Advertisements

Monthly Archives: January 2019

Sunshine Lane

A visit to the Sunshine Lane (Ann St, Brunswick) is always worthwhile to see quality street art and graffiti. There are other great locations for street art in Brunswick hidden away in the backstreets. Few laneways in Melbourne get a 5 star review on Google but this is one; Google describes it as an art gallery and in a way it is. Sunshine Lane is one of the locations in Brunswick where street art graffiti thrive because it is semi-curated by Dean Sunshine, whose family owns several of the warehouse in the area. There are some permanent works, like this one by Slicer that I videoed when he was spraying it six years ago.

In the video I wanted to convey the action painting aspects of painting with a spray can (as in the action painting of the Abstract Expressionist 10th Street School). Aspects that Slicer embodied well, but it is his footwork, the dance that is also common to all artists spray painting large walls that I was also watching. The person dances along the wall with their spray can, steps back, pause, steps to the left, or to the right, and then steps back up to the wall to once again paint across its surface.

A couple of stencils by Drasko and others around the area reminded me that a decade ago the main focus on Melbourne’s street art was stencils. It is not that stencils are making a come back, they never went away, it is just that the street art scene is so much larger that stencils no longer dominate.

No-one would have predicted what is still happening with street art; what was underground and wild is now mainstream. A decade ago I was told so often that Melbourne’s street art had peaked that I took it too mean that the person in question was getting out of the scene. However, for every person who left the scene to pursue other goals it seemed that five took their place.

Rapid urbanisation has been the fuel in this expansion in many ways. The growth of the city, not just spread, but vertically has created many more walls filled by many more people who want to paint them. The walls get larger, whole sides of multi-storey buildings and more and more get painted. There are now building sites around Sunshine Lane, small laneways have vanish or are now cut off by construction works.

Advertisements

Most controversial public sculptures in Australia

Readers in Melbourne might think that this will be about the flat yellow steel planes of Ron Robertson-Swann’s Vault (aka the Yellow Peril) but it is not. Although the controversy lasted a year, mostly letters to the paper and angry city council meetings. A few people figuratively lost their heads but no sculptures lost their heads. For more on Vault read my post: And it was all yellow.

Other readers might think that the controversy was the statue wars of 2017 when statues of Captain Cook and Governor Macquarie were vandalised with paint. “No pride in Genocide.” Again a few people figuratively lost their heads but no sculptures lost their heads. For more on this read my post: Statue Wars 2017.

There are two sculptures that were so controversial that the sculptures were actually decapitated.

Robert Hitchcock Yagan 1984 (photo by Nachoman)

The Yagan statue by Robert Hitchcock is located on Heirisson Island in the Swan River in Perth. It was decapitated and the head stolen in 1997 by an anonymous vandal who identified themselves as a ‘British patriot’.

The decapitation occurred the same week that Yagan’s actual head was returned. Yagan was murdered in 1833, shot a point-blank range by an eighteen year old Englishman William Keates was speared to death in revenge. Yagan’s head was taken as a trophy to England; if this had been done today it would be a war crime. After passing through multiple British hands Yagan’s head was eventually buried in an unmarked grave along with the body of another Indigenous Australian, some dried viscera and a Peruvian mummy in a corner of Everton Cemetery in Liverpool.

The statue was restored with a new head only to be decapitated again in 2002 leading to a second restoration and another slightly different head. The pattern of racist attacks only stopped when the area was fenced off. There were no witnesses to either of these crimes although WA Police Headquarters has views across the Swan River to the statues site.

Greg Taylor, Liz and Phil Down by the Lake, 1995 (image gregtaylor-sculpture.com)

However, even the Yagan statue is not the most controversial public sculpture in Australia which has to be Greg Taylor’s Liz and Phil Down by the  Lake 1995. Made of cement fondue coated with iron oxide to give them a rested appearance. It was part of a temporary exhibition for the National Sculpture festival organised by the Australian National University in Canberra.

Seated on a park bench by Lake Burley Griffin were two naked figures. The wrinkly old naked Liz and Phil looked, the very opposite of regal, frail and human; only the crown on Liz’s head reminded the viewer who was being depicted. The fact that Lese-majeste is not in Australian law but that didn’t stop Returned Service League chief Bruce Ruxton calling for Taylor’s execution.

Then the head of Liz was stolen on the night of 13 April. The police log stated boldly: ”The Queen has lost her head and doesn’t know where to find it.” After the beheading a former Sydney policeman decided to dress the sculpture in bedsheets printed with the Australian flag. The following night the Duke’s head was removed along with further vandalism that severed legs from both figures and caved in Phil’s chest. The entire sculpture was was removed on 16 April, two days later.

Taylor told the Canberra Times: “It’s a pretty sad day for freedom of speech and freedom of expression when you can’t even put a piece of art up without its opponents being able to control themselves.”

In a secondary controversy the Australian Federal Police on May 14 issued a denial that the Queens head had been found in home of a right wing militia member who had infiltrated the computer and communications sections of the Defence Department and possessed an arsenal of weapons.


A long and narrow road

The words following the white line on Upfield bike path. The reflective white line dividing the bike path becomes the page, the site for the text. The path of words runs between the throughly domesticated work or architects and building engineers and the wild feral art that grows like weeds along the railway line.

It was part of More Art 2018, is A Narrow Road to the Deep North by Illimine. Illimine is an international collective of multimedia artists, performers and academics who have been doing site-specific art since 2013 that has a several Melbourne based members.

The text goes on for some kilometres, about 10 km making it amongst the longest works of urban art or poetry. (Not that I want to get into an urban art measuring contest, so you can put your hand down now Sigmund. We all know what you are going to say.) It is a durational writing performance the work.

If it is literature, it is the kind that nobody reads completely and just dip into a bit, so that they can say they have. It is even harder to read because although the text goes left to right, as the writer proceeds along the left hand side of the path north, the blocks of text go from right to left.

Now the mainstream news is reporting on it. This is an indicator of how slack I have been in reporting on what is going on in my neighbourhood; in my defence, it is poetry and there is no hurry to read it. As the text doesn’t compete for space with either the developers or the graffiti writers it will survive until the lines on the bike path are repainted.


%d bloggers like this: