Tag Archives: Brunswick

Melbourne’s Diverse Street Art

Walking around Melbourne exploring its many lanes, sometimes in the company of a notable, some would say notorious, street artist who would prefer to remain anonymous and keep his comments off the record. Thanks for the company. What follows are my photos, my comments and my opinions. The selection of photos is not my pick of the best street art that I’ve recently seen but to the diversity, both geographic, technique and materials, of Melbourne’s street art.

Deb, Uniacke Court, Melbourne

Deb, Uniacke Court, Melbourne

None of these photos are from the old locations, Hosier Lane, Centre Place, they are no longer the best place to see street art in the city. The locations for good street art have shifted in the eight years that I have been writing this blog, slowly moving north and west. In the west of the city where the street art is scare I found a whole lane, Uniacke Court, with several pieces by Deb and no-one else.

Sunfigo stickers

Sunfigo stickers

All over the city I keep on seeing more and more of the work of Sunfigo, simple and effective stickers and paste-ups but nothing to compare to Sunfigo’s Little Diver Tribute.

Anonymoose, Blender Alley

Anonymoose, Blender Alley

If you love stencils the best place to see them is Blender Alley. The reason is that the main door to Blender Studios, its roller doors were open when I was there, faces the alley and the artist’s in the studio, especially its director, Doyle, basically curate the alley.

Mutant

Mutant

I keep seeing more street art sculpture and, not just Will Coles and Junky Projects, more people are doing it. Mutant and Discarded are doing similar work casting bones and other found objects. So far I have only seen Discarded’s work online but I know that it is out there.

LaPok, Guerilla Garden Melbourne

LaPok, Guerilla Garden Melbourne

Unknown, Ilham Lane

Unknown, Ilham Lane

I’ve seen a few more artistic works of guerrilla gardening in the city and Ilham Lane in Brunswick. Also in Ilham Lane there is a piece of guerrilla geography, naming the small side bunch from Ilham Lane, Chook Lane.

Chook Lane, Brunswick

And there is still basic graffiti out there.

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Allegories of the PRB

Allegories of the PRB is an exhibition of sculptures by Daniel Dorall and drawings by Steve Cox that reflects on and refers to the art of the Pre-Raphaelite Brotherhood (PRB). The exhibition notes describe the PRB as “a radical and revolutionary 19th Century art movement” but I would disagree with almost every word except “19th Century art”. Extreme and reactionary, this eccentric circle of seven artists was originally thought of itself as a secret society. Not that this excludes them from being worthy of further reflection.

Daniel Dorall’s sculptures are architectural models populated with model railway figures. Normally I would avoid an exhibition of architectural models because mostly they appear to me as lifeless design studies. However, there is a special appeal to something when it overcomes the original dislikes and objections to that category and Dorall’s models are populated and overgrown, suggesting not just life but archeological and psychological depth.

Dorall’s self-contained labyrinthine architecture sums up the psychology of the PRB. In Love Triangle – Ruskin, Effie, Millais, 2009 each person is trapped in their own box that each contains its own hedge maze. The Good Shepherd sums up the PRB’s approach to Christianity. Other works, like Tennyson and Ophelia are more illustrative, creating a homage to the famous paintings by Waterhouse and Millais in H0 scale models.

Steve Cox’s fine drawing in pencil and watercolour on paper, condenses the brotherhood into a series of studies and portraits. They also contain several keys to Dorall’s PRB references, like The Blind, and both parts of this exhibition would be poorer without the other.

Daniel Dorall, The Good Shepherd, 2007-14

Daniel Dorall, The Good Shepherd, 2007-14

The Prosopopoeias by Olivia Pintos-Lopez at first reminded me of a small scale version of Linde Ivimey’s only less grisly without all the bones. There are a few teeth and bones amongst the all the found materials. The figures have a voodoo doll aspect incorporating reused materials, bits of antique lace, embroidery, buttons, beads and kid leather. On a shelf that runs along the gallery wall groups of figures, posed in a variety of ways, stand and sit. Often, in the gestures there is a strong maternal feel that contrasts the sinister, bound, hooded (blinded or blinkered) figures. The rabbit ears of many of the figures adds to both the sinister and the maternal elements as the childhood anthropomorphising of toys turns feral.

Olivia Pintos-Lopez, Untitled, 2015

Olivia Pintos-Lopez, Untitled, 2015

Both of Allegories of the PRB and The Prosopopoeias are currently on at the Counihan Gallery in Brunswick.


Coffee with Jamit

In the late 1990s there was a lot less graffiti in Melbourne, but amongst the tags and pieces along the line, Jamit’s steaming coffee cup on the side of a house stood out. It was a personal favourite when I was working for LookSmart, an internet start-up. Every weekday I would take the train from Coburg station into the city, there wasn’t much to look at along the railway line; mostly I read my books, but occasionally I would have a window seat and glance up from my book. Once I saw a rabbit in the North Melbourne rail yards, other times I would mark my journey by spotting a familiar piece of graffiti. Every time I saw Jamit’s piece I would think: another cup of coffee, very appropriate for a Melbourne morning.

Oldest wall in Brunswick 2

The coffee cup was a rare time that Jamit painted along the Upfield line. Mostly he worked on the Hurstbridge line and around Camberwell. The wall where the coffee cup was painted is a long blank cream brick wall running the length of the house and directly facing the railway tracks near Anstey Station. It is the perfect wall for graffiti and Jamit’s friends knew the owner of the house who had given permission for it to be painted. Shame and possibly Ron B Me were there, it was a decades ago and Jamit doesn’t remember now. They had ladders and were painting in the daylight. Unfortunately he also can’t remember what brand of spray paint they were using because it has great durability, the paint hasn’t faded or deteriorated after many years. People talk about graffiti as ephemeral but a piece can last ages.

Jamit sprayed a large white coffee cup filled with hot steaming coffee on the wall. Jamit explained that “the coffee cup was settled on because, let’s be honest, coffee is a generally accepted symbol of friendship and funkiness in Melbourne. Try going into the old Rue Bebélons and asking for a milkshake. They would have accommodated it, no doubt, but not without a short, awkward, double-take.” An elderly passer-by liked the coffee cup; on the day it was painted he climbed up on a ladder to pose as if he was drinking from the cup.

After spraying the coffee cup freehand Jamit added his tag, in a stencil. This is unusual for an old school graffiti writer but was not unusual for Jamit, he had done it for years. He can’t remember anyone else in Melbourne using stencils at the time and there Puzle claims that Jamit did the first stencil northside in 87-88. “When I was commuting to school along the Hurstbridge line, I saw paintings by Bo the Snoutcatcher. It struck me that graffiti needn’t use spraypaint directly onto the wall in the conventional way at the time.”

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Melbourne’s graffiti scene was very different in the late 80s and early 90s, without the internet the scene was more insular. There was not a lot of love for Jamit’s graffiti in small graffiti scene, but graffiti is not a popularity contest it is about getting pieces up. Jamit had been doing that for years, mostly large-scale colourful blockbusters and italicised blockbusters. “Hugh Dunit was there too, though he wasn’t appreciated until later on—too little too late in my opinion.”

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Impressed by the “…very straight-forward graffiti by Tubby and Raffles, whose tags were between Camberwell and Canterbury”, he had started working with his friend that he had known since primary school, Worm, as well as doing some writing with Mags in Rosanna.

It was an old-school scene based along the railway lines and hip hop music mostly supplied by Central Station Records. “Back then I loved Strange Tenants, Kool Herc, Schooly D, Rammellzee, all the breakdance stuff and even Malcolm McLaren, at the time not thinking much about a white guy coming in and capitalising on it all.”

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Jamit is now living in Singapore and, although he still does the occasional piece, he is now, in his own words, a changed person. Although much of the graffiti from the 90s has now faded away or been capped, buffed or otherwise vanished, Jamit’s coffee cup is still on the wall looking as fresh as it ever did and I still see it every time I take the train.

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Moreland Summer Show 2014

The Moreland Summer Show is the annual exhibition of “creative City Moreland”. Fifty artists exhibiting fifty medium sized works: paintings, photographs, prints, collage sculptures, assemblage and video.

Some of the artists are art students. Others are regular faces of the Moreland art scene like Peter Hanford and Julian Di Martino. And others are emerging or established artists represented by galleries like Dianne Tanzer, Fehily Contemporary and Stephen McLaughlan. They are all either residents of Moreland or artists with “strong connections” to Moreland, like Janelle Low, the resident Counihan gallery photographer and winner of the 2013 National Photographic Portrait Prize.

Many artists have been attracted to the Moreland area because of cheap rents for both living and studio space; the former light industrial areas providing many warehouses for studios and galleries. However, with the rise of rental prices and the construction of apartment blocks the attraction is fading. Urban growth in the area was a topic for several artists and their artwork along with the hot political issue of the proposed East West Link. With these development this exhibition may prove to be the high water mark of Moreland’s creative tidal surge.

The work were selected primarily on their approach to the theme of this year’s exhibition of “speak out”. The political edge to the theme is typical of the Counihan Gallery. Brunswick, and by default the City of Moreland, has long been a centre of alternative politics and free speech from Noel Counihan to Barricade Books, an anarchist bookshop in the 1990s. (Neither Counihan nor Barricade Books were welcomed in Brunswick at the time and Barricade Books moved to Northcote before closing.)

For me the highlights of the Summer Show are Jenny Loft’s glass and shadow, mixed media sculpture, Shiva Lord Of The Dance: I Miss You and Stephanie Karavasilis’s installation Witness (in the silence). Karavasilis’s Witness (in the silence) is poignant, beautiful and unsettling; it uses text from the Royal Commission into Institutional Responses to Child Sexual Abuse on plaster casts of folded sheets that were scattered amongst the found furniture and objects (old suitcase, children’s shoes and books). Jenny Loft’s Shiva refers to the stolen Shiva Nataraja that the National Gallery of Australia returned to India in September. Combining the old and new materials, the shadow and object elegantly portrays the contradictions of Shiva’s dance of creative destruction.

However, I must qualify my opinions by noting that I was using the preview and the opening of the Summer Show to meet as many local artists as I could and I don’t think that I really looked at all fifty works on exhibition.


On the streets

Eight of my recent photographs along with notes and comments about paste-ups, aerosol pieces, street art sculpture, stencils, stickers and yarn bombing that I’ve seen on the street in the last couple of the months.

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Walking around Coburg I spotted Chromatovore putting up this paste up; he was pushing a baby buggy containing his two kids and paste-up materials. Excellent placement and a cool way for a busy dad to do street art.

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Thanks for the ‘warning’ Whop Taps (also in Coburg). Do people read? Do people think?

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Although these funky sci-fi street art sculptures (there are two of them) are hanging on the railway Ansty Station in Brunswick they have not been removed by the railway staff.

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A great aerosol piece in Brunswick – this skull wears the crown. Along the Upfield bike path just up from Brunswick Station, next to a very old face by Mic.

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Stencils in Hosier Lane by PD027. You don’t see that many stencils around Melbourne anymore.

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Radical cross-stitch and yarn bombing by Yarnonymous. I hope that the Australian government is convicted for their crimes of against humanity.

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Inviting comments on Gertrude Street, Fitzroy: “Before I die I want to…” I assume that the cafe provided the chalk.

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I have to ask is this old piece in Collingwood a portrait of Geoff Newton, the director of Neon Parc gallery, because if it isn’t then we have found his long lost twin.


MoreArt 2014

James Voller in Fragmented Patterns, uses the side of an industrial rubbish bin and a public toilet on Victoria Street in Coburg, as the support for photographs of the facades of suburban houses where the classical arch has become an architectural cliche. The sense of perspective given by these large scale prints distorts/transforms the surrounding environment. Is it a toilet block or the front of a small house?

James Voller, Fragmented Patterns

James Voller, Fragmented Patterns

A nineteenth century iron lamp post outside the Brunswick Town Hall is covered in gold leaf; Ria Green and Aliça Bryson Haynes, Everyday Monument. It made me question if I could remember the lamp post before this transformation.

Ria Green and Aliça Bryson Haynes, Everyday Monument

Ria Green and Aliça Bryson Haynes, Everyday Monument

Seeking to transform the way that people look at urban/industrial landscape of Coburg and Brunswick is the intention of the annual MoreArts exhibition of temporary public art. Not all of the art succeeds in this kind of transformation, some of it has just been plonked in a location.

Others suffer from other more complex urban problems, including tagging and stickers on the billboard style works of Benjamin Sheppard’s Crown in the Jewell and Chris Mether and Anthony Mecuri’s Bubbles. Not that this is a major problem in itself but it does highlight MoreArts ignoring the greater quantity, more permanent, but unofficial transformative art occupying the same area, the street art and graffiti.

Anthony Sawrey, No Tree or

Anthony Sawrey, No Tree (or do you see the street art?)

Carla Gottgens Baggage, is a series of old suitcases supporting photographs of scenes from Gottgens life recreated in miniature models. Along with Gottgens Baggage at the Coburg Railway Station bike shed there was a little sign to indicate that it is an art installation in case the increasingly paranoid and insane people, who are increasingly treated as reasonable, sane and normal, might think it is a bomb. (“If you see something say something” – I see fear mongering and encouraging violence, paranoia and war crimes. What do you see?) At this point the attempt at a transformative experience is diminished.

Carla Gottgens, Baggage

Carla Gottgens, Baggage

Moreart has a badly designed guide, available online in PDF format, that needed to be rotated multiple times in order to read it. It has been a great irritation to use; I assume that it makes sense only if you know what it is meant to mean and have it printed out in hardcopy. So why bother putting it online in that state?


More Microparks

Microparks, or how local city councils in greater Melbourne are learning to practice the art of urban acupuncture trying to hit the magical lay lines of psychogeography. Melbourne is well known for its parks; Victoria’s car license plates once sported the slogan “the garden state.” Large parks surround the city but beyond that parkland in the inner city can be sparse. Local councils are finding vacant land between two buildings, at a corner or on an under-used section of road to rejuvenate an area with a park.

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The City of Yarra wants to create new open spaces in Collingwood as the area was originally overbuilt. Wandering the Collingwood gallery district I find a new park on Oxford Street with lots of decking, a drinking fountain and contained patches of grass. It looks as if it is primarily intended for sitting and eating lunch. There is another new small park only a few blocks away on Peel Street with its curved red seating and piles of concrete blocks, as if that part of it was designed using Minecraft.

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Compared to the earlier micro park on the corner of Gertrude and Smith Streets, where two benches and a hippy looking garden bed is dominated by the billboard advertising, these new parks are masterpieces in urban architecture and design. Novelty seats by artists are out, now seating has to have design features. (See my post Crazy City Comforts) and, basically be a comfortable place to put your bum. The architecture of discipline is out for these parks; the anti-sleeping, anti-skateboarding bumps are not visible but rather subtly understood in the design. Design is the key feature of these parks, not an anonymous utilitarian effort nor a naive hope that the community will do the rest.

In Brunswick off Sydney Road there is Wilson Avenue existing pop-up park from last year is now to be made permanent. Wilson Avenue in Brunswick, off Sydney Road. An urban bouldering wall allowing people to do more than just sit in the park.

Temporary or permanent these spaces are mostly about rejecting the dominate car culture to provide more space for pedestrians. It takes more than a few seats and a little bit of vegetation to make a successful urban micro park or pedestrian space. If you build it will they use it?

On the subject of sitting, with the television full of documentaries about Tony Robinson, Will Self or Alan Cummings going for a walk, I have decided that sitting is going to be the next big thing. Sitting is what is required for style and comfort. My cat does a lot of sitting; for her there are seats of power, seats of comfort and seats to explore. In the 21st century everything is extreme and there is the extreme sitting of Maria Abranivich sitting in MOMA for day after day. Public seating is a civic necessity for the aged, the sick, the tired. Having public seating reduces isolation. The Guardian reports on the City of Dijon in France introduced public armchairs, as it is easier for the elderly to get up from a seat with armrests.


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