But Masters, I would like to do it if I could get a scholarship. I guess a double degree feels like a lot to have done so I havn't thought about masters, but miss art school a lot. I was not very good at research at art school, in that I would not go to the library with a topic and found the catalogue unsatisfying, the library as a whole was kinda more my topic, I would look at what people had looked at and left on the trolleys, I didn't really like looking at artists who my teachers directed me to casue they were making similar stuff, they suggested artists based on materials not ideas, Its disappointing if your not making in a realtionship to materials way, I kinda needed more advice on artist's as writers and text in work.
Masters seems lonely maybe? And too much navel gazing maybe? Though perhaps I wont be taken seriously unless I do it. Any advice would be welcome, I think their is a secret mannual someplace. I think I have convinced myself I should.
I wanted to have no name for the blog, but it wont let you. 'White Child' was loaded and I kinda need to be on hand to explain it, I was getting hits from Texas, you know what I mean, and 'Daughter' is so Freud and Pearl Jam. So Bells and Whistles will do it for now.
Jaggy Daggers, 1977Pastel on paper23-1/8 x 29-1/8 inches (58.7 x 74 cm)
I am not sure who made a work I liked at the VCA graduate exhibition. It was a piece where you climbed to look in a slot and your eyes got dried up by fan burrring back and forth, sought of caught me before I could close them and get out of what was happening. Dry your eyes mate maybe .... I am guessing that it belonged to either Julian Medor's car bonnets or Tully Moore's paintings from photographs of graffiti on brick walls installed on a painted brick wall. David Griggs. I liked it cause it was light and dumb in amongst a whole lotta weight. I kinda expected to turn back into the gallery and the work that was there to have turned into a surprise party.
I also enjoyed Gennet Makonnen's oil on canvas, in a way again cause of their refreshing ability in that context, and that's cause of their painty-Matisseness. They almost seemed brave in a po-mo world. But I am a bit pro paint at the moment.
There were some tankstand/shed farm photo's that got me sentimental and were actually quite straight and crisp in amongst the angstorammma, sorry I can't match what I remember with the catalogue, so no name. I didn't see the drawing department, but apparently its pretty strong. Printmedia is it's own infinity in a grain of sand, I only say this as a drawing and printmedia graduate.
Ross Coulter's Waiting for Ted is so funny. This piece seems to have gently developed as a reaction to Ross' honours year, Ted is Ross' honours supervisor who seems unable to keep an appointment, leaving Ross stranded in the studio, straddling staying or going and what will I do in the mean time.
I am going to get a copy of Tim Hiller's DVD At Sea. When I got to this work I near walked straight away. fashion youf jacket paints need pulling up all the time. But then my friend started telling me about this particular jacket's cost and texture and by default I ended up watching the piece. It saved itself with an old little boy boat. When the boat gets tangled in reeds and he wades out to get it, its pretty endearing. It just tied in for me with a kinda boyhood thing that I read into Matthew Bradley's stuff and others, I mean he is meant to be THE bad guy right, affluent little fuck, he will grow into a white-male-fat-cat right.
There is a forum at Gertrude St. on Monday night called Feminisim never happened, or something like that. Amita did a good raunch culture show at CCAS called Oomph . I hear there was talk of a boy protest (he he) what, yups it did?
| Trouble |
An exhibition of Drawing by Alumni from the ANU
School of Art Printmedia and Drawing Workshop
| 1 - 26 October|
Contemporary drawing practice has come to
inhabit an expanded territory beyond the page
and the frame, a territory that can encompass a
vast range of materials and outcomes. The focus
of ‘Trouble’ is the potential for drawing to
activate the space of a gallery in unexpected
ways through site-specific installation.
This approach to drawing can be troublesome for
curators and writers, hard to pigeon hole and
exciting for audiences as they are asked to
engage with the gallery space in a way that has
been affected by materials, placement or form of
As we chatted through the exhibition my friend and I kept talking about materials, but had started describing frames and mounts instead. We liked this, but not that, couldn't see the work cause of this etc. I don't mean the old stuff is better than the new stuff, but as works are forced into the similar longevity of oils, the frames , the compromises, the little hats and boots they have to wear so they don't hurt themselves don't escape comment.
Description of materials and matter and a common sensation with pals towards them can be sweet (SWEEEEET) communication.
But It's when you are going to shows and complimenting the hang and poo pooing the frames and not much else, nothing is fogging your glasses or making you want to make work, you sought of know perhaps that its all a bit polite and its all a bit mutual admiration society. Maybe this is a nice thing to do - you want to like someones work but sometimes you can be left clasping at straws and frames and hangs.
your current show at Sutton is on my way between the art supply shop and the studio, so have ducked in a few times - and its really growing on me-
Is it all about relational aesthetics?
someone suggested that, in the end, your work is hopeful, is it?
I feel the content of your show is almost undiscussable - that its still private conversation stuff- and there is no vocabulary for it in the art world yet, if you know what I mean - the 'alternative', communal etc has only just been accepted as the noble path in Australia- let alone a crit of that existing- have you found a stronger way to talk about these things in Europe?
The show at Sutton - to me it's not much to do with relational aesthetics. Though I am not generally one to be dictatorial about my ideas. Relational aesthetics seems to me something like a lava lamp in a gallery context, trying to transcend something but always as it approaches, it falls. (Walead Beshty is better at explaining this than me: http://backissues.textezurkunst.de/NR59/NEO-AVANTGARDE-AND-SERVICE-INDUSTRY_2.html)
To me the Sutton work is to do with trying to get your head around how individual actions become a part of, or exist within 'culture'. Especially now, when consumer culture is accepted as 'the way things are', sitting alongside ideas of environmentalism and sustainability which can never really be integrated into 'me' culture.
So the work is talking about broader cultural ideas which we are expected to accept, like 'man on the moon as progress' or 'western medicine is superior', and presenting moments when those ideas begin to fail for somebody.
It is difficult for me to talk about that show as a collective body of work because, though aesthetically in line with one another, each 'mis en scene' raises a different idea or presents a different circumstance, they are like film stills almost to me.
I think of it as being hopeful, hope through a cynical lense perhaps. But attempting to get people to think about their own position within society, their own everyday actions, though not in a pushy way.
These works are in some ways quite oblique, partly because they are embedded with references across the whole spectrum; socio-political, historical, art-historical, personal, mass-cultural.
I suppose there is vocabulary for everything in the art world, potentially. It is maybe more a matter of who is accessing or choosing to embrace those vocabularies, and why.
I did not find a stronger way to talk about these things in Europe. There is of course present in Germany the lineage of painting as socio-political commentary a'la Jorg Immendorf, Neo Rauch, Martin Kippenberger et al, but that school of approach sits these days more as a mainstay of the commercial market, it having evolved up to and during the demolition of the Berlin Wall, and in that way gained its historical relevance which has since been well and truly commodified. Not that that means it is bad or irrelevant now, but that it is within a sort of holding pattern of meaning, as other approaches branch off and spiral away.
The art world in Australia, though it may at times be catty and neurotic, is an interesting place to me, because it is dislocated from the 'global' art world, and so there is the continuing habit of gleaning some idea of an international standard to meet up to, and which more often than not is overshot, and so work in Australia is at times slicker in its presentation, more exhaustive in its ideas, than its global counterparts, it's something you notice in Europe, that often people are more comfortable with shabbiness or sloppiness in presentation than they are here. These points where Australian artists are looking in overseas magazines for what is current and then mixing it with something local and using the local vernacular to articulate its meaning, these points I think are very important for cultural production in Australia, latent identity-formation which will become more apparent in retrospect.
Sorry, what a rant!
But I will be back soon.
Viv Binns - sorry I am not sure of the titles, the one below is with Derrick O'connor too. I have been thinking about Viv so much. The catalogue for her recent retrospective is such a nice one - it holds in it her - if that makes sense ? I geuss I mean that it is less theoretical and more of a lifesyle explained. She's a trippy dynamo. Does the cosmic thing with gravity maybe, that psycadellic thing that we are doing with as much substance as designs for T-shirts maybe. She is so encouraging. I keep thinking about the weird carpark conversation I had with her after my honours assesment - bless her she really went in to bat for me - she did this smart thing I hadn't thought of - I would always have to answer for my choice of materials and would flop around in answering - but Viv managed to couch my using cardboard in Art History - she linked it to the modernists - one of there revolutions was to use cardboard - Picasso - so its actually a dated, daggy scrappy thing to use and not a cool kid thing to do, I didn't wish to be reactionary - I wasn't using cardboard to stick it to the establishment - how boring - but I was just a bit shy about making - and always feel a bit in between - not really and artist - but just want to think about art through making - anyways, Viv helped me get that across in my assessment - and I think she enjoyed the process we had this conversation wher she explained that after her initial show and the attention she had to shake it off and be a hedonist - what a lovely hedonist, it doesn't seem to be about self indulgence, but community projects and ladies. I miss those art school conversations - speaking in a egoless idea place. So I think about her choice a lot as I screw it up in this art town.
It's dissapointing, I thought of all the places in the world - you could be confussed- it would be in the 'art world' - but you can't you have to know stuff there too. Poor me ! I'll go now, sorry xo
have been making this sentence latley. A long over due commission for a patient fellow. Also getting ready for 'Trouble' at the ANU in the end of September , Patsy's printmedia up yours to the painting department alumni show a couple of years ago, i am stocked to be in it, I love drawing shows, even if its a bit daggy and done, its a good one to keep being done.
have been writing some exhibition proposals.
It's pretty tricky to explain being playful.It's embarassing really, perhaps I should use emotiocons in proposals, so they can get my tone of voice?
Mucking about, has been hard to say. But hope I can work out how to do it. Proposals are floppy anyway, pitching something in the future. Gee wizz.
Cooolio to see the speech2012 blog spot has some new posts, funny spat between Tao an Michael at the moment, about Tao performance at Gertrude St, would like to hear from Immogen, but maybe that isn't the point?
Face book has been fun, but now everyone is on there and it's like real life again!
any hoot. Cherrio.
It's nice chatty writing reminds me a bit of Anna, and Jess's writing for 'funny ha ha', how making are you don't have to get over it and peps can't tell you to. Hope I got it right Jess!! The pic of Tracey with the flag is from Art Daily.com and the one below, a lego Emin bed is from the Liverpool museum website.
So that's enough name dropping for now - but just one more below in Elvis looking at my work at First Draft. The opening of clip art was nice. I think it's a good show, the work of Soda Jerk and Sam Smith was great and I love Elvis' 'please stand by'. Went to arts project the next day and saw a set up for a Beuys re -do. Heard a Venice report. They slammed Emin! But described a great Sarah Lucas work not in the Bienallie but at the same time. then went to Peloton to find Giles Ryder on with 'some kind of electric' - It's pretty 'free' work! A really nice space.
Jess Johnson's FUNNY HA HA at The Narrows. It's great. The works slides around together gently. Themed shows can be difficult, by Funny Ha Ha is not, its very comfortable, it's very open. You are included. Jess's drawings gather momentum as they gather and get larger. They are unframed and accessible. The show has lines and flat spaces, it does not model in 3D. It's breathy. And then there is a sculpture in the corner, just out to the centre. Placed well. What Jess has written for the show does not strain itself to justify, or force the show, its affectionate to their creative bond. Jess writes so swell.
I think The Narrows is my favourite space in town. The concept of an independent work for a poster print run come invitation generously funded be Warren Taylor is 'project' and exciting.
Octopus at Gertrude Street is a better show that I have seen there. Some times I just think what are you up to Gertrude? Whatever Gertrude. Geoff Newton's 'Music for Eyes' is one of the funniest things I have ever clapped ears on. His wood chip challenge is a nutcase. His exaggeration of 'that' pole, his admission to that pole being there is so gorgeous. He bothered to deal with it. Others have tried on failed. the framed pics on food pics are unshackled, the photos rough, the straight up snap shot, like you get developed at the chemist, not a retro Polaroid not a jumbo print lush cause you can. I think these free associate, stuff liked put together, this is art with out words at its better.
P.s. sorry but I don't really like Ashley Crawford's email address. crawDADA ! What was he thinking. but I guess email addresses can haunt you from the past hey. from how you were then.
Final One_s Conversation With the World Ending
Final The Cyclic Nature of Things
The Seduction of Stuff
above is the work of Helen Shelley. Slippery Muddy Beautiful-Not So Beautiful. Shelley ups the anti each time, she doesn't sit on her hands. Swoon. I believe the top three are oil on canvas and 'Untitles 5' arylic on canvas, with fake tatoos.