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Tag Archives: Michael Brennan

Imperfection @ Trocadero

“A small show of imperfect paintings” at Trocadero Art Space is a unique and must see exhibition.

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Juan Ford, Untitled, 2007, oil and acrylic on linen

Twenty-one failed paintings is not a great advertisement for an exhibition but twenty-one failures by notable Melbourne artists is worth seeing. Curator Chris Bond has done what must have first appeared both impossible and crazy. The fantastic negotiation and diplomatic skill involved in asking artists, including perfectionists like Juan Ford or Sam Leach for failures. There is dust breeding on the glossy resin varnish of Sam Leach’s painting as it waits “under the bed to wait for the next consignment of work to the skip.”

Twenty-one rare examples of failures, and a variety of failures from abandoned efforts and bad ideas to technical failures. Good artists try not to exhibit bad art so failures rarely survive, they are either destroyed or repainting; so these are twenty-one rare paintings.

For once the artist’s statements accompanying the exhibition contained no art speak, only honest confessions about why their paintings failed and survived. There are tragic abandoned efforts, I know that Yvette Coppersmith can paint much better than that. And the even more tragic completed effort of Michael Brennan accurately reproducing two pages of text in his painting, Entry Form and CV for the 2005 Metro 5 Art Prize, for which he list 5 failures. There are technical failures: Louise Blyton managed to cut through the middle of her canvas and Lynette Smith’s badly cracked first attempt at egg tempera. And failures of composition, like Darren Wardle’s Swampland.

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Darren Wardle, Swampland, 2017, oil and acrylic on linen

“The composition is too rigid and corresponds to the limits of the stretcher so there are no dynamics in play. The work seems flat in a boring way, which isn’t helped by the background paint application having no depth. I tried to rectify this by inserting a stick, or crutch, with a shadow in the left foreground to provide a sense of dimensionality but it looks clumsy and obvious.” Wardle explains in his statement.

Every artist, art critic and art teacher in Melbourne should go to see this exhibition because it is a learning experience. The paintings demonstrate a benchmark of quality only they all fall on the wrong side of it, sometimes just shy of it. It is rare to see examples of failure exhibited yet failure is so common in painting that it is inevitable so this exhibition serves to correct that bias.

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Michael Brennan, Entry Form and CV, 2005, oil on canvas

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Metro Art Award 2011

On Tuesday, 26 July Jeff Kennett will announce the winner of the Metro Art Award. 25 artists aged 35 and younger are in the running for the award for painting. I went ahead of the announcement to see the exhibition of the selected paintings.

Ben Smith, The Influence, oil on board

There are plenty of paintings with over blown hyperbole, dramatic images showing-off the painter’s technical skills. There are paintings that are too ordinary or too sentimental. It felt so conservative, all these young artists painting studiously but often without any purpose other than attracting attention. Ben Smith’s “The Influence (Leonard Cohen Consoles Nick Cave)” has odd proportions and in the future, when Cohen and Cave are no longer well known, the painting will just look odd.

Vincent Fantauzzo, The Creek, oil on canvas

Vincent Fantauzzo “The Creek” looking like a Caravaggio, with a baroque drama created from working with film director, Baz Luhrmann. Vincent Fantauzzo would be the favorite having previously won the 2011 Archibald Packing Room Prize winner and Metro Art Award’s People’s Choice Prize Winner in 2009 and 2008. The wild card entry would be Matto Lucas “Daruma” who has painted on a photograph of a painted face.

I think that winner might be Michael Brennan “Right Place, Wrong Time” with the intense surface of wrinkled dried paint. Or one of the artists who emerged from Melbourne’s stencil art scene: Luke Cornish (aka E.L.K.) “Untitled, Self Portrait” a multiple layered stencil his legs climbing a ladder, a familiar exercise for artists. In the past I’ve dismissed E.L.K.’s work as technically proficient let down by the content but “Untitled, Self Portrait” combines technique with powerful but restrained image. Or Ben Howe, who was a highly commended emerging artist at the Melbourne Stencil Festival 2009.  Howe’s “Time and the Elastic” is an intense, dynamic and unusual image of multiple people in multiple layers. Metro Gallery represents several local and international street artists; a framed Banksy currently hangs in the window by the gallery entrance.

“The Metro Art Award previously consisted of a Judges’ Choice Prize of $40,000 and a People’s Choice Prize of $10,000.  In 2011, the People’s Choice Prize has been eliminated and the $10,000 has been added to the Judges’ Choice Prize, which is now $50,000.” (Metro’s media release) Dropping the People’s Choice Award is a good move; there are too many of these polls and the results are too easily manipulated. Popular opinion is well represented by the selection panel itself that comprises “the Hon Jeff Kennett AC former Victorian Premier and Arts Minister (Chair); with Fenella Kernebone, Presenter of the ABC TV’s Art Nation Program; the Rev Dr Arthur Bridge AM, founder of Ars Musica Australis, a charitable foundation supporting the creative arts; and human rights advocate Julian Burnside AO QC”. 

See my review of Metro Art Award 2009.

P.S. The Metro Art Award 2011 was won by Vincent Fantauzzo with “The Creek” – I told you he was the favorite to win.


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