Posts Tagged ‘Janet Burchill

26
Nov
13

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

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

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

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Keywords

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

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The best

Daniel Crooks An embroidery of voids 2013 video.

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Highlights

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

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Honourable mentions

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

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Disappointing

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

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Low points

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

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Verdict

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

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Dr Marcus Bunyan for the Art Blart blog

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

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

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

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

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

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Laith McGregor. 'Pong ping paradise' 2011

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

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

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

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

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

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

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

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

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Rick Amor. 'Mobile call' 2012

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Rick Amor
Mobile call
2012
Private collection, Melbourne

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

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Steaphan Paton. 'Cloaked combat' (detail) 2013

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

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

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Zoom project team. 'Zoom' (detail) 2013

Zoom project team. 'Zoom' (detail) 2013

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

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

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

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

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

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

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

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

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Reko Rennie Kamilaroi born in 1974 'Initiation' 2013

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

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

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Installation view of Reko Rennie 'Initiation', 2013

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Installation view of Reko Rennie Initiation, 2013

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Janet Burchill Jennifer McCamley 'The Belief' 2004-2013

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Janet Burchill
Jennifer McCamley
The Belief
2004-2013

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

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

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

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

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

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

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

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

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

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

Tony Ellwood
Director, National Gallery of Victoria

Foreword from the Melbourne Now exhibition guide book

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

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

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

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

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Destiny Deacon
Virginia Fraser

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

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

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Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

Darren Sylvester 'For you' (detail) 2013

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

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

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

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

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

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

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

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

Melbourne Now Introduction

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

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

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

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

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

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

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Brook Andrew. 'Vox: Beyond Tasmania' 2013

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

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

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

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

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Brook Andrew
Vox: Beyond Tasmania (details)
2013

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

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

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

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

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

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

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

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

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

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Patrick Pound
The gallery of air (details)
2013

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

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

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

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

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

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

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

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Mark Hilton born Australia 1976 'dontworry' 2013

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

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

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

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

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

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01
Mar
13

Review: ‘Louise Bourgeois: Late Works’ at Heide Museum of Modern Art, Melbourne

Exhibition dates: 24th November 2012 – 11th March 2013

Louise Bourgeois & Australian Artists
13 October 2012 – 14 April 2013

 

 

'Louise Bourgeois: Late Works' installation view Heide Museum of Modern Art, Melbourne Photograph: John Gollings 2012

 

Louise Bourgeois: Late Works installation view
Heide Museum of Modern Art, Melbourne
Photograph: John Gollings 2012

 

 

“What counts, our whole purpose, is to try to understand what we are about, to scrutinise ourselves… Every day you have to abandon your past or accept it, and then, if you cannot accept it, you become a sculptor.
”

“The fears of the past were connected with the functions of the body, they reappear through the body. For me, sculpture is the body. My body is my sculpture.”

.
Louise Bourgeois

 

“What images can art find for depicting femaleness from within, as distinct from the familiar male conventions of looking at it from the outside, from the eye-line of another gender?” Hughes questioned in a commentary that implied no precedents. “… [Her] influence on young artists has been enormous.”

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Robert Hughes quoted by Annemarie Kiely on the Vogue Living Blog [Online] Cited 28/02/2013 no longer available online

 

“Yes, there are the oft-told stories of the father and the mistress, but it is Bourgeois’s intense love of her mother and her [mother’s] death that completely transformed her life… The art ultimately became about her never-ending grief… and her continuing desire  as a woman. It’s still so potent; not just as a memory, but as a constant.”

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Jason Smith, Curator, Director and CEO of Heide quoted by Annemarie Kiely on the Vogue Living Blog [Online] Cited 28/02/2013 no longer available online

 

 

Tough Love

This is a tough, stimulating exhibition of late works by Louise Bourgeois at Heide Museum of Modern Art, Melbourne. All the main themes of the artist’s work explored over many years are represented in these late works: memory, emotion, anxiety, family, relationships, childhood, pain, desire and eroticism are all present as are female subjectivity and sexuality, expressed through the body. As the quotation above by Bourgeois states, her body became her sculpture.

I am no expert on the work of the artist. But what I will try and enunciate are my feelings when viewing the exhibition. Firstly, I thought the drawings by Louise Bourgeois in Heide II were the most magical thing that I saw all day; they seemed to be the well spring of her creativity, the initial thought sketched quickly and imperiously. Secondly, series such as Dawn (2007, below) and The Waiting Hours (2007), assemblages of cut fragments of her dresses and other textiles used to create spiral three-dimensional realities, were the most beautiful, peaceful Zen based works in the exhibition possessing as they did a calm, resolved, mandala-like presence. Lastly, the main group of sculptures were, for me, hard to look at. A series of severed heads, dismembered bodies, tapestry fragments, spiders, bones, an orrery-like planetarium, pendulous objects stuck with needles, kitchen implements and the house brought back memories of my own childhood.

I was born in the late 1950’s to a mother who didn’t really want to have children, to a mother who was already being beaten up by an abusive husband before she was even married, who lived on a remote, isolated farm in the middle of nowhere. I can’t imagine what my mother went through in those early years raising two children – with no hope of help or escape, with no women’s refuge to flee to, stuck there doing her best to protect her children and herself from a violent, mentally ill man. You cannot imagine the torment I went through for the first 18 years of my life, trying to protect my mother when I was old enough, creating my own worlds to escape the reality of the present (which is why I probably became an artist, to still create my own worlds). There were good times at Christmas and bonfire night, but the best part was growing up on the land, learning the rhythms of nature, learning to drive on a tractor and combine harvester, but always in the back of your mind was the instant of abuse lurking around the corner, the inherent violence of life. It is only now, as I have grown older, that I can truly appreciate the dire predicament that my mother was in and acknowledge a profound sense of gratitude towards her protection of me as a baby and child.

That is why this exhibition is, for me, tough love. The emotions of Bourgeois’ sculptures are close to the bone. As Jason Smith observes, “Bourgeois saw her mother as rational, patient and stoic in her nurturing, in contrast to the temperament of her father whom she regarded as irrationally emotional, unreasonable and capable of psychological cruelty. Bourgeois became aware at an early age that she was living in a time and social environment in which women and their identities were subordinate to men.”As Bourgeois says of the spider (her mother), “she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat and as useful as a spider. She could also defend herself, and me.” This is what my mother did as well, at great cost to herself.

Bourgeois’ work gives me an overall feeling of immersion in a world view, one that transcends the pain and speaks truth to power. Bourgeois confronted the emotion, memory or barrier to communication that generated her mood and the work. She observed, “My art is an exorcism. My sculpture allows me to re-experience fear, to give it a physicality, so that I am able to hack away at it.” By weaving, stitching and sewing Bourgeois threaded the past through the present and enacted, through artistic performance, a process of repair and reconstruction, giving meaning and shape to frustration and suffering. I have not been so lucky. My mother refuses to discuss the past, will not even come close to the subject for the pain is so great for her. I am left with a heaviness of heart, dealing with the demons of the past that constantly lurk in the memory of childhood, that insistently impinge on the man I am today. Louise Bourgeois’ sculptures brought it all flooding back as the work of only a great artist can, forcing me to become an ethical witness to her past, my past. A must see exhibition this summer in Melbourne.

Dr Marcus Bunyan

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

 

 

'Louise Bourgeois: Late Works' installation view Heide Museum of Modern Art, Melbourne Photograph: John Gollings 2012

 

Louise Bourgeois: Late Works installation view
Heide Museum of Modern Art, Melbourne
Photograph: John Gollings 2012

 

 

“The friend (the spider – why the spider?) because my best friend was my mother and she was deliberate, clever, patient, soothing, reasonable, dainty, subtle, indispensable, neat and as useful as a spider. She could also defend herself, and me.”

.
Louise Bourgeois, from Ode to my Mother, 1995

 

 

Louise Bourgeois. 'Spider' 1997 (detail)

 

Louise Bourgeois (French-American, 1911-2010)
Spider (detail)
1997
Steel, tapestry, wood, glass, fabric, rubber, silver, gold, bone
449.6 × 665.5 × 518.2cm
The Easton Foundation, New York, NY
Photograph: John Gollings 2012

 

Louise Bourgeois. 'Dawn' 2007 (detail)

 

Louise Bourgeois (French-American, 1911-2010)
Dawn (detail)
2007
Fabric book, 12 pages
12 1/4 x 9 3/4 inches each

 

 

Around 1996, aged 85, Bourgeois began to mine her closets for the garments and textiles that she had worn, collected and stored over a lifetime, and use them to make sculpture and ‘fabric drawings’, continuing her lifelong recall and articulations of familial dysfunction, desire and fear, anger and remorse, isolation and connectedness. In the recycling and reconstruction of her clothing and collected textiles Bourgeois intensified her work’s expression of the human body and of life’s episodes (those as daughter, wife, mother, woman, artist). The materiality of these works testifies to the impression of Bourgeois’ past on her psyche and on reparative acts of making through which her past was reconciled in her present. The beauty of the past for Bourgeois resided in the nurturing, repairing, fortifying and protective tendencies of her mother, which she aligned with the processes of stitching and assembling.

Blue Days (1996) is one of a number of works in which Bourgeois suspended, stuffed and shaped her dresses and shirts, sometimes adding abstract sculptural elements like the red glass sphere that operates here like a nucleus around which the new sculptural bodies circulate. With its intimate relation to the skin and contours of the body, to time and seasons, clothing was used for its power to summon memory: ‘You can retell your life … by the shape, weight, colour and smell of those clothes in your closet. They are like the weather, the ocean, changing all the time.’

In other works Bourgeois’ fragmented figures and anatomical parts give physical form to anxieties rising from unfulfilled desire, acts of betrayal, losses or thwarted communication. Couple IV embodies the dark confusion of the child happening upon the sexual embrace of the adults. The copulating, decapitated lovers appear as an encased ‘archaeological specimen’ and signal Bourgeois’ fraught obsession not only with the infidelities of her father, but also with sex itself. For Bourgeois there is ‘a fatal attraction not towards one or the other, but to the phenomena of copulation … I am exasperated by the vision of the copulating couple, and it makes me so furious … that I chop their heads [off]. This is it … I turn violent. The sewing is a defence. I am so afraid of the things I might do. The defence is to do the opposite of what you want to do.’

Louise Bourgeois’ practice was an elaborate articulation of an existence in which the sculpting world and the living world were one. Her late works summoned the past and confronted the present, and the passage of time, by using the very garments in which the experiences of her life, loves and longings resided.

Jason Smith, Curator, Director and CEO, Heide Museum of Modern Art. “Louise Bourgeois,” on The Melbourne Review website, November 2012 [Online] Cited 26/02/2013 no longer available online

 

Louise Bourgeois. 'Blue Days' 1996

 

Louise Bourgeois (French-American, 1911-2010)
Blue Days
1996
cloth, steel, glass
292.1 × 205.7 × 241.3cm
Courtesy Cheim & Read and Hauser & Wirth
© Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

 

Louise Bourgeois. 'Femme Maison' 2001

 

Louise Bourgeois (French-American, 1911-2010)
Femme Maison
2001
fabric, steel
35.6 × 38.1 × 66 cm
Courtesy Cheim & Read and Hauser & Wirth
© Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

 

Louise Bourgeois. 'Femme Maison' 2001

 

Louise Bourgeois (French-American, 1911-2010)
Femme Maison (detail)
2001
fabric, steel
35.6 × 38.1 × 66 cm
Courtesy Cheim & Read and Hauser & Wirth
© Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

 

 

Note that Femme Maison and other artworks are encased in ‘cells’. In one sense, the cell encases and protects the artwork; however, Louise Bourgeois’ intention was to use the cell also as a way of containing the memory held within the work.

The hybrid form of Femme Maison – with its dual translations to ‘woman house’ or housewife – appeared in drawings, paintings and sculpture, and in degrees of abstraction and figuration, from the mid 1940s onwards. In this key late work the textured fabric affirms the central relationship of woman with the domestic space. Stories of the house and the home defined Bourgeois’ identity. The architectural house and its contents – especially the table, bed and chair – and the familial home and its occupants, were the structures that shaped Bourgeois’ unstable sense of self, and her relationships with others. This work plays on the house literally growing out of the woman’s body (the nurturing mother) or, conversely, pinning her dismembered body to the ground, registering the paralysing power of fear, and recalling a painful childhood.

 

Louise Bourgeois. 'Knife Figure' 2002

 

Louise Bourgeois (French-American, 1911-2010)
Knife Figure
2002
fabric, steel, wood
22.2 × 76.2 × 19.1cm
Courtesy Cheim & Read and Hauser & Wirth
© Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

 

Louise Bourgeois. 'Untitled' 2002

 

Louise Bourgeois (French-American, 1911-2010)
Untitled
2002
Tapestry and aluminium
43.2 x 30.5 x 30.5cm
Courtesy Cheim & Read and Hauser & Wirth
Photo: Christopher Burke
© Louise Bourgeois Trust

 

Louise Bourgeois. 'Couple IV' 1997

 

Louise Bourgeois (French-American, 1911-2010)
Couple IV
1997
fabric, leather, stainless steel, plastic
50.8 × 165.1 × 77.5cm
Courtesy Cheim & Read and Hauser & Wirth
© Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

 

Louise Bourgeois. 'Untitled' 2002

 

Louise Bourgeois (French-American, 1911-2010)
Untitled
2002
Tapestry, aluminium
43.2 x 30.5 x 30.5cm
The Easton Foundation, New York, NY.

 

Louise Bourgeois. 'Cinq' 2007

 

Louise Bourgeois (French-American, 1911-2010)
Cinq
2007
fabric, stainless steel
61 × 35.6 × 35.6cm
Courtesy Cheim & Read and Hauser & Wirth
© Louise Bourgeois Trust / Licensed by VAGA, New York / Viscopy, Sydney

 

 

Heide Museum of Modern Art is proud to present two major exhibitions featuring the work of Louise Bourgeois. The first, Louise Bourgeois: Late Works includes over twenty, key works direct from the late artist’s studio in New York. The second exhibition, Louise Bourgeois and Australian Artists presents a selection of works by contemporary Australian artists who have been inspired by Bourgeois alongside prints and drawings from her vast graphic oeuvre. Louise Bourgeois (1911-2010) was one of the most inventive, provocative and influential artists of the twentieth century. Although her work has been exhibited extensively overseas, it has rarely been seen in Australia, and only once in significant depth, at the National Gallery of Victoria (NGV) in 1995 in an exhibition curated by then NGV curator Jason Smith. Louise Bourgeois: Late Works focuses on Bourgeois’s use of fabric in sculpture and what she termed ‘fabric drawings’. A preoccupation with memory and time, human relationships, fear and its annihilation, sexuality and the erotic body, are all emphases of Bourgeois’ final works.

Louise Bourgeois: Late Works is the first exhibition in Australia to survey the work of this profoundly important artist since her death in 2010 and has been curated by Jason Smith, now Heide Director & CEO – in close collaboration with the Bourgeois studio, New York – as a follow up to the 1995 exhibition at the NGV. Focusing on the final fifteen years of Bourgeois’ career, the exhibition examines the use of fabric in her works, and includes 18 sculptures, two suites of ‘fabric drawings’, watercolours, embroidered texts and lithographs never before seen in Australia. In the fabric works the processes of deconstructing and reconstructing, are applied to the contents of Bourgeois’ closets. The recycling of her garments, collected textiles and tapestry fragments intensifies her work’s expression of self-portraiture, and the profound personal experiences that defined her life and art.

Fabric was important to Louise Bourgeois, who grew up in her parents’ tapestry making business. In 1996, in her mid-eighties, Bourgeois began to transform the garments and textiles that she had worn, collected and stored over a lifetime into sculptures and ‘fabric drawings’. For her, sewing was an act of healing or reparation, linked to memories of her mother who ‘would sit out in the sun and repair a tapestry or a petit point’, an image of calm amid more distressing family dynamics.

Central to the exhibition is Spider, 1997 one of the Bourgeois’ Cells sculptures which is dominated, enclosed and protected by a gargantuan spider – a recurring and powerful motif in the artist’s work. Bourgeois created her spider sculptures partly in tribute to her mother, saying: ‘Like a spider, my mother was a weaver. Spiders are helpful and protective, just like my mother’. The female body and female subjectivity are concentrations in the exhibition.

The familial, biographical stories that provided life-long fuel for Bourgeois’ art are well known: her parents’ tapestry workshop in which she learnt the value of art as a form of reparation; her father’s public infidelity; her mother’s betrayal and early death; her complex sense of abandonment; her constant analysis of self; her belief in art a form of exorcism and as a potential reconciliation with the past.

Another highlight of the exhibition is the haunting Couple IV 1997, depicting a pair of copulating, and decapitated, lovers. The embracing figures are cast in the black of mourning, and appear as an encased ‘archaeological specimen’ in the vitrine. The work signals Bourgeois’ fraught obsession with the past, the infidelities of her father, and with sex itself.

Surrealism and pathos combine in Bourgeois’ smaller, intimate works like Knife figure 2002 and Untitled 2002. Here we see a dark side of the domestic with the knife and the whisk looming threateningly large in relation to the prone, dismembered bodies. In their colouration and homely material qualities they inspire tenderness and protection, yet as with so many of Bourgeois’ bodies, each remains cut off from the world and isolated to deal with its fate.”

Press release from the Heide Museum of Modern Art website

 

Louise Bourgeois & Australian Artists

This exhibition looks at relationships, both real and imagined, between the art of Louise Bourgeois (1911-2010) and that of ten Australian artists, in the rare context of a solo Bourgeois exhibition at Heide. Some pay direct homage to Bourgeois’ work or consider similar themes, while the connection of others registers more instinctually, on the level of a shared psychological intensity. Many of the works are rooted in memory and emotion, with a core that remains indecipherable – they do not illustrate or explain.

Forged regardless of fashion or fortune, Bourgeois’ oeuvre gave several artists in this exhibition the impetus to use personal subject matter as a creative source in the late 1980s and 1990s, an era when a cool, detached conceptualism dominated. Many share Bourgeois’ subjective focus and use the human body as a vehicle for self-expression, while for others her work’s formal precision and constant reinvention inspire. All respond to the exemplary fusion in Bourgeois’ art between inner compulsion and formal discipline, instinct and intelligence.

The Australian artists are Del Kathryn Barton, Pat Brassington, Janet Burchill, Carolyn Eskdale, Brent Harris, Joy Hester, Kate Just, Patricia Piccinini, Heather B. Swann.

Statement from the from the Heide Museum of Modern Art website

 

Janet Burchill. 'Following the Blind Leading the Blind' 1997

 

Janet Burchill (Australian, b. 1955)
Following the Blind Leading the Blind
1997
Synthetic polymer and enamel paint on wood
144.6 × 142.6 × 29.8cm
National Gallery of Victoria, Melbourne Purchased 1999

 

 

“The grid is a very peaceful thing, because nothing can go wrong … everything is complete. There is no room for anxiety … everything has a place. Everything is welcome.”

.
Louise Bourgeois

 

I had a weak-at-the-knees, tingle-all-over moment when I saw Louise Bourgeois’ work for the first time about fifteen years ago in Los Angeles. Yes I am a CRAZY fan. And, yes, it’s true I lay under her big spider in Tokyo and cried…

These are the releases I hope for in our vast world of art. Encounters when the artwork is somehow so inexplicably intimate, so beyond, so seemingly effortless that there can be no defence. In these moments there is an opening-up within the body, the mind, within all the senses … an experience of recognition, relief and awe that informs one’s deeper creative makeup.

.
Del Kathryn Barton

 

 

Del Kathryn Barton. 'no other side' 2012

 

Del Kathryn Barton (Australian, b. 1972)
no other side
2012
(one part of nine)
Dupion silk and embroidery cotton
9 parts, each 42 × 45cm
In collaboration with Karen Barton
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

 

 

“I guess every artist has other practices that they aspire to. Louise Bourgeois’ practice – by which I mean the combination of the works, the way that they were made, the artist and the way that she conducted herself – is such a practice for me. The way that she worked for so long, and continued to develop her work in good times and bad, as well as the way that her works are so much of their times but at the same time not quite in sync with them inspires me. The fact that I hardly know the work she made prior to her fifties demonstrates the truth of the idea that art is a lifetime project that can continue to evolve as an artist matures. And then, of course, there is the work itself.”

.
Patricia Piccinini

 

 

Patricia Piccinini. 'The Uprising' 2008 bronze

 

Patricia Piccinini (Australian, b. 1965)
The Uprising
2008
Bronze

 

Patricia Piccinini. 'The Uprising' 2008 bronze (detail)

 

Patricia Piccinini (Australian, b. 1965)
The Uprising (detail)
2008
Bronze

 

 

“The massive aorta-like The Uprising, with its labyrinthine musculature, is a much stranger work. It establishes a bridge between the Vespa stags and the transgenic creatures, while being simultaneously amorphous and representational. Corporeal and mechanical, it suggests the plastic, porous, and uncertain world of the new nature that is at the core of the figurative works. For this reason it is physically sited at the boundary between natural history and art history…”

.
Juliana Engberg

 

 

Patricia Piccinini. 'Nectar' 2012

 

Patricia Piccinini (Australian, b. 1965)
Nectar
2012
Silicone, fibreglass, human hair, refrigerator edition
1/6 83 × 48 × 51cm
Courtesy of the artist, Tolarno Galleries, Melbourne, and Haunch of Venison, London and New York

 

 

“Taking her cue from the vague boundaries of the biotech world, ‘where it is difficult to figure exactly where the good becomes tainted and the bad becomes justifiable’, Piccinini considers her own hybrid creations, however abject or grotesque, as lovable, associated with fecundity, growth and optimism. Like Bourgeois, she presents strange couplings of the animal and the human, that despite their de- formations always convey intimacy and warmth. Here the title Nectar suggests that there may be something nourishing in what might otherwise appear as a failed experiment.” (Text from educational pdf)

 

Pat Brassington. 'House guest #2' 2007

 

Pat Brassington (Australian, b. 1942)
House guest #2
2007

 

Patt Brassington. 'The Guardian' 2009

 

Pat Brassington (Australian, b. 1942)
The Guardian
2009
Pigment print on paper edition
6/8 112 × 87.5cm
Heide Museum of Modern Art, Melbourne
Purchased with funds from the Robert Salzer Foundation 2009

 

 

Heide Museum of Modern Art
7, Templestowe Road
Bulleen, Victoria 3105

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

Louise Bourgeois at Heide Museum of Modern Art construction of ‘Spider’ video

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01
Feb
12

Exhibition: ‘What’s in a face? aspects of portrait photography’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 24th September 2011 – 5th February 2012

 

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

 

 

Glaister studio (Australia 1855-1870) 'Untitled (portrait of a man and three girls)' 1855-1870

 

Glaister studio (Australia 1855-1870)
Untitled (portrait of a man and three girls)
1855-1870
Ambrotype, colour dyes
6.5 x 9 cm sight; 9.3 x 11.9 cm case
Purchased 1989

 

 

This charming ambrotype was thought to have been produced by one of Australia’s most important early photographers, Thomas Glaister, owning to the presence of the Glaister stamp on the case. However, superb varnish was one of Glaister’s hallmarks and this ambrotype is not varnished. In addition, the hand-colouring is not considered to be to Glaister’s standard. As such, it is possible that the ambrotype was inserted into this case at a later date, not least because there is no form of blackening behind the image. This was standard practice to prevent the viewer seeing through to the inside of the case. The Eichmeyer ‘book’ case, patented in 1855 by Henry A Eichmeyer of Philadelphia, were made of fine leather and beautifully put together. Glaister certainly used these but the ambrotype is probably not his specifically and could have been made by one of his sons in the 1860s when they worked as travelling photographers. Regardless of who took the image, it is a charming colonial portrait which in size is typical of the period – it can easily be held in the hand.

Ambrotypes were developed in the 1850s. They were faster and cheaper to make than daguerreotypes, yet were still unique objects.

1. 1989, ‘Masterpieces of Australian photography’, Josef Lebovic Gallery, Sydney p. 25

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Olive Cotton (Australian, 1911 - 2003) 'Only to taste the warmth, the light, the wind' c. 1939

 

Olive Cotton (Australian, 1911-2003)
Only to taste the warmth, the light, the wind
c. 1939
Gelatin silver print
33.2 x 30.0 cm image/sheet
Purchased with funds provided by John Armati 2006
Art Gallery of NSW Collection

 

 

Only to taste the warmth, the light, the wind appears to have been the only print Cotton made of this image. It was found in the late 1990s and has been shown only once, in an exhibition at the AGNSW in 2000 where it was also used on the catalogue cover. It was unusual for Cotton to print so large, yet it is entirely fitting that this monumental head and shoulder shot of a beautiful young woman should be presented in this way. The subject was a model on a fashion shoot at which Cotton was probably assisting. Cotton often took her own photographs while on such shoots and used them for her private portfolio. The photograph transcends portraiture, fashion and time to become a remarkable image of harmony with the elements.

Cotton took the title for this photograph from an 1895 poem by English poet Laurence Binyon, ‘O summer sun’:

O summer sun, O moving trees!
O cheerful human noise, O busy glittering street!
What hour shall Fate in all the future find,
Or what delights, ever to equal these:
Only to taste the warmth, the light, the wind,
Only to be alive, and feel that life is sweet?1

.
A photographer whose work straddles pictorialism, modernism and documentary, Cotton maintained an independent vision throughout her working life, based on the close observation of nature. Her understanding of the medium of photography was not to do with capture, but rather ‘drawing with light’.

1. 1915, ‘Poems of today’, English Association, London p. 96.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Destiny Deacon (Kuku / Erub, Australia b. 1957) 'Portrait: Janet Burchill & Jennifer McCamley, Artists' 1998

 

Destiny Deacon (Kuku / Erub, Australia b. 1957)
Portrait: Janet Burchill & Jennifer McCamley, Artists
1998
Colour bubble jet print from Polaroid photograph
57.9 x 71 cm
Purchased 1998
© Destiny Deacon. Licensed by Viscopy, Sydney

 

 

Deacon is widely recognised for her staged photographs which employ various props, including souvenirs and kitsch, in satirical tableaus that critique notions of Aboriginality. Initially, in 1991, she employed dolls and since then they have become a signature motif. This use of non-living models informed her practice when she began to photograph people. As Deacon states, ‘I’ve never been one for “live action” shots…I’ve got to rule the roost. It’s no different dealing with inanimate objects or people, except with people I’m more terrified.’1

This method can be seen in Deacon’s Portrait: Janet Burchill & Jennifer McCamley, artists 1998. Burchill and McCamley, Melbourne and Mildura based collaborative artists, have been arranged in a re-enactment of Henri Matisse’s Conversation 1908-12. The photograph echoes the deep blue background of the original painting. The two artists hold the stiff positions of Matisse and his seated wife gazing across at each other. This is one of a number of Deacon’s works that feature Australian writers, artists and other notable figures re-enacting iconic paintings. Other examples include artist Fiona Hall in a 2004 retake of Grace Cossington-Smith’s The sock knitter 1915 and a portrait of Gary Foley inspired by William Dobell’s The boy at the basin 1932.

1. Destiny Deacon, ‘Interview with Virginia Fraser’ in Destiny Deacon: walk & don’t look blak, Museum of Contemporary Art, Sydney, 2004, p. 109.

 

Ilse Bing (United States of America, Germany 1899-1998) 'Self portrait with Leica' 1931 printed 1941

 

Ilse Bing (United States of America, Germany 1899-1998)
Self portrait with Leica
1931 printed 1941
Gelatin silver photograph
26.7 x 31.2 cm
Alistair McAlpine Photography Fund 2005
© Ilse Bing Estate. Courtesy Edwynn Houk Gallery, New York

 

 

Self portrait with Leica is a complex image in which the artist has photographed herself and her trademark Leica in one mirror, while the profile of both is reflected in another. The large button on her cuff disturbs the play between full face and profile, while the objects at the bottom of the frame lend a certain informality to an otherwise highly contrived set-up. The soft velvety curtain behind introduces a further element of rich tactility. The play between black, white and shades of grey softens and enriches the overall image.

Although Bing avoided becoming part of any specific movement of the 1920s or 1930s – for example, constructivism, the Bauhaus or surrealism, describing herself as being ‘on the edge of the periphery of the Bauhaus’ only – she was fully cognisant of the range of experimentation which was taking place across Europe. She forged her own path, combining an abiding belief in the importance of intuition and poetry with rigorous composition and superb technical skills.

Inspired by the work of Florence Henri, and with increasing confidence in her ability to marry naturalism with geometric formalism, Bing worked extensively as a press, fashion, portrait and documentary photographer in Paris until she was interned as an enemy alien in 1940. Late in her life Bing wrote:

‘I didn’t choose photography; it chose me. I didn’t know it at the time. An artist doesn’t think first and then do it, he [sic] is driven. Now over fifty years later, I can look back and explain it. In a way, it was the trend of the time; it was the time when you started to see differently … And the camera, that was, in a way, the beginning of the mechanical device penetrating into the field of art.’1

1. Barrett N C 1985, Ilse Bing: three decades of photography, New Orleans Museum of Art, New Orleans pp. 13-14.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Robert Rooney (Australia, b. 1937) 'Portrait of Maria Kozic and Philip Brophy II' 1981

 

Robert Rooney (Australia, b. 1937)
Portrait of Maria Kozic and Philip Brophy II
1981
Cibachrome photograph
20.1 x 30 cm image/sheet
Purchased 1996
© Robert Rooney

 

 

The four portraits in the Art Gallery of New South Wales collection reflect a particular period in Australian art, when the now established artists were beginning their careers. They depict members of the contemporary art scene of the late 1970s to mid 1980s associated with Art + Text, an Australian art magazine published from 1981-2000.

Philip Brophy formed the experimental group Tsk Tsk Tsk in 1977. The group produced experimental music, films, videos, and live theatrical performances. Brophy involved his friends in the group, including partner Maria Kozic on synthesiser. Kozic was also producing her own multimedia work. In this photograph, Kozic and Brophy are standing in a suburban backyard complete with Hills Hoist. This is reflective of Tsk Tsk Tsk’s suburban beginnings, based as it was at Clifton Hill’s Community Music Centre. After the group’s dissolution in the early 1980s, Brophy made several experimental films and curated numerous programs for the Melbourne international film festival as well as exhibitions such as Tezuka: the marvel of manga for the National Gallery of Victoria. Kozic moved to New York where she continued her artistic career. Her work has been exhibited widely throughout Australia and overseas and been collected by many museums including the Art Gallery of New South Wales.

 

Loretta Lux (Germany b. 1969) 'The waiting girl' 2006

 

Loretta Lux (Germany, b. 1969)
The waiting girl
2006
Ilfochrome photograph
38 × 53 cm
Purchased with funds provided by the Photography Collection Benefactors’ Program 2007
© Loretta Lux/Bild-Kunst. Licensed by Viscopy, Sydney

 

 

Lux’s portraits are by no means traditional, ‘I call them imaginary portraits. They are not really about the children that I photographed’, commented the artist in interview with Wim van Sinderen (Loretta Lux: new work 2004). In relation to The waiting girl, Lux has said: ‘It’s a picture about time, and timelessness. For me they are sitting on the sofa as if they are waiting for eternity.’ (The Guardian 23 November 06)

Through subtle digital manipulation of the body and facial features of her subjects, Lux creates eerie doll-like creatures with glazed eyes, porcelain smooth skin and subtly ill-proportioned forms. The resulting portraits contain an uncanny blend of mute childish innocence and the self-contained stoicism of adulthood.

Lux’s images of children recall those of the old masters, such as Veláquez, Runge and Bronzino whom she cites as main inspirations alongside German photographer August Sander. Lux has stated in an interview with Louise Baring for the Telegraph (UK) that she uses children ‘as a metaphor for a lost paradise’. Dressing her young models in past fashions (often of the era of her own childhood) suggests the child’s game of ‘dress ups’ in order to be an adult yet somehow played out in reverse. That is, Lux’s children do not seem like children at all, but rather like serious world-weary adults manifested in childish forms.

 

 

Spanning over a century, What’s in a face? aspects of portrait photography is an exhibition of 45 photographs from the Art Gallery of NSW collection. The exhibition focuses on crucial points in the history of photographic depictions of the human face ranging from studio portraiture in the late 19th century to contemporary practices today.

Works by Australian photographers, such as Paul Foelsche, Olive Cotton, Max Dupain, Carol Jerrems, Destiny Deacon, Patrina Hicks, Darren Sylvester and others, are placed in an international context, represented by Man Ray, Edward Weston, Iwao Yamawaki, Nan Goldin, Ben Cauchi and Loretta Lux, amongst others.

All portraits reveal something of the sitter, the photographer and also of us as viewers, but none reveal a whole and complete being. This is part of the enduring fascination with the photographic portrait which purports to be an exact likeness but operates more accurately as a metaphor for the self and how that self might exist in the world at a particular point in time.

Judy Annear, senior curator photographs, Art Gallery of NSW

.
Using photography to depict the face and figure was initially a time-consuming and expensive business. However, the drive to document all things in the world, and rapid technological advances, meant that by the 1880s most people, willing or not and regardless of the photographer’s or their own desires, were documented in some way.

Spurious 19th century ideas to do with what a face could represent exploded in the early 20th century when identity came to be seen as a psychological rather than social phenomenon. Theatricality and performing for the camera, which had existed in photography since its inception, also became much more evident in this period.

In the post-WWII era representations of the face and the body quickly acquired a political and socially aware edge. More recently the face has tended to stand less as an expression of personal experience and more a statement that may signify a set of ideas, whether about the individual, the group or the society at large. Many of these highly constructed images acknowledge and play upon the problematics of the photographic portrait.”

Text from the AGNSW website

 

Petrina Hicks (Australian, b. 1972) 'Shenae and Jade' 2005

 

Petrina Hicks (Australian, b. 1972)
Shenae and Jade
2005
From the series Untitled 2005
Lightjet print
85.5 x 80.0 cm
Courtesy the artist and Michael Reid Gallery

 

 

Shenae and Jade is typical of Hicks’ unconventional portraits. The young model holds the budgie’s head in her mouth. It’s the kind of slightly dangerous behaviour which can be unnerving to observe. The freckled nose of the model is in tension with her smooth pale temples, heavily lashed closed eyes and soft white top. The luminescent background and generally pale colouration throw the headless body of the brightly coloured budgie into high relief.

 

Darren Sylvester (Australia, b. 1974) 'They return to you in song' 2001

 

Darren Sylvester (Australia, b. 1974)
They return to you in song
2001
Lambda print
100.0 x 100.0cm image/sheet
Purchased with funds provided by the Photography Collection Benefactors’ Program 2002
© Darren Sylvester

 

 

Informed by the slick stylistic conventions of high-end consumer images, Darren Sylvester’s body of work suggests the existential dilemma of living in an overtly consumerist society – one that promises fulfilment but fails to truly satisfy even the most ardent consumer. Perpetually tantalised with glossy images of affluence, ‘must-have’ products and brochure living, our ‘real’ lives can at times seem unfulfilling by comparison, sometimes painful and often a little pathetic. Sylvester’s work seems to suggest that even in our most personal heartfelt moments, our lives are just like everybody else’s, not so special or unique. Our lives could equally be a series of advertising moments.

Yet the nature of this work is resolutely ambiguous, alternately offering intimacy and emotion with cool detachment. Photo-shopped clean of incidental detail and anomaly, and featuring youthful agency models, Sylvester’s evenly lit, tightly focused images still tap a nerve despite their polished finish. Perhaps this is because they are precisely ‘generic’ (and emotive) experiences to which we can all relate. The same principles underpin a good pop song and in Sylvester’s work this is no coincidence – he strives to produce images that carry the same directness and lasting impact. Commenting on the music of the Carpenters, ‘their lyrics were always sad and about emotional relationships but sealed beneath glossy west coast melodies’, Sylvester reveals the pop-music strategies he employs in his work.1

Based on short stories written by the artist prior to composing the scene, his images carry their own inherent narrative. Yet we don’t need to read Sylvester’s story to understand the drama, nor do we need to hear the tune to recognise the song – it’s an old one, and a shared one, that each of us remembers well.

1. Colless E 2006, ‘Darren Sylvester: the right stuff’, Australian Art Collector, no 36, Apr-Jun p. 102.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Hans Hasenpflug (Australia, Germany 1907-1977) 'Untitled (head of a woman)' 1940-1941

 

Hans Hasenpflug (Australia, Germany 1907-1977)
Untitled (head of a woman)
1940-1941
Gelatin silver photograph
28.8 x 24.3cm image
Gift of Mr Christopher Hamilton, the artist’s son 1984

 

 

Hans Hasenpflug arrived in Australia in 1927 aged 20. He had been born into an educated Stuttgart family but it does not appear that he became involved in photography until 1932 when he was employed by Leica Photo Service, Sydney. Hasenpflug went on to work for prominent photographer Russell Roberts from 1935 to 1937 before moving to Melbourne and working with Athol Shmith and other Melbourne studios from 1937 to 1942. As an enemy alien Hasenpflug was not allowed to work on industrial assignments during World War Two but he was not interned and was naturalised in 1945. Hasenpflug exhibited in photography salons in the 1930s and his work appeared in the Sydney Morning Herald, Australian Woman’s Weekly and the Sunday Telegraph.

Hasenpflug was a versatile advertising photographer. He specialised in fashion and product advertising and some portraiture. Despite his apparent lack of photographic training until the 1930s, he seems to be have been strongly influenced by the European avant-garde. Many of his photographs, regardless of genre or subject matter, depend on diagonals through the picture plane and on raking light.

This is true of Untitled. Strong light has created deep shadows across the subject, a closely cropped image of a woman’s face. This, combined with the oblique camera angle, creates a vivid and disconcerting image. The woman is staring directly into the camera, yet a band of strong shadow across the centre of the image creates a blank eyed effect. The pupil free eyes seem inhuman; mask-like or alien. This is in stark contrast to the woman’s open smile that dominates the bottom of the work. The strong, full light on this area highlights her lips, gums and teeth to an almost hyper real extent. These contradictions create an image that on the surface seems friendly and intimate, yet contains an undertone of threat. The inherent strangeness of the image makes it unlikely that this was a commissioned photograph, but rather the artist’s experiment with his medium, and indeed is probably a portrait of his fiancee, Elizabeth Hamilton Crouch.

 

Edward Weston (American, 1886-1956) 'Guadalupe de Rivera, Mexico' 1924

 

Edward Weston (American, 1886-1956)
Guadalupe de Rivera, Mexico
1924, printed later
Gelatin silver photograph
20.7 × 17.8 cm
Gift of Patsy W. Asch 2000
© Centre for Creative Photography, Arizona Board of Regents

 

 

Edward Weston’s Mexican years were of great importance to him and allowed for the maturing of his vision in relation to photography. Accompanied by Tina Modotti, whose own work developed at this time, Weston experimented with pure form through monumental portraits (of which Guadalupe de Rivera, Mexico is a classic example), images of landscapes and buildings, still-lifes and nudes.

Weston’s portraits of those he encountered in Mexico are uniformly compelling. Often taken with a hand-held camera against a plain background and with strong lighting, these images emphasise individuality, modernity and dynamism.

Guadalupe de Rivera was Diego Rivera’s wife at the time and both were among the group of people Weston and Modotti associated with. Weston described Guadalupe in his ‘Daybooks’ as ‘tall, proud of bearing, almost haughty; her walk like a panther’s, her complexion almost green, with eyes to match’.1 As he worked on the portrait, Weston wrote: ‘I am finishing the portrait of Lupe. It is a heroic head, the best I have done in Mexico; with the Graflex, in direct sunlight I caught her, mouth open, talking, and what could be more characteristic of Lupe! Singing or talking I must always remember her’.2

This later print by Weston emphasises, through the dramatic effect of light and shade, the strong lines of the face. The shape of the open mouth is echoed by the shadowed eye above and the jawline below. The diagonal of jaw to ear which runs in parallel to the nose also adds to the dynamism of this image. Outdoors, with the sun shining on her hair, this is a portrait of a remarkable woman.

1. Newhall N ed 1981, ‘The daybooks of Edward Weston 1 Mexico’, Aperture, New York p. 26.
2. Ibid p. 42.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Carol Jerrems. 'Vale Street' 1975

 

Carol Jerrems (Australian, 1949-1980)
Vale Street
1975
Gelatin silver print
20.1 x 30.4 cm
Purchased 1979
© Ken and Lance Jerrems

 

 

A quintessential image of the 1970s, Vale Street has lost none of its capacity to enchant and disturb in the intervening years. In one sense it can be read as a sociological document; in another as a wholly subjective work of art. Like the mediumistic spirit-photographs of the nineteenth century, Jerrems’s photo seems to disclose the very souls of its subjects. As they respond, each in their individual fashion, to the regarding presence of the camera lens, the figures compose themselves, without theatrics, into telling attitudes. The prominence and bodily confidence of the open-faced young woman is set against the reticence of her boyish companions. As a portrait of relationships as well as individuals, Vale Street speaks of gender relations, adolescent sexuality, suburban mores and the photographer’s own subtly partisan demeanour in regard to these themes.

Art Gallery Handbook, 1999

 

Carol Jerrems. 'Juliet Holding Vale Street' 1976

 

Carol Jerrems (Australian, 1949-1980)
Juliet Holding Vale Street
1976
Gelatin silver print
30.4 x 20.1 cm
Purchased 1979
© Ken and Lance Jerrems

 

Carol Jerrems. 'Lynn Gailey' 1976

 

Carol Jerrems (Australian, 1949-1980)
Lynn Gailey
1976
Gelatin silver print
30.3 x 20.1 cm
Purchased 1979
© Ken and Lance Jerrems

 

Max Dupain (Australia 1911-1992) 'Untitled (self portrait)' 1930s

 

Max Dupain (Australia, 1911-1992)
Untitled (self portrait)
1930s
Gelatin silver photograph
19.3 x 14 cm
Art Gallery of NSW Collection

 

 

This engaging self-portrait by Max Dupain was kept by the artist in an album of photographs from the 1930s. The album was possibly a workbook which would enable Dupain and his clients to review his career as a young modernist photographer. Dupain had opened his own studio in 1934 at the age of 23 having previously been apprenticed to Cecil Bostock and studying painting and drawing at the Julian Ashton Art School in Sydney. In his teens, through the Photographic Society of New South Wales, Dupain had also had contact with Harold Cazneaux whom he later described as ‘the father of modern Australian photography’.1 Both Cazneaux and Bostock provided Dupain with a solid technical and aesthetic base from which to work.

The young working photographer has chosen to depict himself in Untitled (self portrait) with rolled-up sleeves and a furrowed brow. The image is bisected into light in the upper half and dark below with the photographer’s right hand pressing the cable release. Looking away, in three-quarter profile, Dupain is engaged with something out of the frame. The dynamism of the image is further enhanced by the bent arms and the strong shadow of Dupain’s profile.

The 1930s was a period of intense experimentation for Dupain as he applied the lessons learned from Bostock and Cazneaux and absorbed the material in international publications. He mastered solarisation, montage, portraiture, interiors and advertising photography. His interest in form and composition matured. His dedication to his work is manifested in this image.

1. Dupain M 1978, Cazneaux: photographs by Harold Cazneaux 1878-1953, National Library of Australia, Canberra p. xi.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

 

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Dr Marcus Bunyan

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

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

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