Posts Tagged ‘Up Close: Carol Jerrems with Larry Clark Nan Goldin and William Yang

17
Dec
10

melbourne’s magnificent eleven 2010

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Here’s my pick of the eleven best exhibitions in Melbourne for 2010 that featured on the Art Blart blog (in no particular order). Enjoy!

Marcus

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1/ Jenny Holzer at The Australian Centre for Contemporary Art (ACCA)

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Jenny Holzer
‘Right Hand (Palm Rolled)’
2007
Oil on linen
80 x 62 in. (203.2 x 157.5 cm)
Text: U.S. government document

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The reason that you must visit this exhibition is the last body of work. Working with declassified documents that relate to the wars in Iraq and Afghanistan Holzer’s ‘Redaction’ paintings address the elemental force that is man’s (in)humanity to man (in the study of literature, redaction is a form of editing in which multiple source texts are combined (redacted) and subjected to minor alteration to make them into a single work) … I left the exhibition feeling shell-shocked after experiencing intimacy with an evil that leaves few traces. In the consciences of the perpetrators? In the hearts of the living! Oh, how I wish to see the day when the human race will truly evolve beyond. We live in hope and the work of Jenny Holzer reminds us to be vigilant, to speak out, to have courage in the face of the unconscionable.

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2/ ‘Pondlurking’ by Tom Moore at Helen Gory Galerie, Prahran

This exhibition produced in me an elation, a sense of exalted happiness, a smile on my dial that was with me the rest of the day. The installation features elegantly naive cardboard cityscape dioramas teeming with wondrous, whimsical mythological animals that traverse pond and undulating road. This bestiary of animals, minerals and vegetables (bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals, birds and even rocks) is totally delightful … What really stands out is the presence of these objects, their joyousness. The technical and conceptual never get in the way of good art. The Surrealist imagining of a new world order (the destruction of traditional taxonomies) takes place while balanced on one foot. The morphogenesis of these creatures, as they build one upon another, turns the world upside down … Through their metamorphosed presence in a carnivalesque world that is both weird and the wonderful, Moore’s creatures invite us to look at ourselves and our landscape more kindly, more openly and with a greater generosity of spirit.

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Tom Moore
‘Birdboat with passenger with a vengeance’ (left) and ‘Robot Island’ (right)
2010 and 2009

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3/ ‘Safety Zone’ by John Young at Anna Schwartz Gallery

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What can one say about work that is so confronting, poignant and beautiful – except to say that it is almost unbearable to look at this work without being emotionally charged, to wonder at the vicissitudes of human life, of events beyond one’s control.

The exhibition tells the story of the massacre of 300,000 people in the city of Nanjing in Jiangsu, China by Japanese troops in December, 1937 in what was to become known as the Nanjing Massacre. It also tells the story of a group of foreigners led by German businessman John Rabe and American missionary Minnie Vautrin who set up a “safety zone” to protect the lives of at least 250,000 Chinese citizens. The work is conceptually and aesthetically well resolved, the layering within the work creating a holistic narrative that engulfs and enfolds the viewer – holding them in the shock of brutality, the poignancy of poetry and the (non)sublimation of the human spirit to the will of others.

Simply, this is the best exhibition that I have seen in Melbourne so far this year.

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John Young
‘Flower Market (Nanjing 1936) #1’
2010
digital print and oil on Belgian linen
240 x 331 cm
image courtesy of the artist and Anna Schwartz Gallery

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John Young
‘Safety Zone’
2010
60 works, digital prints on photographic paper and chalk on blackboard-painted archival cotton paper
Installation shot, Anna Schwartz Gallery, Melbourne
image courtesy of the artist and Anna Schwartz Gallery

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4/ ‘To Hold and Be Held’ by Kiko Gianocca at Gallery Funaki

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Kiko Gianocca
‘Man & dog’
found image, resin, silver
2009

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A beautiful exhibition of objects by Swiss/Italian artist Kiko Gianocca at Gallery Funaki, Melbourne, one full of delicate resonances and remembrances.

Glass vessels with internal funnels filled with the gold detritus of disassembled objects, found pendants: Horse, Anchor, Four leaf clover, Swan, Hammer & sickle … Brooches of gloss and matt black resin plates. On the reverse images exposed like a photographic plate, found images solidified in resin.

The front: the depths of the universe, navigating the dazzling darkness
The back: memories, forgotten, then remade, worn like a secret against the beating chest. Only the wearer knows!

As Kiki Gianocca asks, “I am not sure if I grasp the memories that sometimes come to mind. I start to think they hold me instead of me holding them.”

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5/ ‘Jill Orr: Vision’ at Jenny Port Gallery, Richmond

The photographs invite us to share not only the mapping of the surface of the skin and the mapping of place and identity but the sharing of inner light, the light of the imaginary as well – and in this observation the images become unstable, open to reinterpretation. The distance between viewer and subject is transcended through an innate understanding of inner and outer light. The photographs seduce, meaning, literally, to be led astray … I found myself looking at the photographs again and again for small nuances, the detail of hairs on the head, the imagining of what the person was thinking about with their eyes closed: their future, their fears, their hopes, the ‘active imagination as a means to visualise sustainable futures’ (Orr, 2010) …

In the imagination of the darkness that lies behind these children’s closed eyes is the commonality of all places, a shared humanity of memory, of dreams. These photographs testify to our presence and ask us to decide how we feel about our life, our place and the relation to that (un)placeness where we must all, eventually, return.

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Jill Orr
‘Jacinta’
2009

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6/ ‘AND THEN…’ by Ian Burns at Anna Schwartz Gallery

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These are such fun assemblages, the created mis en scenes so magical and hilarious, guffaw inducing even, that they are entirely delightful.

There is so much to like here – the inventiveness, the freshness of the work, the insight into the use of images in contemporary culture. Still photographs of this work do not do it justice. I came away from the gallery uplifted, smiling, happy – and that is a wonderful thing to happen.

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Ian Burns
’15 hours v.4′
2010
Found object kinetic sculpture, live video and audio
Image courtesy the artist and Anna Schwartz Gallery

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7/ ‘Night’s Plutonian Shore’ by Julia deVille at Sophie Gannon Gallery, Richmond

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Julia deVille
‘Nevermore’
2010

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This is an excellent exhibition by Julia deVille at Sophie Gannon Gallery in Richmond … This exhibition shows a commendable sense of restraint, a beautiful rise and fall in the work as you walk around the gallery space with the exhibits displayed on different types and heights of stand and a greater thematic development of the conceptual ideas within the work. There are some exquisite pieces.

In these pieces there is a simplification of the noise of the earlier works and in this simplification a conversant intensification of the layering of the conceptual ideas. Playful and witty the layers can be peeled back to reveal the poetry of  de Sade, the stories of Greek mythology and the amplification of life force that is at the heart of these works. Good stuff.

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8/ ‘Mari Funaki; Objects’ at The Ian Potter Centre: NGV Australia

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Mari Funaki
born Japan 1950, arrived Australia 1979, died 2010
‘Object’
2008
heat-coloured mild steel
36.0 x 47.5 x 14.5 cm
Collection of Johannes Hartfuss & Fabian Jungbeck, Melbourne
© The Estate of Mari Funaki

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Quiet, precise works. Forms of insect-like legs and proboscises. They balance, seeming to almost teeter on the edge – but the objects are incredibly grounded at the same time. As you walk into the darkened gallery and observe these creatures you feel this pull – lightness and weight. Fantastic!

And so it came to pass in silence, for these works are still, quiet and have a quality of the presence of the inexpressible. Funaki achieves these incredible silences through being true to her self and her style through an expression of her endearing will. While Mari may no longer be amongst us as expressions of her will the silences of these objects will be forever with us.

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9/ ‘Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang’ at Heide Museum of Modern Art

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When looking at art, one of the best experiences for me is gaining the sense that something is open before you, that wasn’t open before. I don’t mean accessible, I mean open like making a clearing in the jungle, or being able to see further up a road, or just further on. And also like an open marketplace – where there were always good trades. There is the feeling that if you put in a certain amount of honesty, then you would get something back that made some room for you in front – some room that would allow you to look forward, and maybe even walk into that space. Seeing Jerrems work gives you that feeling.

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Carol Jerrems
‘Mark and Flappers’
1975
National Gallery of Victoria, Melbourne
Gift of James Mollison, 1994
© Ken Jerrems & the Estate of Lance Jerrems

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10/ ‘John Davis: Presence’ at The Ian Potter Centre: NGV Australia

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John Davis
Australia 1936–99
(Spotted fish)
1989
twigs, cotton thread, calico, bituminous paint
55.0 x 145.0 x 30.0 cm
Private collection, Melbourne
© Penelope Davis & Martin Davis. Administered by VISCOPY, Australia

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This is a superlative survey exhibition of the work of John Davis at NGV Australia, Melbourne.

In the mature work you can comment on the fish as ‘travellers’ or ‘nomads’, “a metaphor for people and the way we move around the world.” You can observe the caging, wrapping and bandaging of these fish as a metaphor for the hurt we humans impose on ourselves and the world around us. You can admire the craftsmanship and delicacy of the constructions, the use of found objects, thread, twigs, driftwood and calico and note the ironic use of bituminous paint in relation to the environment, “a sticky tar-like form of petroleum that is so thick and heavy,” of dark and brooding colour.

This is all well and true. But I have a feeling when looking at this work that here was a wise and old spirit, one who possessed knowledge and learning … a human being who attained a state of grace in his life and in his work.

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11/ ‘Mortality’ at The Australian Centre for Contemporary Art (ACCA)

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Fiona Tan
‘Tilt’
2002
DVD
courtesy of the artist, Frith Street Gallery London

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I never usually review group exhibitions but this is an exception to the rule. I have seen this exhibition three times and every time it has grown on me, every time I have found new things to explore, to contemplate, to enjoy. It is a fabulous exhibition, sometimes uplifting, sometimes deeply moving but never less than engaging – challenging our perception of life. The exhibition proceeds chronologically from birth to death. I comment on a few of my favourite works below but the whole is really the sum of the parts: go, see and take your time to inhale these works – the effort is well rewarded. The space becomes like a dark, fetishistic sauna with it’s nooks and crannies of videos and artwork. Make sure you investigate them all!

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10
Oct
10

Review: ‘Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang’ at Heide Museum of Modern Art, Melbourne

Exhibition dates: 31st July – 31st October 2010

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

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“A face tells the story of what a person is thinking. The eyes reveal the suffering.”

Carol Jerems

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Carol Jerrems
Vale Street
1975
National Gallery of Australia, Canberra
Gift of the Philip Morris Arts Grant, 1982
© Ken Jerrems & the Estate of Lance Jerrems

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Carol Jerrems
Mozart Street
1975
National Gallery of Australia, Canberra
Gift of the Philip Morris Arts Grant, 1982
© Ken Jerrems & the Estate of Lance Jerrems

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Carol Jerrems
Mark and Flappers
1975
National Gallery of Victoria, Melbourne
Gift of James Mollison, 1994
© Ken Jerrems & the Estate of Lance Jerrems

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Carol Jerrems
Dusan and Esben
1977

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Time and Truth: Looking again at the work of Carol Jerrems

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This is a solid exhibition of the photographs of Carol Jerrems at Heide Museum of Modern Art, accompanied by small selections of the work of Larry Clark and William Yang and the sequence The Ballad of Sexual Dependency (1979) by Nan Goldin.

I like Jerrems work: it is strong, frontal, direct and truthful. What I dislike is the hagiography that has grown up around this artist, the mythologizing of Saint Jerrems. We don’t need a saint of Australian photography; what we need is an appreciation of the artist, the person and her legacy. While the personal history of this artist is well known – facing depression, putting herself in danger, sexually active, documenting the counter-culture sharps and skinheads and urban indigenous people, the photographing of women and her death at far too young an age – few people actually look at the photographs clearly.

Most of the photographs are 8″ x 10″ prints, mainly portraits, that are usually dark and contrasty, small and emotionally intense. Jerrems images are made full frame (the modernist conceit of filing out a negative carrier, so that if the negative was printed full frame there would be a black border around the picture) to avoid cropping in the darkroom. This shows good previsualisation by the artist, the composition of the image made at the time of the exposure. There is a closeness to the framing of the portraits and a conversant ambiguity about all of her backgrounds – mainly low depth of field, anonymous places (perhaps a brick wall or a close up of a street corner). In fact it is difficult to pin down any actual place in her photographs unless you are told in the title of the work. The contextlessness of her backgrounds allows the viewer to focus on the people placed before her lens and here Jerrems gets up close and personal, trying to capture the truth of her subjects, their soul (in this sense she is like Diane Arbus, thrusting her camera into places it was not supposed to go until something gives – the subject gives up, drops the mask, even if just for a split second, and click, the artist has their image). The mainly head and shoulders photographs of women are most impressive in this regard as Jerrems portrays the women’s strength and vulnerability as are the photographs of the artist herself in hospital fighting her debilitating illness, the most moving, emotional photographs in the exhibition.

Other photographs show constructed intimacies between people, the camera and the artist. In Esben and Dusan, Cronulla’ (1977, above), Jerrems uses the yin yang black, white background to frame the two protagonists, bringing forward the body of Esben in the right portion of the frame and letting Dusan recede into the darkness. In ‘Boys’ (1973) two bodies are photographed in a bed, legs and arms entwined but the print is so dark that you would never know they were two boys unless you were told – and this adds to a sense of mystery, the imaging of the most beautiful, sensitive, abstract embrace. ‘Mark Lean with Arms Crossed’ (1975) shows a cocky, self-assured Lean staring directly at the camera as though it were not there, as though he were conversing directly with Jerrems, the camera an extension of the artist capturing his brave-aura: one camera, one lens, one vision. If you study the contact sheet for the photograph ‘Vale Street’ (1975, above), Jerrems eventually draws the central luminous figure forward in the frame to create the now iconic image while the two acolytes hover, brooding and menacing in the darkened background.

As Kathy Drayton has observed, “Her photographs engage the viewer in an intimate relationship with her subjects. It’s not always a friendly intimacy – sometimes her subjects look defensive, irritated or even menacing, but you always sense that you’re seeing beyond the mask into the soul.”1

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Jerrems saw herself as a serious photographer; if something happened she felt she should be commenting on it. She was also quite naive but always pushed herself and her art into sometimes dangerous places. She would have thought ‘how do I say something that is true’ and her endeavour, which is also constructed, was seeing things in terms of opportunities for a good photograph. Jerrems removed the safeguards; she got right in there among her volatile characters, her potential sexual predators: let’s just see what happens when the safety fence goes down. Although I believe there is a lack of really good photographs that Jerrems made (what I call highlight pieces, namely the iconic ‘Vale Street’, ‘Mozart Street’, and ‘Mark and Flappers’ all 1975, see photographs above) there is a consistency to her work and how it exemplifies an exchange that takes place between the artist and the world. What I would call “a good deal.”

When looking at art, one of the best experiences for me is gaining the sense that something is open before you, that wasn’t open before. I don’t mean accessible, I mean open like making a clearing in the jungle, or being able to see further up a road, or just further on. And also like an open marketplace – where there were always good trades. There is the feeling that if you put in a certain amount of honesty, then you would get something back that made some room for you in front – some room that would allow you to look forward, and maybe even walk into that space. Seeing Jerrems work gives you that feeling.

Jerrems had the power to draw themes together, to ramp up the intensity, to empower her photographs and she was possibly on the way to becoming the things that people now say she was, but her early death curtailed this journey. Her photographs have social significance and photographic integrity and evidence time in the visible – the time in which Jerrems took them, the 1970s, and the truthfulness of her self and her style. I would have loved to have seen Jerrem’s response to the film still work of Cindy Sherman, the layering of the Sherman personas and the challenge to the feminist critique. As it is Jerrems photographs are very frontal in today’s terms and, because of her early death, she lacked the opportunity to interact with the development of more complex theories. The layers present at the time are now conflated into seemingly one layer, supported by back stories and obfuscation that clouds the work – it’s naked frontality and boldness. This obfuscation formalises her legacy into mythology.

Jerrems work does not need this. She struggled with her art, to get the best out of herself and her visualisation, to step into those spaces that I mentioned earlier. What we need is an appreciation of the time of her endeavour and the truthfulness of her art. To say that the work achieved fulfilment is to deny the importance of her death.

Marcus Bunyan for the Art Blart blog

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Carol Jerrems
Flying Dog
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Carol Jerrems
Butterfly Behind Glass
1975
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems, 1981
© Ken Jerrems & the Estate of Lance Jerrems

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Carol Jerrems
Evonne Goolagong, Melbourne
1973
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems, 1981
© Ken Jerrems & the Estate of Lance Jerrems

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“Featuring the exceptional talent of four photographers whose images capture people, places and events with candid intimacy, Up Close traces the significant legacy of Australian photographer Carol Jerrems (1949–1980) alongside that of contemporary artists Larry Clark (USA), Nan Goldin (USA) and William Yang (Sydney). According to Guest Curator Natalie King, ‘Up Close takes its inspiration from the way each artist candidly depicts a social milieu and urban life of the 1970s and early 1980s’. Sharing an interest in sub-cultural groups and individuals on the margins of society, each artist reveals a remarkable capacity to provide an empathetic glimpse into semi-private worlds through intimate depictions of people and their surroundings.

Newly discovered prints by Jerrems are included as well as rare archival material from Jerrems’ family and previously unseen out-takes from Kathy Drayton’s documentary film, ‘Girl in the Mirror.’ It is 30 years since Jerrems’ death and 20 years since the first and only survey of her work was presented. Jerrems’ photographic practice was associated with a feminist and political imperative; as she put it: ‘the society is sick and I must help change it’. This exhibition uncovers Jerrems’ preoccupation with people and their environment, subcultures, forgotten and dispossessed groups, especially Aboriginal communities of the time.

Larry Clark unflinchingly turned the camera onto himself and his amphetamine-shooting coterie to produce Tulsa (1971), a series of photographs repeatedly cited for its raw depiction of marginalized youth. This significant publication and photographic series influenced Goldin and a generation of artists who aspired to break with the more traditional documentary modes. With its grainy shot-from-the-hip style, Tulsa exposes a world of sex, death, violence, anxiety and boredom capturing the aimlessness and ennui of teenagers.

First shown at Frank Zappa’s birthday party in 1979 at the Mudd Club in New York, Nan Goldin’s The Ballad of Sexual Dependency has evolved to be an iconic work of its time. Goldin’s snapshot aesthetic is evident in this immersive installation of close to 700 slides full of saturated colour and intimate framing accompanied by a soundtrack. Mining the emotional depths of her friends, lovers and family, Ballad signals a riveting intimacy whilst uncovering the bohemian life of New York’s Lower East Side. Goldin says, ‘I was documenting my life. It comes directly from the snapshot, which is always about love…’

William Yang’s photographs from the 1970s further the snapshot aesthetic through journeying into the intimate world of his particular social milieu: drag queens, Sydney gay and inner-city culture. Yang’s direct, unpretentious photographs provide a unique chronicle of marginalised groups especially as he put it: “…people who are gay, who were invisible, who were too scared to come out. During gay liberation people became visible, people became politicised, and there was a Mardi Gras that was a symbol of the movement.”

Up Close reveals how photographic practices provide an empathetic glimpse into semi-private worlds with close up depictions of people and their surroundings.

The accompanying publication provides for the first time an in-depth account of Carol Jerrems’ work alongside that of her peers and will feature a number of newly commissioned essays. Edited by Natalie King and co-published by Heide and Schwartz City, it will be available at the Heide Store from 31 July.”

Press release from the Heide Museum of Modern Art website

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Carol Jerrems
Juliet Holding Vale Street
1976
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
© Ken Jerrems & the Estate of Lance Jerrems

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Carol Jerrems
Lynn
1976
National Gallery of Australia, Canberra
Gift of the Philip Morris Arts Grant 1982
© Ken Jerrems & the Estate of Lance Jerrems

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Larry Clark
Untitled
1979
National Gallery of Australia, Canberra
Purchased 1980
© Larry Clark
Image courtesy of the artist and Luhring Augustine, New York

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Larry Clark
No Title (Billy Mann)
1963
from the portfolio Tulsa
National Gallery of Australia, Canberra
Purchased 1980
Image courtesy of the artist and Luhring Augustine, New York

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1. Drayton, Kathy quoted in Wilmoth, Peter. “The ’70s stripped bare,” on The Age website. July 17th, 2005. [Online] Cited 05/10/2010. www.theage.com.au/news/film/the-70s-stripped-bare/2005/07/16/1121455933362.html

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

Opening hours:
(Heide II & Heide III)
Tue–Fri 10.00am–5.00pm
Sat/Sun/Public Holidays 12.00noon–5.00pm
Closed Good Friday, Christmas Day, Boxing Day

Heide Museum of Art website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

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