Author Archives: Mark Holsworth

About Mark Holsworth

Writer, independent researcher, artist, musician and philosopher. Mark Holsworth is the author of the book Sculptures of Melbourne.

I am not Schwitters either.

“Up the stairs he went, and once more rang Grosz’s bell. Grosz, enraged by the continual jangling, opened the door, but before he could say a word, Schwitters said “I am not Schwitters either.” (Hans Richter, Dada, art and anti-art Abrams, 1964, New York, p.145)

I am not Schwitters either so I don’t know who is Schwitters. To understand a person from only one perspective is like looking at a silhouette, there are only two diamentions. The more views, the more contradictions and a three or four dimensional character starts to take shape

Hans Richter account of Kurt Schwitters “a first class businessman, a born shop keeper” (p.149) is markedly different from that of  E.L.T Mesens, of a man travelling third class with a very small suitcase that contained nothing but a spare celluloid collar for his thick flannel shirt and bunch of his Merz publications. Kurt Schwitters is best known for his Dada collages but he should also be remembered for his great modern poetry.

Schwitters cover trial

Three Stories: Kurt Schwitters by Kurt Schwitters, Jasia Reichardt (Editor) (Tate Publishing, 2011, London) is a small 32 page hardcover book with three stories and a poem by Schwitters. There is also an introduction by the editor Jasia Reichardt and an essay about Schwitters by Mesens.

The only images in the book are a couple of small marginal illustrations that accompany “The Flat and Round Painter”. This fairy tale is an absurd allegory about why all paintings are now flat. It was written around 1941 when Schwitter’s was interned as an enemy alien on the Isle of Man.

“The Idiot” was originally written in Norwegian and was translated by Schwitters into English. The setting feels very Norwegian although there are no definite references to any particular location.

“The Landlady” 1945 is a short sketch of an “intelligent” landlady who would make Basil Fawlty appear reasonable.

For me the best part is his “The London Symphony” written in 1942. The realism and urbanism of this poem is truly radical as all the lines came readymade, composed from the hand painted advertising signs that Schwitters saw on the streets of London.

“Tribute to Schwitters” by E.L.T. Mesens was commissioned for ARTnews in 1958 and has been unavailable since then. There is also Ernst Schwitters reply to Mesens is a previously unpublished response by the artist’s son Ernst Schwitters and a response from Mesens. Mesens raises issue Mondrian’s attitude towards Dada and this is part of the dispute with Schwitters’s son.

Another point of difference of opinion is over the quality of Schwitter’s treatment in the English internment camp on the Isle of Man. Mesens claims that he enjoyed it but the artist’s son, Ernst Schwitters, who was in the interment camp with his father, disagrees. Although a Belgium citizen Mesens was involved and informed by the English especially Roland Penrose with whom he ran the London Gallery.

Hosier Lane in the News

Yesterday I made a brief appearance on the Channel 7 news after Lord Mayor Robert Doyle stirred up the media. It has been a while since multiple news crews were in Hosier Lane and it is a good opportunity to draw attention to one of Melbourne’s attractions. Both Channel 7 and Channel 10 sent crews to cover the story.


Lush in Hosier Lane

Lord Mayor Doyle was playing a similar game to Lush in stirring people up. Lush has been doing a bit of painting in Hosier Lane, poking fun at the scene and himself. Both Doyle and Lush want a reaction and don’t care if it is positive or negative or even if people point out that they are just trying to get a reaction.

Adrian Doyle was keen to promote Blender Lane over Hosier Lane because he manages Blender studio and the Dark Horse Experiment gallery right next door.


Is it all over for street art? I doubt it; I’ve heard that too many times to even be able to write that seriously. I remember Ghostpatrol saying that 2003 was the high point of Melbourne’s street art that was back in 2008 at a panel discussion at Famous When Dead. I’ve written about the end of street art before, considering the political interests involved in declaring Surrealism over.

The long tail is still play out but with population growth this might be sooner than expected. Earlier in the year the removal of love-locks from the Southgate bridges in Melbourne and the Pont de l’Archeveche Paris made the news.  I first noticed a few love-locks when travelling in Europe in 2007 and eight years later their weight was becoming a concern to engineers.

The personal city of romantic strolls by the river is shared with so many other people with similar stories. There are now millions and billions of people and it is hard to get your head around those kind of numbers. The unimaginable mass of the population is such that a trend can become a structural engineering problem in crowd crushes and love locks. If it weren’t for the millions of people following in the footsteps of a few drunken Englishmen to see ancient Rome or Greece then it wouldn’t be a problem if the odd traveller scratched a name on the ancient stone ruins.

Yesterday morning Hosier Lane was not looking its best; there were a couple of fresh pieces and Lush’s piss takes. But writing about how Hosier Lane looking is like commenting on Melbourne’s weather, it is always changing.


GT Instagram spray can, Hosier Lane

Science Friction @ Counihan Gallery

The Moreland Summer Show at the Counihan Gallery in Brunswick has the work by fifty-two artist who live, work or are otherwise connected to the area. The theme of the exhibition is “Science Friction” and that meant several flying saucers: Daniel Armstrong and Melinda Capp’s made of various found materials and Nadia Mercuri’s classic saucer in cast green lead crystal and blown glass.

UFOs are a barometer for the ignorant paranoid thinking about the idea of science and many of the artists in the exhibition were conflating the idea of science with industry and commerce. Moans and complaints about science do not generally make for good art or an engaging discourse. In his opening speech at the exhibition, senior curator of contemporary art at the NGV, Max Delany was kinder referring to the portrayal of the unthinkable and unsayable.


Frances Tapueluelu, Technological Colonisation

Maybe if the word “technology” was used instead of “science” then the artist would have been less confused. Artists are familiar with technology, old technology, new technology, pushing technologies and exploring technologies. Frances Tapueluelu provided more balance and beauty in looking at the impact of communications technology on Tonga culture. Technological Colonisation is a magnificent headdress made of old mobile phones, keyboard keys, wires and plugs.

Many of the artists in the exhibition use technologies, from ancient to new. There are several video works. Ben Taranto’s beautiful one minute video loop, Blue Space, that turns the floor into a small pond with fish. Jenny Loft combines both old and new technology in When Mary met Ada, with a glass sculpture, cast using the ancient lost wax technique, mounted on a digital print of a computer chip.

Alister Karl keeps on pushing drawing in surprising directions and graphite can conduct electricity. So Karl has hooked up two batteries to a mix media drawing of a rocket adding a circuit board element, two LED lights and a small speaker.

For me the work that best captured the theme of the exhibition was a small oil painting by Saffron Newey. Mashed Romantic is a beautiful but unreal landscape mixing images from the visionary American painter, Thomas Cole and other painters. This mashed image reminds the viewer that the artist’s, or other observer’s image of nature are always artificial constructs, mashes of ideas and impressions.

Openings and Closings: Brunswick Arts and Neon Parc

One gallery closes and another one opens: Brunswick Arts is closing and Neon Parc has opened a new second space.

Brunswick Arts is an artist run gallery that opened eleven years ago in a converted factory space built out the back of a suburban house. The factory space opened onto Little Breeze Street and served as an art gallery while various artists lived in the house, a key part of the gallery’s business model. However, recently building inspectors ruled it out the combination of a residence and gallery.


An opening at Brunswick Arts

“Burnt out” were two of the words used by Alister Karl, who has been on the committee running Brunswick Arts for at least a decade. To keep doing the same thing and hoping for different results is a sign of madness. You don’t have to keep on going, you can change.

The new Neon Parc second space on Tinning Street in Brunswick does not look like much from the outside, just another warehouse, but the detail of the name embossed door handle indicates of what is coming. Inside is an elegant white walled space for exhibiting contemporary art without compromise.


Dale Frank exhibition at Neon Parc

The current exhibition of sweet and shiny works by Dale Frank would have been impossible in Neon Parc’s small city space. Big and shiny, sweet and sticky are the aesthetics that Frank is playing with, or rigorously pursuing through variations. Basically what you can put, pour, smears, sticks and hangs in a camp parody of modernism on a shiny sheet of perspex. Complete with neo-baroque theatrical flourishes of the black frames and the white chocolate fountain.

Geoff Newton, the director of Neon Parc has lived in Brunswick for decades. Newton said that he was a bit worried about getting collectors in Melbourne’s south to cross the Yarra to see a gallery in Brunswick, instead he has collectors from Essendon visiting the gallery.

Neon Parc joins Tinning Street Presents… the first art gallery on the street along with artists studios and other creative endeavours. Tinning Street in Brunswick is becoming an artistic centre in Brunswick. Turning Tinning Street into a cul-de-sac by blocked off rail-crossing to cars has given some kind of character to the former industrial area dominated by two grain silos. The silos and Ilham Lane off Tinning Street are good street art and graffiti areas.

Galleries have opened and closed in Brunswick before; read my post A Hipster Conversion.

David Russell’s Street Photography

On Friday 13th of November at Blender Studio there was 32K, a one night only exhibition of David Russell’s photography.

David Russell's photograph

Russell’s first exhibition took his photography beyond simply documenting street art and graffiti to making his own art. Adopting the attitude of graffiti writers to the urban environment; the trains, getting up high and exploring the urban environment. Only Russell is using a camera rather than a spray can and painting with light and darkness. The photographs have the same chromatic intensity of aerosol paint. Not all of photographs had graffiti in it, three photographs at Flinders Street Station did not have even a sticker or tag in them but still had that attitude.

The exhibition brought out many people notable in Melbourne’s street art scene to support Russell. One wall of Blender Studio was covered with a wallpaper print produced by GT Sewell’s new business. Dean Sunshine supplied Mexican beers for the event. For although this was Russell’s first photography exhibition he is already highly respected in the scene.

Andrew King and David Russell

Andrew King and David Russell

Years ago when Facter first mentioned David Russell he said something like: “He looks like a cop; he isn’t, I’ve checked him out.” Graffiti writers and street artists have every reason to be suspicious of this short haired man with a big camera who was always hanging around watching them paint. Was he an undercover cop gathering evidence?

There are many photographer capturing the Melbourne’s street art and graffiti scene. I’ve done a bit of that myself and this is how it started for David Russell. However Russell was not just another photographer snapping shots of Melbourne’s walls. He was devoted to it, he was always there with his camera for as long as necessary. He was there for days in 2014 photographing Adnate paint his mural in Hosier Lane. This dedication led to Russell doing a long running series of monthly posting on Invurt blog; Through the Lens. His knowledge of the artists and scene lead to him to become more involved with various projects and doing street art tours.

MoreArt in Coburg Mall

At one end of the Coburg mall, strung between two trees there was the banner announcing Ben Landau’s Coburg Quest, at the other end stood Dan Goronszy’s large chalk board, The Launching Board on its platform. In between them, the usual crowd of activity in the Coburg mall: tables of people drinking coffee and eating, small children playing and a woman busker singing folk songs with a strong vibrato voice.

Larissa McFarlane, A Ritual of Handstands

Larissa McFarlane, A Ritual of Handstands

Larissa McFarlane, A Ritual of Handstands cane detail

Larissa McFarlane, A Ritual of Handstands cane detail

Some people in the mall also noticed the paste-ups by Larissa McFarlane, A Ritual of Handstands in the walls running off the mall. The paste-up of the walking stick leaning against the wall was particularly popular. An elderly Greek man gestures at it, “Somebody leave this behind?” he says and laughs. Coburg Mall and the laneways around Coburg are generally too far north for the street artists and these paste-ups are also part of MoreArt program for 2015.

The MoreArt program is Moreland City Council’s annual public art show. This year there is a theme “Participation: Real or imagined, conjured and or discovered, a shrine, a monument, a ritual, a tribute, a custom”. There may have been themes in the previous six years but never has it been so clear in the art. The theme makes it clear that this is show is not simply art in public space, nor art for public spaces but that the public actively engages and participates in creating. This opens the program to multidisciplinary artists like Dan Goronszy and Ben Landau.

Ben Landau Coburg Quest

Ben Landau Coburg Quest

Ben Landau’s Coburg Quest required more time and participation than I was willing to devote, with multiple individual tasks and two Sunday afternoons involved in this art/quiz/game.

Dan Goronszy, The Launching Board

Dan Goronszy, The Launching Board

Dan Goronszy’s large chalk board, The Launching Board had the question “What does peace mean to you?” on both sides of the double sided blackboard. Containers for chalk are built into the blackboard. Most people who stopped to look just read the few responses but every now and then someone would write something. A group of men on bicycles arrive in the mall, they stand around and watch as one of them writes: “Stop bombing the **** out of Syria” on the blackboard.

I am involved in MoreArt this year. I am part of a panel discussion on public art along with Geoff Hogg, Louise Lavarack, Dean Sunshine, Laura Phillips and Aiofe Kealy: Making it in Moreland.

10 Melbourne Public Sculptures Intended for Children

These Melbourne public sculptures are all intended for children, due to their theme or because they can be played on. Although Inge King did not intend the black curves of Forward Surge at the Arts Centre for any particular audience, she does appreciate the enjoyment that children get trying to climb up the curves and sliding down. Definitely for any child with ambitions to climb sculptures. This is without looking at the sculptural value of play equipment like the dragon slide in Fitzroy Gardens or a carved logs in the playground of the Fitzroy housing commission flats.

Listed chronologically.

Photograph courtesy of State Library of Victoria

Photograph courtesy of State Library of Victoria

Paul Montford, Peter Pan, 1925 Melbourne Zoo The figure of J.M. Barrie’s Peter Pan is modelled on Montford’s son and the flora and fauna on the base are all Australian.

Fairy Tree detail

Ola Cohn, Fairy Tree, 1934, Fitzroy Gardens, Like Montford’s Peter Pan, the fauna on Cohn’s Fairy Tree are Australian. Cohn also wrote a Fairy story to go along with her carving.

Tom Bass Children's Tree 2

Tom Bass, Children’s Tree, 1963, Elizabeth Street, Bass intended for children to climb on this sculpture.

Photograph by Dan Magree

Photograph by Dan Magree

Peter Corlett, Tarax Bubble Sculpture, 1966-68 Originally at the National Gallery of Victoria it is now at the McClelland Sculpture Park. The sculpture was intended to be climbed in and on.

Tom Bass, The Genie, 1973 (1)

Tom Bass, Genie, 1973 Queen Victoria Gardens, Melbourne, Bass intended to be climbed on by children.

The Bunyip, 1994, Ron Brooks

There are two sculptures based on children’s book illustrations State Library forecourt. Ron Brooks, The Bunyip, 1994, from Jenny Wagner The Bunyip of Berekeley’s Creek.

Mr Lizard & Gumnut Baby, 1998, Smiley Williams

Smiley Williams, Mr Lizard and Gumnut Baby, 1998, from May Gibbs, Snugglepot and Cuddlepie

Bruce Armstrong, Untitled Installation 1999, at Flemington Children’s Centre, Flemington. (no photo available unfortunately)

Bronwen Gray, Matryoshka Dolls, 2001-2

Browen Grey, Matryoshka Dolls, 2002, on the corner of Brunswick and Gertrude Streets.

photograph courtesy of EastLink

photograph courtesy of EastLink

Emily Floyd, Public Art Piece, 2006 EastlLink. Even though children can’t climb on it or even touch it Floyd did make it with the children in the back seat of the car in mind.

Emily Floyd, An Unfolding Space, 2010, Phoenix Park, Malvern East, sculpture at children’s centre. (I couldn’t get a photograph for this one.)

I will end this with a plug for my book Sculptures of Melbourne, a history of Melbourne’s public sculptures.


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