Exhibition dates:28th November – 20th December, 2008
Daniel Crooks (New Zealand, b. 1973) Intersection No.2 (vertical plane) 2008
This was a magical exhibition – beautiful, insightful and mesmerising in equal parts. Five large video screens were presented in the long space of the Anna Schwartz gallery in Melbourne. The outer two videos feature striated horizontal and vertical bands of pulsating colours, fluxing up and down and from side to side, seemingly rushing past like tarmac outside a moving car. These videos add balance at each end of the installation.
The inner videos on either side of the central panel are the most figurative of the work: the video on the left-hand side reminded me of a Jackson Pollock drip painting come alive, ribbons of paint in time and space morphing backwards, finally coalescing into figures and their shadows walking across tarmac; the video on the right-hand side shows people moving across a pedestrian intersection like an animated slow motion photograph flowing anamorphically across the screen, their shadows distorted on the ground as trams pass behind them. Up close the surface of the projected video breaks down into grided squares of light, hypnotic in their blooming, shape-shifting colours.
The central panel is the key to the whole work. Intensities of colour flash and fade in time with atmospheric ambient music (by J. David Franz and Byron Scullin) that works effectively with the whole installation. Beeps of the pedestrian crossing intersection intersperse the ambient music adding an almost sonar like pinging to the atmospheric soundtrack; after-images appear and glow as the colours fade, transcending the solidity of the ever-changing single pixel of colour taken through the block of video time. The pyrotechnics of the other screens are balanced by the colours/intensities/music of this central panel.
The installation reminds me of a folded out five-panel religious altarpiece form of the 15th century. The figures, shadows and lines of the outer videos surround the pulsing heart of the central panel that, for me, took on an almost transcendent spirituality (especially when you understand the transcendence of time and space that is being achieved and how that relates to your own path in life). If you stand very still against the far wall of the gallery and look at all five videos at the same time the central panel achieves the ‘Intersection’ that Daniel Crooks is imagining. Subtle, profound and intelligent the viewer is invited to spend time, no, to transcend time in the company of this work and that is a major achievement: to reveal certain truths about our existence in these moments of time, to inhabit the space between breath – no time, no space.
Dr Marcus Bunyan
Daniel Crooks (New Zealand, b. 1973) Intersection No.5 (horizontal volume) 2008
“The subjects of Daniel Crook’s oeuvre; the recurrence of city transport systems, lifts in high-rise buildings alongside images of the sea, invoke an idea of the world made as much of time as space and that indeed we ourselves are also made of time …
Crooks works, literally, from inside the medium, deconstructing its time-space matrix to reveal the inner truth about the subjects of video: they are purely temporal.
The five works comprising Intersection are all sourced from the same ‘volume’ of video footage. Each video is a formal variation that navigates an alternative path through the same light field, pushing its own ‘picture plane’ through the space along opposing axes.
The two most figurative videos navigate the entire volume of footage – each swapping time for the vertical or the horizontal. The second, more abstracted videos are reduced to horizontal and vertical ‘planes’. The centre work – a single pixel of information that tunnels through time – is the intersection between opposing axes, almost like the fulcrum or nodal point, and in turn acts as a pivot for the installation.”
Catalogue notes from Daniel Crooks exhibition Intersection at Anna Schwartz Gallery, Melbourne.
Daniel Crooks (New Zealand, b. 1973) Intersection No.4 (vertical volume) 2008
Daniel Crooks works predominantly in video, photography and sculpture. He is best known for his digital video and photographic works that capture and alter time and motion. Crooks manipulates digital imagery and footage as though it were a physical material. He breaks time down, frame by frame. The resulting works expand our sense of temporality by manipulating digital ‘time slices’ that are normally imperceptible to the human eye.
Intersection installation view at Anna Schwartz Gallery, Melbourne Photo: Marcus Bunyan
Addendum 2019
Daniel Crooks Static No. 12 (extract) 2012 HD Video Courtesy Daniel Crooks & Anna Schwartz Gallery
Artistic Responses by Daniel Crooks | Symposium: Wider Vantages Are Needed Now, Times 18 2013
Daniel Crooks, New Zealand-born and Melbourne-based, is one of the foremost innovators in the quickly evolving fields of video and digital art.
Daniel Crooks: Phantom Ride 2016
Daniel Crooks’ Phantom Ride alludes to cinema history to create a seamless journey through a composite reality. By manipulating digital footage as though it were a physical material, the artist has constructed a collaged landscape that takes us through multiple worlds and shifts our perception of space and time.
Anna Schwartz Gallery 185 Flinders Lane Melbourne, Victoria 3000
Heide Museum of Modern Art has brought together nearly 100 pieces of work by the Australian artist Les Kossatz in an eclectic survey show, appropriately titled The Art of Existence. Featuring sculpture, painting and mixed media from the 1960s to the present the exhibition is appropriately titled because Kossatz’s work addresses certain archetypal themes that affect human existence:
“His life-long fascination with the natural world and desire to understand both its human and animal inhabitants; exploration of the systems of knowledge and codes of behaviour that structure individual and communal life; and his critical and playful reflections on contemporary behaviour and the mysteries of existence.”1
Strong symbolic paintings are the focus of the work in the 1960s, paintings that address the shocking brutality of war and its aftermath, when soldiers return home. To the observation that these are of the ‘pop-style’ school of painting suggested by the Heide website I feel these works are also influenced by the collage of Cubism, the boxes of Joseph Cornell and the dismembered bodies of Francis Bacon. They engage with the symbolism of war and remembrance: memory, myth, and the banality of heroism and sacrifice.
The key work in this series is the painting Diggers throne (1966). This is a powerful disturbing image, effervescent and unnerving at the same time. It features a disembodied arm on the hand of a throne, surrounded by a wonderful kaleidoscopic assemblage of pictorial planes, artefacts and memories – an English flag, the flag of St George, a crown, medals and the words RSL. The arm reminds me of the Francis Bacon painting Study after Velázquez’s Portrait of Pope Innocent X (1953) as it rests, roughly drawn in pencil on the arm of the throne, drawing the eye back up into nothingness.
The Diggers throne painting also features these prophetic words:
“throne slow to rot and twisted the memory becomes sacred. Bloody was the truth And this a chair.”
All other work in this period seems to flow through this painting – the other large paintings, the small canvases featuring individual medals and the less successful hanging banners. But it is to this work we return again and again as a viewer, trying to decipher and reconcile our inner conflicts about the painting.
As we move into the 1970s the work changes focus and direction. There emerges a concern with the desecration of the Australian landscape investigated in a series of large paintings and sculptures. In Packaged landscape 1 (1976) a steel suitcase with leather straps, slightly ajar, fulminates with artificial gum leaves trying to escape the strictures of the trap. In Caged landscape (1972) nature is again trapped behind steel wire, weighed in the balance on a set of miniature scales. The paintings feature trees that are surrounded by concrete and the rabbit becomes a powerful symbol for Kossatz – a suffering beast, strung up on fences, a plague in a pitted landscape of chopped down trees, erosion and empty holes.
Into this vernacular emerges the key symbol of the artist’s oeuvre – the sheep. In 1972 Kossatz began a series of sculptures of sheep, “initially inspired by the experience of nursing an injured ram.” For Kossatz “the sheep represent the hardship of pioneer existence, the grazing industries prosperity, environmental concerns and the sheep act as narrative devices, potent metaphors for human behaviour.”2
The first sheep presented ‘in show’ is Ram in Sling (1973, below). In this sculpture a metal bar is suspended in mid-air and from this bar heavy wire mesh drops to support the fleecy stomach and neck of the ram almost seeming to strangle it in the process, it’s metal feet just touching the ground. Again the scales of justice seem to weigh nature in the balance.
The themes life and death, order and chaos are further developed in the work Hard slide (1980, below) where a sheep emerges mid-air from a trapdoor, two more tumble down a wooden slide end over end and another disappears into the ground through a wooden trapdoor opening. Sacrifice seems to be a consistent theme with both the earlier paintings and the metallised sheep:
“The completed life cycle, down the trapdoor, down the chute, after sacrifice by shearing.” ~ Daniel Thomas 1994
Further sculptures of sheep, both small maquettes and large sculptures follow in the next room of the exhibition. This is the artist is full flow, featuring the inventive taking of 2D things into the round, investigating the key themes of his work: the contrast between nature and artifice, or humanity.
The small maquettes of sheep feature races, gantries, sluices, pens, trapdoors and paddocks. Sheep tumble in a cataclysmic maelstrom, falling with flailing legs into the darkness of the holding pen below. These are my favourite works – small, intimate, detailed, dark bronzes of serious intensity – the sheep becoming a theatre of the absurd, suspended, weighed and balancing in the performance of ritualised acts, a cacophony of flesh at once both intricate and unsettling. Their skins lay flayed and lifeless disappearing into the ‘unearth’ of the slated wooden floor of the shearing shed. The sheep “can be viewed metaphorically as a commentary of the existential situation of the individual and collective behaviour.”3 As Kossatz himself has noted, “It is hard to bring a piece of landscape inside and give it a living animated form. The sheep somehow gives me this quality of landscape.”
But we must also remember that this strictly a white man’s view of the Australian landscape. Nowhere does this work comment on the disenfranchisement of the native people’s of this land – the destruction of native habitats that the sheep brought about, the starvation that they caused to Aboriginal people just as they bought riches to the pastoralists and the country that mined the land with this amorphous mass of flesh.
Recent work in the exhibition returns to the earlier social themes of memory, war, remembrance, religion, shrines, atomic clouds and temples but it is the work of the late 1970s-1980s that is the most cogent. As Kossatz ponders the nature of existence on this planet he does not see a definitive answer but emphasises the journey we take, not the arrival. Here is something that we should all ponder, giving time to the nature of our personal journey in this life, on this earth.
Here also is an exhibition worthy our time and attention as part of that journey. Go visit!
Dr Marcus Bunyan
Word count: 1,074
1/ From the Heide website 2/ From wall notes to the exhibition 3/ From wall notes to the exhibition
Many thankx to Heide Museum of Modern Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Postscript 2018
The late Les Kossatz (1943-2011) was a well known Melbourne-based artist and academic whose work is represented in many regional and state galleries and the National Gallery of Australia. He studied art at the Melbourne Teachers’ College and the RMIT, and went on to teach at the RMIT and Monash University. Kossatz’s first significant commission was for the stained glass windows at the Monash University Chapel in Melbourne. Later commissions included works for the Australian War Memorial, the High Court, the Ian Potter Foundation at the National Gallery of Victoria and the Darling Harbour Authority, Sydney. His sculpture, Ainslie’s Sheep, commissioned by Arts ACT in 2000, is a popular national capital landmark in the centre of Civic. A major retrospective of Kossatz’s work was held in 2009 at the Heide Park and Art Gallery, Melbourne.
The art of existence is the first exhibition to review Les Kossatz’s contribution to Australian art in a career that spans the 1960s to today. Kossatz’s consistently experimental approach to media and techniques is revealed in works that display a lifelong fascination with humanity and the interaction of man and nature. His paintings, sculptures and works on paper stimulate a questioning and exploration of such concerns, which form the basis of this artist’s practice.
Les Kossatz’s early works of the 1960s draw on his training and ability to work across a diversity of media, including painting, drawing, printmaking and glass. Early paintings and etchings on the theme of the emptiness of memorials to the Australian ‘digger’ or soldiers were succeeded by images and objects offering impressions of the world around the artist – the rural domain and interior life of St Andrews in Victoria where Kossatz lived and worked. Such works demonstrated his determination to pursue a figurative practice at a time when abstract art had been imported to Australia and was considered the avant garde.
Remaining a staunchly independent artist, at the start of the 1970s Kossatz painted images of rabbits and sheep from St Andrews. In addition, the practice of working in three dimensions was to become more significant. Kossatz continued to develop familiar themes in the creation of installations and cast objects. Although he has produced drawings and prints across his career, working with sculpture has, since the early 1970s, been his primary mode of art-making. Large scale cast and assembled objects show Kossatz pursuing related themes of caged and packaged landscapes, shrines to the harvest and the still life.
The art of existence surveys Kossatz’s monumental life-sized sheep sculptures, which he began making in 1972 from casts of animal parts, and for which he is best known. These include Hard slide (1980), his prize-winning commission in the collection of the National Gallery of Victoria. Kossatz has won numerous commissions for outdoor sculptures that employ the sheep as literal and metaphorical beings. Kossatz’s work across three decades reveals a number of ongoing engagements, such as his observations of human behaviour and at times its similar manifestation in animals; the beliefs that sustain individuals and communities (such as religion, music and politics); and the forms of the landscape and our understanding of these relationships.
Introduction to the exhibition written by Zara Stanhope, Guest Curator, Heide Museum of Modern Art, 2008
Les Kossatz (Australian, 1943-2011) Hard slide 1980 Sheepskins, aluminium, Douglas-fir (Pseudotsuga sp.), leather, steel 372.0 x 100.0 x 304.0cm (installation)
Les Kossatz (Australian, 1943-2011) Guggenheim spiral 1983
Heide Museum of Modern Art 7 Templestowe Road Bulleen Victoria 3105 Australia Phone: +61 3 9850 1500
Opening hours: (Heide II and Heide III) Tuesday to Sunday and public holidays, 10am – 5pm
“As actual space is increasingly made to resemble virtual constructions, so too does the virtual become more real. People go on about computer graphics and simulation programs achieving an ever greater degree of realism, but I think it is not because the programs are getting better at emulating the world but because the real world is increasingly based on these programs.”
Stephen Haley. ‘Place into Space’. Melbourne: Nellie Castan Gallery, 2008, p. 19. Exhibition catalogue.
Exhibition dates: 27th November – 7th December, 2008
Patrick Christie (Australian) Black COCKatoo 2008 53 x 44cm ink on paper with hand embossing
This is the first exhibition by artist Patrick Christie exhibiting at Green-Wood gallery in South Melbourne. The ink illustrations are a mixed bag featuring native botanical specimens, beetles of various varieties and colourful birds – a red COCK, a blue peaCOCK and a black COCKatoo (the ‘cocks’ of the title). While the beetle images and the cowboy illustrations feel flat and uninspired it is the larger flower arrangements and the beautifully detailed birds that hold the attention.
With an abundance in the rendering of their subject matter both produce an uplifting cornucopia – vase, flowers, fruit and material overflowing; feathers of the Black COCKatoo repeating and blending like an Escher drawing into the gum leaves behind. The hand marks the page again and again forming exquisite line. Dutch still life of the 17th century come to mind with the flower arrangements and whilst I like the embossed word COCK under the bird images I am not sure it is really necessary. The drawings are strong enough to stand on their own.
There is real talent here. Yes the exhibition needed more conceptual rigour as the whole did not match the sum of the parts. Yes the framing needs attention especially in the bird series, where simpler frames with more space around the images would have let the work breathe but these things can be addressed. For an artist what needs to be there from the start is passion, a good eye and the talent to develop a personal language that is vibrant, interesting and unique – that can be nurtured and developed over many years. This exhibition sets Patrick Christie squarely on this path.
Dr Marcus Bunyan
Patrick Christie (Australian) 5 Wasps 2008 67 x 50cm ink on paper
Exhibition dates: 11th November – 6th December, 2008
Opening: Tuesday 11th November, 2008
Helen Britton (Australian, b. 1966) Brooch 2008
Moving through Melbourne’s busy laneways from the Oleh Witer exhibition we arrive at the intimate, stylish Gallery Funaki to view the work of Australian artist Helen Britton who works with the form of contemporary jewellery. The crowd spilled onto the street and the small space was busy with an interesting crowd in attendance.
The exhibition presents brooches, earrings, rings and necklaces built with the artists trademark assemblages. Whilst the necklaces are more prosaic (movie like reels and slinks of melted plastic restrained within metal banding) it is the brooches that capture and hold the viewer’s attention. Sci-fi like grided circles collide with concave discs filled with glistening blue crystals; thrusters and steel from a miniature collapsed lunar landing vehicle vie with clusters of vibrant colours that appear to be imbedded into a lunar landscape: delicate crimped and folded metal landscapes with the appearance of collapsed geometric origami.
These are wonderfully inventive constructions, invigorating for their energy and exuberance. Britton has described her work as “industrial baroque”. Perhaps an equally pertinent description would be spatial, or ‘space baroque’ as the artist investigates the nexus, the cellular biology of matter, reality and the spaces we inhabit.
Dr Marcus Bunyan
Helen Britton (Australian, b. 1966) Brooch 2008
Gallery Funaki
Sackville House
Apartment 33
27 Flinders Lane
Melbourne 3000
Australia
Opening hours:
Wednesday – Friday 12 – 5pm
Saturday on occasion (check our socials) or by appointment
Exhibition dates: 11th November – 22nd November, 2008
Opening: Tuesday 11th November, 2008
Oleh Witer (Australian) The Elephant Beetle (installation view) 2008 Oil in linen
A warm and lively crowd was in attendance for the opening of the latest Oleh Witer exhibition at Space 39 in Little Collins Street, Melbourne. Nine paintings are presented in the open space of the gallery and what magical paintings they are.
Two of the main canvases feature rearing beetles in the foreground, almost photo-realistically painted, lit from above while in the background geometric red and blue squares are overlaid by enigmatic shadows – almost as though the shadows were the interior structures of a fantastical light shade.
Other canvases feature a bee and a wasp facing each other with cellular geometric patterns and overlaid shadows in the background. Between these two seeming adversaries is a large canvas of a black skull with candle flickering in the it’s lobotomised top sitting on a spiral shape with geometric shapes and the shadows of an almost tarot like ‘ten of swords’ pattern overlaid to the background.
The strongest work features geometric forms with dark surrealist imagery. These are talismanic images with a strong connection to taoist and shamanic principles. A concern with the connection between all things is evident – archetypal pentagrams, spirals and swords are linked to the principles and proportions of the golden mean equation. Contemplation is required to access the inner meanings of the work but they reward extended looking as their magical phosphorescences are revealed over time. Recommended viewing.
Dr Marcus Bunyan
Oleh Witer (Australian) Installation view and opening crowd with The Rhinoceros Beetle 2008 Oil on linen
Oleh Witer (Australian) The Bee (installation view) 2008 Oil on linen
Exhibition dates: 7th November – 29th November, 2008
Opening: Friday 7th November, 2008
Darren Wardle (Australian, b. 1969) Frontier Psychology 2008 Oil and acrylic on linen 153cm x 274cm Private collection
Six luminous oil and acrylic paintings by Darren Wardle greeted viewers in the front gallery at Nellie Castan in South Yarra. In his apocalyptic fractured pop coloured landscapes objects elide, disintegrate and vanish into thin air. Buildings, empty screens and advertising hoardings become the target of lost innocence, a metaphor for the dis-ease and disintegration of consumer society, a portent of things to come.
The titles of the paintings (such as Tipping Point, Faultline and Slanted) perfectly describe the conceptual themes explored in the work. Slinks of dripping paint pour down the canvas, canvases are cut in three through the use of fractured planes like a double exposure in photography and vegetation becomes purple and white, mutated and x-rayed. Some of the paint almost has a crystalline nature to it’s surface, a ‘surface tension’ that contrasts with flat gradated areas of colour in the backgrounds, as though the world is solidifying, cracking and about to fall apart.
An excellent show that is well hung: so many exhibitions have too many objects, too much noise crowding the walls. Here the work is given space to breathe and live and looks all the better for it. Highly recommended.
Dr Marcus Bunyan
Darren Wardle (Australian, b. 1969) Faultline (installation view) 2008 Oil and acrylic on canvas
Darren Wardle (Australian, b. 1969) Faultline 2008 Oil and acrylic on canvas 153cm x 274cm Private collection
Darren Wardle (Australian, b. 1969) Inland Empire 2008 Oil and acrylic on linen 183cm x 167cm Private collection
Exhibition dates: 5th November – 23rd November, 2008
Jamieson Miller (Australian, b. 1965) The Last Drop 2008 Sheoak with ebonised stain 30 x 14 x 10cm
A small but lively crowd was in attendance for the opening of the exhibition territories featuring six small and six large floor standing wooden sculptures by the artist Jamieson Miller at the Dickerson Gallery in Oxford Street, Collingwood.
The work itself is of a fine craftsmanship showing exemplary design: different coloured woods and stains, wonderful joinery, the use of grain and different geometric and fluid shapes are all balanced harmoniously within the objects. A refined aesthetic sensibility is at work in their construction. This sensibility flows through to the conceptual themes of the work: the artist has created sometimes totemic but always lyrical poetic spaces within the corporeality of the work. The viewer enters enclosed intimate spaces (such as the funnels) or steps forward into steeped carved openings that open the way to visions of an inner world. Outer space becomes enclosed inner space as the viewer is at first intrigued, then drawn in and surrounded by the flickering shadows of Plato’s cave.
The new gallery is certainly an attractive modern warehouse space with vaulted roof. Unfortunately the large sculptures, although multi-dimensional and carved in the round, have been pushed to the edges of the space close to the walls. This makes it difficult to appreciate the totality of the form of the sculptures especially important with a work like Sight where the carved blackened wood shape on the ‘back’ of the sculpture is a vital counterpoint to the receding opening at the ‘front’ of the work. Make sure you also explore the reverse of the sculpture Lineage II to also comprehend the intimate space of the medieval window like opening to the front.
I really enjoyed the work of Jamieson Miller and recommend a visit to the gallery to see his refined worlds. The work is on show with the paintings of Jason Cordero.
Dr Marcus Bunyan
Jamieson Miller standing next to his sculpture Sight on the opening night of his exhibition territories at Dickerson Gallery in Collingwood.
Cyprus pine with ebonised stain 180 x 100 x 30cm
Jamieson Miller (Australian, b. 1965) Resting Place (detail) 2008 Elm with paint 203 x 42 x 30cm
Exhibition dates: 22nd October – 15th November, 2008
Robbie Rowlands (Australian, b. 1968) Scored 2008 Goal post, steel 160cm x 130cm x 50cm Photograph: Christian Capurro
“The philosopher Martin Heidegger argued that objects are often invisible to us gathered up as they are within a context of functionality and use. It is only when things break down that we become aware of them, seeing them with fresh eyes. In many ways Heidegger’s observation could form the basis of an approach to Robbie Rowlands’ work. Rowlands takes objects that are often forgotten, invisible or transparent to us, objects that exist on the verge of disappearance, and stages a kind of ‘breakdown’, inviting us to rediscover the object, poised somewhere between what it was and what it might become.”
Simon Cooper. Catalogue essay
Sitting in pools of light in the elegant modern space of Place Gallery in Richmond, six theatrically lit sculptures are presented by artist Robbie Rowlands. Made of everyday objects (a boom gate, desk, chair, single bed, electricity pole, desk and footy goalpost) they have been de/constructed by the artist and reformed into curved objects. With ironic titles such as Down for the felled electricity pole and Collapse for the dismembered chair Rowland’s work hovers between one fixed state and an’other’ transformative state of being.
While the catalogue essay by Simon Cooper suggests that all of these objects are abandoned or nearly forgotten sharing a context of quasi-obsolescence, this is not the case. These were objects of purpose and form, the acts of ritualised production of a consumer society that contained signs that symbolised their status. In his creativity Rowland has used these technologies of production, which permit us to produce, transform or manipulate things to create new sensual forms of life. Some of the sculptures such as Boom (the boom gate; 2008, below) and Scored (the goal post; 2008, above) remind me of creatures emerging from the recesses of the unconscious, curling and rearing up like monsters from the deep. One of the most beautiful forms is the constructed white chair where the function of the object has collapsed into the essence of the form, like the surreal spatiality of a poetic Miro. As Gaston Bachelard reminds use in The Poetics of Space:
“The grace of a curve is an invitation to remain. We cannot break away from it without hoping to return. For the beloved curve has nest-like powers; it incites us to possession, it is a curved corner, inhabited geometry.”1
Cooper suggests that the curved forms that Rowland creates were “already there in the original object, even as it was sat on, written on, or passed by on the way to work.” He rightly notes that the process used contains a certain violence, but that we remember and reconstruct the old form even as we respond to the new construction. For these sculptures are a construction not, I believe, inherent in the original form. This can be seen in the sculpture Boom (2008, below) for example, where Rowland has used additional pieces of metal to hold the curve of the boom gate in place. Without this skilfully added, hidden sub-structure the transformative shape would collapse onto the floor. Rowland inhabits and possesses his new geometry with as much technology as the original but not in such an obvious form.
At their best these sculptures are both poetic palimpsest and heterotopic objects of otherness that are neither here nor there. The work would have been stronger if only four pieces were presented in the gallery space – the sculptures needed more room to breathe (understanding the dictum that less is more). The sculptures themselves also needed greater thematic cohesiveness perhaps using the colour white as the unifying theme. But they are sensual and beautiful gestures and deserve the attention of your visit.
Dr Marcus Bunyan
1/ Bachelard, Gaston. The Poetics of Space. Boston: Beacon, 1969 [originally 1958] p. 146
Robbie Rowlands (Australian, b. 1968) Boom 2008 Rail boom gate, wooden 160cm x 160cm x 130cm Photograph: Wren
Place Gallery 120 Collins Street Melbourne VIC 3000 Phone: (03) 9527 6378
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