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Dale Hickey is one of Australia’s most highly regarded painters. His work has influenced generations of Australian artists. This survey comprises thirty-six key works and focuses on the immediate confines of the artist’s studio and the objects within it, synthesizing the flat and the painterly. The majority of selected works are large paintings made after 1982. They present familiar, mundane objects in ever-changing configurations within a shallow stage-like space. This exhibition includes large abstract works from the late 1960s, and a group of Hickey’s small still-life paintings from the 1970s that highlight his lifelong exploration of pictorial space.
1968 was an exhibition of works from the permanent collection of the National Gallery of Australia, curated by Michael Desmond and Christine Dixon. As the curators noted, it included work from 1967 to 1969 that encapsulated the spirit of those revolutionary years both in Australia, Europe and the USA.
Organised by Ballarat Fine Art Gallery.
Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
BFAG annual report; UTAS catalogue
Exhibition Catalogue:
Dale Hickey: a retrospective exhibition / with an essay by Margaret Plant. Ballarat, [Vic]: City of Ballarat Fine Art Gallery, 1988
ISBN 0947310010
Source: Solo Survey Exhibition Linkage Project, Tasmanian School of Art, UTAS
AGNSW Library catalogue
Exhibition Catalogue:
Dale Hickey. [Sydney]: Art Gallery of New South Wales, 1976
[4]p: ill, port ; 30 cm
Curated by Terry Smith and Donald Brook, The Situation Now: Object and Post Object Art, was a survey exhibition of conceptual and experimental works in Australia, sponsored by the Contemporary Art Society (CAS) held at Central Street. David Aspden’s work listed in the catalogue was replaced by a work by James Doolin in the exhibition itself.
ALSO: National Gallery of Victoria, Melbourne, Victoria, with additional installation by Mike Brown
The Field was the first temporary exhibition in the newly opened National Gallery of Victoria building in St Kilda Road. Its curators, John Stringer and Brian Finemore, proudly proclaimed its partisanship as it celebrated the work of a new generation of Australian abstract artists.
“It is not impartial and comprehensive. It is biassed to define one particular direction in contemporary Australian art,” they wrote.
The Field was held a year after MoMA’s Two Decades of American Painting travelled to Sydney and Melbourne, and both its content and its catalogue were significantly influenced by that exhibition. Its professional production as much as the content of the lively hard edge abstract works encouraged the perception that this was the avant garde in Australia in 1968.
In 2018, the 50th anniversary of The Field, the National Gallery of Victoria recreated the exhibition at Federation Square.