Geoffrey Bartlett

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Geoffrey Bartlett
GeoffreyinFitzroyStudio.tif
Photo of Artist in his Fitzroy Studio, 1974
Born1952 (age 72–73) [1]
Melbourne, Victoria, Australia [1]
Nationality Australian [1]
EducationDiploma of Fine Art (1973) and Post-graduate Diploma Sculpture (1975) Royal Melbourne Institute of Technology, Master of Fine Arts (Hons) at Columbia University (1985)
Known forSculpture [1]
Notable workThe Messenger (1983)
Aurora (2005)
Awards Ian Potter Foundation Sculpture Award (1982), Harkness Fellowship, Helen Lempriere National Sculpture Award
Website http://www.geoffreybartlett.com

Geoffrey Bartlett is an Australian sculptor working in Melbourne. Bartlett's career in sculpture has spanned over almost 50 years since 1973. [2] He is known for both his studio-based works and major public commissions in sculpture. Bartlett's work has been noted for its contribution to modern Australia sculpture. [3] In 2007, the National Gallery of Victoria held a major retrospective on Bartlett's work since 1987. [4] [5]

Contents

Biography

Early life and education

Bartlett was born in Melbourne in 1952 and grew up in country Victoria. He grew up in Warrnambool and spent his teenage years in Shepparton.

His father was the manager of Maples, the old furniture shop. Bartlett would enjoy tinkering and building with timber from crates that his father would bring home from his job. [6]

While in Shepparton High School, Bartlett was introduced to bronze casting by Phillip Cannizzio, a local sculptor. [7] Cannizzio and Bartlett would cast bronze pieces at the J.Furphy and Sons engineering works. [8] Cannizzio's example gave young Bartlett the sense that a career as a sculptor was possible. [7]

Career

Early career 1973–1982

After graduation in 1973, Bartlett set up a studio with Anthony Pryor and Augustine Dall'Ava at 108 Gertrude Street in the inner Melbourne suburb of Fitzroy. [9] [10] [11] The three sculptors would share studios for the next 19 years. [12]

In 1976, Bartlett had his first solo exhibition at the Ewing and George Paton Galleries at the University of Melbourne. [13] The exhibition had been selected by Patrick McCaughey and curated under the directorship of Kiffy Rubbo, both of whom have launched the careers of young Australian artists.

New York 1983–1985

The Harkness Fellowship allowed Bartlett to undertake a Master of Fine Arts (Hons) at Columbia University in New York. [14] [15] During this period in New York, Bartlett would construct more three-dimensional works, developing from his early works that were made to be viewed from a frontal perspective. [16]

While in New York, Bartlett visited the major art galleries in New York and met sculptors such as Isamu Noguchi, Frank Stella and Clement Meadmore. [17]

Bartlett cites David Smith, a well-known abstract expressionist, as a source of inspiration when starting out as a young sculptor. [18] While in New York, he viewed Smith's work for the first time.

Victor and Loti Smorgan, who were philanthropists and patron of the arts, [19] [20] paid for the shipping of Bartlett's 17 sculptures back to Australia. [21] The works from New York were subsequently exhibited at the Pinacotheca in 1986. [22] [21]

Present

Upon Returning to Melbourne, Bartlett established a studio in a former clothing factory in Collingwood to work independently as a sculptor. [23] Bartlett would also resign from his full time teaching positions. [24] Doing so allowed him to focus on his sculptural practice, in the same manner and intensity that he had been afforded in New York. [25]

Work

Major public commissions

Bartlett was awarded the Ian Potter Foundation Sculpture Commission in 1982. [26] [27] This would be his first major public commission. The sculpture entitled 'The Messenger' was installed in the front moat of the National Gallery of Victoria for twenty years, fronting St Kilda Road. The sculpture is currently installed in the Grimwade Gardens in the National Gallery of Victoria. [28]

The Messenger, 1983 MessengerNGV.jpg
The Messenger, 1983

Canberra's Parliament House Program acquired two of Bartlett's painted steel sculptures that were made in New York, Two Points of View (1985) and Lessons in Gravity (1994). [29] The two works face the Chambers of the House of Representatives and the Senate.

Melbourne City Council have commissioned two of Bartlett's sculptures. [30] One of these commissions is Constellation (1996) that was a collaborative sculpture between Bruce Armstrong and Bartlett. [31]

Responses

Bartlett's sculptures are described as volumetric and sensual. [32] [33] Bartlett's sculptures are characterised by attention to detail, surface finishes [34] and means of assembly and disassembly of the work. [35] His sculptures are able to suggest space, scale, movement, containment and time. [36] [37]

Selected exhibitions

The following selection highlights the exhibitions that were held at key points during Bartlett's career as a sculptor. [38]

Solo exhibitions (selection)

Joint exhibitions with Augustine Dall'Ava and Anthony Pryor

Group exhibitions (selection)

See also

References

  1. 1 2 3 4 Printmaking, Prints and. "Geoffrey Bartlett". www.printsandprintmaking.gov.au. Retrieved 8 April 2022.
  2. ↑ Wach, Kenneth & Hurlston, David (2007). Geoffrey Bartlett. National Gallery of Victoria. p. 12. ISBN   9780724102884.
  3. ↑ Sturgeon, Graeme (1978). In pursuit of The Idea: Recent Australian Sculpture. Thames & Hudson. pp. 212–217. ISBN   050027116X.
  4. ↑ Stephens, Andrew (21 July 2007). "The shape of things to come". Australia: The Sunday Age.
  5. ↑ "Geoffrey Bartlett". National Gallery of Victoria. Retrieved 28 June 2021.
  6. ↑ Geoffrey Bartlett: Volume and Sensuality. Canberra, Australia: The Australian National University. 2004. p. 19. ISBN   0958155984.
  7. 1 2 Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. p. 5. ISBN   9780987401076.
  8. ↑ "ABOUT J. FURPHY & SONS". Wordpress. Retrieved 28 June 2021.
  9. ↑ Regional Development Program, Visual Arts Board (September 1978). Made in Fitzroy:Exhibition3:Three Australian Sculptors. Visual Arts Board, Australia Council.
  10. ↑ Broughton, Lindsay (9 September 1978). "Bringing art back to the people - via Fitzroy". Australia: Saturday Evening Mercury.
  11. ↑ Mcintyre, Arthur (March 1978). "Three Masters". Australia: The Australian.
  12. ↑ Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. p. 7. ISBN   9780987401076.
  13. ↑ Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. p. 26. ISBN   9780987401076.
  14. ↑ Hawker, Phillippa (11 January 1983). "Fellowship recognises a new imagery in metal". Australia: The Age.
  15. ↑ Wach, Kenneth & Hurlston, David (2007). Geoffrey Bartlett. National Gallery of Victoria. p. 16. ISBN   9780724102884.
  16. ↑ Scarlett, Ken (1994). The Quantam Leap. Australian Galleries Pty Ltd. p. 7. ISBN   0958813671.
  17. ↑ Wach, Kenneth & Hurlston, David (2007). Geoffrey Bartlett. National Gallery of Victoria. p. 16. ISBN   9780724102884.
  18. ↑ Wach, Kenneth & Hurlston, David (2007). "The Recent Sculptures of Geoffrey Bartlett". Geoffrey Bartlett. National Gallery of Victoria. p. 13. ISBN   9780724102884.
  19. ↑ "Vale Loti Smorgon". philanthropy australia. 29 August 2013. Retrieved 28 June 2021.
  20. ↑ "Loti Smorgon dies after lifetime of philanthropy". The Age. 21 August 2013. Retrieved 28 June 2021.
  21. 1 2 Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. p. 80. ISBN   9780987401076.
  22. ↑ Millar, Ronald (8 October 1981). "Jacks, Past and Present". Australia: The Herald.
  23. ↑ Wach, Kenneth & Hurlston, David (2007). Geoffrey Bartlett. National Gallery of Victoria. p. 15. ISBN   9780724102884.
  24. ↑ Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. pp. 12–15. ISBN   9780987401076.
  25. ↑ Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. p. 74. ISBN   9780987401076.
  26. ↑ Ellingsen, Peter (20 October 1982). "ABC hands out Concert Hall snub". Australia: The Age.
  27. ↑ Wach, Kenneth & Hurlston, David (2007). Geoffrey Bartlett. National Gallery of Victoria. p. 15. ISBN   9780724102884.
  28. ↑ "The messenger" . Retrieved 16 June 2021.
  29. ↑ Rumley, Katrina (1994). Geoffrey Bartlett. Australian Galleries Pty Ltd. p. 5. ISBN   0958813671.
  30. ↑ "City Collection". City of Melbourne. Retrieved 22 February 2022.
  31. ↑ Bruhn, Rosemary (24 March 1997). "Sparkling up the Yarra". Melbourne Yarra Leader.
  32. ↑ Turner, Brook (22 September 1995). "Sculptor Scales New Heights in the Art of Seduction". The Sydney Morning Herald.
  33. ↑ Sever, Nancy (2004). Geoffrey Bartlett: Volume and Sensuality. Canberra. Australia: The Australian National University. p. 19. ISBN   0958155984.
  34. ↑ Sever, Nancy (2004). Geoffrey Bartlett: Volume and Sensuality. Canberra. Australia: The Australian National University. p. 9. ISBN   0958155984.
  35. ↑ Bartlett, Geoffrey; Robert, Lindsay (2015). Geoffrey Bartlett: 280205. Australia: McClelland Sculpture Park+Gallery. p. 16. ISBN   9780987401076.
  36. ↑ Gill, Harbant (23 July 2007). "Lost in (inner) space". Australia: The Herald Sun.
  37. ↑ Wach, Kenneth & Hurlston, David (2007). "The Recent Sculptures of Geoffrey Bartlett". Geoffrey Bartlett. National Gallery of Victoria. p. 17. ISBN   9780724102884.
  38. ↑ "Artists Profile". australiangalleries.com.au. Australian Galleries. 2020. Retrieved 21 June 2021.
  39. ↑ Geoffrey Bartlett: Volume and Sensuality. Canberra. Australia: The Australian National University. 2004. ISBN   0958155984.
  40. ↑ "History of the Ewing and George Paton Galleries 1971-1990" (PDF). umsu.unimelb.edu.au. UMSU Inc. 2018. Retrieved 21 June 2021.
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