Posts Tagged ‘Australian sculptor

24
Feb
19

Review: ‘Clement Meadmore: The art of mid-century design’ at the Ian Potter Museum of Art, Melbourne

Exhibition dates: 20th November 2018 – 24th March 2019

Curators: Dean Keep and Jeromie Maver

 

 

Clement Meadmore (Australian, 1929-2005) 'Reclining chair' 1953

 

Clement Meadmore (Australian, 1929-2005)
Reclining chair
1953
Steel, cotton cord, rubber
Private collection

 

 

I have always loved the ordered forms, the elegiac simplicity of Clement Meadmore’s designs. Therefore, I very much looked forward to seeing this exhibition. Unfortunately, the installation left me feeling a little alienated both towards the objects themselves but more importantly, the artist and designer.

Simply put, the installation of the works was too clinical and cold, the designs either raised on white boxes or enclosed in metal frames… or both. If their presentation was to engender the idea that this was “art” – the art of mid-century design – by placing them in a “white cube”, isolating them from their functional context (in modernist homes, cafés and restaurants), then I was not buying what the exhibition was selling. The metal frames reminded me of the frame that surrounds some of Francis Bacon’s painting series, Study after Velázquez’s Portrait of Pope Innocent X (1946-mid-1960s), making this viewer want to scream at the museum control evidenced here.

The use of black and white walls didn’t help. In a jazz age (Meadmore was the most ardent admirer of jazz music) of music, colour and movement, and when Meadmore painted one of the interiors of his café in bold primary colours, the use of such bland colours seemed puzzling. Both I and my esteemed friend Joyce Evans, who knew Meadmore in New York and often went to the jazz clubs with him there, felt that the exhibition failed to capture the spirit of the artist, his wonderful personality – or the spirit of the age. The closest that the exhibition comes to that spirit, that sense of joie de vivre after the privations of the Second World War, are not works by Meadmore at all, but paintings that appeared on the wall of the Legend Expresso and Milk Bar interior c. 1956 by Leonard French titled The Legend of Sinbad the Sailor (1956, below). Here is a cacophony of sound, colour and movement redolent of the era.

Other things rankle. The importance of his contribution to the changing nature of the Melbourne art scene, and the Australian art scene in general, cannot be underestimated. Joyce Evans said to me that, as director of Gallery A, Meadmore’s influence on the direction of contemporary art in Melbourne was incredible, his influence in this sphere much more important than any of the designs he ever made. Other than a brief paragraph of wall text (below), there is little investigation into this aspect of Meadmore’s career in Australia. This is not the thrust of this exhibition as shown by its title, but to ignore his curatorial influence on contemporary art in Melbourne is, I believe, a mistake.

Further, while his groundbreaking designs are now presented as “art” – the hypothesis for the exhibition – at the time Meadmore’s sculpture was his art, his passion; his furniture and lighting was his business. What he did to pay the bills. Two facts are pertinent here: the fact that Meadmore did move to New York in 1963 to achieve international prominence as a sculptor, and the fact that after he moved to America he never made another chair. It says a lot about where his passion really lay.

Looking beyond all of these comments, it was absolutely fantastic to see the ordered forms, the simple functionality and elegant design of Meadmore’s objects, with his use of basic, everyday materials such as steel rod and cord to make his now iconic designs. Two things stood out for me. The ingenious sculptural steel base that enables the Calyx lamps to rest in two positions; and the most beautiful and sophisticated design and construction of the structure under a coffee table. The exhibition is worth visiting just to see these two design elements alone. But the work that most captures the spirit of the man better than anything else in this exhibition, and not the “art” on a pedestal, is that of a small welded steel and brass sculpture called The Trumpeter from 1957 (below). This is the man, the artist, in all his effervescence and gregariousness. It’s a pity the exhibition didn’t capture this spirit.

Marcus

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

 

 

“Space should reveal itself to the wandering eye. Furniture should enhance a feeling of space by its non-obstructing presence.”

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Clement Meadmore

 

 

GALLERY 1

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 1 of the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

Clement Meadmore: The art of mid-century design is the first major survey to focus on the industrial design practice of one of Australia’s most internationally successful artists. Curated by Dean Keep and Jeromie Maver, the exhibition charts the evolution of Clement Meadmore’s design aesthetic in the 1950s and early 60s, before he shifted his focus to sculpture, and highlights the role Meadmore played alongside Australia’s most innovative and progressive designers of the mid-century period.

The exhibition sheds light on a time when mid-century tastemakers sought to shape post-war Melbourne into a thriving and cosmopolitan city that, through the intersection of art, design and architecture, embodied the ideals and principles of the modernist aesthetic. Meadmore’s first furniture design, a steel rod and corded dining chair created in 1951, became an instant hit, catching the attention of the highly influential modernist architect Robin Boyd and receiving the Good Design Award from the Society of Interior Designers of Australia (SIDA). The chair would later form part of the iconic thirteen-piece series known as the Meadmore Originals.

For just over a decade, Meadmore produced a small range of innovative furniture and lighting designs, popular with architects, artists and designers of the period. The ground-breaking modern homes designed by architects such as Robin Boyd, Neil Clerehan and Peter McIntyre were not complete without Meadmore furniture or lighting, often placed alongside pieces by Frances Burke, Grant Featherston, Fred Lowen and Douglas Snelling. Meadmore’s furniture and designs were regularly featured in journals such as Australian Home Beautiful and Architecture and Arts, and sold at Marion Hall Best’s showrooms in Sydney and Frances Burke’s New Design store in Melbourne.

In 1955, prior to the 1956 Melbourne Olympics, Meadmore was commissioned by Ion Nicolades to design the interiors of the Legend Espresso and Milk Bar and the Teahouse, both in Melbourne. Drawing upon international modernism and a new-found passion for Italian culture, the Legend Espresso and Milk Bar is arguably one of Meadmore’s greatest achievements and became a touchstone for many young creatives in 1950s Melbourne.

In the latter part of the 1950s, Meadmore’s attention increasingly shifted to his sculptural practice and the gallery scene, whilst maintaining his industrial design practice. He would also play a pivotal role in establishing and managing Max Hutchinson’s Gallery A. Known as the Little Bauhaus, the gallery championed non-figurative art and industrial design, with Meadmore responsible for designing the gallery’s line of contract furniture.

The result of 10 years research, Clement Meadmore: The art of mid-century design presents many pieces for the first time, alongside newly discovered Meadmore designs. The exhibition also presents a rare opportunity to see original furniture and lighting designed by Meadmore for the modernist interiors of the Legend Espresso and Milk Bar and the Teahouse. The iconic designs in this exhibition – including chairs, tables, light fixtures, and graphics – are enlivened by archival images and documents, alongside interviews with the artist’s family and colleagues connected to the Melbourne art, jazz and design scenes of the 1950s. Clement Meadmore: The art of mid-century design showcases Meadmore’s rich design practice and shines a light on the important cultural shifts that shaped mid-century Melbourne.

Text from the Ian Potter Museum of Art website [Online] Cited 10/02/2019

 

Clement Meadmore (Australian, 1929-2005) 'Glass top coffee table' 1952

 

Clement Meadmore (Australian, 1929-2005)
Glass top coffee table
1952
Steel, glass, rubber
Harris/Atkins Collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005) 'Corded armchair' 1952

 

Clement Meadmore (Australian, 1929-2005)
Corded armchair
1952
Steel, cotton cord, hardwood, rubber
Private collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 1 of the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

GALLERY 2

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005) 'Three-legged plywood chair' 1955

 

Clement Meadmore (Australian, 1929-2005)
Three-legged plywood chair
1955
Painted steel, plywood, rubber
Harris/Atkins Collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

On the wall at rear is Erica McGilchrist (1926-2014) Frigidity from the series Moods 1954 and Clement Meadmore’s custom made frame. Pen and ink on paper; steel rod and hardwood (frame) Heide Museum of Modern Art, gift of Erica McGilchrist

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 2 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

Calyx Lighting

The Calyx lighting range takes design cues from Meadmore’s interest in international modernism, and represents an important shift in his practice. A distinctive feature of the Calyx range is the ingenious sculptural steel base, that enables the lamp to rest in two positions.

Using low-cost materials, readily available from local suppliers, the lamps required no welding and were designed to be easily manufactured and assembled in the workshop. Aluminium shades were hand-painted in a range of matt enamel colours, then baked in a beehive kiln in the backyard of Meadmore’s Burwood Road shop. All components were cut to size by Meadmore for quick assembly: the shade was easily fixed to the metal bracket using two metal pins and tap washers, then with the addition of a length of electrical flex, the finished product was ready or sale. The Calyx range was featured at the Anderson’s Furniture stand (also designed by Meadmore) at the Homes Exhibition in 1954.

Wall text

 

Clement Meadmore Calyx lighting design detail

Clement Meadmore Calyx lighting design detail

Clement Meadmore (Australian, 1929-2005) 'Calyx desk lamp' 1954

 

Clement Meadmore (Australian, 1929-2005)
Calyx desk lamp
1954
Steel, enamel paint on aluminium
Private collection

 

Clement Meadmore (Australian, 1929-2005) 'Calyx pendant lamp' 1954

 

Clement Meadmore (Australian, 1929-2005)
Calyx pendant lamp
1954
Steel, enamel paint on aluminium, steel
Harris/Atkins Collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 2 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

The work of Clement Meadmore (1929-2005), one of Australia’s most innovative and progressive designers from the mid-century period, will be on display at the Ian Potter Museum of Art from 20 November. This will be the first major survey of the influential industrial design work Meadmore undertook in Australia, before he moved to New York in 1963 and achieved international prominence as a sculptor.

The exhibition focuses on the crossover of art, design and architecture, featuring Meadmore’s iconic designs including chairs, tables and light fixtures. Rare archival images and documents, and interviews with the artist’s family and colleagues connected to the Melbourne art, jazz and design scenes of the 1950s will be on display alongside sculptures and structures.

Curated by Dean Keep and Jeromie Maver, the exhibition shines a light on Meadmore’s rich design practice and the important cultural shifts that shaped mid-century Melbourne. The display charts the evolution of the artist’s design aesthetic in the 1950s and early 1960s, cementing the role he played with the Australian design scene of this time.

Curator Dean Keep said, “The exhibition is an important retrospective showing a snapshot of time when mid-century tastemakers sought to turn Melbourne into a thriving and cosmopolitan city.”

It was in 1951 that Meadmore designed his first piece of furniture; a steel rod and corded dining chair which would form part of the iconic thirteen-piece series known as Meadmore Originals. This chair design became an instant hit, catching the attention of the highly influential modernist architect Robin Boyd.

For the next ten years, Meadmore produced a range of innovative furniture and lighting designs, popular with architects, artists and designers of the period. The ground-breaking modern homes designed by architects such as Robin Boyd, Neil Clerehan and Peter McIntyre were not complete without Meadmore furniture.

In the mid-1950s, Meadmore was commissioned to design the interiors of the Legend Espresso and Milk Bar in Melbourne, opening for the 1956 Melbourne Olympics. Before shifting towards sculpture in the late 1950s, Meadmore’s designs were regularly featured in popular lifestyle magazines and sold in designer department stores in Sydney and Melbourne.

Clement Meadmore: The art of mid-century design is on at Ian Potter Museum of Art, The University of Melbourne from 20 November 2018 to 3 March 2019.

This project has been assisted by a State Library Victoria Creative Fellowship.

Press release from the Ian Potter Museum of Art

 

 

GALLERY 3

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005)
Model for a six-hundered foot skyscraper
1978
Wood, gesso and paint
Collection of Rosalind Meadmore

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

 

Michael Hirst

The three tables presented here pose interesting questions about the business and design arrangements between Clement Meadmore and Michael Hirst, and ambiguous boundaries between authorship and attribution in some of the Hirst manufactured furniture.

The two tiled occasional tables, traditionally attributed to Hirst, were both made by Clement Meadmore and were presented by he designer as gifts to the Dallwitz family in Adelaide. Meadmore considered the tables as prototypes for a new design, sharing with the Dallwitz family his process of making them: first, the glass tiles were laid out to form a pattern, then affixed to adhesive paper and turned upside down. A square structure could then be built around them to hold the wet plaster or cement until it had set hard.

The Dining Table (c. 1959) manufactured by Hirst, was originally owned by the Rippin family, friends of both Hirst and Meadmore. Ailsa Rippin maintained throughout her life that the table was designed by Meadmore, an assertion supported by the aesthetic and structural similarities it shares with a coffee table Meadmore designed for Violet Dulieu and with one of his earliest welded sculptures (c. 1954).

Wall text

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 3 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

GALLERY 4

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

At left: Clement Meadmore. Door handle (from Thomas’ music store) c. 1959 welded steel Collection of Ken Neale
At right: Clement Meadmore. Untitled c. 1962 welded steel Private collection, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005)
The Trumpeter
1957
Welded steel, brass
Private collection, Canberra

 

Installation views of Gallery 4 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

GALLERY 5

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Photograph at rear is of the Teahouse interior c. 1958

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Artefacts relating to the Legend Expresso and Milk Bar including building application (1955), menu book and cups and saucers

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Photograph at rear is of the Legend Expresso and Milk Bar interior c. 1956, 239 Bourke Street, Melbourne Victoria, with Leonard French’s painting The Legend of Sinbad the Sailor
(1956, below) on the wall behind the counter. Courtesy of I. A. Nicolades and L. French. Credit: Leonard Janiszewski and Effy Alexakis. In Their Own Image: Greek-Australians; and chair for Legend Expresso and Milk Bar c. 1956, steel, brass, Collection of Mr John and Ms Dora Dallwitz

 

 

Café culture: the Legend and the Tea House

A time of great cultural shifts, the 1950s saw Melbourne evolve into a multi-cultural city enriched by the contributions of post-war migrants. The introduction of European café culture at this time had an enduring influence on the character of the city, as did the preparations for the 1956 Olympic Games, which prompted a major program of rebuilding and revitalisation, providing Clement Meadmore with the opportunity to create two of the most imaginative and original interiors in Melbourne.

Ion Nicolades was one of many business owners to remodel their premises in anticipation of the number of visitors soon to descend upon the city. Owner of the Anglo-American Café, a Melbourne institution which had operated on the same site since 1904, Nicolades approached Meadmore with the idea of transforming his business into a contemporary café, renamed the Legend Expresso and Milk Bar. Located in the heart of the city on Bourke Street, the space was divided by an internal wall, with the café to the left, and milk bar to the right – and ideal mix that would capitalise on its proximity to nearby offices and cinemas.

Noted on the plans as the ‘superintending architect’, Meadmore designed every aspect of the Legend, from structural elements through to interior design. From the stools, tables and steel rod chairs, through to the black metal pendant lights. Meadmore crafted an interior that embodied a playful mix of European modernism and contemporary styling. The refurbished Legend quickly became a hub for the young art and design crowd.

Nicolades soon commissioned Meadmore for a second project, the Tea House (also known as the T House). In contrast to the Italophile interiors of the Legend, this project blended British culture and Asian aesthetics with motifs from the botanical world. Meadmore’s subtle inclusion of visual metaphors can be seen in the shape of the chair backs, which reference tea leaves, and in the shape of his lighting: an allusion to the hats worn by plantation workers who picked the tea [see last installation photograph below]. Meadmore’s passion for geometry informed both the design and spatial arrangement of the interior and furnishings, creating a striking display of ordered forms. The rows of simple steel rod tables and chairs, enveloped by curtained walls that draw the eye deep into the room, demonstrate his ability to minimise visual weight and create a sense of light and space.

Wal text

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Leonard French (Australian, 1928-2017)
The Legend of Sinbad the Sailor
1956
Duco and enamel on board
La Trobe University Art Collection
Donated under the Australian Government Cultural Gifts Program by Mr Ion Nicolades 1999

 

 

Gallery A

Gallery A was an art gallery in Melbourne’s Flinders Lane, established in 1959 by Max Hutchinson and Clement Meadmore, who took the role of gallery director. The inaugural exhibition included work b the Italian abstract expressionist Franco Meneguzzo (Italian, b. 1924), who Meadmore had met in Milan six years earlier, alongside a group of Australia abstract painters, such as Meadmore’s housemate Peter Upward (Australian, 1932-1983). In a climate of conservatism within the Australian art scene, Gallery A was unapologetically progressive, showcasing non-figurative and abstract art alongside design. An exhibition featuring the work of Ludwig Hirschfield-Mack (1893-1965, German 1893-1939, arrived Australia 1940) in 1961 helped earn Gallery A the title of ‘Little Bauhaus’. In keeping with the Bauhaus principle of bridging the gap between art and industry, Gallery A’s activities extended beyond the exhibition of art and design to the production of a range of furniture, designed by Meadmore and manufactured by Hutchison’s company Adroit Manufacturing. Described as ‘contract furniture’, these designs were intended for commercial projects and were advertised in the gallery’s brochures.

Wall text

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 5 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

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

Opening hours:
Tuesday to Friday 10 am – 5 pm
Saturday and Sunday 12 – 5 pm

The Ian Potter Museum of Art website

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28
Jan
17

Review: ‘The sculpture of Bronwyn Oliver’ at TarraWarra Museum of Art, Healesville, Victoria

Exhibition dates: 19th November 2016 – 5th February 2017

Curator: Julie Ewington

 

 

Reading either side of the sign

Bronwyn Oliver and the invitation to imagine

 

John Berger once said, “The Renaissance artist imitated nature. The Mannerist and Classic artist reconstructed examples from nature in order to transcend nature. The Cubist realised that his awareness of nature was part of nature.”

And the postmodernist?

The postmodern artist regarded nature as a series of multiplicities that were impossibly complex to define, so were at once irrelevant but also beyond any new mythologizing. Nature was the green screen background used to mask (and transform) lives into any new series of narratives.

 

Thinking about the sculpture of Bronwyn Oliver in this magnificent retrospective of her work, I was struck by the classical beauty of form, attention to detail and delicacy of their construction. I noted their monochromatic palette and the self contained nature of all the works (with one word titles such as Wrap, Husk, Flare and Siren), as though they could not exist outside of themselves. And yet they do.

I thought long and hard about how Oliver’s biomorphic sculptures transcend time and space, how intractable metal becomes mutable object, metal into cosmos, nature. How they become a “form” (in energy terms) of transmitted, transmuted reality. And how you access that energy through their punctum, the shadows that they cast on the wall. And I had this feeling, of a lump in the throat, of a most visceral experience which made me have a tear in my eye for most of the time I was walking around the gallery.

For Oliver has created a new mythology through her imagination and in her nature through a series of multiplicities which is anything but irrelevant.

These objects from another time have an ancient feeling, slipping and slithering through the mud of evolution, nursing their young in enclosed spirals, or waiting for prey – open mouthed like pitcher plants – waiting for prey to drop into their interior. There is a darker side to these sculptures that is usually unacknowledged. Order and chaos, a formal, sculptural logic and poetic logic, always go hand in hand. In both dark light (ying yang), the complexity and simplicity of everything presented here vibrates and hums with energy. I imagine much like the artist herself.

When work is inspired like this, the sculptures seem to attain another temporal dimension. They take the viewer out of themselves and into another world. How does the artist make this happen?

Oliver makes this happen through reading either side of the sign. While there are obvious references to shell, heart, calligraphy, text, wrap, cloak, cell, flower, comet, spiral, sphere, ring and more in her work, she never didactically forces these signs on the viewer. She invites them to reimagine, to see the world and its land/marks in unfamiliar ways by shaping, twisting, and reinterpreting the sign. Individually and collectively, the nexus of the work (the series of connections linking two or more things) creates, “A presence, energy in my objects that a human being can respond to on the level of soul or spirit.”

This is the strength and beauty and energy of her work.

While the works look absolutely stunning in TarraWarra Museum of Art galleries, not everything is sunshine and light. Some of the shadows cast on the wall were unfocussed and lacked definition, inhibiting access to the appearance and disappearance of form and the multiplying physicality of the works. Stronger and more focused lighting was needed in these instances. Perhaps another curatorial opportunity was lost in not bringing together the numerous forms of sculpture such as Eddy 1993 and Swathe 1997 in one grouping within the gallery. On their own the forms became slightly repetitious; together, as Oliver notes of her circular works being in a series, “They each have the same format, but very different energies. Different lives.” I would have liked to have had the opportunity to compare and feel those different energies in a group, side by side. These are minor quibbles, however, as this is one of the most memorable exhibitions I have seen in years.

I cannot recommend this exhibition highly enough: not to be missed!

Dr Marcus Bunyan

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Many thankx to the TarraWarra Museum of Art for allowing me to publish the photographs in the posting. Please click on the photograph for a larger version of the image. All images unless stated underneath © Dr Marcus Bunyan and TarraWarra Museum of Art.

 

 

“I am trying to create life. Not in the sense of beings, or animals, or plants, or machines, but ‘life’ in the sense of a kind of force. A presence, energy in my objects that a human being can respond to on the level of soul or spirit.”

.
Bronwyn Oliver, 1991

 

 

Bronwyn Oliver (1959-2006) 'Mantle' 1985

 

Bronwyn Oliver (1959-2006)
Mantle
1985
Paper, fibreglass, dye
45.7 × 101.6 × 45.7 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Siren' 1986

 

Bronwyn Oliver (1959-2006)
Siren
1986
Paper, fibreglass, dye
71 × 91.5 × 76.2 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Home of a Curling Bird' 1988

 

Bronwyn Oliver (1959-2006)
Home of a Curling Bird
1988
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: Andrew Curtis

 

Bronwyn Oliver (1959-2006) 'Apostrophe' 1987

 

Bronwyn Oliver (1959-2006)
Apostrophe
1987
Copper and lead
100 × 100 × 60cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: Andrew Curtis

 

Bronwyn Oliver (1959-2006) 'Curlicue' (detail) 1991

 

Bronwyn Oliver (1959-2006)
Curlicue (detail)
1991
Copper wire
250 × 45 × 15cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Definition: A decorative curl or twist in calligraphy or in the design of an object.

 

Sonia Payes. 'Bronwyn Oliver' 2006

 

Sonia Payes
Bronwyn Oliver
2006
C-type photograph, edition of 10
127 x 127 cm
Courtesy of the artist

 

Bronwyn Oliver (1959-2006) 'Ring II' 1994

 

Bronwyn Oliver (1959-2006)
Ring II
1994
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

“I am quite please about the circular works being in a series. I have not worked through an idea like this before. I think they will look quite strong together. They each have the same format, but very different energies. Different lives.” ~ Bronwyn Oliver, 1994

 

Bronwyn Oliver (1959-2006) 'Wrap' 1997

 

Bronwyn Oliver (1959-2006)
Wrap
1997
Copper
45 × 35 × 12cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Husk' 1994

 

Bronwyn Oliver (1959-2006)
Husk
1994
Copper
Collection of Vivienne Sharpe
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Flare' 1997

 

Bronwyn Oliver (1959-2006)
Flare
1997
Copper
50 × 50 × 14 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Iris' 1989

 

Bronwyn Oliver (1959-2006)
Iris
1989
Copper
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Iris' 1989 (detail)

 

Bronwyn Oliver (1959-2006)
Iris (detail)
1989
Copper
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Hatchery' 1991

 

Bronwyn Oliver (1959-2006)
Hatchery
1991
Copper, lead and wood
50 × 70 × 60 cm
Artbank collection, purchased 1991
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Hatchery' 1991

 

Bronwyn Oliver (1959-2006)
Hatchery
1991
Copper, lead and wood
50 × 70 × 60 cm
Artbank collection, purchased 1991
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Hatchery' (1991) with 'Heart' (1988) beyond

 

Bronwyn Oliver (1959-2006)
Hatchery (1991) with Heart (1988) beyond
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

installation view, 'The Sculpture of Bronwyn Oliver', TarraWarra Museum of Art, 2016

 

Installation view (main gallery space), The Sculpture of Bronwyn Oliver, TarraWarra Museum of Art, 2016
L to R: Slip 1998, Anthozoa 2006, Unity 2001, Blossom 2004-05, Tress 1992
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: Andrew Curtis

 

Bronwyn Oliver (1959-2006) 'Slip' 1998

 

Bronwyn Oliver (1959-2006)
Slip
1998
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Clef' 1993

 

Bronwyn Oliver (1959-2006)
Clef
1993
Copper
110 × 45 × 40 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

“The ideas relate to the effect of the shadow as a drawing, and the appearance and disappearance of form.” ~ Bronwyn Oliver, 2006

 

Bronwyn Oliver (1959-2006) 'Clef' (detail) 1993

 

Bronwyn Oliver (1959-2006)
Clef (detail)
1993
Copper
110 × 45 × 40 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Anthozoa' (detail) 2006

 

Bronwyn Oliver (1959-2006)
Anthozoa (detail)
2006
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

Bronwyn Oliver (1959-2006) was one of the most significant Australian sculptors of recent decades. This first comprehensive survey of 50 key works, from the mid-1980s to the final solo exhibition in 2006, includes early works made in paper, major sculptures from public collections, and maquettes for many of her much-loved public sculptures.

Emerging in the early 1980s when many artists were turning to installation, video and other ephemeral art forms, Oliver resolutely pursued making complex and substantial works in a variety of materials, eventually exclusively in metal. Studying in the UK and working in Europe, Oliver came to artistic maturity at the time of an international resurgence of sculpture; having attained a Masters degree at Chelsea School of Art in 1982-83, she witnessed the nascent years of the ‘New British Sculpture’.

This exhibition reveals Bronwyn Oliver’s lyrical sensibility and inventiveness. She developed an original, distinctive and enduring vocabulary that expressed her fascination with the inner life and language of form, and she tenaciously followed the beguiling demands of her chosen materials.

‘My work is about structure and order. It is a pursuit of a kind of logic: a formal, sculptural logic and poetic logic. It is a conceptual and physical process of building and taking away at the same time. I set out to strip the ideas and associations down to (physically and metaphorically) just the bones, exposing the life still held inside.’1

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Oliver brought poetic brevity and decision to her sculpture. Many works suggest aspects of the natural world and its metaphorical potential, and a number of the public works are located in gardens. Yet works such as Home of a Curling Bird and Eddy evoke associations with shelter or natural movement or, as with Curlicue,conjure human mark-making with studied panache. Oliver’s work encompasses what appear to be archetypal forms, like shells, spirals, circles, and spheres; their delicate shapes trace shadows that become spectral drawings on the gallery wall, multiplying the physicality of the works.

Between 1986 and her death in 2006, Oliver presented 18 solo exhibitions and from 1983 participated in numerous group exhibitions in Australia and in Japan, the United Kingdom, France, Spain, Germany, New Zealand, Korea and China. At the same time, she undertook many commissions where she worked closely with clients and stakeholders, and for 19 years taught art to primary school students at Sydney’s Cranbrook School. Prodigiously hardworking, Oliver devised exquisite sculptures for the public domain, in locations as various as the Royal Botanic Gardens, Hilton Hotel and Quay Restaurant in inner-city Sydney, and at the University of New South Wales, as well as in Brisbane, Adelaide and Orange in regional NSW. Her work is held in most major Australian public collections, and in numerous collections in New Zealand, the United Kingdom, Europe and the USA.

As writer Hannah Fink memorably observed in 2006, ‘Bronwyn Oliver had that rarest of all skills: she knew how to create beauty.’ This exhibition is a tribute to that power.

Text from the TarraWarra Museum of Art website

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1. Bronwyn Oliver quoted in Hannah Fink, ‘Strange things: on Bronwyn Oliver’, in Burnt Ground, (ed. Ivor Indyk), Heat 4. New series, Newcastle: Giramondo Publishing Co, 2002, pp. 177-187.

 

installation view, 'The Sculpture of Bronwyn Oliver', TarraWarra Museum of Art, 2016

 

Installation view (main gallery space), The Sculpture of Bronwyn Oliver, TarraWarra Museum of Art, 2016
L to R: Eddy 1993, Shield 1995, Wand 1991, Blossom 2004-05, Lily 1995
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: Andrew Curtis

 

Bronwyn Oliver (1959-2006) 'Eddy' (detail) 1993

 

Bronwyn Oliver (1959-2006)
Eddy (detail)
1993
Copper
Art Gallery of South Australia
Gift of the Moët and Chandon Australian Art Foundation Fellow Collection 2000
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

“‘…the act of fabrication’ [is essential] … A couple of pairs of pliers, a wire-cutter, hand-drill, rivet gun and a Stanley knife is my usual kit. That’s what I’ll be taking to France. I’m compulsive. I’ll start work within 24 hours.” ~ Bronwyn Oliver, 1994

 

Bronwyn Oliver (1959-2006) 'Swathe' 1997

 

Bronwyn Oliver (1959-2006)
Swathe
1997
Copper
180 × 300 × 300 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Swathe' (detail) 1997

 

Bronwyn Oliver (1959-2006)
Swathe (detail)
1997
Copper
180 × 300 × 300 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Swathe' (detail) 1997

 

Bronwyn Oliver (1959-2006)
Swathe (detail)
1997
Copper
180 × 300 × 300 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Sonia Payes. 'Bronwyn Oliver' 2006

 

Sonia Payes
Bronwyn Oliver
2006
Courtesy of the artist

 

Bronwyn Oliver (1959-2006) 'Shield' 1995

 

Bronwyn Oliver (1959-2006)
Shield
1995
Copper
McClelland Gallery + Sculpture Park collection
Purchased with funds from the Elisabeth Murdoch Sculpture Foundation, 1995
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

“All in this series have a ‘ruched’ copper surface in common, and the idea of a swelling/breathing form beneath the surface. (Idea began with a (dreadful) sculpture seen in the Musée d’Orsay in 1990-91. Sculpture of a gladiator, in bronze, wearing ‘ruched’ leggings, with musculature taut beneath the surface of the cloth). Final work completed in Hautvillers studio.” ~ Bronwyn Oliver, 2006

 

Bronwyn Oliver (1959-2006) 'Lily' (detail) 1995

 

Bronwyn Oliver (1959-2006)
Lily (detail)
1995
Copper
Newcastle Art Gallery collection
Gift of Ann Lewis AO 2011
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

installation view, 'The Sculpture of Bronwyn Oliver', TarraWarra Museum of Art, 2016

 

Installation view (farther gallery space), The Sculpture of Bronwyn Oliver, TarraWarra Museum of Art, 2016
L to R: Striation 2004, Grandiflora (Bud) 2005, Rose 2006, Grandiflora (Bloom) 2005
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: Andrew Curtis

 

Bronwyn Oliver (1959-2006) 'Rose' 2006

 

Bronwyn Oliver (1959-2006)
Rose
2006
Copper
Collection © Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Rose' (detail) 2006

 

Bronwyn Oliver (1959-2006)
Rose (detail)
2006
Copper
Collection © Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Umbra' 2003

 

Bronwyn Oliver (1959-2006)
Umbra
2003
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Umbra' (detail) 2003

 

Bronwyn Oliver (1959-2006)
Umbra (detail)
2003
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Umbra' (detail) 2003

 

Bronwyn Oliver (1959-2006)
Umbra (detail)
2003
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Lock' 2002

 

Bronwyn Oliver (1959-2006)
Lock
2002
Copper
125 x 125 x 14 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Lock' (detail) 2002

 

Bronwyn Oliver (1959-2006)
Lock (detail)
2002
Copper
125 x 125 x 14 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

bronwyn-oliver-sakura-2006-web

 

Bronwyn Oliver (1959-2006)
Sakura
2006
Copper
48 × 48 × 20 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Ammonite' 2005

 

Bronwyn Oliver (1959-2006)
Ammonite
2005
Copper
95 × 90 × 90 cm
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

“Oliver developed an original, distinctive and enduring vocabulary that expressed her fascination with the inner life and language of form and the strict but beguiling demands of her chosen materials.

Above all, she brought an almost poetic brevity and decision to her sculpture. Many works suggest aspects of the natural world and its metaphorical potential, and some of the most successful public works are located in gardens. Yet Oliver always tenaciously followed the logic of her material, making works such as Eyrie or Eddy that evoke associations with shelter or natural movement or, as with Curlicue, conjure human mark-making with deliberate panache.

TarraWarra Director, Victoria Lynn, described the exhibition as a testament to the short but poignant contribution made by Oliver to Australian sculpture – a vision that remains exceptional in the history of Australian contemporary art.

“Oliver’s unique and labour-intensive approach involved joining threads of copper wire to create what appear to be woven forms that allow light to pass through their surface and cast shadows on the walls and floors. Her works resonate with the force of archetypes, and their green and brown patinas suggest an enduring presence that remains as relevant now as when they were first created. Some appear to be rescued from an archaeological past, while others resemble the quintessential forms found in nature: spirals, spheres, rings and loops,” Ms Lynn said.

Oliver was renowned for sensitive and inventive sculptures placed in the public domain, and she worked closely with clients, stakeholders and architects in their installation. This exhibition will include maquettes of some of Oliver’s much-loved public works, accompanied by working documents and images. Exhibition curator Julie Ewington said the exhibition, located within the museum building in TarraWarra’s magnificent grounds, will be the perfect setting for appreciating Oliver’s work.

 

Bronwyn Oliver (1959-2006)

Bronwyn Oliver was one of the outstanding Australian artists of her generation, and perhaps its leading sculptor. Originally working in cane and paper, by 1988 Oliver began working in metal, especially copper, and in the next two decades achieved a distinctive and enduring body of work. As writer Hannah Fink memorably observed in 2006, ‘Bronwyn Oliver had that rarest of all skills: she knew how to create beauty’.

Raised near Inverell in country New South Wales, in 1959, Bronwyn Oliver first studied sculpture in Sydney at Alexander Mackie College of Advanced Education from 1977-80. She said of her arrival at the College sculpture department, ‘I knew straight away I was in the right place’. After gaining the NSW Travelling Art Scholarship, Oliver completed a Masters’ degree in London at the Chelsea School of Arts in 1982-3. The recipient of numerous awards and fellowships, in 1988 Oliver was artist-in-residence in the French coastal city of Brest, where she studied Celtic metalworking; in 1994 she won the prestigious Moët & Chandon Award, which allowed her to spend a year living and working in France.

Oliver emerged in the 1980s at the same time as an international resurgence of contemporary sculpture. In response to the Conceptual and Minimal art of the prior decade, artists returned to the fabrication of sculptural form. Having attained a Masters of Sculpture at Chelsea School of Art in 1982-83, Oliver was witness to the nascent years of this celebration of form in British art, where it was known as ‘New British Sculpture’.

Between 1986, with her first solo show at Sydney’s Roslyn Oxley9 Gallery, and her death in 2006, Oliver presented 19 solo exhibitions, including a number at Christine Abrahams Gallery, Melbourne; in 2005-6, McClelland Gallery, at Langwarrin in Victoria, presented a selected survey of her work; and from 1983 onwards Oliver participated in numerous group exhibitions in Australia and internationally, including in Japan, the United Kingdom, France, Spain, Germany, New Zealand, Korea and China (her final solo exhibition was posthumous). At the same time, she undertook many commissions where she worked closely with clients and stakeholders, and for 19 years taught art to primary school students at Sydney’s Cranbrook School.

Prodigiously hardworking, Oliver was renowned for devising exquisite sculptures for the public domain, installed in locations as various as the Royal Botanic Gardens, the Hilton Hotel and Quay Restaurant in inner-city Sydney, and on the Kensington campus of the University of New South Wales. Other noted public works are in the Queen Street Mall, Brisbane, Hyatt Hotel, Adelaide and Orange Regional Gallery in regional NSW. Her work is also held in most major Australian public collections, and in numerous important public and private collections in New Zealand, the United Kingdom, Europe and the USA.

The Estate of Bronwyn Oliver is represented by Roslyn Oxley9 Gallery, Sydney.”

Press release from the TarraWarra Museum of Art

 

installation view, 'The Sculpture of Bronwyn Oliver', TarraWarra Museum of Art, 2016

 

Installation view (side gallery space), The Sculpture of Bronwyn Oliver, TarraWarra Museum of Art, 2016
Spiral IV 1993 and in case Women’s suffrage maquette 2002
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Spiral IV' (detail) 2003

 

Bronwyn Oliver (1959-2006)
Spiral IV (detail)
2003
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Spiral IV' (detail) 2003

 

Bronwyn Oliver (1959-2006)
Spiral IV (detail)
2003
Copper
Private collection
© Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Women's Suffrage maquette' (detail) 2002

 

Bronwyn Oliver (1959-2006)
Women’s Suffrage maquette (detail)
2002
Copper, nickel
Collection © Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

Bronwyn Oliver (1959-2006) 'Women's Suffrage maquette' (detail) 2002

 

Bronwyn Oliver (1959-2006)
Women’s Suffrage maquette (detail)
2002
Copper, nickel
Collection © Estate of Bronwyn Oliver. Courtesy Roslyn Oxley9 Gallery, Sydney
Photo: © TarraWarra Museum of Art and Dr Marcus Bunyan

 

 

TarraWarra Museum of Art
311 Healesville-Yarra Glen Road,
Healesville, Victoria, Australia
Melway reference: 277 B2
Tel: +61 (0)3 5957 3100

Opening hours:
Open Tuesday – Sunday, 11am to 5pm
Open all public holidays except Christmas day

Summer Season – open 7 days
Open 7 days per week from Boxing Day to the Australia Day public holiday

TarraWarra Museum of Art website

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12
Jan
15

New Fredrick White Sculpture website

 

I have made a new website for my friend FW. The site is fully responsive on all devices and showcases his amazing work to advantage.

Visit his new website.

Marcus

 

 

Fredrick White Sculpture website

 

Fredrick White Sculpture website
2015

 

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

 

Fredrick White
Transference
2014
Aluminium pipe
802 x 133 x 290 cm

Photographed at Pipemakers Park, Maribyrnong

 

 

Fredrick White Sculpture website

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07
Jun
13

Exhibition: ‘Sentinels’ by David Wood at Gasworks Arts Park, Albert Park

Exhibition dates: 29th May – 16th June 2013

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A solid first solo exhibition from my friend David Wood at Gasworks Arts Park. Conceptually the show needed a little tightening but technically the work is outstanding (as you would expect from the owner of Bent Metal and one of Melbourne’s best blacksmiths) and aesthetically pleasing. I particularly liked the topographic remapping of both Port Phillip Bay and St Kilda Junction. Anyone who knows Melbourne intimately would recognise the ramps and walkways that bisect the interior of the junction even in their abstract form, especially the tram ramp ascending from Dandenong Road to St Kilda Road. I also admired the Nardoo sentinels, which are to be made at full size for a public park in Berwick later in the year.

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

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David Wood. 'Ghost Gum Three' 2013

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David Wood
Ghost Gum Three
2013
Stainless steel and redgum
76 x 310 x 44 cm

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David Wood. 'Ghost Gum One' 2013

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David Wood
Ghost Gum One
2013
Stainless steel and redgum
72 x 170 x 39 cm

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David Wood. 'Ghost Gum Two' 2013

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David Wood
Ghost Gum Two
2013
Stainless steel and redgum
78 x 24 x 36 cm

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DSCN2621-WEB

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Installation view of the exhibition Sentinels by David Wood at Gasworks Art Park

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“My work has two main driving forces – a desire to explore and continue a blacksmithing inheritance and investigating place and how we interact with the physical world. I am interested in how landmarks within landscape can shape, reflect and define our Nation’s ethos and their place as sentinels within our history.

I use traditional forging techniques and prefer to leave hammer marks and traces of process exposed, as testament, on the finished sculpture. The medium itself represents an industry crucial to our economy but detrimental to our landscape.

This current group of work, inspired by the burning of two ghost gums in the Northern Territory is a personal muse on Australian culture. The burning of the ghost gums made famous by Albert Namatjira was a terrible act of vandalism. Small silvery ghostly gum trees stand upon burnt timber bases intended to evoke images of landscape and cultural practice, both ancient and current. Forged vessels take inspiration from the ghost gums’ colour and form.

The pieces are abstract representations in metals and timber of trees, mountain ranges and land formations. Mountain ranges are used to survey our cities and towns. They collect our water and are harvested for their riches. Once they were homes to spiritual beings.

I was born at the base of mount Baw Baw and have created homage. This mountain for me is a keeper of secrets. As an adult I live upon the shores of Port Phillip Bay, a quiet sleeping giant. St Kilda junction is a lyrical gesture to paths crossing and the corroboree tree that still watches over this site.

Bought together, the sculptures encapsulate a personal sense of belonging to a place. They also endeavour to explore greater cultural notions of ownership.”

Artist statement by David Wood

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David Wood. 'Port Phillip Bay' 2013

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David Wood
Port Phillip Bay
2013
Copper
33 x 33 x 70 cm

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David Wood. 'St Kilda Junction' 2013

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David Wood
St Kilda Junction
2013
Stainless steel, mild steel and copper
27 x 40 x 32 cm

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st-kilda-junction-detail-WEB

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David Wood
St Kilda Junction (detail)
2013

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DSCN2624-WEB

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David Wood. 'Nardoo sentinels' (detail) 2013

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David Wood
Nardoo sentinels (detail)
2013
Mild steel

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Nardoo sentinels

Inspired by classical structures within great gardens, in particular the Temple of the Winds in the Royal Melbourne Botanic Gardens, this functional sculpture reflects the transparency of our native landscape, significant in shaping our cultural ethos. Mirroring a cluster of trees with their canopy hovering above, it defines its space and surrounds. This group of sentinels stand together to offer protection from the elements.

The singular motif takes the form of nardoo, a native water and food plant. Its finishes mimicking its natural colours and hues. Intended to be a water collector, the shelter is engineered to allow rainwater to drain through its canopy and channel down its stems. Visibility of water flow adds a kinetic dimension to the sculpture. Commissioned exclusively by Pask Development Group, via Tract Landscape Architects, this rotunda is a central feature for a public park. It will stand proud later this year.

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David Wood. 'Nardoo sentinels' (left) and 'Reed Rotunda' (right) 2013

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David Wood
Nardoo sentinels (left) and Reed Rotunda (right)
2013
Mild steel

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David Wood. 'Reed rotunda' 2013

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David Wood
Reed rotunda
2013
Mild steel
70 x 70 x 46 cm

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Reed rotunda

The design derives a motif from the natural growth of the Phragmite Australis reeds, a wetland plant indigenous to our continent home.

The common reed is known to everyone and surrounds us. It plays an integral role in conservation as habitat and a guardian for wildlife. A natural purifier, removing toxins from our creeks and wetlands. A reed standing alone may be insignificant, but when congregating on mass, it becomes a formidable force in both structure and function. An organic organism that frames and protects the landscape, moves and changes colour with the seasons, rides the wind and plays with light and shade.

Often overlooked as a feature of landscape or viewed as slightly raggedy, this piece invites visitors to celebrate these reeds as something beautiful and to use them as a metaphor for community, refuge and purification of the spirit and soul.

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David Wood. 'Baw Baw wall feature' (detail) 2013

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David Wood. 'Baw Baw wall feature' (detail) 2013

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David Wood
Baw Baw wall feature (detail)
2013
Mild steel, stainless steel, copper, brass, aluminium and glass
6200 x 500 x 70 cm

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Gasworks Arts Park
21 Graham Street
Albert Park VIC 3206
T: (03) 8606 4200

Gallery Hours: 9am – 4pm each day

Gasworks Arts Park website

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30
May
13

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

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

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

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Alan Constable. 'Red NEK SLR' 2011

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

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

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

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

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

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

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

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

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

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acorangefront

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

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acolivefront

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

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

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

Arts Project Australia website

South Willard website

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17
Feb
13

Winner of the 2013 Montalto Sculpture Prize: ‘Abundance’ by Fredrick White

Exhibition dates: 17th February – 28th April 2013

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Congratulations to my best friend Fredrick White on winning the 2013 Montalto Sculpture Prize. Nobody deserves it more than you Fred. You work so hard on your amazing art with its dancing energy and spirit. Well done my brother!

See more of Fredrick White’s sculpture on his website.

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Fredrick White. 'Abundance' 2013

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Fredrick White
Abundance
2013
Aluminium pipe
440 x 80 x 70

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Fredrick White. 'Abundance' 2013 (detail)

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Fredrick White
Abundance (detail)
2013
Aluminium pipe
440 x 80 x 70

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Fredrick White. 'Abundance' 2013 (detail)

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Fredrick White
Abundance (detail)
2013
Aluminium pipe
440 x 80 x 70

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Fredrick White. 'Abundance' 2013 (detail)

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Fredrick White
Abundance (detail)
2013
Aluminium pipe
440 x 80 x 70

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Description of 'Abundance' by the artist Fredrick White

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Description of Abundance by the artist Fredrick White

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Fredrick White Sculpture website

Montalto Sculpture Prize website

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02
Jan
13

Melbourne’s magnificent eleven 2012

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Here’s my pick of the eleven best artists/exhibitions which featured on the Art Blart blog in 2012. Enjoy!

Marcus

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1/ Review: The work of Robyn Hosking, AT_SALON at Anita Traverso Gallery, Richmond

6th March – 24th March 2012

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Robyn Hosking
The Wing Walker
2011
Mixed media

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Robyn Hosking
The Wing Walker (detail)
2011
Mixed media

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… My favourite has to be The Wing Walker (2011) as an irate Julia Gillard tries to get rid of Kevin Rudd once and for all, even poking him with a stick to push him off the edge of the biplane. Balanced on a slowly revolving turntable with the world at its centre, this political merry-go round is panacea for the soul for people sick of politicians. This is brilliant political satire. The planes are all ends up and even when Julia thinks she has got rid of Kevin there he is, hanging on for dear life from the undercarriage of one of the planes…

Reminding me of the fantasy creatures of Tom Moore, these whimsical manifestations deal with serious, life changing and challenging issues with purpose, feeling and a wicked sense of humour. I really enjoyed this art (and joy is the correct word) because it takes real world issues, melds fantasy and pointed observation and reflects it back, as the artist observes, in a funfair’s distorted mirror. Magic!

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2/ Review: Martin Parr: In Focus at Niagara Galleries, Richmond, Melbourne

Exhibition dates: 6th March – 31st March 2012

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This is a fine exhibition of the work of celebrated English photographer Martin Parr at Niagara Galleries, Richmond, albeit with one proviso. The mainly large colour prints are handsomely displayed in plain white frames within the gallery space and are taken from his well known series: Last Resort, Luxury, New British and British Food. Parr’s work is at its best when he concentrates on the volume of space within the image plane and the details that emerge from such a concentrated visualisation – whether it be the tension points within the image, assemblage of colour, incongruity of dress, messiness of childhood or philistine nature of luxury.

And so it goes. The dirt under the fingernails of the child eating a doughnut, the lurid colours of the popsicle and jacket of the kid with dribble on his face, all fantastic… They are joyous paeans to the quirky, incongruous worlds in which we live and circulate. They evidence life itself in all its orthogonal absurdity.

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Martin Parr
England. New Brighton.
From the series Last Resort
1983 – 1985
Pigment print
Edition of 5
102 x 127 cm
Image courtesy of the artist and Niagara Galleries, Melbourne

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Martin Parr
England. New Brighton.
From the series Last Resort
1983 – 1985
Pigment print
Edition of 5
102 x 127 cm
Image courtesy of the artist and Niagara Galleries, Melbourne

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3/ Review: Tourist #5: Disappearing Project 1 – 41 by Nicola Loder at Helen Gory Galerie, Prahran, Melbourne

Exhibition dates: 14th March – 7th April 2012

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I have always loved the work of Nicola Loder ever since I saw her solo exhibition Child 1-175: A Nostalgia for the Present at Stop 22 Gallery in St Kilda in 1996. This exhibition is no exception. Loder is the consummate professional, her work is as imaginative and intriguing as ever and there has been a consistent thematic development of ideas within her work over a long period of time. These ideas relate to the nature of seeing and being seen, the mapping of identity and the process of its (dis)appearance…

Loder’s exquisitely sensuous description of disappearance allows us to see the phenomenal word afresh. I look forward with a sense of anticipation to the next voyage of discovery the artist will take me on.

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Tourist #5: Disappearing Project 1 – 41 by Nicola Loder, installation photograph at Helen Gorie Galerie

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Nicola Loder
Tourist #5: Disappearing Project 1-41 (no 11)
2012
Polyester thread, muslin
86 x 69cm

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4/ Review: Jane Brown / Australian Gothic at Edmund Pearce Gallery, Melbourne

Exhibition dates: 25th April – 12th May 2012

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Jane Brown
Big Trout, New South Wales
2010
Museo silver rag print
59 x 46 cm

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Jane Brown
Adelong, New South Wales
2011
Fibre based, silver gelatin print
16.5 x 20.5 cm

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This is a good exhibition of small, darkly hewn, traditionally printed silver gelatin photographs, beautifully hung in the small gallery at Edmund Pearce and lit in the requisite, ambient manner. There are some outstanding photographs in the exhibition. The strongest works are the surrealist tinged, film noir-ish mise-en-scènes, the ones that emphasise the metaphorical darkness of the elements gathered upon the stage. Photographs such as Big TroutThe Female Factory, Adelong, New South Wales and Captain’s Flat Hotel, New South Wales really invoke a feeling of unhomely (or unheimlich), where nature is out of kilter. These images unsettle our idea of Oztraliana, our perceived sense of Self and our place in the world. They disrupt normal transmission; they transmutate the seen environment, transforming appearance, nature and form.

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5/ Review: Jacqui Stockdale: The Quiet Wild at Helen Gory Galerie, Melbourne

Exhibition dates: 18th April – 19th May 2012

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Jacqui Stockdale
Rama-Jaara the Royal Shepherdess
2012
Type C Print
100 x 78cm

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Jacqui Stockdale
Lagunta Man, Leeawuleena
2012
Type C Print
100 x 78cm

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These are incredibly humorous, magical and symbolic photographs. A thought came into my mind when I was in the gallery surrounded by the work: for me they represented a vision of the Major Arcana of the Tarot (for example Jaguar Hombre could be seen as an inverted version of the Hanged Man with his foot in a figure four, the Hanged Man symbolising the need to just be in the world, yielding his mind and body to the Universal flow). The Major Arcana deal with the human condition, each card representing the joys and sorrows every man and woman can experience in a lifetime. In a way Stockdale offers us her own set of subversive Major Arcana, images that transgress the boundaries of the colonial vernacular, offering the viewer a chance to explore the heart of the quiet wild.

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6/ Review: Littoral by Kristian Laemmle-Ruff at Colour Factory Gallery, Fitzroy

Exhibition dates: 4th May – 26th May 2012

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It was such a joy then to walk around the corner from the CCP to the Colour Factory Gallery and view the exhibition Littoral by emerging artist Kristian Laemmle-Ruff. This is one of the best, if not the best, “photography” exhibition I have seen so far this year. As soon as you walk into the simple, elegant gallery you are surrounded by fourteen large scale horizontal photographs that are suffused with colour variations bouncing across the gallery – here a blue, there a green, now a lush orange palette. The effect is much like Monet’s waterlilies at the Musée de l’Orangerie in Paris; seated in the middle of the four curved paintings you are surrounded by large daubs of paint of various hues that have an elemental effect – resonances of earth, air, water, fire – on the viewer. The same affection of colour and space can be found in Laemmle-Ruff’s photographs.

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Kristian Laemmle-Ruff
Olympic Stadium
2012
Type C print
100cm x 67cm

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Kristian Laemmle-Ruff
Truck in Safi
2010
Type C print
100cm x 67cm

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7/ Review: Lost & Found: Family Photos Swept away by the 3.11 East Japan Tsunami at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 1st June – 15th July 2012

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What we are left with in these images are vestiges of presence, remnants or traces of people that have passed on. In a kind of divine intervention, these photographs ask the viewer questions about the one fact that we cannot avoid in our lives, our own mortality, and what remains after we pass on. We can never know these people and places, just as we can never know the place and time of our death – when our “time” is up – but these photographs awaken in us a subconscious remembering: that we may be found (in life), then lost (through death), then found again in the gaze of the viewer looking at the photographs in the future present. We are (dis)continuous beings.

There is no one single reading of these photographs for “there are only competing narratives and interpretations of a world that cannot be wholly, accurately described.” These indescribable photographs impinge on our consciousness calling on us to remember even as the speed of contemporary life asks us to forget. This ethical act of looking, of mourning and remembering, of paying homage to presence acknowledges that we choose not to let pass into the dark night of the soul these traces of our forebears, for each emanation is deeply embedded within individual and cultural memory.

These photographs are a contemporary form of Western ‘dreaming’ in which we feel a link to the collective human experience. In this reification, we bear witness to the (re)assemblance of life, the abstract made (subconsciously) concrete, as material thing. These images of absent presence certainly reached out and touched my soul. Vividly, I choose to remember rather than to forget.

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8/ Review: Berlinde De Bruyckere: We are all Flesh at the Australian Centre for Contemporary Art (ACCA), Melbourne

Exhibition dates: 2nd June – 29th July 2012

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The main work We Are All Flesh (2012) reminded me of a version of the game The Hanged Man (you know, the one where you have to guess the letters of a word and if you don’t get the letter, the scaffold and the hanged man are drawn). The larger of the two hanging pieces featured two horse skins of different colours intertwined like a ying yang paux de deux. Psychologically the energy was very heavy. The use of straps to suspend the horses was inspired. Memories of Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp and The Godfather rose to the surface. My favourite piece was 019 (2007). Elegant in its simplicity this beautiful display case from a museum was dismantled and shipped over to Australia in parts and then reassembled here. The figurative pieces of wood, made of wax, seemed like bodies drained of blood displayed as specimens. The blankets underneath added an element of comfort. The whole piece was restrained and beautifully balanced. Joseph Beuys would have been very proud.

The “visceral gothic” contained in the exhibition was very evident. I liked the artist’s trembling and shuddering. Her narratives aroused a frisson, a moment of intense danger and excitement, the sudden terror of the risen animal

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Berlinde De Bruyckere
We Are All Flesh
2012
Treated horse skin, epoxy, iron armature
280 x 160 x 100 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

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Berlinde De Bruyckere
019
2007
Wax, epoxy, metal, glass, wood, blankets
293.5 x 517 x 77.5 cm
Private Collection, Paris

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9/ Review: Light Works at NGV International, Melbourne

Exhibition dates: 23rd March – 16th September 2012

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This is an intimate and stimulating photographic exhibition at the NGV International featuring the work of artists Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand. It is fantastic to see an exhibition of solely contemporary photographs at the National Gallery of Victoria taken from their collection (with nary a vintage silver gelatin photograph in sight!), one which examines the orchestration of light from which all photography emanates – used by different photographers in the creation, and there is the key word, of their work. Collectively, the works seem to ooze a mysterious inner light, a facing towards the transcendent divine – both comforting, astonishing and terrifying in part measure.

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Hiroshi Sugimoto
Japanese 1948-, worked in United States 1972-
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph
42.3 x 54.1 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Bowness Family Fund for Contemporary Photography, 2009
© Hiroshi Sugimoto, courtesy The Pace Gallery, New York

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Mike Starn
American 1961-
Doug Starn
American 1961-
Sol Invictus
1992
Orthographic film, silicon, pipe clamps, steel and adhesive tape
175.0 x 200.0 x 35.0 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the National Gallery Women’s Association, 1994
© Doug Starn, Mike Starn/ARS, New York. Licensed by VISCOPY, Sydney

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10/ Review: Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 28th September – 11th November 2012

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In his visual mosaics Crewdson engages our relationship with time and space to challenge the trace of experience. His tableaux act as a kind of threshold or hinge of experience – between interior and exterior, viewer and photograph. His photographs are a form of monism in which two forces (interior / exterior) try to absorb each other but ultimately lead to a state of equilibrium. It is through this “play” that the context of the photographs and their relationship to each other and the viewer are “framed.” This device emphasises the aesthetic as much as information and encourages the viewer to think about the relationship between the body, the world of which it is part and the dream-reason of time. This intertextual (n)framing (n meaning unspecified number in mathematics) encourages the viewer to explore the inbetween spaces in the non-narrative / meta-narrative,”and by leaps (intuitive leaps, poetic leaps, leaps of faith)” encourage escapism in the imagination of the viewer. It is up to us as viewers to seek the multiple, disparate significances of what is concealed in each photograph as “felt knowledge” (Walter Benjamin), recalling to mind the sensory data placed before our eyes, something that can be experienced but cannot be explained by man: “the single moment of the present amidst the transience of life and searching for some kind of eternal truth.”

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Installation photograph of the series Beneath the Roses from the exhibition Gregory Crewdson: In a Lonely Place at the Centre for Contemporary Photography (CCP), Melbourne

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© Gregory Crewdson. Courtesy Gagosian Gallery

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11/ Exhibition: Janina Green: Ikea at Edmund Pearce Gallery, Melbourne

Exhibition dates: 28th November 28 – 15th December 2012

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Installation photograph of 'Ikea' by Janina Green at Edmund Pearce Gallery, Melbourne

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Installation photograph of Ikea by Janina Green at Edmund Pearce Gallery, Melbourne

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Janina Green. 'Orange vase' 1990 reprinted 2012

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Janina Green
Orange vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, handtinted with orange photo dye
85 x 70 cm

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Fable = invent (an incident, person, or story)

Simulacrum = pretends to be a faithful copy, but it is a copy with no original

Performativity = power of discourse, politicization of abjection, ritual of being

Body / identity / desire = imperfection, fluidity, domesticity, transgression, transcendence

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Intimate, conceptually robust and aesthetically sensitive.
The association of the images was emotionally overwhelming.
An absolute gem. One of the highlights of the year.

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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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