Diena Georgetti has been a significant figure in Australian contemporary art, making paintings that cut through expectation since the outset of her career in the late 1980s. The recombination process of collage implicit to the making of her work enables the transporting and transposition of spirit and identity which, for the moment of that painting, she may adopt as her home, her place of commune and intermingling. Georgetti is an artist who tends to work in series, each one differing dramatically in style and content from the last. Stadium, 2017 is one of a series of works shown at Heide Museum of Modern Art, in the major exhibition 'Call of the Avant-Garde: Constructivism and Australian Art', alongside important Australian and international artists such as Ralph Balson, Inge King, Kazimir Malevich and Alexander Rodchenko. The work engages with a modernist vocabulary derived from a curious mixture of cubism, purism, and British surrealism from the 1930s. Symmetries, bipartite and tripartite divisions feature prominently in extraordinary amalgamations of colour.stonnington contemporary art collection, painting, cubism, constructivism, diena georgetti

John Nixon is known for consistently championing the contemporary relevance and aesthetics of early Modernism’s motifs and strategies: Minimalism, the monochrome, Constructivism, Non-Objective art are just some of his reference points. Conceptually, he is driven by investigative experimentation expressed through an economy of means. Nixon argues for an expansive vision for painting that extends painting into real space, and against the notions of narrative, illusion or expressiveness as the functions of art. This body of painting employs either random or ordered arrangements of colours and geometric shapes selected according to specific systems devised by the artist. The task is to make dynamic artworks, to challenge and excite the viewer.stonnington contemporary art collection, painting, modernism, minimalism, constructivism, geometric, john nixon

Boyd argues that there is little that is truly avant-garde or revolutionary in architecture. Boyd defintes 'antiarchitecture' as architecture which rejects aestheticism, an approach explored by constructivists, Archigram and Venturi. Boyd indicates that he suspects that architecture can never fully escape aestheticism.Original manuscript of the article published in The Architectural Forum, Vol. 129, No. 4, November 1968, pp. 84-86.Typewritten (c copy), quarto, 6 pagesAnnotation on p2radicalism, venturi, archigram, reyner banham, buckminster fuller, new brutalists, constructivism, john m johansen, paul rudolph, charles moore, japanese metabolism, george nelson, aestheticism, robin boyd, manuscript