Advertisements

Tag Archives: monuments

Morton’s Monument Park

One of the best public sculptures in Melbourne that you have probably never seen is Callum Morton Monument Park, 2015, on New Quay in the Docklands. It ticks so many of my boxes for public sculpture. You can sit on it, climb on it, walk through it, it is site specific seamlessly integrated into the paving. At one point it is just ordinary paving and then the paving becomes draped material covering monuments. The draped monuments form a square, a hub, for people to gather. Architecture or sculpture it is hard to see where one starts and the other ends at Monument Park.

Callum Morton, Monument Park, 2015

Callum Morton, Monument Park, 2015

What are these covered monuments before their unveiling? It is not clear, unlike Callum Morton’s earlier exhibition, ‘Neighbourhood Watch’ at Anna Schwartz Gallery (my review of ‘Neighbourhood Watch’), there are no plinths to provide clues. Monument Park has developed from the ‘Neighbourhood Watch’ series of wrapped versions of local public sculptures.

Given the recent violence over monuments to Confederate heroes in the USA perhaps it is better if these monuments were kept covered. As the First Dog in the Moon points out, Australia has yet to deal with its problematic monuments. I think that some of these monuments should be put in prison where they will no longer be looked up to. Morton manages a light reference to this discourse in cutting away at the interiors of his covered monuments. The bright colours of the exposed, geometric interior of the sculptures introduces splashes of bright colour to the area.

Callum Morton, Monument Park, 2015

Callum Morton, Monument Park, 2015

Wrapped sculptures have their own history in modern art in the work of Christo and, still earlier, Man Ray. These art history references adds to the quality of Monument Park without alienating the little children climbing on it. The mix of post-modern references and humour is typical of Callum Morton who originally trained as an architect before swapping to sculpture. His Hotel is a familiar sight to commuters on the Eastlink Freeway a public sculpture and is based on his early artworks influenced by architectural model making.

Callum Morton, Hotel, 2008 (1 EastLink)

Callum Morton, Hotel, 2008 (photo courtesy of EastLink)

Advertisements

The Burke and Wills Monument 1865 – 2015

Today is 150th Anniversary of the Burke and Wills Monument and both Melbourne and the monument have changed in the 150 years. Just after 4pm on 21 April 1865 the sculpture was unveiled in the middle of the Collins and Russell Streets intersection. The monument has been four different locations and these different locations show the history of Melbourne’s transportation with the introduction of trams, the city loop trains and the pedestrianised zone of the city square.

Charles Summers, Burke and Wills Monument, 1865

Charles Summers, Burke and Wills Monument

Proudly Australian the monument was made from local materials; the bronze from tin mined in Adelaide and copper from Beechworth, and the imposing plinth is of Harcourt granite. The sculpture was cast in Charles Summers’s workshop in the east end of Collins Street, now the location of Burlington Chambers. The casting of the sculpture before an invited audience was a bit of a fraud. Summers claimed that the figures were cast in one piece, an impossible accomplishment and one that the sculpture’s restoration has revealed to be false. Pouring hot metal is a spectacular event but Summers felt the need to lie about how successful it went.

For a nineteenth century artist Summers worked hard at publicity. He was a celebrity as far as the Argos newspaper and Melbourne’s elite were concerned but what ever happened to its sculptor Charles Summers?

Researching my book, Sculptures of Melbourne, I couldn’t help feeling that Summers was a man who, in part, believed his own publicity. I think that really believed that he was Melbourne’s Michelangelo but he was a bit of a fraud and a show off. After basking in the glory of his monument Summers moved to Rome, after all if was Michelangelo then he belonged in Rome. In Rome he established a factory for producing sculptures that his son, also a sculptor took over after his death. Summers never returned to Melbourne but his son did and there are Victorian neo-classical marbles by the Summers factory in both the Bendigo and Geelong art galleries.

The monument is now an icon of Melbourne and Australian history, a preserved historic relic, the first work of public art to be registered by the National Trust. However, its anniversary has not been officially recognised. Along with attitudes to heroic deaths, ideas about public art have changed radically and I doubt that there are now many Australian parents who would follow Governor Darling’s prediction for the monument at its unveiling. “For, oft as it shall be told, and oft-times it will be told upon this very spot, Australian parents, pointing to that commanding figure, shall bid their young and aspiring sons to hold in admiration the ardent and energetic spirit, the bold self-reliance, and the many chivalrous qualities which combined to constitute the manly nature of O’Hara Burke.”

For more about the history of this and other public sculptures in Melbourne (and some better photographs) read my book, Sculptures of Melbourne.

Charles Summers, Burke and Wills Monument, 1865, panel Dig tree

Charles Summers, Burke and Wills Monument, 1865, panel Dig tree


%d bloggers like this: