Posts Tagged ‘Australian contemporary art

22
Jul
18

Photographs: Marcus Bunyan. ‘Paris in film’ 2018 Part 2

July 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

 

Paris in film 2018

These photographs were taken on a trip to Paris in 2017 using my Mamiya twin-lens C220 medium format camera shot on Kodak Ektra 100 colour negative film.

It was strange taking these photographs over numerous, adventurous, energised days in Paris. Different from the yet to be sorted 4,000+ digital photographs I took, the act of taking these photographs allowed me to fully concentrate, to immerse myself in the environment, to loose myself in the process – with a commensurate dropping away of ego. I just was in the moment, “in the zone” as athletes would say.

They are only basic jpg scans of the negs, full frame, no cropping, and I have colour corrected as best I can, noting that all digital images look different from computer monitor to monitor – one of the perennial hazards of looking at work online. They have not been sequenced at the moment.

The photographs seem to hang well together as a body of work. I would love to get good scans and print some of them.

Through their clear visualisation, the photographs speak directly to the viewer.

Marcus

.
68 images
© Marcus Bunyan

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

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my store web page.

 

 

“The great goal that we must all pursue is to kill off the great evil that eats away at us: egotism.”

.
“Sometimes I think I love nature just as much, if not more, for not being capable of translation into words… No words can describe some things. The more one says the less one sees. You see… nature is like love, it’s in the heart and you must not talk about it too much. You diminish what you try to describe. As for myself, I have no idea of my own nature when I act unselfconsciously. I only see what there is between the sky and myself. I have no part in it all. If I think of you, in my odd way I am you and I cease to exist.”

.
George Sand

 

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Animaux Nuisibles' from the series 'Paris in film' 2018

 

Marcus Bunyan
Animaux Nuisibles
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Animaux Nuisibles' from the series 'Paris in film' 2018

 

Marcus Bunyan
Animaux Nuisibles
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Animaux Nuisibles' from the series 'Paris in film' 2018

 

Marcus Bunyan
Animaux Nuisibles
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Rats Surmulots Captures aux Halles vers 1925' from the series 'Paris in film' 2018

 

Marcus Bunyan
Rats Surmulots Captures aux Halles vers 1925
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Dying light, KH in Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan
Dying light, KH in Saint-Eustache Church
2018
From the series ‘Paris in film’ 2018

 

 

Marcus Bunyan website

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18
Jul
18

Photographs: Marcus Bunyan. ‘Paris in film’ 2018 Part 1

July 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

 

Paris in film 2018

These photographs were taken on a trip to Paris in 2017 using my Mamiya twin-lens C220 medium format camera shot on Kodak Ektra 100 colour negative film.

They are only basic jpg scans of the negs, full frame, no cropping, and I have colour corrected as best I can, noting that all digital images look different from computer monitor to monitor – one of the perennial hazards of looking at work online. They have not been sequenced at the moment.

The photographs seem to hang well together as a body of work. I would love to get good scans and print some of them.

Through their clear visualisation, the photographs speak directly to the viewer.

Marcus

.
68 images
© Marcus Bunyan

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

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

 

Marcus Bunyan website

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24
Aug
17

Exhibition: ‘Bill Henson’ as part of the NGV Festival of Photography, NGV International, Melbourne

Exhibition dates: 10th March – 27th August 2017

 

Bill Henson (Australian born 1955) 'Untitled #5' 2011/2012

 

Bill Henson (Australian born 1955)
Installation view of Untitled #5
2011/2012
archival inkjet pigment print
180 × 127cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #5' 2011/2012 (detail)

 

Bill Henson (Australian born 1955)
Installation view of Untitled #5 (detail)
2011/2012
archival inkjet pigment print
180 × 127cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

 

Masterclass

There is nothing that I need to add about the themes, re-sources and beauty of the photographs in this exhibition, than has not been commented on in Christopher Allen’s erudite piece of writing “Bill Henson images reflect the dark past at NGV” posted on The Australian website. It is all there for the reader:

“Figurative works like these, which invite an intense engagement because of our imaginative and affective response to beauty, are punctuated with landscapes that offer intervals of another kind of contemplation, a distant rather than close focus, an impersonal rather than a personal response, a meditation on time and space. …

Henson’s pictorial world is an intensely, almost hypnotically imaginative one, whose secret lies in a unique combination of closeness and distance. He draws on the deep affective power of physical beauty, and particularly the sexually ambiguous, often almost androgynous beauty of the young body, filled with a kind of potential energy, but not yet fully actualised. Yet these bodies are distanced and abstracted by their sculptural, nearly monochrome treatment, and transformed by a kind of alchemical synthesis with the ideal, poetic bodies of art. …

The figures are bewitching but withdraw like mirages, disembodied at the sensual level, only to be merged with the images of memory, the echoes of great works of the past, and to be reborn from the imagination as if some ancient sculpture were arising from darkness into the light of a new life.”

.
What I can add are some further observations. Henson is not so serious as to miss sharing a joke with his audience, as when the elbow of the classical statue in Untitled 2008/09 is mimicked in the background by the elbow of a figure. Henson is also a masterful storyteller, something that is rarely mentioned in comment upon his work. When you physically see this exhibition – the flow of the images, the juxtaposition of landscape and figurative works, the lighting of the work as the photographs emerge out of the darkness – all this produces such a sensation in the viewer that you are taken upon a journey into your soul. I was intensely moved by this work, by the bruised and battered bodies so much in love, that they almost took my breath away.

Another point of interest is the relationship between the philanthropist, the artist and the gallery. Due to the extraordinary generosity of Bill Bowness, whose gift of twenty-one photographs by Henson makes the NGV’s collection of his work the most significant of any public institution, the gallery was able to stage this exhibition. This is how art philanthropy should work: a private collector passionate about an artist’s work donating to an important institution to benefit both the artist, the institution and the art viewing public.

But then all this good work is undone in the promotion of the exhibition. I was supplied with the media images: five landscape images supplemented by five installation images of the same photographs. Despite requests for images of the figurative works they were not forthcoming. So I took my own.

We all know of the sensitivity around the work of Henson after his brush with the law in 2008, but if you are going to welcome 21 photographs into your collection, and stage a major exhibition of the donated work… then please have the courage of your convictions and provide media images of the ALL the work for people to see. For fear of offending the prurient right, the obsequiousness of the gallery belittles the whole enterprise.

If this artist was living in New York, London or Paris he would be having major retrospectives of his work, for I believe that Bill Henson is one of the greatest living photographers of his generation.

Dr Marcus Bunyan

.
Many thankx to the National Gallery of Victoria for allowing me to publish the images in the posting and supplying the media images (the images after the press release). All other images are © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria.

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria with at left, Untitled #35 2009/2010 and at right, Untitled #8 2008/2009
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #35' 2009/2010

 

Bill Henson (Australian born 1955)
Installation view of Untitled #35
2009/2010
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #8' 2008/2009

 

Bill Henson (Australian born 1955)
Installation view of Untitled #8
2008/2009
archival inkjet pigment print
180 × 127cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #1' 2010/2011

 

Bill Henson (Australian born 1955)
Installation view of Untitled #1
2010/2011
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation views of the exhibition Bill Henson at the National Gallery of Victoria
Photos: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria with at left, Untitled 2010/2011 and at right, Untitled #9 2008/2009
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled' 2010/2011

 

Bill Henson (Australian born 1955)
Installation view of Untitled
2010/2011
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #9' 2008/2009

 

Bill Henson (Australian born 1955)
Installation view of Untitled #9
2008/2009
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled' 2010/2011

 

Bill Henson (Australian born 1955)
Installation view of Untitled
2010/2011
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria with at left, Untitled #2 2010/2011 and at right, Untitled #10 2011/2012
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #2' 2010/2011

 

Bill Henson (Australian born 1955)
Installation view of Untitled #2
2010/2011
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #10' 2011/2012 (detail)

 

Bill Henson (Australian born 1955)
Installation view of Untitled #10 (detail)
2011/2012
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #3' 2008/2009

 

Bill Henson (Australian born 1955)
Installation view of Untitled #3
2008/2009
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria with at left, Untitled #16 2009/10 and at right, Untitled #10 2008/2009
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #10' 2008/2009

 

Bill Henson (Australian born 1955)
Installation view of Untitled #10
2008/2009
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #5' 2011/2012

 

Bill Henson (Australian born 1955)
Installation view of Untitled #5
2011/2012
archival inkjet pigment print
180 × 127cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled #15' 2008/2009

 

Bill Henson (Australian born 1955)
Installation view of Untitled #15
2008/2009
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled' 2012/13

 

Bill Henson (Australian born 1955)
Installation view of Untitled
2012/13
archival inkjet pigment print
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled' 2012/13 (detail)

 

Bill Henson (Australian born 1955)
Installation view of Untitled (detail)
2012/13
archival inkjet pigment print
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled' 2012/13 (detail)

 

Bill Henson (Australian born 1955)
Installation view of Untitled (detail)
2012/13
archival inkjet pigment print
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Bill Henson. 'Untitled #2' 2009/2010 (detail)

 

Bill Henson (Australian born 1955)
Installation view of Untitled #2 (detail)
2009/2010
archival inkjet pigment print
127 × 180cm
Gift of William Donald Bowness through the Australian Government’s Cultural Gifts Program 2016
Photo: © Dr Marcus Bunyan, Bill Henson and the National Gallery of Victoria

 

Dr Marcus Bunyan in front of Bill Henson's 'Untitled' 2009/10

 

Dr Marcus Bunyan in front of Bill Henson’s Untitled 2009/10 which features Rembrandt’s The return of the prodigal son c. 1662 which is in The Hermitage, St. Petersburg
Photo: Jeff Whitehead

 

 

The solo exhibition, Bill Henson, will showcase recent works by the Australian photographer, who is celebrated for his powerful images that sensitively explore the complexities of the human condition.

The exhibition brings together twenty-three photographs selected by the artist, traversing the key themes in the artist’s oeuvre, including sublime landscapes, portraiture, as well as classical sculpture captured in museum settings.

Inviting contemplation, Henson’s works present open-ended narratives and capture an intriguing sense of the transitory. Henson’s portraits show his subjects as introspective, focused on internal thoughts and dreams; his landscapes are photographed during the transitional moment of twilight; and the images shot on location inside museums juxtapose graceful marble statues against the transfixed visitors observing them.

Henson’s work is renowned for creating a powerful sense of mystery and ambiguity through the use of velvet-like blackness in the shadows. This is achieved through the striking use of chiaroscuro, an effect of contrasting light and shadow, which is used to selectively obscure and reveal the form of the human body, sculptures and the landscape itself.

“Henson’s photographs have a palpable sense of the cinematic and together they form a powerful and enigmatic visual statement,” said Tony Ellwood, Director, NGV. “The NGV mounted Bill Henson’s first solo exhibition in 1975 when Henson was only 19. Over forty years later, audiences to the NGV will be captivated by the beauty of Henson’s images once more,” said Ellwood.

On display at the National Gallery of Victoria as part of the inaugural NGV Festival of Photography, the exhibition has been made possible by the extraordinary generosity of Bill Bowness, whose gift of twenty-one photographs by Henson makes the NGV’s collection of his work the most significant of any public institution.

Press release from the National Gallery of Victoria

 

Bill Henson (Australian born 1955) 'Untitled 2008/09'

 

Bill Henson (Australian born 1955)
Untitled 2008/09
2008-2009
Inkjet print
127 x 180 cm
© Bill Henson

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography Photo by Sean Fennessy

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography
Photo: Sean Fennessy

 

Bill Henson (Australian born 1955) 'Untitled 2008/09'

 

Bill Henson (Australian born 1955)
Untitled 2008/09
2008-2009
Inkjet print
127 x 180 cm
© Bill Henson

 

Bill Henson (Australian born 1955) 'Untiled 2009/10'

 

Bill Henson (Australian born 1955)
Untiled 2009/10
2009-2010
Inkjet print
102.1 x 152.0 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australia Artist, 2012
© Bill Henson

 

Bill Henson (Australian born 1955) 'Untiled 2009/10'

 

Bill Henson (Australian born 1955)
Untiled 2009/10
2009-2010
Inkjet print
102.1 x 152.0 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australia Artist, 2011
© Bill Henson

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography Photo by Wayne Taylor

 

Bill Henson (Australian born 1955)
Installation view of Untiled 2009/10
2009-2010
Inkjet print
102.1 x 152.0 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australia Artist, 2011
© Bill Henson

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography
Photo: Wayne Taylor

 

Bill Henson (Australian born 1955) 'Untitled 2008/09'

 

Bill Henson (Australian born 1955)
Untitled 2008/09
2008-2009
Inkjet print
127 x 180 cm
© Bill Henson

 

Installation view of the exhibition 'Bill Henson' at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography

 

Installation view of the exhibition Bill Henson at the National Gallery of Victoria. Presented as part of the NGV Festival of Photography
Photo: Sean Fennessy

 

 

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03
Dec
13

Essay: ‘Made ready: A Philosophy of Moments’ Dr Marcus Bunyan / Exhibition: ‘Reinventing the Wheel: the Readymade Century’ at the Monash University Museum of Art (MUMA), Melbourne

Exhibition dates: 3rd October – 14th December 2013

Presented by Monash University Museum of Art in association with Melbourne Festival

 

Marcel Duchamp. 'Bicycle wheel' (detail) 1913 reconstructed 1964 (installation view detail)

 

Marcel Duchamp (French-American, 1887-1968)
Bicycle wheel (installation view detail) (with Dr Marcus Bunyan)
1913 reconstructed 1964
Painted wooden stool and bicycle wheel
Stool: 50.4cm (h.); wheel: 64.8cm (diam.); overall: 126.5cm (h.)
Collection: National Gallery of Australia, Canberra
Photo: © Joyce Evans

 

 

Monash University Museum of Art (MUMA) is generating an enviable reputation for holding vibrant, intellectually stimulating group exhibitions on specific ideas, concepts and topics. This exhibition is no exception. It is one of the best exhibitions I have seen in Melbourne this year. Accompanied by a strong catalogue with three excellent essays by Thierry de Duve, Dr Rex Butler and Patrice Sharkey, this is a must see exhibition for any Melbourne art aficionado before it closes. My favourite pieces were Jeff Koons’ tactile Balloon dog (Red) (1995, below) and the coupling, copulating lights of Lou Hubbard’s Stretch (2007, below).

I am not going to critique the exhibition pieces per se but offer some thoughts about the nature of the readymade below.

Dr Marcus Bunyan

.
Many thankx to MUMA for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All photographs taken at the opening © Monash University Museum of Art and Dr Marcus Bunyan unless otherwise stated.

Download this essay as a pdf (9.8Mb pdf) Text © Dr Marcus Bunyan

 

 

“This transition is a flash, a boundary where this becomes that, not then, not that – falling in love, jumping of a bridge. Alive : dead; presence : absence; purpose : play; mastery : exhaustion; logos : silence; worldly : transcendent. Not this, not that. It is an impossible presence, present – a moment of unalienated production that we know exists but we cannot define it, place it. How can we know love? We can speak of it in a before and after sense but it is always a past moment that we recognise.

.
Dr Marcus Bunyan. Made Ready: A Philosophy of Moments. December 2013

 

 

Made ready: A Philosophy of Moments

Dr Marcus Bunyan

December 2013

 

The readymade is everywhere in the world (for the readymade can be made of anything); the readymade is nowhere in the world. This is the paradox of the readymade: it does not exist in the world as art until after the artist has named it. In this sense it can be argued that there is no such thing as a readymade. It only comes into being through the will and intention of the artist. The readymade may live unnamed in the world for years but it does not exist in the world as art until the artist has intentionally named it (or made it). As Marcel Duchamp observes,

“It’s not the visual aspect of the readymade that matters, it’s simply that fact that it exists… Visuality is no longer the question: the readymade is no longer visible, so to speak. It is completely grey matter. It is no longer retinal.”1

The readymade is (initially) a concept of the brain and not of the eye. It is a commodity made by man living in the world made ready for identification as art ‘already made’ by the recognition of the artist of its exchange value – the object as transitory metonym which “stands in” for another place of being through a change of name or purpose. It is the intention of the artist to impose an (alternate) order on the object, an order in which the readymade questions aesthetic criteria and categories such as taste, authorship and intentionality. As Dr Rex Butler notes, “The work is not simply intended – which is an obvious fact about any work of art – but about an intention that has come to replace, while entirely reproducing, that which is the very embodiment of the contingent and unpredictable.”2

According to Thierry de Duve, the choosing of the object is accompanied by three other acts: naming the object, signing it and devising some original presentation for it.3 There are the so called unassisted readymades (such as Duchamp’s Bottle dryer, 1914 reconstructed 1964 below) and there are also plain, aided, sick, unhappy, reciprocal and semi-readymades.4 In reality no readymade is unassisted as all are called into being by the mind of the artist. But the concept of the readymade “heralds the realisation that art can be made from anything whatsoever.”5 If this is the case then the readymade “makes of all aesthetic judgements something unconvincing, derivative, second-hand,”6 perhaps even deliberately “invoking” criticism before the artwork is even constructed. If the inherent structural and aesthetic function of all things is predetermined, as though fulfilling some underlying design, it is the artists intentionality in naming the object as art – a model of explanation “that abducts from external products to internal processes, from what is visible to what must be inferred”7 – that deliberately places and fixes these objects in a new moment in space and time.

Through appropriation, readymades “make their claim to the dignity of an art object through some unexpected presentation that decontextualises them and pulls them away from their daily use.”8 Through appropriation, artists laud everyday objects as art for all to see.9 Through appropriation, art institutes emphasise the power of the art institution, the readymade made taxidermied, stuffed object, placed on a stand, an everyday object lauded as art for all to see. In this scenario, the desire of manufacturing that wants consumer objects to be seen as useful, valuable is inverted as readymades become institutional objects of desire just out of reach of the audience (10,000 dollar coins just lying around on the floor!). The death of the object as an object and its reanimation “to the dignity of an art object” is completed “simply by its presence in the museum.”10 As Elizabeth Wilson states, “The only defence against transgressive desire is to turn either oneself or the object of desire to stone.”11 In this case it is the museum officials that turn the object of desire into stone (by lionising them as readymades). In actuality, these objects that artists imagine explore the dichotomy between presence and absence and the nature of transgressive desire.

Essentially, the concept of the readymade is both elastic (like the band that holds together the brick and book cover in Claire Fontaine’s witty La société du spectacle brickbat 2006, below) and fixed (like the brick itself), the readymade being both a performative act (ritualised play) and citational practice by which discourse produces the effects it names.12 Further, a link can be made to Bachelard’s theory of space and imagination which describes literary space as reflexive, resonant and moulded by consciousness.13 In their playfulness the spatial dynamics of readymades challenge and illuminate the human, sensory possibility. They examine how the reality of contemporary life is disguised and concealed from view, and how human beings are alienated from the very objects that they produce. For the French philosopher and sociologist Henri Lefebvre, “(The) critique of everyday life is … at once a rejection of the inauthentic and the alienated, and an unearthing of the human which still lies buried therein.”14

“One avenue for this unearthing is what Lefebvre describes as moments of presence – fleeting, sensate instants in which the “totality of possibilities contained in daily existence” were revealed. While destined to pass in an instant, it is through such moments that we are able to catch glimpses of the relation between the everyday and the social totality.”15 This philosophy or theory of moments was developed in opposition to Bergson’s understanding of time as a linear duration (duree) of separate instances and for Lefebvre, these “moments are “experiences of detachment from the everyday flow of time” which puncture the banality of everyday life…”16

“All the activities that constitute everyday life must then be rethought in terms of a dialectic of presence and absence and each moment is simultaneously an opportunity for alienation and disalienation.”17 The readymade, then, explores the politically radical potential that lies within the everyday through play and the intentionality of the artist. Through representation, readymades mediate between absence and presence; through poësis they begin to inhabit another time and space.

“In the poetic act, presence is the given. Lefebvre intends ‘poetic’ to cover unalienated production – the Greek poësis – as he explained in The Production of Space (1974)… Presence and poësis stand outside social relations of production. Flashes of inspiration, moments when one feels ‘all together’ and ‘in touch’, are not determined by economic relations, and cannot be prevented, even in a prison camp.”18

Readymades are a reaction against the linear production of industry, which is both functional and hierarchical. They are a reaction against the banality and repetition of the everyday – of the hegemony of capitalist production and the social relations of everyday life. In a culture of use and use by, the readymade “inscribes the work of art within a network of signs and pre-existing material.”19 Theses assemblages enable us to ask the question, what makes aesthetic judgement possible. They offer an alternative form of resistance to the imposition of linear repetition, through a form of mental and visual play. The moment of the representation encloses a transition (something transitory, something which ‘traverses’)20 – through a plethora of creative, emotive and imaginative practices – from something stable to un/stable.

This transition is a flash, a boundary where this becomes that, not then, not that – falling in love, jumping of a bridge. Alive : dead; presence : absence; purpose : play; mastery : exhaustion; logos : silence; worldly : transcendent. Not this, not that. It is an impossible presence, present – a moment of unalienated production that we know exists but we cannot define it, place it. How can we know love? We can speak of it in a before and after sense but it is always a past moment that we recognise.

It is the same with the readymade. The inscriptions on the early readymades (such as the bottle dryer and urinal) detailing authorship, dates, times, places can be seen as an attempt to ‘fix’ an individual artwork in the flow of time, to distinguish it from its unacknowledged neighbour – like “fixing” a photograph. It is telling that when the bottle rack was lost and remade in the 1960s the text that was originally on the lower metal ring was lost with the object itself.21 The text sought to fix these transitory moments of absence : presence.

Søren Kierkegaard calls this transition a “leap,” where a human being chooses an ethical life-view, one that resides in the actual and not in an ironic-aesthetic attitude.

“It is important to see that choice, as the characteristic of the ethical lifeview, forms a radical break with the ironic spiral of the aesthetic attitude. Kierkegaard sometimes calls the ethical choice a “leap,” a term that expresses the fundamental uncertainty of each commitment to actuality: contrary to aesthetic fantasy, which is “safely” self-contained, the outcome of the individual’s ethical choice is dependent on actuality and therefore not fully under the individual’s control. This is a decisive difference between aesthetic irony (including meta-irony) and the ethical leap: instead of merely rejecting all actuality, the latter takes responsibility for a certain actuality and tries to reshape it.”22

And tries to reshape it. Thus we can say that readymades are human beings taking responsibility for their actuality by choosing to name an object as art, creating objects that challenge aesthetic value judgements and an ironic-aesthetic lifeview through their very presence, by their very selfness. Remembering (ah memory!), that it is always a past moment that we recognise. The familiar is not necessarily the known – it has to be named.

Dr Marcus Bunyan

 

Endnotes

  1. Duchamp, Marcel. “Talking about Readymades,” Interview by Phillipe Collin, June 21, 1967, quoted in Girst, Thomas. “Duchamp for Everyone,” in The Indefinite Duchamp. Germany: Hatje Cantz, 2013, p. 55 quoted in Day, Charlotte. “Introduction,” in Reinventing the Wheel: The Readymade Century. Melbourne: Monash University Museum of Art (MUMA), 2013, p. 85
  2. Butler, Rex. “Two Snapshots of the Readymade Today,” in Reinventing the Wheel: The Readymade Century. Melbourne: Monash University Museum of Art (MUMA), 2013, p. 98
  3. Duve, Thierry de. “Readymade,” in Reinventing the Wheel: The Readymade Century. Melbourne: Monash University Museum of Art (MUMA), 2013, p. 92
  4. Ibid.,
  5. Ibid.,
  6. Butler, op. cit.,
  7. Danto, Arthur C. “Criticism, advocacy, and the end-of-art condition: a working paper,” on Artnet website [Online] Cited 01/12/2013. www.artnet.com/magazine_pre2000/features/danto/danto97-3-6.asp
  8. Duve, op. cit. p. 91
  9. “Still, appropriationism, which defines the end-of-art condition, is pretty much the defining principle of our moment, putting, as it does, everything and every combination of things at the service of art, even including bad drawing and bad painting, since these, being designated, tell us only what kind of point the artist who appropriates them intends, not what kind of artist she or he is.”
    Danto op. cit.,
  10. Duchamp, Marcel. Definition of the readymade in the Dictionnaire abrégé du Surréalisme quoted in Duve, op. cit. p. 92
  11. Wilson, Elizabeth. “The Invisible Flaneur,” in Watson, Sophie and Gibson, Katherine (eds.,). Postmodern Cities and Spaces. Cambridge, Mass: Blackwell, 1995, p. 75
  12. Butler, Judith. Bodies That Matter. New York: Routledge, 1993, p. 1-2
  13. See Bachelard, Gaston. The Poetics of Space. Boston: Beacon Press, 1958 (1994)
  14. Trebitsch, M. “Preface,” in Lefebvre, Henri. Critique of everyday life Vol. I. London: Verso, 1991, pp.ix-xxviii quoted in Butler, Chris. Law and the Social Production of Space. August 2003, p.60 [Online] Cited 01/12/2013. No longer available online
  15. Harvey, D. “Afterword,” in Lefebvre, Henri. The production of space. Blackwell, Oxford, 1991, see note 1, at p. 429 quoted in Butler, Chris. Ibid., p. 60
  16. Shields, Rob. Lefebvre, love and struggle: spatial dialectics. London: Routledge, 1999, see note 4, at p. 61 quoted in Butler, Chris. Ibid., p. 61
  17. Shields, Rob. Lefebvre, love and struggle: spatial dialectics. London: Routledge, 1999, see note 4, at p. 70 quoted in Butler, Chris. Ibid., p. 61
  18. Shields, Rob. Lefebvre, love and struggle: spatial dialectics. London: Routledge, 1999, p. 99 [Online] Cited 01/12/2013. Google Books website.
  19. Sharkey, Patrice. “When Everything is already a Readymade,” in Reinventing the Wheel: The Readymade Century. Melbourne: Monash University Museum of Art (MUMA), 2013, p. 107
  20. Lefebvre, Henri. The production of space. Blackwell, Oxford, 1991, p. 213 quoted in Shields, Rob op. cit., p. 99
  21. Duve, op. cit. p. 91
  22. Dulk, Allard Den. “Beyond Endless “Aesthetic” Irony: A Comparison of the Irony Critique of Søren Kierkegaard and David Foster Wallace’s Infinite Jest,” in Studies in the Novel Vol. 44, No. 3. University of North Texas: Fall 2012, pp. 325-345

 

 

Man Ray. 'Cadeau (Gift)' 1921 reconstructed 1970 (installation view)

 

Man Ray (American, 1890-1976)
Cadeau (Gift) (installation view)
1921 reconstructed 1970
Iron with brass tacks and wooden base
Overall: 19.0 x 14.9 x 14.9cm; iron & base: 17.9 x 14.9 x 14.9cm; glass cover: 19.0cm (h.)
Collection: National Gallery of Australia, Canberra
Photo: Marcus Bunyan

 

Marcel Duchamp. 'Bicycle wheel' 1913 and 'Bottle dryer' 1914 (installation view)

 

Marcel Duchamp (French-American, 1887-1968)
Bicycle wheel
1913 reconstructed 1964
Painted wooden stool and bicycle wheel
Stool: 50.4cm (h.); wheel: 64.8cm (diam.); overall: 126.5cm (h.)
Collection: National Gallery of Australia, Canberra

Marcel Duchamp (French-American, 1887-1968)
Bottle dryer
1914 reconstructed 1964
Galvanised iron bottle dryer
65.0 x 44.0 x 43.0cm (overall); base: 37.5cm (diam.)
Collection: National Gallery of Australia, Canberra

Martin Creed (British, b. 1968)
Work no. 88 A sheet of A4 paper crumpled into a ball
1995
A4 paper, ed. 625/Unlimited
Approx. 2 in / 5.1cm diameter
Courtesy of the artist and Hauser & Wirth, London

Aleks Danko (Australian, b. 1950)
Art stuffing
1970
Synthetic polymer paint on paper-stuffed hessian bag
75.0 x 58.0 x 30.0cm
Collection: Art Gallery of New South Wales – John Kaldor Family Collection
Photo: Marcus Bunyan

 

Barry Humphries. 'Battle of the plate' 1958 (installation view)

 

Barry Humphries (Australian, b. 1934)
Battle of the plate (installation view)
1958
Welded steel forks
28.5 x 87.0 x 26.5cm
Heide Museum of Modern Art, Melbourne
Bequest of Barrett Reid 2000
Photo: © Joyce Evans

 

Haim Steinbach. 'Untitled (graters, Victorian iron banks)' 1990 (installation view)

Haim Steinbach. 'Untitled (graters, Victorian iron banks)' 1990 (installation view detail)

Haim Steinbach. 'Untitled (graters, Victorian iron banks)' 1990 (installation view detail)

 

Haim Steinbach (Israeli-American, b. 1944)
Untitled (graters, Victorian iron banks) (installation view details)
1990
Aluminium laminated wood shelf with glass display case and objects
150.0 x 150.0 x 62.0cm (overall installed)
Collection: Art Gallery of New South Wales
Photos: Marcus Bunyan

 

Tony Cragg. 'Spyrogyra' 1992 (installation view)

Tony Cragg. 'Spyrogyra' 1992 (installation view)

 

Tony Cragg (British, b. 1949)
Spyrogyra (installation views)
1992
Glass and steel
220.0 x 210.0cm
Collection: Art Gallery of New South Wales
Photo: Marcus Bunyan

 

Tony Cragg. 'Spyrogyra' 1992 (installation view detail)

 

Tony Cragg (British, b. 1949)
Spyrogyra (installation detail)
1992
Glass and steel
220.0 x 210.0 cm
Collection: Art Gallery of New South Wales
Photo: Marcus Bunyan

 

 

Arguably the most influential artistic development of the twentieth century, the readymade was set in motion one hundred years ago when Marcel Duchamp mounted an upturned bicycle wheel on a stool. Duchamp’s conversion of unadorned, everyday objects into fine art completely inverted how artistic practice was considered. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art and the ripples from this epochal shift still resonate today.

Reinventing the Wheel: the Readymade Century pays tribute to Duchamp’s innovation, including two key examples of his work: Bicycle wheel 1913 and Bottle dryer 1914. Other important historical works that MUMA has borrowed for the exhibition reveal the readymade’s presence in Minimalism and Conceptual art as well as its echoes in Pop art. The exhibition traces some of the ways the readymade has been reinterpreted by subsequent artists in acts of homage to Duchamp or further expanding the possibilities the readymade has unfurled.

Among the various trajectories of the readymade, Reinventing the Wheel traces its elaborations in neo-dada practices, with a particular focus on everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value. These discursive contexts also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-Fordism and other concerns, particularly among contemporary Australian artists. Bringing together works by over forty artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.

“This is the most ambitious exhibition that MUMA has yet presented, including works that establish the historical moment of the readymade in Europe and its reception in the USA and in Australia. Most exciting is the opportunity for living artists to see their work as part of this ongoing history,” said Charlotte Day, Director of MUMA.

Press release from the MUMA website

 

Joseph Kosuth. 'One and three tables' 1965 (installation view)

 

Joseph Kosuth (American, b. 1945)
One and three tables (installation view)
1965
Wooden table, gelatin silver photograph, and photostat mounted on foamcore
Installation dimensions variable
Collection: Art Gallery of New South Wales
Photo: Marcus Bunyan

 

Julian Dashper (New Zealand, b. 1960) 'Untitled (The Warriors)' 1998 (installation view)

 

Julian Dashper (New Zealand, b. 1960)
Untitled (The Warriors) (installation view)
1998
Vinyl on drumheads, drum kit
Dimensions variable
Courtesy of the Julian Dashper Estate and Michael Lett Auckland
Photo: Marcus Bunyan

 

Masato Takasaka. 'Smile! Bauhaus babushka sundae boogie woogie (model for a prog rock SCULPTURE PARK)' (detail) 1999-2007/2013 (installation view detail)

 

Masato Takasaka
Smile! Bauhaus babushka sundae boogie woogie (model for a prog rock SCULPTURE PARK) (installation view detail)
1999-2007/2013
MDF, vinyl, marker on foamcore, soft drink cans, acrylic, paper notepad from Bauhaus Museum giftshop, plastic wrapper, cardboard, polycarbonate sheeting, marker on paper, Metallica babushka dolls, toy guitar, sundae keyring
Dimensions variable
Courtesy of the artist and Studio Masatotectures, Melbourne
Photo: Marcus Bunyan

 

Jeff Koons. 'Balloon dog (Red)' 1995 designed (installation view)

 

Jeff Koons (American, b. 1955)
Balloon dog (Red) (installation view)
1995 designed
Porcelain, ed. 1113/2300
11.3 x 26.3cm diameter
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

Lou Hubbard. 'Stretch' 2007 (installation view)

 

Lou Hubbard (Australian, b. 1957)
Stretch (installation view)
2007
Two ‘Studio K’ Planet lamps, fluorescent lights, MDF, acrylic paint and Perspex
108.3 x 251.8 x 29.0cm
Courtesy of the artist and Sarah Scout, Melbourne
Photo: Marcus Bunyan

 

Andrew Liversidge. 'IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE' 2009 (installation view)

 

Andrew Liversidge (Australian, b. 1979)
IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE (installation view)
2009
10,000 $1 coins (AUD)
30.0 x 30.0 x 30.0cm
Courtesy of the artist and The Commercial Gallery, Sydney
Photo: Marcus Bunyan

 

Andrew Liversidge (Australian, b. 1979) 'IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE' 2009 (installation view)

 

Andrew Liversidge (Australian, b. 1979)
IN MY MIND I KNOW WHAT I THINK BUT THAT’S ONLY BASED ON MY EXPERIENCE (installation view)
2009
10,000 $1 coins (AUD)
30.0 x 30.0 x 30.0 cm
Courtesy of the artist and The Commercial Gallery, Sydney
Photo: Joyce Evans

 

Callum Morton. 'Mayor' 2013 (installation view)

 

Callum Morton (Australian, born Canada 1965)
Mayor (installation view)
2013
Polyurethane resin, wood, fibreglass, synthetic polymer paint
290.0 x 200.0 x 26.0cm
City of Melbourne Art and Heritage Collection
Photo: Marcus Bunyan

 

Claire Fontaine. 'La société du spectacle brickbat' 2006 (installation view)

 

Claire Fontaine (Italian, b. 1975)
La société du spectacle brickbat (installation view)
2006
Bricks and brick fragments, laser impression
178.0 x 108.0 x 58.0cm
Courtesy of the artist and Metro Pictures, New York
Photo: Marcus Bunyan

 

 

Word History

The earliest sense of brickbat, first recorded in 1563, was “a piece of brick.” Such pieces of brick have not infrequently been thrown at others in the hope of injuring them; hence, the figurative brickbats (first recorded in 1929) that critics hurl at performances they dislike. The appearance of bat as the second part of this compound is explained by the fact that the word bat, “war club, cudgel,” developed in Middle English the sense “chunk, clod, wad,” and in the 16th century came to be used specifically for a piece of brick that was unbroken on one end.

  1. A piece of brick or similar material, esp one used as a weapon
  2. Blunt criticism the critic threw several brickbats at the singer

 

 

Monash University Museum of Art (MUMA)
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28
Nov
13

Exhibition: ‘Melbourne Now’ at the National Gallery of Victoria, Melbourne, Part 2

Exhibition dates: 22nd November – 23rd March 2014

 

Stephen Benwell. 'Statue' 2012 (installation view)

 

Stephen Benwell (Australian, b. 1953)
Statue (installation view)
2012
Photo: Marcus Bunyan

 

 

Throughout his career a major preoccupation of Benwell’s work has been the depiction of the male figure. In 2006 he commenced a series of figurative sculptural works that explore issues relating to masculinity, naked beauty and sensuality. These works, initially inspired by eighteenth century figurines and Greco-Roman statuary, have become a significant aspect of Benwell’s recent practice. The artist contributes a group of these evocative male figures for Melbourne Now.

 

 

This is the second 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 NGV Australia at Federation Square. The first part of the posting featured work from NGV International venue in St Kilda Road. Melbourne Now celebrates the latest art, architecture, design, performance and cultural practice to reflect the complex cultural landscape of creative Melbourne.

Dr Marcus Bunyan

.
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.

 

 

“Melbourne is a microcosm of the global art world. This is evident not only in its possession of world-class infrastructure, but also in the multitude of tendencies, styles and modes of practice that circulate in its midst. I doubt that there is an underlying formal unity, or even a hierarchy of movements, that holds together and directs the global art world. This then begs the question: does the teeming multitude of art forms in Melbourne suggest that the local scene is an isomorph [a substance or organism that exactly corresponds in form with another] of global chaos, or a unique fragment that coexists with other entities?

The answer is paradoxical. It is our haunted and resistant sense of place that allows for both a form of belonging that is forever seeking to be elsewhere, and a unique aesthetic that anticipates the many returns of a repressed past.”

.
Nikos Papastergiadis. “As Melbourne in the world.” 2013

 

“What the show delivers in spades is a sense of the city as a place of immense creativity and subtle exploration. While non-Melburnians might be tempted to see this as an especially large example of the city’s enduring fascination with itself, when the theme is the city, the inclusion of architecture and design makes sense.

And the result is anything but narcissistic; a turn round the exhibition reveals that although Melbourne features strongly in some works, it is also curiously incidental; at the heart of the show is an examination of urban and suburban, and what it feels like to live in a rapidly changing world where old certainties no longer apply.”

.
Anonymous. “Melbourne Now: this exhibition changes the city’s arts landscape,” on The Guardian Australia Culture Blog, Thurs 28 November 2013 [Online] Cited 25/11/2013

 

 

Polixeni Papaetrou born Australia 1960 'Ocean Man' 2013

 

Polixeni Papaetrou (Australia, 1960-2018)
Ocean Man
2013
From the series The Ghillies 2013
Pigment print
120.0 x 120.0cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
© Polixeni Papapetrou/Administered by VISCOPY, Sydney
Photo: © National Gallery of Victoria

 

 

Papapetrou’s contribution to Melbourne Now comprises three photographs from her 2013 series The Ghillies. Working with her children as models and using the extreme camouflage costumes that are employed by the military, Papapetrou reflects on the passing of childhood and the moment when children separate themselves from their mothers. Young men often assume the costumes and identities of masculine stereotypes, hiding themselves, and their true identity, from plain sight in the process.

 

Michelle Hamer. 'Can't' 2013

 

Michelle Hamer (Australia, b. 1975)
Can’t
2013
Wool, plastic
52.0 x 67.0cm
Collection of the artist
© Michelle Hamer, courtesy Fehily Contemporary, Melbourne
Photo: © National Gallery of Victoria

 

 

Hamer’s contribution to Melbourne Now pairs works referencing local signage, Blame and punish the individual, 2013, and Can’t, 2013, with three earlier tapestries from her American series I Send Mixed Messages, 2013. While the contrasting palettes and particular nuances of typography, built architecture and native vegetation point to specific times and places, when amplified and dislocated Hamer’s chosen texts suggest a more universal narrative of perplexity and turmoil. The artist describes these powerful distillations as ‘revealing the small in-between moments that characterise everyday life’.

 

Patricia Piccinini. 'The carrier' 2012 (installation view detail)

 

Patricia Piccinini (born Sierra Leone 1965, lived in Italy 1968-72, arrived Australia 1972)
The carrier (installation view detail)
2012
Silicone, fibreglass, human and animal hair, clothing
170.0 x 115.0 x 75.0cm
Collection of Corbett Lyon and Yueji Lyon, Lyon Housemuseum, Melbourne, proposed gift
© Patricia Piccinini, courtesy Tolarno Galleries, Melbourne
Supported by Corbett and Yueji Lyon
Photo: Marcus Bunyan

 

 

Piccinini’s work for Melbourne Now is The carrier, 2012, a hyper-real sculpture of a bear-like figure holding an elderly woman. With his massive, hirsute and muscular physique, the creature is almost human; there is warmth and intimacy between the mismatched couple. The figures’ relationship is ambiguous. Are they mistress and servant, or simply unlikely friends, embarked on a journey together? It is nice to believe the latter, but hard to forget that humans rarely treat other animals equitably. The carrier investigates what we want from our creations, and wonders about unexpected emotional connections that might arise between us and them.

 

Georgia Metaxas. 'Untitled 28' 2011

 

Georgia Metaxas (Australia, b. 1974)
Untitled 28
2011
From The Mourners series 2011
Type C photograph
60.0 x 50.0 x 7.0cm
Collection of the artist
© Georgia Metaxas, courtesy of Fehily Contemporary, Melbourne
Photo: © National Gallery of Victoria

 

 

Metaxas’s contribution to Melbourne Now comprises five photographs from The Mourners series, 2011, which was first exhibited at the Centre for Contemporary Photography, Melbourne, in 2011. These stately portraits show women who have adopted the traditional practice of wearing black, symbolising perpetual mourning, following the death of their husbands. Photographed against plain black backdrops, dressed in their widows’ weeds, these women form an austere and mournful frieze.

 

Stuart Ringholt. 'Nudes' 2013

 

Stuart Ringholt (Australia, b. 1971)
Nudes
2013
Collage (1-52)
29.0 x 30.0cm (each)
Collection of the artist
© Stuart Ringholt, courtesy Milani Gallery, Brisbane
Photo: © National Gallery of Victoria

 

 

Expanding the artist’s greater naturist project, Nudes, 2013, is a series of collages featuring images of twentieth-century modernist art objects and nudes taken from soft porn references. In these works, Ringholt complicates the original function of the images as the spectator considers the relationship between the nude and the work of art. Interested in how images can be transformed by simple interventions, Ringholt opens possibilities for new narratives to emerge between the nude, the object and the audience.

 

Richard Lewer. 'Northside Boxing Gym' 2013 (installation view detail)

Richard Lewer. 'Northside Boxing Gym' 2013 (installation view detail)

 

Richard Lewer (born New Zealand 1970, arrived Australia 2000)
Northside Boxing Gym (installation view details)
2013
Charcoal on existing wall, boxing bag, 5.1 sound system
550.0 x 480.0 x 480.0cm (installation)
Collection of the artist
© Richard Lewer, courtesy Hugo Michell Gallery, Adelaide
Photos: Marcus Bunyan

 

 

Since challenging fellow artist Luke Sinclair to a boxing match at Melbourne’s Northside Boxing Gym in 2001 (as a performance), Lewer has remained interested in the site, training there regularly and making art about it. For Melbourne Now Lewer presents an immersive recreation of the gymnasium, featuring a large-scale charcoal wall-drawing accompanied by mirrors, sound and a sweaty boxing bag.

 

Hotham Street Ladies. 'At home with the Hotham Street Ladies' 2013 (installation view)

 

Hotham Street Ladies (Australia, est. 2007)
At home with the Hotham Street Ladies (installation view)
2013
Royal and buttercream icing, modelling paste, confectionary, furniture, plinths, pot plants, colour DVD, television, light fittings, heater, icing, video, chandelier, lampshade, fireplace, furniture, television, crockery, cutlery, glassware, fabric dimensions variable (installation)
NGV commission Supported by Melbourne Now Champions the Dewhurst Family
Photo: © National Gallery of Victoria

 

 

The collective’s members are Cassandra Chilton, Molly O’Shaughnessy, Sarah Parkes, Caroline Price and Lyndal Walker. Their practice embraces themes of home life, feminism and craft and explores how collaborative participation in, and contemporising of, these activities creates a distinct cultural community. Their work’s innovative combination of humour and contemporary critique with nostalgic or familiar elements makes it appealing to a wide audience. Often thought of in terms of dysfunction, the share house in their hands becomes a site of creativity, cooperation and overindulgence.

Food is a constant presence in HSL’s work, from recipe swap meets, street art and public art commissions to controversial cake entries in the Royal Melbourne Show. For Melbourne Now the group take baking and icing to a whole new level. Their installation At home with the Hotham Street Ladies, 2013, transforms the foyer of The Ian Potter Centre: NGV Australia into an icing-bombed domestic wonderland. Their commission for kids invites children and families to photograph themselves within one of the scenes from HSL’s icing- and lolly encrusted share house.

 

Lucy Irvine. 'Before the after' 2013 (installation view)

 

Lucy Irvine (Australian, born Scotland 1980)
Before the after (installation view)
2013
Photo: Marcus Bunyan

 

 

For Melbourne Now Irvine has constructed a large site-specific work at The Ian Potter Centre: NGV Australia, Before the after, 2013, which establishes a dialogue with the gallery building, its architecture and the temporality of the exhibition. Spilling out across the floor, the serpentine form is an interruption of the order of things, a writhing obsidian mass that clings to the interior of the building. At the same time the work is a nuanced meditation on the nature of surfaces and skin. Irvine’s iterative practice argues for value in the gestural, and proposes the act of making as a form of knowledge.

 

Paul Knight 'Untitled' 2012

 

Paul Knight (Australian, b. 1976)
Untitled
2012
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

Paul Knight 'Untitled' 2012

 

Paul Knight (Australian, b. 1976)
Untitled
2012
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

 

Knight’s recent folded photographic works extend his interest in notions of authorship, photographic agency, the relationships between observer and observed, and ideas of intimacy and love. Each scene captures a couple lying together, bodies entwined, in bed – the artist privy to an intense, personal scene of absorption. There is an evident trust between Knight and his subjects, who sleep gently, seemingly unaware of, or perhaps complicit in, his presence. The illusion is ruptured by the folding of the photographic print, which has the effect of sometimes forcing the couples closer together, other times slicing them apart. The fold intensifies the sense of intimacy and draws attention to the physical state of the photograph.

 

Installation view of the series 'Milk Bars of Melbourne', 2010-13 by David Wadelton at the exhibition 'Melbourne Now'

 

Installation view of the series Milk Bars of Melbourne, 2010-13 by David Wadelton at the exhibition Melbourne Now
Photo: © David Wadelton

 

David Wadelton. 'Milk Bar, Jenkens Avenue Frankston North' 2012

 

David Wadelton (Australian, b. 1955)
Milk Bar, Jenkens Avenue Frankston North
2012
From the series Milk Bars of Melbourne, 2010-13
Photo: © David Wadelton

 

David Wadelton. 'Milk Bar, Napier Street, Essendon' 2012

 

David Wadelton (Australian, b. 1955)
Milk Bar, Napier Street, Essendon
2012
From the series Milk Bars of Melbourne, 2010-13
Photo: © David Wadelton

 

 

For Melbourne Now, Wadelton contributes a series of recent photographs of suburban milk bars selected from his vast personal cache. Whereas these shots of corner-store facades – windows jammed with ice-cream, soft drink and newspaper logos, hand-painted typography and scrawled graffiti – echo the Pop paintings that made his name, insofar as they combine ready-made commercial symbols on the same flat, pictorial plane, the photographs’ grey-scale palette and documentary presentation differ from the futuristic aesthetic of Wadelton’s canvases. While the paintings delight in global commercial imagery, Milk Bars of Melbourne, 2010-13, shows a local culture in terminal decline.

 

Penny Byrne 'iProtest' 2012-13 (installation view details)

Penny Byrne. 'iProtest' 2012-13 (installation view details)

 

Penny Byrne (Australian, b. 1965)
iProtest (installation view details)
2012-13
Photos: Marcus Bunyan

 

 

While at first iProtest, 2012-13, resembles a display of endearing souvenir-style figurines hanging on a wall, its potency is revealed on closer inspection. Each figurine is personalised with details relating to one of the many conflicts driven by mass protests around the world. Nationalism is referenced by faces painted with flags; acts of violence leave bodies dismembered and bloodied; and the cutest figurines are in fact riot police, wielding guns and dressed as clowns. The omnipresent symbol of Facebook is also ingeniously added to the work. Byrne’s crowd of modified figurines explores the way social media has become a significant tool for coordinating protests around the world.

 

Julia deVille. 'Degustation' 2013 (installation view detail)

Julia deVille. 'Degustation' 2013 (installation view detail)

Julia deVille. 'Degustation' 2013 (installation view detail)

 

Julia deVille (Australian, b. 1982)
Degustation (installation view details)
2013
Photos: Marcus Bunyan

 

 

Informed by a fascination with death, memento mori and Victorian jewellery design, deVille’s work relies on traditional techniques and involves a broad range of animals, precious and semiprecious metals and gems. The artist is a vegan and passionate advocate for the fair and just treatment of animals, and only uses animals that have died of natural causes in her work. By examining death in this distinctive way, deVille urges us to consider our own mortality and the beauty of death and remembrance. For Melbourne Now she has created an installation titled Degustation, 2013, which evokes an ornate Victorian-style dining room, filled with her sculptural pieces and works from the NGV collection.

 

Mira Gojak. 'Transfer station 2' 2011 (installation view)

 

Mira Gojak (Australian, b. 1963)
Transfer station 2 (foreground) (installation view)
2011
Photo: Marcus Bunyan

 

 

With Transfer station 2, 2011, Gojak creates a sculptural work of unfurling, freewheeling loops, shaky erratic lines and clusters of blossoming tangles that appears like a drawing suspended in space. A high-keyed palette of cobalt blues, soft pinks and fluorescent yellows activates heavier blackened thickets that punctuate perspectives of uninterrupted space. Suspended from the ceiling by a single line, Gojak’s sculpture is a not-quite-settled upon Venn diagram. Its openness is held still in a moment, together with all the scribbled-out mistakes, digressions and exclusions, stalling or directing the movement and exchange circulating around the forms.

 

Daniel von Sturmer. 'Paradise park' 2013 (detail) with Elizabeth Gower's '150 rotations' 2013 (detail) on the wall behind (left)

 

Installation view of Daniel von Sturmer’s Paradise park 2013 (detail, foreground) with Elizabeth Gower’s 150 rotations 2013 on the wall behind (detail, left)
Photo: Marcus Bunyan

 

 

The first version of 150 rotations was displayed recently in an exhibition, curated by Gower, that explored the appropriation and use of urban detritus as a visual art strategy by a variety of Melbourne artists. Further developed for Melbourne Now, Gower’s contribution now comprises 150 circular components, each made up of tea-bag tags, price tags and elements cut from junk mail catalogues, which colonise the wall like a galaxy of vibrant constellations. Akin to the light from long-dead stars, the familiar ephemera, which is usually thrown out, recycled or composted, now serves a new purpose and takes on a mesmeric, formal beauty.

 

Daniel von Sturmer 'Paradise park' 2013 (installation view)

Daniel von Sturmer 'Paradise park' 2013 (installation view)

Daniel von Sturmer, 'Paradise park' 2013 (detail)

 

Daniel von Sturmer (Australian, b. 1972)
Paradise park (installation views)
2013
Photos: Marcus Bunyan

 

 

Von Sturmer’s Melbourne Now commission for kids, Paradox park, 2013, creates a space for enquiry and interaction with art, conceived with a child’s innate sense of curiosity and wonder. Paradox park comprises a large tilted plane with small circular apertures through which a child (or adventurous adult) can push their head in order to view small projections of animated objects atop and below the surface. By placing the viewer’s point of reference inside the work, von Sturmer posits experience itself as a creative act – a unique interplay between viewer and viewed.

 

Melbourne Design Now. Simone LeAmon (curator, exhibition designer) (Australia, b. 1971) Edmund Carter (exhibition designer) (Australia, b. 1983) 'Design in everyday life' 2013 (installation view)

 

Melbourne Design Now
Simone LeAmon (curator, exhibition designer) (Australia, b. 1971)
Edmund Carter (exhibition designer) (Australia, b. 1983)
Design in everyday life (installation view)
2013
Supported by The Hugh D. T Williamson Foundation
Photo: Marcus Bunyan

 

 

Melbourne Design Now is the first design exhibition of its kind to be shown at the National Gallery of Victoria. A presentation of localised creative intelligence in the fields of industrial, product, furniture and object design, this project comprises more than ninety design projects from forty designers, design studios and companies. Melbourne Design Now celebrates design’s relationship to everyday life and how contemporary designers are embedding unique and serial design production with ideas, meaning and emotion to resonate with the city of Melbourne.

The breadth of design projects in this ‘exhibition within the exhibition’ intends to communicate to the public that the work of Melbourne designers is influencing discourses, future scenarios and markets both at home and around the world. Ranging from cinema cameras by Blackmagic Design to the Bolwell EDGE caravan, eco-design education tools by Leyla Acaroglu to Monash Vision Group’s direct-to-brain bionic eye, and furniture made with ancient Australian timber by Damien Wright to biodegradable lampshades by LAB DE STU, these design projects consolidate Melbourne as one of the great design cities in the world today.

 

Melbourne Design Now Gregory Bonasera 'Palace table' 'Derby pendant light' 2013 Kate Rohde 'Ornament is Crime vessels' 2013 (installation view)

Melbourne Design Now Gregory Bonasera 'Palace table' 'Derby pendant light' 2013 Kate Rohde 'Ornament is Crime vessels' 2013 (installation view)

 

Melbourne Design Now
Gregory Bonasera
Palace table
Derby pendant light
2013
Kate Rohde
Ornament is Crime vessels
2013
Photos: Marcus Bunyan

 

 

Gregory Bonasera is a ceramicist with an in depth understanding of the processes utilised in the production of ceramics; a methodical thinker who works more like an industrial designer than a potter to realise his creations and to advise and collaborate with other designers on their projects. Consistently adding new works to his range of innovative functional and sculptural ceramic wares, Gregory casts his creations in fine porcelain and bone china employing a hybrid of state of the art CAD technology with traditional 270 year old ceramic production methods. His works are strongly influenced by natural forms, science, biology, botany and geometry.

Kate Rohde’s jewellery and vessels are created in resin, a signature material that features extensively in her visual art practice. These pieces take a playful, decorative approach, often incorporating elements typical of Baroque and Rococo style, drawing particularly on the decorative arts and interior design of this era. The highly ornate nature reveals, on closer inspection, that much of the patterning is drawn from flora and fauna sources. The combination of the two intersecting interests creates a psychedelic supernature.

Text from the Pieces of Eight Gallery website [Online] Cited 25/11/2013

 

Installation view of Jess Johnson Various titles 2013 (installation view)

Installation view of Jess Johnson Various titles 2013 (installation view)

 

Installation views of Jess Johnson Various titles 2013
Photos: Marcus Bunyan

 

 

Johnson creates fantastic worlds in images that combine densely layered patterns, objects and figures within architectural settings. Cryptic words and phrases are part of her unique and idiosyncratic iconography. The artist’s drawing and installation practice is inspired by science fiction, mythological cosmology and comic books, and reflects a diverse interest in art, ranging from illuminated manuscripts to folk art traditions such as quilt making. Her contribution to Melbourne Now includes ten new drawings that depict the imagined formation of a future civilisation. These are displayed within a constructed environment featuring a raised podium, painted walls and patterned floor which, together with the drawings, offers an immersive experience.

 

'Sampling the City: Architecture in Melbourne Now' (installation view)

'Sampling the City: Architecture in Melbourne Now' (installation view)

'Sampling the City: Architecture in Melbourne Now' (installation view)

 

Installation views of Sampling the City: Architecture in Melbourne Now
Photos: Marcus Bunyan

 

 

Sampling the City: Architecture in Melbourne Now reveals the complex web of personalities, factions and trajectories that make up Melbourne’s vibrant contemporary architectural culture. This project asks: What are the ideas and themes that inform Melbourne’s design culture? Who are its agitators and protagonists? How are emerging architects driving new ways of thinking? The project is in four parts:

  • A ‘super graphic’ introduction sampling Melbourne’s contemporary architectural culture
  • A projection space with architectural imagery curated to five themes: representation and the city; craftsmanship and materiality; art-engaged practice; stitching the city; and bio-futures/advanced architecture
  • An incubator/studio environment providing insight into the processes of six leading Melbourne architects: Cassandra Fahey, Make Architecture, March Studio, Muir Mendes, Studio Bird and Studio Roland Snooks
  • An intimate screening room with a video artwork by Matthew Sleeth

Sampling the City is curated by Fleur Watson, with exhibition design by Amy Muir and Stuart Geddes, projection and soundscape design by Keith Deverall, introductory narrative by Watson and Michael Spooner and built environment imagery by Peter Bennetts.

 

un Magazine. 'un Retrospective' 2013 (installation view)

 

un Magazine
un Retrospective (installation view)
2013
Photo: Marcus Bunyan

 

 

For Melbourne Now, un Magazine presents un Retrospective – a selective history of artists, writers and art practice in Melbourne since 2004, as featured in the back catalogue of the magazine. Taking inspiration and content from past issues, un Retrospective assembles recent local works of art alongside correlating text – whether original essay, review or interview – from the pages of un Magazine, highlighting the relationships between criticism and practice, writers and artists, that have been fostered in the publication. un Retrospective celebrates ten years of un Magazine and contemporary art in Melbourne while providing a point of historical context within the newness of Melbourne Now.

 

Slave Pianos 'Gamelan sisters' 2013 (installation view)

 

Slave Pianos
Gamelan sisters (installation view)
2013
Photo: Marcus Bunyan

 

 

Slave Pianos – a collaboration between artists, composers and musicians Rohan Drape, Neil Kelly, Danius Kesminas, Michael Stevenson and Dave Nelson – make historically grounded, research-based installations and performances utilising humour, immediacy and the conflation of ‘high’ and ‘low’ idioms to suggest connections and interrelations between the largely discrete fields of music, art and architecture.

For Melbourne Now Slave Pianos present Gamelan sisters, 2013, a self-governing electromechanical ‘slave’ gamelan, which allows audience members to select pieces from a repertoire of compositions arranged by Slave Pianos via a wall-mounted console alongside related scores. The Gamelan sisters instrument features in Slave Pianos’ space opera The Lepidopters, to be performed in Indonesia and Australia in 2014, which is based on a three part science fiction story set in Indonesia commissioned from American writer and art critic Mark von Schlegell. A comic depicting the first two parts of The Lepidopters, drawn by Yogyakarta-based artist ‘Iwank’ Erwan Hersi Susanto – a member, with Kesminas, of the Indonesian art-rock collective Punkasila – is also presented in the Melbourne Now Reading Room.

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

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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

 

Ross Coulter. '10,000 paper planes – aftermath (1)' 2011 (installation view)

 

Ross Coulter (Australian, b. 1972)
10,000 paper planes – aftermath (1) (installation view)
2011
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

 

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.

 

Keywords

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

 

The best

Daniel Crooks An embroidery of voids 2013 video.

 

Highlights

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

 

Honourable mentions

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

 

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.

 

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

 

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

Dr Marcus Bunyan

.
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.

 

 

“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.”

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

 

“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

 

 

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

Ross Coulter. '10,000 paper planes – aftermath (1)' 2011 (installation view)

 

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

 

 

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.

 

Laith McGregor. 'Pong ping paradise' 2011 (installation view)

 

Laith McGregor (Australian, b. 1977)
Pong ping paradise (installation view)
2011
Private collection, United States of America
Photo: Marcus Bunyan

 

 

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.

 

Rick Amor. 'Mobile call' 2012 (installation view)

 

Rick Amor (Australian, b. 1948)
Mobile call (installation view)
2012
Private collection, Melbourne
Photo: Marcus Bunyan

 

 

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.

 

Steaphan Paton. 'Cloaked combat' 2013 (installation view detail)

 

Steaphan Paton (Australian, Gunai and Monero Nations, b. 1985)
Cloaked combat (installation view detail)
2013
National Gallery of Victoria, Melbourne
Photo: Marcus Bunyan

 

 

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.

 

Zoom project team. 'Zoom' 2013 (installation view detail)

Zoom project team. 'Zoom' 2013 (installation view detail)

 

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 (installation view details)
2013
Photos: Marcus Bunyan

 

 

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.

 

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

 

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

 

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

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

 

Jon Campbell (Australian, born Northern Ireland 1961)
DUNNO (T. Towels) (installation view details)
2012
Photos: Marcus Bunyan

 

 

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.

 

Reko Rennie (Australian, Kamilaroi b. 1974) 'Initiation' 2013 (installation view)

 

Reko Rennie (Australian, Gamilaraay (Kamilaroi) b. 1974)
Initiation (installation view)
2013
Synthetic polymer paint on plywood (1-40)
300.0 x 520.0cm (overall)
Collection of the artist
© Reko Rennie, courtesy Karen Woodbury Gallery, Melbourne
Supported by Esther and David Frenkiel
Photo: Marcus Bunyan

 

 

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.

 

Installation view of Reko Rennie 'Initiation', 2013 (installation view)

 

Installation view of Reko Rennie Initiation, 2013
Photo: Marcus Bunyan

 

Janet Burchill and Jennifer McCamley 'The Belief' 2004-2013 (installation view)

 

Janet Burchill (Australian, b. 1955)
Jennifer McCamley (Australian, b. 1957)
The Belief (installation view)
2004-2013
Photo: Marcus Bunyan

 

 

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.”

 

Janet Burchill and Jennifer McCamley. 'The Belief' 2004-2013 (installation view detail)

 

Janet Burchill (Australian, b. 1955)
Jennifer McCamley (Australian, b. 1957)
The Belief (detail)
2004-2013
Photo: Marcus Bunyan

 

 

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

 

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

Destiny Deacon and Virginia Fraser 'Melbourne Noir' 2013 (installation view)

 

Destiny Deacon (Australian, K’ua K’ua and Erub/Mer peoples b. 1957)
Virginia Fraser (Australian)
Melbourne Noir (installation view 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
Photos: Marcus Bunyan

 

 

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.

 

Darren Sylvester. 'For you' 2013 (installation view detail)

Darren Sylvester. 'For you' 2013 (installation view detail)

Darren Sylvester. 'For you' 2013 (installation view detail)

Darren Sylvester. 'For you' 2013 (installation view detail)

 

Darren Sylvester (Australian, b. 1974)
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 1980.0cm
Supported by VicHealth; assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body
Photos: Marcus Bunyan

 

 

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’.

 

 

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

 

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

 

Alan Constable (Australian, b. 1956)
No title (teal SLR with flash)
2013
Earthenware
15.5 x 24.0 x 11.0cm
Collection of the artist
© Alan Constable, courtesy Arts Project Australia, Melbourne
Photo: © National Gallery of Victoria

 

 

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.

 

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

 

Linda Marrinon (Australian, b. 1959)
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
Photo: Marcus Bunyan

 

 

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.

 

Brook Andrew. 'Vox: Beyond Tasmania' 2013 (installation view)

 

Brook Andrew (Australian, b. 1970)
Vox: Beyond Tasmania (installation view)
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 271.0cm
Collection of the artist
© Brook Andrew, courtesy Tolarno Galleries, Melbourne
Photo: © National Gallery of Victoria

 

 

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.

 

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

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

 

Brook Andrew (Australian, b. 1970)
Vox: Beyond Tasmania (details)
2013
Photos: Marcus Bunyan

 

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

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

 

Daniel Crooks (New Zealand, b. 1973)
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

 

 

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.

 

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

 

Jan Senbergs (Australian, b. 1939)
Extended Melbourne labyrinth
2013
Oil stick, synthetic polymer paint wash (1-4)
158.0 x 120.0cm (each)
Collection of the artist
© Jan Senbergs, courtesy Niagara Galleries
Photo: Marcus Bunyan

 

 

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’.

 

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

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

 

Patrick Pound (Australian, b. 1962)
The gallery of air (installation view details)
2013
Photos: Marcus Bunyan

 

 

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.

 

Marco Fusinato. 'Aetheric plexus (Broken X)' 2013 (installation view)

 

Marco Fusinato (Australian, b. 1964)
Aetheric plexus (Broken X) (installation view)
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 230.0cm
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

 

 

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.

 

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

 

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

 

 

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.

 

Mark Hilton. 'dontworry' 2013 (installation view)

 

Mark Hilton (Australian, b. 1976)
dontworry (installation view)
2013
Cast resin, powder
The Michael Buxton Collection, Melbourne
© Mark Hilton, courtesy Darren Knight Gallery, Sydney
Photo: © National Gallery of Victoria

 

 

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.

 

Mark Hilton. 'dontworry' 2013 (installation view detail)

Mark Hilton. 'dontworry' 2013 (installation view detail)

 

Mark Hilton (Australian, b. 1976)
dontworry (installation view details)
2013
Cast resin, powder
The Michael Buxton Collection, Melbourne
© Mark Hilton, courtesy Darren Knight Gallery, Sydney
Photos: Marcus Bunyan

 

 

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16
Jul
13

Review: ‘Anne Ferran: Box of Birds’ at Stills Gallery, Sydney

Exhibition dates: 26th June – 27th July 2013

 

Anne Ferran. 'Agitated thrush' 2013

 

Anne Ferran (Australian, b. 1949)
Agitated thrush
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

 

tar·ant·ism [tar-uhn-tiz-uhm]
noun
a mania characterised by an uncontrollable impulse to dance, especially as prevalent in southern Italy from the 15th to the 17th century, popularly attributed to the bite of the tarantula.

 

I have never been a great fan of Anne Ferran’s exhumations. Her digging into the ground of history and restoring, reviving (after neglect or a period of forgetting) traces of life and bringing them into light (through photography) – bringing them back to light – has resulted in images that are paradoxically pretty, lifeless. For example, photographs of patches of grass in Lost to Worlds (2008) are given great import as contemporary evidence of the site of a female convict prison, near the small village of Ross, Tasmania as Ferran, “continues to play with the invisibility of this specific history, using large-scale photographs to show what little remains today, and to collectively reflect on the difficulty of grasping a ruined and fragmented past.”

And… so… what else?

These photographs really mean very little, another example of an artist picking at the scab of history to what end, what purpose, other than to dig up deleted histories that are past their use by date. Move on, move on, nothing to see here!

And there is literally nothing to see, except patches of grass that are given import by the contextualisation of the artist, the “look at this, I think it is important because I have seen it, because I have researched it, because I am an artist, because I am aware” – when the interrogation actually means very little. It is like the prevalence of contemporary photographs of empty, abandoned spaces – abandoned petrol stations, hospitals, insane asylums – that are supposed to impart great poetry and narrative to the spaces. Ruin porn as Dan Rule termed it recently.

Thankfully, these latest photographs are of a different taxonomic order. They are vital, alive, full of swirling tarantism that beautifully expresses the trapped energy that Ferran saw in a 1940s photographic archive of 38 unidentified women who were patients of a Sydney psychiatric hospital. In their formalist abstraction the artist has perfectly captured the unquiet spirit of the women and – here is the crux of the matter for me – these photographs allow me to go further into the subject, they take me to a different place and don’t just leave me on the surface of the image / history. They speak to me, they n/trance in multiple ways like little of Ferran’s work has done before for I feel this work, this hidden narrative, in the artist’s performative shaping of reality. Suddenly these women, trapped in a space (of the photograph, of the archive) and place (of the hospital), can spread their wings and anonymously shake their feathers (their spirit) with declamatory enthusiasm. As an artist friend of mine Julie Clarke observed, “I was captured by the amount of folds in the fabric Ferran has used. Her emphasis on ‘felt’ as felt emotion and the feeling associated with those almost absent bodies is intriguing.” And how that felt emotion relates to the work of Joseph Beuys and his use of felt as insulation, warmth and a kind of comfort, here represented in institutional form (I am reminded by the markings on the felt of the arrows of prison garments).

As the text for the exhibition states, “This new series marks a significant shift in approach, as Ferran harnesses photography and performance in an endeavour to manifest the archive’s continuing power in the present. Ferran’s performers conceal their identities behind lengths and swathes of painted felt, in some cases creating strange and outlandish figures in a disorder of material, bodies and space.”

It is a welcome shift in approach. Ferran’s mental, material dis/order produces significantly more memorable images than what has “passed” before, imaging as they do a conflation of past, present and future rather than relying on the death of the historical archive evidenced in the deathly photograph.

Dr Marcus Bunyan

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

 

 

Anne Ferran. 'Clamorous shrike' 2013

 

Anne Ferran (Australian, b. 1949)
Clamorous shrike
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Conspicuous kite' 2013

 

Anne Ferran (Australian, b. 1949)
Conspicuous kite
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Night whistler' 2013

 

Anne Ferran (Australian, b. 1949)
Night whistler
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Pale-headed flycatcher' 2013

 

Anne Ferran (Australian, b. 1949)
Pale-headed flycatcher
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Slender-throated warbler' 2013

 

Anne Ferran (Australian, b. 1949)
Slender-throated warbler
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Stonebird' 2013

 

Anne Ferran (Australian, b. 1949)
Stonebird
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Tricoloured sylph' 2013

 

Anne Ferran (Australian, b. 1949)
Tricoloured sylph
2013
From Box of Birds series
Pigment print
72 x 48cm
Editions of 5 + 2AP

 

Anne Ferran. 'Feathered Emissary' 2013

 

Anne Ferran (Australian, b. 1949)
Feathered Emissary
2013
From Box of Birds series
Pigment print
60 x 80cm
Editions of 5 + 2AP

 

 

Over the past 20 years Anne Ferran has worked with the residues of Australia and New Zealand’s colonial histories, probing them for gaps and silences. She has been especially drawn to the lives of anonymous women and children, seeking to shed light on their presence, and absence, in museum collections, photographic archives and historic sites. It is characteristic of Ferran’s images that the subject is not what is seen but rather what haunts it, something only partially visible. Intellectually and emotionally engaging, her photographs have explored episodes of incarceration in prisons, asylums, hospitals and nurseries, giving voice to the spectres of the lost and unseen.

Box of Birds returns to the subject matter of her previous works INSULA and 1-38: 1940s photographs of 38 unidentified women who were patients of a Sydney psychiatric hospital. In a significant shift of approach, rather than exhuming traces of the past, Ferran harnesses photography and performance in an endeavour to manifest its continuing power in the present.

Ferran’s process alternated between the considered and the uncontrollable. Female performers were instructed to hold pieces of felt up to her camera, the 38 lengths of dyed and painted fabric recalling the crumpled clothes worn by the women in the original photographic archive. Other images were wholly improvised, the performers creating strange and outlandish figures out of a disorder of material, bodies and space.

In a deliberate departure from the 1940s archive, Ferran’s performers conceal their identities behind lengths and swathes of fabric, raising ethical questions about photography’s role in recognition, representation and expression.

All the work in Box of Birds aims to elicit the energy Ferran saw trapped in those 1940s photographs, their unquiet spirit.

Press release from the Stills Gallery website

 

Anne Ferran. 'Chorus No.1' 2013

 

Anne Ferran (Australian, b. 1949)
Chorus No.1
2013
From Box of Birds series
38 Pigment prints
60 x 42cm each
Editions of 5 + 2AP

 

Anne Ferran. 'Chorus No.2' 2013

 

Anne Ferran (Australian, b. 1949)
Chorus No.2
2013
From Box of Birds series
38 Pigment prints
60 x 42cm each
Editions of 5 + 2AP

 

Anne Ferran. 'Chorus No.3' 2013

 

Anne Ferran (Australian, b. 1949)
Chorus No.3
2013
From Box of Birds series
38 Pigment prints
60 x 42cm each
Editions of 5 + 2AP

 

Anne Ferran. 'Chorus No.4' 2013

 

Anne Ferran (Australian, b. 1949)
Chorus No.4
2013
From Box of Birds series
38 Pigment prints
60 x 42cm each
Editions of 5 + 2AP

 

Anne Ferran. 'Chorus No.5' 2013

 

Anne Ferran (Australian, b. 1949)
Chorus No.5
2013
From Box of Birds series
38 Pigment prints
60 x 42cm each
Editions of 5 + 2AP

 

 

Stills Gallery

This gallery has now closed.

Stills Gallery website

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23
Jun
13

Exhibition: ‘Joan Ross: Touching Other People’s Shopping’ at Bett Gallery, Hobart

Exhibition dates: 7th June – 28th June 2013

 

Joan Ross. 'Mine' 2013

 

Joan Ross
Mine
2013
hand painted pigment print on cotton rag paper
40 x 60cm
edition of 3

 

 

The claiming of things
The touching of things
The digging of land
The tagging of place
The taking over of the world

Tag and capture.
Tag and capture.
Shop, dig, spray, destroy.

 

An ironic critique of the pastoral, neo/colonial world, tagged and captured in the 21st century.

Excellent work. The construction, sensibility and humour of the videos is outstanding. I also responded to the two works Tag and capture and Shopping for butterfly (both 2013, below).

Dr Marcus Bunyan

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

 

 

 

Joan Ross (Australian, b. 1961)
The claiming of things
2012
digital animation
7 min 20 sec
edition of 10

 

 

Joan Ross (Australian, b. 1961)
Touching other people’s butterflies
2013
digital animation
2 min 45 sec
edition of 6

 

Joan Ross. 'I dig your land' 2013

 

Joan Ross (Australian, b. 1961)
I dig your land
2013
hand painted pigment print on cotton rag paper
31 x 50cm
Edition of 3

 

Joan Ross. 'Lassie come home' 2013

 

Joan Ross (Australian, b. 1961)
Lassie come home
2013
hand painted pigment print on cotton rag paper
32 x 50cm
Edition of 3

 

Joan Ross. 'Tagging' 2013

 

Joan Ross (Australian, b. 1961)
Tagging
2013
hand painted pigment print on cotton rag paper
33.5 x 60cm
Edition of 3

 

Joan Ross. 'Shopping for butterfly' 2013

 

Joan Ross (Australian, b. 1961)
Shopping for butterfly
2013
hand painted pigment print on cotton rag paper
51.5 x 50cm
Edition of 3

 

Joan Ross. 'Tag and capture' 2013

 

Joan Ross (Australian, b. 1961)
Tag and capture
2013
hand painted pigment print on cotton rag paper
50 x 47cm
Edition of 3

 

Joan Ross. 'The naming of things' 2013

 

Joan Ross (Australian, b. 1961)
The naming of things
2013
hand painted pigment print on cotton rag paper
40 x 70cm
Edition of 3

 

Joan Ross. 'Together we can take over the world' 2012

 

Joan Ross (Australian, b. 1961)
Together we can take over the world
2012
found ceramic and fluorescent reflector tape
50 x 24 x 20cm

 

 

Bett Galllery
369 Elizabeth Street
North Hobart Tasmania 7000
Australia
Phone: +61 (0) 3 6231 6511

Opening hours:
Monday – Friday 10am – 5.30pm
Saturday 10am – 4pm

Bett Gallery website

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02
Jun
13

Exhibition: ‘Sophia Szilagyi: water studies’ at Beaver Galleries, Canberra

Exhibition dates: 23rd May – 11th June 2013

 

Sophia Szilagyi. 'night waves I' 2013

 

Sophia Szilagyi
night waves I
2013
Pigment print on archival rag paper
Edition 2 of 15
29 x 29cm

 

 

“It is intangible, incalculable, a thing to be felt, not comprehended – a music of the eyes, a melody of the heart…”

.
John Ruskin, art critic

 

“Once, Turner had himself lashed to the mast of a ship for several hours, during a furious storm, so that he could later paint the storm. Obviously, it was not the storm itself that Turner intended to paint. What he intended to paint was a representation of the storm. One’s language is frequently imprecise in that manner, I have discovered.”

.
David Markson, Wittgenstein’s Mistress

 

 

How appropriate that these stunning water studies by artist Sophia Szilagyi should be exhibited in Canberra as the blockbuster J. M. W. Turner exhibition Turner from the Tate: The Making of a Master opens at the National Gallery of Australia.

I love everything thing about these works: the compacted and layered sense of space (the eye of the printmaker brought to bare in the construction of the images rather than the eye of the photographer), the lack of a traditional vanishing point that allows the viewer to be immersed in the prints, the tonality, the texture and immediacy of the images. Szilagyi pushes the work to the limits and, amid the swirling masses of light and colour, a powerful mood is evoked.1 These towering, raging canvases portray the gathering force of the sea, its immediacy and energy; its danger, wonder and sublime beauty. They are as much landscapes of the mind and the imagination as of the sea. Turner, lashed to  a mast during a furious storm so that he could later paint a representation of the storm, would surely have been proud of these meditations upon nature/life. Bravura. Bravo.

Dr Marcus Bunyan

 

1. See Grishin, Sasha. “Genius shows his true colours,” in The Age newspaper, Saturday, June 1, 2013, p. 2.

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

 

 

“Light shimmers, darkness settles, the sea opens its arms to swallow up the sky. Sophia Szilagyi’s imagery evokes the natural world and imbues it with an emotional resonance through the artist’s skilful manipulation of diametrically opposed elements. Light abuts dark, the dense almost claustrophobic space in some works contrast with open seas and vast skies that imply the infinite in others. Imagery is constructed through digital printmaking techniques, layered to create textural complexities, while capturing the oscillations in mood and atmosphere that mirror the ebb and flow of human emotions. Fear, wonder, and danger exist in these images that capture the beauty and grandeur found in the physical world, while also charting an internal topography.”

.
Marguerite Brown

 

 

Sophia Szilagyi. 'stormy seas (after Courbet)' 2013

 

Sophia Szilagyi
stormy seas (after Courbet)
2013
Pigment print on archival rag paper
Edition 2 of 15
30 x 35cm

 

Sophia Szilagyi. 'wave' 2013

 

Sophia Szilagyi
wave
2013
Pigment print on archival rag paper
Edition 9 of 20
49.5 x 57cm

 

Sophia Szilagyi. 'breaking' 2013

 

Sophia Szilagyi
breaking
2013
Pigment print on archival rag paper
Edition 4 of 10
96 x 122cm

 

 

Sophia Szilagyi is a printmaker who uses digital printmaking to create scenes of re-interpreted memory and experience. In her multi-layered compositions, Sophia explores the relationship between fiction and non-fiction, challenging our perceptions of reality and the effects of physical sensation and emotional response on memory. Sophia’s artistic process begins with an impression of a certain painting, personal photograph or experience. Images from a variety of sources are combined and overlapped so that the general interpretation of her work is a patchwork of real and imagined experiences. Sophia achieves this seamless layering by using digital technology, giving her the freedom to manipulate the imagery to create the desired mood and expression. The completed works are printed on archival rag paper as this highly absorbent surface enhances the softness and dreamlike quality of her imagery. In this current exhibition, Sophia draws her inspiration from the sea and coast, exploring the dualities of intersections between light and dark, earth and ocean. Through her prints, Sophia seeks to capture a sense of wonder, fear, beauty and, sometimes, danger that exists in both nature and the imagination.

Sophia Szilagyi graduated with First Class Honours from the School of Art and Culture at RMIT in 2000. Since graduating, Sophia has held a number of solo shows as well as participating in many group exhibitions across Australia. Her work has been selected in numerous print awards including the Fremantle Print Prize (2007) and the Banyule Award for Works on Paper (2011, 2009 and 2007). In 2005, Sophia was commissioned to complete a work for the Print Council of Australia and her work is represented in collections including the Burnie Regional Art Museum, La Trobe Regional Art Gallery, Wagga Wagga Art Gallery, Queensland University of Technology and State Library of Victoria.

Press release from Beaver Galleries

 

Sophia Szilagyi. 'light sea' 2013

 

Sophia Szilagyi
light sea
2013
Pigment print on archival rag paper
Edition 1 of 15

 

Sophia Szilagyi. 'dark sea' 2013

 

Sophia Szilagyi
dark sea
2013
Pigment print on archival rag paper
Edition 1 of 15
22 x 22 cm

 

Sophia Szilagyi. 'ocean view I' 2013

 

Sophia Szilagyi
ocean view I
2013
Pigment print on archival rag paper
Edition 1 of 5
76 x 77cm

 

Sophia Szilagyi. 'ocean view II' 2013

 

Sophia Szilagyi
ocean view II
2013
Pigment print on archival rag paper
Edition 4 of 5
78 x 74cm

 

Sophia Szilagyi. 'settling' 2013

 

Sophia Szilagyi
settling
2013
Pigment print on archival rag paper
Edition 2 of 10
80 x 70cm

 

 

Beaver Galleries
81 Denison Street
Deakin, Canberra
ACT 2600, Australia
Phone: 02 6282 5294

Opening hours
Tuesday – Sunday 10am – 5pm

Beaver Galleries 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

Curator: Ricky Swallow

 

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

 

 

Alan Constable. 'Red NEK SLR' 2011

 

Alan Constable (Australian, b. 1956)
Red NEK SLR
2011
Ceramic
5.5 x 12.25 x 4.75 inches
© Alan Constable

 

 

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

 

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 modelled in clay from magazine advertisements with apt abbreviation and gesture, then glazed and fired in solid, sometimes soupy colours 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.”

Ricky Swallow, April 2013

 

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.

 

Alan Constable (Australian, b. 1956) 'Orange AKI SLR' 2011

 

Alan Constable (Australian, b. 1956)
Orange AKI SLR
2011
Ceramic
6 x 10 x 4 inches
© Alan Constable

 

Alan Constable (Australian, b. 1956) 'Green SLR' 2011

 

Alan Constable (Australian, b. 1956)
Green SLR
2011
Ceramic
7.75 x 9 x 3 inches
© Alan Constable

 

 

South Willard
970 N Broadway #205
Los Angeles CA 90012
Phone: (323) 653-6153

Opening hours:
Mon – Sat 12am – 6pm
Sunday 12am – 5pm

Arts Project Australia website

South Willard website

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Dr Marcus Bunyan

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

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

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