Tag Archives: Melbourne

Further reading:

I can reveal that Banksy is really Clark Kent, mild mannered reporter for The Daily Planet. My flawed logic is that Clark Kent has a secret identity, Banksy’s identity is a secret and they have never been seen together. Responding to this week’s attempt unmask Banksy read Peter Bengtsen ‘Clickbait: The cash, flaws and ethics of “revealing” Banksy’ in Vandalog.

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Notice about Banksy’s ‘Little Diver’ in Cocker Alley

In further academic writing about street art.

Have you ever wondered if an artist is doing street art or graffiti and then thought why not correlate the artist’s Instagram followers and general ‘street art’ and ‘graffiti bombing’ accounts in order to find out.  ‘Audience constructed genre with Instagram: Street art and graffiti’ by Christopher D.F. Honig and Lachlan MacDowall. (First Monday, v.21, no.8, 1 August 2016) Further to this Lachlan MacDowall writes about his research and Lush in ‘Meme wars: Lush Hillary Clinton and graffiti on Instagram’ in The Conversation.

Someone should write an article “How to Talk to your Children About Lush” but not me, I don’t have any children.

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Lush’s work in Richmond

The Conversation is a great place for many more articles about graffiti and street art. This includes David Kelly’s important discussion about how the recent rise in homelessness in Melbourne and the use of Hosier Lane: ‘Graf all you want but don’t you dare be poor!’ (I’m sorry I left the link until last but then I couldn’t have used the Banksy hook to get you in.)

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Various Artists, Flinders Court, Melbourne


Bruce Armstrong @ NGV

It may not be a Norwegian Blue but there is definitely a large dead bird in the middle of the foyer of the NGV. Although hieratic, priestly, stiff and formal like ancient Egyptian art, Bruce Armstrong’s sculptures somehow have a sense of humour. “That’s what you think” says the monstrous Knuckles holding a club behind his back.

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The two guardians that thirty years ago stood in front of the NGV on St. Kilda Road are now in the foyer of the NGV at Fed Square for the Bruce Armstrong exhibition. They are joined with their maquette, the original model for the sculpture and many other works of art by Armstrong.

The exhibition is in the foyer on each of the NGV’s three floors; It continues the series of local sculptors that started with the Inge King retrospective in 2014, Lenton Parr in 2015 and, now Armstrong.

Fish, gryphon, snake, eagle, bull, bear, cat, crocodile, carved from Red Gum with great big cracks or knotty Cypress wood. Armstrong works is a traditional process; he finds the creature in the shapes in the wood that he carves, as he removes more and more. Big and rough his sculptures are surreal and shamanic taping into our collective unconsciousness.

Armstrong’s art is so associated with wood that even when he makes bronze editions wood is still the model. The exhibition reminds the visitor that Armstrong works in other media and that he won the Archibald Price in 2005 of a self-portrait with eagle.

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Bruce Armstrong, Still Life (Mirror), 1994

It also reminds the visitor of Armstrong’s carved big blocks of buildings in the early eighties, as in Worlds and worlds, 1984, where a great building sits on the back of tortoise. For the city is also part of our collective unconsciousness.

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Bruce Armstrong, Worlds and worlds, 1984

Armstrong is well known for his public sculptures in Melbourne. His Eagle, “Bunjil” is perched over Wurundjeri Way in the Docklands. Its maquette and several of its close relatives are in this exhibition.

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Bruce Armstrong, Bunjil maquette, c.1996


Frog Pond

The thin frog looks so skinny that you can see its bones. It is not meant to be a particular frog but rather a generic Australian native frog leaping fully extended from the water. An amphibious athlete to match the near-by hammer thrower by John Robinson.

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John Olsen, Frog, 2013 bronze

John Olsen’s Frog, 2013 is installed in the Children’s Pond in the Queen Victoria Gardens. The two metre tall bronze frog was unveiled on Wednesday 16 December 2016.

The pond is named after two other sculptures, John Robinson’s Water Children (c.1970) is a bronze sculpture of two children, a boy and a girl, playing amongst the rocks at the source of the pond. It amongst some of the most sentimental sculpture in Melbourne. However, the source of the pond is now a damp bowl and the fountain has been turned off and this post is about Olsen’s Frog and not Robinson’s Water Children, which were modelled on his own children.

John Olsen is well know for his paintings of frogs but he is not widely know as a sculptor. When a major artist like him want to make a sculpture there are people who can help you produce a saleable work that would look attractive in a millionaire’s garden.

Olsen’s Frog is a gift from the property developer Eddie Kutner (Wonderment Walk) to the City of Melbourne in recognition of the work that the city has done in capturing, purifying and reusing stormwater. Water is a reoccurring theme in Melbourne’s sculptures with the first public sculpture Charles Summers, River God commissioned by the council to celebrate Melbourne’s water supply.

About a century earlier another businessmen, Theodore Fink donate two busts to Queen Victoria Gardens. Since then it has slowly been filling with mostly gift sculpture.

But thinking now about the frog; since I have been writing this blog I have been noticing many animals in contemporary art, from taxidermy specimens to drawings of animals. Taxidermy animals in particularly figure prominently in contemporary art. For more on this subject see my posts on taxidermy and contemporary art, and Why look at Dead Animals.

The answer to my question came in Janine Burke’s “The elephant in the room: Uses and misuses of animals in curatorial practice” Art Monthly Australia (Issue 280, June 2015) examines the nexus of animals and contemporary art attributing this to a massive shift in contemporary thinking that challenges the binary human and animal distinction. Burke attributes this to philosophers including: Gilles Deleuze, Félix Guttari, Jacques Derrida and Peter Singer.

Humans are feeling more comfortable accepting that they are another animal amongst many. The family of ducks inhabiting the ponds with the sculpture, watching the ducklings explore the pond. Contemporary art’s interest in the soft sciences, zoology and biology, as well as, the social sciences may be a reaction to the high modernist interested in the hard sciences like physics and chemistry.


The City As Art

The buildings in the centre of Melbourne are both familiar and unknown, they seem to change around like something out of the movie, Dark City. Exploring the city has to be a regular activity as there are changes occurring all of the time and a once familiar area transforms.

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The city as a creation, as a great co-operative work of architecture, art and engineering stretching over a vast area and reaching into the sky, a larger concept than a medieval cathedral. The creation, curation and alteration of which is a mix of planning, adapting and neglect.

The city draws you along its streets, wanting to see what is coming around the corner. Each street creates a new scene, one block is totally different from the next.

Underneath the city, the ground level is as constructed on foundations. How deep does it go? The labyrinthine network of tunnels, the subway, the subconscious of all cities. There is a mystery beneath all cities, the mystery of  the labyrinth and at its core the Minotaur.

Too much repetition in a city reminds one that it is also a labyrinth where a Minotaur hunts for sacrificial victims. “Bloody tribute!” says Theseus after tagging the wall with an outline of his hand sprayed by mouth in red ochre, or is it bull’s blood?

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Cities are visually dense; signs and symbols compete for our attention. The accretion of images, of advertising and signs. The many shiny surfaces reflect the many lights further confusing the vision. The visual density of the city has presented a challenge to visual artists for the last two centuries.

Graffiti and street art rise to this challenge by imitating the visual intensity of the city, by being part of and by being framed by the infrastructure of the city. Graffiti tries to fit into this environment by becoming a tag, a personal logo in a world full of corporate logos. Both the graffiti writer and the street artist rectifies the urban environment by adding their designs to the layers of images, personalising the alien, impersonal architecture of the city.

The whole of Melbourne could be seen as an un-curated art gallery for graffiti and street art. Except that there are small semi-curated zones, like… roll the credits… Doyle’s Blender Alley and Lovelands, the area of Fitzroy curated by Shaun Hossack of Juddy Roller, Dean Sunshine’s factories in Brunswick. Gordon Harrison, the City of Melbourne engineer should also get some credit of street art in the CBD. I’m sorry if I have missed anyone.

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Cowen Gallery @ State Library

Trying to imagine what the National Gallery would have looked like when it was in the State Library. At the same time as looking in the future at what Patricia Picininni images the evolution, or the genetic alteration of car drivers.

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Patricia Piccinini, Graham, 2016

Prior to the construction of the National Gallery of Victoria on St. Kilda Road in 1968 the National Gallery of Victoria was located in the State Library. It consisted of the Swinburne Hall, the painting school studios and three galleries. What were the McArthur and La Trobe galleries are no longer open to the public, but the Cowen Gallery and the two linking rooms, are still used for exhibiting art at the State Library.

A century ago it would have looked rather different, the now redundant skylights would have allowed diffused natural light into the galleries. The paintings and prints would have been hung Salon style, hanging multiple works right up to the ceiling to fill the wall. Rather than the way it is hung now with a single row of works at eye level along the wall. On the walls would have been Alma Tadema’s The Vintage Festival in Ancient Rome, Watt’s portrait of Tennyson, and John Longstaff’s Breaking the News. In the middle of the room there were marble statues of the royal family by Charles Summers.

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Charles Summers, bust of the actor Gustavus Brooke, 1868

The numerous marble busts by Charles Summers still on exhibition reminds me that he was allowed to arrange the sculptures in the gallery. Summers placed plaster casts of Michelangelo next to a plaster cast of his Burke and Wills Monument to demonstrate his references. Summers’s ego exhibited in this arrangement amused some English visitors but for nineteenth century Melbourne he was their Michelangelo.

The plaster casts and etching of works by other artists hanging in the gallery indicate that issues of originality and even the function of the art gallery was very different.

In the present the art gallery at the State Library is an odd mix of art from Melbourne’s past, with a particular focus on landscapes of Melbourne and portraits of Melbourne identities, along with some contemporary art. Above the stairs hangs a tapestry by the Australian Tapestry Workshop based on a painting by Juan Davila.

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Juan Davila and Australian Tapestry Workshop, Sorry, 2013

Graham was just sitting there in his shorts going viral as people crowded around taking photos of him. After a selfie with Graham in the background the visitor might spend awhile with the headphones and iPads finding out why Graham looks that way and how the collaborated between the TAC, Patricia Piccinini, a leading trauma surgeon and a crash investigation expert produced him. Piccinini’s art makes an impact both in the gallery and online and that makes her work perfect for a road safety awareness campaign.

I wonder how Graham would have been greeted, if he had been created a century ago, and where would he have been displayed in Melbourne. Undoubtedly he still would have received a lot of media attention.


Sculpture Walk and other public sculptures

Public sculpture in Melbourne has changed dramatically in style, materials, locations and numbers. Join me in a walk to view sculptures around the city from the 18th to the 21st centuries and learn about how the art of sculpture has evolved through the years. Ticket price includes morning tea at the Melbourne Writers Festival Club at ACMI at the conclusion of the walk. Book at the Festival’s website.

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A sculpture tour takes shelter under Vault during a sudden shower.

While I am writing a post about public sculptures I thought that I could mention two small war memorials that didn’t mention in my book, Sculptures of Melbourne and won’t be on my sculpture walk.

WWII Nurses Memorial

Raymond Ewers, Memorial to WWII nurses

The memorial to WWII nurses outside Fawkner Towner on St. Kilda Road (431 St. Kilda Road) that was re-landscaped in 2012. The memorial consists of a bronze plaque on a stone and bronze bust in a niche. The bust is of a composite, idealised nurse. The memorial is by Raymond Ewers who created several of Melbourne’s memorials, including the Sir Thomas Blamey Memorial, 1958, in Kings Domain and the bronze bas-relief for the John F. Kennedy Memorial Fountain,1965. Although there is nothing now connecting the area to nurses, there was an earlier connection, as it was the site of the Nurses Memorial Centre. I have written about other of Ewers sculptures in my book but there are so many other war memorials in Melbourne that it would have made for a very dull read to write about all of them.

R. George Summers, Brunswick Beor War Memorial, 1903 2

R. George Summers, Boer War Memorial

Brunswick’s Boer War memorial by the sculptor, R. George Summers of Carlton (no relation to the Charles Summers who made the Burke and Wills Monument in the city square) was originally located in front of the Court House. The figure and the monument was originally intended for Private S.J. Barnard, however Chairman of the committee wanted it more inclusive, to honour both the 69 returned soldiers and the four dead from Brunswick. The memorial was then relocated to the Brunswick Town Hall, before it was moved to its current location, on the traffic island tram stop at the start of Sydney Road, around 1925.


Piecing in Burnside

Way out in Melbourne’s west, in the suburb of Burnside there is an industrial park. Constructions built from reinforced concrete walls fill up half of the blocks. Lots of big concrete walls covered in graffiti facing empty blocks. It is obvious from the graffiti pieces that Kame and the Boogaloo Bros had been doing a lot of painting on the industrial estate.

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At 11am last Saturday three cars rolled into the empty block loaded with spray cans, paint, rollers, and step ladders. There were four guys piecing: Jamit, Kame and the Boogaloo Bros, Suer and Rise. Forgetting their tags, these are just four middle-aged guys in daggy old clothes; the Boogaloo Bros are wearing fluro jackets.

These middle aged guys were all painting in the eighties, the initial hiphop graffiti phase in Melbourne but this was the first time that Jamit had actually met Kame and the Boogaloo Bros. The internet has brought these guys together, it has also given a new life to Kame’s painting. Kame had lost interest in graffiti many years ago and was completely unaware of how Melbourne’s scene had developed until an old friend got in touch with him just over a year ago. They are not a crew; the idea of graffiti crew has morphed into an online network.

These are all legal walls that were being painted. The Boogaloo Bros have permission to paint from the building owners, a folder of signed documents sits in their car, just in case. So they have invited Kame and Jamit to join them for a day’s painting.

The first order of business was buffing the wall black. The black paint was watered down so that it would go on faster. Suer kissed goodbye to an old piece as they efficiently roller painted over the wall.

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Next the guys started their outlines. Jamit and Kame were working from sketches but not the Boogaloo Bros. they just start on geometric underpaintings. Suer and Rise do sketches but they just do them for their own sake. As they are out painting most weekends they have plenty of practice and confidence.

Three different styles of pieces start to emerge from the black wall: Jamit is doing a big blockbuster piece taking up two of the concrete panels, the Boogaloo Bros are working up two wildstyle pieces and Kame is doing something more character based in a rock’n’roll tattoo style.

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Jamit hasn’t painted in ages and is struggling a bit. He is running out of paint, using a tape measure to get the letters the right size and buffing out mistakes.

Kame’s curving lines are loose but well planned. He has a beautiful almost traditional sign writing calligraphy, his mother is into calligraphy. Kame has talent and it is not surprising to learn that he is off to paint in the Meeting of Styles in San Francisco in September.

The Boogaloo Bros are confidently and methodically filling in their outlines. Rise does run out of one colour and has to improvise. Suer loves his colours. “Wait till you see this Derby with Fuchia.”

It is all the guys do; apart from a couple of bottles of Pepsi, Kame documenting his painting with a camera and Rise sucking on some cancer sticks.

The wind blows across the wide western plains bring in the grey cloud fronts. It is about 10 degree Celsius out of the wind and there is nowhere out of the wind, the wind chill is freezing. You can see the rain closing in for about thirty minutes; plenty of time for Suer to stand on a small hillock and to try blow the clouds back west. Only Kame kept painting through the rain.

“This is the worst day I’ve ever painted” Kame says.

Perhaps because of this Kame is the first to finish while the others still painting. After another couple of rain fronts the others had finished their outlines and highlights. Finally they sign off with crew affiliations, tags and tributes to the people who were there on the day. Then it was time for photographs to be uploaded to Instagram.

It was just after 4:30 when the graffiti writers drive out of the industrial estate; cold, hungry but happy with their day’s painting.


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