Category Archives: Art Galleries & Exhibitions

Gallery Crawl July

I knew that I would see some art galleries and street art when I went for a walk around Fitzroy and Collingwood. I didn’t have a specific agenda or plan for my walk, there is always something new to see in the area and not just in the galleries.


Yusk Imai, The Mortal Drama, pearlescent acrylic and marker on canvas

When I started blogging I had a real sense of exploration, I would go looking for new galleries. I yearn for that sense of exploration now but sometimes it feels easier just have to keep doing the rounds of certain galleries and familiar street art locations. Now walking down Flinders Lane or along Gertrude Street seems to be the most efficient way to find an exhibition to review in a blog post.

I was looking for Bside Gallery because I had heard of it so I don’t know how I missed seeing it; I must have been momentarily distracted as I pasted by the shopfront on Brunswick Street. I did end up seeing a gallery that I haven’t visited before, Besser Space.

At Besser Space was “Eve, a photographic exhibition” by Zo Damage of women in rock. Zo Damage claims to be “Melbourne’s busiest music photographer” and she might be; she is half way through her 365 Day Live Music project to photograph a live band a day for an entire year. Not including the hundreds of photos in her 365 Day project there are a lot of black and white photographs in this exhibition, fortunately Besser Space is a large rough warehouse space, perfect for an exhibition of rock photographs.

A dozen surreal paintings by the São Paulo based artist, Yusk Imai hang in his exhibition “The Moratal Drama” at Backwoods Gallery. Imai’s paintings combine painting and drawing with marker pen on canvas. They are a mix of patterns, arty splatters and delicately drafted figures. His surreal forms stand, often on plinths, in the surreal locations of the forest or the empty desert in the rain shadow of the mountains on the horizon, stuck contemplating their absurd but beautiful existence.

Gertrude Contemporary had a group exhibition of its usual contemporary art. I was unlucky with the galleries as many installing new exhibitions, like the CCP and Collingwood, or undergoing major renovations, like Hogan and Kick. Not one of my more successful gallery crawls. On the other hand I did see some interesting things on the street, had a walk in the sunshine and a delicious lunch.

A couple of exhibitions in Brunswick

In Sparta Place there is a new gallery, Beinart Gallery offering “fine art” and “curiosities”. Gallery director, Jon Beinart has been involved with pop surrealism for over a decade, publishing books for several years and collecting a coterie of artists. Beinart says that all the gallery now has a physical presence most of his business is online sales.


Pop surrealism is the bastard child of Salvador Dali and a Hollywood Blvd hooker. The child grew up in an American tattoo parlour reading underground comics and eating acid like it was candy. Like many of that generation pop surrealism traveled the world, growing bigger, fatter and more popular but is still hanging out in a tattoo parlour reading comic books, or fatter graphic novels.

One side of the shopfront gallery is used for temporary exhibitions, the other side has a selection of diverse works from the stockroom.

The current temporary exhibition is “Transmogrify” a three person exhibition by Ben Howe, Tim Molloy and Jake Hempson.

Howe’s paintings depict the point of disintegration of the head, fracturing or metamorphosing into a tangle of ribbons. I first saw Ben Howe’s work in the Melbourne Stencil Festival 2009 but this is first time that I’ve seen a series of his paintings. His current work aren’t stencil works but oil paintings; Howe completed a Masters of Fine Art at RMIT in 2011.

Illustrator and comic artist, Tim Molloy has a series of watercolour paintings of strange characters based on his work for his graphic novel, Mr Unpronounceable and the Infinity of Nightmares.

Digital animator Jake Hempson also makes actual sculptures. In a series of busts that explore alternate anatomy of human heads with a particular focus on the interior surface of the maxilla, the upper jawbone, or replacing the head with an animal skull.


At Tinning Street presents there is a tour de’force of paper cutting by Japanese artist, Akiko Nagino. Nagino explained that has only been in Melbourne for a few years and was amazed at how many people have come to see her “Cutting Nature” exhibition. It is obvious. It was also obvious when she was a finalist in the Victorian Craft Awards in 2015

Her designs are of butterflies, patterns and decay. There are lower edges that are dripping, distorted or melting, there are broken chains, all perfectly cut out of paper.

The cut paper is a substitute for clothes or jewellery; there are two butterfly patterned kimonos, a giant necklace, a handkerchief and several shawls. In some of the works the paper has been treated and coloured with iron and copper finishes.

Large scale hand cut paper pieces are complimented with dry embossed prints of the cut paper pieces. The subtle white on white of embossed paper balancing the high contrast of the cut paper piece.



Paul Yore artist talk

“What was the most unexpected reaction to your work?” A person asked artist, Paul Yore at an end of exhibition talk at Neon Parc on Saturday 18 June.


Paul Yore (left) and Geoff Newton in conversation at Neon Parc

Obviously the most unexpected reaction was when the police raiding his exhibition at Linden Gallery was unexpected. Yore never expected or intended that and it remains a misunderstood event. Yore found himself caught up in an on going local political issue about funding of Linden Gallery that had been going on for years.

It was unexpected and unintended. “Nobody wants their name to be linked to child abuse forever on the internet,” Yore explained. Yore is not a shock artist; his art is too chaotic and unstable. Shock artists, like Jeff Koons and Mark Kostabi, are more precise in their intent to shock and more focused on their objective than Yore’s chaotic art. Yore doesn’t have a political objective to his art and is cynical about the individual effect of activist artists.

There was the inevitable question from the audience about self-censorship but what can you honestly say about the chill effect. What the court case did do was cause Yore to think about photography’s claim to truth and collage as an issue about truth.

After the court case in 2014 Yore went travelling across Europe looking at a lot of folk art, outsider art and junk yard art. On his return to Melbourne he started to condensed this research into an exhibition at Neon Parc. Yore told the audience that did as much as he could in the time. Time is an important feature of Yore’s work, the handmade reminds you of time, every stitch is a moment in time.

Finally two pieces of advice.

Domestic advice: to prevent your dress riding up on your tights wash with fabric softner.

Advice to artists: do not let your mother attend your artist talk unless you want the audience to hear stories from your childhood. At the end of the talk Yore’s mother tells the audience that Paul has been collecting things since he could walk.

Miniature Worlds: Stone and Goonhugs

Occasionally going to multiple galleries in an afternoon can reveal an interesting comparison, even if it does mean suffering Melbourne’s light rain and the cold wind. For example, Adam Stone’s Trust Me, 2016 is a 3D printed miniature plastic model of a roller door covered in graffiti crushing a watermelon. It is an oddity amongst his other works at Fort Delta. It is also odd because coincidentally there is another exhibition of miniature models on a similar scale in Goonhugs’s exhibition, “Tiny Writers” at Dark Horse Experiment.


Goonhugs, Tiny Writers (photo by Yvette Crozier)

At Fort Delta there are two exhibitions. Spencer Lai’s “Beat Peace, lovely, lovely”, a funky minimalist contemporary sculpture exhibition, and Adam Stone’s “Cane Toad” exhibition.

“Cane Toad” opens with two glass doors with the image of Lance Armstrong on them and then a lot of bronze painted bananas with faces. Cast bronze jokes are a bit heavy handed, playing on an antique art world joke that goes back to Warhol, and jokes about topical figures, Lance Armstrong, Bill Clinton, and Tiger Woods don’t last long; I couldn’t recognise the faces.

So, back to the miniature model buildings. Both Stone and Goonhug’s models are excellent, sensational as miniatures, and both refer to graffiti culture.

Goonhug’s miniatures at Dark Horse Experiment are complete with every tag, every poster, and sticker. They loving recreation of specific locations, empty shops, ‘abandos’ (abandoned buildings) in Melbourne and Toyko, except that all the grime and weeds appear slightly larger. There is the indulgence is in details, in creating miniature rubbish bags,  miniature dumpsters and miniature rubbish. They celebrate the aura that taggers and sticker slappers, like Goonhugs, have given them. It is the current version of a boys own dream: making models and doing tags.

The room at Dark Horse Experiment of sticker tags, 3000 GOONHUGS, is a better representation of Goonhugs work. In the middle of the room sit couple of casks, the ‘flagons’ that add the ‘goon’ to his name. Repetition turns the tags into a pattern like wallpaper, following from Warhol and Ai Weiwei.

State of the Nation @ Counihan

State of the Nation, curated by Kimberley Moulton, at the Counihan Gallery in Brunswick, is a group exhibition of six indigenous artists who live on Kulin and Eora countries. Amongst them the work of Jason Wing, seven years ago I reviewed one of his exhibitions and his work is completely different now,  going from street to contemporary and conceptual.


Video still from Megan Cope, Blaktism, 2014

Megan Cope is a Quandamooka woman from North Stradbroke Island in S.E. Queensland. Her impressive video, The Blaktism (2014), takes an absurd look at establishing her aboriginal identity at the same time questioning what Australian identity means. It was inspired by her experience in obtaining her ‘Certificate of Aboriginality’.

The video shows a theatrical ceremony where she moves from under the Union Jack to wearing the Australian flag. During the ceremony her pale skin is painted brown and dark contact lens inserted. In the end, after the fluoro dance party celebration, she removes the Australian flag, the contact lens and make-up choosing to return to her original appearance.

Paola Balla’s Unsettling Or The True Story of When Mok Mok Came to the Big Smoke (2016) is a photographic series with text. The title of the work is apt as ‘unsettling’ is disturbing, it is literally the opposite of what the colonial settlers did. To unsettle is to remove that feeling of ownership and familiarity. Balla takes on the spirit of Mok Mok, a female entity from Wemba Wemba Country that steals kids and chops up men. Here she is cooking and washing clothes in an urban domestic setting and composing a massive rant about all the injustices the indigenous women and children suffer.

Paola Balla is a Wemba-Wemba and Gunditjmara woman of Calabrese and Chinese heritage; with this background it is not surprising that Melbourne’s Il Globo has a biographic article about her that emphasises her Calabrese heritage.


Paola Balla, Untitled and Uncared For (a)

Balla also had a couple of installations in the exhibition, assemblages of objects are hairy and disturbing. Untitled and Uncared For (a) consisted of three objects. A tin cup with a colourful image of “Outback Australia” printed on it, revealing its tourism origins. A kangaroo skin bag that appeared to contain a head and a vintage hand-coloured photograph defaced with fur. In this work identity is removed, to be replaced with a cheap souvenir that is itself uncared for. I wasn’t so impressed with Balla’s Untitled and Uncared For (b), even though I could see the point of the dead native flowers and introduced weeds and the feral fox fur, as it is just a flower arrangement.

Chelsea Gallery Crawl

Chelsea is a neighbourhood on the west side of Manhattan Island that is currently the main gallery district in NYC. It has been three years since I did a gallery crawl through Chelsea.


Walking back and forth between 10th and 11th Avenues, up and down the streets: West 25th, 24th, 23rd. It is so easy to find a gallery on these blocks, just go to the next door, the next room on the floor of a warehouse, they are in almost every space.


In Chelsea you have to put up a sign to say that it is not a gallery.

Often my gallery crawls are endurance walks, hours of the touring around galleries, climbing up stairs in old warehouses and in newly furbished gallery spaces. Often I was looking at third rate commercial art, or second rate work by established artists. At times I wonder why am even here looking at pointless commercial art suitable only for the lobby of a three star hotel. I’ve never heard of any of the artists exhibiting at the Agora Gallery’s “Out from Down Under & Beyond – Fine Art from Australia and New Zealand.” My guess is that Agora is renting the wall space by the metre.


James Turrell installation at Pace

Wondering is Cindy Sherman too old to play dress-ups and what will happen if she lives into her 90s? There are other veteran established artists continuing to blandly do their trademark thing; David Hockney is drawing Yosemite National Park on his iPad, Richard Serra has large pieces of steel, and James Turrell working with space and light. Then I see art that really works and I know why I am on this gallery crawl.

The highlight of visiting all of these galleries had to be an installation by a duo of Canadian artists, Janet Cardiff and George Bures Miller, “The Marionette Maker” (2014). The installation, at Luhring Augustine, included a caravan with robotic marionettes, audio, and lighting. It was such stuff as dreams are made of; amongst the miniature scenes in the caravan was a tiny scene of the caravan in a field by a lake. (For more see Hyperallergic’s review.)

Another exhibitions that caught my attention was Anthony Adcock, “Marks of the Trade” at Lyons Wier Gallery, has painted aluminium to look like sheets of plywood and carved wood that looks like steel, it is very impressive while remaining almost too subtle.


Aiko at HG Contemporary

And at HG Contemporary a group show of street artists from around the world; Retna, Swoon, Olek, Aiko, Pixelpancho and Jay West. There is so much variety in styles, and techniques from Aiko’s stencils to Olek’s crochet world.

There is some good street art on the streets; street artists like to put up work near art galleries, perhaps because there they find an appreciative audience. I see a couple of low relief panels by Kai (tying in with my special interest in street art sculptures).

I pause briefly for lunch but then I keep going until 5pm as I don’t know when I’ll be going around the Chelsea galleries again.

Paul Yore @ Neon Parc

Yore’s exhibition of tapestries and assemblages at Neon Parc’s Brunswick gallery is full of excess, ejaculating penises and a riot of rainbow colours. It is a sensory overload of colours, images, words and sounds; a reflection of a consumer society that has achieved peak stuff. The commercial, sexual and national mix with the religious forms, the altar piece and the temple with tapestries and mixed media art.


Paul Yore, Love is Everything, 1916 (rear view)

It is impossible to write an accurate or fair review of a Paul Yore exhibition without using an unrestricted vocabulary because it is fucking, intense, gay, psychedelic shit. His art is a mix of the infantile and juvenile with the pornographically adult, full of juvenile humour and childish joy. So if you are offended by any words then you are a small minded person who is part of the fucking problem.

The main work, Love is Everything, 2016, is a small building, 359 wide x 415 high x 680 cm long, made of multi-coloured children’s toys, television sets and other excesses of the “final days” of consumer society. As a church, temple or sacred bower it has exterior and interior spaces.

Out the front of the building there is a fountain with a pissing Justin Bieber. Bieber is one of Yore’s obsessions and Bieber also appears as St. Sebastian in Yore’s anti-Christian altar piece, Slave 4 U.


Paul Yore, Slave 4 U, 2016

The sound of running water from the piss fountain joins the chaotic mix with of mechanical and recorded sounds that are part of the installation; a tinny electronic version of the national anthem or a jingo keeps repeating. Motors turn wheels, adding more sounds from toy instruments.

There is so much to look at, so many images, messages, televisions screens and flashing strobe lights. Contrasting, contradicting, transforming even as you comprehend them. A spinning messages of “NO” upside down is “ON”.

Part of his installation 2013, Everything is Fucked, is incorporated into Love is Everything. Yore’s work is an accretion of more and more parts, built up, becoming larger and more intense; in the same way that his tapestries are from small pieces of fabric.

In 2013 members of Victoria Police used a Stanley knife to cut out parts of Yore’s installation, Everything is Fucked, at Linden Centre for Contemporary Art. In 2014 the prosecution was ordered to pay all his legal costs. There is a pile of redundant “Free Paul” t-shirts on the table in Neon Parc’s office and a special fuck you pig for Victoria Police included in Love is Everything.


Paul Yore, Love is Everything, 2016 (front view)

Yore clearly intends to be a great Australian artist; whether he succeeds or not depends more on future art histories than Yore’s art. To be a great Australian artist you have to both make art that is about Australia and make significant progressive art. As progressive art, Yore’s up-cycling assemblages advance on Kurt Schwitters’s Merzbaus and (to advance an ugly, sexist argument) transforms an under-rated ‘feminine’ craft, like an Australian version of Grayson Perry.

Yore continues an artistic critique of Australia that follows on from Juan Davila and Albert Tucker, pointing out the genocide, mass murder and other cruelties. Yore does not preach from a pulpit; he depicts both Australia and Christianity as awful, immature, cruel as his own fantasies. And, it is not all a commentary on obscenity and cruelty, there is a lot of joy and beauty in Yore’s work. In his Computer World tapestry, two images of Tigga bounce on a patchwork of kittens, cartoon characters and kitsch patterns mixed with op-art.


Paul Yore, Computer World, 2016

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