Tag Archives: Melbourne

More of Melbourne’s Public Sculptures

More of Melbourne’s public sculptures that aren’t in Sculptures of Melbourne. My book was never intended to be a catalogue of Melbourne’s sculpture. In writing a history I could not include every example. The Melbourne City Council has 100 sculptures and 80 monuments, not including privately owned sculptures on public display, nor those owned by institutions like the Arts Centre or Melbourne University and RMIT. Then there are all the sculptures in the suburbs of greater Melbourne. So here are a few more that aren’t in my book, and haven’t yet been mentioned in this blog.

Nadim Karam,The Travellers, 2005 (3)

Nadim Karam, The Travellers, 2005-6

A large prominent series of sculpture that I didn’t mention are The Travellers, 2005-6 by the multidisciplinary artist and architect, Nadim Karam. Karam has made similar sculptures for cities around the world, so he was a safe choice for a major commission.

The steel figures parade across the Sandridge bridge, some with little wind propellers turning. The figures are meant to represent migration to Australia. On the south bank of the Yarra is Gayip, the stainless steal spiral headed figure with wings perched on a rock on the South bank, represents both the indigenous Aboriginal population and a gathering point for the travellers. It is dubious that any of this well intended meaning is obvious to the thousands of people who see it every day.

The Gayip figure was designed by Karam in collaboration with Mandy Nicholson, a member of the Wurundjeri-willam clan of the Kulin Nation. Nicholson, an RMIT graduate also designed the petroglyphs at Birrarung Wilam and Kirrip Wurrung Biik.

Konstantin Dimopolulos “Red Centre” 2006 06

Konstantin Dimopoulos, Red Centre, 2006

Federation Square is often used for temporary sculpture exhibitions and because of all the temporary events there is only one permanent sculpture at Federation Square. Like a tussock of grass the red coated steel stems of Konstantin Dimopoulos Red Centre 2006, move, rattle and sways. Red Centre takes some of Len Lye, the master of kinetic sculptures ideas and expands them into a post minimalist sculpture.

Since creating Red Centre the Egypt-born and Melbourne-based sculpture artist, Dimopoulos has created a ”social art action” with blue trees painted with environmentally safe, ultramarine blue pigment to raise awareness of deforestation. This series started in 2005 with Sacred Grove – The Blue Forest commissioned by the City of Melbourne. It continued in cities in New Zealand, Canada and the USA. From blue trees and red poles Dimopoulos continues to work with colours and social issues with Black Parthenon 2009 and The Purple Rain 2015.

Pauline Fraser, Wind Contrivance,1995

Pauline Fraser, Wind Contrivance, 1995

At the Victoria Market there is Pauline Fraser’s Wind Contrivance, 1995. With the wheel it almost looks industrial were it not for the scattering of bronze pumpkin, aboriginal fish trap and other items. The mix of materials, stone, bronze and wood, further confuses the meaning. The meaning of the sculpture, like its materials and parts are scattered. It was acquired when the market was refurbished as part of the percent for the arts. It is located in an odd position half way up Therry Street. Children climb on it and its low plinth is often used as a seat by people eating take-away food from the market.

The sculptor, Fraser has a series of bronze sculptures with a clearer meaning marking the entrance to the Altona Pier. On six corten steel plinths is a bronze leatherjacket fish,  a cuttlefish, a sea horse, a shell and a large crab. “Seaborn” 2005 makes reference to the diversity of marine life in Port Philip Bay.


LOL Street Art

Toys will be Toys

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Chuck Norris Was Here

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B1 Crucified, Brunswick

Jesus paintroller original

God has a plan to kill me

Darth %22Who's Your Daddy%22

Gina the HuttDSC00885


Graffiti’s Bonnie and Clyde

Over the last decade in Melbourne there has been a change of attitude about many kinds of graffiti and street art, what once was reviled is now celebrated. One man who knows about these changes is Gordon Harrison, the city engineer who created and runs the City of Melbourne’s graffiti management policy. Harrison knows about the changes because he wrote the city’s current graffiti policy.

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The current graffiti policy is to remove graffiti only when it is obscene or racist or when  requested by the building owner. Otherwise it would be left to survive in the organic process of the street. Harrison does not believe in protecting graffiti or street art. The City of Melbourne does keep a photographic record of significant work and it passes on its record of tags that it removes to the police.

According to Gordon Harrison $900,000 is spent each year in the removal of tags. All graffiti writers and even some street artists tag but then there are some people who just tag. Some prolific taggers like Nost and Pork have nineteen images removed per month from just the small area of the centre of the city administered by the City of Melbourne. Harrison explained to the Street Art Round Table, 22/4/16 at Melbourne University.

Unlike many people Harrison doesn’t hate taggers. He understands that there a blurred line between tagging and graffiti pieces. Harrison would prefer tags to violence or suicide, he removes the tagging but respects the free spirit behind it, wishing that it was directed differently.

The free spirit of taggers makes them not just vandals but sometimes audacious urban outlaws. They are risking their liberty and life. For there are the industrial scale dangers of the railways and rail yards. The dangers of climbing up to the heavens just to leave your mark, to show that you have existed in the city and made part of it your own.

Along with the dangers hardcore taggers also experience the most violence. There are fights between them over walls and other issues. They are also likely to be beaten up and abused by the railway’s Asset Protection Officers or even vigilante citizens taking the law into their own hand.

This brings me to the American graffiti writers and lovers, Ether and Utah who were in Melbourne earlier this year. It was here that Ether’s self-titled “Probation Vacation” came to an end on a Fitzroy sidewalk in a fight with a vigilante citizen. Charged with attempted robbery, recklessly causing injury, unlawful assault, possessing a controlled weapon (a knife) and four counts of criminal damage. He received a six month sentence, less the 27 days he was held in remand. On his release he will be deported to the US where he faces another six months for outstanding graffiti offences.

A six month stretch at the notorious Rikers Island in New York goes someways but doesn’t completely explains Ether and Utah leaving the USA in 2011 for a five year intercontinental graffiti spree focused on that most traditional graffiti site, the train. Neither does Utah & Ether’s Probation Vacation, in book and video format, which is available online along with limited edition zines, t-shirts, poster, sticker sets and box sets. There is a weird post-modern romance about deciding to live the life as an international outlaw with your love while creating “a dialog between the safety of the gallery setting and the vitality of painting in the streets illegally.” (Utah & Ether about page)


Moving Sculptures In Melbourne

Although stone and metal sculptures might appear to be permanent and stationary they do move. They are slow to start moving but once they start they move with surprising speed. Sculptures move around the city, even around the world, climbing down from the tops of old buildings to go to university. Urban Melbourne has a page about sculptures that have moved generally due to demolitions. So now that Strata has found a safe new home, out of hands of Melbourne University to the MONA in Hobart, it is time to look moving sculptures in Melbourne that may be soon moved.

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John Cummins has an audio report in The Citizen about preserving Melbourne’s public art where he interviews Adrian Doyle of Blender Studios, Ken Scarlett author of Australian Sculptors, ghost sign expert Stefan Schutt, sculptor Petrus Spronk and myself.

On Collins Street Stanley Hammond’s 1978 statue of John Batman, one of the alleged founder of Melbourne, is keeping his head down these days. He can still just be seen from behind the temporary building hoarding. His companion sculpture, another early Melbourne land owner, John Pascoe Fawkner by Michael Meszaros is outside of this fence.

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Jackie Ralph, Horse with something to say, 2013

Another sculpture with an uncertain future stands in the roundabout on Siddeley Street out the front of Melbourne’s World Trade Centre is Jackie Ralph’s Horse with something to say, 2013. The black expressionist work by Ralph has remained in the middle of the roundabout since it was installed at a temporary sculpture exhibition. It is not uncommon for a sculpture to remain after an exhibitions because of the expense of transportation, another sculptural gift of this kind is Ship to Shore at the Coburg Lake Reserve. Ralph’s horse will not be difficult to move as it is made from wood, wire, fiberglass, polyester resin and enamel paint.

Brunswick-based sculptor, Ralph wrote, in an exhibition statement; “When sculpture leaves the gallery and becomes part of the landscape, it not only reaches a larger and more diverse audience, but people seem to have a much more unguarded, unrestrained approach to it and interact with it more informally and naturally.”

I saw some new sculptures in Melbourne by an unknown artist. These sculptures will be very temporary and the creators of these works of street art knows that.


Melbourne Tea

I am currently drinking a special blend of tea that is intended to represent Melbourne. Most people in Melbourne are into coffee but I prefer tea but if Melbourne was a tea blend what would it taste like? Aside from the synesthesia implied in the question and ignoring the obvious Melbourne coffee connection.

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Philippa Thacker explaining the ingredients for the Melbourne tea blend as Stephen Twining watches.

At a media call at Little Mule Cafe, in Somerset Place, Melbourne to promote a new tea blend created for Australian palates to be launched next year. In attendance is Stephen Twining of Twinings Tea, a descendant from the company founder, Thomas Twining who established a tea and coffee shop in London in 1717, almost 300 years ago. And master tea blender, Philippa Thacker who is blending some tea that she thinks will suit Melbourne. There are no plans to market the Melbourne blend of tea, and the team from Twinings will be repeating this event, creating a blend for Sydney, Adelaide, Perth and Brisbane.

How to represent Melbourne? Obviously, it has to be a black tea.

There has been some debate about the colour of Melbourne; not the football colours of a particular sporting team, but the symbolic colour of the city. Is it yellow or is it black? Yellow is the colour of Ron Robertson-Swann’s Vault, that is repeated in the architecture of Denton Corker and Marshall and the 2013 Melbourne Now exhibition. Black is the colour of Inge King’s sculptures and the fashion of many of Melbourne’s inhabitants, including myself. Perhaps it is both, yellow and black, nature’s warning sign for a venomous animal, a warning that this city is poisonous to some extent.

In the 1980s Barry Humphries proposed that Melbourne be called “the big Orange” like New York is called the ‘the big Apple’. To be fair to Humphries orange was all the rage at the time, Melbourne’s trams were painted orange, and Humphries did have a taste for the kitsch elements of Australian culture. And there is some orange in the tea as “orange pekeo” is a term that refers to the highest grade of tea leaf.

Back at the Little Mule Cafe, Philippa Thacker is gentling blending the various teas together, for the tea leaf can break down easily. In the mix there is a Darjeeling, the champagne of teas with its muscatel, floral notes and two different Ceylon teas. One is of the Ceylon teas is gown at low at low altitude and has a thick liquor whereas the high grown has a dry taste with citrus notes. Added to this is added rose petals and strawberry pieces, a fruity note to compliment the Darjeeling, like strawberries and champagne at the Australia Open.

I’m not sure if Melbourne can or should be summed up with tennis but the result is an enjoyable tea. The floral and fruity notes from the rose petals and strawberry pieces are hardly noticeable but do create a full and wide flavour. “Refreshment” is a key word, identified through some arcane market research. Beer is also refreshing; but it does suggest the psychological question why does Melbourne need to become fresh again? Do we feel regularly feel stale, wilted and faded?

The tea blend is not the same as Twinings Australian Afternoon with an orange and brown outback design complete with a kangaroo on the box. Australian Afternoon is a stronger flavoured tea than English Breakfast but not dramatically different. Outside, in Sommerset Place it is grey and raining with no kangaroos or sweeping plains in sight. The dead end laneway, off Lt Burke Street has a bit of street art, along with new bollards and squares of concrete seating and gardens is typically Melbourne and a hostile environment for any kangaroo.


Miniature Worlds: Stone and Goonhugs

Occasionally going to multiple galleries in an afternoon can reveal an interesting comparison, even if it does mean suffering Melbourne’s light rain and the cold wind. For example, Adam Stone’s Trust Me, 2016 is a 3D printed miniature plastic model of a roller door covered in graffiti crushing a watermelon. It is an oddity amongst his other works at Fort Delta. It is also odd because coincidentally there is another exhibition of miniature models on a similar scale in Goonhugs’s exhibition, “Tiny Writers” at Dark Horse Experiment.

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Goonhugs, Tiny Writers (photo by Yvette Crozier)

At Fort Delta there are two exhibitions. Spencer Lai’s “Beat Peace, lovely, lovely”, a funky minimalist contemporary sculpture exhibition, and Adam Stone’s “Cane Toad” exhibition.

“Cane Toad” opens with two glass doors with the image of Lance Armstrong on them and then a lot of bronze painted bananas with faces. Cast bronze jokes are a bit heavy handed, playing on an antique art world joke that goes back to Warhol, and jokes about topical figures, Lance Armstrong, Bill Clinton, and Tiger Woods don’t last long; I couldn’t recognise the faces.

So, back to the miniature model buildings. Both Stone and Goonhug’s models are excellent, sensational as miniatures, and both refer to graffiti culture.

Goonhug’s miniatures at Dark Horse Experiment are complete with every tag, every poster, and sticker. They loving recreation of specific locations, empty shops, ‘abandos’ (abandoned buildings) in Melbourne and Toyko, except that all the grime and weeds appear slightly larger. There is the indulgence is in details, in creating miniature rubbish bags,  miniature dumpsters and miniature rubbish. They celebrate the aura that taggers and sticker slappers, like Goonhugs, have given them. It is the current version of a boys own dream: making models and doing tags.

The room at Dark Horse Experiment of sticker tags, 3000 GOONHUGS, is a better representation of Goonhugs work. In the middle of the room sit couple of casks, the ‘flagons’ that add the ‘goon’ to his name. Repetition turns the tags into a pattern like wallpaper, following from Warhol and Ai Weiwei.


Zombie Suburbia

Legend has it that the suburbs are full of zombies. They must be somewhere because the suburbs look so dead. Is it quiet because the rampaging zombie hordes has already passed by? It looks dead because it is so quiet and there is all this stuff around that is never used. The suburbs are so quiet that Melbourne psychogeographer, Nick Gadd, in his blog post “The real and the fake in Abbotsford”, had to asks himself: “where is everybody?”

Zombie in Hosier Lane

Two zombies in Hosier Lane

The suburban zombie might look like ordinary people but they lack a life. Suburban zombies are often employed; zombies make good workers for menial labour, but they are not living their own life.

How to live your own life is the most important cultural questions of all time. Not to be confused with how to live a life, or the life that others want you to live. Others might value your life for their own reasons – some just want to eat your brain.

The classic post-war consumer dream was sold to millions of zombies: a TV, a car and a house in the suburbs. The payments for this borrowed dream go on for ever. Life in the suburbs is a commercial product and fear is good for business. The suburb continues to sell as a product and it’s nervous. Are the suburbs really full of transitory inhabitants watching the house prices, always ready to sell up and move on if the price is right or if the zombie horde descends on the area? This mix of home life and commerce contributes to fear and further alienates the suburbanite from their home. Even cars are kept largely impersonal to maintain the best resale value.

Examples of suburban paranoia are common. The secrets keep building up in the suburbs, they are so discreet and genteel. Your neighbour might be judging you as criminal, alien or anathema. The paranoia, the susceptibility to fear mongering that such suburbs create. It appears idyllic except that the suburban mentality is paranoid. Isolated in the suburbia, living next to unknown neighbours, fear is an understandable response.

Suburbia was designed to create a homogeneous, assimilated population. The soporific repetition of suburban landscapes creates an unnerving sense of déjà vu. Here and there are the odd flourishes in suburban architecture, gardens or decoration. Small triumphs against conformity or simply demonstrations of eccentricity?

There is an absence of any real landmarks or even hubs in the suburb, means that there is no logical place to rally the population against the ravenous zombie hoards. Transportation designed on a circulatory system of capillary roads feeding into arteries view hubs as undesirable points of congestion. Place where several paths intersect are designed to have no holding qualities.

The only place in the suburb that has any holding power is the home. It is there that the population intends to bunker down. Fear of the zombie hordes have driven people to retreat to fortified zones at the back of their houses only venturing out to their front yards for the daily commute.

Design responds to both the realities of life and the unrealities of desires. The mass experience of suburban life tried to create a middle ground between the inner city, cosmopolitan life and the country life for the middle class. The suburbs are a reactionary location, rejecting the urban environment rather than trying to improve it. The problem with suburbs is not simply a question of design any more than it is a choice of what weapons to use in the zombie apocalypse. It is a problem of how to live and it will require both changes in the mind set of the population and bricks, concrete and steel of the city.

 


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