Strangely I don’t really have one. At least I thought I didn’t. In fact, I’m the last person you would expect a complaint from. You could consider me a diehard Gallery of Modern Art (GoMA) fan. I’m that type who has religiously visited almost every exhibition since its opening on the banks of the Brisbane River; and even before that, was fed on a diet of the Queensland Art Gallery’s (QAG’s) children’s programs and early Asia-Pacific Triennials since the age of six. My singular gripe was wishing they’d turn the air-con down every once in a while.
It’s easy to point out the positives and successes of GoMA. It is now a world-class facility, being lent precious Picassos from the Musée National Picasso in France and the ‘core collection’ of surrealist works from the prestigious Centre Pompidou. Brisbane’s ‘black box’ has earned the trust of Europe’s most iconic galleries, which is no small feat. By doing so it has secured landmark exhibitions and put Brisbane on the international art and cultural tourism map.
How can there be any grievances towards a building that acts as the strongest representation, to the relief of many, that Brisbane is finally shaking off its cultural boneyard status? If you know where to look, you can and will find complaints regarding GoMA. Whether or not they are justifiable is a question that can only be answered upon closer examination.
Christopher Allen’s scathing review of ‘21st Century, Art in the First Decade’ in The Australian’s ‘Review’ puts forward the two most broadcasted gripes with GoMA. From the outset he expresses his annoyance at the number of children populating the gallery space. Labelling it a... The rest of this article is available to subscribers of Eyeline