Looking down on an entire laneway painted blue from the pavement to the third storey. Pieces in Melbourne’s Hosier Lane don’t last very long before they are tagged or painted over. Getting photographs of fresh street art is an art in itself, requiring dedication and a commitment to following social media.
Lou Chamberlin Burn City – Melbourne’s Painted Streets (Hardie Grant Travel, 2017)
Books of photographs are an established part of the street art scene, and publishing about street art is a crowded scene. And Melbourne based writer and photographer Chamberlin has created several books on street art: Urban Scrawl: Street Art Text in the City (Hardie Grant 2019), Street art international (Explore Australia Publishing 2016), Street Art: Australia (Explore Australia Publishing 2015), Street Art: Melbourne (Explore Australia Publishing 2013), Street art: Rio (Blurb Creative Publishing, 2012), and Street art: Melbourne (Blurb Creative Publishing, 2012). She provides more text than Land of Sunshine but less than most books; chapter introductions and then a paragraph here and there with a bit more information about one or two of the artist.
Burn City is organised into chapters by content: face, fauna, abstraction (and there is a surprising amount of abstract work, an antidote to all the aerosol realism). Then there is the artist’s intention to create an illustrative storytelling style. Or to raise social and political issues (politicians are as proud of their representations in street art as they are of political cartoons). And finally, two chapters on the structure of the street art in the streetscape, one with images of painting whole buildings and pavements, bins, and traffic signal boxes. And the other looks at the same wall with new paint; this final chapter emphasises the ephemeral aspect of street art, justifying the photographic record of what once was.
It is worth pointing out that this is a travel photo book about an attractive aspect of a place at the intersection of art and travel. The spectacle of urban murals as a tourist attraction, a destination to visit, something to see and photograph. And although the foreword is written by David Hurlston, the Senior Curator of Australian Art at the NGV, he does write about the geographic spread of Melbourne’s street art and how it reaches walls and silos in regional Victoria.