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Tag Archives: Brunswick

Taree Mackenzie @ Neon Parc

Sometimes it seems that I have seen it all before, not more paintings about painting, please no more photographs of empty playgrounds, and then I see some new, amazing and beautiful art. This outstanding art is the reason why I’ve been visiting so many galleries and looking at so much average art.

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It is hard to see at first. Inside Neon Parc in Brunswick it is dark except for the coloured lights of Taree Mackenzie’s art. What is going on? The set up for each piece, rotating black shapes and panels of light and glass, neatly occupies the dark corners of the gallery. The elegant symmetry and minimalist design of the mechanism that creates the images are exposed. The science is known, involving reflectivity and coloured filters removing colours, you may have even seen some of it in dinky science demonstrations but never at this scale or elegance. The optical trick may be obvious but it is so beautifully executed that I didn’t care.

Mackenzie uses a couple of basic optical effects to create simple beautiful images, ultra-modern abstract animated images. The images that exist on the glass’s surface and looking through the glass are a purely retinal art. The simplicity and minimalism of the rotating objects and primary light colours contributing to their trippy, hypnotic experience.

Mackenzie has a Bachelor of Fine Arts (Painting) from the Victorian College of the Arts and an interest in maths and science. She has a strong track record for creating installations that use simple tricks using light and colour to create abstract images. However, unlike Mackenzie’s previous exhibitions, this time her simple abstract images are mediated without the use of video cameras and monitors. For more read an interview with Mackenzie by Maura Edmond on Primer

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Eyes open in Brunswick

I’m keeping my eyes open. I’m looking around. I have not got my face fixed on the screen of my mobile phone as I walk so I notice things on the streets of Brunswick and Coburg. Anarchist posters with anti-religion and anti-fascist graphics and all the beautiful aerosol works down the bluestone alleyways.

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Inspector Gadget over Tinning Street

I hope that whoever is doing the Wandjina spirit in paint, paste-ups (and now in ceramics?) has the cultural authority to use the sacred image. That they are an Mowanjum person from the Kimberley and not some Europeans living in the Blue Mountains, as in the 2017 controversy over the use of the image of the Wandjina spirit. But then this is the street and nobody is meant to know.

Discarded

Discarded

A piece by Discarded along the bike track is less obvious. I can’t be sure that I haven’t overlooked this piece for a year or more. The cast ceramic pieces of discarded items found on the street are collaged together into a new form. The piece is framed by the better brickwork outside the patch. I am keeping my eyes open as I quickly photograph the piece to avoid being run over by a bicycle when I kneel down.

Civil painting

Civil painting in Brunswick

Sometimes it is so obvious that you only have to be there. I see Civil behind a row of orange bollards, half way up another wall in a Sydney Road carpark. He is painting another scene of stick-figure people, dogs and bicycles with a brush. The description of stick-figures sounds crude when the practiced lines of Civil’s figures is anything but crude. They have the simplicity of a figure by Keith Haring or Matisse. The curved  lines arms and active legs along with the simple details of hats, dresses and bicycles.

I saw a lot of new Civil walls for it was only an hour before that I’d noticed that Civil has repainted his old wall in Tinning Street with more of his stick figures but this time against a bright green background. For more on Civil read my earlier post. 

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Another wall by Civil in Brunswick

Keeping my eyes open in Brunswick had its visual rewards.


Melting into Movement @ Counihan Galler

Two exhibitions of contemporary art that incorporate live performance and video elements for the start of the Counihan Gallery annual exhibition program; Collected Odysseys 2017 by Malcolm Angelucci, Chris Caines and Majella Thomas and All That Is Solid Melts Into Movement 2017, by Kaya Barry, Rea Dennis, Jondi Keane.

Most of the artists in both galleries are wearing all white which works as a screen for the video projections. It also makes the works in the two galleries appear more linked than they actually are.

In both the movement of the artists is determined by the structure of the gallery. In Collected Odysseys (it is difficult to divide the works and assign a title because they overlap) the artists follow the gallery wall as they write. Two videos of artists without their art, a dancer from the head up and a pianist without a piano, projected on the walls and a 2 metre tall stack of ink black books.

In All That Is Solid Melts Into Movement a white gallery wall on casters is pulled and pushed back and forth across the gallery while a video of this is projected onto and then behind the wall. Adding to the drama the wall fits tightly into the gallery space, each time it moves it just miss hitting the video projector mounted on the ceiling by a few centimetres. Then another artist rides a bicycle around the wall as it continues moving forward and back. According to the artists this “allows gallery goers to collectively measure the affects/effects of structural shifts on our everyday experiences.”

There were also several sections of concrete sidewalk on casters but I didn’t experience them moving and can’t comment on the experience. All That Is Solid Melts Into Movement is an out standing work because of the way that the moving wall disrupts the site, uses perspective in a new way and merges the formal with the informal. The moving wall is dramatic, effective and points to the manipulation of the gallery space with walls.


Footbridge of Masks

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”.

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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.

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The Story So Far…

Twenty works by Indigenous and Torees Strait Islander artists from the Moreland Art Collection curated by Kate Ten Buuren at the Counihan Gallery in Brunswick. This exhibition demonstrates not only the long commitment of Moreland City Council in collecting art Indigenous and Torees Strait Islander art since the early 1980s but also the diversity of that art.

It was good to see two colourful prints, Magpie and Echidnas 2011, by the late Trevor ‘Turbo’ Brown who died in January 2017. Turbo was a Latje Latje man from Mildura and the winner of the 2012 Victorian Deadly Art Award. The exhibition is particularly strong in printing with screen-prints by Lin Onus and Trevor ‘Turbo’ Brown, etching by Regina Karadada, Judy Watson and Janic Murray, and Brian Robinson’s magnificent linocuts. Although Indigenous Australian art is better known for its dot paintings printmaking is an important media for many Indigenous artists. The first was the artist and playwright Kevin Gilbert who started making lino-prints made from old lino floor tiles in Long Bay prison in the 1960s.

Lin Onus shows great technique in screen-printing with the transparent layer of the water in his Gumbirri Garginingi (Five Tortoises) 1996. The rarrk crosshatching work on the shells of the tortoises is not traditional for Koori artists but Onus had been taught and given permission to use the rarrk work by Maningrida artists.

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On a plinth is a fantastic tiny paper sculpture only 55 x 35 x 20 mm by Archie Moore. On a Mission From God (Goulburn Island) uses a little Bible to make a big point about the Mission Days destroying Aboriginal spirituality. Best use that I’ve seen made of a Bible for a long time.

What will the Moreland City Council’s collection look like in another forty years? The story continues.


Anti-Muralism

For the past three years murals, very large multi-story painted walls are the popular form in Melbourne’s street art. Murals are also very popular in advertising and with socialists. Van Rudd says that wants to revive the tradition of political mural painting in Melbourne that happened with Geoff Hogg in the 1970s.

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Murals are seen as community art solution, read Tony Matthews and Deanna Grant-Smith “How murals helped turn a declining community around” in The Conversation, as well as an advertising technique. Dvate’s painted banner for The Lion King in 2015 or HaHa’s 2016-17 3MMM banner at Macaulay railway station, a favourite old haunt of HaHa when he was running around the city getting his name up. Smug’s mural on Otter Street promoting a luxury apartment development, makes gentrification cute. The popularity of murals makes for endless commercial applications.

I think that I lost a lot of my interest in Melbourne’s street art when murals became the dominate form of street art. I don’t like most murals, street art or otherwise, as I have already written about the Harold Freedman mosaic mural on the Fire Station. So I don’t feel as motivated to write about street art, although I have written about Rone and Adnate’s murals.

Rone in Collins Street

Rone in Collins Street, 2014

I’m not sure what it is about murals that I don’t like, after all they are just very large paintings. I do like a few murals in Melbourne. The Keith Haring mural in Collingwood but that is because I like his other work and the mural is simply a large example. I don’t think of the large walls by sprayed with fire extinguishers full of paint by Ash Keating and others as murals because they are just paint whereas a mural is about something.

Often murals are so about something that it feels like you are being lectured or advertised at. I’m not sure that I want the intended message or non-message of a mural and even if I do then what about people who don’t? The intended mass audience of a mural makes is like advertising. Whereas I like art that is aimed at a small audience rather than the lowest common denominator. The bigger the audience does not mean the better the art; size is kind of pornographic.

At other times there is so little content in a mural, like Rone’s faces, that being content free and abstract would have something more than these substitutes for content. For this reason I found Doyle’s Empty Nursery Blue to be more artistic than any and all of Rone’s murals.

I was also wondering if it is because murals lack a human scale. Murals are different to graffiti pieces in terms of scale. The reach of a graffiti writer defines the height of a piece, the arc of the curves so that a piece of graffiti reflects a human scale. Whereas the size of a mural is determined by the size of the wall and the equipment used.

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Cam and Scale, Brunswick 2017


Street Messages

I’ve been looking, photographing and thinking about messages on the street. Not the stencil or paste-up poster messages directed at a mass audience but the individual messages directed at a specific audience or even an individual.

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I’m not sure of the accuracy of this claim outside Anstey Station, but it has been at least 20 years of providing a great legal wall.

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I am interested in the ethics of graffiti writing and the messages that debate this. Often this is the ethics of what counts in the claim of “I was sitting there first.” Claiming a right to a chair in bar or to occupy a spot by the pool or to paint a wall when such things are a limited resource by virtue of a prior claim of occupancy. Amongst graffiti writers there is a transmission of a code of ethics through an oral tradition, as well as, messages written on walls.

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Generally graffiti writers are only interested in communicating with other graffiti writers but occasionally they want to make a point to a wider audience. Messages written on walls, as an adjunct to a piece is the only direct form of communication. This note from Bailer was probably intended for a idiot who often caps pieces in the area.

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“No Style” is an irony free cap over a cleanly executed bubble letter style piece by Speds.

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Old skool graffiti writers do not respect anyone without good aerosol skills just like the old school conservatives would not read anyone who could write neat copperplate with prefect spelling and grammar.

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I don’t want to be a grammar nazi but some people have to, just like some people have to tag. This comment was in reference to a tag with unconventional spelling. (Are you still reading Facter?)


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