Bursting through the bricks of the wall is a giant rock god with shoulder length curly hair singing into a microphone. To make the figure more identifiable he is wearing, unlikely for Bon Scott, an AC/DC belt buckle. This new sculpture was unveiled on Tuesday 6 March. It was widely reported around the world due to the popularity of Bon Scott’s band AC/DC; one of the best reports can be found in Stack.
Makatron, Bon Scott
Why is a twice life-size, Bon Scott should be breaking out of brick wall? Why has he got cracks in him? Why Bon Scott? when there are two aerosol tributes on the opposite wall to AC/DC’s recently deceased guitarist, Malcolm Young. We may never know the answers because I don’t think that anyone has thought beyond ‘cool idea’.
Makatron’s base relief sculpture of Bon Scott in AC/DC Lane is the Melbourne’s first commissioned public sculpture from a street artist. It might be Makatron’s first public sculpture too, as he is more famous for his 2D aerosol murals than 3D work. It is not the first sculpture of Bon Scott; there is one by Greg James standing on an amp shaped plinth at the Fremantle Fishing Boat Harbour in WA, and another holding bagpipes in Scott’s hometown of Kirriemuir in Scotland. None of these sculptures are particularly tasteful, none are nuanced nor deep but then, neither was Bon Scott.
There is plenty of good, even tasteful, intelligent and nuanced street art to see in AC/DC Lane and more was being added when I visited. Makatron is not the first street artist to install a sculptor in Melbourne; there are plenty of un-commissioned examples some can be seen my series on street art sculptures.
Lush, Malcolm Young tribute (not to be implied that I am endorsing Lush’s work as tasteful)
There is another Melbourne laneway tribute to a rock singer with Amphlett Lane off Little Bourke St, near Spring Street. The school uniform hanging up is a tasteful tribute to Chrissy Amphlett of the Divinyls; the stack of road-case using the door from the buildings sprinkler-booster box. Amphlett’s stage costume of a girl’s school uniform was inspired by Angus Young’s stage costume of a boy’s school uniform.
unknown, Chrissy Amphlett tribute
I first saw a sculpture by Louise Paramor when her Noble ape was exhibited in Melbourne Now 2013; it is currently installed in the garden at the back of NGV International. Other people might know her from her Panorama Station sculpture beside the freeway in Carrum Downs. Then I saw Paramor’s sculpture, Ursa Major being installed in Federation Square for the Melbourne Prize 2014. I hadn’t seen any of her previous twenty or so years of exhibiting sculpture.
Louis Paramor, Noble ape, fiberglass, plastic and steel
Currently the NGV is exhibiting Paramor in two large spaces on the third floor of the Ian Potter Centre: NGV Australia with a specially commissioned installation of new paper sculptures and a survey of her recent colourful plastic assemblages.
Palace of the Republic is a series of massive paper sculptures. Honeycomb paper decorations on a scale that will leave you awestruck. It is a reference Paramor’s earlier artistic practice before she started to collage found plastic objects.
Louis Paramor, Palace of the Republic, paper, steel, aluminium and plywood
Unlike the personal art of Del Kathryn Barton, exhibited on the same floor to the Potter Centre, Paramor’s sculptures inspires no interest in the artist. There is nothing that I can tell you about her that will help you make any more sense of her art, so I will tell you nothing. Likewise you don’t need to know the history of art, anything of biochemistry or French to make sense of her art. Partially because her art makes little sense; her sculptures are cool and humorous and I know this by the smile that they grew on my face when I saw them.
A curator explains them noting that they “combine formal concerns with a pop-inspired sensibility.” That is arranging found plastic in an asymmetrical way makes them look silly and funky.
Studies for Boomtown is a series of maquettes for sculptures that demonstrate Paramor’s seemingly inexhaustible creativity. Perhaps it is inexhaustible due to the supply of plastic objects in the world.
Louis Paramor, Studies for Boomtown, 2016, plastic, steel, wood
I thought that I should look closely at something that I hate; Emmanuel Frémiet’s Gorille enlevant une femme (gorilla carrying off a woman) 1887, a bronze sculpture. It won a medal in the Paris Salon of that year. Most people in Melbourne, or Montreal or various other cities would be familiar with Frémiet’s Jeanne D’Arc. In Melbourne it stands, in a strange pairing, with Boehm’s St. George outside the State Library.
Emmanuel Frémiet’s Gorille enlevant une femme (gorilla carrying off a woman) 1887
Frémiet was a nineteenth century French sculptor who specialised in animal sculptures. I find some nineteenth century sculpture ridiculous; man’s battle with monster from his unconscious that is, in retrospect, in the post-Freudian world, so obvious. But Frémiet’s sculpture is far worse than any sexual fantasy because this isn’t simply a prototype King Kong. The ape is carrying a stone hand axe. The ape as primitive tool maker means that this sculpture is perpetrating the ugliest of racist stereotypes. Along with the idea of women as property that foreigners want to steal.
The primeval scene is not referencing classical or biblical mythology but a fantasy of pre-history. It is the kind of thing that you might expect on the cover of one of an old Tarzan books from the 1960s. It is not the kind of image that art galleries collect today. If you tried to sell that kind of shit today there would be a campaign to put a stop to your business because it is both racist and sexist.
There is a snake disappearing under the rock. The obsessive details and the quality of the modelling are enough to save the work but not enough to keep it out of storage at the NGV where I hope it spends most of its time.
Fantasy art and visionary art are now considered as a separate category to serious art but Frémiet’s Gorille enlevant une femme is a reminder that this was not always the case. Fantasy art uses broad metaphors, if they are metaphors, and not symbols or icons. It makes me wonder if the change of art styles in modernism was about a change in meaning expressed than in an outward appearance. The rejection of works like Frémiet and what they meant and resulted in art searching for a different meaning and look. Modernism was about looking for a new subject and not a new way of depicting an old subject.
If I were to write such a grand history of art I would write about the crisis of meaning that lead to modern art. ‘Meaning’ is a word that could encompass all those fuzzy words like ‘spirituality,’ ‘truth’ and ‘beauty.’ For there was a crisis of meaning in European art due to increasing reports and evidence of death of the one, true God; the same God that was meant to be the foundation of European culture. Meaning in art and the meaning of art started to crumble and the obvious racist fantasy presented in Frémiet’s Gorille enlevant une femme is now best seen as evidence of this disintegration. The patriarchy and its ugly irrational racism in bronze.
Akio Makigawa’s sculptures are elegant works amid the often ludic, bombastic, and inappropriate public sculptures in Australia. Now there is an exhibition of his sculpture at the NGV. The exhibition is on the foyer of each floor of the NGV Australia at Fed Square. It is part of the NGV’s series of exhibitions about sculptors that has included Inga King, Bruce Armstrong and Lenton Parr.
Makigawa is also a break from the list of European names in the history of Melbourne’s public sculpture. Makigawa moved to Australia in 1974; the year after the White Australia policy finally ended in 1973. The sculptures on exhibition are familiar because Makigawa’s public sculptures are all around Australia. You have probably seen his sculptures as they are out the front of buildings in most capital cities and regularly appear behind parliamentarians giving press conferences in the gardens of Parliament house.
In public spaces his sculptures influence the space around them. It is a larger space than just the negative space around the sculpture; it is a space, a pause or rest, in the movement of the city. They are not obvious and neither are they rigorous theoretical abstractions. Their rigid geometry dissolving into natural forms of a leaf or flame of marble or resin.
Seen in an exhibition, the viewer quickly becomes familiar with the similar shapes repeated in variations of material: corten steel, stainless steel, marble… Most of the work in the exhibition was very similar to his public sculpture until the third floor where there were three early works that are very different. In these early works lighter materials: papier-mâché, wood, rope, cotton… contrasting heavy materials, like stone and lead.
Also on the third floor is a collection of his maquettes, models for his sculptures. These are interesting because where other sculptors will use any convenient material, Makigawa used exactly the same materials that he used to make the final sculpture. There is a respect for the materials in his work, in the alternating, contrasting surfaces.
For more on Makigawa’s public sculptures.
Street art sculptures from the last twelve months and continuing my series of posts about street art sculptures and installations.
Street Art Sculpture 7 2016
Street Art Sculpture 6 2015
street art sculpture in the Whitechapel Area
Street Art Sculpture 5 2015
10 Great Street Installation 2014
Street Art Sculpture III 2012
More Street Art Sculpture 2010
Street Art Sculpture 2009
Former Sydney-based sculptor Will Coles is now living in England; Banksy’s home town of Bristol to be precise. In Bristol he has been taking on the topical issue of memorials to racists and slave traders.
Junky Projects also continues to put up his sculptures, along with leading street art tours, however, I want to concentrate on a some unknown and lesser known artists. It is good to see that Discarded has continued and has left this great ceramic piece in Brunswick, as well as, one the smallest pieces that I’ve ever seen.
Forget Hosier Lane, Presgrave Place is still the best place for the second year running to look for street art sculptures in Melbourne. Crisp did this high up on the main wall along with reviving stencils with Star Wars memes lower down. Adi’s attempt at creating a guerrilla gardening planter box died.
Gigi has been making body parts with hair that are very disturbing in her own way. And the placement of this one is fantastic. They still work when covered in spray paint.
Visiting artist Mow left a few little doors and windows, part of a trend for tiny architecture in street art where many guys have been making models. There was even a miniature abandoned house chained up in Hosier Lane for a short time.
MOW, Presgrave Place
I also enjoyed seeing the work of Kai’s cast panels in the streets of New York this year.
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
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
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 (photo courtesy of EastLink)
When he did his masters at RMIT Dan Wollmering was a student of Inge King and Vicas Jomantas. In that respect he is a bridge from Melbourne’s high modernism to the present. He has had 40 years of exhibiting sculptures and now that he retired from his teaching career he can concentrates on his sculptural practice.
Dan Wollmering at & Gallery
Wollmering’s exhibition “Street Beat” at & Gallery consists of three different series of sculptures and an earlier cast aluminium work On the Horizon (2010). This work harks back to earlier works of Wollmering. All the sculptures build on earlier works but in On the Horizon the small lime green hemispheres that indent and bubble on the surface becomes the central image in his most recent wall works.
The exhibition opening was well attended late on Saturday afternoon. & Gallery specialises in sculpture. It is a couple of glass walled commercial spaces in the ground floor of a new building on the corner of Spencer and Little Bourke streets, off Water Tank Place, a private lane in Melbourne.
The work on exhibition is inspired during two art residencies in Malaysia sponsored by the architectural firm Hajjis Kasturi. You will not see any quotes to buildings in KL or Penang but reference to architectural constructs in modern sculpture. The modernity of Malaysia, the modern federated state full of multi-story modern architecture. This series of stand alone hard edge modern sculptures. Penaga (1.2) is the intersection of a circle and rectangle, an alternative resolution to a classic architectural issue. Painted fabricated steel in lime green, orange and fire engine red; except for the largest Function Fit 1.2 which is fabricated painted plywood.
The jetty series of wall works are assemblies of aluminium mesh, galvanised steal and various timbers. Titles, including Incense Jetty, Curry Jetty and Egg-tart Jetty have a more obvious Malaysian reference. These constructions reminded me of the bricolage make-do that fill in for modern unified designs and hark back to Mondrian’s early abstract Pier and Ocean series.
Attention was paid to the exhibition display with two groups of Wollmering’s wall works exhibited on painted large gray and large orange rectangles.