Tag Archives: Fitzroy

Mr Poetry

Peter Corlett’s sculpture Mr. Poetry (1994) on Brunswick Street Fitzroy is based on poet and performer Adrian Rawlins. Peter Corlett is Australia’s leading figurative sculptor but at the time his career was just taking off.

Peter Corlett, Mr Poetry,  1994

Peter Corlett, Mr Poetry, 1994

The Fitzroy City Council advertised three times in the newspaper for applications for commissions and each time the money offered went up. The final price was enough to cover the foundry costs and Peter Corlett made an application as he always wanted to have a sculpture on his “local high street”, Brunswick Street, Fitzroy.

In the early 1990s Fitzroy City Council commissioned various sculptures to revitalise Brunswick Street and firmly place it as Melbourne’s boho hipster location. Brunswick St. Fitzroy had became established as an alternate cultural centre in the mid-1980s with galleries, pubs with bands, bookshops and moderately priced restaurants. Recognising Brunswick St. Fitzroy as a cultural centre and using Federal Government money in 1992 a number works of public art were added along the street. There are a number of sidewalk mosaics, mosaic covered chairs, decorative eccentric sculptural shop signs and the odd statue.

The life-sized laughing fat man sits precariously balanced on the edge of one of the tallest plinths that Corelett ever has used. The tall deliberately misaligned plinth is intended to be plastered with band posters.

Corlett relates that shortly after receiving the commission he was in Mario’s Cafe on Brunswick Street. In the cafe at the time were some local rock musicians and one of them remarked that they would blow it up. Corlett wasn’t sure if they were serious or joking; Adrian Rawlins was not that popular.

The sculpture was not blown up but it became a Saturday night ritual to set fire to the layers of posters and watch the flames surround the statue. I haven’t seen this happen myself but I have seen the scorched evidence around the plinth.

Adrian Rawlins had made his reputation by being around Melbourne’s small art scene of the 50s and 60s as an actor. He briefly ran a jazz club in the 1960s and in 1970 he was the MC at Australia’s first rock festival. He then co-compared the 1972 Sunbury Rock Festival. According to some sources, Rawlins really made his reputation by selling marijuana to Bob Dylan on his Australian tour. I briefly shared a house with Adrian and found that he was both lazy and  greedy (and he never provided me with any ganja). Corlett tells that Adrian wanted to charge double the usual modelling fee so Corlett agreed and halved the time.

When Corlett made the statue it was not memorial, it has now become one. With the addition of another larger bronze plaque dedicated to the model Adrian Rawlins (1939-2001) the sculpture is transform into a memorial.


Play Money, Radish & other exhibitions

On Thursday night I went to the opening of “Play Money” at the Counihan Gallery in Brunswick. The exhibition examines ”the anxiety surrounding the acquisition of real estate and the legacy of land ownership in Australia”. It is pertinent subject especially in Brunswick where houses prices are rising in the wake of the artistic revival; Gregor Muir described artists as “the storm-troopers of gentrification.” The irony of the welcome to country at the opening was not lost at either.

Curated by Jane O’Neill “Play Money” is good as far as it goes but it is taking up valuable real estate with an exhibition that didn’t fill up all the walls. The suburban subject is very current in Melbourne art; the Ian Strange exhibition at the NGV Atrium came to mind (see my post) along with the art of Jason Waterhouse and Adrian Doyle. I wanted more.

On my Thursday afternoon gallery crawl I was impressed with “Radish” by Diego Ramirez at Seventh Gallery. The two videos in the installation contributed to the sad story of a radish headed man. The videos had great production quality overall but especially the make-up and prosthetics. I was wondering if the radish headed man finally found a home buried in the back room of Seventh Gallery as the radish top was poking out from the gallery floor.

I also enjoyed seeing Penny Pekham’s “A Taxonomy of (Art) Cats”. A series of prints upstairs in a small room at 69 Smith St amidst some bad and ordinary art, including Pekham’s series of paintings based on Leonard Cohen lyrics. The lino-cut prints reproduced cats by famous artists (Hiroshige, Toulouse Lautrec, Steinlen, Beardsly, Manet etc.) arranged in grids. Simple but effective and combining cats and art history is a way to my heart.

I saw Little Woods Gallery for the first time. It is a small gallery space that is part of the Jesuit Social Services on Langridge Street. Lauren Dunn’s “We are all friends” a series of photographs of Lauren’s friends. The larger than life photographs were too close, both intimate and a bit intimidating. There was some attempt to trace the connections between these faces and Dunn but not enough was made of that.


Street Art Renaissance

I keep on seeing all these similarities between street art/graffiti and the Renaissance most obviously because both are painting on walls. Walking around the graffiti covered walls of Brunswick factories in the late 1990s I discovered my own Scrovegni Chapel of wall-to-wall painting divided into separate panels.

Adnate of the AWOL crew on wall in Rose St. Fitzroy

Adnate of the AWOL crew on wall in Rose St. Fitzroy (photo by Hasan Niyazi)

People have painted on walls since we lived in caves but what made the Renaissance especially similar to the street art/graffiti of today is the potential change in social status that being an artist brought with it. Unlike their ancient counterparts the Renaissance and graffiti artists can become famous across the city and intercity and to freely enjoy the change in status that this fame brings.

Collingwood graffiti 2009

Collingwood graffiti 2009

There are many ways that the practice of street art is similar to the Renaissance with people up ladders painting a wall. Only the media has changed from fresco to aerosol. Fresco was the fast art medium of the Renaissance, the plaster could only be painted on when it was still wet. The works are designed in cartoons and then enlarged on the wall. Often he patron who bought the paint and commissioned the work is represented in the piece off to one side, as in a Renaissance altarpiece. Although all of the surviving Renaissance frescos are inside but exterior walls were also painted (an elephant remains on a portico wall at Castello Sforzesco in Milan) along with other ephemeral artwork. Renaissance painters worked in the summer when the plaster could dry, in the winter they would work on their designs, like the graffers drawing in their black books.

In graffiti slang a “piece, referring to a large complete aerosol work, is short for a ‘masterpiece’. It indicates a degree of a writer’s proficiency, as in the final work of a journeyman apprentice doing throw-ups. There is less of the master and apprentice in graffing for today the organization of society is much less formal, but there is more of a culture of master and apprentice in graffiti, where skills are learnt from assisting or watching masters rather than the formal education of modern artists. Collaborations between painters are common in both graffiti and the Renaissance.

The following is an email about painting a legal wall in Richmond. I want to point out that this email it is the street art equivalent to a commission for a Renaissance fresco.

On 09/03/2013, at 10:53 PM, CDH wrote:

We’ll be painting on Monday.

Location is 53-55 Burnley st Richmond. We’re painting behind the bike shop.

Meeting at midday.

Theme is yellow. Colour palette is black, white, grey and yellow.

As always, anyone and everyone is welcome. Hit me up if you’re

interested. Should be a good day for it: 34 deg.

Cheers,

Chris.

CDH

www.CDH-Art.com

Unlike the open invitation in CDH’s email a Renaissance commission was a longer legal document specifying a particular artist and a payment. Like CDH’s email it might specify the colour palette but this generally concerned with the weight of blue lapis lazuli and other expensive pigments.

There are, of course, many differences. The monetary value of the art produced is the biggest difference. Capping in the Renaissance was out of the question because fresco belonged to someone who was rich and powerful; the Medici would not have tolerated anyone damaging their property. But the insult of choice for both Renaissance painters and street artists are homophobic; the street artists will call the work of others “gay” whereas the Renaissance painter will denounce others as “sodomites”.

AWOL in Fitzroy 2012

AWOL in Fitzroy 2012

Various crews have replaced the painters’ guilds, but even the most hardcore crew can’t compare to the murderous Cabal of Naples who controlled their territory with brutality and fear and no one else was allowed to paint in Naples. The Cabal of Naples are early Baroque rather than Renaissance painters, but they are a classy example. Melbourne’s graffers and street artists, in comparison are a passive lot and we live in a much less violent time.

(I want to thank Brain Ward of Fitzroyalty and especially Hasan Niyazi of Three Pipe Problem for their thoughts on the subject that has greatly improved this tenuous idea.)


Fantastic Space

When I go looking at art galleries, I am looking for something really marvellous, simply being good and competent works of art is not enough for me. Sometimes I’m disappointed even after visiting multiple galleries. Today I was not disappointed, if Rosalind Atkins collaborating with Ex De Medici in an exhibition of prints and a large watercolour featuring gasmasks, bullets and birds at Australian Galleries wasn’t fantastic enough to make my head spin there was Neon Parc at Gertrude Contemporary.

Dan Moynihan, Lost in Space, 2013

Dan Moynihan, Lost in Space, 2013

What am I talking about? Neon Parc is a small alternative commercial gallery on Bourke Street. What is it doing in Gertrude Contemporary? It is Melbourne artist Dan Moynihan’s “Lost in Space”. It was two third scale replica of the outside and interior of the gallery built in the front gallery space at Gertrude Contemporary.

In 2011 I saw Moynihan’s installation “The Warm Memorial: The Dan Moynihan Experience”, part of the Australian Centre for Contemporary Art NEW11 exhibition. If you saw the exhibition you would remember the large installation of fake palm trees and skeleton wearing a Walkman on a beach.

Moynihan creates immerse environments; you could go inside Neon Parc and feel what it was like inside. You couldn’t forget that this was in another gallery as one of the walls was the window of Gertrude Contemporary. You could look out the window on to Gertrude Street and see a different space.

The view from Gertrude Street

The view from Gertrude Street

The building that houses the actual Neon Parc looks like a symbol of failure on so many levels, like the failed little businesses underneath with their old advertising. It is a red brick failure of a little rectangular modern building built in a failing location next to a multi-story carpark. (The possibility of failure is something that should be close to contemporary art.)

People in Melbourne’s gallery scene often talk about the aesthetics of a gallery space. Neon Parc does not have any, from the terrazzo floor to the fluoro strip lighting; it is an anaesthetic kind of space. I have climbed the stairs to Neon Parc too many times to count but I’ve never climbed them in two-thirds scale, the feeling was uncanny. There is no art in the replica gallery space but there on the wall just inside the door where Neon Parc always has the information sheet is Dan Moynihan’s panel. The detail is spooky – except the office space with its old green lino floor is empty except for the air-conditioner. I am lost in a replica of a familiar space in an Alice in Wonderland moment as the world shrank or I had grown – a marvellous experience enough to make my head spin.


Jet Set Street Art

Where in the world is HaHa? Dabs and Mylar have returned to Melbourne after several years abroad. Melbourne street artists are travelling the world. Street art is the most extensively travelled art movement of all times. It is one of the necessities of working on the streets means finding news cities and places to exhibit.

Many street artists from other countries have visited and left their mark on Melbourne’s streets. Looking through my collection of photos of Melbourne street art I have many examples of these international artists. I have listed the visiting along with their country of origin and year/s that they visited Melbourne. Most visited in conjunction with an exhibitions as and I have noted if they also participated in major festivals or events.

A1one - Gertrude St. Fitzroy

A1one – Gertrude St. Fitzroy

A1one (Iran, 2008, Melbourne Stencil Festival)

Aerosol Arabic, Thirst for Change, Sparks Lane, Melbourne

Aerosol Arabic, Thirst for Change, Sparks Lane, Melbourne

Aerosol Arabic (Britain, 2008, Melbourne Festival)

Above, Melbourne

Above, Melbourne

Above (USA, 2011 & 2012)

Now destroyed Banksy's  "Little Diver"

Now destroyed Banksy’s “Little Diver”

Banksy (Britain, 2003, a covert visit, see my post)

Blek le Rat under perspex Parhran

Blek le Rat under perspex Parhran

Blek Le Rat (France, multiple visits)

Choq, Fitzroy

Choq, Fitzroy

Choq (France, 2012-13)

Celso Gitahy, Brunswick

Celso Gitahy, Brunswick

Celso Gitahy (Brazil, 2008 & 2009, see my post)

Keith Haring, Collingwood

Keith Haring, Collingwood

Keith Haring (USA 1984, see my post)

Nash, Sparta Place, Brunswick

Nash, Sparta Place, Brunswick

Nash (Netherlands, 2012, Project Melbourne Underground see my post)

Snyder, Rocket Pop Boy, Hosier Lane

Snyder, Rocket Pop Boy, Hosier Lane

Sydner (USA, 2012, private initiative see my post)

Peat Wollaeger, Keith Haring Stencil and tribute at Collingwood Technical College

Peat Wollaeger, Keith Haring Stencil and tribute at Collingwood Technical College

Peat Wollaeger (USA, 2008, Melbourne Stencil Festival).

This is not at all a complete list of artists who have visited Melbourne. Nor does it include foreign street artist who have made Melbourne their home.

I am not writing about these international artists out of a cultural cringe away from local artists. Australian culture has long had a belief in a superior foreign culture – be it French, British or American. I am writing about these artists to demonstrate that street art is a global style. Images of street art are so easily transmitted around the world by the internet and travel is also easy. So many notable street artists have become international nomads. And it is one of the strengths of the art.

Which, if any, visiting artist do you think has been the most influential on Melbourne’s street art?


Audacious Art

“I am for an art that does something other than sit on its ass in the museum. I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero. I am for an art that embroils itself with the everyday crap & still comes out on top.”

- Claus Oldenberg “I Am For Art” 1961

Lush, Brunswick

Lush, Brunswick

The anarchic nature of street art and graffiti, the illegal work, questioning of the law is one of the main strength of street art. The audacity of street artists in climbing and trespassing is an aspect of street art that cannot be transferred to the art gallery.

The classic mythic avant-garde artist who lived and died in garrets have been replaced by the new professional artists in clean studios and promoted by curators and galleries. The artist has become an administrator, writing submissions, applications and project specifications. This is not an interesting story – it lacks romance and drama. The public wants art that has romance and drama that doesn’t sit coolly in an art gallery self-assured of its own immortal relevance.

Street art collector Andrew King sums this up: “What I really like is when people go up on the side of buildings, weird dangerous places. They’re literally risking their lives just for their art. You’ve got to admire it. They’re not going to sell it or get anything out of it, except the kudos that they get from their mates and their crew and other writers.” (The Bureau Magazine, v.1 no.2 p.11)

I could go on to write about climbing and writing high up in the heavens but I’m going to look elsewhere.

Jetso & Pezzer, Fitzroy

Jetso & Pezzer, Fitzroy

The audacity of street and graff artists is something that is admired about street artists but they can also royal pains in the ass in annoyance, persistence and lack of respect. Lush and the team of Jetso and Pezzer currently Melbourne’s most audacious royal pains in the ass are. (Not that I mean this in a bad way – my wife’s favourite song is Wire’s “I am the Fly” and she love’s Lush’s cats, so I’m guessing that this is one of the reasons she loves me. And not, that they are the only street and graff artists in Melbourne who are annoying pains.) If one of the purposes of art is to make you think then art that is annoying is a logical move.

Jetso & Pezzer

Jetso & Pezzer

Jetso and Pezzer tag everywhere they can get. Lush is a cheeky fellow.

Lush, Brunswick

Lush, Brunswick

I also like this quote from Bombing Science interview with Lush.

BS: What’s your sign?

Lush: I’m under the sign of the black mark.


Melbourne Street Art Blogs

Melbourne’s street art is a great subject for blogging so allow me to introduce the magnificent seven, seven of the best blogs specializing in Melbourne’s street art.

Melbourne Street Art 86 is a great example of a blog on street art. It declares that “Melbourne’s 86 tram route as a giant open air gallery of street art.” And it documents the street art along the number 86 tramline that runs from Bourke Street in the city through Fitzroy, Collingwood, Clifton Hill, Northcote and Thornbury. The entries are ordered by tram stop location and there are PDF maps to download of the areas. The structure and focus of this blog is great as the liner tram route that the blog follows matches the liner nature of street art bombing/tagging missions. Kevin Anslow spent about 200 hours exploring, photographing, and cataloguing geographical details about street art on the route and building the site. “The project kind of evolved spontaneously, but certainly a central motivation is that it was fun and seemed worth doing as a community resource, and one that celebrates public transport and art.” Kevin explained.

Arty Graffarty started in 2010 and has multiple posts, almost everyday for two years. Subscribe to Arty Graffarty if you want to have your email box full. How he is able to identify all these artists and how he has the energy to do this is beyond me. Mostly the blog is photos but he also promotes and reviews many of the street art exhibitions (and it is great to see his reviews getting longer). He knows his traditional graffiti but doesn’t stick solely to looking at that one style.

Invurt by Factor is like a magazine of news, photos and interviews about the Australian street art scene. Factor is an old hand at graffiti in Perth and Melbourne and is still regularly painting on the streets but not as regularly as he is posting on Invurt. Factor says that he aims to keep Invurt positive but recently he has been posting the occasional editorial with a serious tone.

Images to Live By is written by Alison Young with irregular posts to fit in with her busy life but always worth reading. Alison Young is an academic at Melbourne University who studies graffiti and has co-authored the book, From Street to Studio (Thames & Hudson, 2010) with Ghostpatrol and Miso.

Land of Sunshine by Dean Sunshine features photographs and lots of them grouped by subject or artist. Dean is a dedicated photographer of Melbourne’s street art. Last year Dean brought out a book of photographs from his blog –also known as Land of Sunshine (see my review) Another credit for Dean is the actual Land of Sunshine, the painted laneways around the warehouses of his family business in Brunswick.

Fitzroy Flasher started in 2010. It has lots of photographs of street art, mostly in Fitzroy as the name indicates but not exclusively. Although the focus of the blog is on photographs of street art the text is worth a read.

Flinders Street with painted train

Flinders Street with painted train

Many of these blogs are on my blogroll but I thought that I’d introduce them to you and give you a bit of background. I have to declare that I know many of these people socially – hi Alison, Factor and Dean. (Arty Graffarty and Fitzroy Flasher remain a mystery to me).

Wait a moment that’s only six blogs. Where’s the seventh?


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