Intermission at the old Collingwood Technical College is three floors of an unoccupied school turned into a space for over thirty street artists to paint and install art in. Curated by Goodie the exhibition is a curious mix between contemporary art and the aesthetics of an abandoned building with the tags.
It is a huge space and many of Melbourne’s notable street artists had pieces or often whole rooms to work with. It was good to see Astral Nadir working on a large scale. To see LucyLucy again on a large scale without the rest of the AWOL crew. And old faces like those of Mic Porter who was active a decade ago is back.
It had been raining for most Saturday afternoon but that didn’t put the public off. As only 200 people were allowed on the upper floors at a time and the public was queueing up out the building only an hour after it opened. After all this was great free entertainment: on the ground floor there were bands, DJs, VR movies and cans of Young Henry’s beer and cider being handed out. Fortunately it is not a one day only event and Intermission runs until 21 January.
In some ways it was a bit like Melbourne Open House for the old building. The art deco building has been left abandoned for 12 years – what a waste of space! The two bedroom caretaker’s flat on the top floor was a revelation. The event is an intermission as the Collingwood Technical College is about to be turned into the Collingwood Arts Precinct; Circus Oz and the Melba Spiegeltent are already out the back.
The exhibition was better than a whole stack of pieces painted on the walls inside a building as there were artists who had site specific work. Site specific is more than just placing their work in relation to the architecture but creating work that directly referred to the space. Heesco captured the feel of street artists painting in an abandoned building in his combination of installation and wall painting. 23rd Key referred to the location in a mural that mixed the face of Keith Haring with the Apollo Belevadere in tribute to Haring’s surviving and restored mural on outside wall of the Collingwood Technical College.
The inside and outside of a building might raise ontological issues between the words ‘street art’ and ‘urban contemporary art’ but I’m going to call it all street art rather than creating a useless lexicon and pretending that art and artists are always classified in a logical and accurate manner. After all abandoned building are a traditional site for graff and street artists to paint. As street art it was impressive and fun but it was weak as contemporary art. Sometimes it felt like a funky installation at an art squat in Paris or Berlin while at other times just another great Melbourne wall.
with Fletch “Facter” photographing
Aeon drawing in dust
In Brunswick there is a pedestrian footbridge that crosses over CityLink Tullamarine Freeway between Peacock Street and McColl Court. The bridge is adorned with 24 cast concrete faces. In 2017 a couple of newspapers reported on it under the headlines: “Brunswick’s creepy bridge – 25 concrete faces, not one nose and no one knows why” and “Creepy concrete faces appear on Brunswick bridge”.
When I saw it on the news the artist who made the masks was a mystery to me (and I am trying to be an expert in the limited field of Melbourne’s street art sculpture) but one that I didn’t have time until now to investigate. Now that I have it is the paranoid reaction and the lack of any memory in suburbia that are the most disturbing elements.
What caused this paranoid reaction? Was this reaction just because a local graff writer, the prolific tagger Felon had decorated one of the faces, death metal style or was it because of the absence of a plaque to identify the art? I’m not surprised that the noses are all gone, it is the first thing to be damaged on a sculpture and it gives the masks an antique feel.
The propensity for paranoia in suburbia is no reason for alarm. A mystery has to have an element of danger and intrigue or it wouldn’t be mysterious. However, once the facts are revealed it generally turns out to be not that interesting, perhaps even mundane, like a pizza restaurant in Washington DC.
The following day The Age reported that it was the work of Melbourne artist Mary Rogers who “sculpted the 25 life-size faces in her home studio in the mid-1990s as part of the Freeway Bridge Project.”
The work combines architectural decoration on brutalist concrete and was intended to help humanise the freeway overpass. The masks were cast from local residents but, after twenty years, this has not given the bridge any local context or memory. The lack of any urban memory of the bridge speaks of the transitory nature of the urban life.
The death of Richard Hambleton, ‘Shadowman’ reminded me that, aside from Keith Haring, Shadowman was the only other street artist that I’d heard about in the 1980s. I knew about Keith Haring because of his tour of Australia.
In the 1980s it was difficult to access information and finding it was often determined more by fortune than strategy. I heard about Shadowman by word of mouth and I don’t think that I saw an image of his work until decades later. At the time I was living in Coburg and studying at Monash University in Melbourne, Australia. It was a long way from New York’s East Village where Keith Haring, Jenny Holzer and Barbara Kruger et. al. were putting up ‘wall-posters’ (paste-ups) and Shadowman was splashing paint around.
In 1985 I heard of him as “Splashman”. A friend, Rod who was doing media studies at Rusden, told me that he had heard about this guy splashing paint to create silhouette figures on walls. It was from a second or third hand report that was probably based on a 1983 profile of the artist in People magazine. My friend told me that Shadowman had painted in Berlin. Given that it was in Berlin and I assumed that it must be on the Berlin Wall because, at the time, that was the best known location for artistic graffiti (the definition of ‘graffiti’ was still fluid at that time).
At the time I didn’t know that Richard Hambleton, was an NYC-based, Canadian artist with long term problems of addiction to heroin and crack. At the time he was a mysterious, unknown person painting on walls at a time when that was very unusual. His art and existence raised many questions and provided few answers. Now only the shadow of a memory remains.
For more and images of Hambleton’s work see: Daniel Maurer “Banksy Precursor Richard Hambleton Dies at 65, Days Before MoMA Show and Shadowman Film”.
Off the Kerb is a favourite for street artists exhibiting and the exhibitions that opened last Friday night were very much about street art.
“House of Ghosts” by Barek features both paintings and sculptures of Barek’s whimsical ghosts. A large ghost house model serves as centre-piece for the exhibition, visible from the street through Off the Kerb’s shopfront window. Barek’s ghosts and other characters have a narrative sense but often they seem like the ghost of rabbits frozen in the headlights of the artists vision. Although he has long had a presence on Melbourne’s street’s with his paste-ups Barek is now based in Melbourne after moving from Brisbane.
Akemi Ito, Wisdom
Drasko, B-29 Super fortress
“Hard Boiled Wonderland & The end of the World” by Akemi Ito and Drasko (who signs his work DB) is an exhibition of stencil art. Akemi Ito looks to Japan for inspiration whereas Drasko looks to America. They also have a different approach to stencil making; Akemi hand-drawn stencils emphasis the line whereas Drasko uses the blocks of colour to create his images. Drasko’s spray painted rubber floor-pieces are both effective and unusual.
Tinky, “Sam knew this was going to be his most impressive topiary attempt yet.”
Tinky, Wilbur loved going for his evening walk in the park.
“Tinkyville: Land of Folly” by Tinky packs in 30 of her Lilliputian models to one of the upstairs rooms. Her tiny HO scale figures are often oblivious of the larger scale objects that they are set in. The humorous scenes are full of action, their titles adding to the narrative and the joke, like “Sam knew this was going to be his most impressive topiary attempt yet”. Even at this scale Tinky’s work can also be found in Melbourne’s streets; I first saw her work in Presgrave Place.
Mie Nakazawa, Untitled
“Same Same and Different” Mie Nakazawa monoprint line drawn heads; I hesitate to use the word ‘portraits’ because they are all untitled. They looked inspired by the Austrian Expressionist artist, Egon Schiele. Unlike all the other street artists Nakazawa is a Sydney-based contemporary printmaker who has also painted a few murals in Sydney.
There were galleries with exhibitions opening all along Johnston Street on Friday night. There was a group exhibition with work by more of Melbourne’s artists associated with Melbourne’s streets. Be Free, Baby Guerilla, HaHa and Suki amongst almost twenty artists exhibiting at a pop-up exhibition at 178 Johnston Street, as part of the first birthday celebrations for Qbank gallery from Queenstown, Tasmania.
James Wilson, “Portrait of Regan ‘HaHa’ Tamanui”
Regan Tamanui (HaHa), Fred Whatley
Aside from the odd stencil or tag, that could be on a wall, Melbourne’s street art has rarely colonised the sidewalks. On the sidewalks you are more likely to encounter industrial graffiti, markings put there by council or utilities workers. That makes Astral Nadir’s paintings are an exception.
Resembling ancient symbols, crop circles or Nazca lines, these patterns on the ground refer to the stars and sky. Attractive small abstract patterns of circles and curves connected with straight lines. They are a kind of tagging using images instead of an alphabet. They are also signs mapping a linear trail taken by the artist around Fitzroy and have a relationship with fire hydrants, poles and edges of the sidewalk.
Recently, I discovered that I was walking the same path as Astral Nadir when I was out looking at art galleries and street art. As I walked along Gertrude Street and up Smith Street I started to look for and photograph for the next piece but I didn’t see them all. On returning home and reviewing my photographs I noticed another one, on the pavement next to a wall with a piece by Shida that I was focused on.
After posting some of my photos on Facebook, I was told that it was the work of Astral Nadir. (Thanks Liz Sonntag.) The rock’n’roll aspect of Astral Nadir’s name combine the high with the low in a synthesis where contradictions are resolved. I’m not sure how long ago these were done but the Instagram photos @astral_nadir are all from this year.
Although it is not great art, it is an exception to the ordinary and I do look forward to finding more.
Street art sculptures from the last twelve months and continuing my series of posts about street art sculptures and installations.
Street Art Sculpture 7 2016
Street Art Sculpture 6 2015
street art sculpture in the Whitechapel Area
Street Art Sculpture 5 2015
10 Great Street Installation 2014
Street Art Sculpture III 2012
More Street Art Sculpture 2010
Street Art Sculpture 2009
Former Sydney-based sculptor Will Coles is now living in England; Banksy’s home town of Bristol to be precise. In Bristol he has been taking on the topical issue of memorials to racists and slave traders.
Junky Projects also continues to put up his sculptures, along with leading street art tours, however, I want to concentrate on a some unknown and lesser known artists. It is good to see that Discarded has continued and has left this great ceramic piece in Brunswick, as well as, one the smallest pieces that I’ve ever seen.
Forget Hosier Lane, Presgrave Place is still the best place for the second year running to look for street art sculptures in Melbourne. Crisp did this high up on the main wall along with reviving stencils with Star Wars memes lower down. Adi’s attempt at creating a guerrilla gardening planter box died.
Gigi has been making body parts with hair that are very disturbing in her own way. And the placement of this one is fantastic. They still work when covered in spray paint.
Visiting artist Mow left a few little doors and windows, part of a trend for tiny architecture in street art where many guys have been making models. There was even a miniature abandoned house chained up in Hosier Lane for a short time.
MOW, Presgrave Place
I also enjoyed seeing the work of Kai’s cast panels in the streets of New York this year.
Melbourne Street Art Guide, ed. Din Heagney, Allison Fogarty and Ewan McEoin, (Thames and Hudson, 2016) Instead of writing a review of yet another unremarkable publication about Melbourne street art here are six artists who absent from the guide: Calm, DrewFunk, Ero, Ghostpatrol, Happy and Phoenix. I considered if I should ask them same set of questions that Melbourne Street Art Guide asked all the artists but really, the same set of questions?!
Calm – Murdoch Swine
Calm – Captain Assange
Calm mostly does paste-ups but does work in other media. He was included in the Hosier Lane part of Melbourne Now in 2013 so there is community recognition of his quality. See my blog post about his work.
Drew Funk was painting every legal wall that he could with landscapes and dragons, mixing the oriental, cartoons and aerosol art. He was ahead of the current mural scene by almost a decade.
Ero is a scruffy New Zealand street artist working in the tradition of Keith Haring, painting simple images in blocky colours. He uses ordinary house paint and brushes rather than aerosol paint. He does piss in his paint cans to relieve himself and water down the paint.
Happy, “Get Instant Fame”
Happy – Graffiti Colour My World in Brunswick
Happy was active a few years ago but hasn’t done anything for many years. This is another problem of Melbourne Street Art Guide, it is more of a fashion snapshot than knowledgable critical guide. This is more or less the reason for not including Ghostpatrol even though he done more recent work than Happy. Happy mostly worked with paste-ups that made ironic comments about the street art scene but some of his sidewalk tags in line marking painting can still be seen.
Phoenix has more of a beatnik jazz style than a skater dad look than most street artists affect. A master of the photocopier Phoenix is serious community orientated man; he is one of the fellows who will stand up to be counted. The kind of man who with loan his ladder to a fellow artist before putting up his own piece. See my blog post about his recent solo exhibition.