0. Wills). Con with a diamond brooch, and the entire project was about eats. tried Either because he was pushing Few will dispute the admirher over or because he win able sense of dotyand sportssticking th shown by these men. DaePa ttfe m bralecha into her, no boon of contention howgrab gra m b c. frow r btah: ansearoestgro suuPpPoor: epoaecrk..rij.es us the uamjn, at the — which happened to be the yacht, and the capital made out microphone, and clung on to it, of it (in publicity) by Sr Frank distinguished guests watched, a The yacht was. of course, rather ridiculous naval band earned of,SirFrank's I., played what they thought to wif e.

Once upon a time there was over it, a man whose name we will not Thinking that this creature yet mention. He came to God and complained that this planet was tot good enough for him, and said he wanted aHeaven of Pearly Gates. And God first pointed out to the moon in the sky and asked him if it was not a good toy, and he shook his head. He stud he didn't want to look at it. Then

• And THAT Yacht

of His was not mild-tempered and waired more exciting views, God took him then to the top of the Rocky Moantams, the Grand Canyon, and caves with stalactites and sadaging., and geysers, and sand dunes, and the fairy-lingershaped cacao plants oa a desert and the snow on the

w b*ackag:rpomumenliaw:h.d b ilm e.' .DC 'i:hialynin oTel:9: jo foirH gh. *tw olse7:d rd:th:at vt'ic.,, itmw:o:ub be teeiii h graph" reporters and photo- a Southern Cross" - as was graphers worked busily away Si first rumoured. A name berecording the enure proceed. fitting the ,haileobet., „moil., ie gs. would have made the crew feel Watching all these antics and, that they were 944' 99 4 ' '49 for that matter, the whole busi- for Australia inan Australian new associated with the yacht yacht. Conversely, the Amentab.,. atDame patbe yelled cans would have felt they were it, mu. to Sr Frank's horror struggling , .r.-,.. ,—thing no doubt) one could not help .999.9994 ''''''''''''' feeling a sense of disgust at ing.Thin dhow.namt; thi rs:tyk he wholeproceedings. th yacht, Even tothose not even she P itu a tvei t. fin c isYer remotely interuted in the Am. the start that it was arept. etka's Cup or yachting. it must sentative of Australia — not have been obvious that this the Packer empire. vessel was not Australia's (Continued bottom P.I, Col,7)

Douglas Stewart is a quiet, unassuming man, but terribly strong- looking— like the strength you would imagine when seeing Ned Kelly helmeted. He is middle-aged with middle-aged sardonic qualities, smiling at youth but not laughing. He Ls a poet but does not always speak poetry. Do you see a close sardarity [We feel that this last betwear paintingandparley at statement holds little logic, A9,a'-)97 IAs Pitinters and but it is arithmetically true poets influence each other? at least—Ed.] Y". very 14 The harsher aspects Of the the 494' at 499 Vi9.499994' Australian landscape call for endears school, Pugh, Percival, a f correpondme „ae,t jte. o Boyd and in Nolth you get an language sea jaggedness of 99. 94 ' 9' 9:49' ‘ d -4994" form. You have done this in Daard C999994 ) Fd9- Ned Kelly. Did you have to gerald and myself, all of which jnyeat new kind o f form nova been working '998 to d'9' for your play "Shipwreck-? Id an image of Use Australian ..s„jpeo, eka it a atrajot countryside and Australian his- „age play. It u written tory• speub. The only It pleases me to know that urigiord timag is the me lei the painter discovered it twenty verse very closely tied up with years atter the poet. The paint- oaturar speech rhythms. Each err today who are making such character is based on hang a splash overseas Alethong models, spearing an individual exactly what the poets have language with an individual done years belore. rhythm. Is thisto anythetw Are there any close personal relauomhips between the paint- rhythmic b.. .9 people's 51- speech? er and poet in Australia 510 Yes, people do naturally talk lar to mow tound m Iran.. Where such movements At Dada poetry, when they are nee.y moved, particularly 4999 they and bmrearom were loaned, thew aren't any close asare talking about thew cardsomations between poets andhood. For example, when a partners in Amtralm. "Matra- amok is MO-mgI cavv Ilan Letters" in Sown Austria. his speech up into Imes of Isencouraging this war gang blank verse. Poetty is the comhang the for a bit ot sucevws. Here we nod PletelY Drysdale allustraung Campbell, the stage. IS loomnecessary inpoetry? Yogis illustrating Wright, and Poetry without form 11 noth. Boyd Alustratmg my work. Do you thing it is signiti.ot log. What about e. e.cumrnings then that there is no cross and T. S. Eliot? terumauon betweeo gam., Lee's not talk about cumand parts in Sydney smog- u dominated by the abstract ea- Ormgs, Elm, has a serY defsoie pressen:oars — the so-called '949, You encourage experiment, international style. laid t abide by certain is could be significtht by traditional oetry. Why do Palate. 89, mush All true poets stand cknellY reco&niticia whereas poste are on the strong beats of the hoe. cognised only s wk. earl.. But he so-called The painter gets more re- poets veer agreat deal from cognition because you've only the basic forms. A. D. Hope not to see a paintoag, you have mid, "You must know your set to read a poem. People prefer pattern, but you must balance to see thou to think. this with natural heart beat of It is said that creative purple speech rhytbeus." Could we say that all poets each maturity at forty, did you bad this to be the case make a commenton the tonwrits don't think 111 answer that errant situation ohmthey ,przny, b. 11 one. It's not very significant apiece 9 rat anyway. partitions beyond its immediate But what about Nolan and subject. Ao historical subject West where this applies? is not just every day life, but Well, at the age of forty, everyday life from 5. sentar obviously, you will be twice as where you can not g more mature as you were at twenty.clearly.

BACH TO BRUBECK Interviewing a promising young composer, and being fairly ignorant of music's aims and terminology is difficult work. At the end of the conversation they had both clarified their ideas about music. The composer began to understand its meaning, the author began to see the similarities between music and the other arts. In this article, David Reeves, a studeru of the Conseevatarium, is involved in a discovery of

JOHN COBURN AND THE ABSTRACT In interviewing John Coburn 1was not interested in Coburn the man, only Coburn the artist and his attitude towards his own and abstract painting.

Firstly I asked why he had decided to become essentially an abstract painter, and secondly could he still remember the switching from realistic still life to abstraction Not only Manesier, but oho "Yes, I can remember. I started painting abstract, greatly by Andre Marchand, isyli gf4d spr gitlig not after the French Ex- gg g„ me colour " hibition of 1953, as most k fft t.ns particular Pmt people think, but actually o two years later. Every yen feel that the morning on the way to major part of your paintings? Not major —form is major. work I passed a fence, and looking through this fence However, colour plays a very I saw a mysterious under- great part, and it is difficult growth of tropical dense to separate thec two.

meaning with Gary Shead.

Have you any ideas as to In recent yearsthere appears to be a revival ofwhat thls style should be? The style should not conflict interest inthearts, especth Tally byyoung people. This shio uldthfeam en" ;ro r'm Ted.great revived interest is perhaps composers. This in itself doe: even Yes, indeed. I like to work was a thing of beauty in itself, more true of music as not produce an Australian style an individual art. my forms in texture which I needing nothing else. but what the classics teach us

build up by putting sand in True, abstract for the sake Young people all over Aus- is Invaluable if one is to create the paint mid building up tex- of abstract I feel will not be tralia are takingup amusical his but. ture by putting colour over accepted. Doesn't this modern trend instrument. Something inside colour over a period of time. You yourself are sow get- them produce a desire to play you speak of come naturally because youlive in this modern Doing specifically religious ting away from pure abstrac- music — to create. age? tion and entering another paintings, foe the Blake Price, field withare this idea, then? This is true of "Rock and for example, and being busy Roll" also. Many young people in Yes, the it does. Because it is with church murals in mosaic, Yes, my first such painting have purchased a musical inrecognised style of the 20th century, because it's part would you consider yourart a in this direction was ray 1962 strument so that they can gather of your musical environment. religious artist? Blake entry. together and form a band. Therefore style can't conflict A concluding question not would say that their aim isThey to with No, mainly a the modem envIronmeot. secular artist. directly connected with yourearn pocket money but THAT Therefore it Is Impossible tar However, I believe the artist self: do you think Australian creative desire is present. a modern composer not to pro. has aorder job toin reflect the beauty and the world and art will get recognition abroad dove a modern eetteeayiatt. If we want to create snme. as a school having atypically the universe and that all was Australian flavour, as did the thing, what could be better No, not at all, the 010.11 Do you arrive at subjects created by God, is not then new Spanish school and before than actually composing apiece cot„..,,,„ isinfluenced byhis shrubs and black horizonof music. What could be better coroe 7ocioteei,,,y. emotionally or does this develop all art religious? that the Italian school? " an creating you to whilst executing the palatial,. You Wrote once that abstract I sm.rely hope and think .4,This then, inspired Are you I start olio inal,expressingour trueemo.Rae, or byInfluenced itia.b? mere by with an urgeto in the future especially, will be 6 paiht fro; The alc,ttsti tythaf what Aus- tions in music. As na.raciL7, put down clour and shapes judged on its power to convey definai' fact, no, I arn influenced more by li out from a meaning. Can you see this was sufficiently inspired to paint and the subject grows IThe musical language is a Bach, by the classics. I like to te school and trirectness a typical of ayoung country, and difficult one to learn. We are listen to the classics. a realistic canvas, and later the form and colour, then I taking shape?" all taught to read and write photograph what I had painted. try to distil the subject during we could compete David The meaning will,of course, is already very strong now. 1 ntian t gth . ptu,rne theyopuro:ceesssaoyfinpgaith oo latcecem literature, but few of usknow Reeves to the young Sydney mould p Hoew,esv,e.r.I of th not have to be literary, yet feel this school is as important there will have to be a "plas- as any other existing. Signs how to read sad write mono art student who is influenced more by the moderns]I tic" meaning that will com- show that Australians are — Ed.] ltie0" nfiddrremo tahrerethein p esf i'ngsciaotueslyeiaghpt- mg somew we'n.d"undclo hisIess Has Australia astyle of its municate to the onlooker. When "growing up" and becoming art How do Me classics and the the job. geared. moderns differ? own? abstract serves purely a decora- conscious, Yes from thissI arrive a From this then you began 11 °:t' a i'srr consumed as very debatable quesR' 4all, 4' they hsemeoic This is a at e spirit sad. taking abstract shapes? tive purpose, there is no it was in theand 1890's, the year meaning, andthen in the future I of Streeton Roberts. tion. However, if it has not. construction. Such devices This and the influence of painting. otoakiana chromaticism, isteev can see that it must be more changes of key, why don't young Do you pay much importthe French Exhibition of '53. then decorative. develop a style typicalof the In this exhibition you were ance to the quality of apaint. By Van WIERINGEN Australian way of life? (Continued on P. 3) You felt at one time abstract ing? intluen.d by Manesier?

th

r


3

Raymond Peynet

the arty wild oat, April, 1962.

3

POETRY

ACartoonist's

Behind Dark Glasses

Philosophy What isyour name? In my world we don'thave names we are names. My name isWhimsy. What an extraordinary name! Tell me of thisworld. Our world is a sweet life, a love life. A world of roses and honey, of songs and kisses. You say `our'—with whom do you share this world? —

With my friends, of course —Laughter andDelight, Carefree, and my love, Smiles—to name only a few.

High eyebrows and sinking eyes which stare forth into an unknown darknessleaving them grey and hollow, black and bloodless, liketarnished metal — dull and faded on anaging yellow. To you I cry "See nomore with heavyeyes!marvel no more at the grey grotesque of a fireless eye!" And with aknifeI cut deep and pluck away onestaring eye —youdo not stir —I taketheother too,and place a pair of dark glasses over the wounds. Now you cry at your reward;nowforever moreyou may stare forth into thegrey andhollow of an unknown. Now, at last, youknowthe use of bloodless eyes.

Is this anew world— a heaven neverbef ore discovered? Oh no, our world is very, very old. As old as man, as old as life, as oldas time is old.

Ah, then your world is dams deeper ban those you the same world of frolic find in a bowl of sweet and frivolity which brought beesmeat. about the downfall of the Ah, then —something mighty Roman empire. . which worries me; how can Ah, yes I answer you. you be an angel or fairy Our world is strong and for you fail to dazzle me can force itself upon your with your being. merely unstable reality, You adopt with your speech? Concern yourself not us from time to time and misuse us —bringing about with me —take your mind back to my gods —for they your own degradation. Tell me, for I am deeply are more infinite than I interested in your world; who is only as you. have you leaders and pro- Yes, 'then why do you Peynet, a mere earphets, wise men and gods, choose toonist as your god? in this place you love? We have many of each that you offer. They come willingly from your world to ours. To them it is not an escape but a discovery of new meaning, a new life of more fulfilment. You see, our world is our reality. not yours. Reality is whatever you make it. We make our reality harmonise with our world. By SUE WOODS And can you name your gods for I must hear — and my heart is strangely feeling with this revelation, and I am afraid of my fate? Our new god is Raymond Peynet. He came to us in our greatest need, our darkest hour, our moment of hovering before the gates of dismal hell. Tell me more, I no longer can hold my ears to my bead, they fly to your lips, clinging in an embrace from which I cannot escape. Ah, poor foolish man-a small taste of honey is sweet but mouthful upon mouthful burns the tongue and turns your throat to coughing. I have been given the power of first messenger to you —do not let me fail. Regain yourself— determine your mind — criticise my world so that I may prove to you wis-

We have leaders and prophets, wise men and gods. We have Searle, Emett, Os ber t, Lancaster, all graphic artists whose art is simple, joyous, beautiful, sentimental, and with a laugh takes you away from sad eyes and sour lips to sweet looks and smiles. Yet Peynet is your monument. I know little of this god of yours. I fear I feel his work is to smile at and then to turn the page to forget it. Your mind is a child's, but let me turn yet another page for you and read the words of Colette Vasselon: "In these drawings we rediscover the emotions of growing youth, of our earliest love, and our first tryst; and ,we realise how deep is the philosophy of this naive and simple life. Houses are there to shelter men and their happiness, flowers to charm their eyes, animals to love them and serve Even sorrows them . . and disillusionments are here on a scale made to fit man himself; hate, being shut out. 1 am humbled. Each sweet breath passing your lips is truth itself. I feel reborn, my youth returned to me in a fine mature relationship. I am no longer afraid of facing •life, of growing old, of troubles, of facing death. All is revealed to me. No more Because he is a man who questions can I aim from believes in his philosophy. my suspicious arrow, but In his drawings he gives one which puzzles me. your world insight into our Ask, for I am here to world. As I am he is; a answer you. messenger to restore faith Why then, are you named in your world through ours Whimsy, a name of fan- you may call it a re- tasy, an oddity, yet you ligion but it is more of an spout fundamental wisoutlook —a characteristic doms, truths no sound 'tis in your personality, rather all alien to the fancy of than an overpowering truth. your given name. Why are Simply it is you looking at you so? Alt, it is a query! You life through rose-tinted have a question I find it glasses. Alt, I see why you choose difficult to answer. All I humourists, are there no can do is agree —it is odd, others equal to Peynet? isn't it.

BACH TO BRUBECK cont. C. you translate wbat.yon more clear cut. I'd say Bach team from Bach into the mod-was one of the few composers to use the chords that modern ern idiom.

Yks. Which of these ideas stimulates you?

u Like therustydust of her drychampagne glass or theshallow wind of herstubbed Alpine, Caroline climbs the cloud-topped stairs,takingmy arm toaid her liquid sophistication,

"Withdraw the dark glasses, Caroline dear," I ask. "The stairs are butpoorlylit,youmay fall." Effecting excuses is not a part of Caroline —she holds myarm no longer: anartificial flower is a poor pantomime of the better known bloom: Caroline falls and dark glass shatters. Blossom you are again, buthavingbeen picked once you must die in the vase.

III "Ferenc! Ferenc!" they call again. They know the scabbing wounds of pain. "FerencP' they cry in unknown hue, "Washe behinddark glasses you?"

—Clive Graham Photo by Lance Nelson. Story by GarryShead.

Marriage and the Student Young women Aform pairs, like fruit on acounter.They sing, nomoreshallwe be seduced, they cry. A young poet paints afilm andasks them to name it.They name it after their babies.

From the suburbs, strange hunched figures emerge, dressed in automobiles. One is dressed in a red gogo-dart, another in a black 1949 Morris Minor and another in a 1928 Chevrolet. But one is naked.

Youth: "Iam about to havea wash in water, my soul isgrubby." Female: "How do you know?" With on t answering her, he climbs into a wave and rides it, rip-

She is his girlfriend. OnSunday morning he drives to church with hisparents. On Sunday afternoon he drives to French's Forest with her. That is for sure What a car is for. At Manly heasks her "Did Ned Kellyhave a

ping, darting and cutting

mistress?"

Female: "Why are you

naked?"

through wipeouts tothe "No, he never had sand. Amazed at his time, too busy becoming prowess she exclaims, famous,too busy gaining "How heroic you are experiences to write the youth." book henever wrote." That night a sagging At Palm Beach she Walter Lehmann sweater

asks him, "Why do

on a coat hanger in the Bulletinoffice was full of a woman.Hesleeps init too and they fall inlove. The next day he picks her up in his car. He is the modern centaur, instead of ahorse's body, he has anautomobilic body.

youths sow their wild oats?" And he couldnot tell her why.

Just personality of me. When youtalk about meetingan Australisanexpression, do Chromaticism, change of key, composers are using today. counter point, syncopation. Can youcompwe Jazz to you think youcan as this by expremtig your personality? Bach used all the devices of classical music? If you are influenced by AusYes, I think jazz and classithe modern composer 300 years tralian music your music will ago. Heusal them merely in cal music arc related. Can you see Jazz ever taking have an Australian flavour in a different style. Wecan use all the devises of music in over from modern serious it. Your music will necessarily have an Australian feeling. music? any style we like. No. The main aim of serious Have you ever considered ex. Has Jazzinfluenced the mod. ern composer? If no has the music is to present an idea. pressing the Austral'. landmodern serious composer now If a melody is required in seri. scape In your mode? No, but such composers as got more musical means at Ms oas music it is a melody that disposal than theclassiceons.will last and not fade mar. Hughes, Anthill and Hutchins poser? How do.this melody differ do from the melody in popular Yes it has.Mostly jazz has Did you know that the Why haven't you. Is It that just encouraged the modern music? you have no desire to? undulating area around composer to use its harmonies As a rule the melody here is Yes. Milsons Point is the donot designed to last. Its harmom often. How would you go ahont Bach hasusedthe chords monies are usually straight main of the Pink-eyed-falcreating an Australian expresused in modemjazz. InBach's chords and most uninteresting. sion of,say,Lane Cove Park len-breasted Viest Goose. harmonic, by means of sus- What kind of ideas does or the Grose River landscape? An inhabitant of secluded pensions and tied notesandseriousmusicpresent? I'd typify birds. Emphasise In some cases the personality others, he used chords that and inuecessable rain forest of the composer, for example the sounds of leaves. jazz men are using today. What about atmosphere. of Borneo and Malaya, its Did jazz exponents eon.Wagner, in other cases it's an Wouldn't that be up musle's appearance in Sydney is a outlet for something the cornsclously adopt Bach's disco. ed.? poser believes in, e.g. Pro- alley more than painting or puzzling and rare occurt don't know whether the Miley_ Also there's the kind poetry? ence. No, I don't think so. Iwould jazz mentook any notice of that merely bringsoutthe cornRelated to the stubbed-tail Bach's music. Bach's harrnon. posers personal style —e.g. try to present the "bosh atmosphere". Pic music would have bloated albatross (also rarely Us were very much superior to Handel. Are you talking from per. tohave a calm, contented and seen)little is known of its non most other composers. Take turnal habits. even rhythm about it Handel. Hisharmonies weretonal experience?

So he told her a lie. At the front gates of Frensham he asks her, "Is it asocial sin for unmarried young women tobecome pregnant?"

Nine months later a larrikin throws a stone through astained glass window. A neat small hole is formed. He isa pagan but does notknow he is. Heboundsoff quickly, chased by a minister and a businessman with whips.Heescapes fromthem. An eighteen year old girl sings the Messiah. She hue a baby.An eighteen year old youth has riot. He crawls through the hole inthe window of stained glass. In the north shore line suburbs another girl sings"Last year I was adebutante. I made my debut, I have become engaged tothe can of a rich man, the rich man's sonhad met

many charming young girls before he decided to marry me.

Ode to Virginia... I always had ataste for girls, And Virginia when I met her, (She had the most sensational curls) She made my taste much better. I took her out a star-lit night To swim down by the river Whether she drown, or die of fright She certainly lost her liver. She was the apple of my eye Her rosycheeks now blue Soon she will be apple pie, And mixed Virginia stew. My taste has found me many fraus And every one did give in Food to last me several hours, You can say I live by women. By PODGER

BIRD IN NEED OF SUPPORT By ERNRUSHTON Blood isred, The sky isblue; The futureis black, And so areyou.

However, occasionally byday scattered reports come in from various worsens' auxiliaries promoting the arduoustask of bird watching. It has been es tablished that the call of this new addition to theAustralian Manx commences at middle C ranging to F flat with Memo,ing frequency together with "iaio" and "iris" sounds. Until further information is found about the life and habithis x“Pti°°11111' 1e

t"' of ish MY 'rear'', ' thrhas 'll"g it an enjoyable stay inw cair country.

—M. BRITT.

Yesterday I loved you, today I cried.

The Pink-eyed Fallenbreasted Viest Goose.

Tomorrow I'll remember with a tear in my eye.

—ANON.

"Wild oats will get sownsome rime,and one of thearts of life isto sow them at theright iime " —Richard Gallienne. (1886-1947)

"OATS —a grain which in England is generally given to the horses, but in Scotland supports the people." —Samuel Johnson


4

the arty wild oat, April, 1962.

MONSTER and LOLITA Dear Editor, --I am 12 years old, some of my little friends (and some of my not-so-

little friends!) say there is no Tasmanian monster. Daddy says if you see it in the "Arty Wild Oat" it is so. Please tell me

the truth. Is there a Tasmanian monster. Lolite Humbert

4

Uni. Films These films will be shown during the by the Sydney University Film Group, and to those who enjoy good recent films we thoroughly recommend them.

Arthur O'Connell, George

The most real things in the world are those that

Your little friends are neither Nymphets our men wrong, there IS a Can nee.Did you ever see Tasmanian monster. He policemen drinking in exists as certainly as form? Of course net, but

Scope and Colour. Paul Noonan, Joanne Woodward. loan Collin, lads

Mayes' adaptation of

Carson. An American

Robert Traver's novel of a

comedy that tells what hap-

murder trialrampant with

pens when the Pentagon

violence, lust and hate. A powerful and intriguing

Council workers loaf. that's no proof that they Alas, how dreary the don't. Nobody can conceive

one and two ward cerwor

Sun and Mirror would or imagine all the wonders

cut. (161 mins.).

film despite some annoying

tries to take over an unwilling town as the site for • "TopSecret" project. (106 mins.). Pl. MAKE MINE

"Lees Nsi again hke

MINK (Dir.Robert Asher). Terry-Thomas, Athens So-

that are unseen and un-

be if there were no monAPRIL lth GOD'S LITTLE seeable in the world. For ACRE (DO. Anthony sters or rapists. 11 would

would be no child-like faith then, no poetry, no romance to make tolerable this existence. We should have no enjoyment, except in Sense

and sight. The infernal lies with which politicians fill the world would run out. Not believe in the mon. steel You might as well not believe in fairies! You might get Humbert Humbert to hire men to watch all the

benches in Tasmanizi, but even if they did oat see 11w monster (as the Tasmanian C.S.I.R.O. believed), what would that prove? Nobody sees the monster except Mr. Mollisoa, but

dots that mean awe Is no monster?

Congratulations to the arty wild .1 tram the Barry Stern Galleries.

Babies

o Rh (we

...sat and loadtna the wet fin moon tes,dont so." coin °pool-tumors atirl, are 1,..1 tswen n,els. they wet, I in ni• mirth iy well ncen sated at it and 11,1,1illi .1 1r tit on I h ''cAustralian -the 1104,0ti, u 1. monk re., nao o oar luso ao lug ... lost and y unug in ma ron•11.1, .hisi.rh 1110 i.e.01t liar in- ..01011 ol Ham Scotts. • d uo toi 10.11111g down Oa I herrare author. oi t Ma of 11, triolet• and 011 ird.1 to him lint Ihiic S taro., 11,” in, In (ie.,. pcopic 111)114.] •AIN Sheaf a101 laplaJing thani • alit, king gip, no oluil0 tiara L norna and no with a [vilest.wn cOntillilar. .1) and ha, et o w•u, I t. list llow • in a twisted eon, nano, .ounU Um people. Nona ot 11a inhoore A nowBillltry COW,' stand the gals We aeSUI ilup .0011111. 11, (siltIII wolf, t die scout . 15,11 It ono .e our, 1• ■ ignote in.. guar. AthOalian goo aould light In the middle NI,adthicr thor. Lost Isho hutso‘erwaswork "I tow, and peoph aould .otopat aW sun tne,c Ma./ 1,0 it 10 Mk 10,, hall nowt I dos ', tootle 1“0“. 1.1,1, 110. ordidlad summer." j , a mile of Domain to gel ham h • Led It,nm I Jut to a 1 lir Valln us Strikes R.41 tot, ill Ihr11 It:111.0i 1..4yn hr ma both ugli and, at 'newt. na• sit110 a at and onli ..3Oil ilic th in not% „irti, • k

To Seeor Not To See

ler, Hattie Jacques, Billie

Whitelow, Irene Handl., Moan) Robert Ryan, Tina comedy (101mint.). Lothar, Aldo Ray. Buddy Hackett, Vic Morrow. A Evenings: superior screen version of Erskine Caldwell's ribald FRIDAY, APRIL 6: Union and much-banned novel. Theatre 5.15 Pm..SATYou can tear apart a Screenplay by Philip YonURDAY NIGHT AND baby's rattle or apolitician dart. Music by Elmer Bee. SUNDAY MORNING. to see what makes the none (Great Britain. 1960). stein. (107mina). inside. But there is a veil Director: Karel Reim. Adcovering the unseen world MAY 5 THE APART- aptation of Alan Sillitoe's which not the strongest man MENT (Dir. Billy Wilder). novel about Arthur Seaeven the united strength Paniteision. lack Lemmon, ton's groping for his "Sunof orall the strongest men that Shirley MacLaine, Fred day Morning". (89 mine.). lived could tear apart. MacMurray, Ray Walston, Edie Adams. Billy Wilder's MONDAY, APRIL 9: Only faith, fancy, poetry, Union Theatre, 7.30 P.m., satire en the great AmeriDAMN YANKEES love, romance and other can pastime—the afternoon shack-up Good comedy. (U.S.A., 1958). Directors: such obsolete feelings can Academy awards include Stardey Doses and George push aside the curtain and Abbott. Gwen Verdom. Beet Film, But Direction. show the glory beyond. Is it Best Story and Screenplay. (115 mins.). Plus THE all real? A15 Lolita, in all LOVERS OF THE SEINE (126 moss.). Ill mins.)., A SONG FOR this world there is nothing APRIL 6: ASK ANY GIRL PRINCE CHARLIE (20 else real and abiding—as (Charles Walters). Cinema- mins.). THE STRANGER beautiful, cold cash. Scope and Colour. Shirley (17 mina). MacLaine, David Nock No Tasmanian monster! WEDNESDAY, APRIL II: Sophisticated comedy of a Thank God he molls, he Union Theatre, 1 . 30 1 , th • girl who uses motivational smells forever. A thousand A STAR ISBORN (U S A., research methods to get her years (ram now he will 19534). Director Gem!, men. ,98 continue to smell unleas Mr. (Athos.. lady Garland so, Moilison hoe cut it all up, or APRIL 27.TWO WAY the greatest performance et th G vc man has decidSTRETCH (Dir.Robert her career in Cukor's film ed. MO, Peter Sellers. Wil- of show bir- (154 mins fred triteOrhlte, David Plus NO BARKING Withapologies to the Lodge. Bernard Cribbins, mins.)., THE DOOR LW Fraser, Irene Handl. THE WALL (27 mins New York "Sun",

example: the point of Com,

hr as dreary an if there monism. were no Lotiles. There

anis.? .

We vowed Wale blokes dredging the bottom of

Leo MeCoreyl. Cinema-

Duke Ellington. Wendell

sod knit/Logan ,

le111WD.

A MURDER (Die. Otto MAY II: RALLY ROUND THE FLAG BOYS (Do. Prerninger). lames Stewart.

C. Scott,Joseph N.Welch,

Dear L.lila, —

Sellers as Dodger later, a convict who uses his three Year prison sentence asthe perfect alibi for adiamond robbery. (88 mins).

APRIL 16: ANATOMY OF

Lee Remick, Ben Gavara,

(Address supplied)

Remedies for the Gallery

.arno i.L h a ts —all isrdans wear them— and 0ought oneeach. From thee es atevery cornerWe mined eseryone bunt into laugliter c could sotresist n taarulvcat, so we Were 'mtge.'s tor the rest Cl alt

current term

APRIL 9. MONSIEUR HO. LOTS HOLIDAY (Dir. Jacques Tab). lacuna Tati, comedy. (94 throe.)

Cont. from P. I

Indonesia font.

1. COpiC

it tit,

111011.,

1 lb.

.0 .1 NO tint

im. lino 01 l lin., l,. ar g. And moth I 11 Ilia ta ion 5010 ill, Volt rata, not Oder) --Lilo) 11.0.1

Dahl, ecru told that Lino ons were -Inapertaints

clear of the smelly ones.

p

den Day"Past I ynne, The

FILMS

cl,h.utl 0o1 OJ

u Nil

tti 1.010,101.1,

This list of films,TV shows, theatreand exhibitions was prepared by our critic (who prefersto remainanonymous!) to help youthe the good shows and steer

SEE:The Heeder. TheBreak,Dave

d that was than We dal

est inmatron two 01 a Park. Col Joyce's Theatre- mum laugh -torywets notarial lbw rdlea by the Summer's Day,TheSeventh Restaurant (Uglali. barren tentead 01 the butt Seal, The l000centa TheTV TO SEE:Twilight Zone, and 1 thaened a rulenum Truth (La Verner, Two Women, Breakfast at TO- Naked City, Chaotic) 2 one and showed turnthe (any's.The Absent-minded birth,The Three Stoop.. right way —they were in Brobeek, Luna

saadowae„ moor en

Profereor (tor technical theHugsBunny Show elects). bent], '1. Most DoormenNOT TO SEE: South miss, your r °roe," (bag a Pacific, Cineronm, Okla- square for asompere, but home, White Warrior. The 41111 1000,1,01 t Flower Drum Song, Black son in Austr011.,, Hen ( aoi Tights, The Pleasure ofNOT TO WI:The rest H . Company, Sail EXHIBITIONS ed Ship. The World of Susie TO SEE: Andrew Nine, Wong: Lighttrt tae P,azaa.Macquarie Onllerier, Prod,

•Crnok-

THEATRE Feb11,01011,

Farmers,

Hoh

TO SEE: Oliver,VictorDickerson (maybe!.Rudy Berge. the Motile Skin- )(omen °ailerons. ner, the Caretaker, My

s

.l n. Ill

NOT TO SEE: foe

Row,

Barry Steen Gallerers; C.A S I , Gob. 'Wham Ezhibstion.

What R. Crusoe saw...

4

file of laugher for hoe

minutes afterwards. Nowhere as Djakarta gill pall, .011, inpt o-

I sec

,- ,t. sod t lot .4 Ltio. cod ,Wing,

t into

Ki tad

till NOI,

Dms the ti.24.N. Art Gal. no. ler) play • d,ostutk roleha Sri! in Inc amid, the public's Imagloatlwor la here me, ar guile ay J„ not (stoic us, though it minor ta, as a minor Fogs.. n,, that we) ,rlet Itayellina calstot tons then what like the 1511,11 ihow Fe' polimounl Issue n 10 Lenlly, tm the nglish, .1 rid of the Preens true. Fretha and Italian cvlithe tee ssocm, or. foiling that, aaaa, hay., help, sun ,,,late el the resent Invitees. ,aaa. a,a . Bum than, cc, all tan, )00 net I men e• • a story told me ettently by panel. even if they're of Sir „tee mee eee, a eta., Wisner Kenneth Clark's calibre, it ... at et the meee.e of breaks down as on metro- An . York. them lot chtxntnp palnlina Ile sold the the Moment re-there is too much dawn- really neaderi wthee 2 .5 mon und too little actually milieu don.. l ot , a.. a gets done. and nodyniurec t aa so rena folic, can hesyiternatlyallv ....adthem's)) Ines had a boom...I. I,he Ito I, I Inn, It Soho. Ft..kylvIlar ash add Ihr,, ilo 1,1 ohl khke, in V. Ilf 1111C 101 IN null. 1 nalidi

0 Li 1 h Oh a ma* s I ill... and olnon lat. 001,41 11141 had 11maims by tha Ions he, ilia Ja aorld ,,,d ul ti e wrrk

Sarong Salesman

ha, to 015 Ss tt ', nod, Now 'Sr hasan't dud kind 0,1.11,11,J t .01 .t. 1 1 , ..1 It. or mon. y in Atatralia but th•• 51.0a. of ,1 00 leall, dm 1 pubby'y mind, two vo nt, it,itow hr. „., ,„,,id 1,, hoard II, •hotild „„ a nn ih01in4„ ,.king' H,,,.ellinswLtIr,and trW 111000int.1 101itoildh It po,Ibly Frank /tinder. thatButtheydon't I think that it hr h. any .11o1 01 oub...11yr, 01 leas!

dt.II

A woung salesman in Singapore who Soak. no buys has vte's ,Iollnos nom, told us he hio Io duLroy all the ca..111 laic

of that paltera when Mrs boelowno ba chosen hers karao has tow palaces and I1,

.

f

Are yin repremenleal In 1be 04.11r4 Ity

Since he ,e • prolia,iond

los

0,

,

,11110, II d ri

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1511 , oil

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11,1 honinired! it1101,

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the arty wild oat, April,1962 EDITOR Garry Shad

SSSISTANT EDITOR Martin Sharp PICTORIAL EDITOR John Firth-Smith Sue II °oda WOMEN'S EDITOR Front Rushton ADVERTISING Ian ran Wieringen CIRCULATION Robert I. Mayo. PRODUCTION

"Ar fair go, Ned, I just pinched it rneself

"

Addressall correspondence tar The Secretary, "The Arty Wild Oer, Eats

,Sydacy Technical College. barlinghurst.

Some out people try to getIN by using they IN thingv but since I/17 peopletan never peoplecan Kea be IN they can only manage to screwup some IN thing:. lik,

he IN.lintsf

It's getting hard, to Tawdry trips to PatchIN, if ett( rue Arne, grinding your own coffee is OUT, being cremated is also OUT, sea Burials are IN,

Peoplewith Eiephso. !stay IN all the time, for

•fhe Indonesian student od that Indonesia wanted West Irian" because it wan r:sally thews. He doln't say

THECOMMIT[EE

'There are Iwo kinds sot things in this world, IN mend 01 I. I here are two binds nl people IN and ()I I. 's thing ran Ise IN For ilinv retools.: (a)Itriter111! 11 it is .11 rlassir and groat, e.g. the oil Ind. flat now itin so obsettre, e.g. ( hinese• ( risers; tar old even the licsautie it irt 01 people won't touch it, e.g. Captain (Mir Ise Ill I he's in).

nne! We were talking to him !or solong that weforgot the time and had to roe two mils to She ship in the 15 minutes before itsailed The people along the road burst into laughter as we pavied them. Wewere searzhed by

Instance: having a collection of 5,000 pin-ups of Gladys Moncrieff doesn't make you 1,41, you solve your irrniv,read on.

• Sopping Im red t.giti is coming bark IN, t he Auttralian Legend is OUT, so it Dr. Spark, thinking it is clever to fail Uni exam, is OUT, reediting that you are dumb it IN, Reeky Gattelari is OUT, standing for rho National Anthem is back IN, dandruff is right IN. •

Digby Wolfe is still

soldiers f o r Indonesian OUT lavatory drawing meeey on the wharf, and e ofthem wanted tobay IS IN, but looking at if OUT. Prayer mats are y fountain pea. The thin had been delayed. so Iam ;IN, plain-tip non-fiber 'short cigarettes are IN, 0 stillon it

m

• Social younger sets are IN but only lira bisexuals over 40, policemen wearing bangle, art in, reading the expurgated copy of Pooh Corner it IN, The Blue Light Clinic it IN Ido you know what it it?) • Walking up the down ride of the moving footway it IN, losing your trousers in it it OUT (for men), green teeth me IN, T inert is IN, Tapia it OUT,thinking the AWO is OUT s hows that you are OUT, because it isso OUT it's

IN/

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The Arty Wild Oat #1  

Student newspaper of the National Art School, East Sydney Technical College, 1962. Edited by Garry Shead and Martin Sharp.

The Arty Wild Oat #1  

Student newspaper of the National Art School, East Sydney Technical College, 1962. Edited by Garry Shead and Martin Sharp.

Profile for libuow