Archive for May 6th, 2012

06
May
12

Review: ‘Jane Brown / Australian Gothic’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 25th April – 12th May 2012

 

Jane Brown. 'Big Trout, New South Wales' 2010

 

Jane Brown (Kuwait, Australia, b. 1967)
Big Trout, New South Wales
2010
Museo silver rag print
59 x 46 cm

 

 

As you should know by now, this blog tries to promote the work of less well known artists and subject matter. So instead of concentrating on the wonderful aerial bushfire photographs of the well-known artist John Gollings (showing in the same gallery in different spaces with the work of Michael Norton) I have decided to do a posting on the exhibition Australian Gothic by Jane Brown.

This is a good exhibition of small, darkly hewn, traditionally printed silver gelatin photographs, beautifully hung in the small gallery at Edmund Pearce and lit in the requisite, ambient manner. There are some outstanding photographs in the exhibition. The strongest works are the surrealist tinged, film noir-ish mise-en-scènes, the ones that emphasise the metaphorical darkness of the elements gathered upon the stage. Photographs such as Big TroutThe Female Factory, Adelong, New South Wales and Captain’s Flat Hotel, New South Wales really invoke a feeling of unhomely (or unheimlich), where nature is out of kilter. These images unsettle our idea of Oztraliana, our perceived sense of Self and our place in the world. They disrupt normal transmission; they transmutate the seen environment, transforming appearance, nature and form. Less successful in this quest are the bushfire landscapes. I feel these add little to the narrative thread of the exhibition and could have easily been left out in a judicious cull of the photographs. This would have made the overarching story line stronger still.

One of the best photographs in the exhibition is Lathamstowe (2011, below). This dark, brooding, intense photograph is a beautifully realised visualisation, one that balances scale, tone, light, form and darkness to create a haunting image that stays with you a long time after you have seen it. This one images says it all: the artist has talent. More please!

Dr Marcus Bunyan

.
Many thankx to Edmund Pearce Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Jane Brown. 'Bushfire Landscape I' 2011

 

Jane Brown (Kuwait, Australia, b. 1967)
Bushfire Landscape I
2011
Fibre based, silver gelatin print
16.5 x 20.5 cm

 

Jane Brown. 'Bushfire Landscape II, Lake Mountain, Victoria' 2010

 

Jane Brown (Kuwait, Australia, b. 1967)
Bushfire Landscape II, Lake Mountain, Victoria
2010
Fibre based, silver gelatin print
16.5 x 19.5 cm

 

Jane Brown. 'The Female Factory (convict women’s prison), Ross, Tasmania' 2009

 

Jane Brown (Kuwait, Australia, b. 1967)
The Female Factory (convict women’s prison), Ross, Tasmania
2009
Fibre based, silver gelatin print
15.8 x 19.5 cm

 

Jane Brown. 'Lathamstowe' 2011

 

Jane Brown (Kuwait, Australia, b. 1967)
Lathamstowe
2011
Fibre based, silver gelatin print
16.5 x 16.5 cm

 

 

“I find it interesting how monochrome is used to differentiate the living and the dead, the past and the present. It has an ability to transcend the constraints of time, memory and death. I examine this a lot in my work – landscapes seem to have vestiges or traces of past life and memorials become otherworldly.”

.
Jane Brown. ‘Weekend Australian Review’, August 2011

 

“The antipodes was seen as a world of reversals, the dark subconscious of Britain. It was for all intents and purposes Gothic par excellence.”

.
Gary Turcotte. “Australian Gothic,” in Marie Mulvey-Roberts (ed.), ‘The Handbook to Gothic Literature’.1998

 

 

Comprising photographs taken in rural New South Wales, the ACT, Victoria and Tasmania, this exhibition takes its cue from the gothic imaginings of colonial Australia. We see images of a convict past, the bush Christmas, unforgiving landscapes and melancholic hotels. It carries echoes of the cinema of Wake in Fright (1971) and the Cars that Ate Paris (1974)Rendering visible the themes of the melancholic and the uncanny, Australian Gothic manifests itself in rural isolation – where the homely becomes unhomely (or unheimlich) and where nature is out of kilter.

 

Jane Brown. 'Adelong, New South Wales' 2011

 

Jane Brown (Kuwait, Australia, b. 1967)
Adelong, New South Wales
2011
Fibre based, silver gelatin print
16.5 x 20.5 cm

 

Jane Brown. 'Tumbarumba, New South Wales' 2012

 

Jane Brown (Kuwait, Australia, b. 1967)
Tumbarumba, New South Wales
2012
Fibre based, silver gelatin print
16.5 x 19.5 cm

 

Jane Brown. 'One Way, Hobart, Tasmania' 2009

 

Jane Brown (Kuwait, Australia, b. 1967)
One Way, Hobart, Tasmania
2009
Fibre based, silver gelatin print
16.5 x 19.5 cm

 

Jane Brown. 'Unheimlich, French Island, Victoria' 2010

 

Jane Brown (Kuwait, Australia, b. 1967)
Unheimlich, French Island, Victoria
2010
Fibre based, silver gelatin print
19 x 16 cm

 

Jane Brown. 'Captain’s Flat Hotel, New South Wales' 2012

 

Jane Brown (Kuwait, Australia, b. 1967)
Captain’s Flat Hotel, New South Wales
2012
Fibre based, silver gelatin print
21.5 x 17.5 cm

 

 

Edmund Pearce Gallery

This gallery has now closed.

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06
May
12

Exhibition: ‘Warhol and Cars: American Icons’ at The Andy Warhol Museum, Pittsburgh

Exhibition dates: 5th February – 13th May 2012

 

Many thankx to The Warhol Museum for allowing me to publish the photographs of the art in the posting. Please click on the photographs for a larger version of the image.

 

 

Andy Warhol. 'Car' 1950s

 

Andy Warhol (American, 1928-87)
Car (1958 Cadillac Coupe DeVille)
c. 1958
Ink and Dr. Martin’s Aniline dye on Strathmore paper
13 ¼ x 25 5/8 in. (33.7 x 65.1 cm.)
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the VisualArts, Inc.,
© 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

 

 

I think of myself as an American artist; I like it here. I think it’s so great. I feel I represent the U.S. in my art but I’m not a social critic: I just paint those objects in my paintings because those are the things I know best… I’ve heard it said that my paintings are as much a part of the fashionable world as clothes and cars.

.
Andy Warhol, 1966

 

 

Andy Warhol. 'Female Fashion Figure' 1950s

 

Andy Warhol (American, 1928-87)
Female Fashion Figure (with 1959 Plymouth Sport Fury Convertible)
c. 1959
Ink and Dr. Martin’s Aniline dye on Strathmore paper
20 1/8 x 24 7/8 in. (51.1 x 63.2 cm.)
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol, Foundation for the Visual Arts, Inc.,
© 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

 

Andy Warhol (1928-87) '5 Deaths' 1963

 

Andy Warhol (American, 1928-87)
5 Deaths
1963
Acrylic and silkscreen ink on canvas
20 1/8 x 30 in. (51.1 x 76.2 cm.)
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.,
© 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York.

 

Andy Warhol. 'BMW M1 Art Race Car' 1979

 

Andy Warhol (American, 1928-87)
BMW M1 Art Race Car
1979

 

Andy Warhol. 'BMW M1 Art Race Car' 1979 (detail)

 

Andy Warhol (American, 1928-87)
BMW M1 Art Race Car (detail)
1979

 

 

Warhol and Cars: American Icons is the first exhibition to examine Warhol’s enduring fascination with automotive vehicles as products of American consumer society. This exhibition features more than forty drawings, paintings, photographs, and related archival material spanning from 1946 to 1986. As one of the most iconic and influential artists of the 20th century, Andy Warhol has helped to define America. His signature images of such American products and celebrities as Campbell’s soup cans, Coca-Cola bottles, Marilyn Monroe, and Elizabeth Taylor have become instantly recognisable. The majority of the work in the exhibition is from The Andy Warhol Museum’s collection.

The exhibition, organised by the Montclair Art Museum in New Jersey, traces the development of Warhol’s work with cars throughout his career. Warhol and Cars highlights include drawing created in the 1940s; works on paper of the 1950s, as well as paintings and prints from the 60s, 70s and 80s. The exhibition is organised chronologically and thematically, tracing the development of Warhol’s work with cars throughout his career. Exhibition highlights include a rare, spontaneous drawing of the 1940s featuring a produce truck operated by Warhol’s brother Paul; works on paper of the 1950s, dating from the era of Warhol’s commercial magazine illustration; and paintings and prints from his important and poignant Car Crash series.

A key work is Twelve Cadillacs, part of a group of nine Warhol car paintings published in the November 1962 issue of Harper’s Bazaar, which commissioned Warhol to make a visual commentary on the phenomenon of the iconic American motor car. The repetition and grid organisation became a central feature of Warhol’s work. For the first time, Twelve Cadillacs will be juxtaposed with potential source images, as well as the related Seven Cadillacs and the hand-painted Lincoln Continental, both of which were also part of the Harper’s Bazaar commission. Also on view will be a related drawing and car model of Cadillacs from the Jean S. and Frederic A. Sharf Collection of American Automobile Art.

Warhol’s continued engagement with the theme of the automobile is seen in prints and paintings of the 1970s and 1980s based on Volkswagen advertisements, as well as in multiple photographs of European and American cars sewn together with thread into a format evocative of Warhol’s characteristic assembly-line aesthetic. An original BMW M-1 racing car that was hand-painted by Warhol will be on display in the entrance gallery. A film of Warhol painting a BMW in 1979 as part of the BMW Art Race Car Projects introduced by French race car driver Herve Poulin will be on view during the exhibition. The car is part of the BMW Museum’s collection in Munich and was last displayed in the United States at Grand Central Terminal in New York City in 2009.

Press release from The Warhol Museum website

 

Andy Warhol (American, 1928-87) '1978 BMW 320i Art Car Maquette' 1978

 

Andy Warhol (American, 1928-87)
1978 BMW 320i Art Car Maquette
1978

 

Andy Warhol. 'Police Car' 1983

 

Andy Warhol (American, 1928-87)
Police Car
1983
From the series Paintings for Children
Synthetic polymer and silkscreen inks on canvas
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.,
© 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York.

 

Andy Warhol. 'European License Plate, 1976-1986' 1986

 

Andy Warhol (American, 1928-87)
European License Plate, 1976-1986
1986
© AWF

 

Andy Warhol. 'Truck' 1985

 

Andy Warhol (American, 1928-87)
Truck
1985
© AWF

 

Andy Warhol (1928-87) 'Seven Cadillacs' 1962

 

Andy Warhol (American, 1928-87)
Seven Cadillacs
1962
Silkscreen ink on linen
56 x 19 in. (142.2 x 48.3 cm.)
The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.,
© 2010 The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York.

 

 

The Andy Warhol Museum
117 Sandusky Street
Pittsburgh, PA 15212-5890
Phone: 412-237-8300

Opening hours:
Tuesday – Thursday, Saturday – Sunday 10am – 5pm
Friday 10am – 10pm
Monday closed

Andy Warhol Museum website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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