Generally people know of the Dunmoochin commune but have not had the opportunity to view a wide range of art produced there and to learn of the major role that Dunmoochin played in Australian contemporary art history. Christopher Heathcote was selected as the guest curator of this exhibition because of his intense interest in, and knowledge of, Australian art and, in particular, the art and social development of artists in Melbourne, as analysed in his doctoral thesis. I commend Christopher's insightful essay to you. The Clifton Pugh Collection Christopher Heathcote Mention the term 'collection', and the art historian's mind usually turns to the acquisitions policies of public museums, or the interests of major patrons. What one tends to overlook, however, is the less prestigious collection of the individual artist.
All artists have private collections.
Some possess only a few contemporary objects, others have extensive collections that rival the historical holdings of public galleries. Obviously, few artists' collections are assembled as a conscious unity, nor do they reflect firm collecting policies. Unlike the professional curator, artists rarely wish to pursue 'good' historical pieces, or to fill supposed gaps in their coverage. In other words, rather than constructing a comprehensive survey, they acquire works of art of individual interest. The collection of Clifton Pugh is a case in point.