Archive for the 'Art Blart' Category

16
Dec
14

Season’s Greetings from Art Blart 2014

 

Art Blart Season's Greetings 2014

 

 

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06
Oct
14

1000th post on Art Blart

 

This is the 1000th post on Art Blart.

I started the blog 6 years ago with 11 people a day reading it. Today the blog averages between 3-4,000 people a day and has over 3,000 Likes on Facebook.

Reproduced below are a couple of postings from the blog on its very first day 13/11/2008 – just text please note, no images – and a mandala image of the Sahasrãra or Crown Chakra (for creativity) to celebrate the milestone.

Namaste

Marcus

 

The artist does not turn money into time

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“The artist does not turn time into money, the artist turns time into energy, time into intensity, time into vision. The exchange that art offers is an exchange in kind; energy for energy, intensity for intensity, vision for vision… Can we afford to live imaginatively, contemplatively?”

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Winterson
, Jeanette. Art Objects. London: Vintage, 1996, p 139.

 

After Light

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“And on the other end of the spectrum, there is the AFTER LIGHT, a light of the past, which are echoes from past experiences so intense that they sometimes appear in front of us in the form of unexpected shadows. They hide on clear days under the roofs of houses. It is believed to be the same light seen by people we knew many years ago that survives like a message in a bottle, but always in a precarious way and often vanishes into thin air.”

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Helguera
, Pablo. “How to Understand the Light on a Landscape,” in Patt, Lise (ed.,). Searching for Sebald: Photography After W. G. Sebald. Los Angeles: The Institute of Cultural Inquiry, 2007, p. 119.

 

 

Crown Chakra

 

Sahasrãra or Crown Chakra / Thousand Petal Lotus

 

“That for which they seek is that which searches.”

Saint Francis of Assissi

 

Symbol: The Crown Chakra is known as the Thousand Petal Lotus. The number 1000, adds up and reduces to the number 1 in numerology. The number one represents strong leadership and will power, a courageous person who is goal oriented and driven. A number one person is a pioneer who is independent and individualistic and approaches issues from a unique perspective. A number one is original and sometimes unconventional. They possess tremendous potential for success in life.

Throughout history it has been depicted in paintings of Jesus the Christ, Buddha, Saints, Angels and other highly evolved beings as a golden white halo around their heads.

Color: The Crown Chakra is associated with the color violet. Some references link it to the color white as well. Violet is the highest color in the light spectrum. It represents the spiritual or higher self, wisdom, vitality, intuitive awareness, passion and dignity. White is purity and the color of the Divine light. Red, which is the lowest color on our physical perceptual light spectrum, and just above infrared light, rules the Root Chakra. Conversely, violet, the highest color on our physical perceptual light spectrum, and just below ultra-violet light, rules the Crown Chakra.

Sense: Our multidimensional and extrasensory senses are ruled by the seventh chakra. Once this chakra is opened, our sense of empathy and unity expands. When we raise our consciousness, we experience another person, place or object as if we are inside of them or as if we are “being” them. It is important, then, that we remember that with this power comes responsibility. We should activate these senses only to provide help or healing – NEVER for mere curiosity or with any malicious intent.

Compassion is the main sense that develops as our Crown Chakra opens. We have two kinds of compassion: Crown Compassion, which is more about perception and communication, and Heart Compassion, which is more about emotions and empathy.

Element: The element of this Chakra is the Cosmic Energy, which is often experienced as an inner light emanating from the deepest part of our being. This Cosmic Energy, which rules the higher kingdoms and stems from the Source, feels like an ultimate intelligence and a sense of all-knowing. When our Crown Chakra opens we can also experience the complete isolation and blackness of the Great Void. This Void, which resonates just below the fifth dimension, represents the raw potential for all that can, or will be. The total darkness is representative of the center of a seed before it opens into the light of manifestation. when we can perceive from our Crown Chakra, we can identify both extremes of all polarities.

The opening of the Crown Chakra expands our perception into the fifth dimension where there are NO polarities. Therefore, there are many paradoxes associated with this Chakra as it represents the “end of all paradox.” As we travel through the higher dimensions, it is important that we release all judgments associated with the polarities of light and dark. We must instead consult our own inner knowing and higher consciousness to navigate us through our inner worlds. Eventually, we will all be aware of our fifth dimensional selves; they know no judgment and hold no fear. For what is judgment, if not a form of fear?

Consciousness: Since our Crown Chakra represents our multidimensional consciousness, as we open this Chakra our reality will no longer be limited to the third and fourth dimension. When our Brow Chakra, the sixth Chakra, opens we begin to travel into the higher sub planes of the fourth dimension. With the opening of our seventh Chakra, and the subsequent activation of our Third Eye, our consciousness can now enter the fifth dimension. It is then that the many realities around and within us gradually become consciously apparent to us.

The process of our awakening begins with expanding the consciousness of our physical selves and working to clear our etheric bodies. Then the astral, the mental, the causal and the spiritual I AM consciousness can align themselves in preparation to ascend into the fifth dimension. Until we reach the fifth dimension we can “work” towards enlightenment, but from the fifth dimension on, we must simply “BE”. “Doing” is not important then; consciousness alone is important. And finally, in the sixth and seventh dimensions even consciousness is not important as there is only the “Isness”, the “Nowness” and the “Hereness.”

Source: www.chakras.net and 3rdeyevision.org

 

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23
Jul
14

Catalogue essay: ‘Being (t)here: Gay liberation photography in Australia 1971-73′ from the exhibition ‘Out of the closets, onto the streets’

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis
Curated by Dr Marcus Bunyan and Nicholas Henderson

 

This is my catalogue essay that accompanies the exhibition Out of the closets, into the streets: gay liberation photography 1971-73 at Edmund Pearce Gallery, Melbourne. It’s a bit of a read (3,000 words) but stick with it. I hope you like the insights into the background of the images and the people in the exhibition.

Marcus

 

Many thankx to all the artists for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Download the Being (t)here catalogue essay (2.2Mb pdf)

 

 

Being (t)here: Gay liberation photography in Australia 1971-73

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“For the colour and the soundtrack to be part of the politics, even a central part of the politics… meant something new by way of embodiment. Much of the political action was about being there, about putting one’s body on the line. A demonstration, sit-in or blockade is centrally about occupying space. A nonviolent movement tried to occupy space with bodies, not bullets.

It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

 

I came out as a gay man in 1975, six years after Stonewall and only a few short years after the photographs in this exhibition were taken. The first open acknowledgement of my nascent sexuality was to walk into a newsagent in Notting Hill Gate, London, head down, red as a beetroot and pick up a copy of Gay Times. I literally flung the money at the person behind the counter and ran out. I was so embarrassed. I was seventeen.

From the gay rag I found the name of the local convenor of the Campaign for Homosexual Equality (CHE) and went to meet him at his home. John was the very first openly gay man that I had ever met. We became lifelong friends. He used to hold coffee evenings a couple of times a week in his flat so that the local gay men had somewhere safe and secure to meet – to chat and laugh, to talk about love and life. Once a month there was a pub that we all went to in the country for a bit of a dance night, but that was it unless you went up to London to a nightclub.

None of us were very active politically, although we kept an eye on the papers and we all understood the discrimination and persecution we faced. But by the very act of being openly gay, as most of us were, we were making a political statement. I was openly gay at college in London and stopped “passing” as something I was not (a straight man) by coming out to my family and friends. I placed my being – there, there and there, in different contexts, so that my family, friends and the community could not ignore my sexuality. I never lived in fear but there was a great deal of self-loathing going on behind the scenes. In those days you were always thought of as “abnormal” and defective if you were a poofter. And there was the guilt of that association. As James Nichols observes, “To be gay or lesbian meant belonging to a genealogy of suffering, to have a dramatic, if not a tragic, destiny. Despite the many battles and certain victories that ensued, the homosexual remained a victim in the collective consciousness; a hidden man.”2  William Leonard continues the theme: “If concealment is a psychic wounding that divides each gay man against himself, it is also a collective division that precludes the forms of public association and political affiliation on which gay liberation depends. As gay men confront their own internalised feelings of self-recrimination, if not disgust, they begin to rattle the closet door and seek out, in public, others of their own kind.”3 And rattle the closet door I did. I flaunted my hi-vis identity for all to see. If the liberation movement meant putting your body on the line – not so much by consciously protesting on the streets but by being visible in whatever setting as a gay man – then I certainly did that.

 

Photography documented this Gay Liberation thing, the emergence in public and private of gay people. It not only documented this visibility but also represented it in very aesthetic and artistic ways that up until now have not really been recognised as such. This is where the photographs in this exhibition make their presence known. As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The photographer as artist was not just a witness to these events but actively participated in these actions, which they envisioned in a subjective way. Unlike earlier images of protest marches where there is an observational distance between the photographer/event which allowed for the depiction of environment and numbers (for example in the 8 hour day marches, see figures 1-4) – from the mid-1960s onwards there is a seismic shift in how photographs represent social change and observed history. Now the photographer marches with the inmates and becomes an intimate participant in the proceedings (see figures 5-6).

In this revolutionary era, the artist evidences an empathy with the events being photographed, an up close and personal point of view. Whatever meeting or protest they were there to record was important to them, be it anti-Vietnam war, anti-Apartheid, pro abortion, nuclear disarmament, Gay Liberation, Women’s Liberation, Aboriginal rights, anti-fascist marches and student protests from around the world. And it didn’t matter whether the photographers were gay, straight or whatever. People appropriated public and private space as a form of collective activism, using social movement cultures to re-make the world. The ways of imagining life and transformation, of imaging life and transformation were enabled by the photographer actively participating in these events. The photographer’s “second sight” did not consist in “seeing” but in being there.

As Professor Barbara Creed states of her interest in artistically documenting these actions, “I was very keen on the slogan – ‘The personal is political’. I was in favour of political action of all kinds – direct action, demonstrations, marches, meetings, consciousness raising groups, media publicity, television appearances, coming out at work, talks to schools etc. I was also very interested in the possibility of using artistic practices (film, photography, poetry, fiction, art) to build solidarity among gay people and to help change public opinion.”4

 

Photographer unknown. 'The original eight hour day banner' 1856

 

Figure 1
Photographer unknown
The original eight hour day banner
1856

 

John F. Shale. 'Mounted police assembled in the square during the General Strike, Brisbane' 1912

 

Figure 2
John F. Shale
Mounted police assembled in the square during the General Strike, Brisbane
1912

 

 

While “the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues,”5 for gay men pictured in the photographs these meetings and marches could be seen as a form of “coming out”, or a place to find solidarity, friendship or sex.6 Gay Pride Week in 1973, for example, was seen as a chance to target, “all the institutions of our oppression: the police courts, job discrimination, the bigoted churchmen and politicians, the media, the psychiatrists, the aversion therapists, the military, the schools, the universities, the work-places … It will also seek to change the mind of the prejudiced, the fearful, the conditioned, the sexually repressed, all those who in oppressing us, oppress themselves.”7 It was also intended to say to gay and straight alike, “gay is good, gay is proud, gay is aggressively fighting for liberation. It will say to gays: come out and stand up. Only you can win your own liberation. Come out of the ghettos, the bars and beats, from your closets in suburbia and in your own minds and join the struggle for your own liberation.”8

For photographers it was a chance to picture a changing world. As Sydney photographer Roger Scott has observed, “I knew I could make a point with my camera. It was exciting. The old conservative world was ending and a new Australia was beginning.”9 With the birth of a new Australia came the end of the White Australia policy when the Whitlam Government passed laws to ensure that race would be totally disregarded as a component for immigration to Australia in 1973; with it came the presence of gay people on the streets shouting ‘come out, come out, wherever you are’ – but certainly not in the newspapers or on television for there was, essentially, the suppression of any reference to, or reportage of ‘homosexuals’ in the mainstream press in Australia.10 If they were pictured, gay people still usually turned away from the camera or had their faces blacked out for fear of discrimination and abuse. As artist John Storey notes, “Conservatism flooded the media, government and all the rest. Homophobia was everywhere but was not a term used in public.”11

As for what prompted artists to document organizations and events, Professor Creed remarks, “I loved to film life around me. I had access to good equipment. I thought it was important to have a visual record of the emergence of Gay Liberation. I believed that films and photos would help to create a sense of community for everyone involved in Gay Liberation. Many members of Gay Lib had been ‘closeted’ all of their lives and so it was a new experience for them to join what is best described as an alternative family. In those days, the Gay Lib group was relatively small – perhaps 30-40 members, so we all knew each other. We held regular meetings, joined CR groups, took part in demonstrations, went away for weekend group events, held dances etc. I also wanted to capture the way we looked, couples together, friends, what we wore, our fashions and styles. Some of the guys had a fantastic sense of style – much more than many of the women who were in revolt against ‘feminine’ fashion. I hoped my films and photos would give support to the gay community and to our emerging sense of forming a new identity.”12

By their very embodiment, the art and politics of these photographs awakens what Roland Barthes calls the “intractable reality” of the image 13 – that prick of consciousness (the punctum), that madness that documents activism and freedom from persecution as both aesthetic and ethical, performative and political. Here, the idea of “being there” – being fully present, in mind and body; being there at the marches; being in the images; being in front of the image looking at it; coupled with the physical presence of the photograph, manifests itself most strongly. Even today, the photographs shock the viewer with their intractable reality. You can just feel the passion of these people, the police presence, the fear, and the authenticity of the photographers’ voice – raw, in your face, people really standing up to be counted.

 

Photographer unknown. 'Eight Hour Day parade in Brisbane' 1912

 

Figure 3
Photographer unknown
Eight Hour Day parade in Brisbane
1912

 

Photographer unknown. 'Women evening students' float on Park Street in the 1940s' Photo, Mitchell Library, State Library of NSW

 

Figure 4
Photographer unknown
Women evening students’ float on Park Street in the 1940s
Photo, Mitchell Library, State Library of NSW

 

 

There is also another side to these photographs – the documentation of the more private moments (meetings, consciousness raising groups, friends in the car etc) and the portrayal of gays one on one, close up and personal with the camera in mugshots used in a grid for the cover of CAMP Ink magazine in 1972. Only today can we truly appreciate the intimacy and beauty of these photographs: the photographs of two young gay men in the back of a VW Kombi van that exists only as a 35mm contact print, now scanned and rescued from oblivion; or the presence of gays posing for the camera against a neutral backdrop, every pore of their skin able to be seen (a precursor to the large colour portraits of Thomas Ruff). As Professor Creed states of her desire to capture these intimate moments, “In the 70s film, media and television rarely if ever depicted us at all – let alone our public or private lives. I have always been drawn to the aesthetic power of film and photography to represent the inner world and inner lives of people. The visual image is a great leveller – it reveals the commonality of living things, the need for affection, companionship, community. Contrary to popular myths of the time, gays and lesbians also have a need for intimacy, as does everyone else. When I made my documentary, Homosexuality A Film For Discussion, I included a segment of intimate moments between couples before the commencement of the documentary street interviews, to link the two (private and public together) and to show that many of the negative comments from the general public about loneliness did not match the actual lives of gay people.”14

So where did the photographs that were taken by these artists end up? Often they were collectively passed from hand to hand and used in newsletters, pamphlets and magazines such as CAMP Ink. As Jill Matthews, who compiled the album of Adelaide photographs observes, “The groups and events were very collective enterprises. In those days anyone who had a camera took photos. If people took photos of you, you asked for copies or they gave you prints. There were many prints made and various people had copies. At the time the use of the photos was personal and collective. The newsletters were collective enterprises with everyone chipping in, using whatever was to hand. There was no editor, although some efforts were made to achieve a sense of continuity. Making the newsletters were always fun group events, with a lot of different things you could do, they were basically parties really.”15

Eventually the photographs settled in personal archives and were largely forgotten or were donated to institutions such as the Australian Lesbian and Gay Archives. And then they all but disappeared from view.

 

A second (but different) “coming out”

With this exhibition these eclectic photographs re-emerge in a kind of second “coming out.” Having been put away for so many years they appear in the clear light of day, in the clear light of new thinking about their artistic merit and how they act as memory aids to feelings and relationships, events and politics.

While analogue photographic images carry Roland Barthes imprint ‘this has been’ – in other words, a photograph is a depiction of something that has already happened, that is already dead – images do not have fixed or settled meanings. As Scott McQuire insightfully observes, meaning in images “is always transactive: it is the result of complex and dynamic processes of interpretation, contestation and translation. Evidence and testimony is always to be actively produced in the complex present… the photograph’s combination of unprecedented visual detail, which seems to anchor the image in a particular time and place, [is] coupled to the endless capacity for images to travel into new times and places.”16 He goes on to say that photographic history is littered with images that have their meaning altered by entry into a new setting. The images in this exhibition are a case in point for I am examining them as artworks as much as they can be seen as documentary evidence of things that have been.

We should not be afraid of this new interpretation for, as McQuire notes, “Too often when we talk about ‘context’ in relation to a photograph, it is as if there is a finite set of connections that might be fully reproduced, if only we had the time or resources. In other words, the polysemy of the image is given a cursory and limited acknowledgement, in the hope that it can be thereby tamed. Rather than this partial, rather defensive acknowledgement of the fragility of meaning, I am arguing that we need to begin with acceptance of the irreducible openness of technological images. This quality is integrally related to the capacity of any image to circulate and appear in new situations.”17 In other words there is no definitive context for any image and we should not be afraid to approach new interpretations of the work or the coexistence of many possible meanings within that work. This process can be seen as analogous in a contextual sense to the construction of what the French philosopher Henri Bergson (1859-1941) called the ‘composite’ in the physical sense, which he defined as, “construction/model where things different in kind are reconciled through our experience over time. Differences are reconciled not unified. The composite embraces ideas of complexity and multiplicity, allowing different conventions, materials and contents to coexist in an artwork. It therefore permits complexities and relationships of readings to coexist. The viewer becomes aware of new and shifting layers of content revealed over the time of viewing, and of our role in constructing, interpreting and experiencing content(s). This is not just theoretical, it is the way we experience and negotiate the world everyday, as complexity in the continuum of time and space.”18 The viewer thus creates a composite view of these images in the here and now.

The images importance, then, lies in the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. Their residence in the Australian Lesbian and Gay Archives (ALGA) archive, which undoubtedly preserves them, marks this institutional passage, this transition of marginalised histories from private to public, “which does not always mean from the secret to the non-secret.” Under the privileged topology of ALGA they are classified and ordered and made available for study and research, but we must also acknowledge that archives give shape to and regulate cultural memory. They influence our perception of the past and present. As Jacques Derrida writes in Archive Fever: “”There is no political power without control of the archive, if not of memory.” He indicates that the stakes are high over the memorialisation and excavation of sites and people’s histories.”19 This does not mean that ALGA does not promote an active engagement with the works it holds in safe keeping, far from it. They encourage the use of the archive by artists and the recontextualisation and renarrativisation of the images in this exhibition, from documentary objects to visual art works and back again, could not have occurred without their forthright help. But as Mathias Danbolt notes in his excellent article Not Not Now: Archival Engagements in Queer Feminist Art, archives will always be sites of contestation: “The conversations on archives in queer and feminist contexts tend to center on ways to break with the strictures and structures of archival logics, in order to give room for alternative forms of historical (and herstorical) transmissions. But even though archival logics tend to be a continual object of critique in feminist and queer work, the desire for archives is still present… If the process of archivization is fundamentally about conferring historical status upon material, how to avoid that the status as archival disconnect the queer feminist “past” from the “present” – the “then” from the “now”?”20 Danbolt goes on to suggest that this process is a balancing act, “between the desire for having a history, and the anxiety for being historicized, in the sense of being cut off – metaphorically, practically, systemically – from the present.”21

For me, then, this exhibition is as much about freeing these images from the guardianship of the archive, if ever so briefly, to let them live again in the real world, to let them speak for themselves, as those first gay protesters did all those years ago. To free them of the shackles of being seen as “historical” documentary photographs, the official history of gay liberation in Australia and for them to be seen works of art in their own right. It is about the representation of queer identity through the evidence of photography – from that place, in that time, now breathing in a different era, these people fighting for their liberty. It is about these images and the people in them being (t)here.

In contemporary society, where we are flooded with a maelstrom of images, I believe it is important to contemplate these images for more than just a few seconds in order to understand their history and importance not just for the past, but also for the present and the future. Today, we compose our stories and our histories out of fragments and alterations of spaces. We gather together our sources (in archives, for example) and try and make sense of the past in the present for the future. This process of understanding is about an acknowledgement of the past in the present for the future. Again I say, it is about being (t)here.

In an era of ubiquitous media images, the photographs in this exhibition deserve our attention and contemplation for they are survivors – images that perceptively visualise the initial stages of Gay Liberation in Australia, images that are still alive in the present. Their contemporary re-emergence may lead the community to finally have some iconographic images of the early stages of gay resistance and visibility – intimate representations of protests, meetings and events that ultimately changed the lives of many GLBTI people. They may also have some damn good art upon which to feast their eyes.

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Dr Marcus Bunyan
July 2014

Word count: 3,423

 

Ponch Hawkes. 'Poofters!' 1973, printed 2014

 

Figure 5
Ponch Hawkes
Poofters!
1973, printed 2014
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John Englart. 'Gay Pride Week poster, Gay Pride march outside the Town Hall Hotel, Sydney Town Hall' Sydney, 1973

 

Figure 6
John Englart
Gay Pride Week poster, Gay Pride march outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Endnotes

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 43.

2. Nichols, James. “Sébastien Lifshitz Releasing ‘The Invisibles: Vintage Portraits of Love and Pride’,” on The Huffington Post website 05/01/2014 [Online] cited 02/05/2014.

3. Leonard, William. “Altman on Halperin: politics versus aesthetics in the constitution of the male homosexual,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 197.

4. Email text in response to the question ‘What were your politics during your involvement with Gay Liberation/events (Gay Pride Week etc)’ to co-curator Nicholas Henderson 01/06/2014.

5. Altman, Dennis. “Out of the closets, into the streets.” Catalogue essay. Melbourne, 2014, p. 2.

6. Ibid.,

7. Anon. “Gay Pride Week,” in Melbourne Gay Liberation Newsletter, 1973 quoted in Ritale, Jo and Willett, Graham. “Rennie Ellis at Gay Pride Week, September 1973,” in The La Trobe Journal No. 87, May 2011, pp. 87-88 [Online] Cited 11/07/2014.

8. Ibid., p. 88.

9. Scott, Roger quoted in Scott, Roger; McFarlane, Robert and Hock, Peter. Roger Scott: from the street. Neutral Bay, N.S.W.: Chapter & Verse, 2001, p. 13.

10. Email text from co-curator Nicholas Henderson 12/03/2014.

11. Email text from John Storey to co-curator Nicholas Henderson 17/05/2014.

12. Email text in response to the question ‘What prompted you to document the organisations/events?’ to co-curator Nicholas Henderson 01/06/2014.

13. Barthes, Roland. Camera lucida: Reflections on photography. Hill and Wang, 1st American edition, 1981.

14. Email text in response to the question ‘One of the aspects of your photographs that I am quite intrigued by is the documentation of the more private moments (meetings, consciousness raising groups, friends in the car etc), what brought you to photograph these subjects?’ to co-curator Nicholas Henderson 01/06/2014.

15. Jill Matthews notes from telephone conversation to Nicholas Henderson, Tuesday 22 April 2014.

16. McQuire, Scott. “Photography’s afterlife: Documentary images and the operational archive,” in Journal of Material Culture 18(3) 2013, p. 227.

17. Ibid.,

18. Thomas, David. “Composite Realities Amid Time and Space: Recent Art and Photograph,” on the Centre for Contemporary Photography website [Online] Cited 12/07/2014.

19. Derrida, Jacques. Archive Fever. Chicago: University of Chicago Press, 1996, 4, note 1 quoted in Eckersall, Peter. “The Site is a Stage/The Stage is a Site,” on the Archaeology and Narration blog, Saturday, April 9, 2011 [Online] Cited 05/07/2014.

20. Danbolt, Mathias. “Not Not Now: Archival Engagements in Queer Feminist Art,” in Imhoff, Aliocha and Quiros, Kantuta (eds.,). Make an effort to remember. Or, failing that, invent. Bétonsalon No. 14, 2013, p. 4. ISSN: 2114-155X.

21. Ibid., p. 5.

 

 

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30
Jan
14

Research at the State Library of Victoria update

Date: 30th January 2014

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research experience on the charles marville photographs at the state library of victoria update

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Dear readers

Yah – a lovely response from the State Library of Victoria !!

I look forward to seeing the Marville’s in all their glory. I will let you know how the visit goes…

Marcus

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Hi Marcus, we’re sorry to hear your experience was not a positive one. The Marville Collection is an extraordinary anthology of photographs to be celebrated. While we certainly don’t wish to keep this treasure from the public, we do want to ensure these photographs are preserved for future generations to enjoy.

So that everyone can access these photographs at any time, we have digitised the entire collection in high resolution and made available online. We also arrange viewings of the original photographic prints by appointment but due to their age, size and delicate nature, it’s preferable that only a selection are brought out at any one time and handled with care. The plastic envelopes in which the photographs are kept are archival and the blue card on which they’re mounted is how the prints were exhibited in 1880 and include the original captions. Conservation staff have assessed the prints and original backing card and are of the opinion that the card is not causing any damage to these photographs.

Our Collection Services Manager is getting in touch with you to arrange another visit where you can see more from this wonderful collection. We look forward to seeing you back at the Library soon.

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Charles Marville (1813-1879, photographer) 'Rue Tirechape (de la rue St Honoré)' c. 1853 - c. 1870

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Charles Marville (1813-1879, photographer)
Rue Tirechape (de la rue St Honoré)
c. 1853 – c. 1870
In collection: Photographic views of Paris
Undated, dates assigned from time of Haussman’s renovation of Paris
photographic print mounted on cardboard : albumen silver
32 x 26 cm
Gift; Government of France; 1880

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State Library of Victoria
328 Swanston St,
Melbourne VIC 3000
T: (03) 8664 7000

Opening hours:
Sunday 10.00 am – 6.00 pm
Monday 10.00 am – 9.00 pm
Tuesday 10.00 am – 9.00 pm
Wednesday 10.00 am – 9.00 pm
Thursday 10.00 am – 9.00 pm
Friday 10.00 am – 6.00 pm
Saturday 10.00 am – 6.00 pm

State Library of Victoria website

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03
Jan
14

Melbourne’s magnificent nine 2013

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Here’s my pick of the nine best local exhibitions which featured on the Art Blart blog in 2013 (plus a favourite of the year from Hobart). Enjoy!

Marcus

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1/ Review: Terraria by Darron Davies at Edmund Pearce Gallery, Melbourne

This is the first “magical” exhibition of photography that I have seen in Melbourne this year. Comprising just seven moderately large Archival Pigment Print on Photo Rag images mounted in white frames, this exhibition swept me off my feet. The photographs are beautiful, subtle, nuanced evocations to the fragility and enduring nature of life…

A sense of day/dreaming is possible when looking at these images. Interior/exterior, size/scale, ego/self are not fixed but fluid, like the condensation that runs down the inside of these environments (much like blood circulates our body). This allows the viewer’s mind to roam at will, to ponder the mysteries of our short, improbable, joyous life. The poetic titles add to this introspective reflection. I came away from viewing these magical, self sustaining vessels with an incredibly happy glow, more aware of my own body and its relationship to the world than before I had entered Darron Davies enveloping, terrarium world.

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Darron Davies. 'Encased' 2012

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Darron Davies
Encased 
2012
Archival Pigment Print on Photo Rag
80 x 80 cm / edition of 6

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Darron Davies. 'The Red Shard' 2012

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Darron Davies
The Red Shard 
2012
Archival Pigment Print on Photo Rag
80 x 80 cm / edition of 6

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2/ Review: Confounding: Contemporary Photography at NGV International, Melbourne

Presently, contemporary photography is able to reveal intangible, constructed vistas that live outside the realm of the scientific. A photograph becomes a perspective on the world, an orientation to the world based on human agency. An image-maker takes resources for meaning (a visual language, how the image is made and what it is about), undertakes a design process (the process of image-making), and in so doing re-images the world in a way that it has never quite been seen before.

These ideas are what a fascinating exhibition titled Confounding: Contemporary Photography, at the National Gallery of Victoria, Melbourne investigates. In the confounding of contemporary photography we are no longer witnessing a lived reality but a break down of binaries such as sacred and profane, public and private, natural and artificial, real and dreamed environments as artists present their subjective visions of imagined, created worlds. Each image presents the viewer with a conundrum that investigates the relationship between photographs and the “real” world they supposedly record. How do these photographs make you feel about this constructed, confounding world? These fields of existence?

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Thomas Demand German born 1964 'Public housing' 2003

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Thomas Demand German born 1964
Public housing
2003
type C photograph
100.1 x 157.0 cm (image and sheet)
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Bowness Family Fund for Contemporary Photography, 2010
© Thomas Demand/VG Bild-Kunst, Bonn. Licensed by VISCOPY, Sydney

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Eliza Hutchison Australian born 1965 'The ancestors' 2004

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Eliza Hutchison Australian born 1965
The ancestors
2004
Light-jet print
95.4 x 72.9 cm (image), 105.4 x 82.9 cm (sheet)
National Gallery of Victoria, Melbourne
Purchased with funds arranged by Loti Smorgon for Contemporary Australian Photography, 2005
© Eliza Hutchison, courtesy Murray White Room

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3/ Review: Louise Bourgeois: Late Works at Heide Museum of Modern Art, Melbourne

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Louise Bourgeois: Late Works installation view Heide Museum of Modern Art, Melbourne Photograph: John Gollings 2012

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Louise Bourgeois: Late Works installation view
Heide Museum of Modern Art, Melbourne
Photograph: John Gollings 2012

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Louise Bourgeois 'Untitled' 2002

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Louise Bourgeois
Untitled
2002
Tapestry and aluminium
43.2 x 30.5 x 30.5 cm
Courtesy Cheim & Read and Hauser & Wirth
Photo: Christopher Burke
© Louise Bourgeois Trust

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This is a tough, stimulating exhibition of late works by Louise Bourgeois at Heide Museum of Modern Art, Melbourne. All the main themes of the artist’s work explored over many years are represented in these late works: memory, emotion, anxiety, family, relationships, childhood, pain, desire and eroticism are all present as are female subjectivity and sexuality, expressed through the body…

Bourgeois’ work gives me an overall feeling of immersion in a world view, one that transcends the pain and speaks truth to power. Bourgeois confronted the emotion, memory or barrier to communication that generated her mood and the work. She observed, “My art is an exorcism. My sculpture allows me to re-experience fear, to give it a physicality, so that I am able to hack away at it.” By weaving, stitching and sewing Bourgeois threaded the past through the present and enacted, through artistic performance, a process of repair and reconstruction, giving meaning and shape to frustration and suffering. I have not been so lucky. My mother refuses to discuss the past, will not even come close to the subject for the pain is so great for her. I am left with a heaviness of heart, dealing with the demons of the past that constantly lurk in the memory of childhood, that insistently impinge on the man I am today. Louise Bourgeois’ sculptures brought it all flooding back as the work of only a great artist can, forcing me to become an ethical witness to her past, my past. A must see exhibition this summer in Melbourne.

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4/ Exhibition: Petrina Hicks: Selected Photographs, 2013 at Helen Gory Galerie, Prahran, Melbourne

A stunning, eloquent and conceptually complex exhibition buy Petrina Hicks at Helen Gory Galerie…

I am just going to add that the photograph Venus (2013, below) is one of the most beautiful photographs that I have seen “in the flesh” (so to speak) for a long while. Hicks control over the ‘presence’ of the image, her control over the presence within the image is immaculate. To observe how she modulates the colour shift from blush of pink within the conch shell, to colour of skin, to colour of background is an absolute joy to behold. The pastel colours of skin and background only serve to illuminate the richness of the pink within the shell as a form of immaculate conception (an openness of the mind and of the body). I don’t really care who is looking at this photograph (not another sexualised male gaze!) the form is just beauty itself. I totally fell in love with this work.

Forget the neo-feminist readings, one string of text came to mind: The high fidelity of a fetishistic fecundity.

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Petrina Hicks. 'Venus' 2013

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Petrina Hicks
Venus
2013
Pigment print, Edition of 8
100 x 100cm

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Petrina Hicks. 'Enigma' 2013

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Petrina Hicks
Enigma
2013
Pigment print, Edition of 8
100 x 100cm

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5/ Exhibition: Density by Andrew Follows at Anita Traverso Gallery, Richmond

I include this in my list of magnificent photographic exhibitions for the year not because I curated it, but because of the conceptualisation, the unique quality of the images and the tenacity of a visually impaired artist to produce such memorable work.

A wonderful exhibition by vision impaired photographer Andrew Follows at Anita Traverso Gallery, Richmond. It has been a real pleasure to mentor Andrew over the past year and to see the fruits of our labour is incredibly satisfying. The images are strong, elemental, atmospheric, immersive. Due to the nature of Andrew’s tunnel vision there are hardly any traditional vanishing points within the images, instead the ‘plane of existence’ envelops you and draws you in.

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Density n.

The degree of optical opacity of a medium or material, as of a photographic negative;

Thickness of consistency;

Complexity of structure or content.

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Andrew Follows. 'Number 31, Eltham' 2013

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Andrew Follows
Number 31, Eltham
2013
Digital photograph on archival cotton rag
130 cm x 86.5 cm

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Andrew Follows. 'Green, Montsalvat' 2013

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Andrew Follows
Green, Montsalvat
2013
Digital photograph on archival cotton rag
130 cm x 86.5 cm

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Carol Jerrems. 'Mark and Flappers' 1975

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Carol Jerrems
Mark and Flappers
1975
Gelatin silver photograph
National Gallery of Australia, Canberra
© Ken Jerrems and the Estate of Lance Jerrems

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Carol Jerrems. 'Carol Jerrems, self-portrait with Esben Storm' c. 1975

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Carol Jerrems
Carol Jerrems, self-portrait with Esben Storm
c. 1975
Gelatin silver photograph
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems and the Estate of Lance Jerrems

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6/ Review: Carol Jerrems: photographic artist at the Monash Gallery of Art, Wheelers Hill, Melbourne

This is a fascinating National Gallery of Australia exhibition about the work of Australian photographer Carol Jerrems at Monash Gallery of Art, Wheelers Hill – in part both memorable, intimate, informative, beautiful, uplifting and disappointing…

The pity is that she died so young for what this exhibition brought home to me was that here was an artist still defining, refining her subject matter. She never had to time to develop a mature style, a mature narrative as an artist (1975-1976 seems to be the high point as far as this exhibition goes). This is the great regret about the work of Carol Jerrems. Yes, there is some mediocre work in this exhibition, stuff that really doesn’t work at all (such as the brothel photographs), experimental work, individual and collective images that really don’t impinge on your consciousness. But there are also the miraculous photographs (and for a young photographer she had a lot of those), the ones that stay with you forever. The right up there, knock you out of the ball park photographs and those you cannot simply take away from the world. They live on in the world forever.

Does Jerrems deserve to be promoted as a legend, a ‘premier’ of Australian photography as some people are doing? Probably not on the evidence of this exhibition but my god, those top dozen or so images are something truly special to behold. Their ‘presence’ alone – their physicality in the world, their impact on you as you stand before them – guarantees that Jerrems will forever remain in the very top echelons of Australian photographers of all time not as a legend, but as a women of incredible strength, intelligence, passion, determination and vision.

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7/ Exhibition: Edward Steichen & Art Deco Fashion at NGV International, Melbourne

What a gorgeous exhibition. It’s about time Melbourne had a bit of style put back into the National Gallery of Victoria, and this exhibition hits it out of the park. Not only are the photographs absolutely fabulous but the frocks are absolutely frocking as well. Well done to the NGV for teaming the photographs with the fashion and for a great install (makes a change to see 2D and 3D done so well together). Elegant, sophisticated and oozing quality, this is a sure fire winner….

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Installation photograph of the exhibition 'Edward Steichen & Art Deco Fashion' at NGV International

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Installation photograph of the exhibition Edward Steichen & Art Deco Fashion at NGV International

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Edward Steichen American 1879-1973, emigrated to United States 1881, worked in France 1906-23 'Marlene Dietrich' 1934

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Edward Steichen (American 1879-1973, emigrated to United States 1881, worked in France 1906-23)
Marlene Dietrich
1934
Gelatin silver photograph
Courtesy Condé Nast Archive
© 1924 Condé Nast Publications

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8/ Exhibition: Reinventing the Wheel: the Readymade Century at the Monash University Museum of Art (MUMA), Melbourne

Monash University Museum of Art (MUMA) is generating an enviable reputation for holding vibrant, intellectually stimulating group exhibitions on specific ideas, concepts and topics. This exhibition is no exception. It is one of the best exhibitions I have seen in Melbourne this year. Accompanied by a strong catalogue with three excellent essays by Thierry de Duve, Dr Rex Butler and Patrice Sharkey, this is a must see exhibition for any Melbourne art aficionado before it closes.

“This transition is a flash, a boundary where this becomes that, not then, not that – falling in love, jumping of a bridge. Alive : dead; presence : absence; purpose : play; mastery : exhaustion; logos : silence; worldly : transcendent. Not this, not that. It is an impossible presence, present – a moment of unalienated production that we know exists but we cannot define it, place it. How can we know love? We can speak of it in a before and after sense but it is always a past moment that we recognise.”

Dr Marcus Bunyan. Made Ready: A Philosophy of Moments. December 2013

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Jeff Koons. 'Balloon dog (Red)' 1995 designed

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Jeff Koons
Balloon dog (Red)
1995 designed
Porcelain, ed. 1113/2300
11.3 x 26.3 cm diameter
National Gallery of Victoria, Melbourne

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Andrew Liversidge. 'IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE' 2009

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Andrew Liversidge
IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE
2009
10,000 $1 coins (AUD)
30.0 x 30.0 x 30.0 cm
Courtesy of the artist and The Commercial Gallery, Sydney

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9/ Review: Claudia Terstappen: In The Shadow Of Change at the Monash Gallery of Art, Wheelers Hill, Melbourne

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Claudia Terstappen. 'Cabbage trees (Queensland, Australia)' 2002

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Claudia Terstappen
Cabbage trees (Queensland, Australia)
2002
from the series Our ancestors 1990-
Gelatin silver print
29.0 x 29.0 cm
Courtesy  of the artist

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Claudia Terstappen. 'Zion Park (USA)' 1996

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Claudia Terstappen
Zion Park (USA)
1996
from the series Sacred land of the Navajo Indians 1990-
Gelatin silver print
37.0 x 37.0 cm
Courtesy  of the artist

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Without doubt this is the best pure photography exhibition I have seen this year in Melbourne. The exhibition is stimulating and enervating, the image making of the highest order in its aesthetic beauty and visual complexity. The artist explores intangible spaces which define our physical and spiritual relationship with the un/known world…

In Terstappen’s work there is no fixed image and no single purpose, a single meaning, or one singular existence that the images propose. They transcend claims about the world arising from, for example, natural or scientific attitudes or theories of the ontological nature of the world. As the artist visualises, records the feeling of the facts, such complex and balanced images let the mind of the viewer wander in the landscape. In their fecundity the viewer is enveloped in that situation of not knowing. There is the feeling of the landscape, a sensitivity to being “lost” in the landscape, in the shadow of ‘Other’, enhanced through the modality of the printing. Dreamworld vs analytical/descriptive, there is the enigma of the landscape and its spiritual places. Yes, the sublime, but more an invocation, a plea to the gods for understanding. This phenomenological prayer allows the artist to envelop herself and the viewer in the profundity – the great depth, intensity and emotion – of the landscape. To be ‘present’ in the the untrammelled places of the world as (divine) experience…

I say to you that this is the most sophisticated reading of the landscape that I have seen in a long time – not just in Australia but from around the world. This is such a joy of an exhibition to see that you leave feeling engaged and uplifted. Being in the gallery on your own is a privilege that is hard to describe: to see (and feel!) landscape photography of the highest order and by an Australian artist as well.

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10/ Exhibition: Joan Ross: Touching Other People’s Shopping at Bett Gallery, Hobart

The claiming of things
The touching of things
The digging of land
The tagging of place
The taking over of the world

Tag and capture.
Tag and capture.
Shop, dig, spray, destroy.

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An ironic critique of the pastoral, neo/colonial world, tagged and captured in the 21st century.
Excellent work. The construction, sensibility and humour of the videos is outstanding. I also responded to the two works Tag and capture and Shopping for butterfly (both 2013, below).

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Joan Ross. 'Tag and capture' 2013

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Joan Ross
Tag and capture
2013
hand painted pigment print on cotton rag paper
50 x 47 cm (image size)
edition of 3

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Joan Ross. 'Shopping for butterfly' 2013

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Joan Ross
Shopping for butterfly
2013
hand painted pigment print on cotton rag paper
51.5 x 50 cm (image size)
edition of 3

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17
Dec
13

Season’s Greetings from the Art Blart blog 2013

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Season's Greetings from the Art Blart blog 2013

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20
Aug
13

Opening photographs: ‘John Cato Retrospective’ and book launch

Exhibition dates: 17th August – 15th September 2013

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Read the opening speech

Visit the John Cato website

View some of his images

Photographers David Callow and Andrew Chapman’s video tribute to John Cato (18 mins 39 secs) can be viewed on Vimeo (Password is Cato)

Please click on the photographs to see a larger version of the image and to view other photographs from the opening.

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David Simmonds Photographer: Cato Launch &emdash; SIMMONDS__CatoBook-0213

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David Simmonds
Dr Marcus Bunyan at the John Cato Retrospective
2013
© David Simmonds Photographer

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David Simmonds Photographer: Cato Launch &emdash; SIMMONDS__CatoBook-0218

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David Simmonds
Dr Marcus Bunyan at the John Cato Retrospective
2013
© David Simmonds Photographer

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Ballarat International Foto Biennale
Mining Exchange building
8 Lydiard St N
Ballarat VIC 3350
T: (03) 5333 4242

Ballarat International Foto Biennale website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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