FUTURE OF OUR ART GALLERY

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

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

brought to the surface after a pro-longed submersion.

He was inteniewed at his home by Martin Sharp.

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

Why Any Wild Oar' Arty means "preten-tiously artistic-. Being fully aware of this and conscious of the responsibility we carry, we intend to publish no article smacking of pseudo intellectualism.

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

Published by the students of the

National Art School, Sydney Technical

College, for the students.

Circulation 7,500.

TY' tt'rlibit t

* the arty wild oat April, 1962

into small courts conve- bought. He also has a limit-

iently, and so the scales of cd sum at his disposal to the 4ifferent pictures clash spend at will. The directorial badly. A most lamentable assistants — Tony Tuckson

cample of this is the pm- and Daniel Thomas, um

sent sculphirc court, where also, theoretically allowed

number of unrelated pieces to recommend works for

arc stacked promiscuously purchase.like bones i charnel Theoretically? The hos- house, and one cannot look tees always ignore their m-at a Stephen Walker without commendations.

the strings of a Barbara Are the toot., appointed For life? Not quite. though

them is no compulsory re-

tiring age. They can Le con-

sidered dismissed if they miss a number — six, I

think — monthly meetings

in a row. Or, if they die, are pronounced insane, axe dismissed by direct inter-vention of lee Governor-General, or simply resign, they may. under the terms

of the N.S.W. Galleries Act, be deemed to have vacated

9ffSst, LeMl, don't look now. but I think that artist is sir, i ng on us again."

What is the purpose of a public art gallery? The purpose is threefold. One, to disseminate in-formation about painting and sculpture by show-ing the public painting and sculpture.

Two, to play an active role in the public's imagina-tion. and to improve its taste and imaginative aware. new, by showing it good painting and sculpture.

Three, to collect the best

possible representation of

the best in its own coun-try's art.

Dots the N.S.W. Art Gal-

lery do these jobs ade-quately? No.

Hus R. ever done them adequately? No.

Then the New South

Wales Gallery has remained

static slime Its inception? Net at all_ It has test red substrulialiy. A pastamlurly large improvement has taken

place over the last twelve years. But it has still not raised itself to the standard

of, let us say, a medium-sired provincial art gallery

in the laid-western States nf

t7oi

with

• 7-ro n'd"en'er- ous and illogical —Tare

is, for instance, nn direct

fink between the staff offices

and the gallery stores, and

the director to are the head

curator, must walk nearly 100 yards. Nor are the

storage rooms either ade-quately large or air condo

boned. The ventilation,

moreover, is insufficient. Consequently. numerot

-pictures are annually des-

troyed by foxing, damp and mildew.

The gallery space itself a

not suited to advanced methods of display, such as onc finds in overseas gaiter.

it cannot be divided

cost the Gallery recently

124,000 to illuminate one court with colour-adjusted

strip lighting. Since the Gal-

lcry'sannual grant is

133,000, relighting through-

out would force then, to

pawn their Drysdale:.

Trustees How Is the Gallery con-

stituted? heat Ls, who buys

foe It and makes the admInt-

strative decisions? You have

a director, assisted by a de-

puty director, a curator, an

fbistant curator and so ords There are also ap-

pointed, by the Minister for

Education, a board of thir-

teen Trustees. The director

may recommend purchases

to the trusters, who decide finally on what is to be

DOBELL Head of B.M.A.?

Does this system seem

perfect? No. Not at all. Why? In the first place,

the trustees are not asked

Odom their appointment for any proof or evidence of

their competence as judges

of art. This would not mat-ter overseas, where it is not

uncommon for a gallery to

have up to 200 trustees. The difference is that there they

have no say in buying, they

only raise money; and here they raise not a penny, but

buy.

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 to any competence

as judges of art Why not

appoint Bill nubdi as presi-

dent of the BATA.?

But surely the Pant tall they can onls act on the director's recommeadadan

imposes some sort of check on them? It does. But don't overvalue it. I am in favour.

generally, of committee de-slalom, provided the com-mittee Is no bigger than live and preferably three. and,

at that, made up of experts who genuinely love and un-derstand Maur.,

Thc obvious defect of the

new system Metter I agree,

than the old, where the

director couldn't buy at all and the trustees wcrc on their own) is that you h ave

in incompetent committee

acting on one man' im,

which :an, Of ccourse,s le col-

oured with prejudice. So or

arc still far from perfect.

Despite their lack of era polies. have the routers

seemed genuinely Interested In an? Put it this way. If the director of Terry Chines

Gallery told you that at least three of them had never

been taside it even when

they were rostcrcd for buy-ing duty, would you think

so? This actually happened.

But aren't some of (hem professional arfisb? You can put that in inverted

commas, if you don't mind.

blind you, there was a time during the war when Will

Ashton then director of the

Gallery, refused to hang an

exhibition of Picasso's, Mod-

iglianis and so forth there rcause, he salt]. there Wai-

n

at

% space. Twentyw paintings

by his trustees ere hang-

ing there then .

Are there NO trustees, then, who know what they're doing with modern art? Yes,

Sirs. H. V. Evan, who is

sympathetic to it, and Mr.

Vidtel Bunning, an ircht

feet.

The Finances What Is the effect of all

this on the Gallery's collec-tion? One canonlyqUOIC few examples. Did you know

that a mention& reproduc-

tion of Annigonik portrait

of the Queenwas acquired

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 Fars back: it changed hands in London foFf5.400 a ye ago. They

coyes,

ld has • .hair bet of any number if Drysdales for around £150 each a few years back, and finally, after

much havering, bought one several years later for 1400

— the same picture .. Do

you want this to go on?

No. stop. Bat what of he general patters of me col-lection? Very poor. except

in terms of recent Australian

painting, and that's tar from perfect. The Gallery pos-

sesses not one major Cubist

or post-Impressionist pietare, and only one substan-

tial work of the Impression-

ist movement in France. a

The German Expression•

in3 arc not represented at

all. We have an Klee, n

Mondrian cod ao exampl e of American abstract x-pressionism. In fact, the gaps

would take more time to catalogue than the collet, lion. I think if is perfectly

fair to say that no parson who wandered into it could

even begin to gauge what

has Men happening in Europe over the last eighty

Years.

What about Old Masters? Too cxpcnsivc. The Gallery

has only ill,000 a year to

buy with, after other ex-

penses — running amts.

cleaning, lavatory upkeep

Cont. back page

Student in Indonesia

The author of this article,

Lawrence Beck, is a young sculp-ture student. Late last year he left Sydney on a mammoth "voyage of discovery". He had little money, and his aim was to work his way to London. In this letter, written in an unprofessional

but reircshmg style, be talks or has impressions of Indonesia and Indonesians. He found the In-donesians in Djakarta to be delightfully friendly, and questioned them on the Dukh-New dispute among other things.

Ibis is what I SAW m A group of Chinese and

Djakarta on December ind°,a9slal9..ha wen. also

31, 1961. he ship 'i.?,enl"'Z'str'ht,'"yir:nod'IlY

siopped outside t h a combination pidgm.and.sign tuctikwatel at 6 Wm. and language cunffirsation Ill

Immediately =gist little them, [Ike thist-

native boats paddled out US: 'Indonesians and

ol the darkness and Chinese here max well?" il

bought carious id cis- ',Vol MY bands and en-

arcites from the crew and ""fultilff"c'L,.. (big arum

haggled tor about an hour, then made MI ha<saan Whet,' (more

again for the shore. No- 10.1.

body seemed to mind flood

fhb hide piece of smug- bi""r in,A1 Ares bun very

gaud bloke," tonnes an 'Inc atop berthed at 12 oseedi.

a.m., and when we'd heel r,,a. poop', ttko

our

spacial vino check.' him,"

and our money &main r I HEAL •-Lverybody love

went with twO other bioges aocaainu."(Vec were Omagh-aml bargained with a mob mg ace mad ay no what

ot any Indurrearan rasa para. Matt

drIVerr for a rale to the Loch no g000t,e,

city, which was eight Macs I IlLtsit Lmicis ae

awsy. geed. (stones ell round., nature we could Leave the tee, nuns ua foe about

who, arcs we were acazahul 20 mum., but we word

lull lorcign 0200.1, We war, Ind no more trom Meal on

of wilowed to Ming =or) NeW tamined m Australia, Other eurrcncy w, and not and when we were sour

W take any Incloneasati out. have May maistad c, pay.

the road to 1.14aarra mg tor oar natal. Um of

num ditough wateresi paddy mem promised Wbuy tome

hal& which ware irrigated stamps and post two letters

uy canals. .1 bad, bacausc the peal 011iee

We lea the tam m a Sort bad closed. liverybody shook

01 Markel place and wand- hands cad we lulL Imagine

crud about I only sawtwo a Chmesc coming to Sydney

beggars that Eby, and no- .sad coons such a rex:mama! NMI, raced out and gest:red Impossible: Ilic duce at us

us to bus their goo& —care masonic with the

great contrast to Culombo .randimiss. had ner

them ocre k6Witsaas atoned to be lateve

this.

*Wet al all. ne wailed on affil asioss

We wont into a nay af. • VUP'' which

code, that I almost:Ind to .acre nail) wweliNsioh and

crawl along, with a -shop bathtubs combtned. Moat Or

Cvery two yards, and rat the Luddi le, were two

down in a nudger catewherc ', burr Cement mattered, with

fruit meals were serves'. No- toed roots .Vicar ii(much

body spoke Rolston, tter- Acts Chins. — air the ears. an or French, and one of tat:lading Hoidens and Men-

the blokes with me who cedes Bent, bad 41%1 se-. spoke Dutch was willing to Stn. hccadatt• hid uy it Bar 0.6„, about out quarter he cost

language, we soon had seven There were a lot of Rusaian

plates full of 'even &Hemet trucks and can about

fruits that I had never heard of before. Continued hack page.

One sows one's wild only in that period be-tween adolescence and 'outwits. We will not

slab here specifically how, and where one SOWS

Them, except to suggest that you are now look-ing at a virgin Ifyld.

Any material - art, short stories, poems, and articles of any kind —will he carefully con-sidered by the editors.

We arc uninhibited by Any precedent. Unequi-vocally therefore, we can state that our aim is originality. At the some time we are pro-viding a service to you, which is at the moment Licking. (Scc our back Page.)

Solution? We offer seve.al., One obvious answer is the Opera House Lottery. This is asourcc of considerable revenue, and after the completion of the Opera House could be used to pay for a new Gallery.

Of course the logical source of money for an institution such as an Art Gallery should he a Gov-ernment gmnt, but with a Government which teems to be utterly op-posed to any advance-ment of Australian cul-ture, and with Govern-mental finances in their present state, Mr. Ren-shaw (the Treasurer) might not feel very lib-

With an entirely male committee we are sadly lacking a feminine view-point. We with to en-courag• 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 to be a well balanced, but embryonic, vehicle of expression.

oral with the puree suillga.

A final scheme could follow in the footsteps of the National Heart Cam-paign but in a smaller way. Donations by pri-vate and public contrihu-lions, however, would be a slow and uncertain way to raise several hun-dred thousand pounds.

Whatever the answer, the problem is with us now. Unless some action is taken, both in the pro-vision 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.

Hepworth getting in the way.

What Is else remedy? The only foreseeable remedy —I mesa remedy, not local

anaesthetic — demolition

and construction of a new gallery. I on informed that

it would cost 000,000 to

air condition the existing premises. One could build

a gallery for Ma. The Gov, eminent, however, puts or io a Vie's,. circle on the

matter: 1300.000 is too much to spend on air con- their Net

ditianing, hut. why build new gallery? We've got

the old one

Improvements have, of

course, been made, such as

the mw srnall Loom, de-

signed by Hal Missingham• to house a recent bequest of

America; or the municipal Chinese pottery figures. No

galleries of Leeds or Birm- complete solution la WI- sible. The lighting is poor

current oversew mac-

tice generally favours arti-

Inadequate final light throughout, so

that rinc's enjoyment of a Cars you Rise as some in' Tom Roberts doesn't depend

stances? Yes. In the first on the weather but it place, the gallery is physi-

cally inadequate. It is noth-

ing mom than a succession of large, dimly-lit barns

Our Art Gallery is a national dis-grace—we fully concur with the facts presented by Mr. Robert Hughes in our lead article in this issue.

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

!A Note from the Publisher

1In front of ion at the moment is a sheet of

paper — 20 inches by IS inches. Thu-re see ,499 mother copies, exactly the same, throughout

Sydney. •

On each sheet is print- very diverse, and not a ers' ink, laid out in the little critical, group who form of illustrations and form the committee. txpe For example: Discus-

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 illustra-sweat". Not much blood, lion by Martin Sharp plenty of Mil, some tears wan an agonising one, and a few gallons of and a number of differ-sweat that has dribbled ens illustrations were over furrowed brows, con.sidered before the went into the organise. final choice was made. non, compilation, distil- After selection, the lation and finally produc- typed out "copy" is al-lion of the simple sheets located a place in the of paper in your hands. paper and a particular

No profit has been layout and then sent to made by any of the mem- the printers where it is hers of the committee— all set in the form of indeed the reverse is true_ metal slugs ready for A great deal of organis. publishing. ing thought went into the The committee, head- articles published (which eyj by the eyhtort, then are mutely by slafknt” examine the final proofs, and their %leen& the "go" order is given

Also, every article had and the 7,500 compare to run the gauntlet of the printed.

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 caricatur-ists 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 Wit-ham 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 im-mediately. That of comic artists and caricaturists had to be primed at first by a couple of importations. Liv-ingstone 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 begin-ning of the century the 'Bulletin' had grown a team of social and political ar-tists 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 capi-talists, cheap labour, dis-eased 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 indus-tries. Britain in the charac-ter of dumper of cheap goods, that would hinder the growth of these industries, was as unwelcome as any other foreign dumper. 'Aus-tralia for the Australiansl'. 'Australia a nationP, Ad-vance 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 journ-alism.

The "Bulletin" is appar-ently 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 a blind eye to any sense of duty.

Once upon a time there was a man whose name we will not yet mention. He came to God and complained that this planet was tot good enough for him, and said he wanted a Heaven 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

over it, Thinking that this creature

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

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

gales and skylarks ceased to jn the distance sad asked him

sing? Is there no snow upon if m'bet'd were ea :ere e7eato'm' oi;

the mountain tops and are and ordinary. there no reflections in the Next God showed him else lakes? Are there no rosy pew, 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

no falling cateracts and a the colour scheme was not,

gurgling streams and shady exquisite, sod the

trees? Who, therefore, in- 'No . In no infinite puar.cince,

hint vented them yth that the Dodd d Te'qgorgeoM "Paradise" was "lost" and r.',7,ion,.%°;:i shape of Hawauan that today we are living in hams, and the man said he was an ugly universe? We are not eotereseed. (sod then took

indeed ungrateful spoiled bun under a shady tree and

children of God. commanded a cool breeze to

parable has to be written blow and asked him if he of this_spoiled child. - couldn't enjoy that, and the

---- unto replied again that hc was

By LIN YUTANG 1 boo to a mountain lake and

Himalayas, and the cliffs of the Yangtse Gorges. and the granite peaks of the Yellow Mountains, and the sweepin

ang

cataract of Niagara Falls, and 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 a Heaven with Pearly Gates.

"This planet," the man said, "is not good enough for me."

"You presumptuous, ungrate-ful 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 flow-

ering trees, nor bear the gurg-ling brooks and live there for ever till the end of your days." And God sent him to live in a city apartment.

Chinese writer and phlke .! showed him the light of the His name was Christian rambo, awls io ads onset, seater, the sothd of winds

i a philosophy of quietude, whuili98 through a Pm. forest. tolerance and pagan good the serenity ot the rocks and

!humour. the beautoul reflection in the : lake, and the man caul that

JOHN COBURN AND THE

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 painting and parley 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 Vi9.499 994' Australian landscape call for endears school, Pugh, Percival, a correpondme „ae,t jte. of 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 of 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 Ale thong models, spearing an individual exactly what the poets have language with an individual done years belore. rhythm.

Are there any close personal Is this to any thetw relauomhips between the paint- rhythmic b.. .9 people's er and poet in Australia 51051- speech?

lar to mow tound m Iran.. Yes, people do naturally talk

Where such movements At Dada poetry, when they are nee.y and bmrearom were loaned, moved, particularly 4999 they

thew aren't any close as are talking about thew card-

somations between poets and hood. For example, when a

partners in Amtralm. "Matra- amok is MO-mg I cavv Ilan Letters" in Sown Austria. his speech up into Imes of

Is encouraging this war gang blank verse. Poetty is the com-

a bit ot sucevws. Here we nod PletelY hang the for

Drysdale allustraung Campbell, the stage. Yogis illustrating Wright, and IS loom necessary in poetry?

Boyd Alustratmg my work. Poetry without form 11 noth.

Do you thing it is signiti.ot log. then that there is no cross What about e. e. cumrnings

terumauon betweeo gam., and T. S. Eliot?

and parts in Sydney smog- u Lee's not talk about cum-

dominated by the abstract ea- Ormgs, Elm, has a serY defsoie

pressen:oars — the so-called '949, international style. You encourage experiment,

t abide by certain laid 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 a great 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." each maturity at forty, did Could we say that all poets

you bad this to be the case make a comment on the ton-

don't think 111 answer that errant situation ohm they writs

one. It's not very significant apiece 911,przny, b. 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 ar . sent

obviously, you will be twice as where you can not g more

mature as you were at twenty.clearly.

In interviewing John Coburn 1 was not interested in Coburn the man, only Coburn the artist and his attitude to-wards 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

"Yes, I can remember. Not only Manesier, but oho

I started painting abstract, greatly by Andre Marchand, is-

not after the French Ex- ggsprgitligg„ me colour

yligf4d

hibition of 1953, as most " people think, but actually o

kfft t.ns Pmt particularparticular

two years later. Every yen feel that the morning on the way to major part of your paintings? work I passed a fence, and Not major — form is major. looking through this fence However, colour plays a very

I saw a mysterious under- great part, and it is difficult separateseparate thec two. growth of tropical dense to Do you arrive at subjects shrubs and black horizon-

emotionally or does this develop " you to whilst executing the palatial,.

This then, inspired I start olio with an urge to paiht As na.raciL7, fact, no, put down clour and shapes

was sufficiently inspired to paint and the subject grows out from

a realistic canvas, and later the form and colour, then I photograph what I had painted. try to distil the subject during

thHoew,esv,e.r.I of mould poolatcecemptu,rne theyopuro:cesse saoyfinpgaithntiant gth.

rhisIesswe'n.d"undcloi'ngsciaotueslyeiaghpt- smgomewtahrerethein pltie0"nfiddrremoesf

geared. the job.

From this then you began Yes e spirit sad.

from this a sI arrive taking abstract shapes? at

This and the influence of painting. the French Exhibition of '53. Do you pay much import-

In this exhibition you were ance to the quality of a paint. intluen.d by Manesier? ing?

ABSTRACT my forms in texture which I build up by putting sand in the paint mid building up tex-

Yes, indeed. I like to work

needing nothing else.

of abstract I feel will not be

was a thing of beauty in itself,

True, abstract for the sake

ture by putting colour over accepted. colour over a period of time. You yourself are sow get-

ting away from pure abstrac-Doing specifically religious tion and are entering another paintings, foe the Blake Price, field with this idea, then?

for example, and being busy Yes, my first such painting with church murals in mosaic,

in this direction was ray 1962 would you consider yourart a Blake entry. religious artist?

A concluding question not No, mainly a secular artist. directly connected with your-

However, I believe the artist self: do you think Australian has a job to reflect the beauty art will get recognition abroad and order in the world and

as a school having a typically the universe and that all was Australian flavour, as did the created by God, is not then new Spanish school and before all art religious? that the Italian school?

You Wrote once that abstract I sm.rely hope and think in the future especially, will be 6fro;

liThe alc, ttstitythaf what Aus-

judged on its power to convey definai'

te school and trirectnessa a meaning. Can you see this taking shape?"

typical of a young country, and is already very strong now. 1 The meaning will, of course, feel this school is as important not have to be literary, yet as any other existing. Signs there will have to be a "plas-

show that Australians are tic" meaning that will com- "growing up" and becoming art

11°:t' ai'srr

municate to the onlooker. When conscious,

consumed as abstract serves purely a decora-

tive purpose, then there is no it was in the 1890's, the year meaning, and in the future I of Streeton and Roberts. can see that it must be more then decorative.

You felt at one time abstract By Van WIERINGEN

• And THAT Yacht

•

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' of Frank Packers.

dark-rimmed sun glasses, d by a

Sir Frank Packer smiled

The design and .nstructi e

on of the yacht was financed

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 Frank then and . 0 ? s cri3odoMmor. I: I. Foley (chairman of

tried

poi: ilater nmenhoacr ine g,ly with a diamond brooch, and

eats. the entire project was about

W. D. and H. 0. Wills). Con

Either because he was pushing Few will dispute the admir-her over or because he win able sense of doty and sports-sticking

DaePathttfe mbralecha into her, no boon of contention how-

grab

shown by these men.

gramb c.frowr btah: ansearoestgrosuuPpPoor: epoaecrk..rij.es us the uamjn, at the — which happened to be the microphone, and clung on to it , of it (in publicity) by Sr Frank

yacht, and the capital made out

distinguished guests watched, a The yacht was. of course, rather ridiculous naval band earned of, Sir Frank's I., played what they thought to wife.

wbb*ackag:rpomumenliaw:h.dilme.'.DC'i:hialyninoTel:9: jofoirHgh.*twolse7:ditmw:o:ubrd:th:at 'vtic.,,betheeiii

graph" reporters and photo- Cross" as was aSouthern graphers worked busily away Si first rumoured. A name be-

-

recording the enure proceed. fitting the ,haileobet., „moil.,

iegs. 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 in an Australian

new associated with the yacht yacht. Conversely, the Amen-tab.,. at Dame 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 Thin thi rs:tyk he wholeproceedings.

ing. dhow.namt;

Even to those not even she Pituatvei t.thfinc isYer

yacht,

remotely interuted in the Am. the start that it was a rept. 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)

BACH TO BRUBECK

Interviewing a promising young composer, and being fairly ignorant of music's aims and termin- ology is difficult work. At the end of the con- versation 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

meaning with Gary Shead.

pears to be a revival of what thls style should be?

interest in the arts, espec- The style should not conflict

Tally by young people. This revived interest is perhaps composers.

This in itself doe: even more true of music as not produce an Australian style an individual art. but what the classics teach us

In recent years there ap- Have you any ideas as to

shioth

uldthfeamen";ror'm Ted. great

is Invaluable if one is to create Young people all over Aus- his but. tralia are taking up amusical

Doesn't this modern trend instrument. Something inside you speak of come naturally them produce a desire to play because you live in this modern music — to create. age?

This is true of "Rock and Yes, it does. Because it is Roll" also. Many young people in the

recognised style of the have purchased a musical in- 20th century, because it's part strument so that they can gather of your musical environment.

together and form a band. They Therefore style can't conflict would say that their aim is to with the modem envIronmeot.

earn pocket money but THAT Therefore it Is Impossible tar creative desire is present. a modern composer not to pro.

If we want to create snme. dove modern eetteeayiatt.

No,

a

not at all, the 010.11 thing, what could be better than actually composing a piece cot„..,,,„ is influenced by

his

of music. What could be better coroe7ocioteei,,,y.

than creating .4,- Are you Influenced mere by inal, expressing our true emo. Rae, or by itia.b? tions in music.

I arn influenced more by IThe musical language is a Bach, by the classics. I like to

difficult one to learn. We are listen to the classics. all taught to read and write we could compete David literature, but few of us know Reeves to the young Sydney how to read sad write mono art student who is influenced —Ed.] more by the moderns]I

Has Australia a style of its How do Me classics and the own? moderns differ?

This is a very debatable ques- R' 4all, 4' they hsemeoic

tion. However, if it has not. construction. Such devices

why don't young otoakiana chromaticism, changes of key,isteev

develop a style typicalof the Australian way of life? (Continued on P. 3)

2 the arty wild oat, April, 1962. 2

Spoilt child of God A Paradise Lost

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 long-er can hold my ears to my bead, they fly to your lips, clinging in an embrace from which I cannot es-cape.

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 messen-ger to you — do not let me fail. Regain yourself—determine your mind —

criticise my world so that I may prove to you wis-

Raymond Peynet

A Cartoonist's Philosophy

What is your name? In my world we don't have

names — we are names. My name is Whimsy.

What an extraordinary name! Tell me of this world.

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 and Delight, Care-free, and my love, Smiles—to name only a few.

Is this a new world— a heaven neverbef ore dis-covered?

Oh no, our world is very, very old. As old as man, as old as life, as old as time is old.

She is his girlfriend. On Sunday morning he

drives to church with his parents. On Sunday afternoon he drives to French's Forest with her.

That is for sure

What a car is for. At Manly he asks her

"Did Ned Kelly have a mistress?"

"No, he never had time, too busy becoming famous, too busy gaining experiences to write the book he never wrote."

At Palm Beach she asks him, "Why do youths sow their wild oats?"

And he could not tell her why.

So he told her a lie. At the front gates of

Frensham he asks her, "Is it a social sin for unmarried young women to become pregnant?"

Nine months later a larrikin throws a stone through a stained glass window. A neat small hole is formed. He is a pagan but does not know he is. He bounds off quickly, chased by a minister and a business-man with whips. He es-capes from them.

An eighteen year old girl sings the Messiah. She hue a baby. An eighteen year old youth has riot. He crawls through the hole in the window of stained glass. In the north shore line suburbs another girl sings "Last year I was a debutante. I made my debut, I have become engaged to the can of a rich man, the rich man's son had met many charming young girls before he decided to marry me.

Female: "Why are you naked?"

Youth: "I am about to have a wash in water, my soul is grubby."

Female: "How do you know?"

With on t answering her, he climbs into a wave and rides it, rip-ping, darting and cutting through wipeouts to the sand. Amazed at his prowess she exclaims,

"How heroic you are youth."

That night a sagging Walter Lehmann sweater on a coat hanger in the Bulletin office was full of a woman. He sleeps in it too and they fall in love. The next day he picks her up in his car. He is the modern centaur, in-stead of a horse's body, he has an automobilic body.

Did you know that the undulating area around Milsons Point is the do-main of the Pink-eyed-fal-len-breasted Viest Goose. An inhabitant of secluded and inuecessable rain forest of Borneo and Malaya, its appearance in Sydney is a puzzling and rare occur-ence.

Related to the stubbed-tail bloated albatross (also rarely seen) little is known of its non turnal habits.

By ERN RUSHTON

However, occasionally by day scattered reports come in from various worsens' auxiliaries promoting the arduous task of bird watching. It has been es tablished that the call of this new addition to the Australian 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 habi-

t"' of this x“Pti°°11111' 1e The Pink-eyed Fallen- thr'll"g 'rear'', 'MY breasted Viest Goose. it has an enjoyable stay inw

ish cair

country.

BIRD IN NEED OF SUPPORT

Photo by Lance Nelson. Story by Garry Shead.

Marriage and the Student Young women Aform pairs,

like fruit on a counter. They sing, no more shall we be seduced, they cry. A young poet paints a film and asks 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.

Blood is red, The sky is blue;

The future is black, And so are you.

—M. BRITT.

"Wild oats will get sown some rime, and one of the arts of life is to sow them at the right iime "

—Richard Gallienne. (1886-1947)

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 ern idiom. to use the chords that modern

Chromaticism, change of key, composers are using today. counter point, syncopation. Can you compwe Jazz to Bach used all the devices of classical music? the modern composer 300 years Yes, I think jazz and classi- ago. He usal them merely in cal music arc related. a different style. We can use Can you see Jazz ever taking all the devises of music in over from modern serious any style we like. music?

Has Jazz influenced the mod. No. The main aim of serious ern composer? If no has the music is to present an idea. modern serious composer now If a melody is required in seri. got more musical means at Ms oas music it is a melody that disposal than the classic eons. will last and not fade mar. poser? How do. this melody differ

Yes it has. Mostly jazz has from the melody in popular just encouraged the modern music? composer to use its harmonies As a rule the melody here is mom often. not designed to last. Its har-

Bach has used the chords monies are usually straight used in modem jazz. In Bach's chords and most uninteresting. harmonic, by means of sus- What kind of ideas does pensions and tied notes and serious music present? others, he used chords that In some cases the personality jazz men are using today. of the composer, for example

Did jazz exponents eon. Wagner, in other cases it's an sclously adopt Bach's disco. outlet for something the corn-ed.? poser believes in, e.g. Pro-

t don't know whether the Miley_ Also there's the kind jazz men took any notice of that merely brings out the corn-Bach's music. Bach's harrnon. posers personal style — e.g. Us were very much superior to Handel. most other composers. Take Are you talking from per. Handel. His harmonies were tonal experience?

Yks. Which of these ideas stimu-

lates you? Just personality of me. When you talk about meet-

ing an Australisan expression, do you think you can as this by expremtig your personality?

If you are influenced by Aus-tralian music your music will have an Australian flavour in it. Your music will necessarily have an Australian feeling.

Have you ever considered ex. pressing the Austral'. land-scape In your mode?

No, but such composers as Hughes, Anthill and Hutchins do

Why haven't you. Is It that you have no desire to?

Yes. How would you go ahont

creating an Australian expres-sion of, say, Lane Cove Park or the Grose River landscape?

I'd typify birds. Emphasise the sounds of leaves.

What about atmosphere. Wouldn't that be up musle's alley more than painting or poetry?

No, I don't think so. I would try to present the "bosh atmos-phere". Pic music would have to have a calm, contented and even rhythm about it

3 the arty wild oat, April, 1962. 3

Ah, then your world is the same world of frolic and frivolity which brought about the downfall of the mighty Roman empire. .

Ah, yes I answer you. Our world is strong and can force itself upon your unstable reality, You adopt us from time to time and misuse us — bringing about your own degradation.

Tell me, for I am deeply

We have leaders and pro-phets, 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 monu-ment. 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 re-discover the emotions of growing youth, of our earl-iest 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 them . . Even sorrows 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 re-lationship. I am no longer afraid of facing • life, of growing old, of troubles, of facing death. All is re-vealed to me. No more questions can I aim from Because he is a man who my suspicious arrow, but believes in his philosophy. one which puzzles me. In his drawings he gives

Ask, for I am here to your world insight into our world. As I am he is; a answer you.

Why then, are you named messenger to restore faith 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 wis-outlook — 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? life through rose-tinted Alt, it is a query! You glasses. have a question I find it

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.

High eyebrows and sinking eyes which stare forth into an unknown darkness leaving them grey and hollow, black and bloodless, like tarnished metal —dull and faded on an aging yellow. To you I cry "See no more with heavy eyes! marvel no more at the grey grotesque of a fireless eye!" And with a knife I cut deep and pluck away one staring eye — you do not stir — I take the other too, and place a pair of dark glasses over the wounds. Now you cry at your reward; now forever more you may stare forth into the grey and hollow of an unknown. Now, at last, you know the use of bloodless eyes.

u

Like the rusty dust of her dry champagne glass or the shallow wind of her stubbed Alpine, Caroline climbs the cloud-topped stairs, taking my arm to aid her liquid sophistication, "Withdraw the dark glasses, Caroline dear," I ask. "The stairs are but poorly lit, you may fall." Effecting excuses is not a part of Caroline — she holds my arm no longer: an artificial flower is a poor pantomime of the better known bloom: Caroline falls and dark glass shatters. Blossom you are again, but having been 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, "Was he behind dark glasses you?"

—Clive Graham

Ode to Virginia... I always had a taste for

girls, And Virginia when I met

her, (She had the most sen-

sational 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 rosy cheeks 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

Yesterday I loved you, "OATS — a grain

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

today I cried. erally given to the horses, which in England is gen-

but in Scotland supports the people."

—Samuel Johnson —ANON.

POETRY

Behind Dark Glasses

dams deeper ban those you find in a bowl of sweet beesmeat.

Ah, then — something which worries me; how can you be an angel or fairy for you fail to dazzle me with your being. merely with your speech?

Concern yourself not with me — take your mind back to my gods — for they are more infinite than I

interested in your world; who is only as you. have you leaders and pro- Yes, 'then why do you phets, wise men and gods, choose Peynet, a mere ear- in this place you love? toonist as your god?

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 what-ever you make it. We make our reality harmonise with our world.

Remedies for the Gallery

sod knit/Logan anis.? o Rh (we

, .

..01011 ol Ham Scotts. •

d uo toi 10.11111g down Oa

S taro., 11,” in, In (ie.,.

Sheaf a101 laplaJing thani

with a [vilest.wn cOntillilar.

twisted eon, nano,

A now Billltry COW,' stand t die scout . 15,11 It

aould light In the middle

"I tow, and peoph aould 1,0 it 10 Mk 10,, hall

a mile of Domain to gel

to a 1 lir Valln us Strikes ma both ugli and, at 'newt.

„irti,

Dms the ti.24.N. Art Gal. ler) play • d,ostutk role ha the public's Imagloatlwor 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

Wisner panel. even if they're of Sir „tee mee eee, a eta., 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 w thee 2. 5 mon und too little actually milieu don.. l ot ,a.. a gets done. and no dyniurec so taarena folic, can he syiternatlyallv ....ad them's))

•

Ines had a boom...I. I,he Ito I, I Inn, It Soho. Ft..kylvIlar

ashadd Ihr,, ilo 1,1 ohl khke, in V. Ilf 1111C 101 0 Li 1 h Oh a ma* s I ill... and olnon lat. 001,41 11141 had 11 maims by tha Ions he, ilia Ja aorld ,,,d ul tie wrrk

ha, to 015 Ss tt ',nod, Now 'Sr has an't dud kind 0,1.11,11,J t .01 .t. 11 , ..1 It. or mon. y in Atatralia but dt.II 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 ,,,.ell inswLtIr, and trW 111000int.1 101itoildh It po,Ibly Frank /tinder. that But they don't I think that

it hr h. any .11o1 01 oub...11yr, 01 leas!

Are yin repremenleal In 1be

Since he ,e • prolia,iond 04.11r4 Ity

°pool-tumors fin moon

I in atirl, are 1,..1

ni• mirth iy well ncen 1r tit on I h ''cAustralian

1. monk re.,

ron•11.1,

.hisi.rh 1110 i.e.01t liar in-

t Ma of 11, triolet• and 011

ird.1 to him lint Ihiic

• alit, king gip, no I11a

t.

list and no inhoore llow • in a

.0011111. 11, (siltIII wolf, ono .e our, 1•■ ignote NI,adthicr

Isho huts o‘erwas work nowt I dos ', tootle ham h • Led It,nm R.41 yn hr na• sit110 a at and onli • k till NOI,

IN null. 1 nalidi no. Sri! in Inc amid, la here me, ar guile ay

4 the arty wild oat, April, 1962. 4

These films will be shown during the current term by the Sydney University

Film Group, and to those who enjoy good

recent films we thoroughly recommend

them.

Uni. Films

This list of films, TV shows, theatre and exhibitions was prepared by our critic (who prefers to remain anonymous!) to help you the the good shows and steer clear of the smelly ones.

FILMS den Day" Past I ynne, The

SEE: The Heeder. The Break, Dave Brobeek, Luna saadowae„ moor en a Park. Col Joyce's Theatre-

Summer's Day, The Seventh Restaurant (Uglali.

Seal, The l000centa The TV Truth (La Verner, Two TO SEE: Twilight Zone,

Women, Breakfast at TO- Naked City, Chaotic) 2

(any's. The Absent-minded birth, The Three Stoop..

Profereor (tor technical the Hugs Bunny Show

elects). bent], '1. Most Doormen-

NOT TO SEE: South miss, your r °roe," (bag a

Pacific, Cineronm, Okla- square for a sompere, but

home, White Warrior. The 41111 1000,1,01 t

Flower Drum Song, Black son in Austr011.,, Hen ( aoi

Tights, The Pleasure of NOT TO WI: The rest

H . Company, Sail • Crnok- EXHIBITIONS ed Ship. The World of Susie TO SEE: Andrew Nine, Wong: Light trt tae P,azaa. Macquarie Onllerier, Prod,

THEATRE Feb11,01011, Farmers, Hoh

TO SEE: Oliver, Victor Dickerson (maybe!. Rudy Berge. the Motile Skin- )(omen °ailerons.

ner, the Caretaker, My NOT TO SEE: foe Row, s .l n. Barry Steen Gallerers; C.A S

Ill I , Gob. 'Wham Ezhibstion.

What R. Crusoe saw...

To See or Not To See

4

Dear L.lila, —

Your little friends are

wrong, there IS a

Tasmanian monster. He

exists as certainly as

Council workers loaf.

Alas, how dreary the

Sun and Mirror would

be if there were no mon-

sters or rapists. 11 would

hr as dreary an if there

were no Lotiles. There

would be no child-like

faith then, no poetry, no romance to make toler-

able this existence.

We should have no en-joyment, except in Sense and sight. The infernal lies with which politi-cians 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?

The most real things in

the world are those that

neither Nymphets our men

Can nee. Did you ever see

policemen drinking in

form? Of course net, but

that's no proof that they

don't. Nobody can conceive

or imagine all the wonders

that are unseen and un-

seeable in the world. For

example: the point of Com,

monism.

Babies You can tear apart a

baby's rattle or a politician to see what makes the none inside. But there is a veil covering the unseen world which not the strongest man

or

even the united strengthof all the strongest men that lived could tear apart.

Only faith, fancy, poetry,

love, romance and other

such obsolete feelings can

push aside the curtain and

show the glory beyond. Is it all real? A15 Lolita, in all

this world there is nothing

else real and abiding—as

beautiful, cold cash.

No Tasmanian monster! Thank God he molls, he smells forever. A thousand years (ram now he will continue to smell unleas Mr. Moilison hoe cut it all up, or th G vc man has decid-

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

APRIL 16: ANATOMY OF

A MURDER (Die. Otto

Prerninger). lames Stewart.

Lee Remick, Ben Gavara,

Arthur O'Connell, George

C. Scott, Joseph N. Welch,

Duke Ellington. Wendell

Mayes' adaptation of

Robert Traver's novel of a

murder trial rampant with

violence, lust and hate. A

powerful and intriguing

film despite some annoying

one and two ward cerwor

cut. (161 mins.).

APRIL lth GOD'S LITTLE ACRE (DO. Anthony Moan) Robert Ryan, Tina

Lothar, Aldo Ray. Buddy Hackett, Vic Morrow. A superior screen version of Erskine Caldwell's ribald

and much-banned novel. Screenplay by Philip Yon-

dart. Music by Elmer Bee. stein. (107 mina).

MAY 5 THE APART-MENT (Dir. Billy Wilder). Paniteision. lack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston, Edie Adams. Billy Wilder's satire en the great Ameri-can pastime—the afternoon shack-up Good comedy.

Academy awards include Beet Film, But Direction. Best Story and Screenplay. (126 moss.).

APRIL 6: ASK ANY GIRL (Charles Walters). Cinema-Scope and Colour. Shirley MacLaine, David Nock Sophisticated comedy of a

girl who uses motivational research methods to get her men. ,98

APRIL 27. TWO WAY STRETCH (Dir. Robert MO, Peter Sellers. Wil-fred trite Orhlte, David Lodge. Bernard Cribbins, LW Fraser, Irene Handl.

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

MAY II: RALLY ROUND

THE FLAG BOYS (Do.

Leo MeCoreyl. Cinema-

Scope and Colour. Paul

Noonan, Joanne Wood-

ward. loan Collin, lads

Carson. An American

comedy that tells what hap-

pens when the Pentagon

tries to take over an unwil-

ling town as the site for •

"Top Secret" project. (106

mins.). Pl. MAKE MINE

MINK (Dir. Robert Asher).

Terry-Thomas, Athens So-

ler, Hattie Jacques, Billie

Whitelow, Irene Handl.,

comedy (101 mint.).

Evenings: FRIDAY, APRIL 6: Union Theatre 5.15 Pm.. SAT-URDAY NIGHT AND SUNDAY MORNING. (Great Britain. 1960). Director: Karel Reim. Ad-aptation of Alan Sillitoe's novel about Arthur Sea-ton's groping for his "Sun-

day Morning". (89 mine.).

MONDAY, APRIL 9: Union Theatre, 7.30 P.m., DAMN YANKEES (U.S.A., 1958). Directors: Stardey Doses and George Abbott. Gwen Verdom. (115 mins.). Plus THE LOVERS OF THE SEINE Ill mins.)., A SONG FOR PRINCE CHARLIE (20 mins.). THE STRANGER (17 mina).

WEDNESDAY, APRIL II: Union Theatre, 1. 30 1, th • A STAR IS BORN (U S A., 19534). Director Gem!,

(Athos.. lady Garland so, the greatest performance et her career in Cukor's film

of show bir- (154 mins Plus NO BARKING mins.)., THE DOOR THE WALL (27 mins

Indonesia font.

i.L .arno a — all isrdans we

har

ts them—

and 0ought one each. From

thee es at every corner We mined eseryone bunt into

laugliter c could sot re-sist n taarulvcat, so we Were 'mtge.'s tor the rest Cl alt

le 111WD.

We vowed Wale blokes

dredging the bottom of

...sat and loadtna the wet tes,dont so." coin

tswen n,els. they wet,

sated at it and 11,1,1illi .1

1104,0ti, u - the nao oar luso ao lug ...

o

lost and y unug in ma

Sarong Salesman

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 los

Cont. from P. I

0, „ , ,11110, II d 1511 , oil 11,1 honinired!

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

(Address supplied)

Congratulations to the ed.

arty wild .1 tram the With apologies to the

Barry Stern Galleries. New York "Sun",

I herrare author. oi

pcopic 111)114.] •AIN

oluil0 tiara norna

.1)

L

and ha, e o w•u, .ounU Um people.

t

Nona ot the gals We aeSUI ilup

in.. guar. AthOalian goo

Lost thor.

.otopat aW sun tne,c Ma./ -

"Lees Nsi again hke or did lad summer."j 1“0“. 1.1,1, 110.

I Jut ,

tot, ill Ihr11 It:111.0i 1..4- ..3 Oil ilic thin not%

1. COpiC cl,h.utl 0o1 OJ

im.

it tit, u Nil 111011., 1 lb.

tti 1.010,101.1, .0 .1 NO tint

lino 01 l lin., l,. arg.

And moth I 11 Ilia

ta ion 5010 ill, Volt rata, not Oder) -- Lilo) 11.0.1

Dahl, ecru told that Lino

pons were -Inapertaints

d that was than We dal est in matron two 01

mum laugh -- tory wets notarial lbw rdlea by the

barren tentead 01 the butt and 1 thaened a rule num

one and showed turn the right way — they were in file of laugher for hoe

minutes afterwards.

Nowhere as Djakarta gill

I sec pall, .011, in pto-,- ,t. sod t lot .4 Ltio. cod ,Wing, t into

Ki tad

ri ...I if, 111 11r• III/ it1101, Alla-

oak.. atri•“ 10 the inoirge•

"dors . tot .. tt s :iv s • 01 a,,,,,I,1 i, art

it ••••• ,,,r 1”, 11. Ili. hi., spolirri Onnk ut tynint I sali‘h 1....1 ,„ ,•• Jino e• ..r. a..41,.ii other l a pike

"s r11,1 1 1111. 1 In olls.r words, the •̀ ' 4 •"•I'v, .10 , d dr, 1.stIcry does one solos the

4• ' 1" .•"`• 4•4` ,t, ,,r I I"''' .Iwo hd resists 1 of the swims. •"" • •'''.• •I d to o .1. II repr.ant.7 I d run firma

01 ti ak. .1 1... J. ,„,,,„ in, ton tonaldrs Hale feu

"5"•11 '5•11• 4"'" ••••'' " i1.1 1,0, log/ I lot, to he elgollbssr Very plied 1oe.., nh oto gra, leader ryershints bats ` tem heJ1 nl.n of the

oplc he sm.thos

lahosra.s

, 10re - ha has friar.. who Ins and Outs A group of 20 had path

err . '!!!!!‘ '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 is .11 rlassir and groat, e.g. the oil Ind. flat

it

now it in so obsettre, e.g. ( hinese• ( risers; licsautie it irt tar old even the 01 people won't touch it, e.g. Captain (Mir Ise Ill I he's in).

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

THE COMMIT[EE the arty wild oat, April, 1962

EDITOR Garry Shad SSSISTANT EDITOR Martin Sharp PICTORIAL EDITOR John Firth-Smith WOMEN'S EDITOR Sue II °oda

ADVERTISING Front Rushton CIRCULATION Ian ran Wieringen PRODUCTION Robert I. Mayo.

Address all correspondence tar The Secretary, "The Arty Wild Oer, Eats

,Sydacy Technical College. barlinghurst.

1 I .JI. Itd real Ur • r

tY kw , d11' , if i

iihColombo oyt

law" pine Of ih. ; s ; inners had legs ay thin

hooka. In Cochin in one lay I saw one leper and

People with Eiephso. ! Es. •fhe Indonesian student

od that Indonesia wanted West Irian" because it wan

r:sally thews. He doln't say

thr. • w...r

land, Minot to their se, non of Borneo the popula-tion vr. out per wthare nne!

We were talking to him !or so long that we forgot the time and had to roe two

mils to She ship in the 15

minutes before it sailed The people along the road burst into laughter as we pavied them.

Wewere searzhed by

soldiers f o r Indonesian

meeey on the wharf, and

me of them wanted to bay y fountain pea. The thin

had been delayed. so I am

0 still on it

stay IN all the time, for Instance: having a collec-tion 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 OUT lavatory drawing IS IN, but looking at if

OUT. Prayer mats are ;IN, plain-tip non-fiber 'short cigarettes are IN,

• Social younger sets are IN but only lira bi-sexuals over 40, police-men wearing bangle, art in, reading the expur-gated copy of Pooh Cor-ner 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 shows that you are OUT, be-cause it is so OUT it's IN/

Some out people try to get IN by using they lik, IN thingv but since I/17 people tan never he IN. lints f people can Kea be IN they can only manage to screw up some IN thing:.

It's getting hard, to Tawdry trips to Patch-ett( rue IN, if

Arne, grinding your own coffee is OUT, being cre-mated is also OUT, sea Burials are IN,