Opening: Rennie Ellis ‘No standing only dancing’ at The Ian Potter Centre: NGV Australia

Exhibition dates: 31st October, 2008 – 22nd February, 2009

Opening: 30th October, 2008

 

Rennie Ellis (Australian, 1940-2003) 'Girls' Night Out, Prahran' 1980 from the exhibition Rennie Ellis 'No standing only dancing' at The Ian Potter Centre: NGV Australia, Oct 2008 - Feb 2009

 

Rennie Ellis (Australian, 1940-2003)
Girls’ Night Out, Prahran
1980
Silver gelatin, selenium toned fibre based print

 

 

A very social and lively crowd gathered at The Ian Potter Centre: NGV Australia at Federation Square on the evening of 30th October to celebrate the life and work of the Australian social photographer Rennie Ellis.

After opening comments by the NGV Director Dr Gerard Vaughan there was a funny and erudite speech by Phillip Adams AO who had flown down from Sydney to open the exhibition. The crowd enjoyed the anecdotes about his relationship with Rennie and said he thought that dying was a good career move on Rennie’s behalf and that he would have loved the fact that he had a retrospective at the NGV. Adams observed that Ellis used to be everywhere, at every party and opening, using his astute eye to record and never to judge. Applause all round for a life well lived.

On entering the exhibition space viewers were treated to a simple but effective installation of his work, with overtones of the 1970’s-1980s interior decor with yellow and white circle graphics and hanging fabric chandelier. The curatorial staff at the NGV (notably Susan van Wyk) have chosen over 200 works from an archive of over half a million images for the exhibition in a process that has taken over two and a half years.

As an immigrant arriving in Australia in 1986 I remember 397 Club that used to be at 397 Swanston Street. After every other place had closed this club attracted people from every walk of life: pimps, prostitutes, drag queens, faggots, lesbians, straights and druggies. Rennie was probably there recording the scene. We were there just for a good time. It was fun and this is what Ellis’ photography is. Not burdened by overarching conceptual ideas Ellis recorded what he saw insightfully, balancing social commentary and spatial organisation in the construction of his images. The image Girls’ Night Out, Prahran 1980 (above) is a pearler (with the look on the woman’s face) and neatly encapsulates the magic of his image making.

Dr Marcus Bunyan

 

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

 

Opening of the exhibition No standing only dancing by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008.
Photographs © Marcus Bunyan

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

Rennie Ellis Photographic Archive

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Art work: Cy Twombly ‘Cold Stream’ 1966

November 2008

 

 

Cy Twombly (American, 1928-2011) 'Cold Stream' 1966

 

Cy Twombly (American, 1928-2011)
Cold Stream
1966
White wax pencil on canvas

 

 

This painting reminds me of the drawings of Rudolf Steiner (see the exhibition Joseph Beuys & Rudolf Steiner: Imagination, Inspiration, Intuition at The National Gallery of Victoria, Melbourne earlier this year) but here the performance of marking is pushed beyond the bounds of the spiritual by the ferocious attack of the artist – repeating the form but transgressing the boundaries of that form, disintegrating the ritual into the physical release of energy through the hand.

One can almost see the maelstrom of the splitting of the atom in Twombly’s repeating performance threatening to destroy himself and the world around him.

Dr Marcus Bunyan

 

 

Rudolf Steiner. Blackboard Drawings, 1919-1924

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Exhibition: ‘Klippel/Klippel: Opus 2008’ at Ian Potter Centre: NGV Australia

Exhibition dates: 7th August – 2nd November, 2008

 

'Klippel/Klippel: Opus 2008' exhibition sculpture and installation from the first space

Robert Klippel 'Opus 2008' exhibition installation from the first space

 

Klippel/Klippel: Opus 2008 exhibition sculpture and installation from the first space

 

 

A magical exhibition of the work of the Australian sculptor Robert Klippel (1920-2001) is presented together with a soundscape to accompany the works by his son Andrew Klippel. The exhibition presents two distinct rooms of light and shade and finishes with a singular monumental bronze work No. 709, but it is the two rooms that astound. They contain small assemblages and bronze sculpture made in the 1980s-1990s.

In the first space lit glass cases hover in darkness, containing delicate constructions of found objects, beautifully crafted. Made of plastic and metal, some parts taken from modelling kits, the sculptures morph and weave a delicate narrative, a powerful artistic vision. Mostly totemic in nature they transport the viewer with wonder and delight, the artists vision fully realised: no unnecessary flourishes, no wasted energy on forms that are redundant.

Wandering from the first darkened space we face a curved wall of black with a bright white opening, almost like the mouth of a Nautilus shell. Upon entering we are enveloped in white – walls, floor, stretched acrylic ceiling and stands upon which glass cases sit all being pure white. It is like stepping into the spacecraft from Stanley Kubrick’s 2001: A Space Odyssey – quite disorientating but transformational. In the cases sit small very dark bronze sculptures contrasting with the white. Again mostly totemic in nature the sculptures have great power and presence. Some portray small cities on top of hills. Others intricate machine and figure like constructions. All of the cases are mounted at different eye levels, unlike the first room.

When looking across the gallery space, the boxes and sculpture within create a diorama, almost a tableaux vivant, where you can move the focus of your gaze from foreground to mid to background, all suspended in white. If you can be in this space alone with the work and wander around soaking in the vision of this artist so much the better. The contrast and parallels between the two rooms is striking – here is an artist at the height of his powers commanding his materials and his vision in two distinct bodies of work: one delicate, found, plastic the other solid, dark and essential, both dealing with the essence of human creativity and being, leaving the viewer with a sensory experience long remembered.

Dr Marcus Bunyan


All installation photographs © Marcus Bunyan

 

'Klippel/Klippel: Opus 2008' exhibition entrance to the second space

 

Klippel/Klippel: Opus 2008 exhibition entrance to the second space

 

 

Robert Klippel is regarded as Australia’s most important sculptor of the post-war 20th century period. Known for his abstract assemblages created from found objects he is a distinguished figure in the history of Australian art. Andrew Klippel, Robert’s son, is a composer and musician who has achieved international recognition as a solo musician, songwriter and influential music producer.

Klippel/Klippel: Opus 2008 is a unique and compelling sensory experience which presents a group of Robert Klippel’s small-scale sculptures that were produced during the 1980s and 1990s – some of these have never been publicly displayed. It also includes the monumental bronze work No. 709. Andrew has arranged for this work, which Robert was preparing to cast at the time of his death, to be executed for the National Gallery of Victoria and included in the exhibition. And, in an important artistic response, Andrew Klippel has created a soundscape – a meditation on his father’s work.

Klippel/Klippel: Opus 2008 is an extraordinary and immersive exhibition that celebrates the creative process.

Text from the National Gallery of Victoria website

 

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

Robert Klippel 'Opus 2008' exhibition bronze sculptures from the second space

 

Klippel/Klippel: Opus 2008 exhibition bronze sculptures from the second space

 

Robert Klippel (Australian, 1920-2001) 'No. 879 (No. 1126)' 1995

 

Robert Klippel (Australian, 1920-2001)
No. 879 (No. 1126)
1995
Metal, enamel paint
9.5 x 13.3. x 4.2cm
Private collection, Sydney
© Andrew Klippel

 

Robert Klippel (Australian, 1920-2001) 'No. 881' c.1990 'No title (No. 1326)' c.1990 and works from the series 'No title (No. 1232)' 1980

 

Robert Klippel (Australian, 1920-2001)
No. 881
c.1990
No title (No. 1326)
c.1990
and works from the series
No title (No. 1232)
1980
Private collection, Sydney
© Andrew Klippel

 

Robert Klippel (Australian, 1920-2001) 'No. 709' 1988

 

Robert Klippel (Australian, 1920-2001)
No. 709
1988; 2008 {cast}
Bronze
318.9 x 94.8 x 100.2cm
Artist’s proof
National Gallery of Victoria, Melbourne
Purchased with the assistance of Andrew Klippel and the Estate of Patrick Byrne, 2008
© Andrew Klippel

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

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