Posts Tagged ‘Alan Constable

05
Jul
14

Review: ‘Polaroid Project’ at Arts Project Australia, Melbourne

Exhibition dates: 14th June – 12th July 2014

 

Polaroid Project is a vaguely disappointing exhibition at Arts Project Australia. The intentions and concept are good but the work sits rather silently and uneasily in the gallery space.

Constable’s anthropomorphised cameras are as lumpy and charismatic as ever, but the black colour does them no favours. Instead of transporting the viewer they become rather heavy and dull. They loose most of their transformative appeal.

Atkins’ boxes, “readymade abstractions” – his first attempt at sculpture – needed to be pushed further. While his painting practice uses distinctive graphic, jazz and minimalist colour forms, what makes them so watchable and mesmerising is that the eye has to attempt to go beyond the two-dimensional plane, to interrogate the juxtaposition of shape and space. The MDF cubes hand painted with auto acrylic paint deny the eye the ability to probe beyond the surface because the surface is already three dimensional. These boxes, these gestures of appropriation (devoid of text) just become perfect simulacra and, in reality, they really don’t take you anywhere.

Here’s an idea (or two): as Constable has had to take the camera out of the boxes – interior becomes exterior – what about carving into the MDF boxes in a series of steps that move inwards – exterior becomes interior! The colours would then move away from you. Not in all of them, just a few. It would certainly add more life and movement to the ensemble. And then, for good measure, paint a couple of the walls in the colours of the boxes – the whole goddam wall. THEN, place the cameras and cubes against this neon pop surface and see what happens… WHAM! KAPOW! Now we have something to think about, not this side by side act of representation that is really rather awkward.

Just me rabbiting on with some ideas, but as I said at the beginning, the whole exhibition is too silent and deadly. The whole shebang needs a good jolt of electricity to get the juices flowing. After all these ARE pop colours and these ARE Polaroid cameras – which produced the most popular form of instantaneous photograph, and representation in a physical form, so far invented. Ah, that speed and velocity of transmission.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to Arts Project Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

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Polaroid camera inspiration

 

 

“Polaroid Project is an in-depth collaborative project between celebrated Melbourne based artists Alan Constable and Peter Atkins examines both artists shared interests in the reinterpretation of existing forms, offering the viewer an opportunity to experience the complimentary ways these diverse artists view their distinctive worlds. This significant exhibition sees both artists responding to a collection of twelve original Polaroid cameras and packaging manufactured in the 1960s and 1970s.

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Alan Constable (Arts Project Australia, Melbourne)

Alan Constable is both a painter and a ceramicist who has exhibited in Australian and International galleries for over 25 years and has been a finalist in a number of significant contemporary art awards. Based on imagery from newspapers and magazines, his recent paintings are notable for their vibrant kaleidoscopic effects and strong sense colour and patterning. Though Constable’s works are often centred on political events and global figures, his thematic concerns are frequently subjugated by the pure visual experience of colour and form. Despite the occasional gravity of his subject matter, there is a genuine sense of joy within Constable’s paintings.

Constable’s ceramic works reflect a life-long fascination with old cameras, which began with his making replicas from cardboard cereal boxes at the age of eight. The sculptures are lyrical interpretations of technical instruments, and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Alan Constable cameras can be viewed as extensions of the body, as much as sculptural representations of an object. Alan Constable’s clay cameras were recently exhibited in Melbourne Now at the National Gallery of Victoria. All thirteen cameras displayed were subsequently acquired by the National Gallery of Victoria for their permanent collection.

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Peter Atkins (Tolarno Galleries, Melbourne)

Peter Atkins is a leading Australian contemporary artist and an important representative of Australian art in the International arena. Over the past twenty-five years he has exhibited in Australia, New Zealand, England, France, Spain, Italy, Japan, Korea, Taiwan and Mexico. His practice has centred around the appropriation and reinterpretation readymade abstract forms and patterns that are collected within his immediate environment, either within a local or international context. This material becomes the direct reference source for his work, providing tangible evidence to the viewer of his relationship and experience within the landscape. Particular interest is paid to the cultural associations of forms that have the capacity to trigger within the viewer, memory, nostalgia or a shared history of past experiences. Recent projects including ‘Disney Color Project’, ‘The Hume Highway Project’, ‘Monopoly Project’ and ‘In Transit’ all reference this collective cultural recall and shared experience.

Peter Atkins has held over 40 solo exhibitions with his survey exhibition titled Big Paintings 1990-2003 touring regional galleries during 2003-04. He has been represented in over fifty significant group exhibitions, including The Loti and Victor Smorgan Gift of Australian Contemporary Art at the Museum of Contemporary Art in Sydney, Uncommon World: Aspects of Contemporary Australian Art and Home Sweet Home: Works from the Peter Fay Collection, both at the National Gallery of Australia, Canberra and more recently in the prestigious Clemenger Contemporary Art Award at the National Gallery of Victoria in 2009/2010. His work is represented in the collections of every major Australian State Gallery as well as prominent Institutional, Corporate and Private collections both Nationally and Internationally. In 2010 his solo exhibition for Tolarno Galleries at the Melbourne Art Fair titled Hume Highway Project was purchased for The Lyon Collection in Melbourne.”

Text from the Arts Project Australia website

 

Peter Atkins with Alan Constable in the Arts Project Australia Studio in Northcote

 

Peter Atkins with Alan Constable in the Arts Project Australia Studio in Northcote.

 

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Alan Constable creating one of the cameras for the Polaroid Project.

 

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Alan Constable work in progress at Arts Project Australia Studio in Northcote. The cameras are inspired by a collection of retro Polaroid cameras collected by Peter Atkins.

 

Installation view of the exhibition 'Polaroid Project' at Arts Project Australia, Melbourne

Installation view of the exhibition 'Polaroid Project' at Arts Project Australia, Melbourne

 

Installation views of the exhibition Polaroid Project at Arts Project Australia, Melbourne

 

 

Two Takes On The Pop Object

“Polaroid Project, which brings together Peter Atkins’ re-creations of Polaroid camera packaging and Alan Constable’s versions of the cameras found within those boxes, demonstrates the continued relevance of how artists engage with the objects of consumer culture fifty years after the advent of Pop Art. At first glance, Peter Atkins and Alan Constable seem like unlikely collaborators. Atkins is a painter and Constable is best known as a sculptor, a maker of ceramic cameras. Atkins is invested in reproducing the clean lines and abstract, colourful design of the advertising industry in exacting detail. The lines of Constable’s cameras are never clean. His forms are inherently exaggerated, and the cameras themselves showcase the thumbing, handling, and kneading of the clay medium. If Atkins goes out of his way to convince us that his Polaroid box paintings-cum-sculptures share the near-seamlessness of the real thing, Constable seems to do just the opposite with his cameras. The latter are obviously NOT real cameras: their comic-book personalities, decidedly handmade disposition, their larger-than-life scale, and the fact that they wear their ceramic qualities so proudly (glazed in any number of colours) collectively proclaim their fiction. Despite the apparent disparity of the two artists, both rely exclusively on their own hands to create their work, even when that labour replicates the aesthetic of mechanical reproduction, in the case of Atkins. If we dig deep, we can ascertain a pronounced kinship shared by the two artists that dates back to early Pop in the United States – before the advent of Warhol’s screenprinting techniques that relied on the photograph. Both Atkins and Constable inhabit the handmade rather than the machine-produced realm of Pop, and signal to us that such strategies are still surprisingly timely today despite the digital and highly mediated culture we inhabit.

For nearly 20 years, Peter Atkins has been painting design forms on tarpaulin canvases (occasionally using other supports as well) appropriated from a range of sources including outdoor advertising, record albums, matchbooks, paperback books, product packaging, and street signage. Atkins reduces the essential forms of selected designs by deleting accompanying text and focusing completely on the graphic qualities of the image itself. Atkins has labelled his engagement with the graphic design of packaging and signage ‘readymade abstraction’ – utilising imagery that already exists in the world to transpose and distil into pared-down paintings. Steeped in the gesture of appropriation that has concerned artists for a century now (the readymade made its debut at the 1913 Armory Show when Marcel Duchamp displayed a porcelain urinal as a sculpture), Atkins has worked exclusively as a painter until recently.

Atkins has long been a collector of the objects on which he bases his paintings and the genesis of Polaroid Project firmly demonstrates this. Struck by the iconic graphic design of bright rainbow colour patterns on the original containers for Polaroid instant cameras, Atkins began collecting the camera boxes in earnest about three years ago (the original cameras were still inside the packaging). All of the packages and cameras date between 1969 and 1978; the colour spectrum/rainbow motif evident on the packages is not only indicative of graphic design of the period, but also alludes to the purported chromatic vibrancy of Polaroid film. Atkins knew he wanted to make a body of work using the boxes and was aware that he would be breaking new ground within the evolution of his practice by painting three-dimensionally. Atkins acknowledges that he first ignored what was inside the boxes he was collecting – the cameras themselves. Fetishising the veneer surrounding the product rather than the thing itself, Atkins almost forgot that the purpose of the packaging was to sell cameras. Halfway through the development of the project, Atkins began to marvel at the engineering elegance of the cameras and a light bulb went off in his head – the Arts Project Australia studio artist Alan Constable, recognised for his ceramic sculptures of cameras, would be an inspired collaborator for the project. If Atkins explores the visual language of how we are drawn to things, thereby making images designed for the masses his own, Constable’s skill lies in personalising what is inside the box, transforming a mass-produced consumer product into an idiosyncratic object.

Polaroid Project marks the first time Atkins has focused on replicating consumer packaging in 3D, creating what Donald Judd might have termed ‘specific objects’, art objects that incorporate aspects of painting and sculpture, but do not fit neatly into either category. As Atkins admits himself, his transformed Polaroid camera containers are difficult to categorise: Are they 3D paintings or sculptures? Similarly, they exist in the interstices of Pop and Minimalism, referencing images taken from advertisements, but eliminating descriptive text, distilling ads to abstraction. If it were not for Alan Constable’s cameras exhibited nearby, the viewer would most likely be unable to make the associative leap that these brightly coloured objects are in fact based on commercial packaging that housed and marketed cameras. In order to create boxes that appear as realistic as possible while still retaining proper rigidity as a support for a painting, Atkins used 6mm thick MDF board that he painstakingly sanded, infilling any gaps or surface blemishes with epoxy in order to simulate paper packing material as closely as possible. He then masked out the designs with tape and finally painted the Polaroid signature designs using carefully matched automobile spray paint. What looks machine-printed and fabricated is actually the product of artistic labour. Atkins’ boxes are the same size as the original packaging and are seemingly authentic in every way except for his decision not to reproduce text or photographic imagery, concentrating only on the colourful designs and the cubic format of the container.

Alan Constable’s glazed ceramic cameras lack precise lines and angles; their handmade wonkiness imbues them with a sentience, as if each sculpture is a character, a refugee from a cartoon narrative. If Philip Guston was a ceramicist, these are the kind of objects he would make. Constable has had a near life-long fascination with cameras. He made his first cameras from cardboard at the age of eight. The ceramic cameras have ranged from accordion-style devices to digital cameras to Polaroids, and all share the noticeable imprint of the artist’s hands and fingers, and quite often, an enlargement of scale compared to their real-world counterparts. Constable is legally blind and has pinhole vision so must work close-up during the creative process. For objects whose very existence are predicated on recording the visible, Constable’s cameras are created far more out of a sense of touch than sight. In Constable’s hands, cameras, which we usually associate with the optical, are transformed into the tactile.

Constable’s cameras are made by adding, subtracting, forming, and inscribing clay. A viewfinder or dial might be modelled separately from the camera body and then grafted on later and finally secured in the firing process. Viewfinders and lenses may be actual apertures or voids, but sometimes (as in the case of Constable’s copies of digital cameras) the display might feature an incised drawing of an imagined landscape, Constable’s take on trompe l’oeil realism. Constable also incises line work onto the camera’s surface to suggest dimension and detail. Constable’s cameras are structurally engineered from the inside out, containing internal chambers and walls to provide inherent stability, but also, perhaps, as a nod to speculative authenticity. Constable usually makes his cameras based on magazine advertisements; for Polaroid Project he had the rare opportunity of using real cameras as models for his sculptures.

Atkins is firmly situated within the handmade domain of the pop object/painting, as his renditions of Polaroid boxes are fabricated and painted only by him not by mechanical means, although the precise and seamless nature of his paint application replicates the look of commercial printing nearly exactly. While Alan Constable also relies on his hands in an endeavour to create a rendering of a commercial product, he does not in any way attempt to copy the Polaroid camera perfectly, or at least the results of his labour do not suggest a desire for verisimilitude. In a certain sense, Atkins plays Roy Lichtenstein to Constable’s Claes Oldenburg – two masters of early 1960s Pop. Lichtenstein made paintings of mass-produced printed imagery – notably comics – enlarging the image to reveal the building block of newsprint, the Ben Day dot. While Atkins does not necessarily play with scale the way Lichtenstein did, he shares with Lichtenstein a keen interest in exploring the imagery of popular culture, transposing it in paint to mimic commercial printing. In his installation The Store (1961), Claes Oldenburg riffed on the consumer products of the day creating handmade, cartoonish objects of exaggerated scale. While Constable forms his cameras out of clay, Oldenburg made his renditions of consumer goods from plaster-soaked muslin formed over wire frames, then painted in enamel – making no attempt to ape the real. Oldenburg’s objects have more in common with paintings than Constable’s cameras, but both amplify scale and instil an animated sensibility in the work, anthropomorphising objects. Lichtenstein and The Store-era Oldenburg represent the extremes of how Pop artists engaged with representation – mimicking commercial printing technology through exacting paintings, on the one hand, versus reproducing commercial goods through awkward handcraft on the other. The pairing of Atkins and Constable shows that the Lichtenstein/Oldenburg diametric is alive and well today and that artists continue to explore different registers of the real in depicting the pop object, relying solely on their own hands.”

© ALEX BAKER 2014
Director Fleisher/Ollman Gallery, Philadelphia USA

Reproduced with permission

 

Alan Constable & Peter Atkins. 'Square Shooter 2 #2' 2014

 

Alan Constable & Peter Atkins
Square Shooter 2 #2 (installation view)
2014
Ceramic camera and auto acrylic on MDF
Box: 16.7 x 16.7 x 18.4 cm
Camera: 16 x 14 x 16 cm

 

Alan Constable & Peter Atkins. 'Super Shooter' 2014

 

Alan Constable & Peter Atkins
Super Shooter (installation view)
2014
Ceramic camera and auto acrylic on MDF
Box: 16 x 17.5 x 18 cm
Camera: 16 x 14 x 16 cm

 

Alan Constable & Peter Atkins. 'Colorpack ll' 2014

 

Alan Constable & Peter Atkins
Colorpack ll (installation view)
2014
Ceramic camera and auto acrylic on MDF
Box: 16.7 x 16.7 x 19.8 cm
Camera: 15.5 x 16 x 20 cm

 

Alan Constable & Peter Atkins. 'Colorpack ll (detail)' 2014

Alan Constable & Peter Atkins. 'Colorpack ll' (detail) 2014

 

Alan Constable & Peter Atkins
Colorpack ll (detail)
2014
Ceramic camera and auto acrylic on MDF
Camera: 15.5 x 16 x 20 cm

 

Alan Constable & Peter Atkins. 'The Clincher' (detail) 2014

 

Alan Constable & Peter Atkins
The Clincher (detail)
2014
Ceramic camera and auto acrylic on MDF
Camera: 17.5 x 18 x 18 cm

 

Alan Constable & Peter Atkins. 'Colorpack 82' 2014

 

Alan Constable & Peter Atkins
Colorpack 82 (catalogue view)
2014
Ceramic camera and auto acrylic on MDF
Box: 16.7 x 16.7 x 18.4 cm
Camera: 16.5 x 14.5 x 20 cm

 

Alan Constable & Peter Atkins. 'Super Color Swinger' 2014

 

Alan Constable & Peter Atkins
Super Color Swinger (catalogue view)
2014
Ceramic camera and auto acrylic on MDF
Box: 16.7 x 16.7 x 18.4 cm
Camera: 17 x 15 x 15 cm

 

Alan Constable & Peter Atkins. 'Square Shooter 2 (with flash)' 2014

 

Alan Constable & Peter Atkins
Square Shooter 2 (with flash) (catalogue view)
2014
Ceramic camera and auto acrylic on MDF
Box: 16.7 x 16.7 x 18.4 cm
Camera: 17 x 14 x 18 cm

 

 

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24 High Street
Northcote Victoria 3070
T: + 61 3 9482 4484

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26
Nov
13

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

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

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

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Keywords

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

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The best

Daniel Crooks An embroidery of voids 2013 video.

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Highlights

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

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Honourable mentions

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

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Disappointing

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

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Low points

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

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Verdict

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

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Dr Marcus Bunyan for the Art Blart blog

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

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

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

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

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

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Laith McGregor. 'Pong ping paradise' 2011

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

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

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

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

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

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

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

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

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Rick Amor. 'Mobile call' 2012

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Rick Amor
Mobile call
2012
Private collection, Melbourne

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

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Steaphan Paton. 'Cloaked combat' (detail) 2013

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

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

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Zoom project team. 'Zoom' (detail) 2013

Zoom project team. 'Zoom' (detail) 2013

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

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

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

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

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

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

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

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

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Reko Rennie Kamilaroi born in 1974 'Initiation' 2013

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

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

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Installation view of Reko Rennie 'Initiation', 2013

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Installation view of Reko Rennie Initiation, 2013

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Janet Burchill Jennifer McCamley 'The Belief' 2004-2013

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Janet Burchill
Jennifer McCamley
The Belief
2004-2013

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

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

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

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

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

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

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

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

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

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

Tony Ellwood
Director, National Gallery of Victoria

Foreword from the Melbourne Now exhibition guide book

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

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

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

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

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Destiny Deacon
Virginia Fraser

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

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

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Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

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

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

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

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

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

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

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

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

Melbourne Now Introduction

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

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

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

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

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

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

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Brook Andrew. 'Vox: Beyond Tasmania' 2013

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

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

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

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

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Brook Andrew
Vox: Beyond Tasmania (details)
2013

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

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

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

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

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

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

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

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

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

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Patrick Pound
The gallery of air (details)
2013

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

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

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

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

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

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

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

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Mark Hilton born Australia 1976 'dontworry' 2013

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

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

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

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

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

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NGV International
180 St Kilda Road

Opening hours
10am – 5pm. Closed Tuesdays.

National Gallery of Victoria website

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30
May
13

Exhibition: ‘Alan Constable: Ten Cameras’ at South Willard, Los Angeles

Exhibition dates: 4th May – 2nd June 2013
Curated by Ricky Swallow

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Wow it really happened! Congratulations to Alan Constable, Sim Lutin and Melissa Petty from Arts Project Australia and to Ricky Swallow for curating.

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Alan Constable. 'Red NEK SLR' 2011

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Alan Constable
Red NEK SLR
2011
Ceramic
5.5 x 12.25 x 4.75 inches
© Alan Constable

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“How would a comb that cannot untangle hair look? You can make the object dangerous, humorous, useless, sinister.”
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Christina Ramberg.

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Alan Constable’s cameras are real ‘things’; they command constant attention from their audience and from their lucky owners. The resemblance of these sculptures to cameras is a starting point more than an end point, in the same way a swelling foot as painted by Phillip Guston behaves unlike any sensible foot, or a collage of a doorway by James Castle exceeds the expectation its structural simplicity presents.

Constable’s sculpture makes malleable mischief of both the form and function of the camera. In his hands it becomes an anthropomorphic character with endless variations and possibility. Specific types are modeled in clay from magazine advertisements with apt abbreviation and gesture, then glazed and fired in solid, sometimes soupy colors that further activate their surfaces and transform their sober dispositions.

The glazed surfaces are embellished with details so specific and beautiful they necessitate a tactile engagement with the object. As ‘things’ they still buzz with the handling and energy Constable employs in their making. Dials formed separately and thumbed into position, viewfinder windows cut directly through surfaces together with an oversized scale give Constable’s cameras the feeling of buildings or vessels. Scribed lines articulate both panels and seams, skewed inscriptions indicate model and make: all this information registers with efficiency to produce compelling objects.

The basic slab built walls forming the camera’s body also conceal one of the most interesting elements about these sculptures – internal chambers and walls have been built during the early stages of the works. Such entombed detail points towards Constable’s dedication to conceive and map a complete object, a total exploration of his subject based on unique invention and interpretation.”
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Ricky Swallow, April 2013

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South Willard is pleased to present Alan Constable|Ten Cameras as its next Shop Exhibit. Curated by Ricky Swallow in collaboration with Arts Project Australia, this is the first solo presentation of Constable’s ceramic sculptures in the United States. Now in his late 50’s, Constable has been producing his art at Arts Project studio’s in Melbourne since 1987, and has exhibited his camera sculptures in both gallery and institutional exhibitions to critical praise over the past 7 years.

Constable is also participating in Outsiderism curated by Alex Baker at Fleisher Ollman gallery in Philadelphia this month.

Ricky wishes to thank Alex Baker for his introduction to Alan’s work, and Sim Luttin and Melissa Petty at Arts Project Australia for their generous assistance.

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acorangefront

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Alan Constable
Orange AKI SLR
2011
Ceramic
6 x 10 x 4 inches
© Alan Constable

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acolivefront

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Alan Constable
Green SLR
2011
Ceramic
7.75 x 9 x 3 inches
© Alan Constable

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South Willard
8038 West Third St
Los Angeles CA 90048
T: (323) 653-6153

Opening hours:
Mon-Sat 12-6
Sunday 12-5

Arts Project Australia website

South Willard website

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10
Nov
11

artwork: alan constable camera. opening night photographs: ‘Movement and Emotion’ at Arts Project Australia, Melbourne

Movement and Emotion exhibition dates: 20th October – 26th November 2011

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I have added a new Alan Constable camera to my collection. Yah!

The one I have chosen is very unusual. The camera has a third eye and a stunning glaze. You can seen more of Alan’s cameras in the group exhibition The Machine now on at Craft Victoria, Flinders Lane until the 26th November 2011. The exhibition features the work of three Arts Project Australia artists: Alan Constable, Chris O’Brien and Terry Williams. All three artists explore machine aesthetics within their practice.

I really do hope that the National Gallery of Victoria purchases some of these cameras. They are the most unusual and beautiful sculptural pieces I have seen in a long time.

Many thankx to Art Project Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. See more images from the Movement and Emotion exhibition.

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Dr Marcus Bunyan holding his new Alan Constable camera at the opening of Movement and Emotion 2011.
More of Alan’s cameras can be seen behind.

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Alan Constable
Not titled (three lens red camera)
2011

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Marcus with jeweller Marianne Cseh at right looking at the Alan Constable camera

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Opening night crowd at Movement and Emotion, Arts Project Australia

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Opening night, with at left curator and artist Paul Hodges, artist Jodie Noble (seated), myself and, at right, Jonah Jones, President of the board of Arts Project Australia

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Marcus giving the opening night speech for the exhibition Movement and Emotion. Read the opening night speech.
I was so nervous my jeweller friend Marianne said she could see my hands shaking from where she was standing in the crowd!!

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Artist Catherine Staughton standing in front of her work

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Arts Project Australia
24 High Street
Northcote Victoria 3070
T: + 61 3 9482 4484

Gallery Hours:
Monday to Friday
 9am – 5pm
Saturday 
10am – 1pm

Arts Project Australia website

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04
May
11

Review: ‘Alan Constable: Viewfinder’ at Arts Project Australia, Northcote, Melbourne

Exhibition dates: 30th April 2011 – 1st June 2011

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“For me, art is what is most animal in us … It is the most noble thing because it’s a celebration precisely of the forces of the body and the forces of life.”

Elizabeth Grosz

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This Saturday, after a journey around the galleries of Albert Street, Richmond (underwhelming) and a visit to Sutton Gallery to see Simon Terrill’s photographic exhibition Phantom (an exhibition that I was going to review but when I saw it I changed my mind: two excellent photographs, Balfron Tower 2010-11 and Rivoli #2 2010-11, let down by three “empty” long exposure photographs allegedly showing traces of humanity, residues of presence) had left me a little deflated, I ventured to the opening of Alan Constable’s twenty-year retrospective Viewfinder curated by Dr Cheryl Daye at Arts Project Australia.

What a breath of fresh air this exhibition is!

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The exhibition shows beautifully in the gallery space. Hung chronologically, the more tightly controlled early series feature luminous pastels that investigate themes: landscapes, birds (rarely figures) – the rubbed and layered medium building up an almost translucent surface that reminded me of the pastel work of Odilon Redon. Later work, such as the two paintings Not titled (person with binoculars) 2009 and Not titled (figure with camera) 2006 (both below) show a greater engagement with the world and a freeing up of technique – running figures, Barak Obama, Dr. Who, suited men with headdresses, football players: happenings – with exaggerated form (hands for example), wonderful spontaneity and an essential simplicity that engages the viewer directly. All the paintings evidence a spatial flatness that brings everything onto the same plane, gives everything equal importance within the image (denying Renaissance perspective; as Cliff Burtt notes in the catalogue the converging lines and horizons act as elements of design, forming the scaffolding of composition). This technique is one of the most powerful elements of Constable’s work. A wonderful understanding of light and use of colour are other essential elements. The transformational, rough hewn, playful clay cameras (such as Konica Pop, 2009, below) are a particular favourite of mine. The glazes on the cameras, their tactility, the colours – are luscious. To hold them, to pick them up and feel them in your hands is a very special experience for me. Outstanding.

Constable has a unique way of seeing and imaging the world; his working method is unique. After carefully selecting source images from journals, magazines (for example National Geographic) and newspapers, Constable visually scans the photograph from a few inches, holding it up to his eyes and carefully maneuvering his way across the surface of the image, then making what he sees – a direct pointing to reality. Without a concept to worry about, through an enabled fluidity and freedom of expression, the artist cuts to the essential form of what he wants to make and because of this directness his work contains absolute kernels of wisdom. His observation is fantastic.

These are exuberant works that are a celebration of the body and of life. They have great spontaneity. What Constable sees, he feels and makes: the mark of the maker writ bold. They made me feel so alive. After the disappointment of earlier exhibitions in the day, this work made me laugh and smile!

You really can’t ask for more. It made my day.

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Many thankx to Sue Roff, Melissa Petty, Sim Lutin and everyone at Arts Project Australia for their help and for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

View photographs of Alan Constable on the Peter Fay Galleries website, a video of Peter saying a few words at the opening together with a video on the work of Arts Project Australia and Peter’s blog with comments and more photographs of the work.

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Alan Constable
Not titled (person with binoculars)
2009
acrylic on canvas
71 x 71.5 cm

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Alan Constable
Not titled (figure with camera)
2006
gouache on paper
65.5 x 45cm

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“Alan Constable is both a painter and a ceramicist. Alan Constable: Viewfinder is a major survey exhibition that will include paintings, drawings and ceramics, opening Saturday 30 April until Wednesday 1 June 2011.

Showcasing more than 60 works selected from over a 20 year period, Viewfinder offers new and rich insights into the unique art of Alan Constable. Legally blind, Constable has been able to create a body of work that is highly regarded. He is been a  finalist in numerous Australian Art Awards and his ceramic cameras are highly collectable.

‘Often when a painter is faced with a scene, there’s simply so much that’s appealing it’s hard to choose what to focus on’, says Dr Cheryl Daye, founding director, Arts Project Australia. ‘This is where a viewfinder comes in useful; as it helps you focus on particular parts of the scene, enabling you to decide what will make the best composition, both in terms of focus and format’. Daye has worked closely with Constable from the time he joined the Arts Project studio in 1987.

Viewfinder the title of his survey suggests the artist’s process and methodology as well as the composition and subject matter of his work.

In Constable’s two-dimensional works this can be traced from very early self-portraits (1992), through to carefully observed depictions of birds and animals to the series based on silhouettes framed in industrial or stormy landscapes, a fascination with light and energy and, more recently with colourful interpretations of political and cultural figures, all of which are sourced from photographic images carefully and sometimes painstakingly selected by the artist.

Based on imagery from newspapers and magazines, Constables recent paintings are notable for their vibrant kaleidoscopic effects and strong sense colour and patterning. Though Constable’s works are often centered on political events and global figures, his thematic concerns are frequently subjugated by the pure visual experience of colour and form.

His three-dimensional works, most notably the cameras, also sit well within this theme and given the fact that Constable is legally blind is also obliquely referenced. Constable’s ceramic works reflect a life-long fascination with old cameras, which began with his making replicas from cardboard cereal boxes at the age of eight. The sculptures are lyrical interpretations of technical instruments, and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Constable’s cameras can be viewed as extensions of the body, as much as sculptural representations of an object.

Arts Project Australia supports people with disabilities to become practitioners in the visual arts.  The studio and gallery nurtures and promotes artists with an intellectual disability as they develop their body of work.”

Press release from Arts Project Australia

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Alan Constable
Konica Pop
2009
ceramic
21 x 32 x 10 cm

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Alan Constable
Not titled (explosion II)
1996
pastel on paper
50 x 66cm

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Alan Constable
Not titled (fruit)
1993
pastel on paper
66 x 50cm
Arts Project Australia Permanent Collection

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Arts Project Australia
24 High Street
Northcote Victoria 3070
T: + 61 3 9482 4484

Gallery Hours:
Monday to Friday
 9am – 5pm
Saturday 
10am – 1pm

Arts Project Australia website

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08
Aug
10

Alan Constable and the highlights of the Melbourne Art Fair 2010

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I finally succumbed and bought myself a wonderful Alan Constable ceramic camera from the Arts Project Australia stand at the Melbourne Art Fair on Saturday (see photographs below – click on the photographs for a larger version of the image). I first saw Alan’s ceramic work at his solo exhibition called ‘Clay Cameras’ at Helen Gorie Galerie in August 2009 (see photographs from the exhibition) and was instantly attracted to the tactility and beauty of the work. Months later I saw more of his cameras at Sophie Gannon Gallery in Richmond and now at the Art Fair. Third time lucky, I found a stunning medium format Hasselblad in a beautiful two tone glaze that really spoke to me in terms of it’s form and aesthetic appeal. Constable’s work has really impinged on my consciousness and the piece has a special resonance for me.

“Constable’s ceramic works reflect a life-long fascination with old cameras, which began with his making replicas from cardboard cereal boxes at the age of eight. The sculptures are lyrical interpretations of technical instruments, and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Alan Constable cameras can be viewed as extensions of the body, as much as sculptural representations of an object.”

Arts Project Australia text

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Highlights of the Art Fair were the outstanding paintings of Juan Ford at Dianne Tanzer Gallery, the mesmeric video work of Daniel Crooks at Anna Schwartz Gallery (who I think is one of the best artists in the country – see more images of his work from his ‘Intersection’ exhibition), the delicately layered and outrageously beautiful collage work of  Peter Madden at Ryan Renshaw Gallery, the layered transcapes of Janet Lawrence at Arc One Gallery and the cosmological paintings of Lara Merrett at Karen Woodbury Gallery (see more work from the ‘Every Breath You Take’ exhibition on their website). Brickbats for the most overblown presentation must go to Danie Mellor at Michael Reid for a truly over the top performance that just left one speechless.

It was a real pleasure to meet so many gallery directors and managers face to face including Gina Lee at Niagara Galleries, James Makin at James Makin Gallery, Matt Glen at Martin Browne Fine Art, Sydney, Paul Greenway from Gagprojects, Berlin and Ken Fehily from Fehily Contemporary, Melbourne.

Finally, I visited the Notfair 2010 exhibition in Richmond, a disappointing group exhibition of 30 artists selected from over 300 artists suggested by curators from around the country. As with many group exhibitions that lack thematic development the work was all over the place, in every media imaginable. The absolute standout work were the two antique stereoscopic cabinet and LED light animations of Chris Henschke from the duo Topologies (samples of which can be seen on the Topologies website). While the idea for the exhibition is to be applauded (that of presenting an exhibition of unknown or little known artists that may or may not be represented by a gallery) perhaps the next exhibition should have fewer artists to give the work chance to speak for the artist instead of just being a token gesture.

Marcus Bunyan for the Art Blart blog

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Alan Constable
‘Untitled (Hasselblad)’
2008

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Melbourne Art Fair 2010 website

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21
Aug
09

Opening: ‘Little Treasures’ and ‘Clay Cameras’ at Helen Gory Galerie, Melbourne

Exhibition dates: 20th August – 5th September, 2009

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Little Treasures: Toby Richardson, Will Nolan, CJ Taylor and Steve Wilson

Clay Cameras: Alan Constable

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A small crowd was in attendance for the opening of two new exhibitions at Helen Gory Galerie (due to two auctions, one at Sotheby’s and the other at Deutscher-Menzies). Despite this the crowd was appreciative of the beautifully printed and well presented work. In the main exhibition ‘Little Treasures’ four photographers show various bodies of work. Toby Richardson’s stained pillows (‘Portrait of the artist’) from the years 1986 – 2003 were effective in their muted tones and ‘thickened’ spatio-temporal identity. CJ Taylor’s winged detritus from the taxidermist were haunting in their mutilated beauty. Steve Wilson’s sometimes legless flies were startling in their precision, attitude/altitude and, as someone noted, they looked like jet fighters! Finally my favourite of this quartet were the recyco-pop iridescent bottle tops of Will Nolan – “these objects remain enigmatic, resonating with a sense of mystery, hidden thoughts and unknown histories.” (Lauren Tomczak, catalogue text).

Some good work then in this take on found, then lost and found again treasure trove, work that retrieves and sustains traces of life, history and memory in the arcana of discarded and dissected objects.

The hit of the night for me was the work of Alan Constable. I found his clay cameras intoxicating – I wanted to own one (always a good sign). I loved the exaggerated form and colours, the playfulness of the creativity on display. Being a photographer I went around trying to work out the different makes of these scratched and highly glazed cameras without looking at the exhibition handout. For a very reasonable price you could own one of these seductive (is that the right word, I think it is) objects and they were selling like hot cakes!

Marcus Bunyan for the Art Blart blog

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Little Treasures

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“Wings, pillows, flies and bottle tops are blown up vastly in stunning large scale prints that take the viewer through the looking glass into another universe, their brilliant colour and rich detail revealing unexpected beauty and delight in these forgotten things. Unmanipulated and finely printed, these images are the product of each artist’s technical mastery and inquisitive eye finding beauty in the cast off and delight in the ignored.” (Jemima Kemp, 2009)

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Installation view of 'Little Treasures' showing the work of Toby Richardson 'Portrait of the Artist' series at Helen Gory Galerie, Melbourne

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Installation view of ‘Little Treasures’ showing the work of Toby Richardson ‘Portrait of the Artist’ series (2009)

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Opening night crowd at 'Little Treasures'

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Installation view of 'Little Treasures' showing the work of CJ Taylor (left) and Will Nolan 'Bottle Top' series (2009, right) series at Helen Gory Galerie, Melbourne

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Installation view of ‘Little Treasures’ showing the work of CJ Taylor (2009, left) and Will Nolan ‘Bottle Top’ series (2009, right)

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Installation view of 'Little Treasures' showing the work of CJ Taylor (2009)

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Installation view of ‘Little Treasures’ showing the work of CJ Taylor (2009)

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CJ Taylor. 'Blue, turquoise yellow green' 2009

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CJ Taylor
‘Blue, turquoise yellow green’
2009

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Installation view of ‘Little Treasures’ showing the work of Will Nolan ‘Bottle Top’ series (2009)

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Will Nolan. 'Bottle top #10' 2009

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Will Nolan
‘Bottle top #10’
2009

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Will Nolan. 'Bottle top #1' 2009

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Will Nolan
‘Bottle top #1’
2009

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Installation view of 'Little Treasures' showing the work of Steve Wilson 'Fly' series (2009) at Helen Gory Galerie, Melbourne

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Installation view of ‘Little Treasures’ showing the work of Steve Wilson ‘Fly’ series (2009)

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Clay Cameras

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“From the box brownie to disposables, VHS to SLR, these works explore Alan Constable’s fascination with cameras. Unlike the streamlined design of the originals, Constable’s cameras appear soft, organic and malleable.”

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Alan Constable. 'Not titled (ALE SLR)' 2008

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Alan Constable
‘Not titled (ALE SLR)’
2008

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Alan Constable. 'Not titled (pearlescent gold/black Leica)' 2008

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Alan Constable
‘Not titled (pearlescent gold/black Leica)’
2008

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Installation view of 'Clay Cameras' at Helen Gory Galerie, Melbourne

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Installation view of ‘Clay Cameras’ by Alan Constable

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Alan Constable. 'Not titled (Hasselblad)' 2008

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Alan Constable
‘Not titled (Hasselblad)’
2008

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Alan Constable. 'Not titled (Digital with zoom lens)' 2009

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Alan Constable
‘Not titled (Digital with zoom lens)’
2009

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Helen Gory Galerie

25, St. Edmonds Road,
Prahran, Vic 3181
Opening hours: Wed – Fri 11 – 5pm, Sat 10 – 4pm

Helen Gory Galerie website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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