![]() A wobbly line here or there (especially in the first few issues) was not a problem. Crozier and her husband Irvine Green used linocut as a cheap, effective way to enliven the poverty of the material with bold, colourful designs. In terms of printing, World War II resource rationing meant that the cover and internal papers were comprised of drab brown paper-stock. Although A Comment was published slightly earlier, the two shared many writers. The magazine’s companion publication was the better-known Angry Penguins, another Melbourne-based literary magazine of the time. ![]() Like her magazine, Crozier’s intentions were community-driven she wished to help stimulate the arts scene around her. It does not appear that she had any experience as an editor or arts worker, outside of artist modelling in London in her mid-20s. She had grown up in an itinerant family that moved across Asia and Europe, spending the majority of her adolescence in the south of France. The covers were modernist-bait, and the trap was set for local avantgardes by laying the magazine among the periodicals of only the hippest bookstores in Melbourne (where it was published) and Sydney (where the artists Carl Plate and James Gleeson distributed it).įor the value of their cover designs (rather than the experimental poems, stories and criticism held inside), Crozier’s magazine covers feature in the second iteration of the National Gallery of Australia’s successful exhibition, Know My Name: Australian Women Artists 1900 to Now.Ī Comment was launched by Crozier when she was 28 years old. Although their sparse design may not be a prime example of the linocut medium, they speak to the ingenuity of the magazine and its editor, Cecily Crozier.Ĭrozier wanted the bold designs to catch the eye of the right sort of people. Considered one of the most radical, self-published, Australian arts and literary magazines from the 1940s, A Comment’s simple cover designs were usually printed in just one or two colours. The linocut covers of A Comment literary magazine, which ran from 1940 to 1947, were not remarkable purely in and of themselves.
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