Ann Stephen

Long before the era of digital media, the catalogue raisonné evolved as a virtual art museum to house the oeuvre of a single artist. Such scholarly tomes are known by the French adjective meaning a ‘reasoned’ catalogue, implying a tool for making sense. Thus by assembling each work with precise details on medium, dating, and provenance, an artist’s career can be fully understood and any attribution can be tested.

Frank Hinder’s abstractions, light works, and kinetic art have appeared in several recent survey exhibitions and publications, arousing renewed interest in the Sydney modernist (1906–92). It is thus timely for the first Hinder monograph, written by the curator Renee Free, with a chapter by the artist and teacher John Henshaw. No revisionary account, it began decades ago as a collaboration between the authors and the artist following the retrospective on Hinder and his wife, Margel, that Free curated at the Art Gallery of New South Wales in 1980. After Frank Hinder’s death, Free continued working with his family. This self-published book – accompanied by an online catalogue of works of art, compiled by Adam Free, her son – is a labour of love by both families.

A striking work by Adrian Feint and Hera Roberts appears on the cover of Modernism & Australia: Documents on Art, Design and Architecture 1917–1967. It shows an aeroplane, a locomotive and an ocean liner travelling in opposite directions through a vivid landscape of radiating lines and concentric circles. On the circular forms, which are reminiscent of abstract paintings by the French artist Robert Delaunay, we read the legend ‘Paris, Rome, New York, Cairo’; on the diagonal lines, ‘Hobart, Melbourne, Brisbane’. This 1928 work is typically modernist for its celebration of the exciting possibilities of modern technology, and in its use of bold colour areas and geometric shapes. It is also a declaration of a perceived, or wished-for, globalisation of culture, which Feint and Roberts, by adopting styles from international modernism, have realised in the work’s very design.