- Other Title
- Car painting
- Media category
- Materials used
- synthetic polymer paint on canvas
- 152.5 x 122.1 cm stretcher; 153.0 x 122.8 x 2.6 cm frame
- Signature & date
Signed and dated l.l. corner, blue synthetic polymer paint "Bridgid McLean '69".
Signed and dated u.r. verso on canvas, black synthetic polymer paint "BRIDGID McLEAN 1969".
- Patrick White Bequest Fund 2013
- Not on display
- Accession number
- © Bridgid McLean
- Artist information
Works in the collection
There were relatively few women Pop artists in the 1960s and 70s and most have disappeared from the history of the period. Worldwide, women artists are currently being retrieved and restored to Pop's history with major exhibitions in recent years in the United States and Europe focussing on their significant contribution.
Bridgid McLean's paintings are as accomplished as any of her international peers and fascinatingly her subject from c1968 to c1974 was the testosterone fuelled world of racing cars and their (male) drivers. Conflating man and vehicle, her paintings were often generically titled 'Machines'. These were critically acclaimed when exhibited in her first solo exhibition, in 1973 at Watters Gallery in Sydney. Artist and critic James Gleeson wrote in The Sun:
"Brigid (sic) McLean makes a spectacular debut at the Watters Gallery with a series of meticulously painted and finely designed works based on the automobile, racing cars and engine parts.
Her technique is remarkably painstaking and exact - relying largely on masking tape and the spray gun - and both theme and treatment can be traced back to American pop art.
Nevertheless Bridgid McLean's paintings are pop art with a difference.
She does not regard the automobile as a symbol of our time but as an object of aesthetic beauty. She admires a racing car in much the same way as Poussin admired the ruins of the Roman Campagna...".
In the mid 1970s McLean's practice changed. While still Pop inflected, her works from this period recall American west coast funk and the distinctive work of the Chicago imagists. Smaller in scale and highly detailed, McLean subjects people and body parts to pressure and in some works they literally pop open as plungers are pushed and weight exerted, while in others figures sprout multiple eyes and kidneys. They are meticulously made, reflected in the specific materials listed by the artist which also suggest the detailed and considered process involved in making them.
Shown in 1 exhibition
Pop to popism, Art Gallery of New South Wales, Sydney, 01 Nov 2014–01 Mar 2015
Referenced in 5 publications
Andrew Frost., theguardian.com.au, 'Pop to popism review - shock and social critique, with an Australian thread', Sydney, 03 Nov 2014, n.pag. (colour illus.). viewed 03.11.2014, http://www.theguardian.com/artanddesign/australia-culture-blog/2014/nov/03/pop-to-popism-review-shock-and-social-critique-with-an-australian-thread
Joel Meares., smh.com.au, 'Beg, borrow and arm-twist: wrangling the world's top artists for Pop to popism', Sydney, 29 Oct 2014, n.pag. (colour illus.). viewed 30.10.2014, http://www.smh.com.au/entertainment/art-and-design/beg-borrow-and-armtwist-wrangling-the-worlds-top-artists-for-pop-to-popism-20141029-11dhsd.html
Wayne Tunnicliffe, ARTAND Australia, 'The last pop artists', pg. 120-127, Sydney, Dec 2014-May 2015, 120 (colour illus.), 126, 127.
Wayne Tunnicliffe, Look, 'Sydney: Australia's pop capital', pg. 28-31, Sydney, Dec 2014-Jan 2015, 31 (colour illus.).
Wayne Tunnicliffe, Pop to popism, ''The easel did not go pop: it went bang!': Australian pop art', pg. 137-186, Sydney, 2014, 4 (colour illus.), 184 (colour illus.), 303, 324.
Other works by Bridgid McLean
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