Apart from the graffiti pieces at their base the old silos have stood empty for decades. Now there is a mural by Loretta Lizzio of Jacinda Ardern embracing a Muslim woman on one of them.
So why in Brunswick? The silo is owned by a Muslim and Coburg’s Islamic community has supported the mural. The mural was crowd funded and the artist, Lizzio donated her time. And Ardern is considered far more believable than any current Australian politician according to a recent poll.
I wouldn’t call it an original work; as is a copy of a photograph taken in NZ after the Christchurch massacre. I assume that it has been done with copyright permission from the photographer. And originality is not the purpose of the work, it is getting the image and message up there.
Tinning Street is a good area to explore and see street art and graffiti in Brunswick. There are often fresh new graffiti pieces in the other nearby lanes and there were some guys painting when I was there this week. There is also the vibrant Ilhan Lane, the Hosier Lane of Brunswick for street art. (Ilhan Lane is named after “Crazy John” Ilhan. Remember when retailers would advertise that they were mentally ill? Crazy John, Ken Bruce has gone mad, Bipolar Bill; okay I made the last one up. I’m glad that trend came to an end.)
At Moreland Station I notice that OG23 and Askem have repainted the same wall that they have been painting for decades. It is not unusual. (See my post Same Walls.)
Has Melbourne’s street art and graffiti reached an almost steady state? In my last blog post about street art wrote that it had. A point where very little changes except for the names and locations; although many of the names and locations have been the same for decades. A decade ago new forms of street art were being explored: installations, yarn bombing, people even thought that you could grow moss in patterns.
Vincent Fantauzzo collaboration mural with Adnate in Strachan Lane serves as a reminder that street art is now another luxury commodity. F is not a street artist and his fine art works with a theme of luxury and fashion. Artists can have their careers entirely within the street art and graffiti scene, rather than moving to another career in graphic design or fine arts. This professionalism has brought an end to the D.I.Y. aspects of the culture.
What will alter the current stasis?
Locally I have seen that growth of guerrilla gardening out compete graffiti along the Upfield trainline. Planting at Brunswick Station now obscure walls that were once regularly painted. Along the tracks the vines on the side of The Commons building at Anstey Station have green-buffed large sections of that wall.
Scanning the horizon with a global look I wonder how will the environmental hazards of the current street art and graffiti be tolerated? The chemicals, the one-use cans and other aspects make it environmentally unsustainable. Painting another mural to raise public awareness will only be a sustainable argument for a short time.
“I like this guy!” One of the three blonde girls declared pointing at a piece by Facter. All of the girls were wearing tiny denim shorts and overall less cloth than next two people in Hosier Lane but I won’t discount their opinion for lack of clothing. I was more amazed that they liked Facter.
Facter is an old hand in Melbourne’s street art scene and amongst the most important people in the scene. He grew up with the tiny Perth graffiti scene in the 1980s (when you couldn’t spellcheck your tags). He is a nice guy and more of a writer than a graff writer; he is the editor in chief of Invurt. He is more significant as an advocate, curator and organiser, then for his painting on the street.
Facter’s pieces are robotic segmented creatures that exist somewhere between street art and aerosol graffiti; the letter form of graffiti replaced by the outline of the creature but most of the traditional aerosol elements of a piece are still there. There is a childish joy in the bright colours in his pieces and shapes. Facter also makes designer toys in this style.
That day I was exploring the Melbourne grid and although I have been doing that for years there are still parts that I haven’t seen. Hoping that just down this lane will find something beautiful or surprising. Sometimes I do but more often it will be more construction, workers smoking out or a van being unloaded. I didn’t find anything that day; last week I found Baptist Place and the work of the Night Krawler but I can’t expect to do that every time so I went back to some of the major street art locations.
That day I had already seen a couple of pieces by Facter; there were two in Croft Alley in Chinatown. Croft Alley still has plenty of fresh graffiti pieces in it, only it is so narrow that there are only a couple of walls that are easily photographed.
In Hosier Lane there was more political pieces reflecting the current political issues: the students strike against climate change inaction and the conviction of Cardinal George Pell. It is so political that Van Rudd has a prominent section of wall for his brush painted mural. I’ve forgotten who said that street art had lost its political edge.
“I wanted to be a conservative painter but something…” Van Rudd pauses, searching for the best way to explain his life and the world. Van Rudd, the nephew of former Australian Prime Minister Kevin Rudd, is a politically engaged socialist artist who installs provocative street art sculptures, exhibits the stolen forks of the ultra-rich and parts of exploded vehicles from Afghanistan.
I wondered what he had been up to since he ran for parliament against Julia Gillard in 2010. As it turns out he is painting a mural the Trades Hall carpark.
It is hard to believe that Van was ever a conservative painter but he was shows me some photos of his early paintings, they are very good but conservative in style. In his late-teens he was painting plein air Impressionist paintings of Brisbane. He then shows me some cool paintings that he did of exploding figures in stylish lounge rooms; paintings that looked like a mix between Geoffrey Smart, James Gleeson and Brett Whitely. He tried the fine art and contemporary art audience and he didn’t get the response was looking for, so he went in search of a different audience.
Now his audience is not into contemporary art or street art. Now his audience is the union member who has no interest or time for following artists on Instagram or buying art in galleries. It is the person in the street or someone looking at the news. Van sees himself as a propagandist, even though he freely admits that the power of art is minimal compared to economic power. His art is there to support and illustrate the message.
Considering Van’s diverse art practice, from illustrating a children’s book to street art installations, I wanted to know what he did with most of your time as an artist? Did he work in a studio? He doesn’t really have one. When he is not an artist his hobby is indoor football. He also goes to a lot of left wing meetings because he finds that is a condensed way of doing research and getting information.
The carpark walls at Trades Hall are covered in graffiti and Van has had to buff back two large concrete sections. The graffiti in the carpark is a mix of the most basic tagging, by writers like Pork and Nost, along with political slogans: “Unions are part of the detention industry.”
The large mural that he is painting in Trades Hall carpark is just at its outline stage. Van says wants to revive the tradition of political mural painting in Melbourne that happened with Geoff Hogg in the 1970s.
Work progresses slowly, especially with me asking questions. Van with a paintbrush is not as fast as the street artists with their spray cans. He is critical of what he calls the “proletarianisation” and the “hyper-exploitation of street art.” The artist as sole trader has no protection, from exploitation and hazardous conditions especially the street artists working at heights. He tells me that has recently got his CFMEU white card for working on elevated work platforms; scissor-lifts, booms lifts, etc. Not that he is going to be working at height with this mural. He puts on a fume mask to protect against both the paint and car exhaust fumes and gets back to painting.
“… as a protest against the niggardly funding of the fine arts in this hick State and against the clumsy unimaginative stupidity of the administration and distribution of that funding.” Australian Cultural Terrorists claim of responsibility for the theft of Pablo Picasso’s Weeping Woman from the NGV in 1986.
Melbourne love an art scandal. This is assisted by having some top rate scandals, for example, the unsolved theft of the Weeping Woman. Although sometimes these scandals seem to be borrowed from US culture wars, as in the case of the vandalism of Andre Serrano’s Piss Christ in 1997.
Art scandals have been ruined careers and lives, some of them were crimes and art has been destroyed. Melbourne never gave Vault a fair go. Juan Davila sighs at yet another repetition of the cry of ‘obscenity!’ Some of the unfortunate victims of these scandals and some naive realists might be thinking: “what has this got to do with art?” but this discourse is part of what defines art.
In the wake of an art scandal, even people who have not been to an art gallery in decades will express an opinion. The media is full of the story and more comments and from the informed comments to the mad ignorant rants it is this discourse that, in part, defines art. The year of debate about Ron Robertson-Swann’s modernist sculpture Vault in 1980, although driven by local city council politics, inspired the next generation artists to think hard about art and express their ideas not just in their art but in public forums.
This love of art scandals has created its own artists, CDH and Van Rudd for example, who create their own mass media interactive art works by provoking police, politicians or the public. These artists and their art are well known, although not exactly popular. Creating a scandal that goes viral is not the easiest thing to do and not every attempt succeeds in being both a scandal and art.
It has also helped create the environment that fostered Melbourne’s street art and graffiti scene by giving their contentious and audacious actions a wider public eager to discuss them and collect them.
These accidental and deliberate scandals are interesting because they expose the cracks in the facade of our culture and deep divisions in the airbrushed idea of a united society. These scandals raises more questions than they answers prompting further thought, action and creation.
Examining ethics of the boycotting the Sydney Biennale and the reply from the Board of the Sydney Biennale to the calls for a boycott. If you need a background on the issue see the links on Leg of Lamb.
“The Biennale’s ability to effectively contribute to the cessation of bipartisan government policy is far from black and white. The only certainty is that without our founding partner, the Biennale will no longer exist,” the letter in reply to the artists stated. “Consequently, we unanimously believe that our loyalty to the Belgiorno-Nettis family – and the hundreds of thousands of people who benefit from the Biennale – must override claims over which there is ambiguity.” (Quoted in the Sydney Morning Herald 21/2/14.)
Attempting a utilitarian argument the Biennale’s board believe that their show is more important than the lives of refugees fleeing persecution only to be persecuted by the Australian regime. They can’t admit that the Australian government and Transfield have and will continue to commit crimes against humanity. They claim ambiguity when they are participating in distorting the facts about their association with criminals. It when they used the word “loyalty” exposing that their sense of duty is based on patronage rather than morality; loyalty, like patriotism, is the last refuge of the scoundrel.
According to the Sydney Biennale it is better to do nothing other than talk because the outcome of further pressure on the government is uncertain and unlikely. The makers of SodaStream could use the same argument as not buying their product and Oxfam dumping Scarlett Johansson as its good will ambassador is unlikely to get Israel to withdraw from the occupied West Bank. (See Ryan Gilbey’s article in The Guardian 16/2/14)
The threat of the Biennale ending is an empty threat and only threatens their status. It is the equivalent of saying that if you don’t buy SodaStream then you and your friends won’t enjoy sugary carbonated water. If the Biennale ceases to exist then another biennale will take its place in a few years, if a biennale was really needed by the hundreds and thousands of people, as the Biennale’s board claims.
When in 2003 Nelson Mandela refused to have dinner with George Bush and spoke out against him it was a symbolic action. It was not because Mandela thought that it would stop the invasion of Iraq but because he did not want to associate with an evil person. I would urge all Australian artists to follow the moral example of Nelson Mandela to avoid and speak out crimes against humanity rather than the amoral example of board of the Sydney Biennale.
Just as Mandela condemned George Bush’s invasion plans Australia’s treatment of refugees is something that we should also condemn without reservation. We should condemn both the Liberal Party and ALP and hope that one day that all members of these parties serve time for their crimes in slightly more humane conditions than they hold refugees indefinitely in. We should condemn Transfield and the Biennale chairman Luca Belgiorno-Nettis without reservation and all people should avoid any kind of association with them even if this is only a symbolic action. Artist, above all people, should understand the power and importance of symbolic actions for art is a symbolic action.
Artists and the public should boycott the Sydney Biennale. Not only should artists and the public boycott the Sydney Biennale but they should picket it. I have to give credit to the artist Van Thanh Rudd for being the first artist to protest about Transfield’s links to the Biennale in 2012. Visitors to the Sydney Biennale need to be aware that they are giving aid and comfort to people who commit crimes against humanity. Who, besides its board and Transfield, really cares more about the Sydney Biennele than people’s lives and dignity?
I love street art sculpture; this is my third post about it (see Street Art Sculpture and More Street Art Sculpture). Not all of the street sculptures that I’ve written about are still there; some have weathered well, some have been painted over and others have been removed. Such is the nature of all street art. But there are some new ones around, especially the rainbows by GT who saved the best one for Hosier Lane.
GT spectrum sculpture, 2012, Hosier Lane
This is an amazing time in the history of Melbourne’s sculpture. 40 years ago the old sculpture that Melbourne would accept were figures of people or horses made of bronze or stone and placed in a park or out the front of a prominent building. Now there is the joy of discovering a Will Cole cast squashed can or a Junky Projects hidden in the streets. It is another reason not to sleep walk through the city but to explore it.
Will Coles, can, 2011, Corner Elizabeth & Burke
Junky Projects, 2012, Brunswick
Van Rudd, Protest Sign, 2010, Collingwood
unknown, pig face, 2011, Hosier Lane
Malfunction, Leopards, 2011, Brunswick
It is hard to find space for a sculpture in the narrow laneways and crowded streets of Melbourne so some of the best current artists work on a small scale. Not everyone can pull off something as large as Crateman collective or CDH’s Atlas intervention. But more of Melbourne’s street artists like Be Free and Phoenix are thinking in 3 dimensions. Not that all street art sculpture will be successful, some of it just make me cringe.
Urban Intervention: a street sculpture exhibition and art trail opened on Friday night at the Yarra Sculpture Gallery, part of the Sweet Streets festival. (I must declare that I am the festival’s secretary, a volunteer position but it does give me a bias in my reports.)
People don’t often ask what is the future of street art? Very few people are asking this question because street art is ephemeral and it is perceived as fashionable fad (although the fad has lasted some 30+ years). The whig history of art dismisses street art as a fad because it doesn’t fit with art history’s idea of progress. But there is a lot of progress in street art scene: street sculpture and yarn bombing. There are other aspects that are not easily packaged like culture jamming and site specific installations.
There are a lot of impressive elements to this exhibition; a whole painted ute was parked in the gallery, a shopping cart covered in knitting and an installation of light, smells and sounds. There was street sculpture from Mic Porter, Nick Ilton, Will Coles and Junky Projects. The Melbourne Light Painters exhibited photographs and the objects that emit light (sparklers, toys swords and other things). Van Rudd exhibited a work protesting Israel’s treatment of Palestinians. Phonenix brings Banksy’s “The Little Diver” from Cocker Alley in Melbourne back from its destruction with a paste-up that was recreated and documented in the exhibition.
Nick Ilton's "Suggestion Box" and suggestions
Importantly for a street art exhibition the exhibition is not limited to the gallery there is an associated art trail where the artists from the exhibition have work in context with an online collaborative map. I haven’t walked the trail yet but I have looked at it online – the detail in this Google map is fantastic. It is important for this to exist in both the virtual and actual versions because so much of street art scene exists online, as well as, the streets.
I was disappointed that there wasn’t any guerrilla gardening in the exhibition, maybe I will find some on the art trail. I must do that when the weather improves.
Curated by Anna Briers and Kelly Madigan this is an important exhibition about under-represented trends in street art: “site specific installation, culture jamming, underground light painting, yarn bombing…” It also sets new benchmarks in quality in exhibiting street art.