Coz you’re a bore

When I saw the Guggenheim Museum in Bilbao in 2000 I should have been paying more attention to “The Art of the Motorcycle”. The exhibition in the main hall was an exhibition of motorcycles, not modified or customised, just a showroom display. I thought that I was seeing the triumph of corporate design culture over art. Rather this is not about a capitulation of institutional gallery’s reputation that exposes their lack of any educational, aesthetic and moral integrity. The exhibition summed up the attitude of the institution; anything to get the corporate sponsorship, anything to get people through the door.

Different art galleries will tend to exhibit different types of art depending on their objective (see my post on types of art galleries). Some of the crypto-objective of the NGV are now more obvious from its choice of exhibitions — it is all about marketing.

The NGV exists as a high end venue, to sell fashion, market cars (it is the ultimate car showroom in Melbourne), and, most importantly, to be a tourist attraction for the city. The infotainment in a spectacular location to be rented out for corporate and wedding receptions. As such it is little different from the MCG or Flemington Race Course.

The visual arts, like music, is a vast field of styles, techniques and purposes in which there is everything from advertising jingles to some of best things made by humans. There are works that are very popular and make large amounts of money. There are works that can help sell products or make someone look majestic or simply display wealth. High end art can be a manufactured product, the twenty-first century equivalent to handmade lace, very expensive and serving no purpose other than decoration and status. And without political and critical thought the artist remains a decorator for plutocrats.

Granted that there are decorators for plutocrats but that doesn’t mean that they should be exhibited at the NGV or that I should bother to write about them. Selling a lot of product for a lot of money should not be the entry qualification.

I don’t write about art because it is popular or expensive but because there is something worth writing about. So I won’t be writing about any of David Bromley’s, Ken Done’s or KAWS exhibitions. There are a lot of artists whose exhibitions I won’t bother to even attend because the content, aesthetics, style and meaning of their art is so obvious that it bores me. I understand that it doesn’t bore everyone and that some people might want it. However, just because there are is a lot of fans or a lot of money doesn’t make the art any more interesting.

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.

Wilson Must Go

It is called the National Gallery of Victoria for obscure historical reasons but it is the nation of Australian and Australian nationalists that are at the core of the problem. The protest at the NGV over Wilson Security demonstrates a deep divide in Australia. I believe that Wilson Security along with all members of the Labor, Liberal and The Nationals parties of Australia should be standing trial for crimes against humanity in the International Criminal Court in the Hague where an appropriate and independent court of law can determine their guilt or innocence after hearing all the evidence. Others believe that Wilson Security is a legal and legitimate security contractor and that there is nothing inappropriate to their legal employment anywhere.

It is clear that Wilson Security cannot provide security to the gallery when they have committed crimes against humanity. They become a massive additional problem for security at the gallery. Protesters have already proved that Wilson Security cannot provide security to the gallery by colouring the NGV’s water-wall and moat blood red and veiling Picasso’s Weeping Woman. The Weeping Woman is an excellent focus for the protest because the painting is riffing on the image of woman crying in the window in Picasso’s Guernica; a painting is a protest against fascist aerial bombing of civilians on 26 April 1937 during the Spanish civil war but it could be in Yemen this year.

I am sympathetic to all the mothers and their children at the NGV Triennial. To have something adult, intelligent and free that a young child will also enjoy is a rare combination that many a parent has wished for. The Triennial has been designed with both in mind. There is even parking for strollers outside the some of the spaces and many of the exhibits are very child friendly. It is the presence of so many children which makes the presence of Wilson Security even more offensive as the company has treated children and adults in a cruel, degrading and inhuman manner. I don’t how many parents with children enjoying the Triennial would have seen the horrible irony that a company that treated children and adults in a cruel, degrading and inhuman manner was providing security for the gallery. Some of them would believe in three word political slogans and send their own children to schools run by organisations with a history sexual abuse.

Three artists in the Triennial; Rafael Lorano-Hemmer, Richard Mosse and Candice Breitz have signed a letter of protest. Breitz and Lorano-Hemmer renamed their works in the Triennial to Wilson Must Go and Mosse found another way to incorporate his protest into his video work. I cannot accept that a company that has committed crimes against humanity in running the concentration camps on Naru and Manus Island for the Australian government should be employed by an art gallery and would join with Lorano-Hemmer to encourage others to consider making a donation to: http://riserefugee.org/ and https://www.asrc.org.au/.

Bruce Armstrong @ NGV

It may not be a Norwegian Blue but there is definitely a large dead bird in the middle of the foyer of the NGV. Although hieratic, priestly, stiff and formal like ancient Egyptian art, Bruce Armstrong’s sculptures somehow have a sense of humour. “That’s what you think” says the monstrous Knuckles holding a club behind his back.

The two guardians that thirty years ago stood in front of the NGV on St. Kilda Road are now in the foyer of the NGV at Fed Square for the Bruce Armstrong exhibition. They are joined with their maquette, the original model for the sculpture and many other works of art by Armstrong.

The exhibition is in the foyer on each of the NGV’s three floors; It continues the series of local sculptors that started with the Inge King retrospective in 2014, Lenton Parr in 2015 and, now Armstrong.

Fish, gryphon, snake, eagle, bull, bear, cat, crocodile, carved from Red Gum with great big cracks or knotty Cypress wood. Armstrong works is a traditional process; he finds the creature in the shapes in the wood that he carves, as he removes more and more. Big and rough his sculptures are surreal and shamanic taping into our collective unconsciousness.

Armstrong’s art is so associated with wood that even when he makes bronze editions wood is still the model. The exhibition reminds the visitor that Armstrong works in other media and that he won the Archibald Price in 2005 of a self-portrait with eagle.

Bruce Armstrong, Still Life (Mirror), 1994

It also reminds the visitor of Armstrong’s carved big blocks of buildings in the early eighties, as in Worlds and worlds, 1984, where a great building sits on the back of tortoise. For the city is also part of our collective unconsciousness.

Bruce Armstrong, Worlds and worlds, 1984

Armstrong is well known for his public sculptures in Melbourne. His Eagle, “Bunjil” is perched over Wurundjeri Way in the Docklands. Its maquette and several of its close relatives are in this exhibition.

Bruce Armstrong, Bunjil maquette, c.1996

Cowen Gallery @ State Library

Trying to imagine what the National Gallery would have looked like when it was in the State Library. At the same time as looking in the future at what Patricia Picininni images the evolution, or the genetic alteration of car drivers.

Patricia Piccinini, Graham, 2016

Prior to the construction of the National Gallery of Victoria on St. Kilda Road in 1968 the National Gallery of Victoria was located in the State Library. It consisted of the Swinburne Hall, the painting school studios and three galleries. What were the McArthur and La Trobe galleries are no longer open to the public, but the Cowen Gallery and the two linking rooms, are still used for exhibiting art at the State Library.

A century ago it would have looked rather different, the now redundant skylights would have allowed diffused natural light into the galleries. The paintings and prints would have been hung Salon style, hanging multiple works right up to the ceiling to fill the wall. Rather than the way it is hung now with a single row of works at eye level along the wall. On the walls would have been Alma Tadema’s The Vintage Festival in Ancient Rome, Watt’s portrait of Tennyson, and John Longstaff’s Breaking the News. In the middle of the room there were marble statues of the royal family by Charles Summers.

Charles Summers, bust of the actor Gustavus Brooke, 1868

The numerous marble busts by Charles Summers still on exhibition reminds me that he was allowed to arrange the sculptures in the gallery. Summers placed plaster casts of Michelangelo next to a plaster cast of his Burke and Wills Monument to demonstrate his references. Summers’s ego exhibited in this arrangement amused some English visitors but for nineteenth century Melbourne he was their Michelangelo.

The plaster casts and etching of works by other artists hanging in the gallery indicate that issues of originality and even the function of the art gallery was very different.

In the present the art gallery at the State Library is an odd mix of art from Melbourne’s past, with a particular focus on landscapes of Melbourne and portraits of Melbourne identities, along with some contemporary art. Above the stairs hangs a tapestry by the Australian Tapestry Workshop based on a painting by Juan Davila.

Juan Davila and Australian Tapestry Workshop, Sorry, 2013

Graham was just sitting there in his shorts going viral as people crowded around taking photos of him. After a selfie with Graham in the background the visitor might spend awhile with the headphones and iPads finding out why Graham looks that way and how the collaborated between the TAC, Patricia Piccinini, a leading trauma surgeon and a crash investigation expert produced him. Piccinini’s art makes an impact both in the gallery and online and that makes her work perfect for a road safety awareness campaign.

I wonder how Graham would have been greeted, if he had been created a century ago, and where would he have been displayed in Melbourne. Undoubtedly he still would have received a lot of media attention.

Andy Warhol – Ai Weiwei @ NGV

“Why do people think artists are special? It is just another job.” Andy Warhol (From A to B and Back Again, p.160)

The pairing of Andy Warhol and Ai Weiwei at the NGV produces an exhibition with more vitality than cultic history. The art of Andy Warhol and Ai Weiwei is like social media; it is about selfies, photo of what we ate for lunch, music, videos and ideas but why is it art?

Firstly, seriously consider where you see most art and that the answer is online.

Secondly, contemporary society needs to have a big talk about popularity, in art, in politics, in religion, in consumerism… in everything but especially populism in politics, currently the most dangerous force in the world.

We need to remember the difference between being popular and a populist. Popularity is measured by how many people like you whereas populism is design to attract the uninformed and unthinking public. It is the element of design and manipulation, that aesthetic preoccupations in the populism that makes it so attractive.

Part of Andy Warhol and Ai Weiwei’s popularity is because they are not populists. They are popular because they are working for and with people, not just the majority of people but any and all people. Warhol considers the democratisation of fame, what if everyone was equally famous, fabulous and fantastic for at least 15 minutes. What if everyone could be an artist.
When Lego refusing to supply Ai Weiwei with brick for an installation on the grounds that his art is political. Ai Weiwei gots around this with an online call for donations for Lego bricks to be deposited through the partially open sun roof of a car. (Actually he used another type of brick but never let the truth get in the way of good art.) Using the internet and the public to get around officialdom is a similar strategy to Ai Weiwei’s response to the 2008 Sichuan earthquake. Online volunteers circumventing the official blocks and censorship is modelled with the many repeating plastic blocks.

“Perhaps it will be the task of an artist as detached from aesthetic preoccupations, and as intent on the energetic as Marcel Duchamp, to reconcile art and the people.” The French art critic, Guillaume Apollinaire wrote this in the final line in a short essay about Duchamp’s early paintings. In the essay Apollinaire wrote: “Duchamp has abandoned the cult of appearance” and that he “goes to the limit, and is not afraid of being criticised as esoteric or unintelligible.” (Marcel Duchamp, ed. Anne d’Harnoncourt, Kynaston McShine, Prestal, 1989, p.180)

It is hard to believe that Apollinaire could write this in Paris in 1912 before Duchamp even made his first readymade but the advent of still photography anticipated both moving images and social media. Duchamp’s two successors Andy Warhol and Ai Weiwei make clear Apollinaire’s prognostication about “abandoned the cult of appearance” and “reconcile art and the people.” Andy Warhol and Ai Weiwei are popular and like Duchamp are “not afraid of being criticised as esoteric or unintelligible.” The increase in the reproduction of images increases their display value (the number of times and places where it can be displayed) brought on in the age of digital reproduction destroys the cult of the original (the idea of a uniquely beautiful object created by special person). From the Velvet Underground rehearsing in the Factory to Ai Weiwei dancing Gangnam style aesthetic preoccupations are no long the primary considerations of the art, but its relationship with the people.

There are some great selfie opportunities at the exhibition.

Institutional Art Galleries in Melbourne

This continues my occasional series of posts examining the different types of galleries. For more information about other types of galleries see my post: Types of Art Galleries.

Institutional art galleries exhibit art without intention of sales and are free from the usual commercial interests in the art that they exhibit. Most are funded by some level of government, although there are some institutional art galleries run by private individuals or organisation, like the Saatchi Gallery in London or MONA in Tasmania.

The purpose of institutional art galleries is far from clear. Is their purpose educational or entertainment? Is their collection representative or a treasury? The idea of an art collection is part of a tradition that extends back to a world owned and dominated by royalty. Royal Collections, rather like private house museums but on a far grander scale, the Vatican Museum and the Prado are amongst the largest of these. Although Melbourne does not have a royal collection it does have another kind of national treasury in the National Gallery of Victoria (NGV).

There are differences in what are called ‘National Galleries’ some have encyclopaedic collections for the purpose of teaching the history of art others have collection of art by the nation. Encyclopaedic collections maybe good for the local population exposing them to art from around the world but unless they have destination art works they aren’t of great interest to tourists. What tourists, like me, who visit a lot of galleries, is to see the history of local art. National Galleries like that of Greece or Nepal, that collect and display the arts of a particular nation or other group identity. So, if I were a visitor to Melbourne I would see the NGV Australia at Federation Square in preference to NGV International because that is where the Australian art is exhibited.

James Cuno, in his book Museums Matter (University of Chicago Press, 2011, Chicago) argues in favour of the what he calls “enlightenment museums,” the major encyclopaedic, didactic museum as if these were the only kind of institutional galleries. The enlightenment ideal of a universal gallery that combines the intention an educational feature in the structure of the gallery, for example, the NGV International. However there are more reasons for an institutional art gallery than the encyclopaedic, didactic  enlightenment museum that James Cuno believes in. Cuno has a very narrow view, see a review of Museums Matter, and his type of museum does not cover most of the institutional galleries that I regularly visit from the Counihan Gallery in Brunswick or the Ian Potter Museum at Melbourne University.

There are many different types of institutional art galleries from kunsthalles, sculpture parks, house museums and community access galleries. Regional galleries need to have balance of gallery spaces for community access exhibition spaces, their permanent collection, and small touring exhibitions.

To cut through the technical language: ACCA, “Australia’s only ‘kunsthalle’” (or ‘art hall’ in English) where the focus is on commissioning and exhibiting living artists rather than collecting. And ‘community access entry exhibition spaces’ are at local libraries and in other local council run spaces.

Melbourne, so far, only has one house museum, The Johnston Collection in South Melbourne that was established as the legacy of antique dealer and collector, William Robert Jonston (1911-1986). The Nineth Edition has a review of the Johnston Collection.