Tim Olsen, art dealer, is the son of arguably Australia's most famous living painter, John Olsen. Lauded by Sir Alistair McAlpine and Robert Hughes, honored by an OBE, legendary for an epic personality and known as a bravura host of the longest, wildest whiskey- and wine-soaked feasts in local bohemian legend, the father cast a long shadow over the son.
For Tim the only way through has been into the belly of the beast, forging his identity in the very centre of the art world his father dominated and subjecting himself to all of the cliches, excesses and odd adventures of the art dealer as a young man.
Addiction, obsession, controversy, desire, divorce, death, feuds, rivalry, redemption and lunch, always lunch, tell the story of a man attempting a self-made life in a landscape painted long before he was born.
'In this book I wish to reflect, not only on my own experiences in life; the struggles to live life fully and emerge complete from under the shadow of a famous father. I'm proud to call myself (as artist Margaret Olley described herself, 40 years sober) a non-practicing alcoholic. I cherish as a miracle what I was able to achieve having lived in such a contradictory and confused state of mind; a beautiful son, a reconciled relationship with my father, running one of Australia's foremost commercial art galleries and friends that I can rely on.'
This is a memoir that exposes the shenanigans and trickery, the surrealism and turbulence of an upbringing in the magnificent and legendary art world, a world changing with each generation and each show.
There is certainly a great deal of content in this book - it is a biography, autobiography, it reflects on modernist Australian art, it reflects on the ego of the artist and its reverberations through the generations, it also examines addiction, alcohol use in the arts and in Australian arts. I valued reading this book as I contemplate my own studies in art history, contemporary arts and art curation and try to fill in the gaps. I gained a lot from listening to the tidbits of industry gossip, experience and reflections. I didn't always like what I heard, but I certainly learned a lot. The book begins solidly in offering insights of John Olsen's life from the perspective of his young and growing son. The book gave me little insight into John and in fact I enjoyed it far more when the 'camera' was aimed at Tim. It is confessional and colloquial, lending a good honest sense of who Tim is and how he sees his life and contribution. He is a man who has found that art is truly a part of who he is and has found his own voice and self acceptance in a world that seems so natural to him. His way into the arts resembles not at all my own, and certainly helps me see where and why I have been stuck. He is infused in the stuff of the art world. Good book Tim; be proud.
I have always loved art and have read John Olsen's diaries and book, it was interesting to read Tim Olsen's story. It was a tad disappointing and disjointed, Tim tells us about his addiction but doesn't go too deep and doesn't disclose much about his personal relationships.
I’m being generous here. I think it is more like a 2.5 or even a two. There is lots of patting on the back as in - I know this famous person. I know that famous person. My dad is so famous famous famous and so on and so on. It gets a little bit tedious and not very useful to know. I did learn a bit about Australian art and art in general so that was good! It’s a bit annoying when he keeps saying what wonderful artists his mother and sister are. I checked out some of their art and I think it is a very personal thing to say they were good artists!:-)
Really gorgeous book. Informal art commentary and modern Australian art history - insider look at the life and subculture of the inner artworks of the 60’s onwards in Australia.
Personal stories shared with incredibly poetic but largely unpretentious voice, a difficult act given the impressive and romantic content.
Name-drops celebrities constantly, and can seem a little showy, but honestly I think his life and social spheres really just are that ‘cool’, and this is just his life.
Got that confusing rich-artistic class thing going on where one is both extremely problematic and obscenely rich and elitist, yet also romanticises poverty and has a kind of bohemia and anti-capitalist tinge.