Exhibition dates: 31st March 2015 – 5th July 2015
Curator: Joanna Bosse
Ansel Adams (American, 1902-1984)
Clearing winter storm, Yosemite National Park, California
1935
Gelatin silver photograph
56 x 71cm framed
National Gallery of Australia, Canberra. Purchased 1980
© 2015 The Ansel Adams Publishing Rights Trust
This is a fascinating exhibition at The Ian Potter Museum of Art, one of the best exhibitions I have seen this year in Melbourne. Unlike the disappointing exhibition Earth Matters: contemporary photographers in the landscape at the Monash Gallery of Art this exhibition, which addresses roughly the same subject matter (climate change and its devastating impact on the earth’s many ecosystems; contemporary notions of nature and the sublime) this exhibition is nuanced and fresh, celebrating “the unique capacity art has to cut through prevailing rhetoric to stimulate individuals both intellectually and emotionally in the face of current environmental issues.”
Every piece of art in this exhibition is emotionally, intellectually and aesthetically challenging. There is no “dead wood” here. As the press release states, “Nature / Revelation features international and Australian artists who are engaged with poetic and philosophical concerns, and whose work offers potentially enlightening experiences that energise our relationship to the natural world.” And it is true!
I spent over two hours on a couple of visits to this exhibition and came away feeling en/lightened in mind and body. From the formal beauty of Ansel Adams classical black and white photographs to the mesmerising, eternal video Boulder Hand (2012) by Gabriel Orozco; from the delightful misdirection of Mel O’Callaghan’s Moons to the liminal habitats of Jamie North; and from the constructed clouds of Berndnaut Smilde to the best piece in the exhibition, Jonathan Delafield Cook’s Sperm whale (Physeter macrocephalus) (2013, below) – every piece deserved its place in this exhibition. I would go as far as to say that Delafield Cook’s Sperm whale is the best piece of art that I have seen since Mark Hilton’s dontworry (2013) which featured in the Melbourne Now exhibition at the National Gallery of Victoria. The sheer scale and beauty of the work (with its graphite on canvas attention to detail) and that doleful eye staring out at the viewer, is both empowering and unnerving. It deserves to be in an important collection.
While nature and the world we live in offers moments of revelation, so did the art in this exhibition. The art possesses moments of wonder for the viewer. Kudos to curator Joanna Bosse and The Ian Potter Museum of Art for putting on a top notch show.
Dr Marcus Bunyan
Many thankx to the The Ian Potter Museum of Art for allowing me to publish the photographs in the posting. All installation photographs © Marcus Bunyan and The Ian Potter Museum of Art. Please click on the photographs for a larger version of the image.
Installation photograph of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing photographs by Ansel Adams
Photo: Marcus Bunyan
Installation photograph of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing at right, photographs by Ansel Adams; and at left, a detail of Jonathan Delafield Cook’s Sperm whale (Physeter macrocephalus) 2013
Photo: Marcus Bunyan
Installation photograph of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing Jonathan Delafield Cook’s Sperm whale (Physeter macrocephalus), 2013
Photos: Marcus Bunyan
Jonathan Delafield Cook (British, b. 1965)
Sperm whale (Physeter macrocephalus) (detail)
2013
Graphite on canvas
6 panels: 245 x 1200 cm overall
Courtesy the artist and Olsen/Irwin Gallery, Sydney
Photo: Marcus Bunyan
Jonathan Delafield Cook’s life size drawing of a Sperm Whale specimen possesses a haunting melancholy… [He] creates an encounter that recalls those between Ahab and Moby Dick immortalised in Hermann Melville’s famous novel. Being face-to-face, eye-to-eye with this majestic sentient being – distinguished for having the largest brain of any creature known to have lived on the Earth – is an awe-inspiring experience. The overwhelming enormity of scale and the panorama-like expanse of the whale’s skin rouse an acute awareness of our own small presence in the room (in the world).
Delafield Cook’s work belongs to the naturalist tradition, and his detailed charcoal drawing intensifies the physical qualities of the subject in a way that renders it both a forensic study and an otherworldly fantasy. The personal history of this sleek leviathan is writ large, like graffiti, on its skin: the abrasions, the exfoliations, scars and its ragged tail tell of unknown adventures in an environment that lies beyond our own experience, but one not exempt from degradation or environmental change.
Installation photograph of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing showing at centre right, photographs by Ansel Adams
Photo: Marcus Bunyan
Gabriel Orozco (Mexican, b. 1962)
Boulder Hand
2012
Video 54 seconds
Courtesy of the artist
Installation photograph of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing at left, Mel O’Callaghan’s Moons 2014; and at right, Gabriel Orozco’s video Boulder Hand 2012
Photo: Marcus Bunyan
Installation photographs of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing Mel O’Callaghan’s Moons 2014
Photos: Marcus Bunyan
Mel O’Callaghan (Australian, b. 1975)
Moons (II)
2014
pigmented inkjet print
100 x 100cm
Courtesy the artist and Galerie Allen, Paris, and Galeria Belo Galsterer, Lisbon
Climate change and its devastating impact on the earth’s many ecosystems is arguably today’s most critical global issue. Nature/Revelation celebrates the unique capacity art has to cut through prevailing rhetoric to stimulate individuals both intellectually and emotionally in the face of current environmental issues. Focusing on contemporary notions of nature and the sublime, the exhibition affirms that the world we live in offers moments of revelation, and that nature can provoke a range of associations – both fantastical and grounded – that profoundly affect us.
Nature/Revelation features international and Australian artists who are engaged with poetic and philosophical concerns, and whose work offers potentially enlightening experiences that energise our relationship to the natural world. Artists include Ansel Adams, Jonathan Delafield Cook, David Haines, Andrew Hazewinkel and Susan Jacobs, Jamie North, Mel O’Callaghan, Gabriel Orozco and Berndnaut Smilde. The exhibition also raises questions about concepts of nature and culture following the arguments of philosopher Timothy Morton.
This exhibition forms a key component of the ‘Art+climate=change’ festival presented by Climarte: arts for a safer climate. This festival of climate change related arts and ideas includes curated exhibitions at a number of museums and galleries alongside a series of keynote lectures and forums featuring local and international speakers.
The University of Melbourne, with the Potter as project leader, is the Principal Knowledge Partner of the Climarte program.
Text from The Ian Potter Museum of Art website
Installation photographs of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing at left on the floor, Jamie North’s Portal II and Slag bowl I & II 2014; and at right, David Haines’ Day & Night 2005-2015
Photos: Marcus Bunyan
Jamie North (Australian, b. 1971)
Portal II
2014
Cement, marble waste, limestone, steel slag, coal ash, plastic fibre, tree fern slab, various Australian native plants and Spanish moss
2 components: 107.0 x 26.0 x 26.0cm each
Courtesy the artist and Sarah Cottier Gallery, Sydney
Jamie North (Australian, b. 1971)
Slag bowl I & II
2013
Concrete, coal ash, steel slag, Australian native plants and moss
15 x 37 x 37cm each
Courtesy the artist and Sarah Cottier Gallery, Sydney
Photos: Marcus Bunyan
Viewers often mistake Jamie North’s sculptures for actual relics. The sculptures are in fact carefully crafted to emulate liminal habitats where hardy plant species grow in inhospitable conditions. More than mere simulation, each work is itself a miniature ecosystem and has to be tended accordingly.
The sculptures are cast from materials that are commonly found in industrial settings (steel slag, coal ash, marble dust, and concrete) and include local native flora. The specifics of locality are important to North, and his work is a subtle investigation of local environmental systems and the character of place as well as the adaptability of nature in urban settings…
North has an interest in terraforming – the theoretical process of deliberately modifying the atmosphere, temperature, surface topography or ecology of a planet to be similar to the biosphere of Earth. Here, he creates his own terraforms as a reflection on the environmental manipulations that taking place in the everyday.
David Haines (Australian born England, 1966)
Day & Night
2005-2015
Two channel video projection
Courtesy of the artist and Sarah Cotter Gallery, Sydney
Throughout his practice – which comprises investigations into the elemental in carious media – David Haines explores sensation in both seen and unseen forms. He has a particular interest in latent energies, such as aromas, sound waves and electromagnetic currents.
Haines revisits the classic language of the sublime in his 2004 two-channel video installation Day & night. He presents dual images of the sublime: one an immense cliff face with a sea surging against its rocky base; the other a brooding cloudscape, its form gradually unfolding with a mesmeric momentum. The work is simultaneously serene and disturbing, and awakens that range of complex emotions that Kant named the ‘supersensible’ – beyond the range of what is normally perceptible by the senses. The over-riding emotional rush – the presentiment of danger – associated with this experience is a trademark of the sublime.
The abstract sense of danger shifts however when we notice the tiny figure clinging to the cliff face. The scene is abruptly divested of its fantastical quality (its symbolic power is suddenly made real), as we can’t help but identify with the solitary figure. No longer merely observers, we become participants in the scene before us. The perilous figure in Haines’ work provides a touchstone in terms of the overwhelming grandeur of nature. In the context of the exhibition, s/he could represent each of us as we confront the seemingly insurmountable environmental and humanitarian challenges resulting from the increasingly catastrophic effects of global warming.
Installation photographs of the exhibition Nature/Revelation at The Ian Potter Museum of Art, Melbourne showing at left, Berndnaut Smilde’s Nimbus – Probe 2012 and Nimbus D’Aspremont 2010; and at right, Jamie North’s Portal II and Slag bowl I & II 2014
Photo: Marcus Bunyan
Berndnaut Smilde (Dutch, b. 1978)
Nimbus D’Aspremont
2012
Digital C-type print mounted on diabond
75 x 110cm
Courtesy the artist and Ronchini Gallery, London
Berndnaut Smilde (Dutch, b. 1978)
Nimbus – Probe
2010
Digital C-type print mounted on diabond
75 x 112cm
Courtesy the artist and Ronchini Gallery, London
The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria
Phone: +61 3 8344 5148
Opening hours:
The museum is closed for renovation
The Ian Potter Museum of Art website
Art Blart _ art and cultural memory archive 
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