Posts Tagged ‘south yarra

20
Jun
13

Marcus Bunyan black and white archive: South Yarra and surrounds, 1994

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I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

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*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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Marcus Bunyan. 'Stained glass, cracked' 1994

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Marcus Bunyan
Stained glass, cracked
1994
Silver gelatin photograph

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Marcus Bunyan. 'White door 1' 1994

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Marcus Bunyan
White door 1
1994
Silver gelatin photograph

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Marcus Bunyan. 'Damien, 1994' 1994

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Marcus Bunyan
Damien, 1994
1994
Silver gelatin photograph

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Marcus Bunyan. 'Night repair' 1994

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Marcus Bunyan
Night repair
1994
Silver gelatin photograph

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Marcus Bunyan. 'Jerry holding a brush, South Yarra' 1994

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Marcus Bunyan
Jerry holding a brush, South Yarra
1994
Silver gelatin photograph

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Marcus Bunyan. 'Jerry behind safety screen, Punt Road, South Yarra' 1994

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Marcus Bunyan
Jerry behind safety screen, Punt Road, South Yarra
1994
Silver gelatin photograph

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Marcus Bunyan. 'Presence' 1994

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Marcus Bunyan
Presence
1994
Silver gelatin photograph

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Marcus Bunyan. 'Nautilus shell in cup' 1994

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Marcus Bunyan
Nautilus shell in cup
1994
Silver gelatin photograph

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Marcus Bunyan. 'Jerry with shaved head' 1994

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Marcus Bunyan
Jerry with shaved head
1994
Silver gelatin photograph

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Marcus Bunyan. 'Undergrowth' 1994

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Marcus Bunyan
Undergrowth
1994
Silver gelatin photograph

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Marcus Bunyan. 'White door 2' 1994

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Marcus Bunyan
White door 2
1994
Silver gelatin photograph

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Marcus Bunyan. 'Damien sitting outside his flat, South Yarra, 1994' 1994

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Marcus Bunyan
Damien sitting outside his flat, South Yarra, 1994
1994
Silver gelatin photograph
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Marcus Bunyan. 'Trees, capstone, shadows' 1994

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Marcus Bunyan
Trees, capstone, shadows
1994
Silver gelatin photograph

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Marcus Bunyan. 'Damien with snake' 1994

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Marcus Bunyan
Damien with snake
1994
Silver gelatin photograph

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Marcus Bunyan. 'Glass bird, Punt Road, South Yarra' 1994

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Marcus Bunyan
Glass bird, Punt Road, South Yarra
1994
Silver gelatin photograph

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Marcus Bunyan. 'Easter Sunday' 1994

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Marcus Bunyan
Easter Sunday
1994
Silver gelatin photograph

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Marcus Bunyan. 'Capstone, night, Windsor train station' 1994

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Marcus Bunyan
Capstone, night, Windsor train station
1994
Silver gelatin photograph

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Marcus Bunyan. 'Paul, cock on anvil' 1994

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Marcus Bunyan
Paul, cock on anvil
1994
Silver gelatin photograph

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Marcus Bunyan black and white archive page

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29
Apr
12

Marcus Bunyan black and white archive: objects, cars and places, 1991/2

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I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

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Marcus Bunyan
Two faces
1991

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Marcus Bunyan. 'Fred and Andrew smoking a joint in Paris' 1992

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Marcus Bunyan
Fred and Andrew smoking a joint in Paris
1992

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Marcus Bunyan. 'Unknown landscape' 1991-2

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Marcus Bunyan
Unknown landscape
1991-2

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Marcus Bunyan
Base
1991

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Marcus Bunyan
Shower room, Punt Road, South Yarra
1991

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Marcus Bunyan
Keep Clear, Virgin Girl
1992

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Marcus Bunyan
Two torsos
1991

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Marcus Bunyan
Standing stove, plant and broom
1991

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Marcus Bunyan
Suspended kitchen
1991

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Marcus Bunyan
Bring me the head of John the Baptist / Man with Big Ears
1992

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Marcus Bunyan
The Windmills of Don Q
1992

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Marcus Bunyan
Where the stars are (after Manuel Alvarez Bravo)
1991

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Marcus Bunyan. 'Fred and Andrew, Sherbrooke Forest' 1992

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Marcus Bunyan
Fred and Andrew, Sherbrooke Forest
1992

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Marcus Bunyan. 'Jeff standing on his Valiant' 1991-2

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Marcus Bunyan
Jeff standing on his Valiant
1991-2

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Marcus Bunyan black and white archive page

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19
Jan
12

marcus bunyan black and white archive: self-portraits and nudes, 1991/2

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I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

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Marcus Bunyan
Self-portrait in Punk Jacket
1991/2

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Marcus Bunyan
Marcus Sucking His Thumb
1991/2

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Marcus Bunyan
Marcus in his Punk Jacket, Punt Road, South Yarra
1991/2

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Marcus Bunyan
Marcus as The Fool (posing for the sculptor Fredrick White)
1991/2

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Marcus Bunyan
Nude, in the Flat, Rear of Derelict House, 455, Punt Road, South Yarra
1992

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Marcus Bunyan
Nude on Floor (with Clifford Last)
1992

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Marcus Bunyan
Nude on Couch, Punt Road, South Yarra
1992

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Marcus Bunyan
Nude on Couch, Punt Road, South Yarra
1992

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Marcus Bunyan black and white archive page

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01
Oct
11

Marcus Bunyan black and white archive: portraits 1991/2

Portraits, South Yarra, Melbourne

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I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

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Marcus Bunyan
Andrea with long hair
1991/2

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Marcus Bunyan
Andrew in the flat, Punt Road, South Yarra
1991/2

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Marcus Bunyan
Fredrick White, Weapon-Maker
1991/2

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Marcus Bunyan
Fred my brother
1991/2

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Marcus Bunyan
Fred smiling in the flat, Punt Road, South Yarra
1991/2

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Marcus Bunyan
Fred’s hands
1991/2

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Marcus Bunyan
Jerry, Bent Metal, Punt Road, South Yarra
1991/2

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Marcus Bunyan
Jerry, Bent Metal, Punt Road, South Yarra
1991/2

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Marcus Bunyan
Brent in the backyard
1991/2

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Marcus Bunyan
Lawrence in the kitchen, Punt Road, South Yarra
1991/2

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Marcus Bunyan
Lawrence with strainer
1991/2

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Marcus Bunyan
Portrait of Lawrence
1991/2

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Marcus Bunyan
Fredrick White
1991/2

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Marcus Bunyan
Yvonne Kendall
1991/2

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Marcus Bunyan
Lawrence sleeping
1991/2

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Marcus Bunyan
Untitled (Lawrence clasping his arms to his back)
1991/2

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Marcus Bunyan black and white archive page

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07
Mar
09

Opening 3: Review: ‘Show Court 3′ and ‘Mood Bomb’ by Louise Paramor at Nellie Castan Gallery, Melbourne

Opening: Thursday 5th March 2009

Exhibition dates: 5th March – 28th March 2009

 

Boarding a train at Flinders Street we emerge at South Yarra station to stroll down to River Street for our third opening of the night at Nellie Castan Gallery. We are greeted by the ever gracious Nellie Castan who has just returned from an overseas trip to Europe where she was soaking up the wonders of Rome amongst other places.

For the latest exhibition in the gallery Louise Paramor is presenting two bodies of work: ‘Show Court 3′ and ‘Mood Bomb’ (both 2009). Lets look at ‘Show Court 3′ first as this work has older origins.
Originally exhibited in 2006 at Nellie Castan under the title Jam Session the sculptures from this exhibition and many more beside (75 in all) were then installed in 2007 on show court 3 at Melbourne & Olympic Parks, hence the title of the installation. In the smaller gallery in 2009 we have six Lambda photographic prints that are records of this installation plus a video of the installation and de-installation of the work.

 

Louise Paramor. 'Show Court 3 (II)' 2009

 

Louise Paramor
‘Show Court 3 (II)’
2009

 

Louise Paramor. 'Show Court 3 (VI)' 2009

 

Louise Paramor
‘Show Court 3 (VI)’
2009

 

While interesting as documentary evidence of the installation these photographs are thrice removed from the actual sculptures – the sculptures themselves, the installation of the sculptures on court and then the photographs of the installation of the sculptures. The photographs lose something in this process – the presence or link back to the referentiality of the object itself. There is no tactile suggestiveness here, no fresh visual connections to be made with the materials, no human interaction. The intertextual nature of the objects, the jamming together of found pieces of bright plastic to make seductive anthropomorphic creatures that ‘play’ off of each other has been lost.

 

 Louise Paramor. 'Show Court 3' (detail) 2009

 

Louise Paramor
‘Show Court 3′ (detail)
2009

 

Louise Paramor. 'Show Court 3' (detail) 2009

 

Louise Paramor
‘Show Court 3′ (detail)
2009

 

What has been reinforced in the photographs is a phenomena that was observed in the actual installation.

“The sculptures created a jarring visual disruption when placed in a location normally associated with play and movement. The stadium seating surrounding the tennis court incited an expectation of entertainment; a number of viewers sat looking at the sculptures, as though waiting for them to spin and jump around. But mostly, the exhibition reversed the usual role of visitors to place where one sits and watches others move; here the objects on the tennis court were static and the spectators moved around.” (2007)1

In the photographs of these objects and in the installation itself what occurs is an inversion of perception, a concept noted by the urbanist Paul Virilio.2 Here the objects perceive us instead of us perceiving the object: they stare back with an oculocentric ‘suggestiveness’ which is advertising’s raison d’être (note the eye sculpture above). In particular this is what the photographs suggest – a high gloss surface, an advertising image that grabs our attention and forces us to look but is no longer a powerful image.

 

Louise Paramor. Opening night crowd in front of 'Sky Pilot' (left) and 'Mama' (right) 2009

 

Louise Paramor
Opening night crowd in front of ‘Sky Pilot’ (left) and ‘Mama’ (right)
2009

 

Louise Paramor. Opening night crowd in front of 'Green Eyed Monster' (right) and 'Sky Pilot' (right) 2009

 

Louise Paramor
Opening night crowd in front of ‘Green Eyed Monster’ (right) and ‘Sky Pilot’ (right)
2009

 

Louise Paramor. Opening night crowd in front of 'Pineapple Express' 2009

 

Louise Paramor
Opening night crowd in front of ‘Pineapple Express’
2009

 

In the main gallery was the most interesting work of the whole night – experiments of abstraction in colour “inspired by the very substance of paint itself.” Made by pouring paint onto glass and then exhibiting the smooth reverse side, these paintings are not so much about the texture of the surface (as is Dale Frank’s work below) but a more ephemeral thing: the dreamscapes of the mind that they promote in the viewer, the imaginative connections that ask the viewer to make. Simpler and perhaps more refined than Frank’s work (because of the smooth surface, the lack of the physicality of the layering technique? because of the pooling of amoebic shapes produced, not the varnish that accumulates and recedes?) paint oozes, bleeds, swirls, drips upwards and blooms with a sensuality of intense love. They are dream states that allow the viewer to create their own narrative with the title of the works offering gentle guides along the way: ‘Girl with Flowers’, ‘Lovers’, ‘Mood Bomb’, ‘Emerald God’, ‘Mama’, and ‘Animal Dreaming’ to name just a few. To me they also had connotations of melted plastic, almost as if the sculptures of Show Court 3 had dissolved into the glassy surface of a transparent tennis court.

 

Louise Paramor. 'A Dog and His Master' (detail) 2009

 

Louise Paramor
‘A Dog and His Master’ (detail)
2009

 

Louise Paramor. 'Lovers' 2009

 

Louise Paramor
‘Lovers’
2009

 

Dale Frank. 2005

 

Dale Frank
‘2. One conversation gambit you hear these days: ‘Do you rotate?’ An interesting change of tack? No suck luck. ‘Do you rotate?’ simply fishes for information about the extent of your collection. Do you have enough paintings to hang a different one in your dining room every month?’
2005

 

Louise Paramor. 'Mood Bomb' 2009

 

Louise Paramor
‘Mood Bomb’
2009

 

Louise Paramor. 'Slippery Slope' (detail) 2009

 

Louise Paramor
‘Slippery Slope’ (detail)
2009

 

Louise Paramor 'Green Eyed Monster' (detail) 2009

 

Louise Paramor
‘Green Eyed Monster’
(detail) 2009

 

These are wonderfully evocative paintings. I really enjoyed spending time with them. A visit is highly recommended.

 

 

Nellie Castan Gallery
level 1 12 river street south yarra 3161
hours 12pm – 5pm tuesday – sunday
phone +61 9804 7366
Web: www.nelliecastangallery.com

 

1. O’Neill, Jane. Louise Paramor: Show Court 3. Melbourne: Nellie Castan Gallery, 2009.
2. Virilio, Paul. The Vision Machine. (trans. Julie Rose). Bloomington: Indiana University Press, 1994, pp.62-63.   




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Marcus Bunyan black and white archive: ‘The Songs of Eternity’ 1994

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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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