Fairy Tales: There’s no place like home

Tim Burton (director), United States b.1958 / Colleen Atwood (designer), United States b.1948 / From Alice in Wonderland 2010 / (Left to right) ‘Alice’ costume; Silk, synthetic lace, plastic, metal / ‘Mad Hatter’ costume; Silk, synthetic lace, plastic, wood, metal, synthetic silk, yarn, velcro, synthetic fur, cotton, polyester, leather, synthetic fleece, silicone, glitter, synthetic hair, metallic thread, ostrich feathers, rubber, paint / ‘Red Queen’ costume; Silk, corduroy, synthetic jewels, plastic, polyester, synthetic lace, metal foil / Courtesy: The Walt Disney Company / © Disney Enterprises, Inc. All Rights Reserved / Photograph: N Umek © QAGOMA

Tim Burton (director), United States b.1958 / Colleen Atwood (designer), United States b.1948 / From Alice in Wonderland 2010 / (Left to right) ‘Alice’ costume; Silk, synthetic lace, plastic, metal / ‘Mad Hatter’ costume; Silk, synthetic lace, plastic, wood, metal, synthetic silk, yarn, velcro, synthetic fur, cotton, polyester, leather, synthetic fleece, silicone, glitter, synthetic hair, metallic thread, ostrich feathers, rubber, paint / ‘Red Queen’ costume; Silk, corduroy, synthetic jewels, plastic, polyester, synthetic lace, metal foil / Courtesy: The Walt Disney Company / © Disney Enterprises, Inc. All Rights Reserved / Photograph: N Umek © QAGOMA / View full image

Fairy tales of the nineteenth and twentieth centuries took a new focus on ‘home’ as a place of relative stability. Protagonists such as Alice in Alice’s Adventures in Wonderland or Dorothy in The Wonderful Wizard of Oz seek a return from strange and troubling parallel worlds to the familiarity and safety of their former lives.

In the classic film The Wizard of Oz (1939), Dorothy, played by Judy Garland, clicks her red heels together three times and repeats the phrase ‘There’s no place like home’ to transport herself and her dog Toto from the Land of Oz back home to her life in Kansas.

Alice and Dorothy’s journeys explore disorientation, theatricality and the wonders of the childhood imagination. The characters have also become reassuring stand-ins for those experiencing real-world challenges such as psychological, physical or political experiences of loss and displacement.

The ‘Fairy Tales’ exhibition unfolds across three themed chapters. ‘Into the Woods’ explores the conventions and characters of traditional fairy tales alongside their contemporary retellings. ‘Through the Looking Glass’ presents newer tales of parallel worlds that are filled with unexpected ideas and paths. ‘Ever After’ brings together classic and current tales to celebrate aspirations, challenge convention and forge new directions.

Travel with us in our weekly series through each room and theme of the ‘Fairy Tales’ exhibition at Brisbane’s Gallery of Modern Art (GOMA) as we explore some of the works on display.

DELVE DEEPER: Journey through the ‘Fairy Tales’ exhibition with our weekly series

EXHIBITION THEME: 10 Through the Looking Glass

Charles Blackman

Charles Blackman first encountered Alice’s Adventures in Wonderland (1865) and its sequel Through the Looking-Glass, and What Alice Found There (1872) through his wife Barbara, a writer and poet whose progressive blindness led her to listen to recordings of the stories read by BBC announcer Robin Holmes. Inspired by the visual imagery produced by Carroll’s whimsical wordplay (rather than the book’s famous illustrations by John Tenniel, which the artist had not seen), Blackman began to draw parallels between Alice’s nonsensical and unpredictable encounters and the real-world challenges he and his wife faced as a young couple. In addition to Barbara’s failing eyesight, an impending baby and changes in their financial circumstances influenced the development of Blackman’s series of 41 paintings.

Shown in ‘Fairy Tales’ are three works from the series: The Blue Alice 1956 (illustrated), which sees Alice (Barbara) and the White Rabbit (Blackman) being wed by the story’s Dormouse; Feet beneath the table 1956 (illustrated), which depicts a pregnant Barbara surrounded by cups and a teapot (in the vein of the ‘Mad Tea-Party’), melded with objects from Blackman’s working life as a short‑order cook; while Drink Me 1956 (illustrated) draws a wry parallel between Alice’s encounters with liquids and the medicines prescribed to Barbara for pregnancy-related heartburn. The integration of the Blackmans’ personal experiences with those of Alice offers a whimsical transformation of the tale from fiction to reality.

Charles Blackman ‘The Blue Alice‘ 1956-57

Charles Blackman, Australia 1928-2018 / The Blue Alice 1956-57 / Tempera, oil and household enamel on composition board / 122 x 122cm / Purchased 2000. The Queensland Government’s special Centenary Fund / Collection: Queensland Art Gallery | Gallery of Modern Art / © Charles Blackman/Copyright Agency

Charles Blackman, Australia 1928-2018 / The Blue Alice 1956-57 / Tempera, oil and household enamel on composition board / 122 x 122cm / Purchased 2000. The Queensland Government’s special Centenary Fund / Collection: Queensland Art Gallery | Gallery of Modern Art / © Charles Blackman/Copyright Agency / View full image

Charles Blackman ‘Feet beneath the table’ 1956

Charles Blackman, Australia 1928–2018 / Feet beneath the table 1956 / Tempera and oil on composition board / 106.5 x 121.8cm / Presented through the NGV Foundation by Barbara Blackman, Honorary Life Benefactor, 2005 / Collection: National Gallery of Victoria, Melbourne / © Charles Blackman/Copyright Agency

Charles Blackman, Australia 1928–2018 / Feet beneath the table 1956 / Tempera and oil on composition board / 106.5 x 121.8cm / Presented through the NGV Foundation by Barbara Blackman, Honorary Life Benefactor, 2005 / Collection: National Gallery of Victoria, Melbourne / © Charles Blackman/Copyright Agency / View full image

Charles Blackman ‘Drink Me’ 1956

Charles Blackman, Australia 1928–2018 / Drink Me 1956 / Tempera and oil on board / 121.5 x 134.5cm / Private collection / Courtesy: Philip Bacon Galleries, Brisbane / © Charles Blackman/Copyright Agency

Charles Blackman, Australia 1928–2018 / Drink Me 1956 / Tempera and oil on board / 121.5 x 134.5cm / Private collection / Courtesy: Philip Bacon Galleries, Brisbane / © Charles Blackman/Copyright Agency / View full image

Tim Burton (director) ‘Alice in Wonderland’ (2010)

Now over 150 years old, Lewis Carroll’s Alice’s Adventures in Wonderland continues to capture the imagination across artforms from fine art to performance and film. In the 2010 film Alice in Wonderland, directed by Tim Burton, we see Alice all grown up. In this rendition of the tale, she is now 19 years old and on the cusp of an engagement when she follows the White Rabbit down the rabbit hole. While still disorientated by her plunge into a new world, Burton’s Alice is more assured than the young child of Carroll’s book, and while personal growth and self-discovery are still part of the journey, Alice’s tale is now one of an empowered and independent heroine. Burton is known for his darkly whimsical directorial style and celebrated for his many films that subvert traditional fairy-tale tropes by offering a macabre spin on ideas of love, marriage and convention.

In ‘Fairy Tales’, we bring together three key costumes from his Alice in Wonderland — those of Alice, the Mad Hatter and the Red Queen (illustrated) — designed by Academy Award-winner Colleen Atwood.

Tim Burton (director), United States b.1958 / Colleen Atwood (designer), United States b.1948 / From Alice in Wonderland 2010 / (Left to right) ‘Alice’ costume; Silk, synthetic lace, plastic, metal / ‘Mad Hatter’ costume; Silk, synthetic lace, plastic, wood, metal, synthetic silk, yarn, velcro, synthetic fur, cotton, polyester, leather, synthetic fleece, silicone, glitter, synthetic hair, metallic thread, ostrich feathers, rubber, paint / ‘Red Queen’ costume; Silk, corduroy, synthetic jewels, plastic, polyester, synthetic lace, metal foil / Courtesy: The Walt Disney Company / © Disney Enterprises, Inc. All Rights Reserved / Photograph: N Umek © QAGOMA

Tim Burton (director), United States b.1958 / Colleen Atwood (designer), United States b.1948 / From Alice in Wonderland 2010 / (Left to right) ‘Alice’ costume; Silk, synthetic lace, plastic, metal / ‘Mad Hatter’ costume; Silk, synthetic lace, plastic, wood, metal, synthetic silk, yarn, velcro, synthetic fur, cotton, polyester, leather, synthetic fleece, silicone, glitter, synthetic hair, metallic thread, ostrich feathers, rubber, paint / ‘Red Queen’ costume; Silk, corduroy, synthetic jewels, plastic, polyester, synthetic lace, metal foil / Courtesy: The Walt Disney Company / © Disney Enterprises, Inc. All Rights Reserved / Photograph: N Umek © QAGOMA / View full image

Tim Burton (director), United States b.1958 / Colleen Atwood (designer), United States b.1948 / From Alice in Wonderland 2010 / ‘Mad Hatter’ costume; Silk, synthetic lace, plastic, wood, metal, synthetic silk, yarn, velcro, synthetic fur, cotton, polyester, leather, synthetic fleece, silicone, glitter, synthetic hair, metallic thread, ostrich feathers, rubber, paint / Courtesy: The Walt Disney Company / © Disney Enterprises, Inc. All Rights Reserved / Photograph: N Umek © QAGOMA

Tim Burton (director), United States b.1958 / Colleen Atwood (designer), United States b.1948 / From Alice in Wonderland 2010 / ‘Mad Hatter’ costume; Silk, synthetic lace, plastic, wood, metal, synthetic silk, yarn, velcro, synthetic fur, cotton, polyester, leather, synthetic fleece, silicone, glitter, synthetic hair, metallic thread, ostrich feathers, rubber, paint / Courtesy: The Walt Disney Company / © Disney Enterprises, Inc. All Rights Reserved / Photograph: N Umek © QAGOMA / View full image

Installation view, ‘Fairy Tales’, Gallery of Modern Art (GOMA), Brisbane featuring (Left to right) costumes by Colleen Atwood from Tim Burton’s Alice in Wonderland 2010; Courtesy: The Walt Disney Company; © Disney Enterprises, Inc. All Rights Reserved / Carsten Höller’s Flying Mushrooms 2015; Courtesy: The artist and Gagosian; © Carsten Holler. VG Bild-Kunst/Copyright Agency / Polixeni Papapetrou ‘Wonderland’ series 2004; Collection: Queensland Art Gallery | Gallery of Modern Art; © Polixeni Papapetrou/Copyright Agency / Photograph: J Ruckli © QAGOMA

Installation view, ‘Fairy Tales’, Gallery of Modern Art (GOMA), Brisbane featuring (Left to right) costumes by Colleen Atwood from Tim Burton’s Alice in Wonderland 2010; Courtesy: The Walt Disney Company; © Disney Enterprises, Inc. All Rights Reserved / Carsten Höller’s Flying Mushrooms 2015; Courtesy: The artist and Gagosian; © Carsten Holler.
VG Bild-Kunst/Copyright Agency / Polixeni Papapetrou ‘Wonderland’ series 2004; Collection: Queensland Art Gallery | Gallery of Modern Art; © Polixeni Papapetrou/Copyright Agency / Photograph: J Ruckli © QAGOMA / View full image

Fairy Tales
Brisbane’s Gallery of Modern Art (GOMA)
2 December 2023 – 28 April 2024

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    Beneath Charles Blackman’s Alice in Wonderland

    We take you on a journey of discovery beneath the paint surface of The Blue Alice 1956-57, uncover previously hidden details, and look at the technique and materials used by Charles Blackman. Discover 'The Blue Alice' 1956 Charles Blackman ‘The Blue Alice’ 1956-57 In April 1956, inspired by Lewis Carroll’s classic books Alice’s adventures in Wonderland 1865 and Through the Looking Glass 1872, Charles Blackman (12 August 1928-2018) began what would eventually become a series of forty-one works. This ‘Alice in Wonderland’ series was painted in Melbourne between 1955 and 1957 and completed in Brisbane in 1957. The first painting of the ‘Alice in Wonderland’ series, The Blue Alice 1956-57 (illustrated) was one of only five paintings sold at Blackman’s 1957 exhibition in Melbourne when this series was first exhibited . It likely retains its original frame made and designed by Martin Smith, then one of Melbourne’s leading framers . The Blue Alice was acquired by the Gallery in 2000, and is in fact the first painting acquired by QAGOMA this century. It is an intriguing painting. Alice is depicted in a sleep like state with eyes closed, standing off balance on one leg and holding a bouquet of flowers. The white rabbit, a looking glass, door mice and other creatures are with her in a field of flowers devoid of perspective. Blackman has described the ‘Alice in Wonderland’ paintings as probably the freest pictures he ever painted — they involved a process of wrestling with paint and ideas — painting them was like ‘carving them out of a tree with an axe’ . Looking at The Blue Alice, you can see this process of wrestling with the paint. For example, there are various brushstrokes that can been seen under the top paint layers which do not relate to the image on the surface. X-radiographs undertaken by the conservation section by Anne Carter and Mandy Smith in 2000, revealed that the artist made many changes and iterations to the composition (Illustrated). X-ray of ‘The Blue Alice’ The Blue Alice appears to have started out as a painting from his earlier ‘Schoolgirl’ series. In the 1950’s Blackman had made a series of works depicting groups of schoolgirls wearing typical uniform hats and we can see in the x-ray that the main figure originally wore a hat which has been painted out. This hat sits on a previously larger head, just visible in the x-ray (Illustrated). In the x-ray we can also see changes to Alice’s face. Originally Alice looked directly at the viewer, but in the final painted image she is seen in profile with closed eyes. Alice’s painted-out eyeball is just apparent under the closed lid of her eye (Illustrated). 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Blackman describes his relationship with Arthur Boyd as an apprentice to a master, and he learned from Boyd to make his own paint — incorporating homemade paints in his medium around 1952. ‘When I started painting without money I had to make my own colours… all the ‘Alice in Wonderland’ pictures were done with home-made paint’ . By handmade, Blackman means that he mixed commercial pigments and binders together himself rather than buying off the shelf colours. Analysis of microscopic scrapings of paint from...
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