Author Archives: Mark Holsworth

About Mark Holsworth

Arts administrator, artist, musician, philosopher and writer. Writes Black Mark - Melbourne Art and Culture Critic.

Yarra Sculptures

My brother-in-law, Tom wanted to take a hundred photographs of the buildings in Melbourne’s docklands and riverfront, so earlier this year I went along with him for the early morning walk. We got out at Southern Cross Station, the former Spencer Street Station and crossed the tracks out of the old city. This is not walking Docklands’ public “Art Journey” as Bronwen Colman, the urban art director of the Melbourne Docklands precinct planned but a psychogeographical meandering along the Yarra River.

Webb Bridge, Docklands

Webb Bridge, Docklands

The Yarra River is the reason for Melbourne’s location, it was the transportation hub for the new settlement and it became an industrial site. When the modes of transportation changed in the late 20th Century the river became a neglected site. Another use had to be found for this polluted waterway and like many cities around the world Melbourne turned it into a parkland, river walk, casino, aquarium, restaurants and arts centre. The Yarra River started to be redeveloped in the 1970s with the construction of the Victoria Arts Centre and this urban redesign required more public sculpture.

Patricia Picinni, Seats

Patricia Piccinini, Car Nuggets, 2006

While Tom was photographing the architecture I was looking at and occasionally photographing the sculptures. Just off Batman Hill Drive at the Kangan Institute of TAFE’s Automotive Centre of Excellence I spotted three seats by Patricia Piccinini, the Car Nuggets, 2006. The chrysalis forms of cars or motorcycles about to metamorphose is both typical of Piccinini’s oeuvre and appropriate for the location.

Duncan Stemler, Blowhole, 2005

Duncan Stemler, Blowhole, 2005

We could hardly miss seeing Sydney-based artist, Duncan Stemler’s Blowhole, 2005; a 15 metre tall kinetic wind-responsive stainless-steel and aluminium sculpture located in Docklands Park. In 2008 two of the anodised aluminium cups were blown off but there wasn’t much wind and it wasn’t doing much when we were there.

The area feels deserted until we crossed the river at the Webb Bridge and then things were there was the noise of a flock of parrots enjoying the palm trees. Tom didn’t mind the lack of people, he was happily photographing the architecture of all the new buildings.

As we progress up the south bank of the Yarra there are a few more people were around. I remember reading stories about the early days of Melbourne where people disembarking from ships at the port kept walking up river for what to them seemed like ages until they saw the city. It is very similar today or maybe the city was finally waking up on the weekend.

Further reminding me of the early days of Melbourne the area has these touches of hyper-reality in the old pump house with boilers made by the old Robinson Bros. foundry. I recognised the name of the foundry as they had made Percival Ball’s Francis Ormond Memorial at RMIT.

Megafun, John Dory, 2006

Megafun, John Dory, 2006

On the north bank of the Yarra River poking its head out from amongst the apartments is a giant metal John Dory fish. It was originally on a floating platoon during the 2006 Commonwealth games and was constructed by a company called Megafun. Megafun also provided technical and project management support to Scar – A Stolen Vision in 2001, the aboriginal poles further along the north bank.

The crowds started to build up around the exhibition building and the casino. We had to find some shade so that Tom could see his camera’s screen properly; he was up to his 81st photo.

Simon Rigg, Gaurdians 1997

Simon Rigg, Gaurdians 1997

Outside the eastern end of Crown Entertainment Complex are The Guardians by Simon Rigg. These two large sculptures carved from Italian statuary marble and clad with ceramic tiles. Rigg has a number of other marble public sculptures around Melbourne, including Babylon, 1995 is at 101 Collins Street, as well as, in Beijing and New York.

We come to Inge King Sheerwater, 1994 in front of the Esso building. (See my post on Inge King.) Tom puts his camera away, he has taken his hundredth photo and we cross the Yarra heading up Swanston Walk to Chinatown for a well earned yum cha.

Inge King, Sheerwater, 1994

Inge King, Sheerwater, 1994


The Commons Graffiti

The Commons is a Brunswick residential complex design by Breathe Architecture’s Jeremy McLeod that received the 2014 Victorian Architecture Award for Sustainable Architecture as the year’s ‘‘exemplar of apartment living.’’ Read more about the architecture award in The Age but I want to examine the way that it integrates with the locale in particular the graffiti in the area.DSCF0137

It is not an inspiring locale, at the end of a dead end street on a block between train tracks and a panel beaters. It was previously the site of a single story factory/warehouse stood surrounded by a chain link fence. In its favour it is close to Sydney Road and very close to Anstey Station train station. Anstey has the standard utilitarian construction of a Melbourne railway station from the 1970s, the chain link fence, only the signage has been updated.

I have watched the developments progress as I passed by on my regular ride along the Upfield bike path or when traveling by train in and out of the city.

Now plants are growing up the chain balcony rails, of this multi-story building with an attractive facade facing the railway. On the ground floor there is the coffee shop, Steam Junkies and two large rainwater tanks sit out the back. It contributes and improves its locale rather than exploit it. The Commons is the only building is an entrance to the Upfield bicycle path.

There plenty of graffiti along the bicycle path but the brick walls beneath the second decorative story facade of The Commons had only been tagged a couple of time since its construction. The tags were not removed. It was unlikely that the walls were going to stay that way as they were along the graffiti covered Upfield bike path and it appears that it was never the intention.

Then this week came the Sinch tribute, a massive legal piece that covered The Commons lower walls and water tanks. An awesome group effort featuring parts of the AWOL and Id crews along a few others. See Land of Sunshine for more photos. There aren’t that many graffiti tributes in Melbourne (see my post Rest In Peace).  Sinch (1988 – 2014) died in June; Benjamin Millar “Tributes for street artist electrocuted while train surfing” in The Age.

DSCF0136

 


Search for the Extraordinary

Walking around the gallery district of Fitzroy and Collingwood I am hoping to see the extraordinary, the outstanding or at least something worth writing a blog entry about. Walking between the galleries I am also on the look out for interesting features of urban design, architecture or street art.

DSC09719

Some of the galleries, 69 Smith St. and Mossenson were closed. Mossenson’s have permanently closed their Melbourne branch and now only operate out of Perth; I had heard that commercial galleries were having difficulties in their finically difficult times. The “artist-run” 69 Smith is only temporarily closed for renovations but ugly rumours have been circulating; many years ago I was on the organising committee and although I am not a member I still communicate with current members.

Port Jackson Press has moved to a new location, further along and on the other side of Smith Street, in March this year. It is an attractive old shop with brass fittings around its windows. I had seen many of the artists on display before including two stencils by Kirpy on corrugated cardboard. Kirpy is one of the best stencil artists in Melbourne (number 3 on my top 10 Melbourne stencil artists).

Sometimes I can see enough from the street to know that I’m just not interested in going inside the gallery. Sometimes I can’t see anything from the street and I have to venture inside. That was the reason I had to go inside Australian Galleries.

“I’ll turn the lights on for you” the woman at the desk said. It appears that even Australian Galleries is economising or green or both.

With the lights on the paintings by Stewart MacFarlane did not look much better. The life study at the end of the exhibition summed it up. MacFarlane’s exploits nudes and nostalgic early 60s Americana in bold brushstrokes. He has found something creepy in the currently fashionable retro-style of this era but why would anyone want these hanging paintings on their wall?

However, I could understand why someone would hang the small, delicate surreal paintings of South Australian artist, Nerissa Lea on their wall. There is a surreal poetry to her paintings and sculptures along with a bit of an obsession with animal headed people and Emily Dickinson. In the small side gallery at Australian Galleries, there was “The Waiting Grounds” by Nerissa Lea, named after the largest painting in the exhibition where a boy walking on stilts across a forest floor covered in red leaves.

Gertrude Contemporary was very contemporary art; 200 Gertrude Street, a site-specific installation by Stephen Bram is a post-minimalist reconstruction of the gallery space. Walking between the angled concertina walls felt like walking between a Richard Serra sculpture. Then there was contrast between back stage construction side and the gallery white walls. It is all about the space, the art space, a common theme in contemporary art.

And so on for some more galleries, of course the extraordinary is exceptionally rare and what is commonly encountered is ordinary, sometimes clever or beautiful but still ordinary. However this is no reason not to continue to search for it.


Archibald Entries Media Round-up

Each year the media start to report on the arts or specifically on the merging of art and celebrity that is the Archibald Prize for a portrait of “ … some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australasia during the 12 months preceding the date fixed by the trustees for sending in the pictures”. The $75,000 prize further hypes the media’s attention.

Here is a media round-up of who has been reporting on what entries; it is more than obvious why each media choose their subject except for Athena Yenko’s report in the International Business Times on Robyn Ross’s entry of a double portrait of Christine Forster, Prime Minister Abbott’s sister and partner, Virginia Edwards in a naked embrace. Ross’s entry is is also reported in Same Same with photos.

Same Same also reports on the portrait of Shelley Argent OAM by Iain Wallace.

The Herald Sun reported on stencil artist E.L.K. or a portrait of comedian, Will Anderson in the Entertainment section.

ABC Local Golburn Murray reports on a Marijana van Zanten, plans to enter a portrait of Federal Member for Indi Cathy McGowan, who defeated Liberal incumbent Sophie Mirabella.

The North Coast’s Echo Net Daily about local artist Liesel Arden portrait of “Byron identity”, Tommy Franklin.

The Age reported on Melbourne street artist CDH portrait of anti-public advertising campaigner, Kyle Magee painted on a Streets ice-cream advertisement stolen from a bus shelter. CDH also wrote a report in Vandalog about Tame DMA entering his tag as a portrait.

Dustin Stahle entered a portrait of Film Producer/Director, Jacob Oberman and Jacob mades a two and half minute film about it.

The Guardian reports on Myuran Sukumaran’s entry self-portrait, encouraged by Ben Quilty who visited him Kerobokan jail in Bali contradicting earlier media reports that Sukumaran would not be allowed to enter. The Guardian also has a photo essay of some of the thousands of entrants.

The Archibald portrait prize about the one percent, the one percent of artist who are exhibited doing portraits of the one percent who at a stretch could be described distinguished. (Christine Forster and Myuran Sukumaran are not “distinguished in art, letters, science or politics” and even to say that about Will Anderson or Tame DMA is a bit of stretch.) There are portraits this year of John Safran, Michael Leunig, Cathy Freeman and Hugh Jackman. You don’t get to paint a portrait of Nick Cave easily, as Sydney-based artist James Powditch discovered and Katrina Lobley reports on Powditch’s entry in the Sydney Morning Herald.

The finalists will be announced on 10 July but I doubt that any of these entries, with the exception of James Powditch and E.L.K., will be finalists. The winner, to be announced at noon on the 18 July, will most likely be a self-portrait by an artist who has already won the Archibald, the judges, like the media reporting on it, generally go with what they know and is close to home.

All this media coverage is not surprising given that J.F. Archibald was a media man, the founding co-owner and editor of The Bulletin magazine. Archibald’s idea was that portraits showing the physiognomy and bearing of distinguished Australians would add to the Australian identity.


bLOGOS/HA HA

Peter Tyndall’s blog, bLOGOS/HA HA is blogging as contemporary art; there is always an enjoyable conjuncture of images on it and it forms part of his greater work. In 2013 bLOGOS/HA HA was in the NGV’s Melbourne Now and Reinventing the Wheel; the Readymade Century at MUMA. I’m pleased to see it represented in exhibitions where it is displayed in physical (paper) and virtual (computer) forms. I’ve had bLOGOS/HA HA on my blogroll for years.

Adrian Featherston's photo looks at Peter Tyndall at Monash 1975

Adrian Featherston’s photo looks at Peter Tyndall at Monash 1975

Tyndall was my first local favourite contemporary artists when I was an undergraduate at Monash Uni. Tyndall was the first artist-in-residence at Patrick McCaughey’s brand new Dept of Visual Arts at Monash Uni. I was impressed that in the mid 1970s he had retrospectively retitled all his art the same title:

detail

A Person Looks At A Work Of Art/

someone looks at something…

This title was often accompanied by a schematic representation of the painting, a square with wire hangers (the hanging system of the galleries at the time) and a viewer, generally a family standing in front of it.

In the 1980s Tyndall had refined his title further adding, a line space as in the chorus of a song and then, what Tyndall refers to as the “meta-Title”,  LOGOS/HA HA in upper case. Tyndall played with his “meta-Title” in the title of his blog; considering the entomology of ‘logos’ and ‘web logs’ (as blogs were originally called).

There is a poetry to Tyndall’s title and repeating image. It is part of the post-modern experience, the endless quotation, the paradoxes, the hermeneutical elements building up meaning through repetition. Combining the conceptual and the visual in a sophisticated post-modern understanding of the image and communication.

Tyndall works in all media and his blog is a hyperlinked extension of this exploration of media. Blogging appears like the ideal for Tyndall’s art. Is bLOGOS/HA HA in one media or multimedia? This is the kind of links, interconnections, indeterminacy and paradoxes that Tyndall delights in.

Blogging presents another paradox to Tyndall, the private and the public. His art never expressed the private individual; all that the Melbourne Now exhibition guide notes “1951 – :born at Mercy Hospital, Melbourne, The World”. Tyndall reconciles this by posts on exhibitions, current events and protests in the art world (I learnt about the protests about no sketching at the NGV from his blog and wrote my own blog post). This is mixed with posts on Tyndall’s own exploration of repeating images of people looking at things, including art.

Communicating is at the core of Tyndall’s art and blogging. His writing is crisp and his choice of images to accompany the blog posts are inspired. His obsessions and his visual memory of interconnected images are perfect to display on the internet. As he explained in an email: “In daily practice, I observe that my present inclination is less to the slow and expensive means of the easel and more to the immediate, inexpensive and intuitive exploration via the digital projection-space. I do, each day, still make some things more-or-less in the traditional means, but usually quickly: drawings, collages, postcards, words, photos.” Tyndall thinks that more artists should blog to communicate, create, and exhibit commenting: “I’m surprised how few ‘struggling artists’ give themselves this easy opportunity.”

The size of his blog, built up by incremental additions over the years since 2008 (the same year that I started this blog), makes it Tyndall’s largest detail in his life’s work. It’s size is a matter of duration and it is as endless as Tyndall’s art mantra:

detail

A Person Looks At A Work Of Art/

someone looks at something…

 

LOGOS/HA HA


Stencil Festival to Sweet Streets

This is the insides story of the Melbourne Stencil Festival, at least the part that I know and I was involved 2008, 2009 and 2010 aka Sweet Streets. The history of the Stencil Festival is longer than my involvement; it goes back to 2004 when the first stencil art festival in the world is held in Melbourne.

Melbourne Stencil Festival 09 exhibition

Melbourne Stencil Festival 09 exhibition

Even now this story needs to be told to dispel any idea that it was being run by paid administers in an office with lots of sponsorship dollars. Melbourne might be a festival city with all kinds of spectacles completing of attention but this makes potential sponsors festival fatigued. Festivals are not recipes for economic success and we struggled to attracted sufficient corporate or government sponsorship.

Every year the stencil festival would gets an angry email about how the festival does not ‘represent’ the ‘real’ street art community. The real is a symbolic category; the festival never claimed to represent street art. The festival was never about being the poster child of street art, nor about owning the concept, the brand name of ‘real’ street art. It was about creating a bridge between the mainstream and the street art community, providing a forum and a festival for the art. Each year there has been workshops, employing artists to teach their stencil skills to children and adults. Art is an exclusive affair but the paradox of street art is that it is open to everyone on the street and is not the exclusive privilege for insiders.

I initially became involved in Melbourne Stencil Festival in 2008 as the volunteer coordinator and award judge (along with four others including Chor Boogie). I became involved because I thought that it might be a good opportunity to show some practical support and make some contacts in the street art scene. I took a Gonzo journalist approaches to reporting the MSF – a participant observer, in Malososki’s opinion is the best kind of anthropologist, and what is the difference between an art critic and anthropologist anyway?

2008 was an ambitiously international festival with Chor Boogie, A1, John Kolaczar, Pete Wollinger and other artists from around the world. I was not involved in the politics of the 2008 festival but I could see that JD Mitmann had a major conflict of interest with the festival as he also ran the gallery Famous When Dead where he showed and sold many of the artists. I doubt that JD Mitmann actually profited from this relationship but this was also a matter of perception; you could look at the relationship as symbiotic. The 2008 AGM was a very interesting affair; there was a mea culpa from the previous committee and, except for Adi, the newly elected committee was completely new.

I was then parachuted into an emergency committee in 2009 after Satta van Daal’s resignations. I didn’t see anything of Adi; the committee was no longer functioning. I became the festival’s secretary; being the secretary is not the most glamorous of jobs – lots of emails, typing minutes of meetings, finding meeting venues and other mundane or bureaucratic matters.

I quickly found that I’m not the only one that has been parachuted in to run the festival; there was also Phil Hall, Tessa Yea and Anna Briers. Phil Hall is an energetic, enthusiastic and experienced public arts worker who had work in Collingwood before. Tessa Yea and Anna Briers were then adventurous curatorial students from Melbourne University doing an internship at the festival.

I have yet to mention Coops, Paul Cooper of Arttruck was keeping the whole transition between 2008 and 2009 going. His advertising and design business had office space and computers that we could use along with chocolate cake and biscuits because photographing food produces some great left-overs. This was over when the relationships with Coops and the rest of the festival organisers cooled over poster design.

We found more volunteers, lots of them, all competent and eager to get the festival happening. Somehow it all came together. The new volunteers were all excellent, many of them were students doing work in curatorial studies and marketing, others were just random people like me interested in street art. MSF 09 was thrown together in three months mostly by email with only support from the City of Yarra and in-kind support from sponsors.

Boo & Tom Civil, Sweet Streets 2010

Boo & Tom Civil, Sweet Streets 2010

After managing to put together the festival in 2009 the team was ambitious to run another festival. There was an obvious need to re-brand and redefine the festival to include more than just stencil art. The initial focus on stencil art came at a time in Melbourne when stencil art was very popular and there were a lot of stencil art on the street. Since then street art in Melbourne has expanded, new techniques and ideas have come along (yarn bombing and street sculpture).

So the Melbourne Stencil Festival became “Sweet Streets – urban and street art festival.” The use of the term “urban and street art” was used to sidestep the debate about street art in the gallery.

The festival 2010 was bigger and better than all previous years – a real arts festival with a program of events, multiple exhibitions in several locations, but not the budget that went with that. On top of being secretary I was running the film night. The ancient Geeks had a word for it – ‘hubris’.

In the end the committee was exhausted and without a succession plan. This is the problem of running an annual festival, at the point where everyone on the committee was exhausted you should have been preparing for next year’s festival and finding sponsors. It was hard to keep volunteers motivated for a whole year preparing for the festival. I could go on about all the problems and forget the success of a street art festival running in Melbourne for seven years.

Does it still exist? Rumours that it will be revived occur from time to time over the years. Unfortunately attempts to revive the festival proved futile.

Read my reports from the front line as an embedded blogger:

MSF 2008

Opening Night 

Conversations with John Koleszar and Russel Hosze

Melbourne & Graffiti (reflections on talks given at MSF 2008)

MSF 2009

Opening Night

Underground 

Sweet Streets 2010

Sweet Streets 

Award Exhibition

Urban Intervention @ YSG

Street Art Politics Forum

Week 1    

Week 2 

Black Mark at Sweet Streets auction.

Black Mark at Sweet Streets auction.


Painful progress on my book

When I last wrote about progress on my book, Melbourne’s Sculpture it was the end of March. I am now three months behind schedule with my book.

Progress of the book has been slowed with getting better photographs than the ones I’d taken, mine weren’t really up to scratch for publication. I never really thought of myself as a photographer and I knew that my photography was the weakest part. I should have asked more questions about it and read the camera manual.

So plan B for the photographs and start to develop a plan C; scratch plan B after two months of going nowhere. Move on to plan C and start to develop a plan D and whole vicious cycle goes on. Somewhere in all of this I decided to do some renovations and a major clean up of the house.

Paul Montford, John Wesley  statue,1935, Melbourne

Paul Montford, John Wesley statue,1935, Melbourne

There has so many lows, more pleas for help on windy winter nights, so few highs recently (some great sculpture exhibitions at RMIT, Callum Morton at Anna Schwartz and Inge King at the NGV) and far too much waiting. It is hard to be patient and anxious at the same time. Waiting can be horribly distressing and at time I felt I was being drip fed hope. The street artist, Mal Function who makes those little gremlin heads finally read and replied to my email six months later but not too late as it happens.

I didn’t feel like writing my blog during this time; too uncertain of what the future would bring, too something. It is an odd feeling because the fate of the book was no longer in my hands. It was a good experience editing with Chloe Brien the book. Everyone is doing a wonderful job holding it together around me, the publisher, David Tenenbaum has been patient, my wife, Catherine and especially my old friend, Paul Candy who had been most helpful when exactly when I needed it. Lots of thanks; I must rewrite the acknowledgements for the book.

The book will now have photographs kindly supplied by the City of Melbourne, ConnectEast, State Library of Victoria and several photographers. More thanks.

Amongst the photographers I actual meet Matto Lucas. I had seen some of his work years ago but I had only met him virtually a few weeks earlier; his Facebook post are are often a work of art. I’d also seen his photography in his blog the Melbourne Art Review.

None of the photographs in this post will appear in the book.

Charles Robb, Landmark, 2005

Charles Robb, Landmark, 2005

Bruce Armstrong, Eagle, 2002, Docklands

Bruce Armstrong, Eagle, 2002, Docklands


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