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Category Archives: Public Sculpture

Unveiling the Molly Meldrum Statue

At the unveiling of a new public sculpture, after customary the welcome to country; the politicians and philanthropists make speeches to thank everyone involved, often forgetting the sculptor. But Molly Meldrum did not forget to thank the sculpture Louis Laumen.

Meldrum had a signed cowboy hat, as well as, words of thanks for Laumen. He spoke about Laumen’s other sculptures at the MCG, gushing how much he loved all of them. (He didn’t mention Laumen’s most recent statue of Nicky Winmar or the argument over its location.)

Meldrum was the last to speak, after Uncle Colin Hunter, Mayor of City of Yarra Daniel Nguyen, Minister for the Arts Martin Foley, Eddie McGuire and founder of Mushroom Records Michael Gudinski. And, as usual, in spite of his slurred speech, it was difficult to get Meldrum to shut up. He did say that he resisted the proposal to honour him with a bronze statue and tried to derail the plan by insisting that his dog, Ziggy, was included.

It was a cold grey Tuesday in Richmond and a crowd of about three hundred people had turned out. They were patiently waiting through the speeches to see the new bronze sculpture unveiled.

It turned out to be a very colourful statue as it turned out with plenty of gold, white, black and brown patination. Now that it is well known fact that classical sculpture was painted people are not shy about polychromatic patination. It is on a very low plinth, a little more than a step, because it wouldn’t do to put Meldrum on a pedestal.

It is located in a micro park opposite to the stairs going up the beer garden at the Corner Hotel, a somewhat fitting location given that it is a notable band venue. Along with the statue, there is a new mural by 23rd key on the train embankment wall. A green and white image of a concert crowd bookended with painted copies of band posters.

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Nicky Winmar Statue – Significance and Beauty

Hanging above my desk is HaHa’s stencil portrait of Nicky Winmar and I have long wanted to see a public bronze statue of Winmar ever since that football match at Victoria Park in 1993. I’ve never been interested in Australian football nor do I think that more bronze statues are a great addition to a cityscape. I wanted one because Winmar’s gesture in reply to racist taunts is both significant and beautiful.

HaHa, Nicky Winmar, 2009

HaHa, Nicky Winmar, 2009

Australia is still in love with monuments and memorials. There is no shortage of recent official monuments and memorials in Melbourne from traditional bronze figures to abstract monuments, like the Great Petition. These permanent monuments express the desire to establish a national mythology but given the lack of statues of both women and Indigenous people it is not representative.

Public sculpture is an obvious indication of the political and social values and structures of a place. Public sculptures make obvious public statements, from the choice of subjects to the style of the finished work it is all deliberate. This is why Australia needs a statue of a proud Noongar man standing victorious in defiance racist taunts.

If someone had asked me which sculptor I would like to sculpt Winmar I would have picked Melbourne-based sculptor, Louis Laumen because of his experience in sculpting sporting heroes around the MCG. Not that anyone asked me (nor I am surprised that they didn’t, I have no power or influence) but the commission did go to Laumen. I don’t like Laumen’s style but I know that it will be appreciated by the crowds of football supporters. My one criticism is why Laumen keeps on making statues with their mouths half open; Wayne Ludbey’s photo shows that Winmar was tight lipped as he points to his chest.

The only problem now facing the statue of Winmar is that it hasn’t been decided where to install it: Melbourne or Perth. Perth because Perth’s Optus Stadium on Noongar land. It is a strange problem for a sculpture and the Indigenous Past Players Association is right to question the process because generally a location for the sculpture is agreed before it is commissioned. There is an obvious solution to this problem; bronze sculptures can be made in multiple additions. So lets put our hands in our collective pockets and pay Louis Laumen and Fundêre Foundry in Sunshine for another edition of this important sculpture.


La Trobe Uni Sculpture Park

I studied at La Trobe University in the 1980s; recently I went back to its Bundoora campus to see some of its sculpture collection. The university describes itself as a “sculpture park” and features sculptures from every decade from the 1960s, when it was established, to the present. I am not going to look at all of the sculptures but have chosen to look at four.

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Charles Robb’s Landmark, 2004 was the main reason for my visit. In front of the West Lecture Theatres, Landmark is a traditional memorial statue of La Trobe that has been turned on its head with the plinth looming above the upside down figure. Made of fibreglass, polyester resin, steel, polystyrene, polyurethane, sand, automotive lacquers and acrylic paint to look like bronze and stone.

Robb’s anti-monumental sculpture was donated to the University through the Australian Government’s Cultural Gifts Program by the Artist 2006. Landmark was originally installed as temporary sculpture in the City of Melbourne in 2005 when it was award a judge’s commendation the Helen Lempriere National Sculpture Award.

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Outside of the LIMS building (La Trobe Institute for Molecular Science) is Reko Rennie, Murri Totems, 2012. The work was commissioned by La Trobe Uni in 2012. Rennie is an interdisciplinary artist who mixes his Kamilaroi heritage with graffiti style. The four aluminium pillars are a mix of contemporary art and traditional Murri designs. Each pole represents one of the five platonic solids – icosahedron, octahedron, star tetrahedron, hexahedron and dodecahedron on to which Murri designs have been painted.

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Bart Sanciolo’s Dante’s Divine Comedy, 1980-1983, is near the Thomas Cherry Building. You can’t miss it. This ten metre tall pointy pyramid of bronze was presented to the university in 1987 as a 150th Gift of the Italian Community to the People of Australia. This was the one sculpture that I remember from my years at La Trobe; I remember it because didn’t like it then and I still don’t.

Sanciolo was born in Messina, Sicily in 1955 and arrived in Australia in 1968. I also disliked his sculpture groups that were in the western and eastern internal moats of 101 Collins Street, Melbourne CBD. They looked an ugly pile of figures and have fortunately been removed by the owner. Sanciolo’s sculptures are big but I don’t know if that is a good quality.

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The bronze figure of a woman on the Peribolos Lawn is Herman Hohaus’s Sofia, 1970. Although Sofia is the goddess of wisdom, this Sofia seems more concerned with her hair. The sculpture was purchased with funds donated by Dr Roy Simpson through Friends of La Trobe University 1986 but it seems more suited to a private garden than a university. Herman Hohaus was born in Germany in 1920 and moved to Australia 1954 where he lived until his death in 1990. The NGV has one of Hohaus’s sculpture in its collection (but not on display) another crouching female form in bronze.

There are sculptures on the campus by Inge King, Jock Clutterbuck, Robert Kipple and other notable sculptors; more on La Trobe University as sculpture park.


Innocent’s Colony

The virtual world of digital art and the physical world of public art seem very far apart. So Troy Innocent was one of the last artists that I expected to have done public art. Public art in the sense that it is in a public space belonging to a privately owned building in Melbourne’s Docklands.

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I remember in 1996 Innocent produced Psy-Harmonics a 50 minute video combining synaesthesia and electronic music. It achieved the pop height of being played on MTV in Europe and Australia. He is now a Senior Lecturer in Games and Interactivity at Swinburne University of Technology. For more on Innocent read my review of a group exhibition, Melbourne Future in 2014.

Innocent uses codes and icons to give unknown meaning to the entrance way of another anodyne office block. In Colony 2008 unknown symbols appear on lights, etched into the concrete walls and as coloured forms on the wall. The symbols even appear on the name plate for the art. How to interpret the symbols in the code is the key to how interpret Innocent’s art. It is all about semantics and the relationship between symbols and meaning.

This is not the first public art that Innocent has done. I have vague memories of a project that he did for Melbourne’s Laneway Commissions. It was an interactive work that built on both Innocent’s digital art and his way-finding “urban codemaking”. And Colony builds on that project in a more permanent form.

I was interrupted in contemplating and photographing the parts of Colony by a security worker. I was asked to stop photographing. There were no signs saying no photography. I have never been stopped from photographing sculpture on display in building lobby’s before. But discussing the matter with a low-paid security worker was pointless. As I walked through the car park the reason became clear from the signs on the doors of the trucks; the building housed part of Australia’s fascist department, the paranoid psychos of Border Force.


You are here, wish you were there

I didn’t expect to see Godzilla in Tokyo. On my recent trip to Japan; I encountered Godzilla, a bit of graffiti and a few art galleries.

The statue is based on the film “Shin Godzilla” released in 2016 and had just been installed when I first saw it in March. It is the second Godzilla sculptures in the square; the previous statue, from 1995, was modelled after the original 1954 Godzilla. It is not monstrous, the statue measures about 3 meters in height, which seems small for Godzilla. It is located in Hibiya Godzilla Square where Toho Studios, who made the Godzilla movie, was founded. And it, stands next to a booth for buying cinema tickets.

“This statue contains the surviving final version of the shooting script and storyboard from Godzilla (1954). Here resides the soul of Godzilla.” The statue’s plaque states along with: “Man must live with Godzilla – Rando Yaguchi Unidentified Creature Response Special Task Force Headquarters” It is the first sculpture based on a movie that I have seen but as the quote from the movie script argues we have to learn to live with monsters. (“He who fights with monsters should look to it that he himself does not become a monster.” Nietzsche, Beyond Good and Evil, aphorism 146)

I almost always write a post about what street art I saw on my holiday (see my posts on Athens, Dublin and Korea) only I didn’t see much Japanese street art or graffiti. I was expecting to encounter some along the streets or lanes or along the rail corridors but I didn’t see enough to write a blog post about. Nothing that was even worth a photo: a bit of tagging, a paste-up and even a small piece of yarn bombing.

I did see several art galleries in Japan from the elegant contemporary, Museum of 21st Century Art in Kanazawa to the Sumida Hokusai Museum, the most unergonomic museum that I’ve ever visited (both C and I came out with aching backs from leaning in to see the prints). I have already written about some of the exhibitions that I saw in one post about sakura influenced art in Japan. I don’t think that I will be writing anymore as writing blog posts was way down on my list of priorities in my travelling to Japan.

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Biomorphic public sculpture in Melbourne

Biomorphic surrealism was about making things in the shape of life, often microscopic animal or plant life. Alfred H. Barr defined biomorphism as: “Curvilinear rather than rectilinear, decorative rather than structural and romantic rather than classical in its exaltation of mystical, the spontaneous and the irrational.” It can be seen in the curvy amorphous forms created by modern artists, including Jean Arp and Barbara Hepworth, Juan Miro and Salvador Dali. You might think that biomorphic surrealism was an evolutionary dead-end but it has a surprising number of ancestors, especially in Melbourne’s Docklands.

Adrian Murick Silence, 2001–02

Adrian Murick Silence, 2001–02

The most obvious of these is on the NewQuay Promenade: Adrian Murick Silence, 2001–02. This cluster of white sculptures are clearly influenced by Arp’s biomorphic sculptures.

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John Meade, Aqualung

Aqualung by John Meade in 2006 is like a big black slug or an enormous tube worm with a bifurcating end that stretches through the atrium of the National Bank/Lend Lease tower at 839 Collins Street. “The counter positioning of the sculpture against the utility of the design and function of the building” (artist statement 2006) Melbourne based sculptor Meade was born in Ballarat in 1956 and has a sculpture in the NGV collection and another public sculpture, Riverside Corolla 2011, a suspended sculpture the central atrium in Southbank.

Patricia Picinni, Seats

Patricia Picinni, Car Nuggets, 2006

Patricia Piccinini’s Car Nuggets, 2006 are in the grounds of the Kangan Institute of TAFE’s Automotive Centre of Excellence. Piccinini is famous for her hyperreal sculptures of mutant creatures. In earlier work she made biomorphic mopeds with mirrors like antlers and I took this trio of sculptural seats to be the eggs or pupae of similar creatures.

 

Other biomorphic public sculpture in Melbourne include Matthew Harding’s Fruition 2013 in Royal Park on the corner of Flemington Road and Elliot Avenue. And Alex Goad’s biomorphic Tethya on the corner of Fitzroy and Jackson streets in St. Kilda; Tethya is the genus of some Port Phillip sea sponges. Biomorphic forms are still a fruitful form for many Melbourne sculptors.


Louise Paramor @ NGV

I first saw a sculpture by Louise Paramor when her Noble ape was exhibited in Melbourne Now 2013; it is currently installed in the garden at the back of NGV International. Other people might know her from her Panorama Station sculpture beside the freeway in Carrum Downs. Then I saw Paramor’s sculpture, Ursa Major being installed in Federation Square for the Melbourne Prize 2014. I hadn’t seen any of her previous twenty or so years of exhibiting sculpture.

Louis Paramor

Louis Paramor, Noble ape, fiberglass, plastic and steel

Currently the NGV is exhibiting Paramor in two large spaces on the third floor of the Ian Potter Centre: NGV Australia with a specially commissioned installation of new paper sculptures and a survey of her recent colourful plastic assemblages.

Palace of the Republic is a series of massive paper sculptures. Honeycomb paper decorations on a scale that will leave you awestruck. It is a reference Paramor’s earlier artistic practice before she started to collage found plastic objects.

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Louis Paramor, Palace of the Republic, paper, steel, aluminium and plywood

Unlike the personal art of Del Kathryn Barton, exhibited on the same floor to the Potter Centre, Paramor’s sculptures inspires no interest in the artist. There is nothing that I can tell you about her that will help you make any more sense of her art, so I will tell you nothing. Likewise you don’t need to know the history of art, anything of biochemistry or French to make sense of her art. Partially because her art makes little sense; her sculptures are cool and humorous and I know this by the smile that they grew on my face when I saw them.

A curator explains them noting that they “combine formal concerns with a pop-inspired sensibility.” That is arranging found plastic in an asymmetrical way makes them look silly and funky.

Studies for Boomtown is a series of maquettes for sculptures that demonstrate Paramor’s seemingly inexhaustible creativity. Perhaps it is inexhaustible due to the supply of plastic objects in the world.

Louis Paramor

Louis Paramor, Studies for Boomtown, 2016, plastic, steel, wood


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