Do Go On - Do Go On Presents: Arty Facts - Joy Hester's 'Love I'

Episode Date: August 6, 2022

Joy Hester's 'Love I' is a fascinating piece with an equally fascinating story behind its creation. Affairs, angst and an art gallery built on an ancient cow burial ground all play an important role in the life of Joy Hester. Jess Perkins tells Joy Hester's story in this episode of 'Do Go On Presents: Arty Facts'.'Do Go On Presents: Arty Facts' is a joint production from Stupid Old Studios and the Do Go On podcast.Do Go On are Dave Warneke, Jess Perkins and Matt Stewart.Stupid Old Studios is an independent production house based in Melbourne Australia who specialise in making fine, handcrafted nonsense.Twitter: http://twitter.com/stupidoldInstagram: http://instagram.com/stupidoldFacbeook: http://facebook.com/stupidoldstudiosThis production was made possible with support from the Community Broadcasting Foundation. Find out more at http://cbf.org.au Hosted on Acast. See acast.com/privacy for more information.

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See app for details. You're listening to Artifacts, a show that dives into the fascinating history of famous artworks and painters. Broadcast on C31, Stupid Old Studios YouTube channel and the Community Radio Network. So often we hear about artists whose work isn't recognised until long after they're dead and one of those artists was Joy Hester whose tumultuous life and artistic career was deeply rooted right here at Heidi Museum of Modern Art. Hello and welcome to Artyfacts. My name is Jess Perkins and I'm here with my

colleagues and acquaintances Dave W Warnke and Matt Stewart. Hey. I would have said friends, but alright. Well. I thought friends. I was just razzing you, like friends do. Oh, that's fun. Yeah, this is a bit of fun.

We are here at the Heidi Museum of Modern Art and we're sitting in front of a piece by an artist who spent a lot of time here at Heidi. This is a piece from the Love series from Joy Hester. Either of you familiar at all with the name Joy Hester, with Heidi in general? I like how the name makes me feel. Yeah. Joy Hester. Okay, and it makes you feel-

Good. Okay. Cool, Matt, how does it make you feel? Yeah, also good. Any relation to Paul Hester? Yeah. Wow. I don't think that's true. It's not true.

But it was fun for a moment, wasn't it? It was, yeah. Yeah. This work screams love to me. Yeah. Love I or love one? What's the... Well, Roman numerals, so you could probably say either, I suppose.

What's L in Roman numerals? Love. Love. L in Roman numerals? Love. Love. L stands for love. You ever been so in love that your mouths disappear? Yes. Yeah, me too. No.

Yeah, well... One day. One day, little buddy. So to find out more about Joy Hester and the history of Heidi, I'm here chatting with head curator Kendra Morgan. Thanks so much, Kendra. Can you tell me a little bit about the Love Series, one of which is currently on display here? Yes, the Love Series is absolutely beautiful. They often show two heads. Often the male head

is more shadowy and a darker presence. The female is shown in a lighter, luminescent way. And the two heads often merge, often at the point of the eye so they are about sexual bonding but also just about intimacy and real deep deep connection and they were very unusual in australian art at the time and most explorations of sexuality and art particularly by women were about you know i guess the female nude or about eroticism in a more overt way. And these, of course, were very personal expressions of Joy Hester's psychological state at the time. I'm going to focus a little bit on the life of Joy Hester as well as the fascinating and deeply intertwined lives

of the artists who gathered here at Heidi in the 30s, 40s and 50s. It has a really, really interesting and somewhat complex history here. I'm really excited because I can see on your face that there's something. Something's happened here. Yeah. Nothing, like nobody's been murdered. I just want to... That's what your face is saying.

I know, and that's why my voice in my mouth is now dispelling that rumour. They want to tell us that, but they can't. They can't, no mounds. That's love. I wonder if there's any ghosts around these halls. Okay, you've immediately misunderstood. There's nothing like that. From the murder victims.

Oh, God. You're going to be so disappointed now. Disappointed. Oh, where's the murder? No one died here. I was promised murder. No, so how's this? Because the died. I was promised murder. No, so how's this? Because the three of us, we love

a great name. Joy St. Clair Hester. That's good. Born in August of 1920 in the Bayside Elsternwick Elwood area of Melbourne. She was a student of St. Michael's Grammar School in St. Kilda until the age of 17, at which time

she enrolled in commercial art at Brighton Technical School for one year before leaving to attend the National Gallery School in Melbourne. So yeah, an art education started at a pretty early age. She even won a prize for a life study at the annual students competition. So she's you know, she's very talented. While the curriculum was based in very traditional media and practice, Joy took this time to experiment a little bit. She broke free from formal restraints of art education at the time and her work during this time, though bound by tradition, was concerned with shadow and tonal shading and the relationship between dark and light. In 1938, at the age of 18, Joy Hester met

fellow artist Albert Tucker, another pretty good name, Albert Tucker, and lived with him in East Melbourne. And that same year, she was a founding member of the Contemporary Art Society, which was an organisation formed to promote non-representative forms of art. And they sort of had a focus on contemporary styles of art. Say to represent non-representative forms of art. To promote. Okay. Non-promotional forms of art. Yeah. I mean, I'm still-promotional forms of art. Yeah.

I mean, I'm still confused, but I love it. It sounds like a positive move. Yeah, very important and positive move. So the Herald Exhibition, which brought British and French artwork to Australia for the first time, happened in 1939. And there was an article published in 2005 that said the Herald exhibition of 1939 was the most important exhibition ever to come to Australia. Wow. I thought you were going to say the most important thing that happened in 1939. Most important thing that happened in 1939. Wow, when I think of 1939 and world events, I think of that art exhibition that came to Melbourne. That's right. Yeah, I think it kicked off some pretty nasty

business after that. You think that's what started everything? Well, yeah, as far as I can tell. Wow. Yeah, I think there was another artist who was pretty cranky about things after that. Oh, no. Because it goes on to say, despite obvious lacks and omissions, no German expressionists, no Russian constructivists. He was furious.

What about an Austrian impressionist? No Italian futurists and few surrealists. It brought the modern movement with a bang to the doorstep of Australia as nothing else had. So it was big. It was huge. Not a lot of people know that Mussolini was an Italian futurist. Did not think when researching that this is where we would go but I mean that's that's the joy of artifacts isn't it? That's the Joy Hester. There was also where Joy Hester met Melbourne based art patron Sunday Reid.

Oh my god what a name. Incredible, right? Holy shit. Just Sunday as a first name is incredible. Yeah. And then Sunday Reid. With an E or a Y on the end? Y, like the day of the week. Okay, not a chocolate.

No. No, not an ice cream Sunday. It's still cool, though. I'm picturing you sitting out in a park having a Sunday Reid. Lovely. That's nice. Beautiful. That is beautiful.

So Sunday and her husband John Reed were prominent art benefactors at the time and had purchased a former dairy farm a few years earlier and had turned it into a place for like minded art lovers

to retreat create and connect and that's where we are today we're sitting in an old dairy farm so maybe the ghosts are going to be cows moo

moo imagine imagine Cows. Moo. Moo. Imagine. Imagine. We're in a really, like, nice, fancy art place. I agree, and I think it feels right. It does feel right to talk about. It also makes sense that they insisted we do this before they opened the gallery. Nobody.

Nobody can walk in on Matt going, moo. Nobody No one can walk in on Matt going Woo But I I mean we just heard that They were driving past It was an old run down Dairy farm

And it cost a grand Yeah that's right Isn't that wild We were just told when we got here That it cost them a thousand pound I mean inflation It was the 30s But it's like 15 acres for a thousand pound

yeah it's wild so they named the property heidi after the nearby suburb of heidelberg and also i think as a reference to the heidelberg school which was an australian art movement of the late 19th century frederick mccubbin yeah yeah his gang of ne'er-do-wells. All doing their little art. Yeah. So Heidi became a real focal point for progressive art and culture as the Reeds opened their home to artists like Sidney Nolan, Albert Tucker and Joy Hester were here, John Percival, many, many more. In fact, Sidney Nolan, while living at Heidi on and off for almost a decade,

painted his famous Ned Kelly series in the Heidi dining room between 46 and 47. Wow. Between lunch and dinner. Between lunch and dinner. Because otherwise the dining room was being used and it would be pretty rude to take up the whole dining table, you know? Because there's many, many in that series, right?

Yeah. Yeah, there's several of them. I can't remember the exact number, but there's a lot of them. And that's like one of the iconic Australian art things. Couldn't have said it better. So well said. God we're the right people to do this series. Yeah.

We've picked up a lot of the jargon. Yeah. Are the maisons saines? Oh yeah. I don't know what that means. That's not the right word. What does that mean? Position. Position. Composition. Composition. That's not the right word. What does that mean? Position.

Position. Composition. Composition. It's what's happening in front of the camera. Yeah. Which is us right now. I stand by that. We are the middle.

So Joy had found a great friend in Sunday Read and a place to work and collaborate with other artists. And this loose grouping of artists became known as the Heidi Circle. I've, yeah, loose group, eh? Is that... are you foreshadowing there? Yeah, yeah, yeah. The wider community probably thought everything going on at Heidi was very bohemian. We do still have visitors come to the museum who tell us that they lived locally and their parents said, do not go near that property. They bathe naked in the sun and they, you know,

swim naked in the river. And it was very, I don't know, communal in its kind of, you know, intensity and the way they conducted their lives. So I think the local community found them a little unusual for the time, which is, you know, the 1930s and 40s. So there were artists who lived and worked at Heidi and included many of Australia's best-known modernist painters. So I guess, yeah, Sunday and John Reid,

just really good at bringing people together and creating a space for them to... And do they make art themselves? They're just, like, other people making the art? They, yeah, I think they just... They wanted to support artists while they were were making art i think there's some works that you know sunday said she helped with and and stuff like that but i think it was more just cleaning the paint brushes cleaning paint brushes yeah um standing next to the ass while

they're painting and going yeah that's so good that was such a good stroke i should use a bit of green yeah that sort of stuff yeah sort of stuff. Yeah, yeah. Well, they are using green. Yeah. And then she'd go, yeah, great choice. Yeah, yeah. You can have that. Yeah.

Just a really good hype woman. Yeah. Which I think we all need. So these artists led really fascinating and dramatic lives while they were living and working at Heidi's, so much so that they're the subject of books, articles, podcasts, including a book called Modern Love, The Lives of John and Sunday Reid, which was written by the current head curator, Kendra Morgan, and artistic director, Leslie Harding. It was released in 2015. And about the book, Emily Biddo wrote for the Sydney Morning Herald.

The Reids are revealed as hugely influential figures in the development of Australian art and intellectual culture. They offered significant financial support and intellectual mentorship to countless artists, and they were unflagging advocates of artistic freedom of expression, going as far as paying the legal fees of a number of artists and writers who had charges of obscenity brought against them. Yet, as with many patrons, John and Sunday expected something in return for their lajesse. Fun word. They depended on the circle for a sense of creative vitality. In a particularly harsh assessment, Albert Tucker described the Reeds as bored rich people looking for outlets. So I guess yeah, like I mean

you're asking what did they do? They were wealthy. They had a thousand pounds. They had a thousand pounds. On them as they drove past Lushum. Cash. I love that. Thank you. I feel like if I could be anything, I'd love to be a bored rich person. Oh, yeah. That's the dream. I mean, Albert Tucker saying it is like a little bit of an insult.

No, I didn't take it that way. Bored rich people. They became your heroes. Yeah. Holy shit. Because, I mean, that just implies that they weren't stressed. They weren't worried. They were bored. Yeah. They're just paying other people's legal fees oh the best yeah so good so yeah there was some they were paying legal fees because of obscenities yeah that famous sydney

knowing painting that just was said fuck and some people didn't like it yeah it was ned kelly just with the helmet on everything else yeah noose, full frontal, chop hangin' out and yeah the helmet was that sort of Nolan style them very modernist but the rest was very realistic. A little too realistic. You could see every single pubis. Is that? No, that's not. Pubic hair. Pubis is a bone. You could see every single way he had multiple of multiple bones. Everybody

has multiple bones. Are you one big bone? It sounds like he had an extra one. I don't think... You should get that checked. I saw somebody else describe it as if you were going to be a part of Heidi, then it was almost expected that Sunday was going to be a very involved part of your not just professional life, but also your personal life. There were affairs aplenty at Heidi as well.

The most tumultuous affair was between Sunday Reid and Sydney Nolan. And this lasted quite a while. Apparently ended when somebody said when Sunday wouldn't leave her husband, John, for Sydney Nolan, they kind of split up and then Sidney Nolan married John's sister Cinnafear and that caused a bit of a rift between all of them as well so it was it was a little bit messy right so it's like the the Fleetwood Mac of Australia. Yes, yeah, yeah, yeah. This is like rumours. Wow. Yeah.

Finally, I get it. Now you understand? Apparently, Nolan's Ned Kelly paintings were left here after the sort of fallout, and he wrote to Sunday asking for his Ned Kelly works back, but she instead returned 284 other paintings and drawings and refused to give up the remaining Kellys, partly because she saw the works as fundamental to the proposed Heidi Museum of Modern Art, which was always the plan. It was always the plan for them to build an art gallery here.

And it wasn't until 77 that she sought to resolve the dispute. She didn't give them back to Nolan directly. Apparently, she just gave them to the NGB, the National Gallery of Australia. Now you can look at them if you like. Yeah, you can go visit them if you want. So like I said, it seems that Heidi was a pretty creative and amazing place for a young artist to be, but it also had an intensity and drama all around,

and Joy Hester was certainly not immune to that at all. So she and Albert Tucker were married in 1941, and together they had a son, Sweeney, born in 1944. And in a dramatic twist, which would rapidly change the trajectory of Joy's life, in 1947 she was diagnosed with terminal Hodgkin's lymphoma. Doctors told Joy she maybe had a couple of years to live, two years probably. Immediately, apparently the same day she was diagnosed, she left Albert Tucker and her son and ran off to live in Sydney

with fellow Heidi artist, Grace Smith. Just left. Right. So betrayed and hurt, Albert Tucker also left Heidi. He left Australia, in fact. He went off to England to paint there. So Joy and Albert left their son, Sweeneyey in the care of John and Sunday Reid who eventually adopted Sweeney, raising him as their own. Wow.

All very sudden. And he's a toddler at this point. He's about three. Brutal. One anecdote that I came across was that Sunday was pretty desperate to adopt a child and in the past had broached the subject with other artist couples in the area just give me your son you've got an extra one or yeah funnily enough nobody had agreed to just you're gonna finish that or give her a job in the dining room again yeah you're gonna finish bringing that up because I could I mean I can do it don't I'll do it so yeah she was particularly delighted apparently to be left in charge of the care for Sweeney. So Hester and

Smith lived in Sydney for a time before returning to Victoria first living in Upway before settling in Box Hill and Joy's illness impacted her work dramatically and left an indelible mark loading it with emotional content. Her cancer diagnosis came in 1947 and by the time she received it she had really focused her work on this idea of psychological expression and intense emotional states and intense physical states. In fact, one of the most interesting things about her work is how she explores how the body feels to the person inhabiting it rather than how it looks or is externalised or can be emblematised. She spent a year undergoing quite intense radiation treatment and during that period

she focused very much on the face as the key subject for her work. She continued to make art and the face is really a kind of an expression of raw feeling. Often she really telescoped in on the eyes. One eye in some of these works is externalised, looking out to the outward world. The other one is kind of focused internally and very introspectively. And they really express her fear of death, her experience of having this radiation treatment where she had a mask over her head and was in a claustrophobic state in the hospital. over her head and was in a claustrophobic state in the hospital. And they are an absolute milestone, I think,

in the development of Australian art. During this period of the late 40s, Hester produced the drawings that became part of her notable Face, Sleep and Love series, which this one is part of the Love series. And her works were exhibited alongside her poetry in 1950 at her first solo show at the Melbourne Book Club Gallery. She had two more solo exhibitions in 55 and 56 but struggled to sell her art. Australian modernists at the time favoured large oil paintings like those of Sydney Nolan whereas Joy's work was typically smaller in scale you know like this one here it's not

gigantic and it's it's it's black ink it's just sort of light and dark shades not big and colorful at this time she failed to garner the same recognition her male peers received she was dismissed by critics as angst written which i mean given what was going on in her life probably justified yeah it's a funny thing to be criticized for as well. We are like, oh, our art to be happy. Yeah, that's right. Oh, an angsty artist. Never heard of her. Not for me. Thank you. Yeah, it's not worthwhile. A bit negative. Yeah. It makes me feel, and I hate that.

She had the Love series. There was also the Lovers series, which was later. And it was indicative of her maturing and expressive style. She also published poetry and used her drawings to illustrate her words. I hope those poems were happy and rhymed I hope even if the art was a bit angsty, the poetry was very happy. Yeah, great. And that juxtaposition that's the real art. So you might be thinking, hang on, she's having exhibitions eight years after she was told she had two years to live. She lived a bit longer than the two years the doctors had originally prescribed. Joy

and Grace Smith actually had a couple of children together as well. A son Peregrine in 1951 and a daughter Fern in 54. Strong art names. Really good names. But was Sunday Reid like um a couple more? Yeah, I'll take them. I'll take them if you want. After an extended period in remission, Joy Hester suffered a relapse of Hodgkin's lymphoma in 56, passing away another four years after that in December of 1960 at the age of 40, which is really sad,

but lived 13 years, 12, 13 years longer than they had said. Right. I can't believe she was only 40. I know, yeah. Got a lot done. Yeah, and she hadn't lived that, she did all the exhibitions post-diagnosis. Yeah, that's right, yeah.

So. Yeah, so she was working a lot through her illness and, yeah, exhibiting her work. Like I said, not getting the recognition of her male peers, but yeah, she will get the recognition. So like many female artists of the time, she wasn't celebrated or properly recognised during her lifetime. However, after her death, a few people,

including her first husband, Albert Tucker, worked tirelessly to make sure her career and her art was recognised by the press, by art galleries galleries and by the wider art community. And through the effort of her peers she's now recognized as having produced some of the most distinctive and intriguing imagery to emerge in Australia in the 40s and 50s. So huge. John and Sunday Reid organized a commemorative exhibition of her work in 1963. I read in one article that her son Sweeney curated a show of her work at one point as well. And article that her son Sweeney curated a show of her work at one

point as well and there was an exhibition here a couple of years ago at Heidi that was the Joy Hester Remember Me exhibition and it really demonstrated her range, the range of her skill I guess and how her work changed dramatically through her life and career and there's a little quote from that saying she really moved a long way from her early years in the late 1930s from a naturalistic to a far more expressive and subjective mode of art making. And reviewing her work for Time in 2001, Michael Fitzgerald wrote,

41 years after her death, Hester's drawings still suck the oxygen from the air, providing some of the clearest eyed images in Australian art. Yeah, a bit angsty for me. Sounds like they kill people. Yeah, they suck the oxygen from the air. And we need that to live. So people have gotten bored in later years.

Yeah. That's the brutal story you hear a lot with artists. Yeah. Don't get the respect until after they die. I know, yeah. And yeah, sadly, she did die quite young and so didn't get the respect until after they die. I know yeah and yeah sadly she she did die quite young and so didn't uh didn't get the recognition during her lifetime but is uh deeply respected and admired now. It feels like the critics at the time were doing like an

old school version of give us a smile hey can't you make your paintings have a little smile you don't even have mouths on them. Yeah, maybe it has a little bit of that. It was definitely, yeah, unfortunately, misogyny played a part, for sure. What? As a feminist, that is a real... I know, that is deeply offensive to you. Yeah. Yeah.

It's a real turn-off to me, misogyny. I hate it. Can't stand it. For 1950, these images of... that really legitimised the idea that psychological experience was a valid subject for creative expression. That was just beyond most of the critics' recognition. They didn't know how to understand it. But also she tackled subjects that were very female-centric. She did look at love, birth, death, the experience of motherhood, and she also drew rather than painted,

and drawing was considered a secondary medium. So the critics just couldn't take her seriously. She wasn't considered a serious artist. Would you say she was sort of ahead of her time? Absolutely ahead of her time. I mean, just the fact that, you know, we all now accept drawing as an autonomous means of expression, but in the 1930s when she started out it was very much considered a medium that you worked in

preliminary to creating a painting or a sculpture and She found drawing very immediate it presented no barrier to kind of her interior vision and she stuck with that It's such an interesting place that we're in now and like yeah Joy Hester's work is amazing and her experience is here but the whole sort of community and John and Sunday Reid it's um a pretty fascinating place. Maybe there's no literal ghosts but it feels like the spirit of this loose group of individuals still permeates through these walls and halls. Do you still visit the dining room? No.

No. You can't. What are you, looking for a kid? Anybody got a kid? Kid up for grabs? Have you visited Heidi before? No. My first time.

I've been here a few times and today's the first time I realised it's called Heidi not Hyde and I've said that to people just going down to Hyde today. Yeah. And people have not played along. They have not put me up on it. And once again proving we are the right people to be doing this art-based series. And I've said it to all sorts of people, like famous artists I couldn't think of a single one. Once again, proving. Leonardo DiCaprio. I've said it to DiCaprio, yes.

Please, leave me alone. But yeah, you should come down to Heidi. There's lots of permanent exhibitions. They also do temporary ones. Yeah. This is cool to hang out in a place that's so important in Australian art history. Yeah. And can I say this? World art history.

Whoa. I'm going to say it. There's been so many points where we could have ended. So I think we're fine. Well, they can do that later. No, that's what I mean. We won't have to do that now. No, no, no.

You're not doing a live edit, are you? Yeah, we do it in camera. You do it in camera? With scissors. Great. So we're sitting here in front of one of Joy Hester's pieces from the Love series. Thoughts, opinions, feelings? What do you think?

I like it. I like what's going on there. I like one of them's chin is up. Keep your chin up. Okay. Keep your chin up. That's not angsty to me. That's stoic.

Yeah. And this one's got a very long neck. Long neck. I love a long neck. Yeah. Love a couple of long necks. But I think it definitely feels like something's going on there. And I love that.

What do you think that something is? Passion. Yes. Yeah, yeah. I feel it's kind of, you know, it's making me feel excited. Okay. I think I maybe want you to stop talking about what you think about the art. I'd love to give Dave a go.

Maybe you give you a time out. It's rare that art makes me horny, but... It's not rare. It's quite easy actually. I love it I feel lucky that we've looked or fortunate that we've looked at it for so long. Yeah. Because when we walked in here it's quite a small unassuming piece. Yeah. And I feel like often you walk into a gallery you go oh fantastic yeah I'll look at that for a few seconds fantastic move on because there's so many things on offer because I've been looking at it for so long the more I look at it the more intriguing I find it I'm finding more things I think you're absolutely right it's nice to sort of actually have a chance to

properly look at it and spend some time looking at it and the more I'm looking at it the more I'm liking it yeah I'm going to make an offer I think I'm going to make an offer on this one it doesn't have a price. You've got a thousand pounds? A thousand pounds? Yeah.

It's a bargain. I imagine that is pretty cheap. I'm talking in 1934. Okay. You've got equivalent cash now? No. You've got a few mil? Doogon Presents Artifacts has been made with the support of the Community Broadcasting Foundation

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