Tag Archives: sculpture

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.


A couple of exhibitions in Brunswick

In Sparta Place there is a new gallery, Beinart Gallery offering “fine art” and “curiosities”. Gallery director, Jon Beinart has been involved with pop surrealism for over a decade, publishing books for several years and collecting a coterie of artists. Beinart says that all the gallery now has a physical presence most of his business is online sales.

DSC01420

Pop surrealism is the bastard child of Salvador Dali and a Hollywood Blvd hooker. The child grew up in an American tattoo parlour reading underground comics and eating acid like it was candy. Like many of that generation pop surrealism traveled the world, growing bigger, fatter and more popular but is still hanging out in a tattoo parlour reading comic books, or fatter graphic novels.

One side of the shopfront gallery is used for temporary exhibitions, the other side has a selection of diverse works from the stockroom.

The current temporary exhibition is “Transmogrify” a three person exhibition by Ben Howe, Tim Molloy and Jake Hempson.

Howe’s paintings depict the point of disintegration of the head, fracturing or metamorphosing into a tangle of ribbons. I first saw Ben Howe’s work in the Melbourne Stencil Festival 2009 but this is first time that I’ve seen a series of his paintings. His current work aren’t stencil works but oil paintings; Howe completed a Masters of Fine Art at RMIT in 2011.

Illustrator and comic artist, Tim Molloy has a series of watercolour paintings of strange characters based on his work for his graphic novel, Mr Unpronounceable and the Infinity of Nightmares.

Digital animator Jake Hempson also makes actual sculptures. In a series of busts that explore alternate anatomy of human heads with a particular focus on the interior surface of the maxilla, the upper jawbone, or replacing the head with an animal skull.

DSC01419

At Tinning Street presents there is a tour de’force of paper cutting by Japanese artist, Akiko Nagino. Nagino explained that has only been in Melbourne for a few years and was amazed at how many people have come to see her “Cutting Nature” exhibition. It is obvious. It was also obvious when she was a finalist in the Victorian Craft Awards in 2015

Her designs are of butterflies, patterns and decay. There are lower edges that are dripping, distorted or melting, there are broken chains, all perfectly cut out of paper.

The cut paper is a substitute for clothes or jewellery; there are two butterfly patterned kimonos, a giant necklace, a handkerchief and several shawls. In some of the works the paper has been treated and coloured with iron and copper finishes.

Large scale hand cut paper pieces are complimented with dry embossed prints of the cut paper pieces. The subtle white on white of embossed paper balancing the high contrast of the cut paper piece.

DSC01414

DSC01413


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.

DSC00904

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.

DSC09838

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.


Public Sculptures – a tourists guide

Public Sculptures in Melbourne by Gera Tonge and Stanley Hammond M.B.E. is a 24 page pamphlet printed on green A4 paper, folded to A5 size, and bound with two staples. Published around 1985 it is a fascinating time slice through the history of Melbourne’s public sculpture. Thanks to William Eicholtz for this generous little gift.

Basically the pamphlet contains two pages on “Methods and materials used in producing public sculpture”, a list of 100 sculptures, a map of their locations and biographies of  some of the sculptors. It is illustrated with black and white photographs of some of the sculptures.

As a subtitle the pamphlet declares that it was intended as “a tourists guide”. The map is divided into three locations that are suggested “as a walking guide” “which can each be explored easily on foot.”

  1. Spring Street, East Melbourne and Fitzroy Area
  2. The City, University and Exhibition Buildings Area
  3. Kings Domain, Shrine and St. Kilda Road Area

Several sculptures are no longer in their original locations, others have moved and the total number of sculptures in these areas has doubled in the thirty years since the pamphlet’s publication.

It appears to be self published. Although there is no date it is after the move the Vault to the banks of the Yarra 1983. The controversy over Vault piqued Melbourne’s interest in public sculpture and may have been an additional motivation for publication.

Stanley Hammond knew the history of sculptures in Melbourne because he had lived it most of it. Born in Trentham Stan had started off as a stone mason working on the Shrine Remembrance before becoming one of Orlando Dutton and then Paul Montford’s assistants. Hammond made many war memorials during his career, including the lions at the Boer War Memorial on St. Kilda Road. He also made the figure of John Batman near the corner of Collins and Market Streets.


Save Strata!

Melbourne University has a fine tradition of acquiring, for very little cost, sculptures that are surplus to the requirements of Melbourne’s business world. Many architectural sculptures from the 19th Century “marvellous Melbourne” found new homes at Melbourne University. The demolition of old commercial buildings and the removal of their sculptures has added to the university’s collection. Urban Melbourne has a page about sculptures that have moved generally due to demolitions.

little Collins 2

Chris Booth, Strata, 2001

This tradition continues today with the university acquiring the sculptures in the AXA Plaza in Little Collins Street. Several sculptures will be displaced by construction including the works of Peter and Paul Blizzard and, New Zealand sculptor, Chris Booth’s massive stone assembly (400cm x 1000cm x 35cm), Strata, 2001.

Booth is known internationally and has major commissions in Australia, Canada, the Netherlands and New Zealand. Strata is typical of Booth’s work with stone. The stones are bound together with stainless steel cable to create the curved sculptural form. The sculpture is tied to the land for on the Castlemaine slate there are petroglyph by aboriginal artist, Fiona Clarke.

The problem is that Melbourne University has agreed to take Strata but not pay for it to be reassembled by the artist. Chris Booth describes this as “an act of vandalism” for it  is no better than the complete destruction of the sculpture. For without reassembly Strata is nothing more than a pile of rocks. It doesn’t come with pages of interactions and an Allen key from Ikea; not that would help, it needs the artist to reassemble it.

Urgent action is required as the dismantling of the sculpture is due to start in a week. Chris Booth is requesting that the Melbourne University reconsider their decision. It is all very well for Melbourne University to accept Paul Blizzard’s Fossil Stones because it can easily moved and plopped in a new location. However, as Booth points out, “as the University of Melbourne has accepted these three works into its keeping it has a legal and moral duty to protect them for posterity.”

The Moral Rights provisions in the Copyright Act, under section 195AT, states that the owner of a moveable artistic work is liable to the artist if they destroy the artistic work without first giving the artist opportunity to remove it.

For more about this issue see my earlier post: Redevelopments and Public Sculpture.

Lt Collins Street

The forecourt on Lt. Collins Street


Public Sculptures @ Arts Centre Melbourne

In the shadow of the landmark architecture of the Art Centre’s spire Inge King’s Forward Surge stands between curves of Hamer Hall and the Art Centre. Children try to climb this sculpture by Melbourne’s matriarch of modernism, trying for a moment to surf these four massive black metal waves. Forward Surge is one of the many significant number of public sculptures, many by notable local sculptors, like King, in the grounds of Hamer Hall, the Art Centre and also at the Sidney Myer Music Bowl.

Inge King, Forward Surge 1972-74 (4)

Inge King, Forward Surge 1972-74

Now there is an exhibition about these public sculptures; “Sculpture Show: Public Art in the Arts Precinct” is displayed in the curved ‘Gallery’ that runs along the outer wall of the Arts Centre. The exhibition features four maquettes, the scale or working models for a sculpture, a few preliminary drawings and photographs of the sculptures by Mark Ashkanasy and Carla Gottgen. This was rounded out with a new series of drawings of some of the sculptures by Melbourne artist, Jill Anderson present new views of these familiar sculptures.

Amongst the preliminary drawings there are three drawings for a proposed but never completed hanging sculpture by the trio of Melbourne sculptors; Anthony Pryor, Geoffrey Bartlett and Augustine Dall’Ava. Although the three sculptors shared a studio in Fitzroy but collaborative works are rare. The drawing depicts a crazy mobile with pulleys, springs, weights and mini mobiles hanging off larger beams. Parts resemble Bartlett’s “Messenger” 1983 that once stood in the NGV’s moat.

Many of the sculptures around the Arts Centre have moved over the years as their surrounds have been redeveloped. Several of the photographs in the exhibition, especially those of interior sculptural elements in the buildings, reminded me how much has changed. Cole Sopov’s Family of Man has changed from interior to exterior sculptures. Even the five tons of Meadmore’s Dervish has been moved.

DSC01173

maquettes for Clement Meadmore Dervish, painted wood

After looking at the exhibition I went out into a little sculpture park at the back of the Arts Centre where Les Kossatz’s sheep are still Coming and Going 1979-82, in their comedy routine of doors. The sheep are kept company by an odd trio of sculptures; Tom Merrifield’s tribute to Anna Pavlova, Dragonfly 1988, Anthony Pryor’s Marathon Man 1991 and Andrew Rogers’s Rhythms of Life.

Andrew Rogers’s Rhythms of Life once stood on the river front side of Hamer Hall but this area has been taken over for more eateries. (It is not the only public sculpture along the Yarra River that has been moved to accomodate more dining areas; Deborah Halpern’s Ophelia was also moved for the same reason.)

To complete the experience I should have continued on to the Sidney Myer Music Bowl where there is the sculpture of Sidney Myer by Michael Meszaros, Carl Milles’ Hand of God and Pino Conte’s Miraggio.

I have previously written blog posts about David Maughan’s Les Belle Helénès, as well as the sculptures of Pino Conte and Cole Sopov. I have also written blog posts about the sculptures of Geoffrey BartlettInge King, Anthony Pryor and Andrew Rogers.


Henry Moore & Australian Sculpture

Australian interwar sculptors mark the transition from traditional to modernist. Interwar modernism in Australia was not building on any modernist foundations, it was the start, and it started in England with Henry Moore.

DSC00965

 

Henry Moore was the acceptable face of modernism in England. He was English and his easy version of biomorphic surrealism was friendly. Although it was modern sculpture, all smooth with holes in it, everyone could engage with because everyone has a mother.

It was a particularly British sense of modern and Moore did things including making his sculpture from local stone, to maintain the idea that the sculptures were British. The British liked to distance themselves from the mainland of the continent hoping to avoid the French revolution and the other revolutions, like modernism, that might arise after it.

Assisting Henry Moore was almost a rite of passage for Australian sculptors. George Allen, Lenton Parr, Ron Robertson-Swann, and Ola Cohn all worked with Henry Moore at one time. Art in Australia was still part of Britain even if it was on the other side of the earth. Australia was too close to Britain to look to at European art and consequently early modern sculpture in Australia was in part a response to Henry Moore.

DSC01111

Ola Cohn sculpture at Melbourne City Library

In Ola Cohn’s autobiography, A Way With The Fairies – The Lost Story of Sculptor Ola Cohn edited by Barbara Lemon (R. W. Stugnell, 2014, Melbourne) there are no insights provided about the transition to modernism in Australia. Cohn doesn’t seem like a typical modern artist as she doesn’t express any desire for change, she just goes along with the changes. The lack of insight that Ola Cohn exhibits in her autobiography means that her rambling account of her life has many details with little meaning.

However, there is one insight that is quoted in Cohn’s autobiography. Blamire Young in “Art – Past and Future: Streeton and Ola Cohn” (The Herald 1931 p.86) writes: “Our approach to modern art is surrounded with difficulties, and its effect on Australian students who visit Europe is interesting to watch. They return to Australia with an amazing understanding of its outward and most recognisable  characteristics, but it is seldom they make us feel that they have been through the spiritual suffering that its originators had to undergo.”

For Cohn and many other Australian sculptors modern art meant simply smoothing out the figure into a streamlined form and nothing else. There was no deeper meaning to early Australian modernists as there was no modern revolution or revolt in Australia. Early Australian modernism was simply a copy of British modernism, more a shift in style rather than a revolutionary attitude.

In the progression of modernism another one of Henry Moore’s assistants, Anthony Caro would continue to be a major influence on Australian sculptors, particularly in the work of his students Ron Robertson-Swann and Fiona Foley. The history of Australian sculpture continues to be entwined with British sculpture and the legacy of Moore’s influence in Australian sculpture continues to this day.


Follow

Get every new post delivered to your Inbox.

Join 1,511 other followers

%d bloggers like this: