Plastic Garden, Filling Station

細節

FRANK JEFFREY EDSON SMART (b. 1921)
Plastic Garden, Filling Station
signed 'JEFFREY SMART' (lower right); with exhibition labels (attached to the reverse)
oil on canvas
79 x 88.5 cm
Painted in 1970
1

來源

Macquarie Galleries, Sydney
Rudy Komon Gallery, Sydney

出版

Art International, vol. XV, no. 8, October 1971, illus. back cover K Looby, "The Absurd Beauty of Reality", Hemisphere, vol. 16, no. 11, November 1972, illus. p. 21 P Hutchings, "Some Contemporary Realism", Concerning Contempoorary Art: The Power Lectures 1968-1973, 1974, illus. p. 125 P Quartermaine, Jeffrey Smart, Melbourne, 1983, cat. no. 588, p. 112
J McDonald, Jeffrey Smart/Paintings of teh '70s and '80s, Sydney, 1990, cat. no. 27, p. 156, illus. pl. 2, p. 59

展覽

Sydney, Macquarie Galleries, Jeffrey Smart, 17-29 November 1971, cat. no. 3 Sydney, Rudy Komon Gallery, Rudy Komon Gallery Retrospective, 26 April - 21 May 1988, cat. no. 35

注意事項

A 10% Goods and Services tax (G.S.T) will be charged on the Buyer's Premium on all lots in this sale.

拍品專文

"In many paintings, Smart seems to be searching for alternative, more authentic forms of public monument. In Plastic Garden, Filling Station (1970), he takes an abstract arrangement of plastic discs at face value: as an attempt to create something beautiful to liven up the drab surroundings of a service station by the side of the autostrada. Smart celebrates this strange sculpture, awarding it the bulk of his canvas, as though it were a more valid expression of human needs than all the stone and marble statues that stand in parks and squares. The plastic garden might be categorised as a "pathetic monument', inasmuch as it demonstrates that the urge to create beauty springs eternal, no matter how confused, how garish or kitsch the results. In a society where virtually no public sculpture has genuine representative value, such low-key art projects have as much meaning as anything else, with lesser aspirations perhaps making for a less pretentious outcome." (J McDonald, op.cit, p.47)

We are grateful to Stephen Rogers for his assistance with this catalogue entry