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Tag Archives: stefan schutt

Moving Sculptures In Melbourne

Although stone and metal sculptures might appear to be permanent and stationary they do move. They are slow to start moving but once they start they move with surprising speed. Sculptures move around the city, even around the world, climbing down from the tops of old buildings to go to university. Urban Melbourne has a page about sculptures that have moved generally due to demolitions. So now that Strata has found a safe new home, out of hands of Melbourne University to the MONA in Hobart, it is time to look moving sculptures in Melbourne that may be soon moved.

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John Cummins has an audio report in The Citizen about preserving Melbourne’s public art where he interviews Adrian Doyle of Blender Studios, Ken Scarlett author of Australian Sculptors, ghost sign expert Stefan Schutt, sculptor Petrus Spronk and myself.

On Collins Street Stanley Hammond’s 1978 statue of John Batman, one of the alleged founder of Melbourne, is keeping his head down these days. He can still just be seen from behind the temporary building hoarding. His companion sculpture, another early Melbourne land owner, John Pascoe Fawkner by Michael Meszaros is outside of this fence.

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Jackie Ralph, Horse with something to say, 2013

Another sculpture with an uncertain future stands in the roundabout on Siddeley Street out the front of Melbourne’s World Trade Centre is Jackie Ralph’s Horse with something to say, 2013. The black expressionist work by Ralph has remained in the middle of the roundabout since it was purchased by the World Trade Centre after a temporary sculpture exhibition. Ralph’s horse will not be difficult to move as it is made from wood, wire, fiberglass, polyester resin and enamel paint.

Brunswick-based sculptor, Ralph wrote, in an exhibition statement; “When sculpture leaves the gallery and becomes part of the landscape, it not only reaches a larger and more diverse audience, but people seem to have a much more unguarded, unrestrained approach to it and interact with it more informally and naturally.”

I saw some new sculptures in Melbourne by an unknown artist. These sculptures will be very temporary and the creators of these works of street art knows that.

 

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Street Art Notes 5/13

Local Paintspotting –

Coburg piece

Coburg piece

Earlier this year I wrote about Coburg being a transition point between street art and graffiti.  As more legal walls become available in Coburg the quality writers push further north and pieces in Coburg continue to improve. But I’m surprised at both the pace and quality of the work. This great piece instantly evoked for me the unforgettable sound of Grace Slick singing “White Rabbit”… “When the men on the chess board get up and tell you where to go…”

Coburg house

Coburg house

Ghost Signs and Graffiti –

Good to see a legal piece in Brunswick preserving a ghost sign. I sent the photo to my friend and former LookSmart colleague, Stefan Schutt for excellent blog about ghost signs – Finding the Radio Book and he turned it into a post; A generational jostling for space on a Brunswick wall.

King Leonidas yarn bombed (photo courtesy of Lorraine Ellis.)

King Leonidas yarn bombed (photo courtesy of Lorraine Ellis.)

Yarn bombing public sculptures –

Socks for the little girl in Lorretta Quinn’s Within Three Worlds, a red knitted plume for King Leonidas in Sparta Place, a ruff for Dianna’s panther in Paul Juraszek. The Sun & the Moon in Malvern, Melbourne’s yarn bombers have been dressing up sculptures.

The tradition of dressing up public sculptures comes from the dressing up of religious statues. If religious practices can be in bad taste then it is in the worst possible taste. It is the infringement on the moral rights of the artist is annoying in a way that decorating a pole or bench is not. The artist never asked for the contribution of the yarn bomber.

On the other hand these are public sculptures and the public should interact with them provided that this does no damage. Street artists like, CDH and Will Coles both have done good interventions using public sculptures but they are always conscious of the moral and political issues involved in this intervention. This is a subtle difference like that between appropriation art and plagiarism. But I doubt that the yarn bombers thinking of anything other than adding their woollen touch and there is no evidence in what they produce that they are aware.


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