Walking around the gallery district of Fitzroy and Collingwood I am hoping to see the extraordinary, the outstanding or at least something worth writing a blog entry about. Walking between the galleries I am also on the look out for interesting features of urban design, architecture or street art.
Some of the galleries, 69 Smith St. and Mossenson were closed. Mossenson’s have permanently closed their Melbourne branch and now only operate out of Perth; I had heard that commercial galleries were having difficulties in their finically difficult times. The “artist-run” 69 Smith is only temporarily closed for renovations but ugly rumours have been circulating; many years ago I was on the organising committee and although I am not a member I still communicate with current members.
Port Jackson Press has moved to a new location, further along and on the other side of Smith Street, in March this year. It is an attractive old shop with brass fittings around its windows. I had seen many of the artists on display before including two stencils by Kirpy on corrugated cardboard. Kirpy is one of the best stencil artists in Melbourne (number 3 on my top 10 Melbourne stencil artists).
Sometimes I can see enough from the street to know that I’m just not interested in going inside the gallery. Sometimes I can’t see anything from the street and I have to venture inside. That was the reason I had to go inside Australian Galleries.
“I’ll turn the lights on for you” the woman at the desk said. It appears that even Australian Galleries is economising or green or both.
With the lights on the paintings by Stewart MacFarlane did not look much better. The life study at the end of the exhibition summed it up. MacFarlane’s exploits nudes and nostalgic early 60s Americana in bold brushstrokes. He has found something creepy in the currently fashionable retro-style of this era but why would anyone want these hanging paintings on their wall?
However, I could understand why someone would hang the small, delicate surreal paintings of South Australian artist, Nerissa Lea on their wall. There is a surreal poetry to her paintings and sculptures along with a bit of an obsession with animal headed people and Emily Dickinson. In the small side gallery at Australian Galleries, there was “The Waiting Grounds” by Nerissa Lea, named after the largest painting in the exhibition where a boy walking on stilts across a forest floor covered in red leaves.
Gertrude Contemporary was very contemporary art; 200 Gertrude Street, a site-specific installation by Stephen Bram is a post-minimalist reconstruction of the gallery space. Walking between the angled concertina walls felt like walking between a Richard Serra sculpture. Then there was contrast between back stage construction side and the gallery white walls. It is all about the space, the art space, a common theme in contemporary art.
And so on for some more galleries, of course the extraordinary is exceptionally rare and what is commonly encountered is ordinary, sometimes clever or beautiful but still ordinary. However this is no reason not to continue to search for it.