Read Andrew's review via the attached links. John Peart's monograph is available to purchase both online in the gallery.
Andrew McIlroy, independent critic has published his review of the new artist monograph, JOHN PEART, edited by Sioux Garside. The hardcover monograph was published earlier this year (2026) by King Street Studios PTY, and features essay contributions by Sioux Garside, Anne Ryan, Quentin Sprague, Chris Saines CNZM and Virginia Milson, alongside Joe Frost’s 2011 interview with Peart.
‘John Peart’s paintings changed so considerably throughout his career that even those familiar with his art may find surprises in the new monograph John Peart, edited by Sioux Garside (2026). Beautifully illustrated and exceptionally well researched, the book also reminds us that an artist’s reputation is no substitute for examining the paintings. The book brings together contributions by Sioux Garside, Anne Ryan, Quentin Sprague, Chris Saines CNZM and Virginia Milson, alongside Joe Frost’s 2011 interview with Peart.*
Occasionally, John Peart cut up his own paintings and assembled new ones from the pieces. He evidently had little sentimental attachment to what he had already painted. Anne Ryan examines this practice in her contribution to the new Peart monograph, supplying insights into his methods that no reproduction of a finished painting could provide.
(….)
There remains an important place for the substantial artist monograph. Unlike an exhibition catalogue, it need not confine itself to the paintings assembled for a particular occasion. It can draw upon distant collections, incorporate research that would otherwise remain scattered and provide a visual account extending across an entire career. In Peart’s case, these advantages are particularly valuable. But elaborate production alone is no guarantee of scholarship. The finished book must justify the investment.
Following the closure of Watters Gallery, the Peart Estate is represented by King Street Gallery on William in Sydney and Charles Nodrum Gallery in Melbourne. Both have substantial histories of supporting Australian painting. Their association with Peart is appropriate, and this publication demonstrates what commercial galleries can accomplish when their accumulated knowledge, access to collections and publishing resources are put to good use.
The danger with an artist monograph is that admiration becomes its organising principle. Everything the artist did is retrospectively justified, every influence becomes significant, and the most ordinary biographical circumstances acquire an importance they may never have possessed. The result may be beautifully illustrated and impeccably produced, but the scholarship can amount to little more than an elaborate endorsement.
The contributors have avoided that trap. Their research into Peart’s materials and methods is exceptionally thorough, while his intellectual and spiritual interests receive equally careful consideration. The illustrations are magnificent. The book considerably enlarges our understanding of Peart, but its greatest service is to send us back to the paintings. There is a great deal more to see than his established reputation might suggest.’
Above excerpt from Andrew’s essay, published online via his substack THIS ART LIFE, Oct. 27, 2026.
Click HERE to purchase the new John Peart monograph online.
