History

Foreword

Sue Cramer

This publication documents the history of the Institute of Modern Art, Brisbane from its inception in 1975 until the present day. In doing so, it provides a partial record, both visual and verbal, of the life of one particular institution and an insight into a 15-year history of exhibition-making within contemporary art.

There can be no doubt that 'contemporary art spaces' (previously institutions such as the IMA were known as 'alternative spaces') have a crucial and unique role in supporting and developing contemporary art and curatorial practices within Australia. As the photographs of exhibitions and the essays in this publication show, the Institute has played a significant role over its 15 years as a venue, not only for the exhibition of art that is being made in Brisbane itself but also that of artists working elsewhere in Australia and overseas. It is worth remembering too that the Institute is the second oldest of the contemporary art spaces in Australia. With this in mind, the Institute's archive, from which this publication has been drawn, becomes a valuable resource in the study of recent art. The photographs published here offer a visual record of individual works by many contemporary artists, a number of which may not have been published elsewhere. It is hoped therefore, that this publication might fruitfully be regarded as a source book from which more detailed projects of research can be undertaken. It is impossible in one publication to cover all of the activities and personalities, ideas, debates and discussions that have made up the life of the gallery. Alongside the exhibition program, the Institute has generated forums, lectures, film screenings and publications as an important part of its activities. Whilst every exhibition has been listed, it was not possible to include a photograph for each one. Sometimes, from the earlier years especially, such photographs were not available. Each of the Institute's directors, and the coordinator from the Institute's guest curatorial period (1982-4), have contributed a statement outlining their policies. The lists of presidents, life members, committee members over the years indicates the range of people directly participating in the Institute's activities.

Special thanks to Richard Stringer, who has documented the Institute's exhibition history through his documentary photographs.

On behalf of the Institute, I would like to thank the Visual Arts/Craft Board of the Federal Government's Australia Council and the Queensland Government for their continued support of the gallery, as well as the artists, guest speakers, curators, committee members, members and all those who have supported the gallery during its history and contributed to what the Institute is today.