Truth Rules II

Press, 11 July 1988, Page 18

Truth Rules II

review

“Truth Rules II.” Poster art at the Robert McDougall Art Gallery until July 31. Reviewed by Pat Unger.

“Truth Rules” is an exhibition of posters from the Adelaide' Experimental Art Foundation, Australia. It follows “Truth Rules OK?” and has come about partly to show the present state of postermaking and to give evidence of Australia’s “unique, world leading” position in the field. It is also their self-negating “We call it exportation”

by Eugenia Hill is telling, “Missiles and Geese” by Peter Robertson is poetiantidote to the excesses of bicentennial congratulations.

Its main interest lies in expression of the eternal desperation that the powerless feel towards the powerful. With no part in decision making, the politically inarticulate turn to provocative “art with a social role.” A notice at the entrance informing viewers that the contents may offend, indicates the punchy language and postures in some of the prints. Subject matter is as varied and contemporary as a media-wise society can expect. Sexual harassment, sexual preference, racial intolerance, social inequality, poor housing, immigrant exploitation, women and alcohol, antiwar, anti-nuclear proliferation, anti-technology, anti-mechanisation, antipolice, even V.D.T.S are all reduced to argument by slogan Australian-style. cally pertinent and “La

Maquina no funciona” by Hugh Rammage/Michael Sherman makes great, eye-catching use of colour. With 121 posters in the show there is plenty to dwell on. Simplification, direct-

ness and harmony between image and lettering allow emotion to reinforce message. Screen printing techniques are competent, even flashy, but they lack the personal touch of the drawn line and the photocollage of the greats like Toulouse-Lautrec, John Heartfield and George Grosz. None surpass the savagery of Otto Dix’s printed moral and social indignations. How should such works be viewed in a public art gallery? Their plastic envelope “washing line” presentation is intended to break institutional attitudes of preciousness and to facilitate easy hanging in non-traditional places. The McDougall setting, however, enhances the works more than a mall or some other public place would. Sympathy for the lot of disadvantaged or unemployed people when viewed from the cosiness of a cultural establishment on a cold wintery morning comes generously. This show is a thought-provoking experience.