Posts Tagged ‘Francis Bacon Study after Velázquez’s Portrait of Pope Innocent X

26
Mar
09

Exhibition: ‘Francis Bacon’ at the Museo Nacional del Prado, Madrid

Exhibition dates: 3rd February – 19th April 2009

 

Francis Bacon (1909-1992) 'Triptych inspired by T.S. Eliot's 'Sweeney Agonistes'' 1967

 

Francis Bacon (1909-1992)
Triptych inspired by T.S. Eliot’s ‘Sweeney Agonistes’
1967
Oil on canvas
198 x 147.5 cm (each)
Washington, D.C. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Gift of the Joseph H. Hirshhorn Foundation, 1972

 

 

Looks like an amazing exhibition of Francis Bacon’s work, one of my favourite artists – I wish I could see it!

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Many thankx to the Museo Nacional del Prado for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

The exhibition is constructed in different sections

  • Animal
  • Zone
  • Apprehension
  • Crucifixion
  • Crisis
  • Archive
  • Portrait
  • Memorial
  • Epic
  • Late

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Bacon’s work demonstrates marked similarities to that of many of the Spanish artists he admired. (Manuela Mena, co-curator of the exhibition at the Prado, has written an excellent essay on this topic that can be found in the exhibition’s catalog.) The retrospective at the Prado provides a rare opportunity to compare Bacon to some of the Spanish masters that influenced him.

Start by meandering through the vast Bacon exhibition. Spread between two floors of the new wing of the Prado, the exhibition has brought together Bacon’s most important works from nearly his entire artistic production. It begins with the work that put Bacon on the map, “Three Studies for Figures at the Foot of a Crucifixion” (1944), and follows his work through the interpretations of Velázquez, crucifixion triptychs, his unique portraits and the late works through the years shortly before his death.

Text from the Prado website

 

Francis Bacon (1909-1992) 'Three Studies for Figures at the Base of a Crucifixion' c. 1944

 

Francis Bacon (1909-1992)
Three Studies for Figures at the Base of a Crucifixion
c. 1944
Oil on board
94 x 73.7 cm
London, Tate, presented by Eric Hall 1953

 

 

Animal

A philosophical attitude to human nature first emerges in Francis Bacon’s works of the 1940s. They reflect his belief that, without God, humans are subject to the same natural urges of violence, lust and fear as any other animal. He showed Figure in a Landscape and Three Studies for Figures at the Base of a Crucifixion in April 1945, and exhibited consistently thereafter. The bestial depiction of the human figure was combined with specific references to recent history and especially the devastating events of the Second World War. Bacon often drew his inspiration from reproductions, acquiring a large collection of books, catalogues and magazines. He repeatedly studied key images in order to probe beneath the surface appearance captured in photographs. Early concerns that would persist throughout his work include the male nude, which reveals the frailty of the human figure, and the scream or cry that expresses repressed and violent anxieties. These works are among the first in which he sought to balance psychological insights with the physical identity of flesh and paint.

 

Francis Bacon. 'Study after Velázquez’s Portrait of Pope Innocent X' 1953

 

Francis Bacon (1909-1992)
Study after Velázquez’s Portrait of Pope Innocent X
1953
Oil on canvas
153 x 118 cm
Des Moines, Nathan Emory Coffin Collection of the Des Moines Arts Center, purchased with funds from the Coffin Fine Arts Trust

 

 

Zone

In his paintings from the early 1950s, Bacon engaged in complex experiments with pictorial space. He started to depict specific details in the backgrounds of these works and created a nuanced interaction between subject and setting. Figures are boxed into cage-like structures, delineated ‘space-frames’ and hexagonal ground planes, confining them within a tense psychological zone. In 1952 he described this as “opening up areas of feeling rather than merely an illustration of an object”. Through his technique of ‘shuttering’ with vertical lines of paint that merge the foreground and background, Bacon held the figure and the setting together within the picture surface, with neither taking precedence in what he called “an attempt to lift the image outside of its natural environment”.

A theme that emerged in the 1950s was the extended series of variants of Velázquez’s Portrait of Pope Innocent X, 1650 (Rome, Galleria Doria Pamphilj), a work Bacon knew only from illustrations. He used this source to expose the insecurities of the powerful – represented most often in the scream of the caged figure. Through the open mouth Bacon exposed the tension between the interior space of the body and the spaces of its location, which is explored more explicitly in the vulnerability of the ape-like nudes.

 

Francis Bacon. 'Chimpanzee' 1955

 

Francis Bacon (1909-1992)
Chimpanzee
1955
Oil on canvas
152.5 x 117 cm
Stuttgart, Staatsgalerie

 

 

Apprehension

Implicit throughout Bacon’s work of the mid 1950s is a sense of dread pervading the brutality of everyday life. Not only a result of Cold War anxiety, this seems to have reflected a sense of menace at a personal level emanating from Bacon’s chaotic affair with Peter Lacy (who was prone to drunken violence) and the wider pressures associated with the continuing illegality of homosexuality. The Man in Blue series captures this atmosphere, concentrating on a single anonymous male figure in a dark suit sitting at a table or bar counter on a deep blue-black ground. Within their simple painted frames, these awkwardly posed figures appear pathetically isolated.

Bacon’s interest in situations that combine banality with acute apprehension was also evident in other contemporary works. From figures of anxious authority, his popes took on malevolent attributes and physical distortions that were directly echoed in the paintings of animals, whose actions are also both sinister and undignified. Some of these images derived from Bacon’s close scrutiny of the sequential photographs of animals and humans taken by Eadweard Muybridge (1830-1904), which he called “a dictionary” of the body in motion.

 

Francis Bacon (1909-1992) 'Three Studies for a Crucifixion' 1962

 

Francis Bacon (1909-1992)
Three Studies for a Crucifixion
1962
Oil on canvas
198.2 x 144.8 cm
New York, Solomon R. Guggenheim Museum

 

 

Crucifixion

Bacon made paintings related to the Crucifixion at pivotal moments in his career, which is why these key works are gathered here. The paradox of an atheist choosing a subject laden with Christian significance was not lost on Bacon, but he claimed, “as a non-believer, it was just an act of man’s behaviour”. Here the instincts of brutality and fear combine with a deep fascination with the ritual of sacrifice. Bacon had already made a very individual crucifixion image in 1933 before returning to the subject with his break-through triptych Three Studies for Figures at the Base of a Crucifixion in 1944. This is a key precursor to later themes and compositions, containing the bestial distortion of human figures within the triptych format. These monstrous creatures displace the traditional saints and Bacon later related them to the Eumenides – the vengeful furies in Greek mythology. In resuming the theme in the 1960s, especially in 1962 as the culmination of his first Tate exhibition, Bacon used references to Cimabue’s 1272-1274 Crucifixion to introduce a more explicitly violent vision. Speaking after completing the third triptych in 1965 he simply stated: “Well, of course, we are meat, we are potential carcasses”.

 

 

Francis Bacon. 'Paralytic Child Walking on All Fours (from Muybridge)' 1961

 

Francis Bacon (1909-1992)
Paralytic Child Walking on All Fours (from Muybridge)
1961
Oil on canvas
198 x 142 cm
The Hague, Collection Gemeentemuseum Den Haag

 

 

Crisis

Between 1956 and 1961, Bacon travelled widely. He spent time in places marginal to the art world, in Monaco, the South of France and Africa, and particularly with Peter Lacy in the ex-patriot community in Tangier. In this rather unsettled context, he explored new methods of production, shifting to thicker paint, violently applied and so strong in colour as to indicate an engagement with the light of North Africa. This was most extreme in his series based on a self-portrait of Van Gogh, The Painter on the Road to Tarascon (1888, destroyed), which became an emblem of the modern predicament. Despite initial acclaim, Bacon’s Van Gogh works were soon criticised for their “reckless energy” and came to be viewed as an aberration. They can now be recognised as pivotal to Bacon’s further development, however, and allow glimpses into his search for new ways of working. His innovations were perhaps in response to American Abstract Expressionism, of which he was publicly critical. Although he eventually returned to a more controlled approach to painting, the introduction of chance and the new vibrancy of colour at this moment would remain through out his career.

 

Archive

The posthumous investigation of Bacon’s studio confirmed the extent to which he used and manipulated photographic imagery. This practice was already known from montages recorded in 1950 by the critic Sam Hunter. Often united by a theme of violence, the material ranges between images of conflict, big game, athletes, film stills and works of art.

An important revelation that followed the artist’s death was the discovery of lists of potential subjects and preparatory drawings, which Bacon had denied making. Throughout his life, he asserted the spontaneous nature of his work, but these materials reveal that chance was underpinned by planning.

Photography offered Bacon a dictionary of poses. Though he most frequently referred to Eadweard Muybridge’s (1830-1904) survey of human and animal locomotion, images of which he combined with the figures of Michelangelo, he remained alert to photographs of the body in a variety of positions.

A further extension of Bacon’s preparatory practices can be seen in his commissioning of photographs of his circle of friends from the photographer John Deakin (1912-1972). The results – together with self-portraits, photo booth strips, and his own photographs – became important prompts in his shift from generic representations of the human body to portrayals of specific individuals.

 

A matrix of images

Bacon’s use of photographic sources has been known since 1950 when the critic Sam Hunter took three photographs of material he had selected from a table in Bacon’s studio in Cromwell Place, South Kensington. Hunter observed that the diverse imagery was linked by violence, and this fascination continued throughout Bacon’s life. Images of Nazis and the North African wars of the 1950s were prominent in his large collection of sources. Films stills and reproductions of works of art, including Bacon’s own, were also common. The dismantling of Bacon’s later studio, nearby at Reece Mews, after his death confirmed that the amassing of photographic material had remained an obsession. While some images were used to generate paintings, he also seems to have collected such an archive for its own sake.

 

The mediated image

From the 1960s, Bacon’s accumulation of chance images began to include a more deliberate strategy of using photographs of his close circle. They became key images for the development of the portraits that dominated his paintings at this time. Snap shots and photo booth strips were augmented by the unflinching photographs taken by his friend John Deakin. Bacon specifically commissioned some of these from Deakin as records of those close to him – notably his partner from 1962, George Dyer – and they served as sources for likenesses and for poses for the rest of his career.

 

The Physical Body

Bacon drew more from Eadweard Muybridge’s sequential photographs of human and animal locomotion than from any other source. These isolated the naked figure in a way he clearly found stimulating. He also, however, spoke of projecting on to them Michelangelo’s figures which for him had more “ampleness” and “grandeur of form”.

His fascination in photography’s freezing of the body in motion led him to collect sports photographs, particularly boxing, cricket and bullfighting. It was not just movement but the physicality of the body that Bacon scrutinised, using found images to provoke new ways of picturing its strength and vulnerability.

 

 

Francis Bacon. 'Portrait of Isabel Rawsthorne Standing in a Street in Soho' 1967

 

Francis Bacon (1909-1992)
Portrait of Isabel Rawsthorne Standing in a Street in Soho
1967
Oil on canvas
198 x 147.5 cm
Berlin, Staatliche Museen zu Berlin, Nationalgalerie

 

 

Portrait

During the 1960s, the larger part of Bacon’s work shifted focus to portraits and paintings of his close friends. These works centre on two broad concerns: the portrayal of the human condition and the struggle to reinvent portraiture. Bacon drew upon the lessons of Van Gogh and Velázquez, but attempted to rework their projects for a post-photographic world. His approach was to distort appearance in order to reach a deeper truth about his subjects. To this end, Bacon’s models can be seen performing different roles. In the Lying Figures series, Henrietta Moraes is naked and exposed. This unprecedented raw sexuality reinforces Bacon’s understanding of the human body simply as meat. By contrast Isabel Rawsthorne, a fellow painter, always appears in control of how she is presented. With a mixture of contempt and affection, Bacon depicted George Dyer, his lover and most frequent model, as fragile and pathetic. This is especially evident in Dyer’s first appearance in Bacon’s work, in Three Figures in a Room, in which he represents the absurdities, indignities and pathos of human existence. Everyday objects occasionally feature in these works, hollow props for lonely individuals which reinforce the sense of isolation that Bacon associated with the human condition.

 

Francis Bacon (1909-1992) 'Triptych - August 1972' 1972

 

Francis Bacon (1909-1992)
Triptych – August 1972
1972
Oil on canvas
198 x 147.5 cm
London, Tate

 

 

Memorial

This room is dedicated to George Dyer who was Bacon’s most important and constant companion and model from the autumn of 1963. He committed suicide on 24 October 1971, two days before the opening of Bacon’s major exhibition at the Grand Palais in Paris. Influenced by loss and guilt, the painter made a number of pictures in memorial to Dyer. From this period onwards the large-scale triptych was his established means for major statements, having the advantage of simultaneously isolating and juxtaposing the participating figures, as well as guarding against narrative qualities that Bacon strove to avoid. But while evading narrative, Bacon drew more than ever from literary imagery; the first of the sequence, Triptych In Memory of George Dyer 1971, refers to a specific section of T.S. Eliot’s The Waste Land (1922). In addition to his own memory, for Triptych – August 1972 Bacon relied on photographs, taken by John Deakin, of Dyer in various poses on a chair. He confined his dense and energetic application of paint to the figures in these works. The dark openings consciously evoke the abyss of mortality that would become a recurring concern in Bacon’s later works.

 

Francis Bacon (1909-1992) 'Triptych' 1987

 

Francis Bacon (1909-1992)
Triptych
1987
Oil on canvas
198 x 147.5 cm
London, The Estate of Francis Bacon, courtesy Faggionato Fine Art

 

 

Epic

References to poetry and drama became a central element in Bacon’s work from the second half of the 1960s. Alongside images of friends and single figures (often self-portraits), he produced a series of grand works that identified with great literature. Imbued with the inevitability and constant presence of death, the poetry of T.S. Eliot was a particular source of inspiration. The sentiments of the poet’s character Sweeney could be said to echo the painter’s perspective on life:

Birth, and copulation, and death.

That’s all the facts when you come to

brass tacks:

Birth, and copulation, and death.

The works in this room refer to and derive from literature. Some make direct references in their titles, others depict, sometimes abstractly, a certain scene or atmosphere within the narratives themselves. Bacon repeatedly stated that none of his paintings were intended as narratives, so rather than illustrations, these works should perhaps be understood as evoking the experience of reading of Eliot’s poetry or Aeschylus’s tragedies: their violence, threat or erotic charge. Thus, of the triptych created after reading Aeschylus, Bacon explained “I tried to create images of the sensations that some of the episodes created inside me”.

 

Francis Bacon. 'Portrait of John Edwards' 1988

 

Francis Bacon (1909-1992)
Portrait of John Edwards
1988
Oil on canvas
198 x 147.5 cm
The Estate of Francis Bacon, courtesy of Faggionato Fine Arts, London, and Tony Shafrazi Gallery, New York

 

 

Late

When Bacon turned seventy in 1979, more than a decade of work lay ahead of him. Neither his legendarily hedonistic lifestyle nor his work pattern seemed to age him, but he was continually facing up to mortality through the deaths of those around him. This unswerving confrontation, however mitigated by youthful companions such as John Edwards, became the great theme of his late style. Constantly stimulated by new source material – for example the photographs and the poetry of Federico García Lorca which triggered his bullfight paintings – he was able to adapt them to his abiding concerns with the vulnerability of flesh. Exploring new techniques he also extended his fascination with how appropriate oil paint is for rendering the human body’s sensuality and sensitivity. A certain despairing energy may also be felt in the forceful throwing of paint that dominates some of these final works: the controlled chance as a defiant gesture. Ultimately, and appropriately, Bacon’s last triptych of 1991 returns to the key image of sexual struggle that had frequently recurred in his work. He faced death with a defiant concentration on the exquisiteness of the lived moment.

 

 

Museo Nacional Del Prado
Paseo del Prado, s/n,
28014 Madrid, Spain

Opening hours:
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Sunday 10am – 7pm

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12
Dec
08

Review: ‘The Art of Existence’ exhibition by Les Kossatz at Heide Museum of Modern Art, Melbourne

Exhibition dates: 22nd November – 8th March 2009

 

Les Kossatz. 'Digger's glory box' 1965

 

Les Kossatz
Digger’s glory box
1965
Silk, felt, canvas, cardboard, wood, brass, ink, fibre-tipped pen and synthetic polymer paint
106.0 x 76.0 x 7.0 cm
Courtesy the artist
Photographer: Viki Petherbridge
© Les Kossatz

 

 

Heide Museum of Modern Art has brought together nearly 100 pieces of work by the Australian artist Les Kossatz in an eclectic survey show, appropriately titled The Art of Existence. Featuring sculpture, painting and mixed media from the 1960s to the present the exhibition is appropriately titled because Kossatz’s work addresses certain archetypal themes that affect human existence:

His life-long fascination with the natural world and desire to understand both its human and animal inhabitants; exploration of the systems of knowledge and codes of behaviour that structure individual and communal life; and his critical and playful reflections on contemporary behaviour and the mysteries of existence.”1

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Strong symbolic paintings are the focus of the work in the 1960s, paintings that address the shocking brutality of war and its aftermath, when soldiers return home. To the observation that these are of the ‘pop-style’ school of painting suggested by the Heide website I feel these works are also influenced by the collage of Cubism, the boxes of Joseph Cornell and the dismembered bodies of Francis Bacon. They engage with the symbolism of war and remembrance: memory, myth, and the banality of heroism and sacrifice.

The key work in this series is the painting Diggers throne (1966). This is a powerful disturbing image, effervescent and unnerving at the same time. It features a disembodied arm on the hand of a throne, surrounded by a wonderful kaleidoscopic assemblage of pictorial planes, artefacts and memories – an English flag, the flag of St George, a crown, medals and the words RSL. The arm reminds me of the Francis Bacon painting Study after Velázquez’s Portrait of Pope Innocent X (1953) as it rests, roughly drawn in pencil on the arm of the throne, drawing the eye back up into nothingness.

The Diggers throne painting also features these prophetic words:

“throne slow to rot
and twisted the memory
becomes sacred.
Bloody was the truth
And this a chair.”

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All other work in this period seems to flow through this painting – the other large paintings, the small canvases featuring individual medals and the less successful hanging banners. But it is to this work we return again and again as a viewer, trying to decipher and reconcile our inner conflicts about the painting.

As we move into the 1970s the work changes focus and direction. There emerges a concern with the desecration of the Australian landscape investigated in a series of large paintings and sculptures. In Packaged landscape 1 (1976) a steel suitcase with leather straps, slightly ajar, fulminates with artificial gum leaves trying to escape the strictures of the trap. In Caged landscape (1972) nature is again trapped behind steel wire, weighed in the balance on a set of miniature scales. The paintings feature trees that are surrounded by concrete and the rabbit becomes a powerful symbol for Kossatz – a suffering beast, strung up on fences, a plague in a pitted landscape of chopped down trees, erosion and empty holes.

Into this vernacular emerges the key symbol of the artist’s oeuvre – the sheep. In 1972 Kossatz began a series of sculptures of sheep, “initially inspired by the experience of nursing an injured ram.” For Kossatz “the sheep represent the hardship of pioneer existence, the grazing industries prosperity, environmental concerns and the sheep act as narrative devices, potent metaphors for human behaviour.”2

The first sheep presented ‘in show’ is Ram in Sling (1973, below). In this sculpture a metal bar is suspended in mid-air and from this bar heavy wire mesh drops to support the fleecy stomach and neck of the ram almost seeming to strangle it in the process, it’s metal feet just touching the ground. Again the scales of justice seem to weigh nature in the balance.

The themes life and death, order and chaos are further developed in the work Hard slide (1980, below) where a sheep emerges mid-air from a trapdoor, two more tumble down a wooden slide end over end and another disappears into the ground through a wooden trapdoor opening. Sacrifice seems to be a consistent theme with both the earlier paintings and the metallised sheep:

“The completed life cycle, down the trapdoor, down the chute, after sacrifice by shearing.” ~ Daniel Thomas 1994

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Further sculptures of sheep, both small maquettes and large sculptures follow in the next room of the exhibition. This is the artist is full flow, featuring the inventive taking of 2D things into the round, investigating the key themes of his work: the contrast between nature and artifice, or humanity.

The small maquettes of sheep feature races, gantries, sluices, pens, trapdoors and paddocks. Sheep tumble in a cataclysmic maelstrom, falling with flailing legs into the darkness of the holding pen below. These are my favourite works – small, intimate, detailed, dark bronzes of serious intensity – the sheep becoming a theatre of the absurd, suspended, weighed and balancing in the performance of ritualised acts, a cacophony of flesh at once both intricate and unsettling. Their skins lay flayed and lifeless disappearing into the ‘unearth’ of the slated wooden floor of the shearing shed. The sheep “can be viewed metaphorically as a commentary of the existential situation of the individual and collective behaviour.”3 As Kossatz himself has noted, “It is hard to bring a piece of landscape inside and give it a living animated form. The sheep somehow gives me this quality of landscape.”

But we must also remember that this strictly a white man’s view of the Australian landscape. Nowhere does this work comment on the disenfranchisement of the native people’s of this land – the destruction of native habitats that the sheep brought about, the starvation that they caused to Aboriginal people just as they bought riches to the pastoralists and the country that mined the land with this amorphous mass of flesh.

Recent work in the exhibition returns to the earlier social themes of memory, war, remembrance, religion, shrines, atomic clouds and temples but it is the work of the late 1970s – 1980s that is the most cogent. As Kossatz ponders the nature of existence on this planet he does not see a definitive answer but emphasises the journey we take, not the arrival. Here is something that we should all ponder, giving time to the nature of our personal journey in this life, on this earth.

Here also is an exhibition worthy our time and attention as part of that journey. Go visit!

Dr Marcus Bunyan

Word count: 1,074

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

 

  1. From the Heide website
  2. From wall notes to the exhibition
  3. From wall notes to the exhibition

 

Postscript 2018

The late Les Kossatz (1943-2011) was a well known Melbourne-based artist and academic whose work is represented in many regional and state galleries and the National Gallery of Australia. He studied art at the Melbourne Teachers’ College and the RMIT, and went on to teach at the RMIT and Monash University. Kossatz’s first significant commission was for the stained glass windows at the Monash University Chapel in Melbourne. Later commissions included works for the Australian War Memorial, the High Court, the Ian Potter Foundation at the National Gallery of Victoria and the Darling Harbour Authority, Sydney. His sculpture, Ainslie’s Sheep, commissioned by Arts ACT in 2000, is a popular national capital landmark in the centre of Civic. A major retrospective of Kossatz’s work was held in 2009 at the Heide Park and Art Gallery, Melbourne.

Text from the High Court of Australia website

Francis Bacon. 'Study after Velázquez’s Portrait of Pope Innocent X' 1953

 

Francis Bacon
Study after Velázquez’s Portrait of Pope Innocent X
1953

 

Les Kossatz. "Ram in sling" 1973

 

Les Kossatz
Ram in sling
1973
Cast and fabricated stainless steel and sheepskin
129.3 x 126.5 x 66.0 cm
Heide Museum of Modern Art Collection
Purchased from John and Sunday Reed 1980
© Les Kossatz

 

Les Kossatz. 'Trophy room' 1975

 

Les Kossatz
Trophy room
1975
Colour lithograph
74.0 x 76.0 cm (sheet)
Courtesy the artist
Photographer: Viki Petherbridge
© Les Kossatz

 

 

The art of existence is the first exhibition to review Les Kossatz’s contribution to Australian art in a career that spans the 1960s to today. Kossatz’s consistently experimental approach to media and techniques is revealed in works that display a lifelong fascination with humanity and the interaction of man and nature. His paintings, sculptures and works on paper stimulate a questioning and exploration of such concerns, which form the basis of this artist’s practice.

Les Kossatz’s early works of the 1960s draw on his training and ability to work across a diversity of media, including painting, drawing, printmaking and glass. Early paintings and etchings on the theme of the emptiness of memorials to the Australian ‘digger’ or soldiers were succeeded by images and objects offering impressions of the world around the artist – the rural domain and interior life of St Andrews in Victoria where Kossatz lived and worked. Such works demonstrated his determination to pursue a figurative practice at a time when abstract art had been imported to Australia and was considered the avant garde.

Remaining a staunchly independent artist, at the start of the 1970s Kossatz painted images of rabbits and sheep from St Andrews. In addition, the practice of working in three dimensions was to become more significant. Kossatz continued to develop familiar themes in the creation of installations and cast objects. Although he has produced drawings and prints across his career, working with sculpture has, since the early 1970s, been his primary mode of art-making. Large scale cast and assembled objects show Kossatz pursuing related themes of caged and packaged landscapes, shrines to the harvest and the still life.

The art of existence surveys Kossatz’s monumental life-sized sheep sculptures, which he began making in 1972 from casts of animal parts, and for which he is best known. These include Hard slide (1980), his prize-winning commission in the collection of the National Gallery of Victoria. Kossatz has won numerous commissions for outdoor sculptures that employ the sheep as literal and metaphorical beings. Kossatz’s work across three decades reveals a number of ongoing engagements, such as his observations of human behaviour and at times its similar manifestation in animals; the beliefs that sustain individuals and communities (such as religion, music and politics); and the forms of the landscape and our understanding of these relationships.

Introduction to the exhibition written by Zara Stanhope, Guest Curator, Heide Museum of Modern Art, 2008

 

Les Kossatz. "Hard slide" 1980

 

Les Kossatz
Hard slide
1980
Sheepskins, aluminium, Douglas-fir (Pseudotsuga sp.), leather, steel
372.0 x 100.0 x 304.0 cm (installation)

 

Les Kossatz. "Guggenheim spiral" 1983

 

Les Kossatz
Guggenheim spiral
1983

 

 

Heide Museum of Modern Art
7 Templestowe Road
Bulleen Victoria 3105 Australia
Phone: +61 3 9850 1500

Opening hours:
(Heide II and Heide III)
Tue – Fri 10.00 am – 5.00 pm
Sat/Sun/Public Holidays 12.00 noon – 5.00 pm

Heide Museum of Modern Art website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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