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Category Archives: Art Galleries & Exhibitions

Two Landscapes: Hancock & Smith

It is rare that a landscape moves me, so when I’m impressed by two exhibitions of landscapes it is worth considering why. I don’t find a lot of meaning in landscapes possibly because I am not attached with emotional investment to any place. However this week I saw two exhibitions of landscapes that were full of meaning.

Evan Hancock, Lake Mountain Victoria, 2018

At first I didn’t know what I was seeing, some kind of a landscape but what were all those vertical white marks? At Forty-five Downstairs a series of black and white photographs, “Light.Ash.White” by Evan Hancock that marks the tenth anniversary of the Black Saturday fires. Each of those vertical white marks was a dead tree.

On February 7 to March 14 in 2009 Kinglake, Marysville and the Lake Mountain regions burnt. The catastrophic loss of trees, scars across a landscape at a scale almost too vast to comprehend. Hancock was not aiming for an emotional response from the viewer, nor are his clinical. Only in a couple can you even see a road often there is only nature to give a sense of scale and time to the images. The photographs convey the vast emptiness.

A few small documentary colour photographs lying flat on plinths in the middle of gallery provided context for the exhibition.

It seems a little ironic that the photographs were frame in black Victorian Ash timber.

Peter James Smith, Of Twilights Repeated Measure, 2018

Flinders Lane Gallery is showing “Round Many Western Islands”, by Peter James Smith. Smith is a polymath: BSc (Hons), MSc, MFA, PhD, the former Professor of Mathematics and Art, and Head of the School of Creative Media at RMIT University. His painting are post-modern landscapes; romantic-style oil paintings of seascapes and landscapes with white notes, like chalkboard notes for a lecture, diagrams and words written on top of them. The contrast between the rich, glossy surface of the landscapes paintings with the dry, matt white matches the contrast the interior comprehension and the exterior views of the scene. Here Smith’s encyclopaedic knowledge finds connections between science and art, mathematics to poetics, from ancient Homer’s tales of the resourceful Odysseus to the Opportunity Rover on Mars, from the ancient Aboriginal footprints in the Lake Mungo Desert to Neil Armstrong’s footprints on the moon, and more. A lifetime of knowledge and travel condensed into an exhibition.

This will be Flinders Lane Gallery’s last exhibition in their current location before they more to the Nicholas Building.

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Confined 10

I’m standing in line, about to buy a painting when the woman just in front of me buys the very one that I wanted. She must have excellent taste but I am so disappointed. I look at the exhibition catalogue again, before heading to the bar for a consolation drink. The same woman is just in front of me in the queue for the bar, fortunately she didn’t drink the bar dry.

Thursday, January 31 is opening of the Confined 10 in the Carlisle Street Arts Space at the St Kilda Town Hall. Confined 10 is the annual exhibition by The Torch, an organisation that supports Indigenous artists currently in or recently released from prisons in Victoria. The gallery is packed to capacity, there is a security guard only letting a hundred people in at a time, and there are hundreds more people in the foyer and the ballroom.

The walls of the gallery are full of paintings, hundreds of paintings; amidst all these you would think that I’d be able to find another painting that I liked. However, there are now there are more dots on the walls, not more dot paintings but red dots to indicate that a painting has been sold. The paintings that are just designs, without any images of animals are selling very well.

“It’s what the painting represents more than the painting.” I overhear the familiar voice of for Premier Jeff Kennett. He is talking to someone else just behind me in the crowd but I’m not surprised to see him. Jeff Kennett has been the Chairman of the Torch since 2016 and ensured that the law was changed so the Indigenous prisoners could sell their art. I don’t know what Kennett means; is he referring to the humanitarian value of helping people in need, or that Indigenous culture is more than just a painting. But I am still feeling the loss of the painting that I wanted to buy, its colours, its designs, Kelvin Rogers bold signature with date.

I shouldn’t have taken so much time looking at whole exhibition, photographing the couple of quirky works, like the wooden model motorcycle by Shane J, and gone straight for the buying. But the art critic in me wanted to look at variety of art on exhibit. For the last two years Shane J has been exhibiting some impressive constructions made from matchsticks and ‘paddle pop’ sticks.

Anyway, enough of the regrets, the speeches are starting in the ballroom. Kent Morris, the CEO of the Torch told the story of how an exhibition, a decade ago featuring 18 artists and 25 art works, grew to its current size with 217 artists and 230 art works. Followed by more speeches from Auntie Caroline, the Mayor of St. Kilda Dick Ross,  and Uncle Jim Berg, Gunditjmara Elder. The award winners were announced: Ash Thomas, Kim Kennedy, Chris Austin, Paul Leroy McLaughlin, Lodi Lovett, Veronica Hudson, and Graham ‘Gil’ Gilbert. 


Perth’s Fake Pollock Exhibition

Considering that there was an entire fake Kusama and Murakami exhibitions in China earlier this year; remember there was a fake Jackson Pollock exhibition that toured Australian in 1978. 

Bohdan Ledwij from Alfred Cove in Perth claimed to be an entrepreneur and art dealer who had amassed a collection of Pollock paintings alleged insured for $4.1 million.  Lewdij presented an exhibition called Paintings by Jackson Pollock in Perth. The exhibition was opened by Elwyn Lynn, the then Curator of the Power Gallery of Contemporary Art at Sydney University. Many other people were taken in by the exhibition including Andrew Saw, The Australian art critic in Perth, who reviewed it for the paper.

It is hard to comprehend that people were taken in by the exhibition, but remember, the people of Perth were amongst the last Europeans to encounter modern art and that the first exhibition of actual modern art in Perth had only been a few years earlier. The name of the American painting Jackson Pollock, if not his paintings, were familiar because of the massive publicity in 1973 when the Australian National Gallery purchase of Blue Poles (Jackson Pollock’s Number 11, 1952).

However, the exhibition didn’t just fool the hicks of Western Australia.  Lewdij then offered Ken Reinhard, principal of Alexander Mackie College of Arts, a teacher training college in Sydney to transport the exhibition to Sydney. Ken Reinhard later told reporters: “I have to admit I wouldn’t have known an original Pollock from a bull’s foot in 1978 but to get a chance to put on a free exhibition of Pollocks seemed too good to pass up.” 

It was only when the Sydney exhibition about to open that Sydney critics express doubts about the authenticity of the decoratively paint dripped canvases. Terry Ingram the arts correspondent for The Australian Financial Review was one who doubted “surely are not those of the great Jackson Pollock, we have come to know, the untidy, neurotic genius who lived in a pigsty and painted Blue Poles.” 

New York Experts were contacted; an incredulous Clement Greenberg and Lee Krasner were shown photographs of the fake Pollocks. The Sydney exhibition cancelled and Bohdan Ledwij claiming that they were going to the US for authentication. It is hard to know what was going on, was it a practical joke or a scam. Unlike the fake exhibitions in China there was no attempt to scam the public or venues and the exhibition appears but it would have been an expensive joke considering the transport, venues and materials.

P.S. The following year, on Wednesday 3 May, 1979 Bohdan Ledwij was sentenced to six years jail, with a minimum of fours years before parole. He had been found guilty of seven charges of stealing $436,156 from Bunbury radiologist Dr. Peter Frederick Pratten. Ledwij was pretending to be buying paintings for Dr Pratten  instead Ledwij was using the money himself. 


Wegman’s dogs

“Sit! Stay! Stay Man Ray!” (Not Man Ray, the artist, but Man Ray, William Wegman’s first Weimaraner dog.) “William Wegman: Being Human” is a survey exhibition of thirty years of photographic work at the NGV International. Wegman’s photographs combine two things that he enjoys: art history and Weimaraner dogs. Wegman’s Weimaraner dogs are his willing, loyal and obedient muse.

William Wegman, On base, 2007

Does the dog’s expression change when it is wearing a wig or standing on a box? Or, am I just projecting my perception of emotions onto the dog? What are his dogs thinking when he photographs them? As Wittgenstein wrote: “If a lion could speak, we could not understand him.” Meaning that the life of another animal is structured so differently to our own that even a shared language would not be common ground for communication. Wegman believes that his second dog Fay Ray had pride in her work, her balance and poise; maybe she did, maybe she just want to please him. One thing that I am sure about that they are not thinking about is art history or how it can be funny. And Wegman’s photographs are funny and his dogs are the ultimate deadpan-looking ‘straight man’ in this routine.

If we have learnt anything from the social media it is that pet photographs dominate, so it is not surprising that Wegman’s photographs are popular. Wegman has been photographing his dog since 1970, long before social media. Large format Polaroids create a unique photographic print, the complete opposite of digital photography.

I’m not into dogs, I am more of a cat guy and I not into putting clothes on animals. I’m not sure if this simply an aesthetic choice, or a matter of taste, but that it might reflect deeper ethical and existential considerations. So there is too much Cindy Sherman and not enough Sol LeWitt in this exhibition for my taste, however, I still enjoyed looking at Wegman’s light-hearted take on art history and his dogs.


Clement Meadmore, a mid-century modern hipster

With his well-groomed full beard and neatly barbered hair Clement Meadmore looked like a hipster. Except this was in 1950s Melbourne. In the photograph he is sitting on a mid-century modernist chair, one of his earliest designs, the steel rod and corded dining chair created in 1951.

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“Clement Meadmore: The art of mid-century design” at the Potter Museum of Art is a survey exhibition about Meadmore as a designer rather than a sculptor for which he is better known. Dean Keep and Jeromie Maver’s exhibition starts with Meadmore entering Melbourne Technical College (now RMIT) and ends in 1963 with the last chair he designed, his leather Sling Chair, and his moving to NYC to do abstract sculpture. It focuses on Meadmore’s furniture design along with his interest in jazz and his early sculpture development.

It is also a look at how modern Melbourne was created. Meadmore’s design of the Legend Espresso and Milk Bar at 239 Burke Street, chairs, lamps and decor. Including seven large abstract paintings by Leonard French that glow with radiant colours. French also designed the matchbooks, menus and cups for the Legend. This exhibition is a must-see for anyone enthusiastic about the early Australian jazz scene. Meadmore had more than just a passing interest in jazz, a photo of him playing the washboard in 1952 with thimbles on his fingers. A wall of record covers that he designed for Swaggie Records.

Meadmore’s designs were practical and pragmatic both for the designer, manufacturer and the consumer. It was important for the designs to be practical for the manufacturer because often he and his wife were making the machine-made modern aesthetic by hand out the back of their shop. It was an efficiency and pragmatism that he continued with his sculptures that could be transported in shipping containers.

Clement Meadmore, Devish

Clement Meadmore, Devish

NYC was the right place for Meadmore to go as it had jazz and abstract art whereas both were still derided in Melbourne. It was the attitude of conservative figurative artists, including Blackman, Boyd, Brack, Dickinson, Perceval and Pugh who provided additional incentive to leave. If Meadmore was living in Melbourne today I’m sure that he would not have left as he would be able to have an international career as an abstract sculptor and be enjoying the jazz scene. 

Clement Meadmore: The art of mid-century design

Clement Meadmore: The art of mid-century design


Moreland Summer Show 2018

I feel obliged to take a look at Moreland Summer Show 2018 at the Counihan Gallery because I live in the area, to keep up with what the local artists are doing. However, instead of trying to write about the whole exhibition I will be looking at three of the exhibitors: Wendy Black, Benjamin Sheppard and Yoshi Machida.

Wendy Black Sea Eagle over Tamar

Wendy Black Sea Eagle over Tamar 2017-18

Wendy Black’s Sea Eagle over Tamar is painted with spray paint enamel on board, what would be called a stencil piece on the street. But it is not on the street and Black is not a street artist and it is worth point out the elements that would be unusual on the street to contrast the differing aesthetics. Firstly, it is a landscape a genre rarely used on the street, secondly there are many rough elements, blistered or bubbling paint, evidence of masking tape that would be avoided on the street but give Black’s painting warmth. For more on Wendy Black see my blog post about Courtroom Artists.

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Benjamin Sheppard Sugary Teeth 2018

In Benjamin Sheppard’s Sugary Teeth the missing Steyr AUG, the infantry rifle of the ADF, leaves a blank space amidst the profuse ballpoint pen marks. This blank space illustrates the negative concept of peace, as in the absence of war and conflict. Intense biro work is typical of Sheppard’s work: I’ve been intending to write something about his art ever since his exhibition Le Coq at the Counihan Gallery in Brunswick in 2012. Along with fantastically detailed illustration of cockerels in biro there were abstract passages of intense random lines in his drawings; the division between the abstract art and the illustration has simply ceased to exist in the minds of artist. In MoreArts 2014 he had an installation at Jewell Station involving both newspaper headline displays and a full billboard. For more on Benjamin Sheppard read an interview with him on The Art and The Curious.

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Yoshi Machida Dialogue (First Step for Peace) 2018

The Moreland Summer Show has the usual motherhood statement theme, this year it is “Peace and the Pursuit of Happiness” and Yoshi Machida’s Dialogue (First Step for Peace) presents a kind of buddhist kōan on the theme. Notice that neither the frogs, the cat nor the monk has said anything. I assume that the  monk and the cat aren’t even registered on the frog’s consciousness because they aren’t moving, that the cat wants to kill the frogs and that the monk is considering how to start a dialogue.


Opie @ NGV

Julian Opie’s art is cool. It seems essential to his aesthetic. Feeding back from his cool is Opie’s association with pop music. He did the cover the of Blur: the best of (2000) and LED images for U2’s Vertigo world tour (2006).

Julian Opie, Walking in Melbourne 1, 2018

Julian Opie, Walking in Melbourne 1, 2018

There isn’t much to his images. Each has been reduced to the essential lines and shapes. The images are refined to minimise details. They are refined again in their manufacturing. Vinyl on wooden stretcher or laser cut anodised aluminium; processes that doesn’t leave a trace of the human hand.

From the LED displays of people walking in the forecourt to the fish swim across the NGV’s water wall entrance; the self-titled Opie exhibition leads the visitor into the two galleries of his work and onto the NGV Kids part. The NGV Kids interactive part was designed in collaboration with Opie; do your own portrait in the style of…

Julian Opie, View of Moon over Manatsuru peninsula, 2007

Julian Opie, View of Moon over Manatsuru peninsula, 2007

In the exhibition there is a respectful bow to Japanese art in his View of Moon over Manatsuru peninsula, 2007. Two LCD screens replace the traditional byōbu folding screens of rice paper but the format of the composition is the same. The lights reflected on the rippling water, the flashing lights of a plane flying in the star light sky, the moon still in the sky. There is something cool about refining kitsch lighting-feature landscapes; falling just short of being vacuous, insipid and vapid is cool.

Who are these people walking, running, jogging, dancing in Opie’s art? Faime, Marrie Teresa, Bruce and Sara? …Oh, and there is Julian in a t-shirt. There are two works titled: Walking in Melbourne 2018. I do a lot of walking in Melbourne; maybe I could be one of the people in the picture, maybe not.

The people are the same as Opie’s sheep or minnows. His landscapes, even when of a specific location, are generic enough to be anywhere. It is not great art but they are cool.


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