Posts Tagged ‘Mornington Peninsula Regional Art Gallery

21
Feb
16

Review: ‘On the beach’ at the Mornington Peninsula Regional Art Gallery, Mornington

Exhibition dates: 11th December 2015 – 28th February 2016

Curator: Wendy Garden

 

 

This is another solid thematic group exhibition at the Mornington Peninsula Regional Art Gallery (curator Wendy Garden), following on from their recent success, Storm in a teacup.

The exhibition is not as successful as Storm in a teacup, mainly because most of the works are based on the monolithic, monosyllabic representation of beach culture, and its figuration, during the early decades of the twentieth century (White Australia policy, Australian stereotypes of the interwar period) and the re-staging of these ideas in the contemporary art presented through a diachronic (through/time), performative discourse.

There is so much re-staging in this exhibition I was left to wonder whether there was any original art work being produced that does not quote sources of history, memory, identity, representation and art from past generations. Daniel Boyd re-stages Captain Cook’s landing at Botany Bay with said hero as a pirate. Stephen Bowers replicates the Minton willow pattern motif and early paintings of kangaroos. Leanne Tobin re-stages Bungaree’s disrobing on the beach during his journey with Matthew Flinders. Diane Jones re-stages Max Dupain’s Sunbaker replacing the anonymous prostrate man with her head looking into the camera, or Dupain’s Form at Bondi with her head turned towards the camera. Worst offender is Anne Zahalka who re-states Dupain’s Sunbaker (again!) as a red-headed white women on the beach; or re-presents Charles Meere’s Australian beach pattern (1940, below) not once but twice – the first time in The bathers (1989) broadening the racial background of people to depict multicultural Australia in the 1980s, the second time in The new bathers (2013) broadening the mix even further. Most successful of these re-stagings is Michael Cook’s series of photographs Undiscovered in which the artist subverts deeply ingrained understandings of settlement, that of terra nullius, by depicting Captain Cook as black and positioning him in high-key, grey photographs of impressive beauty and power, surveying the land he has ‘discovered’ while perched upon an invisibly balanced ladder.

But with all of the works that quote from the past there is a sense that, even as the artists are critiquing the culture, they are also buying into the system of patriarchy, racism and control that they seek to comment on. They do not subvert the situation, merely (and locally) extrapolate from it. The idealised, iconic representation of early 20th century Australia culture in the paintings from the 1920-30s and the photographs from the 1940s-70s – specimens of perfect physical beauty – are simply shifted to a new demographic – that of iconic, individual figures in the same poses as the 1940s but of a different ethnicity. The colour of the figure and the clothing might have changed, but the underlying structure remains the same. And if you disturb one of the foundation elements, such as the base figure in one of George Caddy’s balancing beachobatics photographs, the whole rotten edifice of a racism free, multicultural Australia will come tumbling down, just as it did during the Cronulla Riot.

What I would have liked to have seen in this exhibition was a greater breadth of subject matter. Where are the homeless people living near the beach, the sex (for example, as portrayed in Tracey Moffat’s voyeuristic home video Heaven which shows footage of male surfers changing out of their wetsuits in car parks – “shot by Moffatt and a number of other women as if they were making a birdwatching documentary” – which challenges the masculinity of Australian surf culture and the ability of women to stare at men, instead of the other way around), death (drownings on beaches, the heartbreak of loss), and debauchery (the fluxus of Schoolies, that Neo-Dada performance of noise and movement), the abstract nature of Pictorialist photographs of the beach, not to mention erosion and environmental loss due to global warming. The works presented seem to have a too narrowly defined conceptual base, and a present narrative constructed on a coterie of earlier works representing what it is to be Australian at the beach. The contemporary narrative does not address the fluidity of the landscape in present time (in works such as Narelle Autio’s series Watercolours or The place in between).

The dark underside of the beach, its abstract fluidity, its constant movement is least well represented in this exhibition. Although I felt engaged as a viewer the constant re-quoting and rehashing of familiar forms left me a little bored. I wanted more inventiveness, more insight into the conditions and phenomena of beach culture in contemporary Australia. An interesting exhibition but an opportunity missed.

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Many thankx to the Mornington Peninsula Regional Art Gallery for allowing me to publish most of the photographs in the posting. Other photographs come from Art Blart’s archive and those freely available online. Thankx also go to Manuela Furci, Director of the Rennie Ellis Photographic Archive for allowing me to publish his photographs in the posting. Please click on the photographs for a larger version of the image. All text comes from the wall labels to the exhibition.

 

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation views of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with Daniel Boyd’s We call them pirates out here (2006, below)

 

Daniel Boyd (b. 1982) 'We call them pirates out here' 2006

 

Daniel Boyd (b. 1982)
We call them pirates out here
2006
Museum of Contemporary Art
Purchased with funds provided by the Coe and Mordant families, 2006

 

 

“The landing of Captain Cook in Botany Bay, 1770 by E. Phillips Fox is such an iconic and important image relating to the birth of Australia. Shifting the proposed view of Fox’s painting to something that was an indigenous person’s perspective allowed for me to challenge the subjective history that has been created.” – Daniel Boyd, 2008

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In this painting Daniel Boyd parodies E. Phillips Fox’s celebrated painting which was commissioned in 1902 by the Trustees of the National Gallery of Victoria to commemorate federation. No longer an image valorising colonial achievement, Boyd recasts the scene as one of theft and invasion. Captain Cook is depicted as a pirate to contest his heroic status in Australia’s foundation narratives. Smoke in the distance is evidence of human occupation and is a direct retort to the declaration that Australia was ‘terra nullius’ – land belonging to no-one, which was used to justify British possession.

 

Stephen Bowers (b. 1952) Peter Walker (board maker) (b. 1961) 'Antipodean willow surfboard' 2012 'Antipodean willow surfboard (Mini Simmons)' 2012

 

Stephen Bowers (b. 1952)
Peter Walker (board maker) (b. 1961)
Antipodean willow surfboard
2012
Antipodean willow surfboard (Mini Simmons)
2012
Hollow core surfboard, Paulownia wood, fibreglass, synthetic polymer paint
Courtesy of the artist and Lauraine Diggins Fine Art, Caulfield

 

Stephen Bowers (b. 1952) Peter Walker (board maker) (b. 1961) 'Antipodean willow surfboard (Mini Simmons)' (detail) 2012

 

Stephen Bowers (b. 1952)
Peter Walker (board maker) (b. 1961)
Antipodean willow surfboard (Mini Simmons) (detail)
2012
Hollow core surfboard, Paulownia wood, fibreglass, synthetic polymer paint
Courtesy of the artist and Lauraine Diggins Fine Art, Caulfield

 

 

In these works Bowers combines the willow pattern motif, a ready-made metaphor of hybridity, with an image of a kangaroo as envisioned by George Stubbs in 1772. The willow pattern as an English invention, created by Thomas Minton in 1790. It is an imaginative geography and, like the first known European painting of a kangaroo, considers other lands as strange, exotic places. In this work the imagery of colonial occupation is visualised as a fusion of cultures underpinned by half-truths, fantasy and desire.

 

Installation view of Leanne Tobin's 'Clothes don't always maketh the man' (2012) (detail)

Installation view of Leanne Tobin's 'Clothes don't always maketh the man' (2012) (detail)

 

Installation views of Leanne Tobin’s Clothes don’t always maketh the man (2012)

 

Leanne Tobin (b, 1961)
Clothes don’t always maketh the man (detail)
2012
Sand, textile, wood
Collection of the artist

 

 

Bungaree (c. 1755-1830) was a Garigal man who circumnavigated the continent of Australia with Matthew Flinders on the H.M.S. Investigator between 1802-03. Unlike Bennelong, who attempted to assimilate with British ways and Pemulwuy, who resisted, Bungaree made the decision to navigate a relationship with the British while still maintaining his cultural traditions. He played an important role as an envoy on Flinder’s voyages, negotiating with the different Aboriginal groups they encountered. A skilled mediator, Bungaree was adept at living between both worlds. When coming ashore he would shed his white man’s clothes so that he could conduct protocol relevant to the local elders. In this respect the beach became a zone of transformation and exchange.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation views of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with in the foreground, Leanne Tobin’s Clothes don’t always maketh the man (2012), and in the background photographs from Michael Cook’s Undiscovered series (2010, below)

 

Michael Cook (b. 1968) 'Undiscovered 4' 2010

 

Michael Cook (b. 1968)
Undiscovered 4
2010
inkjet print on Hahnemuhle paper
124.0 x 100.0 cm
Australian National Maritime Museum

 

 

A selection of works from a series of ten photographs in which Michael Cook contests the idea of ‘discovery’ that underpins narratives of the British settlement of Australia… Cook depicts the historic Cook as an Aboriginal man replete in his British naval officers attire. His ship, the famed Endeavour, is anchored in the sea behind him. By mimicking the moment of first discovery Cook subverts deeply ingrained understandings of settlement and asks us to consider what type of national Australia would be if the British had acknowledged Aboriginal people’s prior ownership.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery showing, at top left, Max Dupain’s Form at Bondi (1939); to the right of that Dupain’s At Newport (1952, below); to the right upper is George Caddy’s Chest strength and breathing exercise, 20 February 1937 (below); followed at far right by Rennie Ellis’ St Kilda Lifesavers (1968, top) and David Moore’s Lifesavers at Manly (1959, bottom)

 

Max Dupain. 'At Newport' 1952, Sydney

 

Max Dupain (1911-1992)
At Newport
1952, Sydney
Silver gelatin photograph

 

George Caddy (1914-1983) 'Chest strength and breathing exercise, 20 February 1937' 1937

 

George Caddy (1914-1983)
Chest strength and breathing exercise, 20 February 1937
1937
Digital print on paper
Paul Caddy collection
Courtesy of Paul Caddy

 

 

Like Max Dupain, who was three years his senior, Caddy was interested in the new modernist approach to photography. During 1936 he read magazines such as Popular Photography from New York and US Camera rather than Australasian Photo-Review which continued to champion soft-focus pictorialism. This photograph was taken the same year as Dupain’s famous Sunbather photograph. The framing and angle is similar reflecting their common interest in sharp focus, unusual vantage points and cold composition.

 

George Caddy (1914-1983) 'Freshwater Surf Life Saving Club reel team march past, 3 April 1938' 1938

 

George Caddy (1914-1983)
Freshwater Surf Life Saving Club reel team march past, 3 April 1938
1938
Digital print
Collection of the Mitchell Library, State Library of New South Wales
Purchased from Paul Caddy, 2008

 

 

This photograph was taken only months after an infamous rescue at Bondi. On 6 February 1938 a sand bar collapsed sweeping two hundred people out to sea. 80 lifesavers rescued all but 5 people in a day subsequently described as Black Sunday. By 1938 the Surf Life Saving Association, which incorporated clubs from around Australia, had rescued 39,149 lives in its 30 year history. In 1938 alone there were 3,442 rescues. Up until the events of Black Sunday no one had drowned while lifesavers were on duty at Australian beaches. In comparison 2,000 people drowned in England each year.1

  1. Alan Davies, Bondi Jitterbug: George Caddy and his amera, Sydney: State Library of New South Wales, p. 13.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, at far left, Anne Zahalka’s The sunbather #2 (1989, below) and, at right, a selection of George Caddy’s beachobatics photographs.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, at far left, Max Dupain’s Sunbaker (1937, top) with Diane Jones Sunbaker (2003, below); in the centre Anne Zahalka’s The sunbather #2 (1989, below); then Max Dupain’s Form at Bondi (1939, top) with Diane Jones Bondi (2003) underneath.

 

Anne Zahalka. 'The sunbather #2' 1989

 

Anne Zahalka (b. 1957)
The sunbather #2
1989
From the series Bondi: playground of the Pacific 1989
Type C photograph

 

Installation photograph of Charles Meere's 'Australian beach pattern' (1940, below) and Anne Zahalka's 'The bathers' (1989)

 

Installation photograph of Charles Meere’s painting Australian beach pattern (1940, below) and Anne Zahalka’s photograph The bathers (1989) from the series Bondi: playground of the Pacific 1989, in which Zahalka restates Charles Meere’s painting to subvert the narrow stereotype of the Australian ideal… In this work Zahalka broadens the racial background of people depicted to create a more representative image of multicultural Australia in the 1980s.

 

Charles Meere (1890-1961) 'Australian beach pattern' 1940 (detail)

 

Charles Meere (1890-1961)
Australian beach pattern (detail)
1940
Oil and wax on canvas
Collection of Joy Chambers-Grundy and Reg Grundy AC OBE

 

 

A now iconic representation of early 20th century Australia culture… The scene is dominated by a mass of suntanned bodies: muscular, square-jawed white Australians – specimens of perfect physical beauty – enjoying the strenuous physical activities of the beach. A glorification of the strong, healthy, racially pure Australian ideal of the 1930s, it is eerily reminiscent of Nazi German Aryan propaganda between the wars.

Notably, the figures themselves all appear anonymous and disconnected, with indistinct facial features that show no acknowledgement of their fellow beach-goers. Their identities are overwhelmed by Meere’s obsession with arrangement. Rather than reflect real life, the figures are placed to create an idealised work of perfect balance. It is fascinating to consider that this iconic representation of Australian beach culture actually came from the imagination of an Englishman, who had only lived in Australia since the mid-1930s and who, according to his apprentice, ‘never went to the beach’ and ‘made up most of the figures’.1

  1. Freda Robertshaw quoted in Linda Slutzkin, Charles Meere 1890-1961. Sydney: S. H. Ervin Gallery, 1987, p. 6.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, at far left, George Caddy’s beachobatic photographs, and on the far wall Sidney Nolan’s Bathers (1943, below) and Jeffrey Smart’s Surfers Bondi (1963, below)

 

Sidney Nolan (1917-1992) 'Bathers' 1943

 

Sidney Nolan (1917-1992)
Bathers
1943
Ripolin enamel on canvas
Headed Museum of Modern Art, Melbourne
Bequest of John and Sunday Reed, 1982

 

Jeffrey Smart (1921-2013) 'Surfers Bondi' 1963

 

Jeffrey Smart (1921-2013)
Surfers Bondi
1963
Oil on board
Private collection

 

 

“When bans on daylight bathing were lifted in 1902, the beach became a prime leisure destination. The beach became not only as a public space of recreation but also as a place where the Australian identity was developing, for many epitomizing the liberties of Australia’s society. On the beach brings together 76 outstanding and iconic paintings, photographs and installations to consider the defining relationship we have to the shore.

Works by artists including Vernon Ah Kee, Arthur Boyd, Gordon Bennett, Daniel Boyd, Max Dupain, Charles Meere, Tracey Moffatt, David Moore, Sidney Nolan, Polixeni Papapetrou, John Perceval, Scott Redford, Jeffrey Smart, Albert Tucker, Guan Wei and Anne Zahalka, as well as outstanding recently discovered works by George Caddy (see above). A champion jitterbug dancer, Caddy’s photographs of ‘beachobatics’ were kept undisturbed in a shoebox for 60 years until they were ‘discovered’ by his son after his death. They capture the exuberance and optimism of Australian society between the wars.

The beach first became a prime leisure destination in the early decades of the twentieth century. Up to Federation many artists had looked to the bush to galvanise a fledging nationalism, but during the interwar years this shifted and increasingly the beach became the site of Australian identity. Already by 1908 one Melbourne newspaper commented upon the ‘vast throng of holidaymakers all along the coast.’ In the years following the First World War, against a backdrop of a growing interest in physical fitness, the beach was seen as a place for creating ‘a fine healthy race of men.’ Understandings of the beach as an Australian way of life emerged during this period and increasingly the Australian type was associated with bronzed athletic bodies on the beach.

On the beach looks at artists’ responses to the stereotype of the interwar period and juxtaposes modernist works with contemporary artists’ responses to include a more culturally diverse mix of people. Other artists in the exhibition challenge understandings of the beach as a benign space and consider the history of violence that is latent.”

Press release from the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Photographer Joyce Evans looking at two colour photographs by Rennie Ellis in the exhibition.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, on the far wall left hand side, photographs by Rennie Ellis.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, on the far wall right hand side, photographs by Rennie Ellis and, at right, Fiona Foley’s Nulla 4 eva IV (2009)

 

Rennie Ellis. 'Union Jack, Lorne' c. 1968

 

Rennie Ellis (1940-2003)
Union Jack, Lorne
c. 1968
Silver gelatin selenium toned fibre-based print
Rennie Ellis Photographic Archive

 

Rennie Ellis. 'Four Sunbathers, Lorne' c. 1968

 

Rennie Ellis (1940-2003)
Four Sunbathers, Lorne
c. 1968
Type C photograph (ed. AP)
Rennie Ellis Photographic Archive

 

Rennie Ellis. 'Bondi, New South Wales' 1997

 

Rennie Ellis (1940-2003)
Bondi, New South Wales
1997

 

“On the beach we chuck away our clothes, our status and our inhibitions and engage in rituals of sun worship and baptism. It’s a retreat to our primal needs.” – Rennie Ellis

 

Installation view of Vernon Ah Kee. 'cantchant' 2007-09

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

 

Installation views of Vernon Ah Kee’s cantchant 2007-09

 

Vernon Ah Kee (b. 1967)
cantchant
2007-09
Synthetic polymer paint and resin over digital print on roamer, vinyl
Courtesy of the artist and Milani Gallery, Brisbane

 

 

Vernon Ah Kee’s response to the events at Cronulla (the Cronulla Riot) us a powerful retort to the racists and their mantra ‘we grew here, you flew here’ chanted on the beach during the riots. Ah Kee takes issue pointing out the hypocrisy in their statement.

We grew here, you flew here is an insincere statement and they were chanting it over and over again. It’s a way to exercise racism. I’m like ‘WE’ grew here, say what you want, but we’re the fellas that grew here.

The surfboards are printed with Yidinji shield designs and the portraits are members of the artists family. The work was exhibited in the Australian Pavilion at the 2009 Venice Biennale.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, on the far wall, Charles Blackman’s Sunbather (c. 1954, below) and Arthur Boyd’s Kite flyers [South Melbourne] (1943, below).

 

Charles Blackman (b. 1928) 'Sunbather' c. 1954

 

Charles Blackman (b. 1928)
Sunbather
c. 1954
Oil on board
Private collection, Melbourne

 

 

This is one of a number of paintings and drawings made in response to Blackman’s observations of life on Melbourne’s beaches. Blackman moved from Sydney to Melbourne in 1945 to be part of Melbourne’s burgeoning art scene, making friends with John Perceval, Joy Hester and John and Sunday Reed amongst others.

During this period Blackman regularly took the tram to St Kilda beach to swim and paint. Although he enjoyed spending time on the beach, there is a sinister overtone to this painting of a prostrate figure lying on the sand. A bleak, grey palette articulates the pallid lifeless flesh amplifying a sense of death. The hollow slits that substitute for eyes further accentuate the corpse-like appearance. It is a stark contrast to many paintings of the era that emphasise physical vitality and wellbeing. Rather the sense of isolation and heavy treatment of shadows and water creates a painting that is psychologically disturbing. This painting can be seen as a response to his wife, Barbara’s developing blindness. It has been noted that as the ‘darkness grew in her life, his pictures got darker.’1 Blackman stated many years later ‘I was trying to paint pictures which were unseeable.’2

  1. Barry Humphries quoted in Peter Wilmoth ‘An artist in wonderland’ The Age, 21 May 2006.
  2. Charles Blackman interviewed by James Gleeson, 28 April 1979.

 

Arthur Boyd (1920-1999) 'Kite flyers [South Melbourne]' 1943

 

Arthur Boyd (1920-1999)
Kite flyers [South Melbourne]
1943
Oil on canvas mounted on cardboard
46.3 x 60.9 cm
National Gallery of Victoria
The Arthur Boyd Gift, 1975

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, in the centre, Brett Whiteley’s Balmoral (1975-78, below). To the left of this painting is Nancy Kilgour’s Figures on Manly Beach (1930, below) and to the right, at top, Norma Bull’s Bathing Beach (c. 1950-60s, below) with at bottom, George W. Lambert’s Anzacs bathing in the sea (1915, below).

 

Brett Whiteley (1939-1992) 'Balmoral' 1975-78 (detail)

 

Brett Whiteley (1939-1992)
Balmoral (detail)
1975-78
Oil and collage on canvas
180 x 204 cm
Collection of the Hunter-Dyer family

 

Nancy Kilgour (1904-1954) 'Figures on Manly Beach' c. 1930

 

Nancy Kilgour (1904-1954)
Figures on Manly Beach
c. 1930
Oil on canvas
76 x 117 cm
Manly Art Gallery and Museum, Sydney
Purchase with the assistance of the NSW Ministry for the Arts, 1986

 

 

Nancy Kilgour’s artificial arrangement of figures is believed to have been painted in the 1930s before Charles Meere painted his highly contrived composition Australian Beach Pattern, 1940. The staged poses create a tableau of Australians enjoying the freedoms of life on the beach. What is interesting about Kilgour’s painting is that a number of people are depicted fully clothed. so the emphasis is not so much on toned physiques but rather the pleasures of relaxing on the beach. The painting is also unusual because, whereas most beach scenes are cast in brilliant sunshine, the figures in the foreground in this painting are rendered in shadow suggesting the presence of the towering Norfolk Island Pine trees which form a crescent along the Manly foreshore.

 

Norma Bull. 'Bathing Beach' c. 1950-60s

 

Norma Bull (1906-1980)
Bathing Beach
c. 1950s-60s
Oil on aluminium
30.5 x 40 cm
Collection of the Warrnambool Art Gallery, Victoria

 

 

Norma Bull began her career at the National Gallery School in 1929, Receiving acclaim for her portraits she won the Sir John Longstaff Scholarship in 1937 and travelled to London where she worked as a war artist during the Second World War. After nine years in Europe, Bull returned to Australia and spent the next year following Wirth’s Circus, painting acrobats, clowns and scenes from circus life. She settled in the Melbourne suburb of Surrey Hills and spent her summer holidays at Anglesea which provided the opportunity to paint seascapes and beach scenes.

 

George W. Lambert. 'Anzacs bathing in the sea' 1915

George W. Lambert. 'Anzacs bathing in the sea' 1915 (detail)

 

George W. Lambert (1867-1930)
Anzacs bathing in the sea (full and detail)
1915
Oil on canvas
25 x 34 cm
Mildura Arts Centre
Senator R.D. Elliott Bequest, presented to the City of Mildura by Mrs Hilda Elliott, 1956

 

 

George Lambert, Australia’s official war artist, travelled to Gallipoli where he created detailed studies of large battle scenes. He also painted a number of smaller, more intimate works which were execute rapidly on the spot such as this scene of men bathing in the sea. Lambert’s focus is the musculature of their bodies. They are depicted as exemplars of heroic Australian masculinity. Historian C.E.W. Bean reflected in the 1920s that it was through the events on Anzac Cove on 25th April 1915 ‘that the consciousness of Australian nationhood was born.’1 In this respect the painting can be seen to have baptismal overtures.

  1. C.E.W. Bean, Official history of Australia in the War of 1914-1918 Volume 2, Sydney: Angus and Robertson, 1934, p. 346.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, second left, Anne Zahalka’s The girls #2, Cronulla Beach (2007, below). At left on the far wall John Anderson’s Abundance (2015, below) followed by John Hopkins The crowd (1970, below)

 

Anne-Zahalka-The-girls-#2-WEB

 

Anne Zahalka (b. 1957)
The girls #2, Cronulla Beach
2007
From the series Scenes from the Shire 2007
Type C photograph
73.3 x 89.2 cm
Mornington Peninsula Regional Art Gallery
Gift of the artist, 2012

 

John Anderson (b. 1947) 'Abundance' (detail) 2015

 

John Anderson (b. 1947)
Abundance (detail)
2015
Oil on linen
Courtesy of the artist and Australian Galleries, Melbourne and Sydney

 

John Hopkins. 'The crowd' 1970

 

John Hopkins (b. 1943)
The crowd
1970
Synthetic polymer paint on canvas
172.7 x 245.2 cm
Mornington Peninsula Regional Art Gallery
Gift of the artist, 1974

 

Polixeni Papaetrou born Australia 1960 'Ocean Man' 2013

 

Polixeni Papaetrou (b. 1960)
Ocean Man
2013
From the series The Ghillies 2012-13
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013

 

 

The ghillie suit is a form of camouflage originally used by hunters and the military. Recently popularised in the video game, Call of duty, the ghillie suit is worn by Papapetrou’s son, Solomon, who poses on the beach at Queenscliff. Appearing neither man nor nature, his indistinct form speaks of transformation and becoming – of prison and absence. By depicting the figure as some sort of monster emerging from the depths of the ocean, Papapetrou creates an image that draws upon Jungian understanding of the sea as a symbol of the collective unconscious – both a source of life and return.

 

 

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

Opening hours:
Tuesday – Sunday 10am – 5pm

Mornington Peninsula Regional Art Gallery website

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20
Sep
15

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

Exhibition dates: 24th July – 27th September 2015

 

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

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

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

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

Dr Marcus Bunyan for Art Blart

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

 

 

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

 

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

 

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

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

 

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

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

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

 

 

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

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

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

Text from the Mornington Peninsula Regional Art Gallery

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

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

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

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

 

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

 

 

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

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

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

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

Press release from the Mornington Peninsula Regional Art Gallery

 

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

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

 

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

 

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

DSC1644-WEB

 

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

 

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

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

 

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

 

 

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

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

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

 

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

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

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

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

 

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

 

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

 

 

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

 

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

 

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

 

 

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

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

 

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

 

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

 

 

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

  1. The Horsham Times, Victoria, 26 April 1898

 

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

 

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

 

 

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

Opening hours:
Tuesday – Sunday 10am – 5pm

Mornington Peninsula Regional Art Gallery website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

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