Robert Hunter (1947–2014)
Retrospective
Ian Potter Centre NGV
27 April 18 – 26 August 18
‘Practical and no-fuss, Hunter's stock-in-trade was Dulux house paint, rollers and masking tape. Asked why he chose the 8x4 feet size of his plywood paintings Hunter offered two off-hand replies: it was the same size as the pool tables he liked to play on; and it fitted into the transport van he drove.’ Ray Edgar SMH
Retrospective
Ian Potter Centre NGV
27 April 18 – 26 August 18
‘When Robert Hunter decided to exhibit 13 white-on-white paintings at his first solo show it was an audacious decision, marking the beginning of a lifelong dedication to minimalism. After that first exhibition at Tolarno Galleries in Melbourne in 1968, his paintings were critically acclaimed. Later that year he was included in The Field, the groundbreaking exhibition that heralded the opening of the National Gallery of Victoria’s new building on St Kilda Road.’ Bronwyn Watson, The Australian.
'Hunter is one of very few Australian artists to participate at the centre of an international art movement, exhibiting in Eight Contemporary Artists at the Museum of Modern Art, New York, in 1974, and presenting solo exhibitions at Galerie Konrad Fischer in Düsseldorf in 1974, and Lisson Gallery in London in 1975.' NGV website
Untitled 1970 painted paper and masking tape. |
Untitled works c1986 - 87. |
I saw Robert Hunter's 1989 exhibition at Ian Potter Gallery, Melbourne University. The works were a collection of his white paintings (above) done whilst artist-in-residence at the uni. At that time I found the works almost impossible to gaze at. They were so white and so hard edge and the gallery was all white too. Hunter's painting grew on me over the years as he stuck rigidly to his core vision and process. He seemed reassuring. Seeing this period of works again as a group I thought this time about the macro and micro. The white of snow and the unique cellular pattern that is each snow flake.