Tag Archives: sculpture

Melbourne’s Steampunk Sculptures

Strangers to Melbourne might think that the intersection of Flinders and Spencer Streets would be a central location in the city and this is one reason why there are so many hotels in the area. In reality it is a largely ignored part of the city that locals rarely visit, however the character of the area is changing to include a steampunk elements. The retrospective science fiction of steampunk can easily be imagined in Melbourne where much of the nineteenth century infrastructure remains.

David Bell, Raising the Rattler Pole – The Last of the Connies, 2013

David Bell, Raising the Rattler Pole – The Last of the Connies, 2013

Creating a landmark for the corner of Spencer and Flinders Street is David Bell’s Raising the Rattler Pole – The Last of the Connies, 2013. The 1:1 scale classic W class tram in stands at ten degree angle exposing what the Bell calls it “‘steam punk’ underbelly”. (More on the tram in Daniel Bowen’s Diary of an Average Australian.)  Bell has made other public sculptures including the Nest, 2012 in the Darebin Parklands.

Russell Anderson, Apparatus for Transtemporal Occurrence of Impending Space, 2014

Russell Anderson, Apparatus for Transtemporal Occurrence of Impending Space, 2014

Russell Anderson’s Apparatus for Transtemporal Occurrence of Impending Space 2014 stands on the boardwalk behind the World Trade Centre. The bronze, brass, steel and copper pseudo-scientific time machine offers a view through a porthole of the future. Part of the equipment is functional; crank the handle and look through the viewer like an antique flip card viewer on a pier. Anderson is a Queensland artist who specialises in interactive kinetic sculptures.

Mega Fun, Metal Fish, 2006

Mega Fun, Metal Fish, 2006

Not exactly steampunk but close both aesthetically and geographically are the giant metal fish in Wharf Lane. The fish were created by Mega Fun for the 2006 Commonwealth Games floating parade on the Yarra River. The spectacle becomes permanent; there were originally 71 large artworks depicting fish, there is another ell, split in two at  Kensington Community Recreation Centre.

Steampunk is not simply a fashion or a fad, the subject of shows like the Clockwork Butterfly (see my review) and not permanent public sculptures. The terms fashion and fad have been over-used, abused and have been miss applied to alternate aesthetics, like steampunk. Chris Reynolds, A History apparatus – Vessel Craft & Beacon, 1993 could be considered a proto-steampunk sculpture. Installed 1994-5 it is a twenty-four metre long series of aluminium and fibreglass forms, part of which is attached to some steel rails in the middle of Russell St., between Bourke and Lt. Collins Streets.


Footscray Scores Again

With and With Each Other is now located on corner of Nicholson Street and Ballarat Road in Footscray. It is by the American sculptor, Tom Bills, professor of art and art history at University of California at Davis and a disciple of the father of hardcore sculptural minimalism, Donald Judd.

Tom Bills, With and With Each Other, 1998

Tom Bills, With and With Each Other, 1998

I have previously written about two other sculptures in Footscray: Bruce Armstrong’s Two Person’s Hugging and Wominjeka Tarnuk Yooroom by Maree Clarke and Vicky Couzins. Footscray has scored again with this sculpture that City of Melbourne no longer wanted.

“For the past five years, With and With Each Other has sat in storage after it provoked controversy in 2002. Since then, the two giant blocks have remained hidden away at storage sheds in Clayton.” Clay Lucas, April 4, 2007 The Age.

With and With Each Other is a grey concrete minimalist sculpture of two mirror-image halves has been described as “looking like a pair of lungs” or “twin foetuses with erections.” It had been installed on a roundabout in Melbourne as part of the Construction in Process Sculpture Festival 1998 with a three-month permit but had remained on the roundabout for 4 more years. It was replaced on the roundabout at Peel and Dudley Streets by Island Wave, 2003 by Lisa Young.

Footscray isn’t a suburb that many Melbournians would associate with great public sculpture but they have never been to Footscray and hold attitudes about western suburbs that date back decades. Footscray is changing as Melbourne slowly turns west and the suburb now has an impressive collection of public sculpture. The Footscray railway station and other parts of the centre of the suburb are being redeveloped but you can still Franco Cozzo’s Furniture whose late night advertising in the 1990s has been burnt into my mind.


Underground Indonesian Art

Fort Delta is an underground gallery down a flight of stairs at the back of the Capitol Arcade in Melbourne; it is an appropriate location for New Underground: Indonesian Contemporary. It is Fort Delta’s first collaborative exhibition with MiFA Gallery that represents artists from the Asia Pacific region.

Lugas Syllabus, Step By Step, My Friend, 2011

Lugas Syllabus, Step By Step, My Friend, 2011

This is a great exhibition of contemporary Indonesian art featuring work by work by Soni Irawan, Iyok Prayogo, and Lugas Syllabus. Prayogo and Syllabus are both graduates of The Indonesian Institute Of The Arts, Yogyakarta. Irawan completed a Bachelor of Fine Arts from the Indonesian Art Institute in Jogjakarta. According to the exhibition notes they are all “emerged from the Indo Punk scene” hence “New Underground”.

I laugh out loud when I look at Lugas Syllabus’s mixed media sculpture Step by Step, My Friend (2011) a cartoon rabbit is progressively jumping into a trap baited with carrots. It is so funny, so funky inexplicable with a clearly wise message about progress all at the same time.

Most of the exhibition is filled with paintings by Soni Irawan. His painting are intense; the accretion of layers of images, in layers of different media, is a urban experience and vision. He spray paints aerosol enamel over his own work in bubble graffiti for Fake Fact (2012), stencils in the Chupa Chups logo on Lady Candy (2013) and pastes on embroidery patches on Ultra Flat Black (2011). All on top of his line drawings of strange creatures, people with faces in their torsos, Blemmyae, masked and animal headed figures.

Soni Irawan, Fake Fact, 2012

Soni Irawan, Fake Fact, 2012

Iyok Prayogo’s two light boxes in hard road cases, Walk on By (2009) and Going Metal (2012), were a bit too mainstream rock’n’roll for my taste.

I don’t get to see much Indonesian contemporary art here in Melbourne but what I have seen, like the New Underground has been very worth while.


The Birds @ Flinders Lane

“among all things that fly the mind is swiftest” Rig Veda (Book 6, Hymn IX)

Two exhibition at Flinders Lane Gallery both with a theme of birds.

In Jon Eiseman’s exhibition “Other Realities” the birds are in symbols of the mind transcending the surface reality. Like Max Ernst or local artist, Kevin Mortensen Eiseman has the head of a bird in his art. Symbolically birds and fish are creatures that regularly move from the surface world into other worlds/realities. In Eiseman’s small bronze sculptures a Magritte-like everyman in a suit, a traveller with suitcases inhabits a world of birds and fish. Eiseman’s fantastic world has an enchanting sense of poetry that translates into a photographic collaboration with Anne Coran.

In Michelle Molinari’s exhibition the birds are dead, there is no avoiding the subject, not that their death is dwelt in a grisly way, it is just that they are undeniably dead. There is no air in their bell jars. (Narrowly avoids descending into Monty Python’s parrot sketch.) Molinari’s taxidermy and oil paintings are not intended to create the illusion of life, or a euphemistic ‘sleep’, only to preserve the beautiful image of the animal. Molinari’s images of dead animals are beautiful, spectacularly beautiful with a neo-baroque style to the images and their frames. Her paintings are set against a dark background that emphasises the colour and light on the feathers of the birds. The spectacle of the beautiful dead reminds the viewer of the contemporary world that attempts to avoid looking at the dead or even mentioning it. The title “Nature Mort” reminds me of my first attempt to translate the French mort nature (still life) that I garbled into “dead nature”. (See Arts Diary 365 for more on Michelle Molinari and my post on Taxidermy and Contemporary Art.)

 


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


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


Wrapped & Revealed

Callum Morton’s exhibition Neighbourhood Watch at Anna Schwartz Gallery is a lot of fun. Morton’s art is generally a lot of fun; Morton’s Motel is a familiar sight to drivers on the Eastlink Freeway and would also be familiar to listeners of the Triple M breakfast show where mistaking Morton’s Motel for the real thing has become a long running joke.

The game of Morton’s Neighbourhood Watch is a guessing game. If you have lived in Melbourne and are sighted you should be able to guess the identity of the wrapped statues. All the wrapped statues are familiar public statues that are located in Melbourne’s major streets and parks even if only their feet are visible underneath the brightly coloured plastic wrapping. What might also confuse the guess is that although the statues are a quarter of their actual size, the simplified plinths on which they stand have only be scaled down to half their size.

They are all memorial statutes but do we remember? The exhibition could have been extended into a social sculpture with a survey to find out which of these five statues were most recognised and which had been mostly forgotten.

I could go on about these wrapped statues, with reference to the work of Christo or Man Ray, but I think that I’ll use this to segue to another sculpture exhibition Revelations – Sculpture from the RMIT Art Collection at RMIT Gallery. RMIT’s art collection has the benefit that many of the best sculptors in Australia have at one time been students or staff or both. A lot of what I have to say about RMIT and sculpture can be found in my catalogue essay for Revelations “From Great Men to Landmarks”.

Revealing what is in RMIT’s sculpture collection makes an exciting sculpture exhibition that tells the history of sculpture in Melbourne from plaster casts of the Parthenon frieze, through modernism to contemporary sculpture. The exhibition also supplements the Inge King retrospective at the NGV (see my post) with more work by King and other members of the Centre Five group, so I would urge anyone going to the King exhibition to also see Revelations.

It is a great time to see sculpture exhibitions in Melbourne.


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