Tag Archives: Public Sculpture

Recent Public Sculpture in Melbourne

There are two recent public sculptures with botanical references: Fruition, 2013 by Matthew Harding and Moment, 2013 by Damien Vicks where the geometry of botany lends itself to contemporary sculpture.

Matthew Harding, Fruition, 2013

Matthew Harding, Fruition, 2013

The two giant seed pods creates a landmark for the corner of Flemington Road and Elliot Avenue are Matthew Harding’s Fruition. The sculptures mediate between the nature of Royal Park, the largest of Melbourne’s inner city parks and the artificial world of the roads and traffic. Royal Park is and has, up until last year, been bereft of any public sculpture. They are huge, with an axis length 6.5m and 4.2m, even when seen from the road, where most people will see this sculpture, they are larger than most trucks. Made of corten steel, a favourite of sculptors and designers because it quickly develops an outer patina of rust that protects the steel from further oxidation.

Harding studied at the Canberra School of Art and is a regular exhibitor at the Fringe Festival Furniture, Sydney’s Workshopped, McClelland National Sculpture Survey, Sculpture by the Sea and the Helen Lempriere National Sculpture Award. Fruition is not the only public sculpture by Matthew Harding in Melbourne, there is his Mercury Rising, 2008 series of seats in the city, commissioned by Colonial First State. The three cast mirror polished stainless steel forms with inset stainless steel contour banding in the pavement. The contour banding and the title refer to climate change.

Damien Vicks, Moment, 2013

Damien Vicks, Moment, 2013

Damien Vicks, Moment was installed in 2013 at Guild Apartments, Sturt Street in Southbank. Moment is the beautiful flower in the buttonhole of the building. Few buildings are designed with a crest, aside from a corporate logo. This is Vick’s first public commission; in 2011 he won both the Association of Sculptors of Victoria Annual Exhibition and the Melbourne Flower and Garden Show Sculpture exhibition. Vicks has also been a regular exhibitor at Toorak Village sculpture competition.

The number of sculptures in greater Melbourne continues to grow at an increasing rate. There is also William Eicholtz’s sculpture Courage in Fitzroy and the Steampunk sculptures in the city. These are some recent public sculpture in Melbourne that I haven’t mentioned in my up coming book, Melbourne’s Sculptures, due for release in April 2015. They have all been installed while I’ve been concentrating on writing the history, not that this is a problem because it is a history and not a survey of the sculptures.


Courage

In Whitlam Place, a small park in Fitzroy on the corner of Moor and Napier Streets, just across the road from Fitzroy Town Hall there is a new sculpture Courage by William Eicholtz. It was just installed last week.

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Standing on a lighted disco floor, lit by LED lights after dark, the young man is removing the Cowardly Lion costume and looking back at a theatrical medal for ‘courage’. What does the medal mean to him?

The sculpture captures the neo-baroque moment of transformation, being aware that the whole world is changing their costumes. There is so much movement in this sculpture, the costume is falling, the man’s torso is twisting and the lion’s tail curls, it makes other statues look static. The sculpture also has the baroque qualities of a sense of the dramatic that adds to it’s polemical content.

Eicholtz is already a notable sculptor winning the 2005 Helen Lempriere Outdoor Sculpture Award,  the biggest art prize for sculpture in Australia; it is like winning the Archibald for a portrait painter. He has long yearned to have a permanent public sculpture in Melbourne; he told the public in an excellent floor talk at the Counihan Gallery on February 2, 2008 as part of the exhibition, Chaos & Revelry. Eichotz’s vision for the urban/suburban environment that most excited his audience; a playful vision of a world where art exists throughout the built environment, a world where humans live in more than just well designed environments.

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“This sculpture will commemorate and recognise the LGBTI and queer communities’ courage to be themselves.” Eicholtz told Matt Akersten reporting for Same Same.  The bronze plaque on the plinth records that it is “also dedicated to the legacy of Ralph McLean (1957-210) was Australia’s first openly gay Lord Mayor (City of Fitzroy, 1984)”. Public recognition in the form of a public sculpture is important to many the communities who were marginalised and ignored in Melbourne while the conservative establishment was erecting statues for themselves. A public sculpture serves as a permanent public reminder of their presence in the collective consciousness of the city.

(Incidentally Frank Baum the first children’s writer to have a transexual main character Tip/Ozma of Oz in 1904.)

Not that the sculpture is just for Melbourne’s LGBTI community. The figurative sculpture humanises the area bringing the suggestion of movement and life to the park and making a corner into a hub. As I am photographing it a mother with a little girl in a stroller pass: “The Cowardly Lion,” the mother says, “A man taking off the Cowardly Lion costume.”

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Book Deal

I’m very happy to announce that my forthcoming book on the history Melbourne’s public sculpture will be published by Melbourne Books next year. It is the blogging dream – a book deal based on the blog.

Bruce Armstrong and Geoffrey Bartlett, “Constellation”

Bruce Armstrong and Geoffrey Bartlett, “Constellation”

As regular readers of this blog would know one of the topics that I regularly write about is public sculpture. Not that the book will be exactly what I’ve written in my blog, far from it, there have been many additions, revisions and corrections and there are still many to do.

Which public sculpture represents the identity of Melbourne? I started thinking about this question and so I wrote a blog post about it (see Melbourne’s Sculpture). The question is still haunting me and now I have to choose an image for the book’s front cover.

As I wrote more and more blog posts about public sculpture I became more interested. I noticed that very few people were writing about public sculpture, it is considered a dull topic by art critics and art historians dismissing it as the work of second rate artists working on commissions. However the public want to know about these sculptures I was finding some interesting stories about public sculptures politics, crime and the history of the city. Putting all these blog posts together I found that I was writing a history about a major change in public sculptures; a true story with a beginning, middle and end.

Although it is every blogger’s dream to write a book, it took prompting from my wife, my inspiration, Catherine, for the idea to form. I also needed the copy editing skills of Sue Wind and the advice of many people to get the manuscript to this stage – I’ve already added getting a proper thank you list together to my ever growing 2Do list… write, edit, sort and label jpg files, the front cover image…. ?

La Pok's guerilla gardening Melbourne

La Pok’s guerilla gardening Melbourne

Hester, "a world, fully accessible by no living being", 2011

Hester, “a world, fully accessible by no living being”, 2011

Paul Montford, Adam Lindsay Gordon, 1931

Paul Montford, Adam Lindsay Gordon, 1931

Charles Web Gilbert, Matthew Flinders Memorial, Melbourne

Charles Web Gilbert, Matthew Flinders Memorial, Melbourne

John Kelly, “Cow Up a Tree”, bonze, 1999, Docklands

John Kelly, “Cow Up a Tree”, bonze, 1999, Docklands


Street Art Notes 5/13

Local Paintspotting -

Coburg piece

Coburg piece

Earlier this year I wrote about Coburg being a transition point between street art and graffiti.  As more legal walls become available in Coburg the quality writers push further north and pieces in Coburg continue to improve. But I’m surprised at both the pace and quality of the work. This great piece instantly evoked for me the unforgettable sound of Grace Slick singing “White Rabbit”… “When the men on the chess board get up and tell you where to go…”

Coburg house

Coburg house

Ghost Signs and Graffiti -

Good to see a legal piece in Brunswick preserving a ghost sign. I sent the photo to my friend and former LookSmart colleague, Stefan Schutt for excellent blog about ghost signs – Finding the Radio Book and he turned it into a post; A generational jostling for space on a Brunswick wall.

King Leonidas yarn bombed (photo courtesy of Lorraine Ellis.)

King Leonidas yarn bombed (photo courtesy of Lorraine Ellis.)

Yarn bombing public sculptures -

Socks for the little girl in Lorretta Quinn’s Within Three Worlds, a red knitted plume for King Leonidas in Sparta Place, a ruff for Dianna’s panther in Paul Juraszek. The Sun & the Moon in Malvern, Melbourne’s yarn bombers have been dressing up sculptures.

The tradition of dressing up public sculptures comes from the dressing up of religious statues. If religious practices can be in bad taste then it is in the worst possible taste. It is the infringement on the moral rights of the artist is annoying in a way that decorating a pole or bench is not. The artist never asked for the contribution of the yarn bomber.

On the other hand these are public sculptures and the public should interact with them provided that this does no damage. Street artists like, CDH and Will Coles both have done good interventions using public sculptures but they are always conscious of the moral and political issues involved in this intervention. This is a subtle difference like that between appropriation art and plagiarism. But I doubt that the yarn bombers thinking of anything other than adding their woollen touch and there is no evidence in what they produce that they are aware.


White Night with kids

We ventured into the inaugural White Night in Melbourne with 4 young people, two sixteen year-old girls and two ten year-old boys, each of our kids had brought a friend.

Because we had kids with us we did that nerdy thing of arriving right on time, in fact slightly before the official start – and really – arriving early for an event that was supposed to go all night was, predictably a little disappointing. When a show is all about the lights, its only ever going to be good after dark.

Walking down to Federation Square from a meal in Chinatown, we could see some settling up just off Russell St, but we had strung out during the walk and dawdlers had to keep up and not duck down side streets and get lost.

The teenagers had been shopping in town and were keen for a sit down, so we headed to St Paul’s Cathedral which was listed as a venue. I had never been into St Paul’s, so that was worth it just for the stickybeak- such beautiful woodwork on the ceiling – majestic. 7pm ticked up, the cathedral filling – and ticked past – that was when it occurred to us that any laser show would be better after dark, which was still more than an hour away. So, shoppers rested, we decided to check out the National Gallery.

Working our way across a not yet too crowded Federation Square where some zumba dancers were trying, with not a lot of luck, to engage the crowd, we hit our first success for the night. “Red Centre” by Konstanin Dimopoulos, not part of the White Night event, but it drew the boys like moths to a flame, because people were playing it like a tall, bright red percussion instrument, reaching grasping, rattling, banging. It sounded great, clunks, bangs, resonate thrums.

Heading on down St Kilda Rd we passed by the Arts Centre and let the boys join in the clambering on “Forward Surge” by Inge King while we watched the passing parade.

Continuing on the the National Gallery Victoria, “The Commoners” by Jompet Kuswidananto caught the teenagers attention, the missing bodies, the potential for noise (it wasn’t active when we went in). “How does it work?” What is it meant to do?”

Further on in the Great Hall, “Bouquet Final 2″ by Michal Blazy beckoned.

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What a hit! It has foam! What’s not to love? We spent awhile there. It was enchanting.

It was quite mesmerising as the billows of foam grew before your eyes, and yet at the same time imperceptibly. It was so hard to catch it actually growing. There was so much of it, huge walls of growing bubbles, and I don’t think they grew at a constant rate either. I suspect the pumps were variable.

The boys had a ball. It was all the fun a giant bubble-machine should be. You were allowed to play with any bits that had fallen off, and a lot did.

We had a few goes of foam volleyball, where you had to blow and keep the foam in the air.

They boys were sticky with it by the end.

From there we headed back to the Yarra and Birrarung Marr, where there were a large number of things to interact with, from creepy blow-up purple clowns to “From the Deep” laser show another highlight of the night.

I asked the 10year old to dictate something about what he thought of White Night.

The White Night was OK. I particularly like the laser show on the river, because of the way that they incorporated water and light to make the shapes and the colours.

I also really liked the foam thing in the gallery. It was really fun to play with, the bits that fell off, they were so foamy and bubbly.

How would you describe it?

Really really Awesome. And bubbly and foamy.

How would you rate it?

Seven out of 10.


Blog Housekeeping

This not about my life as a house-husband but to draw attention to my addition of two new pages to this blog: Contact and Events.

Contact

Regarding contacting me. I don’t mind getting invitations to art exhibitions, but don’t expect to see me there. If you are an artist and I have told you to please invite me to your next exhibition I really do mean it. On the other hand I hate the pushy publicists who think that my blog is just another promotional platform for their message. I wish that this wasn’t the main reason that people contacted me.

I go to openings partially to look at the art, to schmooze and drink wine – in that order. It gets difficult to look at the art after awhile because there are so many people standing around drinking wine and talking. It is kind of pointless talking to the artist at an exhibition opening with so many people saying hello and congratulating them. My strategy is to arrive early and look at the art before most of the people arrive – the flaw to my strategy is that I left before the late arrivals.

Events

The first event off the rack is a series of sculpture tours that might become a permanent event. As regular readers would know I write a lot about Melbourne’s public sculpture, now I have put together a tour of a selection of them. For more information see Events.

Other events will follow; talks, panel discussions and a book launch. If you want me for tours, panel discussions or other events see Contact.

Charles Web Gilbert, Matthew Flinders Memorial, Melbourne


Fear & Loathing & Melbourne’s Public Sculpture

Melbourne’s public sculpture collection has been assembled without much thought and without much expense. Although I write blog posts about Melbourne’s sculpture it is not because I am particularly impressed with Melbourne public sculpture collection. Melbourne sculptures strike me as a cheap collection by a city that was desperate to install some public art.

As a collection of art the city’s public sculptures are not world class. Melbourne does not have many famous sculptors; the William de Kooning bronze out the front of the Arts Centre is an anomaly both for Melbourne and for de Kooning, who is better known as a painter. In contrast, Adelaide has sculptures by Henry Moore, Andy Goldsworthy, Barbara Hepworth and Donald Judd all of which are well known for their sculpture.

Although Australian Aboriginal art is popular with Melbourne’s international visitors there are no major public work of Aboriginal art. The City of Melbourne has also chosen to ignore the local street art movement in public street art – rather they choose to attempt to preserve a piece by Banksy. (Although both Aboriginal art and street art are primarily based painting a sculptural work would not be inappropriate or impossible.)

Edward Ginger “The Echo” 1997

Melbourne City Council’s choice of emerging sculptors rather than established sculptors has saved the city money and given new sculptures a break but very few have become established sculptors. Near the corner of Lt. Bourke St. and Swanston St. is Edward Ginger’s “The Echo” 1997. “The Echo” is a big red funky geometric sculpture that attempts to be an urban totem. “The Echo” is representative of Ginger’s other, usually smaller mixed media works; the intense colours, especially red, and funky geometric forms. Edward Ginger. Unfortunately Ginger has not exhibited since 1998

There is an element of what the late great Hunter S. Thompson would call “fear and loathing” in Melbourne’s sculpture collection. Melbourne’s population has a tradition of opposition to public sculptures, expressed in opposition to Ron Robertson Swan’s “Vault” and Paul Juraszek “The Sun & the Moon”. Melbourne’s conservative past is the reason most often cited for this rejection but there might other factors in the mix. One might be an imported tradition of opposition to public sculpture from Melbourne’s significant Irish immigrant population. Paula Murphy in her article “Rejecting public sculpture: monuments in Dublin” (Apollo v. 154 no.475 Sept. 2001 p. 38-43) discusses the rejection of public sculpture in Dublin in the 19th and 20th centuries. “The extent of the opposition to the public sculpture in place and the numbers of works that are now lost to the city suggest that this attitude apparently verged on a national pastime at the time.” Murphy suggest several reasons for this attitude, including the style of the work or the subject portrayed in it, but it is political reasons that account for the rejection of many imperial statues.

In Melbourne sculpture has been installed in the city as a token gesture. “Sculpture plays a vital part in public investment with regard to urban regeneration. Art is seen as a crucial component in improving safety, restricting crime, and encouraging a prosperous local economy.” (John Finlay,  “Christchurch: Sculpture as Urban Design Strategy” Sculpture 27 no9 N 2008) And Melbourne is squandering its investment in public sculpture.


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