I made a comment on Speech2012 asking why the new posts, some good ones, about what's going on in Melbourne keep getting posted under the 'one word responses for the biennallleee de Lyon'. It's not so much that the new posts are about Melbourne in particular, it's nice thta there is stuff from all over, but just that they are new posts, new stuff is sought of how blogs seem to work maybe, and one could be forgiven for looking at Speech and think nothing is moving, but there is, it's just being moved underneath. My comment has been removed.

Drawing Show

An exhibition of Drawing by Alumni from the ANU
School of Art Printmedia and Drawing Workshop
image 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
the drawings.

Looking at Frames.

The Guggenheim Collection: 1940's till now is over at the NGV on Sunday. The first room is the best for me, the first room as you turn right especially. There as you turn right is a bit of a cluster of yellowing oil, palette knifed and ochered stuff. Its all a bit pottery and twine. These post war abstractions plus the silly op and the kinetic works (except the Fontana upstairs is better) add up to something optimistic and playful and none too fearful. Post war I guess. Its like the 'funk' of the materials is enough. I think my liking the chunked oils is just the shock of seeing texture. Shit painted like it was painted, not mediated by an interface, T-shirt or sticky tape.

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.