I feel obliged to take a look at Moreland Summer Show 2018 at the Counihan Gallery because I live in the area, to keep up with what the local artists are doing. However, instead of trying to write about the whole exhibition I will be looking at three of the exhibitors: Wendy Black, Benjamin Sheppard and Yoshi Machida.
Wendy Black Sea Eagle over Tamar 2017-18
Wendy Black’s Sea Eagle over Tamar is painted with spray paint enamel on board, what would be called a stencil piece on the street. But it is not on the street and Black is not a street artist and it is worth point out the elements that would be unusual on the street to contrast the differing aesthetics. Firstly, it is a landscape a genre rarely used on the street, secondly there are many rough elements, blistered or bubbling paint, evidence of masking tape that would be avoided on the street but give Black’s painting warmth. For more on Wendy Black see my blog post about Courtroom Artists.
Benjamin Sheppard Sugary Teeth 2018
In Benjamin Sheppard’s Sugary Teeth the missing Steyr AUG, the infantry rifle of the ADF, leaves a blank space amidst the profuse ballpoint pen marks. This blank space illustrates the negative concept of peace, as in the absence of war and conflict. Intense biro work is typical of Sheppard’s work: I’ve been intending to write something about his art ever since his exhibition Le Coq at the Counihan Gallery in Brunswick in 2012. Along with fantastically detailed illustration of cockerels in biro there were abstract passages of intense random lines in his drawings; the division between the abstract art and the illustration has simply ceased to exist in the minds of artist. In MoreArts 2014 he had an installation at Jewell Station involving both newspaper headline displays and a full billboard. For more on Benjamin Sheppard read an interview with him on The Art and The Curious.
Yoshi Machida Dialogue (First Step for Peace) 2018
The Moreland Summer Show has the usual motherhood statement theme, this year it is “Peace and the Pursuit of Happiness” and Yoshi Machida’s Dialogue (First Step for Peace) presents a kind of buddhist kōan on the theme. Notice that neither the frogs, the cat nor the monk has said anything. I assume that the monk and the cat aren’t even registered on the frog’s consciousness because they aren’t moving, that the cat wants to kill the frogs and that the monk is considering how to start a dialogue.
Leave a comment | tags: Benjamin Sheppard, Brunswick, Counihan Gallery, Wendy Black, Yoshi Machida | posted in Art Galleries & Exhibitions
Courtroom sketch artists go back to nineteenth century in an on again, off again relationship with printing technology and the courts permitting cameras. In Australia cameras are generally banned from the courts, so in order to have a picture of a defendant appearing in a trial courtroom sketch artists are employed by the media.
One of Wendy Black’s courtroom sketches
Melbourne painter and silk screen artist, Wendy Black has worked as a courtroom sketch artist for Network Ten and other media outlets. I interviewed her about this intersection of art and crime.
Black explained the job. “It is a bit like extras work, you stand around and wait and wait for hours and then you have three minutes of intense action. It is the same with this. You are just given one name and there could be thirty people going through the court that day and you just have to listen for that name. So you are looking very intently at everyone. When that name comes up you have to intensely draw for three minutes and remember what colour eyes, ties and shirts if you haven’t drawn enough in three minutes.”
There are a small band of court artists in Melbourne, about half a dozen courtroom sketch artists working on a freelance basis. Black started working for newspapers and moved to television when in 2005 she rang Network Ten to tell them she had just drawn the accused in a high profile murder at the time, Joe Korp, the husband of the women in the boot story.
In the UK courtroom sketch artists cannot draw in court but must work from memory and notes to produce their drawings outside the courtroom. In Australia and the USA artists are permitted to sketch in the courtroom. There is no restriction on the media that courtroom sketch artists can use. Black had a lot of time to explore different media. “I got very fond of coloured pencil, I must admit.” But there is a limit to what you can bring into court because of security. “I really had to change from Stanley knifes for sharpening very fine points on pencils to going to the dreaded pencil sharpener which I couldn’t bare but now I’ve sort of come back to liking it.”
After the sketches have gone through the media cycle, the artist can keep them or sell them. People and institutions collect these sketches; the National Museum of Australia that has 182 courtroom drawings by Veronica O’Leary of the 1982 trial of Lindy and Michael Chamberlain.
In 2007 Black had an exhibition of her sketches in Langs Lane, part of the Laneway Commission “Three Minute Attention Span”. The exhibition involved her drawing in the Magistrates court for sixteen weeks everyday.
She prepared for this with lots of life drawing. To be a courtroom artist you need to stay in practice with life drawing to keeping your hand in. For budding courtroom sketch artists Black recommends the life drawing sessions where you do the one minute, three minute, five minute drawings before you get into a longer pose.
For more on courtroom artists read my book The Picasso Ransom and other stories about art and crime in Australia.
2 Comments | tags: courtroom sketch artist, Laneway Commissions, life drawing, Magistrates Court, Melbourne, Network Ten, sketching, Wendy Black | posted in Art Galleries & Exhibitions, Culture Notes