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...fear of war is made transparent. That is the true subject of a collection that begins in 1925 and ends in 1955. Here even the most whimsical of images, Eric Thake's Happy Landing, 1939, speaks of the turbines of warfare. It was war that brought German ?migr? Hein Heckroth to Australia. His brief detention in rural N.S.W. resulted in one of the show's loveliest works, Surreal Landscape, 1940, in which one of Max Ernst's birds seems to have settled on the sun-bleached scrub...

Author: /time Magazine | Title: Another Kind of Dreaming | 6/22/2004 | See Source »

...While Heckroth would return to England, the movement stayed. And the Agapitos/Wilson Collection makes marvellously clear how this "whore of the polymorphous," as James puts it, sunk its tentacles deep into the body of Australian art. Its spirit can be traced through the floating cow canvases of Sidney Nolan, the twisted tree trunks of Russell Drysdale's drawings, and the veil-like fish net that descends on Max Dupain's 1936 photo of a naked bride. What emerged was perhaps not pure Surrealism, but a psychological shift which was true to a movement that sought, above all, to liberate...

Author: /time Magazine | Title: Another Kind of Dreaming | 6/22/2004 | See Source »

...this respect Hein Heckroth, the designer, is the most outstanding contributor to the production. His settings and costumes are highly spectacular and yet are generally in perfect sympathy with the meanings of the film. At times Heckroth's display becomes a bit overwhelming, and his taste a little maudlin. Such is the case in the third act, which in other respects is also the poorest sequence. But as a contrast, the second act is a superb blending of decor, music, and dance...

Author: By Stephen O. Saxe, | Title: The Moviegoer | 4/9/1951 | See Source »

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