Looking back at Hosier Lane

In 1987, a building on Hosier Lane exploded due to a gas leak. A few years later, it had an artistic explosion of street art, eventually making it an internationally renowned tourist attraction for the city. (Its location, less than a block from Flinders Street Station, helped.) It is a limited but visually dense space that is exploited by large and small commercial interests.

Hosier Lane, Melbourne

Hosier Lane is sort of a free-for-all graffiti space in the centre of Melbourne (although some of its walls are somewhat curated). It was first colonised by street artists and then painted by graffiti writers and mural artists, making it one of the city’s must-see tourist attractions. However, it is now in its third decade, and for many years now, it has been in decline; this is part of the tale of the long tail end of street art in Melbourne. Adnate’s five-storey mural of an Indigenous child still hangs like a kitsch albatross above Hosier Lane — a sign of the beginning of the era of the mural.

Last time I was there, I saw a stencil of astronauts by a visiting street artist from Canberra, the great E.L.K. It was covered mainly by garbage spray paint when I saw it. There is the ebb and flow of the tides of tagging and no-school graffiti over this brightly coloured urban coral reef. There are still graffiti writers spraying their pieces on every visible vertical surface in the city, from the creeks converted to concrete drains to the factory walls of industrial estates. And someone will always step up to fill the walls of this now-famous lane. And some of these will follow Adnate to work in the mural market. There is still a market for murals as businesses and city councils try to add some attraction to the ugly suburbia they have inherited.

However, rather than the big pieces, I like to look for the little details in the laneway. The street artists work at a different scale, filling the smaller spaces. For example, Will Coles’s work has survived the longest in the lane. His ‘Fake’ Gucci purse, made of concrete, still sits lost on the window ledge covered in millimetres of acrylic paint from hundreds of cans.

As tour groups still visit the lane, it has become a billboard for political causes with no other means of support. Currently, that means there is a lot of feminist street art because the lane is a relatively safe place for women to put up work in daylight. However, other groups, from supporters of West Papua Independence to Chinese dissidents, have also used the surfaces of Hosier Lane.

Given a bit of rough math, the artists who first painted Hosier Lane would be in their fifties or sixties now. The lane’s future is dependent on school kids and recently promoted city administrators.

Hosier Lane Time Line

1989 Andy Mac started the City Lights Initiative with light boxes of photographs

2003 Banksy paints his parachuting rats

2010 Melbourne City Council workers destroyed Banksy parachuting rats

2013 Adrain Doyle paints all of Rutledge Lane blue for Empty Nursery Blue

2013 Completely repainted for All Your Walls, part of the NGV’s Melbourne Now

2014 Adnate mural added to the lane

2014 Keep Hosier Real campaign to stop building development around the lane

2018 Culture Kings puts a hole in the lane’s main wall

2020 Six masked people ‘Colour Bombed’ the lane with paint-filled fire extinguishers

Street art is dead

Will Coles, the street art sculptor of cast concrete, was at the opening of This is Not a Toy Store’s new location on Lygon Street. He was handing out postcards with an Apocalypse Now meme: “I love the smell of street art in the morning. The smell, you know, that graff smell. Smells like … a fashionable investment opportunity.”

Coles reminded me that none of the street art sculptors I wrote about in my book Melbourne’s Sculptures is still working on Melbourne’s streets. Seven years after, where are they now? Coles is living in Spain. Mal Function is busy with his foundry. CDH is reproducing genetically similar life forms. GT Sewell was selling NFTs. And Junky Projects lives wild and free from this dirty old city.

And it is not as if a new generation has come along that has been so prolific over an extended period or as audacious. Golden head has yet to make an appearance for over a year. So please correct me if I’m wrong, but I think street art (not just street sculpture) in Melbourne is dead, or, instead, to employ a less morbid metaphor, street art is tailing off, markedly declining. Declaring an art movement dead is such a 20th Century thing when a progressive art theory meant the next movement would logically replace previous movements.

I can’t say I’m surprised. I could always hear the sound of cash registers ringing with street art. And both major politic parties in Australia have moved further to the right, militarising and persecuting dissenters and whistle-blowers. Like all love affairs, I’m just disappointed it didn’t go on for longer and had to end like this.

When I fell in love with street art, I saw a utopian aspect where art from the people and by the people decorated the city’s least attractive features. People are taking action to make their lives more meaningful. People who want to make art, to be something other than a consumer or a worker. Psy-ops for civilians, a form of free and public expression. A creative and joyful response to being alienated in an ever-changing city. A way of connecting place with identity. Propaganda by deed, encouraged more street art—a subversive counterforce against mainstream advertising.

Others saw it as a commercial opportunity for themselves, like promoting NFTs or some other product. Consider Time-Rone show (see Giles Fielke’s review in Memo https://memoreview.net/reviews/timerone-by-giles-fielke). Rone did not promote his exhibition at Flinders Street Station with the old-skool method of a blitz of new street art. No, he abandoned the street once the business objective is achieved.

Adrian Doyle writes almost entirely about the commercial opportunities of how “nu-muralism” has replaced street art (see the CBD News). https://www.cbdnews.com.au/nu-muralism/ There is little consideration of these murals’ aesthetics or content because they are conservative in both style and content, especially when compared to Melbourne’s murals from the late 20th century. Geoff Hogg’s Melbourne Central Station Mural http://vhd.heritage.vic.gov.au/search/nattrust_result_detail/65289 is radical, especially compared to the kitsch sentimental ANZAC biscuit tin art and uncritical Australiana of “nu-muralism.”

Street art didn’t die under the gaze of academics, from street art festivals, or from being preserved in art collections. Nor was it killed by government regulations or policing. No, it largely poisoned itself, assisted by social media likes, to subvert a progressive vision. That said here is some recent street art from Melbourne.

Street Art Sculpture 12

This is my annual post about street art sculpture, a topic that I’ve been focused on for decades because it crosses over into my interest in public sculpture. It is the most difficult of all unauthorised art for street art sculpture often requires more materials, planning and choice of location than other forms of street art and graffiti. Even creating a small piece of black glazed ceramic with the raised letters “Black Lives Matter” on it and gluing it to a power pole takes infinitely more effort than writing it with a marker.

The ABC reported about a googly eye prankster operating in Adelaide, but all I’ve seen in Melbourne is this pink rock attached to a power pole in Brunswick. That pink rock rocks. 

Prof Alison Young pointed out a series of tiny blue creatures inhabiting caves in some ill-formed concrete at the VCA. They were probably made a few years ago, given how many have been damaged, but they are still recognisable.

The year’s highlight was a series of unauthorised sculptures with a contemporary Arte Povera attitude installed in a field in Royal Park is, something very formal, physical and site-specific. 

before

after

If you are make something that will survive outdoors in Melbourne, then it will last. I love how this old Will Coles cast concret sculpture in Hosier Lane survives under multiple layers of aerosol paint.

I keep finding tiny doors all over the city; I have no idea how long they have been there or what is behind them.

Street artists will sometimes create three-dimensional versions of their art. The art toy scene is another step further in this practice.

For more about unauthorised public sculptures, see my earlier posts:

• Street Art Sculpture 11 2021
• Street Art Sculpture 10 2020
• Street Art Sculpture 9 2018
• Street Art Sculpture 8 2017
• Street Art Sculpture 7 2016
• Street Art Sculpture 6 2015 
• street art sculpture in the Whitechapel Area
• Street Art Sculpture 5
• 10 Great Street Installation 2014
• Street Art Sculpture III 2012
• More Street Art Sculpture 2010
• Street Art Sculpture 2009

How long does graffiti last?

How long does graffiti and street art last if not deliberately removed, buffed with a fresh coat of paint? Minutes, hours, days, weeks, months, years, decades, even centuries. A medieval peasant cutting into the painted plaster on the church walls (for more about Medieval Graffiti). An ancient Roman scratching images of gladiators into the stones of the Colosseum.

Short answer: It depends on the medium used and the location.

Spray paint fades over time, especially in the full sun, but it does last for years, decades even. However, the same graffiti writer will paint over their own pieces to keep the paint fresh. Often it is only when a wall becomes inaccessible will they cease updating their piece.

Unlike graffiti, street art is not updated or replaced by the same artist. So the permanence of the media that a street artist uses. Paper and paste are surprisingly durable but will eventually deteriorate in Melbourne’s much-discussed weather. In the harsh and unforgiving outdoor conditions, there are casualties. Parts rust away and fall of pieces of rubbish nailed together by Junky Projects, making them meaningless.

Other media, like stone-carving, concrete casting, like Will Coles or Sandor Matos, or ceramics, lasts longer. You might be surprised at the number of unauthorised mosaics because you would think that there was almost none. Ceramics have been used as a medium for street art for decades, from the tiles mosaics of Space Invader to the work of Far4washere, a Melbourne based mixed media artist. The durability of ceramics to weathering on the street means that they have been used for authorised street mosaics (see my post about mosaics in public art in Melbourne).

The idea that graffiti was a fad contributed to a sense that it was ephemeral. The fact is that graffiti and street art are often on walls that nobody cares about; even legal projects used to bandage over an aesthetic sore spot. The building may be abandoned or scheduled for demolition. For this reason, development and other building work (a plumber putting a pipe through a Banksy) make graffiti and street art ephemeral. In Melbourne, Blender Lane, Centre Place and Lovelands are three street art/graffiti locations that have been significantly affected by developments.

Street Art Sculpture 10

Unauthorised sculpture or urban-art installations in public places are the opposite of the monumental official place-making sculptures. These are sculptures that you have to looking for to find. They are small rather than giant, they are discreet rather than obvious. They don’t reflect the official government position like this small version of Greenpeace’s melting tennis ball to remind people that must we are living in a #ClimateCrisis. (A large 1.5 metre version of this was temporarily installed in Federation Square during the Australian Open in 2019.)

The fake brick wall, crystal cave in a brick or the clock on grill is all about placement. The surprise of discovery that something that could only be described as art is part of an old brick wall in the city or has been installed on the grill of a bricked up window.

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Up on a wall in Presgrave Place is a cast version of Jayeff’s eye with a smile. It is simply a bit of fun that is close to being a high-end version of a tag. The tiny work of Tinky and Gigi are more likely to be seen in exhibition or at a festival but a couple have been seen on the streets. Presgrave Place is the place to go if you do want to see some street art sculpture.

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  Jayeff

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  Tinky

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  Gigi

Will Coles, Discarded and others are still glueing their cast works around the city, Junkie Projects is still nailing them up but it were these cast faces by an anonymous artist in Hosier Lane that were the best street sculpture that I’ve seen in a long time. While other cast objects can survive a layer or ten of aerosol paint the cast faces incorporated that eventuality into their image (see my blog post).

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  Unknown

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  Discarded

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In the city I saw another one of Drasko’s mock classical low relief works that add modern tech.

For more about street art sculptures see my earlier posts:

Street Art Sculpture 9 2018  

Street Art Sculpture 8 2017

Street Art Sculpture 7 2016

Street Art Sculpture 6 2015 

street art sculpture in the Whitechapel Area

Street Art Sculpture 5

10 Great Street Installation 2014

Street Art Sculpture III 2012

More Street Art Sculpture 2010

Street Art Sculpture 2009

Faces – the survival of street sculpture

A face emerges from or sinks into the aerosol paint covered walls. A person merging with the structure of the city, a skeleton of metal, a body of bricks and concrete and a skin of paint. Features register underneath the layers of paint, the hint of a smile. There are more faces on the wall… It is the same face? Is it a portrait?

Street art sculpture still interest me on because it is such a difficult medium. The sculpture has to survive the conditions on the street. Public sculpture criticism needs to be modified by a difficulty rating. Just as the aesthetics of sculpture is modified by a difficulty rating for moving large pieces of metal or stone around, public sculpture has the additional difficulty rating for being exposed to drunks and dickheads. And street art sculpture has the added difficulty multiplier for being done without permission.

The sculptures survive under multiple layers of paint. In graffiti intense environment, like Melbourne’s Hosier Lane, a street art sculpture will need to still work underneath aerosol paint.

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There are a cluster of Will Coles crushed cans at the entrance of Rutledge Lane (now a stub off Hosier Lane blocked at both ends by building work). Further along there on a ledge are the vandalised remains of a Will Coles sculptures that someone broke trying to steal it. Nearby are cast sea shells, the faces and pieces with raised lettering. I suspect, because of a couple of tags in raised letters, that the raised letters could be the work of Anthony Lister except the letter style is different.

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I have no idea who did the faces. There are many other similar works, like Mary Rogers cast faces for a footbridge in Moreland. They are also similar the work of the French artist Gregos but it is not his face and therefore not his work.

Having a particular focus on street art sculpture and don’t feel compelled to photograph every piece of street art that I see. My photography teacher always emphasised being focused.

Plaques

Once upon a time, on this very spot there was a … but it is gone now and all that is left is a bronze plaque. Plaques are trying to rivet a superficial history into place, to stop a treasury of trivia from drifting away as busts of men loiter in bas-relief on the building.

As place making, or even, public information curation plaques are at the lower end. I became interested in them because of my interest in public sculpture. And I have found a few interesting items.

on of plaques at Royal Melbourne Hospital

Tell anyone who thinks that plaques are a permanent memorial that they are dreaming. Changes inevitably happen. Remarkably there is a collection of commemorative plaques at Royal Melbourne Hospital, no longer in their original locations due to the almost constant rebuilding of the hospital, these plaques have been brought together in the interest of history.

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When I see a plaque with more than just words I try to work out who made it as the creators of these plaques includes some notable local sculptors. There is John Dias by William Leslie Bowles at Trades Hall or Ray Ewers’s Cookie memorial on the banks of the Yarra. On the Melbourne Symphony’s building on Southbank is Julie Edgar’s bronze bas-relief portrait of Hiroyuki Iwaki Chief Conductor and Conductor Laureate. Michael Meszaros has created several plaques with portrait at Melbourne University and the work of the sculptor Stanley Hammond can be seen on three bas-relief busts at the Royal Melbourne Hospital.  

Even though some of the work is signed but even then I have not been able to find out anything about them. Who is the M Mason who did the bas-relief street-scapes on the Scotch College plaques?

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The multiple Scotch College plaques in Melbourne and East Melbourne raises the issue of paying for these metal didactic panels. No wonder why the elite private school Scotch College has so many.

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On the other side of Australia’s unequal society the Indigenous history of Gertrude Street in Fitzroy is also well documented with a series of plaques.

Although many historical and commemorative plaques are dull; memorials and historical markers are not the only thing that can be done with a plaque. The Wheeler Centre has placed a “discussion marker” in Melbourne. And there are unofficial memorials like Will Coles’s Chopper Read plaques to this notorious stand-over man and artist.

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So although most plaques are dull I think I will keep looking at them. I will let you know if I find any more worth commenting on.