Season’s greetings from Art Blart 2021

December 2021

Unknown photographer (Australian)
Untitled (With Best Wishes for a Happy Christmas and a Bright New Year)
c. 1900
Cabinet card

Season’s Greetings from Art Blart

Thank you to all Art Blart readers for their support in 2021!

Marcus

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Season’s greetings from Art Blart 2020

December 2020

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Exhibition: ‘In Focus: Platinum Photographs’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 21st January – 31st May 2020

Curator: Arpad Kovacs, assistant curator of photographs at the museum

Peter Henry Emerson (British born Cuba, 1856-1936)
Coming Home from the Marshes
1886
Platinum print
Image: 19.8 × 28.9cm (7 13/16 × 11 3/8 in.)
The J. Paul Getty Museum, Los Angeles

Glorious. adjective: having a striking beauty or splendour.

I have seen quite a few vintage platinum prints over the years, from Paul Strand to Robert Mapplethorpe (even though he didn’t print them himself). And there has always struck me about them a lusciousness, a pleasingly rich “atmosphere” which appeals strongly to the senses, through an almost erotic charge of intensity.

Contrary to the contemporary mania for pure blacks and whites in an image, platinum prints, with their wide gamut, can have an innumerable number of greys in their tonal range which form a holistic whole in the rendition of the subject. For example, Frederick H. Evans’ Kelmscott Manor: In the Attics (2) (1896, below) has a delicacy of description and a glowing aura seemingly emanating from the very depths of the image, which fetishises the photographic object, itself.

As in a drizzle of light rain – and emerging from Pictorialist conventions of sfumato – there is a liquidity to the tonality of platinum prints, as though there is mercury flowing under the surface of the paper. Glorious.

Dr Marcus Bunyan

Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Admired for their velvety matte surface, wide tonal range, and neutral palette, platinum prints helped establish photography as a fine art. Introduced in 1873, the process was championed by prominent photographers until platinum’s use was restricted in World War I and manufacturers were forced to introduce alternatives. The process attracted renewed interest in the mid-twentieth century from a relatively small but dedicated community of practitioners. This exhibition draws from the Museum’s collection to showcase some of the most striking prints made with platinum and the closely related palladium processes.

Text from the J. Paul Getty Museum website

Eveleen W. H. Myers (British, 1856-1937)
Leopold Hamilton Myers as ‘The Compassionate Cherub’
about 1888-1891
Platinum print
Image: 24.4 × 29cm (9 5/8 × 11 7/16 in.)
The J. Paul Getty Museum, Los Angeles

Sarah Choate Sears (American, 1858-1935)
Helen Sears
1895
Platinum print
Image: 22.8 × 18.7cm (9 × 7 3/8 in.)
The J. Paul Getty Museum, Los Angeles

Sarah Choate Sears (American, 1858-1935)

Sarah Choate Sears (1858-1935) was an American art collector, art patron, cultural entrepreneur, artist and photographer

About 1890 she began exploring photography, and soon she was participating in local salons. She joined the Boston Camera Club in 1892, and her beautiful portraits and still life attracted the attention of fellow Boston photographer F. Holland Day. Soon her work was gaining international attention.

At the same time she was pursuing her photography interest, she and her husband were hosting some of the most elegant cultural and artistic parties in Boston. They often featured private symphonic performances and included many international composers and performers, including Ignacy Paderewski, Serge Koussevitsky and Dame Nellie Melba.

In 1899 she was given a one-woman show at the Boston Camera Club, and in 1900 she had several prints in Frances Benjamin Johnson’s famous exhibition in Paris. In early 1900 she met American Impressionist Mary Cassatt, and the two continued to be friends for the remainder of their lives. During this same period she was elected as a member of the prestigious photographic associations: the Linked Ring in London and Alfred Stieglitz’s Photo-Secession in New York…

In 1907, two of her photographs were published in Camera Work, but by that time she had lost much of her interest in photography.

Text from the Wikipedia website

Frederick H. Evans (British, 1853-1943)
Kelmscott Manor: In the Attics (2)
1896
Platinum print
Image: 19.9 × 14.9cm (7 7/8 × 5 7/8 in.)
The J. Paul Getty Museum, Los Angeles

Gertrude Käsebier (American, 1852-1934)
[Gertrude O’Malley and son Charles]
1900
Platinum print
Image: 20.2 × 15.6cm (7 15/16 × 6 1/8 in.)
The J. Paul Getty Museum, Los Angeles

Edward Steichen (American, born Luxembourg, 1879-1973)
La Cigale (The cicada)
Negative 1901; print 1908
Waxed gum bichromate over platinum print
Image: 31.4 × 27cm (12 3/8 × 10 5/8 in.)
The J. Paul Getty Museum, Los Angeles

The J. Paul Getty Museum presents In Focus: Platinum Photographs, featuring more than two dozen striking prints made with platinum and the closely related palladium photographic process.

Drawn from the museum’s collection, the exhibition explores the wide variety of visual characteristics that have come to define the allure and beauty of this medium, which include a velvety matte surface, wide tonal range, and neutral palette. Introduced in 1873 by scientist William Willis Jr. (British, 1841-1923), the use of platinum was quickly embraced by both professional and amateur photographers alike and helped to establish photography as a fine art.

The visual qualities of each print could be individualised by changing the temperature of the developer or adding chemicals such as mercury or uranium. Photographers further enhanced their works by using an array of commercially available papers with rich textures and by employing inventive techniques such as the application of pigments and layered coatings to mimic effects associated with painting and drawing.

Platinum printing became widely associated with Pictorialism, an international movement and aesthetic style popular at the end of the 19th century. Advocates of Pictorialism favoured visible marks of the artist’s hand that might be achieved by manipulating either the negative or the print, or both. These hand-crafted prints differentiated themselves from the crisp images produced by commercial photographers and snapshots made with hand-held cameras recently introduced by Kodak.

Among the works on view is a triptych of a mother and child by Gertrude Käsebier (American, 1852-1934), one of the most technically innovative photographers associated with Pictorialism, an atmospheric nude by Edward Steichen (American, born Luxembourg, 1879-1973), and a view of Venice by Alvin Langdon Coburn (British, born United States, 1882-1966). Other images by Paul Strand (American, 1890-1976) and Karl Struss (American, 1886-1981) incorporate geometric forms or unusual vantage points to introduce abstraction into their compositions.

The popularity of platinum paper declined in the years leading up to the First World War. The soaring price of the metal forced manufacturers to introduce alternatives, including papers made with palladium and a platinum-and-silver hybrid. As platinum became crucial in the manufacture of explosives, governments prohibited its use for any purpose outside the defence industry. The scarcity of materials and eventual shifting aesthetic preferences led many photographers to abandon the process in favour of gelatin silver prints.

Interest in the process was renewed in the mid-20th century, and a relatively small but dedicated number of photographers continue to use the process today. The fashion photographer Irving Penn (American, 1917-2009) began hand coating papers with platinum in the 1960s and created prints that simultaneously emphasise intense and detailed shadows and subtle luminous highlights. More recent examples include a double portrait by artist Madoka Takagi (American, born Japan, 1956-2015) featuring herself, arms crossed and a shirtless man covered in tattoos, both gazing stoically into the camera’s lens; a suburban night scene by Scott B. Davis (American, born 1971); and an experiment in abstraction by James Welling (American, born 1951).

In Focus: Platinum Photographs is on view January 21-May 31, 2020 at the J. Paul Getty Museum. The exhibition is curated by Arpad Kovacs, assistant curator of photographs at the museum.

Press release from The J. Paul Getty Museum

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 19.4 × 15.2cm (7 5/8 × 6 in.)
Later overmat and mount -irregular: 58.3 × 71.1cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 18.7 × 14.9cm (7 3/8 × 5 7/8 in.)
Later overmat and mount -irregular: 58.3 × 71.1cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

Gertrude Käsebier (American, 1852-1934)
Gertrude and Charles O’Malley: A Triptych, summer 1903
1903
Platinum print
Image: 20 × 14.8cm (7 7/8 × 5 13/16 in.)
Later overmat and mount -irregular: 58.3 × 71.1cm (22 15/16 × 28 in.)
The J. Paul Getty Museum, Los Angeles

Joseph Turner Keiley (American, 1869-1914)
Untitled
1900-1905
Platinum print
The J. Paul Getty Museum, Los Angeles

Joseph Turner Keiley (American, 1869-1914)

Joseph Turner Keiley (26 July 1869 – 21 January 1914) was an early 20th-century photographer, writer and art critic. He was a close associate of photographer Alfred Stieglitz and was one of the founding members of the Photo-Secession. Over the course of his life Keiley’s photographs were exhibited in more than two dozen international exhibitions, and he achieved international acclaim for both his artistic style and his writing.

He began photographing in the mid-1890s and met fellow New York photographer Gertrude Käsebier, who at that time was engaged in photographing American Indians who were performing in Buffalo Bill’s Wild West Show. Keiley also photographed some of the same subjects, and in 1898 nine of his prints were exhibited in the Philadelphia Photographic Salon. One of the judges for the Salon was Stieglitz, who also wrote a glowing review of Keiley’s work.

Due to his success in Philadelphia the next year Keiley became the fourth American elected to the Linked Ring, which at that time was the most prominent photographic society in the world promoting pictorialism.

In 1900 he joined the Camera Club of New York and had a one-person exhibition in the Club’s gallery. At that time Stieglitz was serving as the Vice President of the Club and editor of the Club’s journal Camera Notes, and Keiley soon became his closest ally. Stieglitz asked him to become Associate Editor of the journal, and over the next few years Keiley was one of its most prolific writers, contributing articles on aesthetics, exhibition reviews and technical articles. He also had several of his photographs published in the journal.

While working with Stieglitz the two began experimenting with a new printing technique for glycerine-developed platinum prints, and they co-authored an article on the subject that was later published in Camera Notes.

In 1902 Stieglitz included Keiley as one of the founding members of the Photo-Secession, and he had fifteen of his prints (one more than Edward Steichen) included in the inaugural exhibition of the Photo-Secession at the National Arts Club.

When Stieglitz started Camera Work in 1903 he asked Keiley to become Associate Editor, and for the next eleven years he was second only to Stieglitz in the details of publishing the journal. He contributed dozens of essays, reviews and technical articles, and he advised Stieglitz about promising new photographers from Europe.

Keiley had seven gravures published in Camera Work, one in 1903 and six in 1907.

Text from the Wikipedia website

Alvin Langdon Coburn (British born United States, 1882-1966)
Grand Canal, Venice
1908
Platinum print
40.8 × 21.3cm (16 1/16 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles

Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe – Hands
1918
Palladium print
The J. Paul Getty Museum, Los Angeles

Doris Ulmann (American, 1882-1934)
Landscape with Pump and Barn
about 1920-1934
Platinum print
The J. Paul Getty Museum, Los Angeles

Doris Ulmann (May 29, 1882 – August 28, 1934) was an American photographer, best known for her portraits of the people of Appalachia, particularly craftsmen and musicians, made between 1928 and 1934.

Tina Modotti (American born Italy, 1896-1942)
Hands Resting on Tool
1927
Palladium print
Image: 19.7 × 21.6cm (7 3/4 × 8 1/2 in.)
The J. Paul Getty Museum, Los Angeles

Manuel Álvarez Bravo (Mexican, 1902-2002)
[Wounded Agaves]
Negative 1950; print late 1970s – early 1980s
Platinum print
Image: 16.7 × 21.2cm (6 9/16 × 8 3/8 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Daniel Greenberg and Susan Steinhauser
© Archivo Manuel Álvarez Bravo, S.C.

Irving Penn (American, 1917-2009)
Breton Onion Seller, London
Negative 1950; print 1967
Platinum and palladium print
Image: 41 × 30.6cm (16 1/8 × 12 1/16 in.)
The J. Paul Getty Museum, Los Angeles
Partial gift of Irving Penn
© The Irving Penn Foundation

Robert Mapplethorpe (American, 1946 – 1989)
Coral Sea
1983
Platinum print
Image: 58.8 × 49.7cm (23 1/8 × 19 9/16 in.)
Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation
The J. Paul Getty Museum, Los Angeles
© Robert Mapplethorpe Foundation

Madoka Takagi (American born Japan, 1956-2015)
Untitled [Self-portrait with Bare-chested, Tattooed Latino Man]
1986
Platinum and palladium print
Image: 24.3 × 19.4cm (9 9/16 × 7 5/8 in.)
The J. Paul Getty Museum, Los Angeles
© Estate of Madoka Takagi

Scott B. Davis (American, b. 1971)
Dana Point, California
Negative April 15, 2006; print April 25, 2010
Platinum and palladium print
Image: 40.6 × 50.3cm (16 × 19 13/16 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the artist
© Scott B. Davis

James Welling (American, b. 1951)
Untitled
2013-2014
Platinum print
The J. Paul Getty Museum, Los Angeles
Gift of the artist
© James Welling

James Welling (born 1951 in Hartford, Connecticut) is a postmodern artist. He earned both a BFA and an MFA at California Institute of the Arts in Valencia, California, where he studied with, among others, Dan Graham. He emerged in the 1970s as a post-conceptual artist for whom photographic norms and the representational field itself were and remain contested and problematised. Welling lives and works in Los Angeles.

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Tues – Friday 10am – 5.30pm
Saturday 10am – 8pm
Sunday 10am – 5.30pm
Monday closed

The J. Paul Getty Museum website

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Season’s greetings from Art Blart 2018

December 2018

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10th year anniversary of Art Blart

13th November 2008 – 13th November 2018

A big effort

Art Blart has a readership of 1,500 a day. It has become a research tool for artists and photographers around the world. It is also an important form of cultural memory, with over 1,300 posts in its archive. The site is itself being archived by Pandora from the National Library of Australia.

What I find most important about the archive is that it gives me the opportunity to promote artists, to promote ideas and thoughts about art and life and, most importantly, to shine a light on different aspects of art, from the under recognised concepts to the disenfranchised and forgotten artists.

Reproduced below is the first ever post on Art Blart with the key tags, life and death. Not a lot has changed in 10 years. My concerns in that first post are still present – what we are doing to the planet and to our culture, how we construct our histories and memories, and how we can embrace diversity and equality the world over. Text and images and powerful tools for promoting such egalitarian ideals.

I must thank all the amazing galleries around the world for suppling text and media images. Your efforts are truly appreciated, for without you the archive would be nothing. Your enthusiasm and willingness to help has been incredible.

And to you, the readers, I must thank you for your for your attention and continued patronage. While the website is a personal form of expression there is also a good dose of altruism amongst its postings. I hope my musings have enlightened your ideas on art and life for the better. I hope you have all enjoyed the ride as much as I have enjoyed making and writing the website.

I will continue to write into history and memory as much as I can in the following years.

Dr Marcus Bunyan

First ever post

13th November 2008

“We are such spendthrifts with our lives,” Newman once told a reporter. “The trick of living is to slip on and off the planet with the least fuss you can muster.”

Paul Newman

See the original posting

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Review: ‘All the better to see you with: Fairy tales transformed’ at The Ian Potter Museum of Art, The University of Melbourne

Exhibition dates: 13th January – 3rd March 2018

Curator: Samantha Comte

Artists: Broersen and Lukács, Kate Daw, Peter Ellis, Dina Goldstein, Mirando Haz, Vivienne Shark Le Witt, Amanda Marburg, Tracey Moffatt, Polixeni Papapetrou, Patricia Piccinini, Paula Rego, Lotte Reiniger, Allison Schulnik, Sally Smart, Kiki Smith, Kylie Stillman, Tale of Tales, Janaina Tschäpe, Miwa Yanagi, Kara Walker and Zilverster (Goodwin and Hanenbergh).

Review synposis: Simply put, this is the best local exhibition I have seen this year. A must see before it closes.

Polixeni Papapetrou (Australian, 1960-2018)
Hanging Rock 1900 #3
2006
Pigment ink print
105 x 105cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin

Oh my, what big teeth you have! Wait just a minute, they need a good clean and they’re all crooked and subverted (or a: how well-known stories are turned on their head and b: how real histories become fantasies, and how fantasies are reimagined)

This is going to be the shortest review in the known universe. Just one word

SUPERLATIVE

Every piece of artwork in this extraordinary, quirky, spellbinding exhibition (spread over the three floors of the The Ian Potter Museum of Art at The University of Melbourne) is strong and valuable to the investigation of the overall concept, that of fairy tales transformed.

The hang, the catalogue, and the mix of a: international and local artists; b: historical and contemporary works; and c: animation, video, gaming, sculpture, photography, painting, drawing and other art forms – is dead set, spot on.

There are too many highlights, but briefly my favourites were the historical animations of Lotte Reiniger; the painting Born by Kiki Smith which adorns the catalogue cover; the theatrical tableaux of Polixeni Papapetrou; the mesmerising video art of Allison Schulnik; and the subversive etchings of both Peter Ellis and Mirando Haz. But really, every single artwork had something interesting and challenging to say about the fabled construction of fairy tales and their place in the mythic imagination, a deviation from the normative, patriarchal telling of tales.

My only regret, that a: there hadn’t been another three floors of the exhibition; b: that there was only one work by Kiki Smith; and c: that there were not another set of disparate voices other than the feminine and black i.e. transgender, gay, disabled – other artists (if they exist?) that were working with this concept.

Simply put, this is the best local exhibition I have seen this year. A must see before it closes.

Dr Marcus Bunyan

Many thankx to The Ian Potter Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Installation photographs by Christian Capurro.

All the better to see you with: Fairy tales transformed, the Ian Potter Museum of Art’s 2017 summer show, traces the genre of the fairy tale, exploring its function in contemporary society. The exhibition presents contemporary art work alongside a selection of key historical fairy tale books that provide re-interpretations of the classic fairy tales for a 21st-century context, including Little Red Riding Hood, Hansel and Gretel and The Little Mermaid.

Ground floor

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Lotte Reiniger with Cinderella/Aschenputtel (1922) at left

Lotte Reiniger (born 1899, Berlin-Charlottenburg, Germany; died 1981, Dettenhausen, West Germany)
with new music by Karim Al-Zand
Cinderella/Aschenputtel
1922
Silhouette animation film
Primrose Productions
Directed and animated by Lotte Reiniger
Production team: Carl Coch, Louis Hagen, Vivian Milroy Music: Freddie Phillips
12.35 minutes

Lotte Reiniger began making her ground-breaking animations in Berlin during the 1920s. Influenced by early fairy tale illustrations, in particular, Andrew Lang’s The Blue Fairy (1887), Reiniger was attracted to the graphic nature of the imagery but also the compelling complexities of fairy tale narratives. Adapting the art of shadow puppetry, she created more than forty intricately crafted fairy tale films.

In 1935, she left Berlin for England, in response to the unjust treatment of the Jewish people. World War II had an enduring impact on Reiniger’s work and life. For example, when she made Hansel and Gretel, in 1953-1954, she changed the ending of the narrative from the Brothers Grimm original, in which the witch is burnt in the over after being tricked by the children, because the taboo nature of this imagery was understandably too close to the horrors of the Holocaust. From her first film, Reiniger was attracted to the timelessness of fairy tale stories for her animations. Aschenputtel (Cinderella) (1922) was among her first filmic subjects and is amongst the words presented here. While Reiniger belonged to the cinematic avant-garde, working in independent production and experimental film making, her spirit harked back to an earlier age of innocence.

Wall text

The Art of Lotte Reiniger, 1970 | From the Vaults

Lotte Reiniger is known today for her extraordinarily elaborate silhouette animations. Her 1926 feature, “The Adventures of Prince Achmed,” is the oldest surviving full-length animated film. This short documentary provides a fascinating look at Reiniger’s process, offering viewers the opportunity to watch a prolific and pioneering artist at work. Here, she works on two projects: her fantastical short animation, “Papageno” (1935), about the cheerful bird-catcher from Mozart’s opera “The Magic Flute,” along with a dazzling struggle between the Frog Prince and a covetous octopus.

Text from the YouTube website

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Lotte Reiniger (left) and Sally Smart (right)

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Sally Smart’s work Blaubart (The Choreography of Cutting) 2017

Sally Smart‘s Blaubart (The Choreography of Cutting) is a complex assemblage of elements and ideas that relate to Smart’s recent work on the Russian Fairy tale, Chout (1921) where she found connections to Perrault’s murderous tale of Blue Beard, a lurid story about a noble man who marries numerous women killing each of them and storing their bodies in an underground bloody chamber.

Smart’s work explores this narrative by combining the blue and black silhouetted forms from Lotte Reiniger’s animation of The Adventures of Prince Achmed (1926) with the black and white photographs of a modern dance performance of Blue Beard devised by Pina Bausch, a noted German dance choreographer. In Smart’s dramatic work a series of hanging dresses and wigs stand in for blue beards wives, whose bodies, in the story, were gruesomely hung from hooks. Blue Beard is a story of violence and betrayal that contains one of the most powerful fairy tale symbols, that of the forbidden room and the quest for knowledge. While we often try to make sense of the world through chronological narrative, Smart’s work suggests that it is the disconnected layers of experiences, stories, images and sensations that lead to a rich life of possibility.

Wall text

Sally Smart (born 1960, Quorn, South Australia; lives and works Melbourne, Victoria)
Blaubart (The Choreography of Cutting) (detail)
2017
Mixed media installation
Dimensions variable
Courtesy of the artist and Sarah Scout Presents, Melbourne

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Miwa Yanagi (left to right, Little Match Girl 2004; Gretel 2004; Untitled IV 2004; and Erendira 2004)

Japanese photographer, Miwa Yanagi constructs elaborate and complex images that examine the representation of women in contemporary Japanese society. Her third major series of works, Fairy tales focuses on a key theme, that of the young girl moving into womanhood and her relationship to the older woman.

Recasting the familiar tales of Grimm and Hans Christian Andersen, Yanagi explores the complex relationship between old women and young girls, often presented as the witch and the innocent princess. In this series, Yanagi returns to traditional methods of photography, creating complex backdrops, lighting and costumes. She dresses some of the young girls in wigs, make up and masks to look old and witch-like, creating a strangely unresolved image of an old woman with a young body, playing with the idea of binaries – innocence and heartlessness, maturity and youth.

Wall text

Miwa Yanagi (born in born in 1967 in Kobe, Japan; lives and works in Kyoto, Japan)
Gretel
2004
Gelatin silver print
116 x 116cm (framed)
Collection of the Hara Museum of Contemporary Art

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Amanda Marburg (right) and Miwa Yanagi (left)

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Amanda Marburg (Juniper Tree 2016; Hansel and Gretel 2016; Maiden without hands 2016; Death and the Goose boy 2015; The Golden Ass 2016; Hans My Hedgehog 2016; Briar Rose 2016; and All Fur 2016)

Amanda Marburg has an enduring fascination with the macabre, referencing dark tales from film, literature and art history to create distinctive paintings that often picture sinister and menacing subjects within brightly rendered, plasticine environments. In this body of work, Marburg looks to the famous Brothers Grimm tales, particularly the first edition of Grimm’s Fairy Tales, published in 1812. The brothers were dedicated to collecting largely oral folk tales from their German heritage, and among the first hey collected were narratives that told of the brutal living conditions of the time. In the better known 1857 edition of their Grimm’s Fairy Tales, more than thirty of the original stories have been removed from the earlier publication including ‘Death and the Goose Boy’ and ‘Juniper Tree’. These stories were often cautionary tales that encompassed gritty themes such as cannibalism, murder and child abuse and while they were popular when first published, they were deemed unsuitable for the later edition.

Wall text

Amanda Marburg (born 1976, Melbourne Australia; lives and works in Melbourne, Australia)
Maiden without hands
2016
Oil on linen
122 x 92cm
Courtesy the artist and Sutton Gallery, Melbourne

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Lotte Reiniger (left), Sally Smart (middle), and Miwa Yanagi (right)

Broersen and Lukács (Persijn Broersen born in Delft, The Netherlands in 1974 and Margit Lukács, in Amsterdam, The Netherlands in 1973; both live and work in Amsterdam, The Netherlands and Paris, France)
Mastering Bambi (video still)
2011
HD video
12:30 minutes
Courtesy of the artists and Akinci, Amsterdam

Mastering Bambi Preview, 2010 – Persijn Broersen & Margit Lukács from AKINCI Gallery on Vimeo.

Walt Disney’s 1942 classic animation film Bambi is well known for its distinct main characters – a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his ‘Bambi’. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilisation and technology. The forest, therefore, is depicted as a ‘magic well’, the ultimate purifying ‘frontier’, where the inhabitants peacefully coexist. Interestingly, the original 1924 Austrian novel Bambi, A Life in the Woods by Felix Salten (banned in 1936 by Hitler) shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death.

Broersen and Lukács recreate the model of Disney’s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They’ve reconstructed Bambi’s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie.

Text from AKINCI Gallery Vimeo web page

Featuring international and Australian contemporary artists including Kiki Smith, Patricia Piccinini, Amanda Marburg, Miwa Yanagi, Kara Walker, Allison Schulnik, Tracey Moffatt, Paula Rego, Broersen and Lukacs and Peter Ellis, All the better to see you with explores artists’ use of the fairy tale to express social concerns and anxieties surrounding issues such as the abuse of power, injustice and exploitation.

Curator, Samantha Comte said: “Fairy tales help us to articulate the way we might see and challenge such issues and, through transformation, triumph in the end. This exhibition looks at why fairy tales still have the power to attract us, to seduce us, to lure us and stir our imagination.”

A major exhibition across all three levels of the museum, the exhibition will be accompanied by a raft of public and education programs. American artist Kiki Smith uses fairy tales like Little Red Riding Hood as a metaphor to express her feelings about the feminist experience in patriarchal culture. The Portuguese-British artist Paula Rego has constructed the same tale as a feminist farce, with Red Riding Hood’s mother flaunting the wolf ‘s pelt as a stole. Japanese photographer Miwa Yanagi, in her “Fairy Tale” series has created large scale images enacted by children and adolescents in which playfulness and cruelty, fantasy and realism, merge.

The theme of the lost child in the forest is played out through tales such as Snow White and Hansel and Gretel. Tracey Moffatt’s Invocations series of 13 images is composed of three disjointed narratives about a little girl in a forest, a woman and man in the desert and a foreboding horde of spirits. The little girl lost in the forest is familiar from childhood fairy tales, and the style of these images is reminiscent of Disney movies.

Broersen and Lukacs’ powerful video work, Mastering Bambi depicts the forest as a mysterious, alluring and sinister place. Often the setting of a fairy tale, the forest is used as a metaphor for human psychology. Australian artist Amanda Marburg, in her series How Some Children Played at Slaughtering looks to the stories that both excited and haunted generations of children and adults the infamous Grimm’s fairy tales. The melancholy of Marburg’s subjects is counteracted by her use of bewitching bright colour, which creates fairy tale-like landscapes with deceptive charm.

Fairy tales can comfort and entertain us; they can divert, educate and help shape our sense of the world; they articulate desires and dilemmas, nurture imagination and encapsulate good and evil. All the Better to See You With invites us to delve into this shadowy world of ancient stories through the eyes of a diverse range of artists and art works.

Press release from the Ian Potter Museum of Art

Second floor

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Paula Rego at left; Kylie Stillman’s Scape (2017) middle; and Kiki Smith’s Born (2002) at right

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Paula Rego (from left to right, Happy Family – Mother, Red Riding Hood and Grandmother, 2003; Red Riding Hood on the Edge, 2003; The Wolf, 2003; The wolf chats up Red Riding Hood, 2003; Mother Takes Her Revenge, 2003; and Mother Wears the Wolf’s Pelt, 2003)

Portuguese born, British based artist Paula Rego subverts traditional folk stories and fairy tales, adapting these narratives to reflect and challenge the values of contemporary society, playing with feminine roles in culturally determined contexts and turning male dominance on its head.

In Little Red Riding Hood (2003), Rego presents an alternative telling of this well-known story. Her suite of paintings is based on Charles Perrault’s version of this fairy tale Le Petit Chaperon Rouge, 1695 in which the girl and the grandmother are eaten by the wolf, rather than the more famous Grimm version in which the girl and the grandmother survive after being rescued by a male protagonist. Rego reshapes the story for a contemporary context, reflecting on current ideas around gender roles in society and casting the mother as a sharply dressed avenger who overcomes the man-wolf without the aid of a male rescuer.

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Paula Rego (Portuguese-British, b. 1935)
The wolf chats up Red Riding Hood
2003
Pastel on paper
104 x 79cm
Collection of Gracie Smart, London
Courtesy Malborough Fine Art, London
© Paula Rego

Paula Rego (Portuguese-British, b. 1935)
Mother Wears the Wolf’s Pelt
2003
Pastel on paper
75 x 4 x 92cm
Collection of Gracie Smart, London
Courtesy Malborough Fine Art, London
© Paula Rego
Photo: Marcus Bunyan

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kylie Stillman’s Scape (2017) at left and Kiki Smith’s Born (2002) at right

Kylie Stillman (born in Mordialloc, Victoria, Australia in 1975 lives and works in Melbourne Australia)
Scape (installation view)
2017
Hand cut plywood
200 x 240 x 30cm
Courtesy of the artist and Utopian Art, Sydney

Kiki Smith (born Nuremberg, Germany 1954; lives and works in USA)
Born
2002
Lithograph in 12 colours
172.72 x 142.24cm
Edition 28
Published by Universal Limited Art Editions
© Kiki Smith / Universal Limited Art Editions Courtesy of the Artist and PACE Gallery, NY

Kiki Smith‘s practice has been shaped by her enduring interest in the human condition and the natural world. She evocatively reworks representations and imagery found in religion, mythology and folklore. Exploring themes recurrent to her practice such as birth, death and regeneration, in Born (2002) Smith alludes to an idea that has fascinated her for many years, the relationship of animals, particularly wolves and human beings. This illustration of Red Riding Hood and her grandmother emerging from the wolf’s stomach, subverts the story line of this well-known fairy tale, depicting the couple rising from the body of he wolf rather than being consumed by him. The image is simultaneously savage and tender. Significantly the illustrations of the child and the grandmother are, in fact, both portraits of the artist, the depiction of the child’s face is derived from a drawing of Smith as a child. In this work, the two female figures are no longer victims and the wolf is no longer the aggressor. Instead there is a complicity between characters. Smith’s ongoing use of surprising narrative associations allows her to interrogate ideas around gender and identity, providing a disconcerting view of traditional fairy tale narratives.

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Polixeni Papapetrou (Australian, 1960-2018)
The Encounter
2003
Type C print
100 x 100cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

Polixeni Papapetrou was fascinated with costume and disguise throughout her more than thirty years of photographic practice. In her Fairy Tales series (2004-2014), she restages well-known stories in highly theatrical environments, combining recognisable motifs, such as the snowy-white owl in The Encounter (2006) and the brightly coloured candy house in her work The Witch’s House (2003). Papapetrou places her child actors in fantastical landscapes, capturing them performing in front of vividly painted trompe l’oeil backdrops; that evocatively suggest the rich interior world of the child’s imagination.

In her work, Papapetrou also explored the narrative of the lost child, which in the European tradition has a parallel in the tale ‘Hansel and Gretel’. In Australia, the most famous story of children lost in the bush is Joan Lindsay’s Picnic at Hanging Rock (1967), a tale embedded in our cultural imagination through both the novel and subsequent movie (1975). Set on St Valentine’s Day 1900, it is the story of three young girls on the cusp of womanhood disappearing without a trace. Papapetrou’s Hanging Rock 1900 #3 (2006), from the Haunted Country series (2006), captures the eerie quality of the Australian landscape and the hopelessness of the lost girls.

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Polixeni Papapetrou (Australian, 1960-2018)
The Witch’s House
2003
Type C print
100 x 100cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

Polixeni Papapetrou (Australian, 1960-2018)
By the Yarra 1857 #1
2006
Pigment ink print
105 x 105cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

Polixeni Papapetrou (Australian, 1960-2018)
By the Yarra 1857 #2
2006
Pigment ink print
105 x 105cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

Polixeni Papapetrou (Australian, 1960-2018)
Lost
2005
Type C print
100 x 100cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Polixeni Papapetrou’s work at left and Kate Daw’s work at centre right

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kate Daw’s work Lights No Eyes Can See (2) (2017) at left; the work of Paula Rego middle; and Kylie Stillman’s Scape (2017) right

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kate Daw’s work Lights No Eyes Can See (2) (2017) at left, and her paintings Arietta’s House (2016), Lenci dolls (Lenu and Lila) (2016), and Lenci doll (back to the before) (2016) left to right

Kate Daw (Australian, 1965-2020)
Lights No Eyes Can See (2)
2017
Fired and painted clay dimensions variable
Courtesy the artist and Sarah Scout Presents, Melbourne

Kate Daw‘s practice was shaped by her ongoing interest in authorship, narrative and creative process. Daw’s work for this exhibition Lights No Eyes Can See (2) (2017, above), is one of many iterations that the artist has made: its original lyric form was written as the song ‘Attics of my Life’, in 1970 by Jerry Garcia and Robert Hunter for the rock band The Grateful Dead. In its first iteration Daw reshapes the lyrics into a typed canvas work scaled up to a giant print and a performative iteration in which she asked art students to sing this song at set times of the day.

For this exhibition, Daw transformed an excerpt of the song into a wall piece made in clay. The text describes the dreamy, subconscious space that fairy tales occupy, while the colour and form of the work suggests domestic decoration. Continuously moving between the domestic and the social, the everyday and the imagined, this work reflects Daw’s interest in how we constantly reshape and remake objects, texts and narratives to make sense of the world.

Wall text

Installation view of Kate Daw’s work Lenci dolls (Lenu and Lila) 2016
Photo: Marcus Bunyan

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne with a still from the video work Mound (2011) by Allison Schulnik at left, and the work of Dina Goldstein from her Fallen Princess series at right

Allison Schulnik (born in 1978, San Diego; lives and works in Los Angeles, USA)
Mound
2011
Clay-animated stop motion video
4.24 minutes
Courtesy the artist and Mark Moore Gallery, California

Allison Schulnik (born in 1978, San Diego; lives and works in Los Angeles, USA)
Mound (video still)
2011
Clay-animated stop motion video
4.24 minutes
Courtesy the artist and Mark Moore Gallery, California

Dina Goldstein (born 1969 in Tel Aviv, Israel; lives and works Vancouver, Canada)
Cinder
2007
From the Fallen Princess series
Digital photograph
76.2 x 106.7cm
Courtesy of the artist

Dina Goldstein (born 1969 in Tel Aviv, Israel; lives and works Vancouver, Canada)
Princess Pea
2009
From the Fallen Princess series
Digital photograph
76.2 x 106.7cm
Courtesy of the artist

Dina Goldstein (born 1969 in Tel Aviv, Israel; lives and works Vancouver, Canada)
Snowy
2008
From the Fallen Princess series
Digital photograph
76.2 x 106.7cm
Courtesy of the artist

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Dina Goldstein at left, and the video Untitled (scream) by Janaina Tschäpe at right

Untitled (Scream) from Janaina Tschape Studio on Vimeo

Janaina Tschäpe (born in Munich, Germany, in 1973; lives and works in New York, USA)
Untitled (Scream) (extract)
2004
HD video, no sound
5.34 minutes
Courtesy the artist

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Vivienne Shark LeWitt (born Sale, Victoria, Australia in 1956; lives and works in Melbourne, Victoria) with The Bloody Chamber (1983) left and Charles Meryon the voyeur 1827-1868. La belle et la bête (1983) right

Installation view of Vivienne Shark LeWitt’s The Bloody Chamber 1983
Photo: Marcus Bunyan

Installation view of Vivienne Shark LeWitt’s Charles Meryon the voyeur 1827-1868. La belle et la bête (The Beauty and the Beast) 1983
Photo: Marcus Bunyan

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Kara Walker centre and Peter Ellis right

Kara Walker (born in 1969, Stockton, California; lives and works in New York, USA)
Burning African Village Play Set with Big House and Lynching (installation view)
2006
Painted laser cut steel – 22 parts
Dimensions variable (61 x 97.2 x 228.6cm)
Collection of Naomi Milgrom AO, Melbourne

Kara Walker is well known for her investigation of race, gender, sexuality, and violence through her elaborate silhouetted works. Since the early 1990s, Walker has been creating works that present disturbing and often taboo narratives using the disarming iconography of historical fiction.

Through the form of a child’s play set Walker reveals the brutal racism and inequality in American history. Burning African Village Play Set with Big House and Lynching (2006) uses simple cut-out silhouettes to create a series of characters and motifs that occupy a chilling, nightmarish world. Drawing from Civil War imagery of the American south, Walker creates parts for the play set – a plantation mansion, small huts, weeping willows, shackled slaves, Confederate soldiers and southern belles – then arranges these into a narrative. In the artists words, she questions how ‘real histories become fantasies and fairy tales’ and how it is, perversely, that ‘fairy tales sometimes pass for history, for truth’. In this work, Walker suggests histories can be played with – manipulated and parts removed – but also that storytelling can be adapted and reshaped to remember and reimagine the past.

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Kara Walker (born in 1969, Stockton, California; lives and works in New York, USA)
Burning African Village Play Set with Big House and Lynching (detail)
2006
Painted laser cut steel – 22 parts
Dimensions variable (61 x 97.2 x 228.6cm)
Collection of Naomi Milgrom AO, Melbourne

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Kara Walker left and Peter Ellis right

The prince and the bee mistress portfolio 1986

Melbourne based artist, Peter Ellis is a prolific image maker who creates hallucinatory scenes of make-believe animals and human-like creatures. His work takes its inspiration from diverse historical sources including children’s art and literature, detective novels, the legacies of Dada and Surrealism and the transformative qualities of fairy tales.

In this narrative etching The Prince and the Bee Mistress (1986), the artist illustrates a contemporary adult fairy tale by writer Tobsha Learner. It’s a surreal Gothic horror tale about the seduction of a young prince who succumbs to the disastrous ‘charms’ of the Bee Mistress. The Bee Mistress is capable of altering and morphing her body, which is comprised of a swarm of bees. Using his encyclopaedic knowledge of animals, objects and images, Ellis creates densely layered configurations of surprising and unsettling forms. This disturbing and perplexing imagery also references traditional fairy tales, with the puppet prince (plate 3) wearing the same costume as Heinrich Hoffmann’s little boy from the 1845 German children’s book Der Struwwelpeter (Shock Haired Peter).

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Peter Ellis (born 1956 in Sydney, Australia, New South Wales; lives and works in Melbourne Australia)
The Princes Dream
1986
Etching, soft-ground, drypoint, sugar-lift, photo-etching, plate-tone and relief printing
35.2 × 50.6cm (plate) 50.4 × 65.9cm (sheet)
Courtesy of the artist

Peter Ellis (born 1956 in Sydney, Australia, New South Wales; lives and works in Melbourne Australia)
Dog Screaming
1986
Etching, soft-ground, drypoint, sugar-lift, photo-etching, plate-tone and relief printing
35.2 × 50.6cm (plate) 50.4 × 65.9cm (sheet)
Courtesy of the artist

Peter Ellis (born 1956 in Sydney, Australia, New South Wales; lives and works in Melbourne Australia)
Examining the Bee Sting
1986
Etching, soft-ground, drypoint, sugar-lift, photo-etching, plate-tone and relief printing
35.2 × 50.6cm (plate) 50.4 × 65.9cm (sheet)
Courtesy of the artist

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Peter Ellis left and Mirando Haz (Amedeo Pieragostini) right

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Mirando Haz (Amedeo Pieragostini), left to right The Little Mermaid (La Sirenetta), The Needle (L’Ago), The Emperor’s New Clothes (Gli Abiti Nuovi Dell’Imperatore), The Old Street Lamp (Il Vecchio Fanale), The Old House (La Vecchia Casa) all 1977

Installation view of Mirando Haz’s (Amedeo Pieragostini) work The Needle (L’Ago) 1977
Photo: Marcus Bunyan

Mirando Haz (Amedeo Pieragostini) (Italian, 1937-2018)
The Little Mermaid (La Sirenetta)
1977
Etching Plate
15.5 x 11.5; sheet 19.0 x 15.3cm
The University of Melbourne Art Collection
Gift of the Italian Cultural Institute 1985
Courtesy of the artist

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Zilverster (Sharon Goodwin born in Dandenong, Australia in 1973 and Irene Hanenbergh born in Erica, The Netherlands in 1966 formed the collaborative art practice Zilverster in 2010. They live and work in Melbourne, Australia) including The Table of Moresnet (2016) at centre

Third floor

Installation views of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Tracey Moffat’s Invocations series (2000) (13 framed photo silkscreen works, dimensions variable, Museum of Contemporary Art Australia Collection)

Tracey Moffat‘s practice deals with the human condition in all its complexities, drawing on the history of cinema, art, photographs as well as popular culture and her own childhood memories to create works that explore themes around power, identity, passion, resistance and survival.

In her Invocations series, Moffatt explores a bizarre fairy tale world, inhabited by witches and spirits, a lost girl in a forest, and a man and woman in the desert battling their nightmares. It is a journey through landscape and scenes found in a rich array of different sources, from early Disney animations, Hitchcock movies such as The Birds, Goya paintings and the disturbing folkloric tales of the Brothers Grimm.

Using her skills as a filmmaker, Moffatt spent a year constructing the sets an directing actors to create each dramatic scene. She then worked with a printer for another year building the richly textured surfaces that give a powerful sense of illusion and otherworldliness to these works. Drawing on archetypal anxieties and fears, the lost child, the teenager yearning for escape and adult passions Moffatt’s Invocations series reveals the struggle for survival and the quest for power in a harsh and threatening environment.

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Tracey Moffatt (Australian, b. 1960)
Invocations #5
2000
Photo silkscreen
156 x 131.5cm (framed)
Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013
Courtesy of the artist and and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australian, b. 1960)
Invocations #7
2000
Photo silkscreen
156 x 131.5cm (framed)
Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013
Courtesy of the artist and and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australian, b. 1960)
Invocations #11
2000
Photo silkscreen
119 x 105cm (framed)
Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013
Courtesy of the artist and and Roslyn Oxley9 Gallery, Sydney

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing a still from Allison Schulnik’s video Eager (2013-2014) at left, and Patricia Piccinini’s Still Life with Stem Cells (2002) at right

Allison Schulnik (American, b. 1978)
Eager
2013-2014
Clay-animated stop motion video
8.25 minutes
Courtesy the artist and Mark Moore Gallery, California

Allison Schulnik (American, b. 1978)
Eager (video still)
2013-2014
Clay-animated stop motion video
8.25 minutes
Courtesy the artist and Mark Moore Gallery, California

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing at left, Patricia Piccinini’s Still Life with Stem Cells (2002, silicone, polyurethane, human hair, clothing, carpet dimensions variable Monash University Collection), and at right a still from her DVD The Gathering (2007)

These two works by Patricia Piccinini focus on one of the artists enduring interests, that of children and their ambiguous relationship with the imaginary creates that populate her work.

The child is the central character of most fairy tales, often at the point of transition to adulthood. Many of the tales reflect adult anxieties around this stage of childhood. But children, as both readers and central characters, often welcome fairy tales, as the stories nurture their desire for change and independence, and provide hope in a world that can be harsh and brutal. Children are also more willing to take on the strange and the magical, which we see in Piccinini’s sculptural work Still Life with Stem Cells (2002) in which a young girl is seated on the floor playing with her toys. These are not toys we are familiar with however, they are stem cells scaled up from their microscopic size, and each is different, as stem cell have the unique ability to change into other types of cells. The child is relaxed and happy, willing to take on this unfamiliar new environment. Piccinini re-enchants the world of the child, presenting an alternative narrative of the world we know. Creating possibility and wonder, she uses the fairy tale narrative to suggest new ways to look at issues facing contemporary culture.

In Piccinini’s video work The Gathering (2009) a young girl is lying on the floor of a dark house, asleep or unconscious. We watch with trepidation as furry blobs crawl towards her. Piccinini often depicts children in her work to evoke a sense of vulnerability and innocence, but it is often ambiguous as to who is more vulnerable, the creatures or the child. She confronts us with the strange and sometimes monstrous, just as fairy tales do.

Wall text

Patricia Piccinini (born in Freetown, Sierra Leone in 1965; lives and works in Melbourne, Australia)
Still Life with Stem Cells (photo detail)
2002
Silicone, polyurethane, human hair, clothing, carpet dimensions variable
Monash University Collection Purchased 2002
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; Hosfelt Gallery, San Francisco

The Gathering by Patricia Piccinini from MMAFT on Vimeo.

Patricia Piccinini (born in Freetown, Sierra Leone in 1965; lives and works in Melbourne, Australia)
The Gathering
2009
DVD, 16:9 PAL, stereo
3.30 mins
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; Hosfelt Gallery, San Francisco

Auriea Harvey and Michaël Samyn (game designers and co-directors of tale of tales) Auriea Harvey was born in Indianapolis, USA in 1971 and Michaël Samyn was born in 1968 in Poperinge, Belgium; they live and work in Ghent, Belgium
The Path (screen capture)
2009
Computer game developed by TALE OF TALES
Music by Jarboe and Kris Force
Courtesy of tale of tales, Belgium

The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria
Phone: +61 3 8344 5148

Reopening in 2023

The Ian Potter Museum of Art website

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Season’s greetings from Art Blart 2017

December 2017

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Season’s greetings from Art Blart 2016

December 2016

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Australia as an After Image: Middle Australia and the politics of fear

June 2016

David Moore (Australia 06 Apr 1927 – 23 Jan 2003)
Migrants arriving in Sydney
1966, printed later
Gelatin silver photograph
30.2 x 43.5cm image
35.7 x 47.0cm sheet
Gift of the artist 1997
© Lisa, Karen, Michael and Matthew Moore

“An afterimage … is an optical illusion that refers to an image continuing to appear in one’s vision after the exposure to the original image has ceased.”1

I don’t usually mix politics and art on this website but today, before the general election this Saturday in Australia, I ask this question: what kind of country do we want in the future? One that cares about human beings of all ages, races, sexualities, socio-economic positions and health – or one that has no vision for the future and which is governed by market greed.

As an immigrant I am forever grateful that I can call Australia home. I arrived in 1986 and got to stay as a permanent resident because of a gay de facto relationship. I was one of the lucky few. But today, dear friends, I feel that something has gone terribly wrong with this country. Looking back nearly 30 years later I wonder what has happened to that progressive country that was an unpolished diamond, a bit rough around the edges but generous and welcoming when I arrived all those years ago. Things seem to have gone backwards, terribly backwards over the last 30 years. It’s almost as though the country of hope and fun that I arrived in is just an afterimage located in my memory, a vision that continues to flicker in the recesses of the mind but is no longer present in actuality.

Today, as with many countries in the Western world which are edging towards the right through a “conservative movement” with clearly defined tenets and agenda, we live in a country governed by the politics of fear. This politics of fear – grounded in rampant capitalism where making a buck takes precedence over the lives of people: its business – and linked to the Christian fundamentalist right and the “re-engagement between church and state” – is, as David Kindon notes, “moving Australia away from the notion of a secular democracy.”2

Australia is now a less generous place than it was 30 years ago, ruled by god-given, government-aligned order. Bugger the pensioners, cut the arts program funding, get rid of public health care, call for plebiscite on gay marriage where the bigots can come out of the woodwork and other people decide whether you are deemed “equal” to them, imprison vulnerable people in state run concentration camps where the government has the right to hurt other people… and the list goes on and on: Border Force as a quasi paramilitary force for our protection, more people in jail than at any time in our history (due to the privatisation of the jails = money, profit), and “new anti-protest laws [In New South Wales which] are the latest example of an alarming and unmistakeable trend. Governments across Australia are eroding some of the vital foundations of our democracy, from protest rights to press freedom, to entrench their own power and that of vested business interests.”3

Further, there is the “privatisation of government assets and services, attacks on public broadcasting services, deregulation of the private sector, and widespread cuts in the public sector.” (Kindon) As ever, the rich get richer, the miners get wealthier, and the poor get screwed. More entitlements were delivered to the wealthy and the corporate sector despite having seen the “end of the age of entitlement” announced by the Treasurer. Those very vested business interests.

This situation is not akin to the concept of “permanent temporariness” used to describe the plight of the Palestine State but is akin to that of a “permanent blindness” of a nation. Middle Australia will not hear what they don’t want to hear, will not see what they don’y want to see. Today, nationalism has become framed in terms of external (and internal) threats. Xenophobia in the recent Brexit poll in the UK is mirrored by simmering racism in this sun blessed country. Otherness, difference, liberal views, alternative thinking and, heaven forbidden, being an open and responsible member of the human race (on human rights, on global warming, on not being in wars we have no business being in) are all seen as threatening to the middle-brow status quo. Steady as she goes for “Team Australia” and if you’re not with us, you’re against us. Yes, let’s stick with this mob for a little while longer…

WAKE UP AUSTRALIA BEFORE ITS TOO LATE!

Dr Marcus Bunyan

1/ Anon. “Afterimage,” on the Wikipedia website [Online] Cited 21/09/2011

2/ David Kindon. “The Political Theology of Conservative Postmodern Democracies: Fascism by Stealth,” on the A Fairer Society website [Online] Cited 29/06/2016. No longer available online

3/ Hugh de Kretser. “NSW anti-protest laws are part of a corrosive national trend,” on The Sydney Morning Herald website March 22, 2016 [Online] Cited 03/02/2023

Please click on the photographs for a larger version of the image.

Mervyn Bishop (Australian, b. 1945)
Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory
1975
Type R3 photograph
Art Gallery of New South Wales, Hallmark Cards Australian Photography Collection Fund 1991
© Mervyn Bishop. Department of the Prime Minister and Cabinet

Persons Of Interest – Australian Security Intelligence Organisation (ASIO) surveillance 1949-1980
Author Frank Hardy in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955
NAA A9626, 212

Lifejacket and lifebuoy from the MV Tampa
2001
Wallenius Wilhelmsen MV Tampa collection
National Museum of Australia

“There was one man from Nauru who sent me a letter that I should have let him die in the Ind … the Indian Ocean, instead of picking him up. Because, the conditions on Nauru were terrible. And that is a terrible thing to tell people, that you should have just let them drown.”

~ Arne Rinnan, Captain of the MV Tampa

Juan Davila (Australian born Chile, b. 1946)
A Man is Born Without Fear
2010
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

J.W.C. Adam
Asylum seekers protesting against detention at Villawood Immigration Detention Centre on 22 April 2011
2011
CC BY-SA 2.5

“And when we call these places of horror in the Pacific ‘concentration camps’, that is an appropriate term, because that is what they are.

And when we accuse the Australian government of selectively torturing brown-skinned people in the way the Nazis chose the Jews and other groups to torture and ultimately eliminate, that is an appropriate thing to do, because we all know, in our heart of hearts, that if these people fleeing oppression were white, English-speaking Christians (white Zimbabweans, say) then their treatment would be completely different.”

David Berger. “It’s Okay to Compare Australia in 2016 with Nazi Germany – And Here’s Why,” on the New Matilda website May 22 2016 [Online] Cited 29/06/2016

Ben Quilty (Australian, b. 1973)
Trooper M, after Afghanistan
2012
Oil on linen
Collection of the artist

Keast Burke (New Zealand, Australia, 1896-1974)
Husbandry 1
c. 1940
Gelatin silver photograph, vintage
30.5 x 35.5cm image/sheet
Gift of Iris Burke 1989