Tag Archives: Rone

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

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Graffiti Characters

We are talking old school characters, the supporter of the heraldic calligraphy. Graffiti artists draw on many sources from comic books, tattoos art and other illustrators. The reverse is also true and many artists working on the street create comic books, tattoos and other legitimate/paid artwork. The influence of comics and cartoons on traditional hip-hop aerosol art is clear with characters. Although the influences of other sci-fi or fantasy illustration artists cannot be ignored with hyperrealism and overdone shine marks.

Unknown, classic characters, Brunswick 2012

Unknown, classic characters, Brunswick 2012

Unknown, James Brown, Brunswick, 2011

Unknown, James Brown, Brunswick, 2011

Painting characters can be showing off the graffiti writer’s artistic chops or the work of a writer who specialises in characters.

Debs, Rankins Lane 2009

Debs, Rankins Lane 2009

Some graffiti writers, like Dabs and Myla, create their own characters.

Dabs and Mylar, Collingwood, 2010

Dabs and Mylar, Collingwood, 2010

Unknown, Bootsey Collins, Brunswick, 2013

Unknown, Snoop Dogg, Brunswick, 2013

Unknown, Elvira, Brunswick

Unknown, Elvira, Brunswick, 2013

Aside from comic book, other graffiti characters also show other pop culture influences from James Brown to Elvira. The art of movie and other billboard painting looked like it was about to disappear as printing technology improved and became cheaper. In Melbourne Adnate of the AWOL crew and Rone of the Everfresh crew have resurrected the billboard-sized portrait.

Rone in Collins Street, 2014

Rone in Collins Street, 2014

However, I must say that the idea of character design seems limited to me because a character without a world and story is nothing but image. An isolated character often appears meaningless, lost and stationary even if they are frenetic.

Unknown, Collingwood, 2009

Unknown, Collingwood, 2009

Sofles, Fitzroy, 2010

Sofles, Fitzroy, 2010

Once again, if I have failed to attribute a work or I have misattributed a work, please contact me and I will make a correction.

Unknown, Ilham Lane, 2011

Unknown, Ilham Lane, 2011

Unknown, character, Collingwood, 2008

Unknown, character, Collingwood, 2008


Mainstream & Alternative

On Gertrude Street the passing tram displays an advertisement on its side; the image of the street artist, Rone modelling for the fashion label Uniqlo. Now lets talk about mainstream and alternative culture or, at least, read Paul Harrison’s article “We are all sheep: what Uniqlo and H&M tell us about Australian retail”.

Rone advert for Uniqlo

I can’t remember the last time that I wandered around Fitzroy and Collingwood looking at the streets, the street art and the art galleries. It has been over a year since I last reviewed a gallery in Fitzroy.

I used to regard the area around Gertrude Street and Brunswick Street the alternative cultural centre of Melbourne and although never a resident I used to be a frequent visitor. It has definitely been awhile, things have definitely changed but fortunately other things remain reassuringly familiar. I always pass a street artist up a ladder painting a wall on perambulations of Fitzroy or Collingwood.

Fitzroy is such a mix between the discount and the designer, between the socially vulnerable and affluent and between the mundane and the marvellous. A scruffy guy scuffs twice with his foot at a two dollar coin that some prankster had glued to the pavement and then moves on. How many different Fitzroys are there?

Keith Haring

In Collingwood I was glad to see the Haring mural fully restored and complete with information panels for the public (although the little service hatch door is not the original). It is a major change since I first wrote about it on this blog.

On my walk I managed to see exhibitions. Fitzroy and Collingwood’s art scene of little galleries is another world.

Off the Kerb’s group exhibition of creatures provided enough focus for such a disparate group of artists. This was better than BSG ungainly hanging and mix around their group show, creating a something that was less than the sum of its parts. ‘Body Sex’ was the theme of BSG group show but Off the Kerb’s broader theme of ‘Creature’ made a more unified exhibition. Off the Kerb’s exhibition also had the benefit of Dan Dealy who curated the show. (More taxidermy art at Off the Kerb by Lucia Mocnay and Tul Suwannakit, see my earlier post on Contemporary Art and Taxidermy.)

Next door to Off the Kerb, at Fawn Gallery, ’Analogue Re-Mission’ by Tansy McNally is an exhibition of paintings based on digital television distortions that creates random abstract of the image. The translation of this source material into paint actually did work, like post-impressionism for the digital age.

At Seventh there was Travis John’s FaceSplitter Lauren McCartney’s The Hula Hooping Project and  is described as a “composition, performance and installation existing somewhere between destruction and creation”. It looks like something out of Mythbusters. McCartney had used ppaint filled hula hoops. I’ve seen this idea before executed better by No Mi Che’s Oroborus in 2007 as she could really spin a hula hoop and wasn’t afraid of being covered in paint. McCartney’s paint splattered ‘gallery two’ with the prints and impressions of the artists feet reminded me of the work of Japanese art movement, Gutai because of the expression of primal energy.

 


Bigger, Biggest

Rone’s new mural, L’inconnue de la rue (unknown girl in the street) on the wall of the building at 80 Collins Street claims to be the largest mural in Australia. I don’t want to get into a mural measuring competition but I counted nine stories for Rone’s new mural making it larger than Adnate’s new five-story mural in Hosier Lane. (I used to live near a business that claimed to be “the biggest laundromat in the southern hemisphere” over in West Brunswick.)

Rone in Collins Street

Rone in Collins Street

Rone is from the Everfresh crew and Adnate is from the AWOL crew. The Everfresh and AWOL crews have been in open competition since 2011, when they were in a competition for the space in the NGV’s studio. Everfresh won that round and had an exhibition in NGV’s Studio. The next round in this competition are two giant murals by first Adnate and now Rone.

Everfresh are the established masters of Melbourne street art based in Collingwood with heaps of reputation on Melbourne’s streets. AWOL, the new comers from Brunswick, bring both ambition and a willingness to change and develop their style. The only member of the Everfresh crew to really change styles has been Reka, Makatron has developed but after seeing about a hundred Phibs on walls, boards, tattoos etc. his style isn’t that fresh anymore.

Adnate at work in Hosier Lane

Adnate at work in Hosier Lane

It is good that Melbourne’s street artists are now being offered such large walls; they have been crying out for large walls for years. Neither of these huge murals are great works of art, except in their size, as they are both thematically and artistically far to simple. Their style goes back to the hand painted painted advertising billboards of the 1950s and 60s, that many commercial artists used to paint, including James Rosenquist before he turned to Pop art.

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There are a couple of holes with Rone’s new mural; the most obvious is that bit of old wall that has had concrete sprayed on it. Why wasn’t that part painted over? Why is it there to begin with? The other problem is that the image distorts as you look up from the lane way; the perspective of the face only works when viewed from a certain position near Nauru House. Simply scaling up an image to fit a wall this large is not enough.

I’m looking forward to seeing what the next round of this creative competition between these two crews will bring but I just want to point out that the biggest mural in Melbourne was Adrian Doyle’s Empty Nursery Blue in 2013 that covered both sides and the paving of Rutledge Lane.


Rone “When She’s Gone”

There was only one unsold work at the opening of Rone’s “When She’s Gone” exhibition at Backwoods Gallery on Friday night. Almost everything had been sold before the opening – red Backwood’s sticker beside them on the wall. When she’s gone she’s gone.

It was not surprising as Rone is a Melbourne street art legend, a member of the Everfresh crew, who was busted by the cops with Civil at the 2003 Canterbury “Empty Show”. Rone started decorating skate decks and skate parks and he then moved to large-scale faces of women. The high contrast images of the beautiful face of a young woman look like so many photographs from fashion magazines.

Rone has been refining his close-up image of a woman’s face for years in stencils, screen prints, paste-ups and stickers. And the image has become very refined. In 13 works in the exhibition and walls everywhere Rone’s image of a woman’s face was everywhere. Rone was giving away sheets of stickers of his postage stamp version of the woman’s face.

Everyone at the opening was talking about the works on real brick cladding that Rone was using as a support on four works. It is not that remarkable, just Google “real brick cladding”, and a bit hyper-real given that it didn’t matter what the support was, paper, canvas or brick cladding.

Rone uses the Situationalist International process of décollage (de-collage or tearing away) posters. The Situationalists like “anonymous lacerations” of advertisements defaced by vandals, they became “found images”. “In 1961 Jacques Villeglé and Raymond Hains exhibited their décollages—torn and ripped agitprop posters—at the exhibition titled in a play on words, “La France déchirée” (France in Shreds).” According to McDonough, Hains’ displayed the posters in order to expose the Algerian war. (Whitney Dail “A Critical Review of ‘The Beautiful Language of My Century’ by Tom McDonough”) Unlike the Situationalists Rone doesn’t use décollage for explicitly political purposes – it was all on top of Everfresh and other posters.

Rone’s exhibition is pure pop beauty. The triptych “I know what I know” fills the whole wall, like a series of comic book panels with text. Rone’s titles have pop culture references to song lyrics, like “Hurt So Good” (John Cougar) or “Blue Monday” (Joy Division) or “Ain’t No Sunshine” (Bill Withers).

“Ain’t no sunshine when she’s gone

It’s not warm when she’s away.

Ain’t no sunshine when she’s gone

And she’s always gone too long

Anytime she goes away.”

– Bill Withers


Everfresh @ NGV Studio

At the NGV Studio in Fed Square the Everfresh crew: Phibs, Rone, Reka, Meggs, Sync, Makatron, Wonderlust, Prizm, The Tooth, and “special guests” are giving a taste of the awesome work that they have been doing on the streets of Melbourne for a decade. The exhibition is worth seeing for anyone at all interested in Melbourne street art; the art presented at NGV Studio is worth seeing and shows the range Everfresh’s art on the streets. And it is always fascinating to see artist’s studios. But there is something wrong with the way the NGV is presenting this exhibition/residency.

Everfresh's studio in the NGV Studio

The most obvious thing was that there is no curatorial information from the NGV on the exhibition or any of the art in the exhibition. The 5 Ws are not covered: who are Everfresh? What the NGV Studio residency is about? Where Everfresh is based? Why they are in the NGV Studio? And how the exhibition work? There aren’t even any labels to identify the artist and work – Everfresh, or the “special guests”? There is information about Phib’s exhibition at Hogan Gallery as if it was all a publicity stunt for that exhibition.

The exhibition runs out around the corner next to the disable toilets – I wanted more. It seems to running out before that as there are 2 display cases still wrapped in plastic standing empty in the space.

It is “a selection of artworks from over the last 10 years, plus a whole heap of other stuff from the studio that kind of makes it what it is.“ (Everfresh website) The exhibition makes it look like Everfresh are already history and their paint splattered shoes, rubber gloves and homemade mops are in a vitrine – and they are at the exhibition. I have seen the archeologically preserved remains of Francis Bacon’s studio in Dublin (see my post about Bacon’s Studio) and Brancusi’s studio in a glass box next to the Pompidou Centre. Both Bacon and Brancusi are dead but I know that the Everfresh guys are still alive and working, they have a lot of other stuff going on right now. There is no music playing, even the video game machine was silent – it was as quiet as the grave or an art gallery when I visited. So there is this feeling hyperreality about the whole exhibition and the “residency” at the NGV studio. Adding to the hyperreality is the Everfresh “Graff Mobile” with a giant fluro marker on the roof rack.

Some of this history aspect to the exhibition is good, like the cartoon design for the massive Fitzroy mural. Or 5yncRone’s cardboard stencil thick with red paint, mounted as a negative. Or the dense display of little photos, postcards, stickers, toys, little drawings and other stuff. Or the old boards thick with tags, paint and other marks. Along with all the items riffing on the Everfresh label.

But I keep asking the question is this exhibition history or is this fresh?


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