Category Archives: Public Sculpture

Hasell with Bells

The publicly marking time is a basic function of a city because a city need a sense of time to function. Bells can also sound alarms, announce events or play music. Bells can be famous or in themselves works of art. Art bells in Melbourne are often the work of Anton Hasell.Anton Hasell Federation Bells Carillon, 2002

The Federation Bells at Birrung Mar are a combination of sculptural and musical objects. There is this whole area of musical sculpture but then every musical instrument is a kind of sculptural design. Designed by Neil McLachlan and Anton Hasell in collaboration with Swaney Draper Architects. The bells were commissioned in 1998 and installed in 2002. In 2005 the poles underwent a structural upgrade and in 2012 Federation Bells were removed and refurbished; public art requires regular maintenance.

The computer controlled 39 upturned bells can be programmed. Hasell wants the public to interact with his sculptures; he wants more people to compose music for the “Federation Bells.” However, it is not that simple because you have to compose in the just intonation that the bells are tuned to rather than the tempered scale.

Hasell moved from convention sculpture making to bell making as sculpture; after all they both involve casting. (For more on casting bells The Great Wren posted on his blog about the Whitechapel Bell Foundry one of the oldest businesses in London.) I look at one his earlier public sculpture of his in Richmond in my post – WTF corner.

An early bell work of Hasell is the Tilly Aston Bell, 1999 is a bronze sculpture that incorporates three connecting bells. It stands in the middle of a path in Kings Domain near the sunken garden to the Pioneer Women’s Memorial Garden. It commemorates the centenary of the Vision Australia Foundation, formerly known as the Association for the Blind, and the life and achievements of its founder, Tilly Aston.

Tilly Aston was the first blind person in Australia to attend university, but her education was cut short by an absence of textbooks in Braille. So in 1894 she established a Braille library. She was responsible for gaining for the blind free post for Braille and talking books, free travel on public transport and the right to vote.

The top bell has three scenes from the life of Tilly Aston in raised relief along with a quote from Tilly Aston. “Poor eyes limit your sight. Poor vision limits your deeds.” The quote is repeated on a Braille strip on the middle bell. The lowest bell has the highest pitch, it has no inscription but a series of hand prints.

Originally movement sensors trigger a series of tolls, when people approached marks proximity and movement. Unfortunately it no longer works and the marvellous speaker mouths on the base are silent.

In 2008 Hasell and Terence McDermott had a temporary installation, The Speed of Sound Nau Interactive Bells,  in Union Lane part of the Laneways Commissions. I didn’t experience this work but again interactivity and bells was an important element.

Hasell’s other Federation Bells, a massive set of tuned hand bells, are spectacularly displayed at one end the Melbourne Museum’s first floor.

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Anton Hasell, Federation Hand Bells, Melbourne Museum

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Walk to Giant

Jamit was planning to buy some spray-paint at Giant in North Melbourne and I agreed to walk with him.

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Setting up for Tiana Sanjaya to paint with spice in front of State Library of Victoria

We started at the front of the State Library. When I got there I found that there was an Indonesian artist, Tiana Sanjaya was setting up to paint with spices. Tumeric, candlenut, horseradish, mustard seed, nutmeg and chilli; it smelt good. It was part of the AsiaTopa 2017, the Asia-Pacific Triennial of Performing Arts.

On the way we had a look at Blender Lane. Now that Blender Studios has closed I was wonder if the quality of the work in the lane will continue without Doyle being present?

Further to that subject, we also looked at the graffiti and street art in Lovelands, a series of lanes near Victoria Market carpark, near the corner of Queen and Franklin Street. It also has the same questions of redevelopment hanging over it. It doesn’t look like much has changed since I saw Itch painting last year during the Meeting of Styles.

We passed another lane painted during the Meeting of Styles in April 2016 but there is more to see on the streets than just graffiti and street art.

I am not just looking at graffiti and street art; I have other interests, like public sculpture. Outside School No.307 on Queensberry Street I stop to look at a Peter Corlett sculpture of Henry Barstow. Henry Barstow was the architect who designed many state schools. I hadn’t seen the sculpture before but this is not surprising given Corlett’s prolific production creating several figures each year.

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Peter Corlett, Henry Barstow, 2011

Finally we reach Giant in North Melbourne. Maybe we should have taken the tram but the walk has been worthwhile. Nth Melbourne is a long thin suburb and its geography of Nth Melbourne is disorientating because the streets are not aligned to the same axis as the grid of Melbourne’s CBD.

You have to be buzzed into the shop. Then there is a room, covered in stickers and aerosol spray paint where we are to leave our backpacks. Then there the room full of spray cans of paint, maker pens, graffiti magazines and more cans of paint, the whole spectrum plus metallics, plus effects…

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“Hello Mark” is the first thing that I hear.

At first I can’t see who is speaking because there is a big dude between me and the voice. It is Toby who runs Just Another Agency. Everywhere I go I run into people that I know, a bonus for writing this blog.

Jamit buys about two dozen cans and even though the cans are cheaper by the half dozen he doesn’t walk away with much change from $150.


Remembering Tunnerminnerwait and Maulboyheenner

A memorial to Aboriginal freedom fighters, Tunnerminnerwait and Maulboyheenner now stands facing some gates from the old Melbourne Gaol. The corner of Bowen and Franklin Street was the site of their execution and a commemoration held each year on January 20, the date of their execution in 1842.

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Brook Andrews and Trent Walters, Standing by Tunnerminnerwait and Maulboyheenner, 2016

Tunnerminnerwait and Maulboyheenner engaged in an eight week resistance to English occupation, burning farm houses that ended in November 1841. Tried and hung for the murder of two whalers that they shot at Western Port.

I’m not sure about the memorial while there does need to be public recognition of the Aboriginal resistance I’m not sure that something that looks like a combination between a swing set and a gallows is the best way to do it.

Designed by established Australian artist, Brook Andrews and his production and installation manager, Trent Walters. Although Andrews’s art often explores post-colonial issues this memorial doesn’t much resemble his gallery work, there are none of the patterns, for example.

A set of six newspaper boxes provide a design to contain the didactic elements that explaining the reason for the memorial. It feels odd because while newspaper boxes are a common feature in North America are not commonly seen in Melbourne. The six colours of the boxes are another esoteric part; I am sure that there is an explanation but it is not easily interpretable.Brook Andrews and Trent Walters, Standing by Tunnerminnerwait and Maulboyheenner, 2016dsc01967

Andrews & Walters, Standing by Tunnerminnerwait and Maulboyheenner, 2016

I am not sure in general about the purpose of memorials, earlier this year I wrote a post questioning the need for another memorial.

Maybe there needs to be some public desecrations of some of the genocidal invaders to balance this out. Unofficial acts do occur like pouring red paint on a bust of Governor Lachlan Macquarie in McQuade Park, Sydney the early hours of Monday 13 February 2017. “Governor Macquarie was the fifth Governor of New South Wales and has a historical significance to the region,” Chief Inspector Sims said. “This memorial is a tribute to his leading role and influence between 1810 and 1821. It is even stranger to have the NSW police making an effort to defend his reputation.

In 1991 the Aboriginal activists Gary Foley and Robbie Thorpe tried John Batman in effigy, using the statue of Batman Melbourne. The names of his crime was hung around his neck: theft, trespass, rape, and genocide. Currently there is discussion about getting rid of the name of the evil Batman from parks, trains stations and other places but maybe his statue should be kept around to be regularly tried in effigy.


Sydney Public Sculpture

“A city is the greatest work of art possible” Lloyd Rees

What I did on my summer holiday. Did you ever write that for school?

I went for a holiday in Sydney. I wanted to have a holiday and get away from my work but when your work involves public art, even walking around the block can involve looking at a sculpture or street art. I did take a few photographs of some sculptures in Sydney.

I saw sculptures that I like; I loved the golden tree in Chinatown, Golden Water Mouth by Lin Li. I saw some sculpture that horrified me like the bronze sculpture of Governor Macquarie with its very large feet.

I can’t help explaining the differences between lost wax and sand casting when looking at the Robert Kippel sculpture at Circular Key. The Jason Wing alleyway in Chinatown brought back memories of seeing an exhibition by him in 2009. My wife asked me if I was thinking of writing a book about Sydney’s public sculpture, after my Sculptures of Melbourne.

People keep telling me that Melbourne is somehow special in its relationship to public sculpture and I just don’t buy that intercity rivalry. Admittedly Sydney did not have the year long “Yellow Peril” stupidity but it was just a stupid overblown Melbourne City Council dispute after all and not the end of civilisation. Sydney was less in need of landmark sculptures having both major architectural and physical landmarks.

I ran into the sculptor, Lis Johnson in the Art Gallery of NSW shop who was up in Sydney studying marble carving. She thought that Sydney was becoming more like Melbourne with the street art in the laneways along with small coffeeshops and bars.

There are a lot more public sculptures in Sydney these days. There is a similar historical trajectory as I trace in my book. And I have done the research on some of the sculptors like Akio Makigawa already. The street sculptor, Will Coles lives and works in Sydney; I could add interview with him instead of the one with Junky Projects.

Pipe dreams aside I have no immediate plans to write the companion book to my Sculptures of Melbourne because I don’t live in Sydney. About half of what I have earned from writing the book has come from walking tours and talks. Anyway the City of Sydney has a good website about its public art with walking tours.


Recent Public Sculptures in Melbourne

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Alex Goad, Tethya, 2015

Alex Goad’s biomorphic Tethya on the corner of Fitzroy and Jackson streets in St. Kilda is a recent public sculpture. Since my history of Melbourne’s public sculpture was published last year there are a few new public sculptures around the city. Not that Sculptures of Melbourne was intended as an index of all the sculptures in greater Melbourne, that would be insane as I included street art sculptures.

Two ballet dancers, Les Belle Hélène by David Maughan, were installed on the lawn at the Arts Centre. And John Olsen’s Frog was installed in a pond in Queen Victoria Gardens. As if either location needed any more sculptures.

Further out of town and in a better, some might even say “site specific” location, John Kelly’s Man Lifting Cow was installed in Sunshine marking a return to his home suburb for Kelly. Brimbank Council really milked the cow with associated events: the 1000 cow project, an art prize, a John Kelly exhibition and an education program at the Brimbank Civic Centre.

Most of the recent public sculpture has been temporary sculptures or pieces put up by street artists. Local street artist, Kranky and other were reviving Presgrave Place. Ironically there were several street sculpture homes this year including several by MOW from the USA. MOW was in Melbourne sticking up a few tiny doors and windows.

The campaign this year to save Chris Booth’s Strata had a happy ending with MONA agreeing to take the sculpture and pay for it to be reassembled. Melbourne’s loss will be Hobart’s gain.

There was no campaign to save Peter Corlett’s sculptures of John Farnham, Dame Nellie Melba, Dame Edna Everage and Graham Kennedy in the Docklands. There were many reasons for this chiefly because they had very little artistic quality, few people in Melbourne want to remember that these entertainers came from Melbourne and no-one ever saw them in the Docklands.


Re-Vault

Four people wearing yellow chemical coveralls are slowly moving in the City Square in Melbourne. It is Re-vault a performance about Vault, Ron Robertson-Swan’s ill fated sculpture that once stood in the City Square, hence all the yellow. It is one of EPA’s performances, part of Melbourne 47 “senses of the city” paid for though Melbourne’s Arts Grant Program and Monash University.

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Two of the performers are manipulating planes of steel grids for concrete reinforcing. These modernist grids refer to the angles of the steel planes of Vault. The other two people are tied together with yellow and black barrier tape. They act as pedestrian control and a human safety barrier creating a space between the shallow pools and the Christmas kitsch that is under construction in most of the square.

Jonathan Sinatra’s performance piece comes 35 years after Vault’s removal. The Christmas construction means that the performance could not be anywhere near the original location of Vault, in the northwestern part of the square. Not that it mattered as very few people passing by would have any idea of Robertson-Swann’s sculpture that now located in the forecourt of ACCA.

Although the limited audience of passing school groups, tourists and locals had no idea of the original sculpture the performance did. Aside from the obvious yellow there were a couple of other references. Vault was intended as a grand interlocking sculpture and Re-vault’s body-sculpture also acts as an interlocking sculpture, although less grand.

I take a seat at the Caboose Canteen order a pulled pork slider and a cider and watch the performance unfold. It is a beautiful day, the first day in Melbourne over 30 degrees since March. It was the perfect seat until the performers move one bridge up. It reminds me that these band of shallow water and the very shallow water pouring down the surface of the John Mockridge Fountain are the vestigial remains of the all important ‘water feature’ found in the original architectural brief for the square. In the original city square water the smell of chlorine filled the air as water poured over an enormous multi-stepped fountain. There was so much chlorine in the air that it pitted the bronze sculpture of Burke and Wills. Fortunately water is being used more wisely now.

Re: Vault my review of Geoffrey Joseph Wallis, Peril in the square: the sculpture that challenged a city (Indra Publishing, 2004)


Emily Floyd’s Signature Work

The big black bunny is clearly a toy; it’s blocky features and simplified form is a result of it being a toy and not modern art. I had only seen in Emily Floyd Signature Work (Rabbit) in a photograph that mislead me about its size. As always with these things I was expecting something larger but Melbourne’s Docklands with it’s multi-story buildings is so large that the rabbit would have to be huge to compete.

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Emily Floyd, Signature Work, 2004

When I first saw Floyd’s work years ago in Anna Schwartz Gallery I didn’t like it. I haven’t liked her subsequent exhibition either including; The Dawn, a solo survey exhibition at the NGV in 2014. All the bright colours and toy like forms seem prosaic when you realise the dull question that they are based on: if art is about communication can we learn from it?

Her public sculpture made me reconsider work. Her Public Art Project (Bird and Worm) on EastLink or her Signature Piece (Rabbit) in Docklands work appear to be fun contemporary public sculptures. They work in that they are effective at creating recognisable landmarks for the otherwise anonymous locations.

Her gallery work is different; you aren’t going past it in a car. It is somehow different even when she is using the same toy rabbit form. I keep hoping for fun, irony, or play in them but there is never enough to balance out the serious pedagogical inspiration of her work. The art-speak about her work reduces the fun even more. Phrases like: “text-based sculptures and pedagogically-inspired works which combine formal concerns with an interest in the legacies of modernism.” Is there that much depth to Floyd’s work? Possibly there is but it does suck all the fun out of it. The deeper that Floyd attempts to make her art, the shallower it seems to me.

In her 2015 exhibition Field Libraries, the pedagogical inspiration of her work is clear, as she turned her brightly coloured play blocks into book shelves. The painted aluminium shelves were stacked with booklets printed, “fair use” from the internet. A series of uniques state screen prints illustrating books, representing the idea of Floyd’s ongoing library. Subjects in the library include ‘Zombie Marxism’ and ‘Feminist Autonomism.’

Emily Floyd’s sculptures might look like toys but this is serious art. It is a bit too serious, too prosaic in its pedantic intent. Floyd is not playing with these big toys, she is using them to demonstrate ideas. The more you look at her art the less fun you have.

Does everything have to be an educational experience? What have you learnt from this?

Emily Floyd, Public Art Strategy, 2006 (19 EastLink)

Emily Floyd, Public Art Project (Bird and Worm) 2006, photograph courtesy of EastLink


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