Angry Penguins

Angry Penguins was an art and literary journal founded in 1940 by surrealist poet Max Harris, at the age of 18. Originally based in Adelaide, the journal moved to Melbourne in 1942 once Harris joined the Heide Circle, a group of avant-garde painters and writers who stayed at Heide, a property owned by art patrons John and Sunday Reed. Angry Penguins subsequently became associated with, and stimulated, an art movement that would later be known by the same name. Key figures of the movement include Sidney Nolan, Arthur Boyd, Joy Hester and Albert Tucker.

Cover of the December 1945 issue of Angry Penguins, designed by Albert Tucker

Origins and ethos

Angry Penguins was a magazine first published in the South Australian capital of Adelaide. The title is derived from a phrase in Harris' poem "Mithridatum of Despair": "as drunks, the angry penguins of the night", and its use as a magazine title was suggested to Harris by C. R. Jury.[1] The magazine's main Adelaide rival was the Jindyworobaks, a nationalist and anti-modernist literary movement promoting Indigenous Australian culture and the Australian bush ballad tradition. According to Angry Penguins poet Geoffrey Dutton, "we stayed with Yeats, Eliot and Auden, ... and left Lawson and Paterson to the Jindys."[2] In 1942, Harris gained the patronage of John and Sunday Reed in Melbourne, and the magazine subsequently moved to the couple's home at Heide (now the Heide Museum of Modern Art).

The Angry Penguins artists were early Australian exponents of surrealism and expressionism, and included John Perceval, Arthur Boyd, Sidney Nolan, Danila Vassilieff, Albert Tucker and Joy Hester.

The Ern Malley hoax
Main article: Ern Malley

Their interest in Surrealism led James McAuley and Harold Stewart during their time at the Directorate of Research and Civil Affairs to create the group's most famous event, the Ern Malley hoax and the subsequent trial for indecency. James McAuley and Harold Stewart submitted a group of poems that fitted in with the typical submissions featured in the magazine's 1944 autumn number, and attributed them to a recently deceased young poet named Ern Malley, who never actually existed. These poems were constructed as a pastiche of fragments pasted together nonsensically; McAuley and Stewart were critical of Modernism, and wanted to prove that it has no inherent value.[3] The poems were received and published enthusiastically by the creators and patrons of the magazine. When it was revealed to be a hoax, the publication received negative backlash, and the affair tarnished the image of the magazine.[4]

Criticism

The Communist Party of Australia publicly criticized Angry Penguins. In the August 1944 issue of the Communist Review, to support his assertion that the magazine "has nothing to offer to Australian art, and that its effect will be to destroy, not raise Australian standards"[5] Vic O'Connor writes that editors of cultural publications are responsible for fostering cultural development as a part of the overall advancement of "standards of social and economic life in Australia", and that the editors of Angry Penguins are "completely indifferent" to this.[5]

Legacy and influence

The Angry Penguins art movement was surveyed in the 1988 exhibition Angry Penguins and Realist Painting in Melbourne in the 1940s, held at the Hayward Gallery in London.[6] In the exhibition's catalogue, English novelist C. P. Snow is quoted as saying that the Angry Penguins movement "was probably the last flowering of a 'national' modernism that a completely internationalised world of the arts was likely to see".[7]

Cultural references
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gollark: ```pythonimport syswith open(sys.argv[0]) as f: code = f.read()b = "`" * 3print(f"++exec {b}python\n{code}\n{b}")```
gollark: I used a regex.
gollark: I'm starting it up SOON™.

See also

References
  1. Nick Harvey; et al. "A History of the Faculty of Arts at the University of Adelaide 1876-2012" (PDF). University of Adelaide. Archived from the original (PDF) on 27 December 2015. Retrieved 20 August 2015.
  2. Dutton, Geoffrey. Out in the Open: An Autobiography. Brisbane: University of Queensland Press, 1995. ISBN 0702228109, p. 86
  3. Phiddian, Robert. "Are Parody and Deconstruction Secretly the Same Thing?" New Literary History, Vol. 28, No. 4. 1997. JSTOR 20057449
  4. Lloyd, Brian. “Ern Malley and His Rivals.” Australian Literary Studies, Vol. 20, No. 1. 2001. http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=4472166&site=ehost-live
  5. O'Connor, Vic. "A Criticism of Adelaide's 'Angry Penguins.'" The Communist Review. August 1944. https://www.marxists.org/history/australia/comintern/sections/australia/1944/adelaide.htm
  6. Keon, Michael (1 August 1989). "Angry Penguins at home and abroad", The Age.
  7. Hayward Gallery. Angry Penguins and Realist Painting in Melbourne in the 1940s. London: South Bank Centre, 1988. ISBN 1853320218.
  8. Carey, Peter (2003), My life as a fake, Knopf (Random House Australia), ISBN 978-1-74051-246-6
  9. Moran, Jennifer (2003) Carey's powerful plea for novel as act of imagination, The Canberra Times, 21 August 2003, p. 3
  10. Flanagan, Richard (2013), The narrow road to the deep north, Random House Australia, ISBN 978-1-74166-670-0
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