Pinacotheca, Melbourne
[16] Pinacotheca's avant-garde stance was paralleled only by Sydney's Inhibodress and Watters galleries,[12] and indeed in 1977 a show Watters at Pinacotheca, during 4–28 May, showed Suzanna Archer, John Armstrong, George Barker, Jenny Barwell, Vivienne Binns, Hilary Burns, Tim Burns, James Clifford, Tony Coleing, Aleks Danko, John Delacour, Helen Eager, Jeanne Eager, Stephen Earle, Marr Grounds, Adrian Hall, Ian Howard, Noel Hutchison, Robert Jenyns, Ron Lambert, Richard Larter, Bruce Latimer, Frank Littler, Bridgid McLean, Marie McMahon, Patricia Moylan, Chris O'Doherty, Robert Parr, John Peart, Geoffrey Proud, David Rankin, Jon Rhodes, Ken Searle, Imants Tillers, Tony Tuckson, Vicki Varvaressos, Robin Wallace-Crabbe, and Max Watters.
[18]Its spacious accommodation in Richmond was in impression not unlike a New York SoHo loft,[19] and supported a similar sensibility;[20] ...a large concrete expanse, broken by scrubbed wooden pillars lay beyond the forbidding metal door.
Patrick McCaughey, The Age art critic, described it as "more or less, according to taste, than clean good fun" Pollard's early attitude to representing women artists was exposed in 1975 when Kiffy Rubbo, curator (1971–1979) at the avant-garde George Paton/Ewing Gallery asked Lesley Dumbrell to escort Lucy Lippard, a feminist critic of Pop Art and Minimalism who was then visiting from the United States as part of celebrations for International Women's Year.
[23][24] Over its 33-year history, more than 300 artists showed at Pinacotheca, including significant and challenging art by Australians Rosalie Gascoigne,[25] James Gleeson,[26] Bill Henson, Tim Johnson, Tony Tuckson and Stelarc.
[20][27] As minimal and more cryptic still, conceptually, was Robert Rooney/Simon Klose (Collaboration), from 10–20 August 1972, consisting of banks of deadpan photographic prints of urban landscape and interiors, with bluestone pitchers installed in grids on the gallery floor.
'[29] They were unaware that the defiant conceptual premise of the show was Klose's proposition that the pair should each produce work for the other—in the other's style and presenting it as theirs—and yet reveal the fact to no-one, even the critics, when questioned by visitors to the gallery, bar a few intimate friends.
