Tag Archives: Coburg

Go Crazy

It is always a mystery about the identity of graffiti writers and street artists. I walked around a street corner in Coburg; there was Anime Flower at work with pastel crayons. Anime Flower has been writing things like “be kind” around the neighbourhood in colourfully decorated block letters. All I should say is that the writer was not from the usual demographic of taggers, graff writers and other artistic miscreants found on the streets. I didn’t want them to feel intimidated by my presence, so I didn’t stop. I just said, “Hello,” all friendly-like behind my mask and sunglasses and kept walking.

The great rock critics Lester Bangs and Nick Kent were proponents of the proposition that rock’n’roll was for losers. That it was a great failure gesture. At its best, rock’n’roll was a bunch of losers who managed to create great art and, at its worst, was commercial sabotage of all that is human and decent. Likewise, street art and graffiti are for losers. Like playing in a band, doing some street art will probably be amongst the best things that they do for themselves.

During the lockdowns, I have become more familiar with the work of many local graff writers, including the local UBM/WWW crew. I love the WWW crew, the self-proclaimed World’s Worst Writers – who will take that jester’s crown away from them? Calypso is so friendly, with a smiley face along with the tag.

Bootleg Comics and Cale Jay Labbe collaborating on some intensely crazy black and white paste-ups. Bootleg Comics is a Melbourne visual artist known for using pop culture iconography. Savage reflections of images and tropes: horoscopes making as much sense as an anti-vaxer but with way more insight.

“You know there ain’t no devil, just god when he’s drunk”, crones Tom Waits. God© may be drunk. I’ve seen a lot of God©’s work around Coburg. There is plenty of bad craziness (like anti-vax slogans, Lush mural upskirting Marilyn Munroe, any mural by Lush… fuck him) along with good craziness evident on the streets. Bad craziness and good craziness, like bad taste and good taste; do I want to be Polonius and distinguish between different kinds of madmen? Here Lester Bangs distinguishes between the alternatives of: “working to enlighten others as to their own possibilities rather than merely sprawling in the muck yodelling about what a drag everything is.” (Bangs “The Clash” Psychotic Reactions and Carburetor Dung, 1987, p226) So I’m glad that Anime Flower, the WWW and God© are out there on the streets of Coburg. And to quote Prince’s eulogy “for this thing called life. Let’s go crazy!”


Under the elevated rail construction

For 16 months plus I have been without my closest bicycle path that runs along the Upfield railway. Parks and numerous trees along it destroyed. All to construct an elevated stretch of rail-line so that cars wouldn’t have to stop for the trains, trains that only run every twenty minutes at the best of times.

There is no public art for either of the two new stations at Moreland and Coburg, whose cavernous entry halls are empty, bare, and boring. Nor any for the area under the railway line. Monochrome painting of pillars, ordinary park benches, paving and lighting do not qualify. During construction, there was a pathetic attempt at art washing with images by local primary school children displayed on the fence around the wreckage of Gandolfo Gardens.

I have had the construction noise in my ears and the grit blowing in my eyes for the past year. Every day as I walk around the fenced off-site, I thank Daniel Andrews, Jacinta Allen, and the Level Crossing Removal Project in my own special way for the inconvenience. And for imposing their bland aesthetic on the area, not in small patches as the graffiti writers have been doing in a collaborative effort for decades, but blocks.

However fences and construction site security, don’t stop outlaw artists; there are always creative solutions. Gies was the first to apply aerosol paint to the north end of the new construction, at the Bell Street with a massive ‘bomb’ in three colours. And Sped was the first to tag the southern end of the tracks. The destruction of their work doesn’t remove those achievements.

Only one feature of the architecturally incoherent new stations is appealing. The platforms of the two new stations have excellent blue-black dust-covered surfaces set at 45 degrees. Perfect for writing your tag or drawing pictures in the dust, you don’t need a pen; the dust is that thick. For graffiti is the traditional visual culture of the area going back for over twenty years when Psalm and others painted the back fence at Coburg Station. So it was good to see the work of some locals, including, while I’m mentioning veteran street artists, Braddock! 

Braddock “Blue seems sus”

I dream that I can once again bicycle on a path to Brunswick. And that someone will take a fire extinguisher filled with paint and spray the underside of the rail-line. I hope that soon colourful art will cover the concrete: pillars yarn-bombed, the chainlink fencing covered in radical cross-stitch. The area needs to be reclaimed by the public, as some of it once when locals created Gandolfo Gardens in an act of guerrilla gardening.


COVID-19, street art and graffiti

Melbourne street art and graffiti riffs on topical themes, and, currently, the COVID-19 pandemic is the most topical. And there has been a mix of politics and personal responses in street art and graffiti.

This is not a collection trawled from the internet, to attract page views without knowledge or information on the background, but a limited selection that I have gathered on my walks in Melbourne, Brunswick and Coburg. Some of these images have appeared in previous blog posts, but there is also some new work. Cell Out paste-up in Hosier Lane refers to the AstraZeneca vaccine’s problems.

In a surprising practical move, the City of Melbourne stuck social distancing markers in Hosier Lane. It is one of Melbourne’s tourist hotspot, but without international tourists, there are now far fewer people in the lane.

I saw a couple of visual references to the virus combined with other images. The grenade is obviously explosive. The tennis ball is a reference to the 2021 Australian Open spreading the virus, remembering that the state government favoured sporting events over culture consistently during Melbourne’s several lockdowns.

Stickers were the most political media on the street during the pandemic. They focused on state politics. Although State Premier Daniel Andrews gained many fanatical supporters during the pandemic, he was also hated by others. (I have the opposite view to Daniel Andrews on many things. He supports the police and cutting down trees, whereas I support cutting down the police and not trees.)

Given Victoria Police’s history of racism and connection to extreme right-wing politics, combined with the Black Lives Matter movement, I was surprised that I didn’t see more graffiti and street art about the use of police to enforce the lockdown.

Other pieces were more personal and representing the change of image from wearing masks. Given that graf writers tend to mask up anyway it wasn’t much of a change.


Street Art Sculpture 11

This has been a big year for unauthorised public sculptural artwork; both for little and larger works, veterans and novices.

The Little Librarian up-cycles old books into new art using books for the support for the tiny installations. Unlike Tinky, The Little Librarian doesn’t use puns. The old books used would have been thrown out but have been made into something before being placed on walls. They don’t last long outside, due to the weather and, I assume, being ripped off by a passer-by. Tinky has continued to install miniature scenes on the street. Still, she is not the only street artist in Melbourne using HO scale figures.

There is a golden young woman’s head on a slender concrete plinth on the island inhabited by ibis in Coburg’s Lake Reserve. Last year a similar golden head of a man appeared atop a similar concrete plinth in Northcote’s All Nations Park (The Age reports).

The new sculpture’s placement on the island must have been strategically tricky as there is no bridge. This location avoids the Northcote bust’s problems whose plinth was knocked over shortly after it was installed. The Darebin Council restored it, deciding that it would remain in place for a year and then be auctioned with the proceeds donated to homelessness services. 

Elsewhere in a city mainly under quarantine lockdown for much of year children created spoonvilles. These settlements of decorated wooden spoons are open contribution sculptural works that invite others to participate. 

Some graffiti writers, like Cheros, expand their techniques, creating three-dimensional tags.

And ceramic works continues to feature as one of the more surprising mediums for street art be it from Discarded or other, unknown artists.

For more about unauthorised public sculptures see my earlier posts:


Over 2020

At the start of March, I was at a packed exhibition opening at Beinart Art Gallery in Brunswick. At the time COVID-19 was in the news but not in Australia. There were so many people at the exhibition it was like rush hour on a Sydney Road tram. I thought that the crowd was such a potential vector for all kinds of diseases and that this art party would be over.

Unknown local artist, 2020

Along with the weeks of bushfires, and months of lockdown, among the many things that I didn’t expect from the year:

… I didn’t expect that in the whole year I’ve seen about a dozen exhibitions, plus one art fair – Can’t Do Tomorrow. In other years I might see a dozen exhibitions in a single fortnight.

… I didn’t expect to be writing obituaries for Melbourne artists, Janet Beckhouse and Adrian Mauriks. I realised that they needed to be written as the newspapers wouldn’t be covering it.

… I didn’t expect that people would be so interested in public art this year. Part of this was due to people walking more as exercise during lockdowns and consequently seeing more public sculpture. It was also due to a post-colonial interest in public statues became a mainstream political issue this year, and I am so glad that it did. Statues that celebrate colonialists and other racists were removed in Belgium, Canada, NZ, South Africa, UK, US, Martinique, Cameroon, as well as, in other places. No statues or memorials have been removed in Australia. It is one of the many disgraceful and disgusting features of Australia and symptomatic of this conservative country’s many deep-rooted problems. (See my post on the Statue Wars 2020.)

And amongst everything that I didn’t expect, the least surprising events of the year was that the arts and tertiary education in Australia were being abandoned in the COVID-19 crisis. Gambling and Pascal’s wager (religions) are more important, for they were given more support and exemptions during lockdown; a position contrary to all medical evidence. And the state premier, Daniel Andrews cutting down more trees, including one of the Djab Wurrung Trees, in an egregious act of cultural vandalism. Giving less reason for optimism than a Leonard Cohen song. 

Now that I almost at the end of the year I have no plans to write any more blog posts until the new year. So, finally here are a few photos to sum up the year.


Monument to Now: MoreArt 2020

Monument to Now: MoreArt 2020 is Moreland City Council’s eleventh annual exhibition of public art. This year it had several flaws, chiefly that it is not an exhibition of public art but an exhibition of contemporary art in public space. For public art should be for all the public, not only a contemporary art audience with time, mobile phones, headphones and a tertiary education.

detail from Patrick Pound’s The following

Contemporary art appropriates and colonises sites taking them over and exploit them for art. “Monument to Now” suggests a contemporary version of a triumphal arch celebrating this artistic colonisation.

Every year the curator and the participating artists in MoreArt put on a set of blinkers so that they seldom see the street art, graffiti and guerrilla gardens that are going on along the bike path. And there is great, long guerrilla garden along the bike path featuring seating areas, free libraries, children’s play area and lots of junk used for pot plants. Coburg Urban Forest is very active in this area.

Officially MoreArt 2020 goes along the Upfield Bike Path from Coburg Station to Gowrie Station but actually only from O’Hea Street to Forest Road. This northern location is not one of the problems with the exhibition. It is a good ride through some interesting areas with plenty to see including an old mortuary train carriage in the Fawkner Cemetery, yellow ribbons dedicated to free Julian Assange and pieces by Discarded.

This is in contrast to MoreArt 2020, where there was often nothing to see. The title of Liquid Architecture’s work Songs you can’t hear summed up much of the exhibition. Invisible public art doesn’t work like invisible art in an art gallery. To expect that the audience is going to have brought headphones and be willing to spend over an hour walking and listening is a bit much. I came on my bicycle, and the dark clouds threatened rain. So no to the work of Catherine Clover’s Lament, Sarah Walker’s Legs Like Pistons, or Emma Gibson’s A walk from station to station.

I simply couldn’t find Adam John Cullen or Mira Oosterweghel’s work and consequently I only saw two of the works in MoreArts. Patrick Pound’s The following, a series of posters stuck to the bike path; found photographs of women seen from behind and almost predictably, there was a woman with her shopping walking up the hill ahead of me. And, Michael Prior’s trio of simple kinetic sculpture Flos Movens enhancing the space next to the Renown Street Community Orchard. They were engaging even though only one was working fully due to limitations of the photovoltaic cells and the gunmetal grey sky.

Michael Prior Flos Movens

MoreArt 2020 was a contactless, COVID-safe way to see an exhibition just not an exhibition that I would recommend to many people.


Lockdown Psychogeography in Coburg

Reports of various psychogeographical walks around my neighbourhood in Coburg. I don’t know how many times I’ve been around these streets during this lockdown or even what day it is. Of course, I saw some fresh street art, some other stuff and cogitated on the conundrums of Coburg’s street design. I don’t know if it is valid psychogeographical if you aren’t drunk or stoned, but I could write a book about what I don’t know.

The streets of Coburg, laid out in the nineteenth and early twentieth centuries, are a grab bag of experiments in suburban road design. Wide nature-strips, no nature strips, broad central road division with a park area dividing a street. There is a single road with the backs of houses on one side and the fronts of houses on another. There is no uniformity to even the width of the streets, one even suddenly narrowing by about half a metre at one point.

Spotted the first COVID-19 street art, a sticker, a virus grenade, I’ve seen. And more of the work of the UBM Crew; the UBM crew includes Luna who alternates between graffiti and street art. (I should write a blog post about the artists who do both street art and graffiti because there are a few; Stanley is another example. I like artists who change style because it shows that they are developing.)

In case anyone was wondering graffiti artists do paint their own fences when they can.  One aspect that is worth mentioning about street art is that it is incredibly satisfying for the amateur part-time participants. Unlike other art forms where amateurs and professionals have different venues, audiences and public awareness, they meet on the street like masked pedestrians. There are many successful, amateur, part-time artists in street art; no doubt more than any other area of visual arts. Perhaps a subject for another post.

I could write a blog post about all ideas I’ve had to write blog posts. You will know that I am getting desperate when I write one about the murals of Coburg. There is this terrible painting of Marilyn Monroe, with her skirt blowing up of course, on the side of some restaurant that I never want to see again.

Aside from street art and graffiti, what else have I seen on the suburban streets of Coburg? A few pleasant front gardens, a strange sculpture and a lot of tasteless, late-capitalist stuff. (Who was that masked man?)


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