Tag Archives: Del Kathryn Barton

LMFF Culture

L’Oréal Melbourne Fashion Festival Cultural Program – Material Culture – Counihan Gallery – Fashion Loves Art Loves Fashion – Sophie Gannon Gallery

Spinner at the opening of Material Culture

Spinner at the opening of Material Culture

All the exhibitors in “Material Culture” at the Counihan Gallery are RMIT Textile Design alumni. The hanging of “Material Culture” is exceptionally well done; the exhibition looks exciting from the women spinning on the podium outside before the opening, to John Brooks “The object in flux II” hanging from the ceiling in the foyer, to Gina Gascoigne “Siphonomore” made from optical fibre and light, the exhibition enticed the visitor in. At the far end of the gallery, Plush! had set up their workshop with mannequins, loom and sewing machine with their paper patterns and yarn hanging on the wall. 785cm of Kim McKechnie’s linen and cotton “Memory Cloth (Notes from my Grandmother)” hung in a great curve. In the online information Carmila Stirling wondered if her delicate hemp and cotton piece would survive being pinned to a wall but it did and looks fantastic. Really, the curatorial team should be congratulated. The macabre skeletal knitted wool one-piece bathing suit by Michelle Browne “La vie, la Mort” really appealed to my taste.

Michelle Browne “La vie, la Mort”, knitted wool, 2012

Opening of"Fashion Loves Art Loves Fashion" at Sophie Gannon Gallery

The best parts “Fashion Loves Art Loves Fashion” at the Sophie Gannon Gallery are the collaborations between the artists and the fashion label, the reason for the exhibition. Del Kathryn Barton and Romance Was Born created a quilt with painted figures by Barton and material that Romance Was Born use in a very long dress that is also on exhibition. Lucas Grogan and Rittenhouse also have an impressive collaboration with clothes made Grogan’s distinctive blue and white patterns. Grogan is also exhibiting a large embroidery, “Welcome Home Babe” 2011. Julia Devila and Material By Product also have a harmonious collaboration with surreal gothic style. John Nichoson and Josh Goot take 70s heels to a new level exploring the post minimalist possibilities of coloured Perspex heels.

There are some less impressive collaborations in the exhibition. Two large photographs by Nan Goldin derelict sheik style from a series with American model Erin Wasson are used in publication by Scanlan & Theodore. Rittenhouse used Gemma Smith’s curves in fabric for a little black dress. And Something Else used digital remixes of Ken Done coral reef paintings in their fabric print.

I’m looking forward to seeing more of the LMFF Cultural Program. Vetti has photos of the LMFF Windows By Design at David Jones (part of the LMFF Cultural Program).


Chilling Effect Continues

Hospital charity rejects exhibition over boy photo” Nick O’Malley reports in The Age (January 5, 2011) that “officials of the Sydney Children’s Hospital Foundation took exception to the image by Archibald prize-winner Del Kathryn Barton of her six-year-old son, Kell.” Over a year and a half later the chill of the Bill Henson censorship fiasco continues to effect Australian art and culture. This might appear like a storm in a teacup but it is a clear example of the chilling effect. It is hard to observe the chilling effect because it is, generally, not doing something out of fear. In this rare example, not being the recipients of a charity exhibition due to fear of controversy, the chilling effect is evident.

The officials at the Sydney Children’s Hospital Foundation are not prudes they are just protective of the reputation of their foundation. They have no way of knowing if this image would have been controversial because what was apparent in the Henson fiasco was that it was an arbitrary action and an arbitrary judgment. Another charity, Midnight Basketball, which runs workshops and tournaments for at-risk youth, will benefit from this charity exhibition.

This stupid and pathetic affair is only an example of the chilling effect, most will not be observed or documented. Although the rejection will not chill Del Kathryn Barton who will continue to use images of her own children in her art, as she has regularly in the past, the continuing fear of controversy will effect the decisions of other artists, curators, and exhibition sponsors.

In his story Nick O’Malley provides a history of this controversy; that Christian groups have been attacking artworks and prompting failed police actions for decades. In order to remedy this chilling effect the government needs to clarify laws and make an apology for its participation in slandering Bill Henson. In the absence of any move to ameliorate the situation a presumption that the government tacitly supports the chilling effects of trial by media and police raids.


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