NGV Magazine

Issue 36
Sep–Aug 2022

‘A pencil and paper tells you a whole lot… drawing exposes all. Certainly true of me’. – Fred Williams 

Stories of home near and far lead this spring issue of NGV Magazine as Lyn Williams AM shares memories from late husband and Australian artist Fred Williams, and Myles Russell-Cook walks us through Indigenous Art from the NGV Collection. Mexican architect Tatiana Bilbao sits down with Gemma Savio ahead of the MECCA Women in Design Commission and Elizabeth Legge salutes the Young British Artists on the twenty-fifth anniversary of the Sensations exhibition. Plus, we reveal the secrets behind an unfinished fifteenth-century panel painting, celebrate trailblazers Marion Mahony Griffin and Charlotte Perriand, and chat childhood and craftsmanship with Adelaide-based designer Khai Liew.

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Features in this issue

COVER STORY Memories From London

‘His sketching was not confined to the classes. There are many of street and home life.’

By Lyn Williams AM

 RESEARCH Passion, Planet, Preservation

‘Establishing a suitable collection environment is a vital part of preventative conservation and has become a specialised field of museology research.’

By Michael Varcoe-Cocks

 DESIGN Building on Bilbao

‘The new work for the MECCA x NGV Women in Design Commission challenges the idea that the house is a place of rest and suggests that instead, it is the site of the most important kind of labour.’

By Gemma Savio and Tatiana Bilbao

 NEW TO THE COLLECTION How Charlotte Perriand Made the World Modern

‘She travelled extensively and her experience of other cultures and ideologies resulted in a unique design aesthetic imbued with modernity.’

By Imogen Mallia-Valjan

 SECRET LIFE OF ART Missing Pieces

‘Incomplete paintings such as these are rare, particularly from fifteenth-century Italy, where the longstanding workshop tradition meant that the painter could rely on assistants to complete works if the master was unavailable.’

By Carl Villis

 DEEP READ The Magic of Marion Mahony Griffin

‘Mahony made extensive use of stained-glass windows in her design that allowed light to come in from above, from the sides and from the front.’

By Glenda Korporaal 
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