Posts Tagged ‘Australian racism

29
Jun
16

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

June 2016

 

 

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

 

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

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

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

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

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

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

WAKE UP AUSTRALIA BEFORE ITS TOO LATE!

Dr Marcus Bunyan

 

1. Anon. “Afterimage” on Wikipedia. [Online] Cited 21/09/2011. http://en.wikipedia.org/wiki/Afterimage
2. Kindon, David. “The Political Theology of Conservative Postmodern Democracies: Fascism by Stealth,” on the A Fairer Society website [Online] Cited 29/06/2016

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

 

 

David Moore (Australia 06 Apr 1927 – 23 Jan 2003) 'Migrants arriving in Sydney' 1966, printed later

 

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

 

Mervyn Bishop. 'Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory' 1975

 

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

 

 

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

 

Lifejacket and lifebuoy from the 'MV Tampa' 2001

 

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

 

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

 

 

Juan Davila
A Man is Born Without Fear
2010
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art

 

J.W.C. Adam. 'Asylum seekers protesting against detention at Villawood Immigration Detention Centre on 22 April 2011' 2011

 

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

 

 

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

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

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

 

Ben Quilty. 'Trooper M, after Afghanistan' 2012

 

Ben Quilty
Trooper M, after Afghanistan
2012
Oil on linen
Collection of the artist

 

Keast Burke (New Zealand, Australia 1896 - 1974) 'Husbandry 1' c. 1940

 

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

 

Cronulla race riots 2005

 

Cronulla race riots 2005

 

 

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20
Sep
15

Exhibition: ‘Storm in a Teacup’ at the Mornington Peninsula Regional Art Gallery, Mornington

Exhibition dates: 24th July – 27th September 2015

 

This is the best thematic group exhibition I have seen in Melbourne and surrounds this year.

Every piece in the exhibition is visually stimulating and intelligently constructed, all works combining to make an engaging exhibition. Nothing is superfluous, every work having something interesting to say, whether it is about the ceremony of tea drinking, colonisation, global warming, Stolen Generations or social mores. Congratulations must go to the curators and artists for their efforts.

Particular favourites where the Hotham Street Ladies Dark Tea (2015, below) made of royal icing, butter cream icing, fondant, food dye, and found objects; the many sculptural objects which form the backbone of the exhibition, especially the work of Sharon West and Penny Byrne; and the wonderful vintage photographs that are displayed in the foyer of the gallery.

Accompanying this exhibition is another excellent exhibition, Ways to draw: A selection from the permanent collection by Betty Churcher, on till 27th September as well. If you want a day out from Melbourne with lunch in Mornington, some seriously good art and a drive along the coast, you could do no better than visit the gallery in the next week. Highly recommended.

Dr Marcus Bunyan for Art Blart

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

 

 

Hotham Street Ladies (est. Australia 2007) 'Dark tea' 2015

 

Hotham Street Ladies (est. Australia 2007)
Dark tea (installation photo)
2015
Royal icing, butter cream icing, fondant, food dye, found objects
Dimensions variable
Courtesy of the artists

 

Hotham Street Ladies (est. Australia 2007) 'Dark tea' 2015 (detail)

Hotham Street Ladies (est. Australia 2007) 'Dark tea' 2015 (detail)

 

Hotham Street Ladies (est. Australia 2007)
Dark tea (details)
2015
Royal icing, butter cream icing, fondant, food dye, found objects
Dimensions variable
Courtesy of the artists

 

Charles Blackman (b. Australia 1928) 'Feet beneath the table' 1956

 

Charles Blackman (b. Australia 1928)
Feet beneath the table
1956
Tempera and oil on composition board
106.5 x 121.8 cm
National Gallery of Victoria, Melbourne
Presented through the NGV Foundation by Barbara Blackman, Honorary Life Benefactor, 2005

 

 

Charles Blackman first encountered Lewis Caroll’s book, Alice in Wonderland, through a talking book for the blind which his wife, Barbara was listening to. Her developing blindness resulted in telescopic vision, spatial disorientation and a shrinking visual field. She was also pregnant with their first child and her distorted body image also had parallels with Alice’s experiences. By painting Alice at the Mad Hatter’s tea party Blackman could express his wife’s feeling of bewilderment and disorientation.

 

E. Phillips Fox (b. Australia 1865; d. Victoria 1915) 'The arbour' 1910

 

E. Phillips Fox (b. Australia 1865; d. Victoria 1915)
The arbour
1910
Oil on canvas
190.5 x 230.7 cm
National Gallery of Victoria, Melbourne
Felton Bequest 1916

 

 

Melbourne born E. Phillips Fox, described as ‘one of the greatest of Australia’s Impressionist painters and the most gifted of her colourists’1 went to Paris in 1887 to study at the Ecole des Beaux Arts where he encountered the work of the French Impressionists. He remained in Paris for several years but made frequent trips back to Melbourne to visit his family. The Arbour was painted in Paris in Fox’s garden but is based upon observations of family life in his brother’s garden in Malvern. The depiction of an elegant family taking tea al fresco is a study of refined gentility. The Arbour was exhibited at both the Royal Academy and the Paris Salon exhibitions and was regarded by Fox as the finest thing he had done.2 At the time the painting was much admired for its ‘subtle lights ad shadow’3 and his exemplary ‘use of delicate colour and refined harmonies.’4

  1. Courier Mail, 12 May 1949
  2. Sydney Morning Herald, 13 October 1913
  3. Sydney Morning Herald, 13 October 1913
  4. Le Courrier Australien, Sydney, 15 April 1949

 

Clare Humphries (b. Australia 1973) 'Some things were out in the open' 2007

 

Clare Humphries (b. Australia 1973)
Some things were out in the open
2007
Pigment print on Hahnemühle photo rag paper (ed. 3/5)
63.0 x 62.0 cm
Courtesy of the artist

 

Adam Hill (Blak Douglas) (b. Australia 1970) 'Not everyone’s cup of tea' 2009

 

Adam Hill (Blak Douglas) (b. Australia 1970)
Not everyone’s cup of tea
2009
Synthetic polymer paint on canvas
150.0 x 260.0 cm
National Gallery of Australia, Canberra Purchased 2009

 

Kendal Murray (b. Australia 1958) 'Exceed speed, mislead, concede' 2011

 

Kendal Murray (b. Australia 1958)
Exceed speed, mislead, concede
2011
Mixed media assemblage
18.0 x 24.0 x 14.0 cm
Courtesy of the artist and Arthouse Gallery, Sydney

 

Penny Byrne (b. Australia 1965) 'Tea for two in Tuvalu' 2011

 

Penny Byrne (b. Australia 1965)
Tea for two in Tuvalu
2011
Vintage porcelain figurine, vintage, Action man accessories, vintage coral, glass fish, epoxy resin, epoxy putty, retouching medium, powder pigments
15.0 x 19.0 cm
Private Collection

 

Penny Byrne (b. Australia 1965) 'Tea for two in Tuvalu' 2011

 

Penny Byrne (b. Australia 1965)
Tea for two in Tuvalu (installation photo)
2011
Vintage porcelain figurine, vintage, Action man accessories, vintage coral, glass fish, epoxy resin, epoxy putty, retouching medium, powder pigments
15.0 x 19.0 cm
Private Collection

 

 

This piece was inspired by an underwater cabinet meeting held in 2009 by Maldives President Mohammed Nasheed in a campaign to raise awareness for activity on climate change. The thirty minute meeting was held six metres below sea level and was attended by eleven cabinet members calling upon all countries to cut their emissions to halt further temperature rises.

Polynesian island nation of Tuvalu, located in the Pacific Ocean midway between Hawaii and Australia, experienced a severe drought in 2011. A sate of emergency was declared and rationing of fresh-water took place which restricted households on some of the islands to two buckets of fresh water per day. Tuvalu is also especially susceptible to changes in sea level and it is estimated that a sea level rise of 20 to 40 centimetres in the next 100 years could make Tuvalu uninhabitable.

 

Kate Bergin (b. Australia 1968) 'The hunt for a room of one’s own' 2012

 

Kate Bergin (b. Australia 1968)
The hunt for a room of one’s own
2012
Oil on canvas on board
75.0 x 101.0 cm
Private Collection

 

 

Kate Bergin draws upon Dutch and Flemish seventeenth century tradition of still life painting to comment on our attitudes to animals. Bergin stages the scene on a crumpled white tablecloth upon which a large fox, based on a taxidermy fox she bought on eBay, regally sits centre stage. Meticulously rendered native birds, including a honeyeater, finch and triller, are based on photographs of specimens from the Melbourne Museum Collection. They flit about unperturbed by the introduced predator. Teaspoons, representing the impulse for collecting, entangle the fox and bird. Together with a teapot and cup, precariously placed, they contribute to the overarching sense of impending chaos.

Both afternoon tea and the fox represent English upper class social mores and were introduced into the colonies following British settlemnet. The fox arrived in 1855, brought in for recreational hunting, and has been a major cause of native bird extinctions. Fox numbers are increasing in some areas further threatening the precarious balance between wild life and introduced species.

 

Sharon West (b. Australia 1963) 'Two Koori Tribesmen receive a gift of afternoon tea from local colonists' 2014

 

Sharon West (b. Australia 1963)
Two Koori Tribesmen receive a gift of afternoon tea from local colonists (installation photo)
2014
Mixed media assemblage
15.0 x 46.0 x 30.0 cm
Courtesy of the artist

 

Heather Shimmen (b. Australia 1957) 'Tip me up' 2005

 

Heather Shimmen (b. Australia 1957)
Tip me up (installation photo)
2005
Linocut on paper and organza (ed. 7/30)
56.0 x 76.0 cm
Courtesy of the artist and Australian Galleries, Melbourne and Sydney

 

Trent Jansen (b. Australia 1981) 'Briggs family tea service' 2011

 

Trent Jansen (b. Australia 1981)
Briggs family tea service (installation photo)
2011
Slip cast porcelain, bull kelp, wallaby pelt, copper and brass
George (teapot) 22.5 x 20.5 x 13.0 cm; Woretermoeteyenner (sugar bowl) 16.0 x 13.5 x 9.0 cm; Dolly (milk jug) 12.5 x 12.5 x 8.5 cm; John (teacup) 7.0 x 8.5 x 8.0 cm; Eliza (teacup) 7.5 x 10.5 x 8.0 cm; Mary (teacup) 10.0 x 9.0 x 6.5 cm
Courtesy of Broached Commissions, Melbourne

 

 

The Briggs family tea service represents the marriage of George Briggs, a free settler, to Woretermoeteyenner of the Pairrebeenne people in Van Diemen’s Land and the four children they had together. Briggs arrived from Bedfordshire in 1791 and learned to speak the language of the local Pairrebeenne people, trading tea, flour and sugar fro kangaroo, wallaby and seal skins. It is understood that he became good friends with the leader of the Pairrebeenne people, Mannalargenna, and by 1810 he partnered his daughter Woretermoeteyenner. Their marriage meant she had to adapt to a way of life that merged her traditional cultural values with the ways of British settlers. The teapot and sugar bowl represent the parents while their first daughter, Doll Mountgarret Briggs is symbolised in the milk jug and the three cups each signify their other children John, Eliza and Mary.

The tea service is a hybrid design bringing together materials common to both cultures. To realize the set Jansen worked with Rod Bamford on the ceramic elements, Oliver Smith for the brass and copper and Vicki West, who uses the traditional methods of her Tasmanian Aboriginal ancestors, worked with the bull kelp components.

 

eX de Medici (b. Australia 1959) 'Blue (Bower-Bauer)' 1998–2000

 

eX de Medici (b. Australia 1959)
Blue (Bower-Bauer) (installation photo)
1998-2000
Watercolour over black pencil on paper
114.0 x 152.8 cm
National Gallery of Australia, Canberra Purchased 2004

 

eX de Medici (b. Australia 1959) 'Blue (Bower-Bauer)' 1998-2000 (detail)

 

eX de Medici (b. Australia 1959)
Blue (Bower-Bauer) (detail)
1998-2000
Watercolour over black pencil on paper
114.0 x 152.8 cm
National Gallery of Australia, Canberra Purchased 2004

 

 

A turning point in eX de Medici’s career came in 1998 when she saw an exhibition of watercolours by Ferdinand Bauer comprising 2,000 rarely seen images of native flora and fauna made when Bauer was official artist on Matthew Flinder’s historic circumnavigation of Australia in 1801-03. Previously working with tattoo imagery, Medici found the intricate works so compelling she decided to change course and ‘retrograde’ herself and explore watercolour as a medium.1

Referencing Australia’s Bower bird that adorns its nest with anything blue, Medici entangles the history of vanitas painting with commentary about the desire to seek permanence and affirmation in the accumulation of things. The broken willow pattern platter, upturned jugs and cups, amassed with so many other decorative and functional objects, are juxtaposed with skulls, fruit and flowers – symbols of mortality. A reaction to what she considered John Howard’s regressive politics at the time, the work ‘is a kind of a backhanded discussion about colonising our minds with retroactive ideas’.2

  1. Ted Gott. ‘eX deMedici an epic journey on a Lilliputian scale’ Art and Australia Vol. 40, No. 1, Spring 2002, p. 105
  2. eX deMedici in Paul Flynn. Artist Profile #5, March 2008, pp. 28-35.

 

 

Storm in a Teacup reflects upon tea drinking in Australia. Introduced by the British colonials, the afternoon tea party was an attempt to ‘civilise’ the land. Tea drinking became so popular in the colonies that by 1888 the amount of tea consumed per capita exceeded the amount consumed in England. Soon after, billy tea was to become an enduring symbol of the pioneering spirit, immortalised by Henry Lawson’s stories published under the title While the billy boils.

Beginning with elegant paintings of the afternoon tea table from E. Phillips Fox and Arthur Streeton, the exhibition goes on to explore the darker side of tea drinking and the social and environmental impacts of the humble cup of tea. Michael Cook’s Object (table), 2015, provides an alternative history to the narrative of colonialism while Sharon West and Adam Hill both use humour to subvert colonial understandings of the afternoon tea party as an occasion of refined gentility.

The humble cuppa has been around for thousands of years, but this exhibition explores how a popular beverage can impact on us culturally, socially, environmentally and politically. There is more to debate than just the proper way to make a cup of tea. Storm in a teacup explores far-reaching issues brewing from tea, including the imposition of one culture upon another – especially on the colonial frontier; the production of ceramics and the environmental impacts of porcelain and its production; gender stereotypes and socialisation through tea parties. The exhibition also reflects upon tea drinking ceremonies in Asia within a western Orientalist paradigm and tea drinking as an occasion for familial cohesiveness and disconnect.”

Text from the Mornington Peninsula Regional Art Gallery

 

Mark James Daniel (1867-1949) 'Verandah, "Harefield" - afternoon tea' Feb 1900

 

Mark James Daniel (1867-1949)
Verandah, “Harefield” – afternoon tea
Feb 1900
Glass negative
8.5 x 11.0 cm. (quarter plate)
Collection of the State Library of Victoria

 

Michael J Drew (1873-1943) 'Group taking tea in a garden' between 1890 and 1900

 

Michael J Drew (1873-1943)
Group taking tea in a garden
between 1890 and 1900
Glass negative
12.2 x 16.5 cm. (half plate)
Collection of the State Library of Victoria

 

Rex Hazlewood (1886-1968) '[Men drinking billy tea]' 1911 - 1927

 

Rex Hazlewood (1886-1968)
[Men drinking billy tea]
1911 – 1927
Silver gelatin print
Collection of the State Library of New South Wales

 

Anonymous photographer. 'Afternoon tea at "Vivaleigh"' 1917

 

Anonymous photographer
Afternoon tea at “Vivaleigh”
1917
Gelatin silver print
12 x 16 cm
Collection of the State Library of Victoria

 

James Fox Barnard (1874-1945) 'Lawn, Arylie, Hobart' c. 1900

 

James Fox Barnard (1874-1945)
Lawn, Arylie, Hobart
c. 1900
Glass negative
8.5 x 11.0 cm. (quarter plate)
Collection of the State Library of Victoria

 

James Fox Barnard (1874-1945) '[Tea on the verandah]' c. 1900

 

James Fox Barnard (1874-1945)
[Tea on the verandah]
c. 1900
Glass negative
8.5 x 11.0 cm (quarter plate)
Collection of the State Library of Victoria

 

Installation photograph of the exhibition 'Storm in a Teacup' at the Mornington Peninsula Regional Art Gallery

Installation photograph of the exhibition 'Storm in a Teacup' at the Mornington Peninsula Regional Art Gallery

Installation photograph of the exhibition 'Storm in a Teacup' at the Mornington Peninsula Regional Art Gallery

Installation photograph of the exhibition 'Storm in a Teacup' at the Mornington Peninsula Regional Art Gallery

Installation photograph of the exhibition 'Storm in a Teacup' at the Mornington Peninsula Regional Art Gallery

 

Installation photograph of the exhibition Storm in a Teacup at the Mornington Peninsula Regional Art Gallery

 

 

“Tea is the medium of many a complex and commonplace rituals. Adopted in a variety of ceremonies and customs across the globe, its unique and symbolic place in our lives is subtle and powerful. Whether a quick cuppa around the kitchen table or a lavish display of refined gentility; from billy tea to Asian tea-drinking ceremonies, tea has played an important role in international trade but more curiously in facilitating social cohesiveness.

Comprising approximately 50 works including painting, photography, sculpture and installation Storm in a Teacup features artists such as Chares Blackman, John Perceval, Emma Minnie Boyd, E. Phillips Fox and contemporary artists Stephen Bowers, Danie Mellor, Penny Byrne, Rosalie Gasgoigne, Matthew Sleeth, eX de Medici, Anne Zahalka, Polixeni Papapetrou and a mad teaparty installation by Hotham Street Ladies.

Tea is said to have first been invented in China around 2700 BC, with the earliest records of tea consumption dating to 1000BC. Initially consumed as a medicinal drink, it became widely popular as a common beverage and traded across Asia and Europe during the 16th century. It was King Charles II’s wife Catherine of Portugal who is said to have brought the tea habit to Great Britain. Indeed, the afternoon tea party first became fashionable in the seventeenth century following Queen Catherine de Braganza’s fondness for serving the beverage at Whitehall in London. It wasn’t until the 18th century that it became widely consumed with tea smuggling bringing the tipple to the masses and later influenced the Boston Tea Party.

Tea drinking became a demonstration of social aspirations and grew in popularity giving rise to a subtle orchestration of manners, dress and serving paraphernalia which created new forms of commodity consumption. In the colonies of New South Wales and Victoria afternoon tea parties were a lavish display of settler understandings of refined gentility that were an attempt to signal allegiance to the values of the home country and ground the displaced community in their originating culture. In this respect the afternoon tea party expressed collective understandings of British identity and was a means of domesticating and civilizing the alien terrain of the colonies.”

Press release from the Mornington Peninsula Regional Art Gallery

 

Clare Humphries (b. Australia 1973) 'Family confection II' 2015

Clare Humphries (b. Australia 1973) 'Family confection II' 2015

 

Clare Humphries (b. Australia 1973)
Family confection II (installation photos)
2015
Sugar cubes stained with coffee and tea
Dimensions variable
Courtesy of the artist

 

Giuseppe Romeo (b. Australia 1958) Subjective landscape, 'Of consequence rather than reason' 2015

DSC1644-WEB

 

Giuseppe Romeo (b. Australia 1958)
Subjective landscape, ‘Of consequence rather than reason’ (installation photos)
2015
Found discarded objects, bitumen, paint
80.0 x 100.0 x 60.0 cm
Courtesy of the artist

 

 

Guiseppe Rome asks the simple question: ‘What are you going to do with it all?’

Romeo recalls the tea sets his mother and aunts possessed and the ‘good set’ kept for special occasions that were rarely used. In this work a silver platter is the support for a silver cake stand upon which a teapot, creamer, sugar bowl and various serving implements jostle with items required to clean up the mess. The bat, ball and stumps are a reference to playing cricket which ‘became an excuse for a big afternoon tea party in England’. A ribbon of wire holds it all together ‘like a dream from Alice in Wonderland when nothing is as it seems’, while a tinkling melody from a music box is a lullaby that sends us in to a contented sleep.

Romeo coats the sculpture in bitumen then paints it entirely in white. The effect is reminiscent of excavated items from an ancient ruin, as if w are peering upon the remains from a modern day Pompeii – artefacts that have been covered in lava and buried. This work alludes to the ways in which we deceive ourselves and ‘attempt to keep it all together through consumption but ultimately we can’t’.

 

Samantha Everton (b. Australia 1971) 'Camellia' 2009

 

Samantha Everton (b. Australia 1971)
Camellia
2009
From the series Vintage dolls 2009
Pigment print on rag paper (ed. AP2)
106.0 x 114.0 cm
Courtesy of the artist and Anthea Polson Art, Queensland

 

Robyn Phelan (b. Australia 1965) 'Porcelain wall – ode to an obsession' 2010-15

 

Robyn Phelan (b. Australia 1965)
Porcelain wall – ode to an obsession (installation photo)
2010-15
Porcelain, paperclay, cobalt oxide, timber, pigment, Jingdezhen tissue transfer
240.0 x 122.0 x 42.0 cm
Courtesy of the artist

 

Robyn Phelan (b. Australia 1965) 'Porcelain wall – ode to an obsession' 2010-15 (detail)

 

Robyn Phelan (b. Australia 1965)
Porcelain wall – ode to an obsession (detail)
2010-15
Porcelain, paperclay, cobalt oxide, timber, pigment, Jingdezhen tissue transfer
240.0 x 122.0 x 42.0 cm
Courtesy of the artist

 

 

Robyn Phelan undertook a residency at the Pottery Workshop and Experimental Sculptural Factory of Jingdezhen, Jiangxi Province in China in 2008. Jingdezhen is known as the porcelain capital because it has been the centre of China’s ceramic production, beginning in the fourteenth century Yuan Dynasty, where fine porcelain was first exported all over the world.

Deposits of kaolinite, a clay found at Mt Kaolin nearby which can sustain very high firing temperatures produced a superior white porcelain of increased strength and translucency. Items made from kaolinite were fired with cobalt landscape designs and were highly sought after by European collectors. Over the centuries, because of excessive mining, the mountain’s deposits have become depleted. Phelan’s work is a lament to the desecration of the mountain and a reminder of the potential destructiveness of consumer desire.

 

Penny Byrne (b. Australia 1965) '‘Let’s forget about global warming’ said Alice ‘and have a cup of tea instead!’' 2010

 

Penny Byrne (b. Australia 1965)
‘Let’s forget about global warming’ said Alice ‘and have a cup of tea instead!’ (installation photo)
2010
Vintage porcelain figurine, found toys, epoxy resin, epoxy putty, retouching medium, powder pigments
80.0 x 33.0 cm
Williams Sinclair Collection

 

Penny Byrne (b. Australia 1965) '‘Let’s forget about global warming’ said Alice ‘and have a cup of tea instead!’' 2010 (detail)

 

Penny Byrne (b. Australia 1965)
‘Let’s forget about global warming’ said Alice ‘and have a cup of tea instead!’ (detail)
2010
Vintage porcelain figurine, found toys, epoxy resin, epoxy putty, retouching medium, powder pigments
80.0 x 33.0 cm
Williams Sinclair Collection

 

 

Penny Byrne’s reworked porcelain conversation piece was motivated by Republican Vice-Presidential nominee Sarah Palin’s cry to ‘drill, baby, drill’ during her campaign in 2008. A call for increase off-shore drilling of petroleum, including sites such as the Arctic National Wildlife Refuge, Palin claimed ‘that’s what we hear all across the country in our rallies because people are so hungry for those domestic sources of energy to be tapped into’.1

In Byrne’s piece the patriotic figures gorge themselves, blithely overindulging without care to the wastage. The new Disney production of Alice in Wonderland directed by Tim Burton had just been released and this led Byrne to reflect upon the Mad Hatter’s tea party in which tea was drunk all day because time stood still and was stuck at tea-time.

  1. Transcript: The Vice-Presidential Debate, 2 October 2008. Reprinted in the New York Times, 23 May 2012.

 

Sharon West (b. Australia 1963) 'Joseph Banks’ tea party for a Botany Bay tribesman is ruined by flies and spiders' 2014

 

Sharon West (b. Australia 1963)
Joseph Banks’ tea party for a Botany Bay tribesman is ruined by flies and spiders
2014
Digital print on paper (ed. 2/5)
66.0 x 57.0 cm (sheet)
Courtesy of the artist

 

 

Sharon West’s recreation of an afternoon tea party is set in the early days of first contact. Joseph Banks was the botanist who sailed with Captain Cook on the Endeavour on the first voyage of discovery which mapped the east coast of Australia between 1768 and 1771. While ashore he made an extensive collection of native flora and fauna which was sent back to natural history museums in England. Banks was also instrumental in the British government’s decision to colonise the New South Wales settlement.

 

Rosalie Gascoigne (b. New Zealand 1917; arr. Australia 1943; d. Canberra 1999) 'The tea party' 1980

 

Rosalie Gascoigne (b. New Zealand 1917; arr. Australia 1943; d. Canberra 1999)
The tea party (installation photo)
1980
Painted wood, celluloid, plastic, enamelled metal, feathers
83.0 x 35.0 x 20.0 cm
Private collection

 

Rosalie Gascoigne (b. New Zealand 1917; arr. Australia 1943; d. Canberra 1999) 'The tea party' 1980 (detail)

 

Rosalie Gascoigne (b. New Zealand 1917; arr. Australia 1943; d. Canberra 1999)
The tea party (detail)
1980
Painted wood, celluloid, plastic, enamelled metal, feathers
83.0 x 35.0 x 20.0 cm
Private collection

 

 

Rosalie Gascoigne found the kewpie dolls amongst a large number of discarded things from an abandoned sideshow at the Bungendore dump in the summer of 1976. ‘I thought “Oh, those dollies, they’re having a … very joyful … picnic. They’re … in the paddock, they’ve got all these old things … they’ve sat down on the teapots and waved their wings around.”

For Gascoigne beauty existed in the most humble of objects and the wear and tear from use only added to the appeal. The enamel teapots were also found at various dumps and were a particular focus of her collecting.

‘I had a thing about enamelware because I see it as being elegant. People see the holes in it. I was collecting brown and white at the same time. To me it had a sort of elegance that a Dalmatian dog has, spotty, very elegant’.1

  1. Rosalie Gascoigne, excerpts from her correspondence, email communication with Martin Gascoigne, 13 March 2015

 

Julie Dowling (b. Australia 1969) Badimaya people, Western Australia 'White with one' 2003

 

Julie Dowling (b. Australia 1969)
Badimaya people, Western Australia
White with one
2003
Synthetic polymer paint and red ochre on canvas
121.0 x 100.0 cm
Collection of Jane Kleimeyer and Anthony Stuart

 

 

Julie Dowling’s painting is a poignant reminder of the Stolen Generations and the plight of many young girls, forcibly removed from their families, who were brought up in government institutions and trained to be domestic servant to white families. Girls were targeted because women were considered the ‘uplifters’ or ‘civilisers’ of their communities and as future mothers their education into the values of white society was deemed essential to enable successful assimilation. Girls in service were supposed to receive a wage but often this was retained by their employer and not passed on. Dowling points out it is also a history of Stolen wages.

 

Michael Cook (b. Australia 1968) Bidjara people, south-west Queensland 'Object (table)' 2015

 

Michael Cook (b. Australia 1968)
Bidjara people, south-west Queensland
Object (table)
2015
Inkjet print on Hahnemühle cotton rag (ed. 2/4 + 2AP)
140.0 x 99.0 cm
Courtesy of the artist and THIS IS NO FANTASY + dianne tanzer gallery, Melbourne

 

 

Michael Cook’s photographic tableau ‘turns the table’ on racism. By depicting the body of a white woman as a functional object in service to others, Cook considers the dehumanisation and objectification of one race of people by another in the history of slavery.

The double portrait on the back wall is by Johann Zoffany from 1778, and features Dido Elizabeth Belle (1761-1804) who was born into slavery in the West Indies. The daughter of an African mother, her father was an English naval officer who left her to the care of his uncle, Lord William Murray, where she was raised as an equal with Murray’s niece. Murray was instrumental in outlawing slavery in the United Kingdom in 1772. In the painting Zoffany depicts the two women standing together, the niece affectionately reaching out to Belle. Hence Cook’s afternoon tea is also a reminder that prejudice and racial inequality can be surmounted.

 

Yenny Huber (b. Austria 1980; arr. Australia 2000) 'Room No. 14' 2006

 

Yenny Huber (b. Austria 1980; arr. Australia 2000)
Room No. 14
2006
Digital print on aluminium panel (ed. 1/6)
27.2 x 27.2 cm
Warrnambool Art Gallery, Victoria

 

 

Underpinned by the belief that any one person is comprised of diverse, fragmentary and often illusory selves, Yenny Huber explores the various ego states that reside within. This photograph is a self portrait taken in a hotel room, but it is also an impersonation of an identity available to women. Tea-drinking was once described as ‘an infallible sign of an old maid’1 and in this work Huber offers us an image of a good Catholic girl, knees together, elbows in, sitting demurely on the couch sipping tea. It is an image of femininity constrained by the dictates of religion and outdated socially sanctioned ideals of respectable female behaviour.

  1. The Horsham Times, Victoria, 26 April 1898

 

Anne Zahalka (b. Australia 1957) 'Saturday 5.18 pm 1995' 1995 (printed 1997)

 

Anne Zahalka (b. Australia 1957)
Saturday 5.18 pm 1995
1995 (printed 1997)
Type C photograph (ed AP)
125.0 x 162.0 cm
Art Gallery of New South Wales, Sydney Gift of the artist, 2011
Donated through the Australian Government’s Cultural Gifts Program

 

 

Mornington Peninsula Regional Art Gallery
Civic Reserve, Dunns Road, Mornington

Opening hours:
Tuesday – Sunday 10am – 5pm

Mornington Peninsula Regional Art Gallery website

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30
Oct
12

Video: ‘Cottees: There’s a lot to celebrate’ (2012) by GPYR-Melbourne / insidious racism?

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insidious
adj.
Proceeding in a gradual, subtle way, but with harmful effects

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There is a lot to celebrate living in Australia, the lucky country, especially if you are a white kid growing up in the perfect world of Cottees advertising. I have been viewing these TV commercials since 1986 and have yet to see an Indian, Asian, Aboriginal or child from a Muslim family in any of them. As far as I can see it is only white children of middle class suburban families that can “seize the day” in Cottee’s vision of contemporary Australia.

I ask my readers, do they think that these adverts promulgate a form of insidious racism? Are these adverts a form of racism by exclusion, rather than one by outright declamation?
Is this exclusion a form of societal system of oppression?

I leave the answer for you to decide.

Perhaps they should have said, “No matter how many white kids end up in your backyard, there’s always enough Cottee’s to go around…”

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“We’re all responsible for naming, and saying no to, racism. We must call it when we see it… Race hate, racism, careless words – can harm entire populations. They can change the way that we live together… Racism can only be resisted, and eradicated, through solidarity, and cooperation. There are no exceptions. History has no bystanders – only participants.”

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Graeme Innes AM, Race Discrimination Commissioner at the Australian Human Rights Commission, August 2011

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Cottees There’s a lot to celebrate (2012)

“This Sunday will see the launch of a new campaign for Cottee’s cordial. Created by George Patterson Y&R Melbourne, the commercial aims to take the brand back to its roots by celebrating the simple goodness of childhood – and the fact that no matter how many kids end up in your back yard at the end of the day, there’s always enough Cottee’s to go around.

Says Troy McKinna, advertising manager at Cottee’s: “We’re hoping the generation of Australians who grew up with classic ‘My dad picks the fruit’‚ ad will share this new Cottee’s classic with the next one.””

CLIENT:
Advertising Manger: Troy McKinna
Brand Manager: Karen Elsbury

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Cottee’s Cordial – Australian TV Commercial (1998)

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Cottee’s cordial ad from mid 90’s

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Cottees Cordial Australian Commercial 1980s

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Cottees Country Blend Cordial (nd)

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Cottees Cordial – Classic TV Commercial (nd)

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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: ‘Mask’ 1994

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