Archive for the 'Daniel Crooks' Category

26
Nov
13

Exhibition: ‘Melbourne Now’ at the National Gallery of Victoria, Melbourne, Part 1

Exhibition dates: 22nd November 2013 – 23rd March 2014

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This is the first of a two-part posting on the huge Melbourne Now exhibition at the National Gallery of Victoria, Melbourne. The photographs in this posting are from the NGV International venue in St Kilda Road. The second part of the posting features photographs of work at NGV Australia: The Ian Potter Centre at Federation Square. Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex cultural landscape of creative Melbourne.

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Keywords

Place, memory, anxiety, democracy, death, cultural identity, spatial relationships.

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The best

Daniel Crooks An embroidery of voids 2013 video.

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Highlights

Patricia Piccinini The Carrier 2012 sculpture; Mark Hilton dontworry 2013 sculpture.

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Honourable mentions

Stephen Benwell Statues various dates sculpture; Rick Amor mobile call 2012 painting; Destiny Deacon and Virginia Fraser Melbourne Noir 2013 installation.

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Disappointing

The weakness of the photography. With a couple of notable exceptions, I can hardly recall a memorable photographic image. Some of it was Year 12 standard.

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Low points

  • The lack of visually interesting and beautiful art work – it was mostly all so ho hum in terms of pleasure for the eye
  • The preponderance of installation/design/architectural projects that took up huge areas of space with innumerable objects
  • The balance between craft, form and concept
  • Too much low-fi art
  • Too much collective art
  • Little glass art
  • Weak third floor at NGV International
  • Two terrible installations on the ground floor of NGVA

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Verdict

As with any group exhibition there are highs and lows, successes and failures. Totally over this fad for participatory art spread throughout the galleries. Too much deconstructed/performance/collective design art that takes the viewer nowhere. Good effort by the NGV but the curators were, in some cases, far too clever for their own (and the exhibitions), good. 7/10

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Dr Marcus Bunyan for the Art Blart blog

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“Although the word “new” recurs like an incantation in the catalogue essays many exhibits are variations on well-worn themes. The trump cards of Melbourne Now are bulk and variety… It’s astonishing that curators still seem to assume that art which proclaims its own radicality must be intrinsically superior to more personal expressions. Yet mediocrity recognises no such distinctions. Most of this show’s avant-garde gestures are no better than clichés.”

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John Macdonald. Review of Melbourne Now. Sydney Morning Herald, Saturday 11 January, 2014

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Many thankx to the NGV for allowing me to publish the photographs in the posting. All photographs © Dr Marcus Bunyan unless otherwise stated. Please click on the photographs for a larger version of the image. Please note: All text below the images is from the guide book.

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“A rich, inspiring critical context prevails within Melbourne’s contemporary art community, reflecting the complexity of multiple situations and the engaging reality of a culture that is always in the process of becoming. Local knowledge is of course specific and resists generalisation – communities are protean things, which elide neat definition and representation. Notwithstanding the inevitable sampling and partial account which large-scale survey exhibitions unavoidably present, we hope that Melbourne Now retains a sense of semantic density, sensory intensity and conceptual complexity, harnessing the vision and energy that lie within our midst. Perhaps most importantly, the contributors to Melbourne Now highlight the countless ways in which art is able to change, alter and invigorate the senses, adding new perspectives and modes of perceiving the world in which we live.”

Max Delany. “Metro-cosmo-polis: Melbourne now” 2013

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Laith McGregor. 'Pong ping paradise' 2011

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Laith McGregor
Pong ping paradise
2011
Private collection, United States of America

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The drawings OK and KO, both 2013, which decorate the horizontal surfaces of two table-tennis tables and contain four large self-portraits portraying unease and concern, are more restrained. The hirsute beards of McGregor’s earlier works have evolved into all enveloping geometric grids, their hand-drawn asymmetry creating a subtle sense of distortion that contradicts the inherently flat surface of the tables.

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Ross Coulter. '10,000 paper planes - aftermath (1)' 2011

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Ross Coulter
10,000 paper planes - aftermath (1)
2011
National Gallery of Victoria, Melbourne

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Ross Coulter. '10,000 paper planes - aftermath (1)' (detail) 2011

Ross Coulter. '10,000 paper planes - aftermath (1)' (detail) 2011

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Ross Coulter
10,000 paper planes - aftermath (1) (details)
2011
Type C photograph
156.0 x 200.0 cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2012
© Ross Coulter
Last photo: © National Gallery of Victoria

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With 10,000 paper planes – aftermath (1), 2011, Coulter encountered Melbourne’s intellectual heart, the State Library of Victoria (SLV). Being awarded the Georges Mora Foundation Fellowship in 2010 allowed Coulter to realise a concept he had been developing since he worked at the SLV in the late 1990s. The result is a playful intervention into what is usually a serious place of contemplation. Coulter’s paper planes, launched by 165 volunteers into the volume of the Latrobe Reading Room, give physical form to the notion of ideas flying through the building and the mind. This astute work investigates the striking contrast between the strict discipline of the library space and its categorisation system and the free flow of creativity that its holdings inspire in the visitor.

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Rick Amor. 'Mobile call' 2012

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Rick Amor
Mobile call
2012
Private collection, Melbourne

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Best known for his brooding urban landscapes, Amor’s work in Melbourne NowMobile call, 2012, stays true to this theme. The painting speaks to the heart of urban living in its depiction of a darkened city alleyway, with dim, foreboding lighting. A security camera on the wall surveys the scene, a lone, austere figure just within its watch. The camera represents the omnipresent surveillance of our modern lives, and an uneasy air of suspicion permeates the painting’s subdued, grey landscape. Amor’s reflections on the urban landscape are solemn, restrained and often melancholic. Quietly powerful, his work alludes to a mystery in the banality of daily existence. Mobile call is a realistic portrayal of a metropolitan landscape that opens our eyes to a strange and complex world.

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Steaphan Paton. 'Cloaked combat' (detail) 2013

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Steaphan Paton
Cloaked combat (detail)
2013
National Gallery of Victoria, Melbourne

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Cloaked combat, 2013, is a visual exploration of the material and technological conflicts between cultures, and how these differences enable one culture to assert dominance over another. Five Aboriginal bark shields, customarily used in combat to deflect spears, repel psychedelic arrows shot from a foreign weapon. Fired by an unseen intruder cloaked in contemporary European camouflage, the psychedelic arrows rupture the bark shields and their diamond designs of identity and place, violating Aboriginal nationhood and traditional culture. The jarring clash of weapons not only illustrates a material conflict between these two cultures, but also suggests a deeper struggle between old and new. In its juxtaposition of prehistoric and modern technologies, Cloaked combat highlights an uneven match between Indigenous and European cultures and discloses the brutality of Australia’s colonisation.

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Zoom project team. 'Zoom' (detail) 2013

Zoom project team. 'Zoom' (detail) 2013

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Zoom project team
Curator: Ewan McEoin / Studio Propeller; Data visualisation: Greg More / OOM Creative; Graphic design: Matthew Angel; Exhibition design: Design Office; Sound installation: Marco Cher-Gibard; Data research: Serryn Eagleson / EDG Research; Digital survey design: Policy Booth
Zoom (details)
2013

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Anchored around a dynamic tapestry of data by Melbourne data artist Greg More, this exhibit offers a window into the ‘system of systems’ that makes up the modern city, peeling back the layers to reveal a sea of information beneath us. Data ebbs and flows, creating patterns normally inaccessible to the naked eye. Set against this morphing data field, an analogue human survey asks the audience to guide the future design of Melbourne through choice and opinion. ZOOM proposes that every citizen influences the future of the city, and that the city in turn influences everyone within it. Accepting this co-dependent relationship empowers us all to imagine the city we want to create together.

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Installation view of Jon Campbell. 'DUNNO (T. Towels)' 2012 (left) and Reko Rennie 'Initiation', 2013 (right)

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Installation view of Jon Campbell DUNNO (T. Towels) 2012 (left) and Reko Rennie Initiation, 2013 (right)

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Jon Campbell. 'DUNNO (T. Towels)' (detail) 2012

Jon Campbell. 'DUNNO (T. Towels)' (detail) 2012

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Jon Campbell
DUNNO (T. Towels) (details)
2012

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For Melbourne Now Campbell presents DUNNO (T. Towels), 2012, a work that continues his fascination with the vernacular culture of suburban Australia. Comprising eighty-five tea towels, some in their original condition and others that Campbell has modified through the addition of ‘choice’ snippets of Australian slang and cultural signifiers, this seemingly quotidian assortment of kitsch ‘kitchenalia’ is transformed into a mock heroic frieze in which we can discover the values and dramas of our present age.

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Reko Rennie Kamilaroi born in 1974 'Initiation' 2013

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Reko Rennie Kamilaroi born in 1974
Initiation
2013
Synthetic polymer paint on plywood (1-40)
300.0 x 520.0 cm (overall)
Collection of the artist
© Reko Rennie, courtesy Karen Woodbury Gallery, Melbourne
Supported by Esther and David Frenkiel

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Initiation, 2013, a mural-scale, multi-panelled hoarding that subverts the negative stereotyping of Indigenous people living in contemporary Australian cities. This declarative, renegade installation work is a psychedelic farrago of street art, native flora and fauna, Kamilaroi patterns, X-ray images and text that addresses what it means to be an urban Aboriginal person. By yoking together contrary elements of graffiti, advertising, bling, street slogans and Kamilaroi diamond geometry, Rennie creates a monumental spectacle of resistance.

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Installation view of Reko Rennie 'Initiation', 2013

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Installation view of Reko Rennie Initiation, 2013

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Janet Burchill Jennifer McCamley 'The Belief' 2004-2013

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Janet Burchill
Jennifer McCamley
The Belief
2004-2013

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Shields from Papua New Guinea held in the National Gallery of Victoria’s collection provided an aesthetic catalyst for the artists to develop an open-ended series of their own ‘shields’. The Belief includes shields made by Burchill and McCamley between 2004 and 2013. In part, this installation meditates on the form and function of shields from the perspective of a type of reverse ethnography. As the artists explain:

“The shield is an emblematic form ghosted by the functions of attack and defence and characterised by the aggressive display of insignia … We treat the shield as a perverse type of modular unit. While working with repetition, each shield acts as a carrier or container for different types and registers of content, motifs, emblems and aesthetic strategies. The series as a whole, then, becomes a large sculptural collage which allows us to incorporate a wide range of responses to making art and being alive now.”

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Janet Burchill Jennifer McCamley 'The Belief' (detail) 2004-2013

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Janet Burchill
Jennifer McCamley
The Belief (detail)
2004-2013

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Melbourne Now is an exhibition unlike any other we have mounted at the National Gallery of Victoria. It takes as its premise the idea that a city is significantly shaped by the artists, designers, architects, choreographers, intellectuals and community groups that live and work in its midst. With this in mind, we have set out to explore how Melbourne’s visual artists and creative practitioners contribute to the dynamic cultural identity of this city. The result is an exhibition that celebrates what is unique about Melbourne’s art, design and architecture communities.

When we began the process of creating Melbourne Now we envisaged using several gallery spaces within The Ian Potter Centre: NGV Australia; soon, however, we recognised that the number of outstanding Melbourne practitioners required us to greatly expand our commitment. Now spreading over both The Ian Potter Centre: NGV Australia and NGV International, Melbourne Now encompasses more than 8000 square metres of exhibition space, making it the largest single show ever presented by the Gallery.

Melbourne Now represents a new way of working for the NGV. We have adopted a collaborative curatorial approach which has seen twenty of our curators work closely with both external design curators and many other members of the NGV team. Committing to this degree of research and development has provided a great opportunity to meet with artists in their studios and to engage with colleagues across the city as a platform not only for this exhibition, but also for long-term engagement.

A primary aim throughout the planning process has been to create an exhibition that offers dynamic engagement with our audiences. From the minute visitors enter NGV International they are invited to participate through the exhibition’s Community Hall project, which offers a diverse program of performances and displays that showcase a broad concept of creativity across all art forms, from egg decorating to choral performances. Entering the galleries, visitors discover that Melbourne Now includes ambitious and exciting contemporary art and design commissions in a wide range of media by emerging and established artists. We are especially proud of the design and architectural components of this exhibition which, for the first time, place these important areas of practice in the context of a wider survey of contemporary art. We have designed the exhibition in terms of a series of curated, interconnected installations and ‘exhibitions within the exhibition’ to offer an immersive, inclusive and sometimes participatory experience.

Viewers will find many new art commissions featured as keynote projects of Melbourne Now. One special element is a series of commissions developed specifically for children and young audiences – these works encourage participatory learning for kids and families. Artistic commissions extend from the visual arts to architecture, dance and choreography to reflect Melbourne’s diverse artistic expression. Many of the new visual arts and design commissions will be acquired for the Gallery’s permanent collections, leaving the people of Victoria a lasting legacy of Melbourne Now.

The intention of this exhibition is to encourage and inspire everyone to discover some of the best of Melbourne’s culture. To help achieve this, family-friendly activities, dance and music performances, inspiring talks from creative practitioners, city walks and ephemeral installations and events make up our public programs. Whatever your creative interests, there will be a lot to learn and enjoy in Melbourne NowMelbourne Now is a major project for the NGV which we hope will have a profound and lasting impact on our audiences, our engagement with the art communities in our city and on the NGV collection. We invite you to join us in enjoying some of the best of Melbourne’s creative art, design and architecture in this landmark exhibition.

Tony Ellwood
Director, National Gallery of Victoria

Foreword from the Melbourne Now exhibition guide book

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Destiny Deacon Virginia Fraser 'Melbourne Noir' (detail) 2013

Destiny Deacon Virginia Fraser 'Melbourne Noir' (detail) 2013

Destiny Deacon Virginia Fraser 'Melbourne Noir' (detail) 2013

Destiny Deacon Virginia Fraser 'Melbourne Noir' (detail) 2013

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Destiny Deacon
Virginia Fraser

Melbourne Noir (details)
2013
Installation comprising photography, video, sculptural diorama dimensions (variable) (installation)
Collection of the artists
© Destiny Deacon and Virginia Fraser, courtesy Roslyn Oxley9 Gallery, Sydney

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Adapting the quotidian formats of snapshot photography, home videos, community TV and performance modes drawn from vaudeville and minstrel shows, Deacon’s artistic practice is marked by a wicked yet melancholy comedic and satirical disposition. In decidedly lo-fi vignettes, friends, family and members of Melbourne’s Indigenous community appear in mischievous narratives that amplify and deconstruct stereotypes of Indigenous identity and national history. For Melbourne Now, Deacon and Fraser present a trailer for a film noir that does not exist, a suite of photographs and a carnivalesque diorama. The pair’s playful political critiques underscore a prevailing sense of postcolonial unease, while connecting their work to wider global discourses concerned with racial struggle and cultural identity.

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Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

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Darren Sylvester
For you (details)
2013
Based on Yves Saint Laurent Les Essentials rouge pur couture, La laque couture and Rouge pur couture range revolution lipsticks, Marrakesh sunset palette, Palette city drive, Ombres 5 lumiéres, Pure chromatic eyeshadows and Blush radiance
Illuminated dance floor, sound system
605.0 x 1500.0 x 1980.0 cm
Supported by VicHealth; assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body

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For Melbourne Now Sylvester presents For you, 2013, an illuminated dance floor utilising the current palette of colours of an international make-up brand. By tapping into commonly felt fears of embarrassment and the desire to show off in front of others, For you provides a gentle push onto a dance floor flush in colours already proven by market research to appear flattering on the widest cross-section of people. It is a work that plays on viewers’ vanity while acting as their support. In Sylvester’s own words, this work ‘will make you look good whilst enjoying it. It is for you’.

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Assembling over 250 outstanding commissions, acquired and loaned works and installations, Melbourne Now explores the idea that a city is significantly shaped by the artists, designers and architects who live and work in its midst. It reflects the complexity of Melbourne and its unique and dynamic cultural identity, considering a diverse range of creative practice as well as the cross-disciplinary work occurring in Melbourne today.

Melbourne Now is an ambitious project that represents a new direction for the National Gallery of Victoria in terms of its scope and its relationship with audiences. Drawing on the talents of more than 400 artists and designers from across a wide variety of art forms, Melbourne Now will offer an experience unprecedented in this city; from video, sound and light installations, to interactive community exhibitions and artworks, to gallery spaces housing working design and architectural practices. The exhibition will be an immersive, inclusive and participatory exhibition experience, providing a rich and compelling insight into Melbourne’s art, design and cultural practice at this moment. Melbourne Now aims to engage and reflect the inspiring range of activities that drive contemporary art and creative practice in Melbourne, and is the first of many steps to activate new models of art and interdisciplinary exhibition practice and participatory modes of audience engagement at the NGV.

The collaborative curatorial structure of Melbourne Now has seen more than twenty NGV curators working across disciplinary and departmental areas in collaboration with exhibition designers, public programs and education departments, among others. The project also involves a number of guest curators contributing to specific contexts, including architecture and design, performance and sound, as well as artist-curators invited to create ‘exhibitions within the exhibition’, develop off-site projects and to work with the NGV’s collection. Examples of these include Sampling the City: Architecture in Melbourne Now, curated by Fleur Watson; Drawing Now, curated by artist John Nixon, bringing together the work of forty-two artists; ZOOM, an immersive data visualisation of cultural demographics related to the future of the city, convened by Ewan McEoin; Melbourne Design Now, which explores creative intelligence in the fields of industrial, product, furniture and object design, curated by Simone LeAmon; and un Retrospective, curated by un Magazine. Other special projects present recent developments in jewellery design, choreography and sound.

Numerous special projects have been developed by NGV curators, including Designer Thinking, focusing on the culture of bespoke fashion design studios in Melbourne, and a suite of new commissions and works by Indigenous artists from across Victoria which reflect upon the history and legacies of colonial and postcolonial Melbourne. The NGV collection is also the subject of artistic reflection, reinterpretation and repositioning, with artists Arlo Mountford, Patrick Pound and The Telepathy Project and design practice MaterialByProduct bringing new insights to it through a suite of exhibitions, videos and performative installations.

In our Community Hall we will be hosting 600 events over the four months of Melbourne Now offering a daily rotating program of free workshops, talks, catwalks and show’n’tells run by leaders in their fields. And over summer, the NGV will present a range of programs and events, including a Children’s Festival, dance program, late-night music events and unique food and beverage offerings.

The exhibition covers 8000 square metres of space, covering much of the two campuses of the National Gallery of Victoria, and moves into the streets of Melbourne with initiatives such as the Flags for Melbourne project, ALLOURWALLS at Hosier Lane, walking and bike tours, open studios and other programs that will help to connect the wider community with the creative riches that Melbourne has to offer.

Melbourne Now Introduction

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Alan Constable. 'No title (teal SLR with flash)' 2013

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Alan Constable
No title (teal SLR with flash)
2013
Earthenware
15.5 x 24.0 x 11.0 cm
Collection of the artist
© Alan Constable, courtesy Arts Project Australia, Melbourne
Photo: © National Gallery of Victoria

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A camera’s ability to act as an extension of our eyes and to capture and preserve images renders it a potent instrument. In the case of Constable, this power has particular resonance and added poignancy. The artist lives with profound vision impairment and his compelling, hand-modelled ceramic reinterpretations of the camera – itself sometimes referred to as the ‘invented eye’ – possess an altogether more moving presence. For Melbourne Now, Constable has created a special group of his very personal cameras.

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Linda Marrinon. Installation view of works including 'Debutante' (centre) 2009

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Linda Marrinon
Installation view of works including Debutante (centre)
2009
Tinted plaster, muslin
Collection of the artist
© Linda Marrinon, courtesy Roslyn Oxley9 Gallery, Sydney
Supported by Fiona and Sidney Myer AM, Yulgilbar Foundation and the Myer Foundation

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Marrinon’s art lingers romantically somewhere between the past and present. Her figures engage with notions of formal classical sculpture, with references to Hellenistic and Roman periods, yet remain quietly contemporary in their poise, scale, adornments and subject matter. Each work has a sophisticated and nonchalant air of awareness, as if posing for the audience. Informed by feminism and a keen sense of humour, Marrinon’s work is anti-heroic and anti-monumental. The figures featured in Melbourne Now range from two young siblings, Twins with skipping rope, New York, 1973, 2013, and a young woman, Debutante, 2009, to a soldier, Patriot in uniform, 2013, presented as a pantheon of unlikely types.

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Brook Andrew. 'Vox: Beyond Tasmania' 2013

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Brook Andrew
Vox: Beyond Tasmania
2013
Wood, cardboard, paper, books, colour slides, glass slides, 8mm film, glass, stone, plastic, bone, gelatin silver photographs, metal, feather
267.0 x 370.0 x 271.0 cm
Collection of the artist
© Brook Andrew, courtesy Tolarno Galleries, Melbourne
Photo: © National Gallery of Victoria

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Andrew’s Vox: Beyond Tasmania, 2013, renders palpable as contemporary art a central preoccupation of his humanist practice – the legacy of historical trauma on the present. Inspired by a rare volume of drawings of fifty-two Tasmanian Aboriginal crania, Andrew has created a vast wunderkammer containing a severed human skeleton, anthropological literature and artefacts. The focal point of this assemblage of decontextualised exotica is a skull, which lays bare the practice of desecrating sacred burial sites in order to snatch Aboriginal skeletal remains as scientific trophies, amassed as specimens to be studied in support of taxonomic theories of evolution and eugenics. Andrew’s profound and humbling memorial to genocide was supported in its first presentation by fifty-two portraits and a commissioned requiem by composer Stéphanie Kabanyana Kanyandekwe.

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Brook Andrew. 'Vox: Beyond Tasmania' (detail) 2013

Brook Andrew. 'Vox: Beyond Tasmania' (detail) 2013

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Brook Andrew
Vox: Beyond Tasmania (details)
2013

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Daniel Crooks. 'An embroidery of voids' 2013 (still)

Daniel Crooks. 'An embroidery of voids' 2013 (still)

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Daniel Crooks
An embroidery of voids (stills)
2013
Colour single-channel digital video, sound, looped
Collection of the artist
© Daniel Crooks, courtesy Anna Schwartz Gallery, Melbourne and Sydney
Supported by Julie, Michael and Silvia Kantor
Photos: © National Gallery of Victoria

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Commissioned for Melbourne Now, Crooks’s most recent video work focuses his ‘time-slice’ treatment on the city’s famous laneways. As the camera traces a direct, Hamiltonian pathway through these lanes, familiar surroundings are captured in seamless temporal shifts. Cobblestones, signs, concrete, street art, shadows and people gracefully pan, stretch and distort across our vision, swept up in what the artist describes as a ‘dance of energy’. Exposing the underlying kinetic rhythm of all we see, Crooks’s work highlights each moment once, gloriously, before moving on, always forward, transforming Melbourne’s gritty and often inhospitable laneways into hypnotic and alluring sites.

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Jan Senbergs. 'Extended Melbourne labyrinth' 2013 (installation view)

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Jan Senbergs
Extended Melbourne labyrinth
2013
Oil stick, synthetic polymer paint wash (1-4)
158.0 x 120.0 cm (each)
Collection of the artist
© Jan Senbergs, courtesy Niagara Galleries

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Senbergs’s significance as a contemporary artist and his understanding of the places he depicts and their meanings make his contribution to Melbourne Now essential. Drawing inspiration from Scottish poet Edwin Muir’s collection The labyrinth (1949), Senbergs’s Extended Melbourne labyrinth, 2013, takes us on a journey through the myriad streets and topography that make up our sprawling city. His characteristic graphic style and closely cropped rendering of the city’s urban thoroughfares is at once enthralling and unsettling. While the artist neither overtly celebrates nor condemns his subject, there is a strong sense of Muir’s ‘roads that run and run and never reach an end’.

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Patrick Pound. 'The gallery of air' (detail) 2013

Patrick Pound. 'The gallery of air' (detail) 2013

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Patrick Pound
The gallery of air (details)
2013

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For Melbourne Now Pound has created The gallery of air, 2013, a contemporary wunderkammer of works of art and objects from across the range of the NGV collection. There are Old Master paintings depicting the effect of the wind, and everything from an exquisite painted fan to an ancient flute and photographs of a woman sighing. When taken as a group these disparate objects hold the idea of air. Added to works from the Gallery’s collection is an intriguing array of objects and pictures from Pound’s personal collection. On entering his installation, visitors will be drawn into a game of thinking and rethinking about the significance of the objects and how they might be activated by air. Some are obvious, some are obscure, but all are interesting.

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Marco Fusinato born Australia 1964 'Aetheric plexus (Broken X)' 2013

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Marco Fusinato born Australia 1964
Aetheric plexus (Broken X)
2013
Alloy tubing, lights, double couplers, Lanbox LCM DMX controller, dimmer rack, DMX MP3 player, powered speaker, sensor, extension leads, shot bags
880.0 x 410.0 x 230.0 cm
Collection of the artist
© Marco Fusinato, courtesy Anna Schwartz Gallery, Melbourne and Sydney
Supported by Joan Clemenger and Peter Clemenger AM
Photo: © National Gallery of Victoria

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For Melbourne Now, Fusinato presents Aetheric plexus (Broken X), 2013, a dispersed sculpture comprising deconstructed stage equipment that is activated by the presence of the viewer, triggering a sensory onslaught with a resonating orphic haze. The work responds to the wider context of galleries, in the artist’s words, ‘changing from places of reflection to palaces of entertainment’ by turning the engulfed audience member into a spectacle.

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Installation view of Susan Jacobs 'Wood flour for pig iron (vessel for mixing metaphors)' 2013 with Mark Hilton 'dontworry' 2013 in the background

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Installation view of Susan Jacobs Wood flour for pig iron (vessel for mixing metaphors) 2013 with Mark Hilton dontworry 2013 in the background

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In her most recent project, Jacobs fabricates a rudimentary version of the material Hemacite (also known as Bois Durci) - made from the blood of slaughtered animals and wood flour – which originated in the late nineteenth century and was moulded with hydraulic pressure and heat to form everyday objects, such as handles, buttons and small domestic and decorative items. The attempt to re-create this outmoded material highlights philosophical, economic and ethical implications of manufacturing and considers how elemental materials are reconstituted. Wood flour for pig iron (vessel for mixing metaphors), 2013, included in Melbourne Now, explores properties, physical forces and processes disparately linked across various periods of history.

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Mark Hilton born Australia 1976 'dontworry' 2013

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Mark Hilton born Australia 1976
dontworry
2013
Cast resin, powder
The Michael Buxton Collection, Melbourne
© Mark Hilton, courtesy Darren Knight Gallery, Sydney
Photo: © National Gallery of Victoria

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dontworry, 2013, included in Melbourne Now, is the most ambitious and personal work Hilton has made to date. A dark representation of events the artist witnessed growing up in suburban Melbourne, this wall-based installation presents an unnerving picture of adolescent mayhem and bad behaviour. Extending across nine intricately detailed panels, each corresponding to a formative event in the artist’s life, dontworry can be understood as a deeply personal memoir that explores the transition from childhood to adulthood, and all the complications of this experience. Detailing moments of violence committed by groups or mobs of people, the installation revolves around Hilton’s continuing fascination with the often indistinguishable divide between truth and myth.

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Mark Hilton born Australia 1976 'dontworry' 2013 (detail)

Mark Hilton born Australia 1976 'dontworry' (detail) 2013

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Mark Hilton born Australia 1976
dontworry (details)
2013
Cast resin, powder
The Michael Buxton Collection, Melbourne
© Mark Hilton, courtesy Darren Knight Gallery, Sydney

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14
Jan
10

Review: ‘Cubism & Australian Art’ at Heide Museum of Modern Art, Bulleen

Exhibition dates: 24th November 2009 – 8th April 2010

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Perfect summer fare out at Heide at the moment – relax with a lunch at the new Cafe Vue followed by some vibrantly fresh art in the galleries. In a nicely paced exhibition, Cubism and Australian Art takes you on a journey from the 1920s to the present day, the art revealing itself wonderfully as you move through the galleries.

There are too many individual works to critique but some thoughts and ideas do stand out.

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Cezanne’s us of passage, the transition between adjacent shapes, where solid forms are fused with the surrounding space was an important starting point for the beginnings of Cubism. Simultaneity – movement, space and the dynamism of modern life – was matched to Cubism’s new forms of pictorial organisation. The geometries of the Section d’Or (or the Gold Mean), that magical ratio found in all forms, also sounds an important note as it flows through the rhythmic movement and the sensations of temporal reality.

In the work from the 1920s/30s presented in the exhibition the palette of most of the works is subdued, the form of circles and geometrics. There are some beautiful paintings by one of my favorite Australian artists Roy de Maistre and others by Eric Wilson, Sam Atyeo and Jean Appleton (see image below). The feeling of these works is quiet and intense.

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Following

There are some evocative works from the 1940s/50s including Godfrey Miller’s ‘Still Life with Musical Instruments’ (1958), Graham King’s ‘Industrial Landscape’ (1959) and Ralph Balson’s ‘Constructive painting’ (1951). ‘The Charcoal Burner’ (1959) by Fred Williams (see image below) is the Australian landscape seen through Cubist eyes, surface and space perfectly commingled in reserved palette, delineated planes. Grace Crowley’s ‘Abstract Painting’ (1947, see image below) is a symphony of colour, plane and form that I would willingly take home any day of the week!

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Now

It is the contemporary work that is of most interest in this exhibition. Spatio-temporal reality is distorted as artists push the boundaries of dimensionality. The parameters of reality are blurred and extended through the use of multiple viewpoints and lines of sight. Fresh and spatially aware (like an in joke because everyone recognizes the fragmented ‘nature’ of contemporary existence) we have the sublime ‘Milky Way’ (1995, see image below) by Rosalie Gascoigne and for me the two standout pieces in the exhibition, ‘Bicycles’ (2007) by James Angus and ‘Static No.9 (a small section of something larger)’ (2005) by Daniel Crooks.

Though difficult to see in the photograph of the work (below), ‘Bicycles’ fuses three bicycles into one. “A photo finish made actual, a series of frames at the conclusion of a race transferred permanently into three dimensions.” You look and then look again: three frames into one, three tyres into one, three stands into one, three chains the only singular – like a freeze frame of a motor drive on a camera

Snap
Snap
Snap

or the slight difference of the two images of a Victorian stereoscope made triumvirate (the 3D world of Avatar comes to mind). Static, the bicycle can never work, is redundant, but paradoxically moves at the same time.

Even more mesmerizing is the video work ‘Static No.9 (a small section of something larger)’ by Daniel Crooks. Unfortunately I cannot show you the video but a still from the video can be seen below. Imagine this animated like swirling DNA (in actual fact it is people walking across an intersection at different distances and speeds to the camera – and then sections taken out of the video and layered). Swirling striations through time and space fragment identity so that people almost become code, the sound track the distorted beep beep beep of the buzzer at the crossing. I could have sat there for hours watching the performance as it crackles with energy and flow – with my oohs and aahs! The effect is magical, beautiful, hypnotic.

A great summer show – fresh, alive and well worth the journey if only to see that static in all its forms has never looked so good.

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Daniel Crooks
‘Portrait #2 (Chris)’
2007

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“With these portraits I’m attempting to make large detailed images of people in their own surroundings, images of people very much in and of their time that are both intriguing and beautiful. As with a lot of my work the portraits also seek to render the experience of time in a more tangible material form, blurring the line between still and moving images and looking to new post-camera models of spatiotemporal representation.”

Daniel Crooks

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Jean Appleton
‘Painting IX’
1937
Whitworth/Bruce Collection

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Elizabeth Gower
‘City Series’
1982-84

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Melinda Harper
‘Untitled’
2000

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Elizabeth Gower
‘Transient’
1979

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“Cubism & Australian Art, one of the most ambitious and extensive exhibitions Heide has undertaken, shows the impact of the revolutionary and transformative movement of Cubism on Australian art from the early twentieth century to the present day. It uncovers a little-known yet compelling history through works by over eighty artists, including key examples of international Cubism drawn from Australian collections – by André Lhote, Albert Gleizes, Fernand Léger, Alexander Archipenko, Ben Nicholson and others – and nine decades of Australian modern and contemporary art that demonstrate a local evolution of cubist ideas.

The exhibition documents the earliest incorporation of cubist principles in Australian art practice in the 1920s, when artists such as Grace Crowley and Anne Dangar, who studied overseas under leading cubist artists, began to transform their art in accordance with late cubist thinking. It examines the influence of Cubism on artists associated with the George Bell School in Melbourne and the Crowley-Fizelle School in Sydney; and on those who participated in the cubist movement abroad including James Cant and John Power.

While its distortions and unconventional perspectives served individual styles such as the expressionism of Albert Tucker or the experimental landscapes of Sidney Nolan and Fred Williams, Cubism’s most enduring influence on postwar Australian art has been in abstraction. This exhibition traces its reverberations in 1950s abstract art by Roger Kemp, Robert Klippel and Ron Robertson-Swann and others, through to works by younger artists such as Stephen Bram, Gemma Smith and Justin Andrews.

Cubism’s formal and conceptual innovations and its investigations into the representation of time, space and motion have continuing relevance for artists today, who variously adapt, develop, quote and critique aspects of cubist practice. In this exhibition, Cubism’s shifting, multi-perspectival view of reality takes on new form in moving-image works by John Dunkley-Smith and Daniel Crooks, in paintings by Melinda Harper and sculptures by James Angus. The use of found objects and recycled materials by Madonna Staunton, Rosalie Gascoigne and Masato Takasaka extends ideas originating in cubist sculpture and collage. Other artists are critical of Cubism, bringing Indigenous and non-european perspectives to bear on its modernist history, particularly  its appropriation of so-called ‘primitive art’.”

Text from the Heide Museum of Modern Art website

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Grace Crowley
‘Abstract painting’
1947

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Fred Williams
‘The Charcoal Burner’
1959

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Daniel Crooks
Static No.9 (a small section of something larger)’
2005

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James Angus
‘Bicycles’
2007

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Rosalie Gascoigne
‘Milky Way’ (detail)
1995

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Heide Museum of Modern Art
7 Templestowe Road, Bulleen, Victoria 3105

Opening hours:
(Heide II & Heide III)
Tue–Fri 10.00am–5.00pm
Sat/Sun/Public Holidays 12.00noon–5.00pm
Closed Good Friday, Christmas Day, Boxing Day

Heide Museum of Art website

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21
Dec
08

Review: ‘Intersection’ by Daniel Crooks at Anna Schwartz Gallery, Melbourne

Exhibition dates: 28th November – 20th December 2008

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“The subjects of Daniel Crook’s oeuvre; the recurrence of city transport systems, lifts in high-rise buildings alongside images of the sea, invoke an idea of the world made as much of time as space and that indeed we ourselves are also made of time …
Crooks works, literally, from inside the medium, deconstructing its time-space matrix to reveal the inner truth about the subjects of video: they are purely temporal.
The five works comprising Intersection are all sourced from the same ‘volume’ of video footage. Each video is a formal variation that navigates an alternative path through the same light field, pushing its own ‘picture plane’ through the space along opposing axes.
The two most figurative videos navigate the entire volume of footage – each swapping time for the vertical or the horizontal. The second, more abstracted videos are reduced to horizontal and vertical ‘planes’. The centre work – a single pixel of information that tunnels through time – is the intersection between opposing axes, almost like the fulcrum or nodal point, and in turn acts as a pivot for the installation.” 

Catalogue notes from Daniel Crooks exhibition Intersection at Anna Schwartz Gallery, Melbourne.

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This was a magical exhibition – beautiful, insightful and mesmerising in equal parts. Five large video screens were presented in the long space of the Anna Schwartz gallery in Melbourne. The outer two videos feature striated horizontal and vertical bands of pulsating colours, fluxing up and down and from side to side, seemingly rushing past like tarmac outside a moving car. These videos add balance at each end of the installation.

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Daniel Crooks. 'Intersection No.2 (vertical plane)' 2008

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Daniel Crooks
Intersection No.2 (vertical plane)
2008

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The inner videos on either side of the central panel are the most figurative of the work: the video on the left-hand side reminded me of a Jackson Pollock drip painting come alive, ribbons of paint in time and space morphing backwards, finally coalescing into figures and their shadows walking across tarmac; the video on the right-hand side shows people moving across a pedestrian intersection like an animated slow motion photograph flowing anamorphically across the screen, their shadows distorted on the ground as trams pass behind them. Up close the surface of the projected video breaks down into grided squares of light, hypnotic in their blooming, shape-shifting colours.

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Daniel Crooks. 'Intersection No.5 (horizontal volume)' 2008

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Daniel Crooks
Intersection No.5 (horizontal volume)
2008

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Daniel Crooks. 'Intersection No.4 (vertical volume)' 2008

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Daniel Crooks
Intersection No.4 (vertical volume)
2008

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The central panel is the key to the whole work. Intensities of colour flash and fade in time with atmospheric ambient music (by J. David Franz and Byron Scullin) that works effectively with the whole installation. Beeps of the pedestrian crossing intersection intersperse the ambient music adding an almost sonar like pinging to the atmospheric soundtrack; after-images appear and glow as the colours fade, transcending the solidity of the ever-changing single pixel of colour taken through the block of video time. The pyrotechnics of the other screens are balanced by the colours/intensities/music of this central panel.

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Daniel Crooks. 'Intersection' exhibition installation view at Anna Schwartz Gallery, Melbourne

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Intersection installation view at Anna Schwartz Gallery, Melbourne

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The installation reminds me of a folded out five-panel religious altarpiece form of the 15th century. The figures, shadows and lines of the outer videos surround the pulsing heart of the central panel that, for me, took on an almost transcendent spirituality (especially when you understand the transcendence of time and space that is being achieved and how that relates to your own path in life). If you stand very still against the far wall of the gallery and look at all five videos at the same time the central panel achieves the ‘Intersection’ that Daniel Crooks is imagining. Subtle, profound and intelligent the viewer is invited to spend time, no, to transcend time in the company of this work and that is a major achievement: to reveal certain truths about our existence in these moments of time, to inhabit the space between breath – no time, no space.

Dr Marcus Bunyan

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Anna Schwartz Gallery
185 Flinders Lane
Melbourne, Victoria 3000

Opening hours:
Tuesday – Friday 12 – 6pm
Saturday 1 – 5pm

Anna Schwartz Gallery 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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