Monthly Archives: November 2022

Counihan Gallery summer show 2022

The end-of-year exhibition at the Counihan Gallery’s summer show has the theme of Future Tense.

Tense? I am still masked up amidst a crowd of people at the opening, still concerned about the current wave of COVID. I can’t remember ever seeing so many people in the gallery.

Why am I writing about this exhibition and not others? Hyper-local interest, this is where I live, with the added bonus that Merri-bek has more than its fair share of visual artists living in it. Congratulations to Emily Simek, the recipient of this year’s Noel Counihan Commemorative Art Award, and to Stephanie Karavasilis and Carmen Reid for being highly commended by the judges.

But at my back, I always hear four horsemen drawing near. War, plague, famine and death have been harnessed to the chariot of unimaginable climate catastrophe. Many of the works in the exhibition were activist, most environmental, followed by disability. Pamela Kleemann-Passi Trolley Trouble in Troubled Times records an action by Extinction Rebellion that took place at the intersection just outside the gallery. The fluttering flags contrast the still bodies, their bright colours stand out against the grey tarmac, concrete and stone. It is a combination of protest with aesthetics.

Of course, there was a wide range of interpretations of the theme in a great variety of media and styles, including imitations of cubism, futurism, abstract expressionism and Francis Bacon. However, there wasn’t enough about the location. Kyle Walker’s photographs, The Cat, capture scenes of everyday Brunswick. The photographs are well-composed and poetic without being sentimental.

Another with a focus on the local was Carmel Louise, The East Brunswick, combining photograph and mixed media in a collapsible accordion pop-up book. It is based on the original East Brunswick Hotel and was meant to be critical of the recent high-rise developments along Lygon Street. However, this criticism is muted by the beauty of the paper folding.

Carmel Louise, The East Brunswick, 2022

Bright colours abounded this year; I suspect the cumulative result of many lonely lockdowns. One of these bright works was Claire Anna Watson’s Once when I was six III. An inflated plastic creation involving a mirror, lime green ring, floaties and aubergine. This a contemporary art take on a yoni and a lingam, complete with the aubergine in the middle – emoji reference. Air and inflation have been art components since Duchamp’s Air de Paris (50cc of Paris Air) and early Koons buoyancy basketballs in One Ball Total Equilibrium Tank (Spalding Dr J Silver Series). And Watson has used vegetable material in previous work. Her artist statement records “floating, hovering between an abstraction of the mind and a nostalgia for what was.”

Claire Anna Watson, Once when I was six III, 2022

While the artists in Future Tense were looking forward, I was reminiscing. Not that want to use Van Der Graff’s Time Pair-a-Docs to go back to the past, but for me, there was a note of past tense in the show. That sentimental, seasonal event, end-of-year feeling, but that’s just memories. seeing new work recognisably by artists I know or have previously written about conjuring ghosts of past years, the evoking of spirits. Shout out to Alister Karl, Julian DiMartino, Marina Perkovich and Carmen Reid glad that they are still alive, creating art and kicking.

Although it is the season of end-of-year shows, the Blender Xmas Party and the 32nd annual Linden Postcard Show are coming up. I am going to take a summer break (if ‘summer’ is the word I’m looking for, given the recent wintery weather).

Thanks for reading.

Cheers, Black Mark

Leon Van Der Graff, Time Pair-a-Docs, 2022

Kangaroo Apple

In a small garden beside a road to the Frankston foreshore, near a beachside restaurant, there is a giant Kangaroo Apple fruit. Not another giant roadside tourist attraction, like the Big Pineapple, but a sculpture by prominent local Indigenous artists Vicki Couzens (Gunditjmara) and Maree Clarke (Mutti Mutti/Yorta Yorta/Wamba Wamba/Boon Wurrung). Unlike the big things, the Kangaroo Apple is not painted to appear real, although there are two green patinas on the surface of the bronze, a dark green for the fruit and a lighter green for the stem.

Kangaroo Apple, Vicki Couzens and Maree Clarke, 2009

Couzens and Clarke have often collaborated on public art, from Frankston in Melbourne’s east to Footscray in its western suburbs (sometimes with other Indigenous women). There is Kangaroo Apple in Frankston from 2009, Frog Dreaming in Point Cook from 2009,  Spirit of the Land in Oakleigh from 2010, and Wominjeka tarnuk yooroom (Welcome bowl) in Footscray from 2013. (For more about Wominjeka tarnuk yooroom see my post about Public Sculpture in Footscray. And my review of the Maree Clarke exhibition at the NGV, the first solo show by a living Victorian Aboriginal artist at the NGV.)

The sculpture is of the bulbous fruit of the Kangaroo Apple (Solanum laciniatum) a native shrub with purple-blue flowers, represented by the star-shaped floret on the side.  It is a symbol of the arrival of ‘eel season,’ a harvest festival where women would wear the Kangaroo Apple flowers.

Kangaroo Apple was part of the Frankston foreshore renewal public art project. It is an example of relevant public art city councils should be investing in.  It is not a major landmark sculpture for the area (nor in the career of the two artists). It is a way marker showing and reminding us where we are and where we have come from. A sculpture connected with the location, with connections to Country that give added meaning to a place.


Off The Grid

“Off The Grid: Invader and Melbourne Street Art in the early 2000s” is a small exhibition with a lot of depth at the City Gallery in the Melbourne Town Hall. Curator, writer and photographer Lachlan MacDowall discovers ingenious connections between the inventor of computers, Charles Babbage, the surveyor of Melbourne’s streets, William Hoddle, the game Space Invaders and Melbourne street art in the early 2000s.

The salvaged work by Invader in Off The Grid

The hub of these connections is the French artist Invader, who unites computer graphics with Melbourne’s grid of streets. His grid of tiles depicts aliens from the Space Invaders game. In 2002 Invader was in Melbourne, sticking his work around the city; a year before, Banksy visited in 2003. The grid and alien invasion also come together in Melbourne with the imperial occupation of the Kulin nation’s lands.

Invader’s work can still be seen on the streets, and the ceramic tiles have aged well. One of Invader’s pieces has ended up in the collection of the City of Melbourne due to it being salvaged from demolishing the part of the Melbourne Arts Centre next to Princes Bridge. Invader’s work can still be seen on the streets, and the ceramic tiles have aged well. 

MacDowall also refers to local artists Crateman, Sunfigo, GoonHugs, and Andy Uprock, “… combining grids with everyday materials – milk crates, twine, plastic cups and stickers”. Pointing out that these art works “display their source code, inviting the viewer to copy and remake them.” An invitation many people took up, resulting in a diverse, dynamic and inventive street art scene.

This “open source ethic” of street art in the early 2000s has largely been replaced with closed-source proprietary techniques and locations of the muralists who obscure the grids of their enlargements. These do not invite the viewer to copy; the scale and techniques are too intimidating to try. This is intentional, for there are commercial opportunities that weren’t there for street artists in the early 2000s.

Although the exhibition is small, just one Invader piece, half-a-dozen photographs, a couple of documents, a video, and some wall text, the small booklet accompanying it is a little gem. There is an essay by MacDowall taking you deeper into the subject accompanied by more of his dramatic photographs of street art along with a map of Melbourne locations of Invader’s work. Unlike so many exhibition essays MacDowall’s Off The Grid was an engaging read (all the quotes in this post are from that essay).


Pt Leo Estate Sculpture Park

At the end of a road in a vineyard, a massive Inge King sculpture stands at the entrance leading the visitor into a stunning curved space with a bottle tree in the middle. Inside is a wine bar and ticket office. Beyond a sculpture park with works by prominent local and international sculptors.

Pt Leo Estate is a private sculpture park on a vineyard on the Mornington Peninsula. It plays its part in attracting visitors to the vineyard, where the sales at the cellar door would be worth more than the ticket sales to the sculpture park.

It is a collection interested in prestige, and showing off the collection is part of the reason for having it. Although the sculpture park was only established in 2017, the wealthy owners had collected sculptures for decades before. It consists of a standard set of notable international and local sculptors, Julian Opie’s White Horse, an Anthony Gormley behind the ticket desk, and some of the familiar names in the history of Australian sculpture. About half a dozen sculptures by Robbert Kippel stand amongst a grove of trees.

However, Inge King and Deborah Halpern are the only women in a collection dominated by male sculptors. It reflects the owners. It is a rich man’s collection. Bright colours, surreal creations, pop sensations, elegant forms and plenty of figurative pieces. Unlike public collections, there is no obligation for a private collector to have a broad or representative.

The sculptures have some magnificent borrowed scenery, with views of Phillip Island and the entrance to Western Port Bay. There are two well-laid and comfortable walking trails around the park, a smaller loop and a longer one. The formal park setting with its mown lawns, clipped hedges and even tufted grass cut into cones. The sculptures are plonked in this landscape. At best, the landscape manipulated around them, a grove of trees or a pond. This is to be expected for modern sculptures. The modern world imposed itself on everything, but the setting doesn’t bring out the best in contemporary sculpture which are often more site specific.

Lenton Parr, Vega

Modern sculptures attempt to control the landscape by extending form into space. Fabricated metal forms framing views. This can be seen in Vega by local sculptor Lenton Parr. In this sculpture, Parr is influenced by his contemporary, the British sculptor Anthony Caro. And the influence of Caro is evident in several other sculptures in the park, including Robertson-Swann, and Michael Le Grand.

The collection is not without humour or a sense of fun. There is Richard Tipping’s sign, Private poetry , and an Erwin Wurm fat car. Neither of these works can be taken as serious or political; in the luxury surroundings, they can only be taken as ironic. Les Kossatz’s sculptures are often humorous and political; however, Laban’s seal III makes vague references to contested land through obscure Biblical references.

Adrian Murik, Impulse

The highlight for me was the pond with Adrian Muriks’ Impulse. Two of the sculptural elements are floating like masses of soap bubbles, one a duck-like form, moving around depending on the wind and creating an ever-changing scene. His white biomorphic forms are joyful and fun.

I’m not sure why I resisted tasting and reviewing the estate’s wine, perhaps sticking to my actual area of expertise.

Andrew Rogers, Rise 1 with other sculptures in background

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