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Issue 94 September 2012 trouble is an independent monthly mag for promotion of arts and culture Published by Newstead Press Pty Ltd, ISSN 1449-3926 STAFF: administration Vanessa Boyack - | editorial Steve Proposch - | listings CONTRIBUTORS: Mandy Ord (comic left), Ive Sorocuk, Julie Ditrich, Inga Walton, Lisa Bowen, Robyn Gibson, Courtney Symes, Neil Boyack, Darby Hudson, Ben Laycock, Jase Harper, Matt Emery. Find us on Facebook: Subscribe to our website: DIS IS DE DISCLAIMER! The views and opinions expressed herein are not necessarily those of the publisher. To the best of our knowledge all details in this magazine were correct at the time of publication. The publisher does not accept responsibility for errors or omissions. All content in this publication is copyright and may not be reproduced in whole or in part in any form without prior permission of the publisher. Trouble is distributed online from the first of every month of publication but accepts no responsibility for any inconvenience or financial loss in the event of delays. Phew!



sept 2012


Ive Sorocuk





Julie Ditrich


Inga Walton


Lisa Bowen


Septembish ...


Darby Hudson


Ben Laycock

Robyn Gibson


Courtney Symes


Courtney Symes

COVER: Wonder Woman images by Harry Rekas (creative director), Gerard O’Connor (photographer), Mark Wasiak (stylist). Originally appeared in Large magazine October 2000 - READER ADVICE: Trouble magazine contains artistic content that may include nudity, adult concepts, coarse language, and the names, images or artworks of deceased Aboriginal or Torres Strait Islander people. Treat Trouble intelligently, as you expect to be treated by others. Collect or dispose of thoughtfully.

Judy Holding Blue Mallee 2012, painted 6mm MDF in 3mm coreten steel base, A/P Ed 30, 30 x 20 x 10 cm. Photographer Tony Fuerie.

Silhouette Australis Judy Holding

12 September to 20 October 2012 A solo exhibition of work by Judy Holding. Collaged paper silhouettes, artist books, laser cut steel, aluminium and wood sculptures all share a visual language that is a thinking through of Holding’s commitment to the Australian landscape.

Deakin University Art Gallery, Deakin University, Melbourne Burwood Campus, 221 Burwood Highway, Burwood Victoria 3125. Melways Ref 61 B5. T +61 3 9244 5344 F +61 3 9244 5254 E Hours Tuesday–Friday 10 am–4 pm, Saturday 1 pm–5 pm, free entry. Gallery closed on public holidays. Please visit for exhibition details. Deakin University CRICOS Provider Code: 00113B


25 September to 2 December 2012 Adult $12, Conc $8, Child/Gallery Member Free An Art Gallery of Ballarat exhibition Miss Maund Telopea speciosissima (detail) 1838 plate 71 from Benjamin Maund’s The Botanist engraving on paper, hand coloured. Collection: Art Gallery of Ballarat. Purchased with funds from the Joe White Bequest, 2010





the secret life of

Wonder Woman a brief liberated biography of William Moulton Marston by Julie Ditrich all images by Harry Rekas (creative director), Gerard O’Connor (photographer), Mark Wasiak (stylist) originally appeared in Large magazine October 2000

Wonder Woman / Julie Ditrich

There was collective rejoicing in the Oz comics community a few years ago when Australian model Megan Gale was cast as Wonder Woman in George Miller’s movie version of Justice League of America. Shortly after there was a collective groan when the project was cancelled. Outside of the fact that Megan epitomised the notion that brains and beauty could coexist both in a fictional female superhero character but also in real life, Wonder Woman’s long-yearned for screen appearance excited many a fan-boy, fan-girl and fan-gay simply because she represented the universal ideal of love, tolerance and acceptance. But was Wonder Woman as straightforward and clean cut as she appeared? And what did her signature choice of weaponry – metal bulletdeflecting bracelets that would render her powerless if welded by a man, as well as a magical golden lasso that not only physically restrained her enemies but also constrained them to declare the truth and nothing but the truth – tell us about the predilections of her male creator? William Moulton Marston (1893-1947) was a Harvard-educated psychologist, self-help author, scholar, essayist, novelist, inventor, government and Hollywood consultant, and (phew!) lawyer. He is credited as being the originator of the systolic blood pressure test—a device that effectively became the first polygraph (lie detector). The publisher of All-American Publications and National Periodicals, which later merged to become DC Comics, offered him a job as a consultant after reading a 1940 Family Circle article where Marston extolled the educational virtues of comic books. Marston, who was also a great champion of women’s rights, soon recognised a gap in his publisher’s lineup—there were no comic book titles featuring female superheroes. continued >>

> He approached his boss about it, and was promptly given a mission to create a new kind of superhero, one that Marston described as possessing “all the strength of Superman plus all the allure of a good and beautiful woman” and “who would triumph not with fists or firepower, but with love”. Wonder Woman was his answer. After a quick name change from “Suprema”, Wonder Woman first appeared in All-Star Comics #8 (December 1941) then seized the cover story in Sensation Comics #1 (January 1942) before finally being granted her own self-titled comic book (Summer 1942). Marston wrote her stories under the pseudonym Charles Moulton for the next six years. Wonder Woman turned out to be athletic, intelligent and compassionate. Marston based her on two important women in his life–his accomplished wife Elizabeth Holloway Marston and his former student and research assistant Olive Byrne. Marston lived openly with them in a blissful but scandalous polyamorous relationship. By all accounts the women got on famously. Indeed, they had four children to him between them, and they lived together for forty years after his death. The other risqué revelation that soon emerged during Marston’s years on Wonder Woman was that he also had a penchant for B & D and D & S (bondage and discipline, dominance and submission), which seeped into his stories and titillated many a canny reader through the imagery. In a 1942 Family Circle interview with his paramour Olive who wrote under the pen name of Olive Byrne, he said, “Tell me anybody’s preference in story strips and I’ll tell you his subconscious desires… Wonder Woman satisfies the subconscious, elaborately disguised desire of males to be mastered by a woman who loves them”. Consequently, nothing in Wonder Woman was random. She lived in a utopian society on an island with the Amazonian sisterhood. When she ventured out during World War II to help >>

Wonder Woman / Julie Ditrich

“all the strength of Superman plus all the allure of a good and beautiful woman ... who would triumph not with fists or firepower, but with love�

Wonder Woman / Julie Ditrich

> humanity, she battled all manner of Nazis and evil-doers banded under the Axis Alliance. The stories carried themes of male and female B & D, cross-dressing, spanking and slavery. Wonder Wonder herself is also often depicted being tied up by ropes and chains–the classic hallmarks of B & D. In these stories, restraint by rope was not merely a plot device to keep the heroine or enemy under control; it was a mechanism to express Marston’s secret desires. Marton declared in a letter to his publisher This, my dear friend, is the one truly great contribution of my Wonder Woman strip to moral education of the young. The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound … Only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society … Giving to others, being controlled by the submitting to other people cannot possibly be enjoyable without a strong erotic element. We can only speculate where Marston would have taken his forthright female protagonist had he not died of cancer in 1947 at the age of 54. As it turns out, he may have been stymied in his quest to fulfill her destiny in the pages of comics. The publication of a book called Seduction of the Innocent in 1954 by GermanAmerican psychiatrist Frederic Wertham, denounced comic books as contributors to juvenile delinquency. It scared the bejesus out of parents, and led to wide spread panic, censorship and comic book burnings across big and small town USA. Moreover, Wertham’s book identified Wonder Woman’s bondage subtext, and posited that her strength and independence could only mean one thing—she was the “Lesbian counterpart of Batman” and obviously “an undesirable ideal for girls, being

the exact opposite of what girls are supposed to want to be”, and that she presented a “… frightening image” to boys. Subsequently, comics publishers established a self-regulating body called the Comics Code Authority (CCA) that would censor their titles under strict guidelines up until the 1980s. The CCA effectively shackled and sanitised Wonder Woman. She abandoned her feminist ideals and covert kinkiness, and became more concerned with romantic pursuits. When she joined the Justice League of America along with her male counterparts, the formerly powerful super heroine was relegated to the role of secretary. But her true spirit was not forgotten. Gloria Steinem acknowledged Wonder Woman’s influence in July 1972 when she put her on the launch cover of Ms magazine under the title “Wonder Woman for President”. This was a kind of a war cry to galvanise women and society to honour Wonder Woman’s ideals— the pursuit of peace, truth, equality and justice. In recent years, new writers have allowed her to claim her proper birthright as Marston had intended, minus the eroticised elements. She is now seen as a successful feminist icon and as a symbol of enlightenment, grace and independence who can also kick ass if warranted. Marston had once said to Olive, “When women rule, there won’t be any more [war] because the girls won’t want to waste time killing men … I regard that as the greatest … hope for permanent peace”. Maybe in this political climate, it’s time for Wonder Woman to rise again—kinkiness and all! Julie Ditrich is a comics writer, and a director of Black Mermaid Productions. Her new fantasy series Elf~Fin: Hyfus & Tilaweed with artist Jozef Szekeres, will be published at the end of 2012. Blog: www.

“... she was the ‘Lesbian counterpart of Batman’ and obviously ‘an undesirable ideal for girls, being the exact opposite of what girls are supposed to want to be ...”

“It’s very hard for me to accept that Sukita-san has been snapping away at me since 1972, but that really is the case. I suspect that it’s because whenever he’s asked me to do a session I conjure up in my mind’s eye the sweet, creative and big-hearted man who has always made these potentially tedious affairs so relaxed and painless. May he click into eternity.” - David Bowie, 2011

by Inga Walton

Masayoshi Sukita Photographing the Starman Masayoshi Sukita was never going to be a typical candidate for the monicker of ‘Rock Photographer’. Entirely devoid of the self-importance, arrogance, or swagger that seems to so characterise the profession, the genial and quietly spoken 74 year-old positively beams, rather than boasts, when reminiscing about his extraordinary career. Visiting Australia for only the second time since 1988, Sukita was in Melbourne for a capsule exhibition of photographic works printed to accompany the launch of his new book Speed Of Life. The event was opened by the Consul-General of Japan in Melbourne, Hidenobu Sobashima-san, and saw Sukita subjected to the level of clamour and flash bulbs usually reserved for his famous subjects. The beautifully produced and sizeable tome documents his nearly forty year professional collaboration with David Bowie; over eighty percent of the images selected have never been seen or published before. Oh, and it took seven years. “One of the reasons why it took so long to complete is because we were thinking that, since the photographer is Japanese, we wanted it to reflect a kind of Japanese style with the design of the book. In the middle we ... my staff and I, reconsidered what is the best concept and decided to go with a more ‘Western’ style, so that is the main reason for the length of time”, Sukita admits. Sukita was born in a small coal mining town in Nogata Shi, Fukuoka prefecture in the north region of Kyushu, at the southern end of Japan. “Having seen the film Billy Elliott [Stephen Daldry, 2000], called Little Dancer in Japan, I sympathise with the lead character as, like him, I grew up in a coal mining community too. I think I was like Billy Elliott, his creativity and his spirit wanting to break free”. Sukita’s father was in the Japanese Army and was killed on the front line in China two days after the war ended on 15 August, 1945. “My memories of my father are limited. But I have a strong memory of him taking photographs; in particular, I remember one photo, which he sent home from China, of some of his fellow soldiers having a bath in an oil drum, relaxing together. I have a vivid recollection of that photo, but sadly I don’t have it anymore”.

continued >>

Masayoshi Sukita / Inga Walton

> It fell to Sukita’s uncle, his father’s younger brother, to assume a mentoring role. “He used to act in a road company when he was young. He was very kind to me and would often take me to the theatre and the cinema. These trips were very important moments in my early life. I especially loved going to the cinema. I was first introduced to it around 1943 when I was five ...” he recalls. “In my teens, which coincided with the Fifties, the decade when the world’s cultures were maturing and blooming, I started seeing American films – during the war, Western films had been banned – and the world started to open up for me. It was so exciting, to watch. I would cycle all the way from Nogata to Fukuoka and back home, which is about a 100km journey. My heroes became Fred Astaire, Marlon Brando and James Dean ... influential movies for me were those in which I encountered rock ’n’ roll, such as Elvis Presley films ... When James Dean died in the car collision [in 1955], it was a great shock for me. He was such a big star I really couldn’t believe it. I was very, very sad because he meant so much to me”. After twice failing his university entrance exam, Sukita decided to pursue his passion for the visual medium and entered a photographic school in Osaka to study commercial photography. “I didn’t attend ... every day as I had already learnt most of the practical aspects myself the previous year. So I often missed the lessons and went to the cinema. When I left Osaka I discovered French New Wave cinema and British films too. I felt that the best school lessons were from watching world cinema. Looking back now it was probably a lucky thing that I failed that exam”, Sukita comments dryly. After working as an assistant to an established photographer in Osaka, Sukita entered the photographic division of an

advertising agency there in 1961. In 1965 he moved to Tokyo and worked for a production company called Delta Monde, doing fashion photographs and filming TV commercials. “Maybe one of the reasons why I was interested in fashion is because my parents owned a cosmetics company. I don’t have a clear memory of any posters or advertising related to their business, but even without realising it, maybe I was already part of that industry. When I began my professional life, I worked with the major cosmetics companies in Japan like Kanebo and Shiseido”. Sukita went freelance in 1970 and travelled to London for the first time in 1972 with his friend the stylist Yasuko Takahashi (known as Yacco) who had befriended Marc Bolan’s manager, Tony Secunda, the previous year. Takahashi arranged a meeting for Sukita with Bolan who, having reviewed his portfolio, agreed to a photo shoot. During his stay, Sukita was intrigued by posters he saw for David Bowie, utilising photography by Brian Ward. Despite never having heard of Bowie, Sukita was determined to attend his concert at Royal Festival Hall. “I quickly realised that David Bowie wasn’t a regular performer. I felt that there was much more going on, so much more depth and imagination than from regular musicians. I understood entirely how he felt about using and playing with different media, how he was also inspired by cinema and combined other ideas with his own concepts to create something bold and new. David-san was expressing many of the interests I also felt and could relate to, ideas that I was trying to show in my own work”, he asserts. “One of the reasons why I was so inspired by seeing Davidsan for the first time was because he is not just a musician, he is also artist and performer in the ‘underground’ area ... the way he acted on stage, his physical movement and expression corporelle was really different from other artists”.

> Once again Takahashi used her contacts to contrive a meeting, this time with Bowie’s then manager Tony Defries, who had asked along the more established photographer Mick Rock for his assessment of Sukita’s work. “I look on [him] as a key person in my career, someone who helped me. I’m pretty sure that it was really Mick who decided I was okay to work with David and I am very grateful to him for that. All of this happened within a week of seeing David for the first time ... It was a very fast and a very exciting time for me.” Their first studio session, before Bowie’s show at the Rainbow Theatre, lasted just two hours. The results were featured in a popular Japanese fashion magazine, an-an, and received a huge reader response. Sukita then photographed Bowie at the venue, “One of the photos from the studio session was blown up and exhibited in the foyer ... which I was very pleased about. It proved that David-san really did like my work, and that was very important to me”.

“All of this happened within a week of seeing David for the first time ... It was a very fast and a very exciting time for me.” leather jackets as possible and instead of shooting on a straight white background, I included the door edge to break the image up and give a rougher feel. The whole session was over in an hour”.

Theirs was to be an enduring, if necessarily long-distance, relationship. “I would never have believed until Sukita-san showed me the contact sheets that he had taken so many photographs of my trips to Japan (and other occasional cities) over so many years. From the early Ziggy shows including the well known Rainbow concert in London, the market trips in Tokyo, temples in Kyoto and even the subway adventures: it seems Sukitasan got them all”, Bowie reflected.

Sukita had no inkling that his stark blackand-white studies would achieve global recognition, “Afterwards I selected about twenty photos to give to David-san, including the shot on the Heroes LP sleeve [1977]. When he contacted me to say he wanted to use it, I was delighted. Later in the year I had a call from Mika [Fukui], of the Sadistic Mika Band. She was in London and phoned to tell me that Heroes had been voted Melody Maker magazine’s best cover image of the year. I was very proud. I am still very fond of this photo”.

Sukita’s best known image came from an April, 1977 press tour, “David-san came to Japan with Iggy Pop to promote the latter’s [début] album The Idiot [1977] – that Bowiesan had produced – and a chance for a photo session with the two of them presented itself. The photos were meant to have a ‘punk’ feel. David-san had asked Yacco to get as many

Indeed, both Melody Maker and NME magazines named the release, the second instalment of Bowie’s so-called ‘Berlin Trilogy’, as their respective ‘Album of the Year’. Over a decade later, Sukita would also receive the cover commission for the début self-titled release from Bowie’s short-lived band, Tin Machine (1989). >>

> The recognition Sukita received for his music photography paved the way for other projects. Many years after he was first captivated by film as a child, Sukita would go on to have his own somewhat fleeting Hollywood adventure while working with Eiko Ishioka (1938-2012), who won the Academy Award for Best Costume Design for Bram Stoker’s Dracula in 1993. “I was engaged with Eiko Ishioka, one of our great artists in Japan, on Mishima: A Life in Four Chapters [Paul Schrader, 1985], and we went to Florida and Los Angles on a photo shoot for [executive producers] George Lucas and Francis Ford Coppola. We even went to Coppola’s private place, and that house was just huge and has a vineyard as well, and I felt like the scale is just too different that I’m engaging in, just too huge, too much, and everything’s too overwhelming”, he recounts. “And after the shoot we went to New York to take the photo of [composer] Philip Glass [who did the score]. It took a lot of effort for us to arrange this session, but as he didn’t like to have his photo taken, he cancelled on us at the last minute. So we didn’t have anything to do, and asked one of our friends living in New York ‘what’s new here now?’ and my friend suggested that I see an interesting new film by Jim Jarmusch [Stranger Than Paradise, 1984]. I was very inspired by him, so when we returned to Japan I asked a friend who worked at Victor Music Corporation about it, and my friend knew Jarmusch, so we wrote lots of letters to try to reach him, and then we also sent a portfolio, and finally he responded”. Sukita became the still photographer on Jarmusch’s third feature film Mystery Train (1989), a three-story narrative based around characters staying at a dilapidated hotel in Memphis. It is anchored by the story of a young couple from Yokohama who have come, at her behest, to visit Graceland, although he prefers the music of Carl Perkins. Sukita produced a book of his

photographs from the set, and the similarity between the film plot and some of his own experiences navigating a very different cultural ethos is striking. “Coppola was just spending so much money, and wanted to have a very large-scale filming experience, but in contrast the style of Jarmusch is kind of a ‘road movie’, very tight, limited budget, and that was fitting to my style as well”, Sukita explains. He also struck up a friendship with the film’s cinematographer Robbie Müller, “We are about the same age and we are both photographers, so there were many things to learn, and to share, particularly in terms of experimenting with lighting, from warm lights, to harsh and fluorescent like a supermarket. This helped me in my own work, particularly when photographing David-san in concert, as he is also very concerned with lighting”. Curator Gail Buckland selected Sukita’s work for the exhibition Who Shot Rock & Roll: A Photographic History, 1955 to the Present (30 October, 2009 – 31 January, 2010) at the Brooklyn Museum, and for her book of the same name. Sukita was gratified by his inclusion, “As one of the people who has engaged in taking photos of the rock music scene, unfortunately I think Japan is really a bit behind, and I was surprised to be chosen. I really respect that kind of American attitude towards rock ’n’ roll. It’s part of their culture, quite reverential, particularly since Elvis Presley. But in Japan, although rock ’n’ roll is popular it’s [regarded] more as entertainment and amusement. Through documenting these artists and exhibiting my work, I would like to be part of making the tradition of rock ’n’ roll more a part of Japanese culture”. >>

image: We Could Be Heroes, Japan: April 1977 (detail), (Heroes album cover), digital C type photograph, Fujicolour Crystal Archive.

Masayoshi Sukita / Inga Walton

Masayoshi Sukita / Inga Walton

> Sukita would like to work with Iggy Pop and Brian Eno again, and remembers fondly a shoot with Cyndi Lauper, “She was very cute and friendly. She was a favourite in Japanese culture”. He is less interested in the current crop of music stars, “It’s not really my style to take photographs of someone who is already major in the music scene. I much prefer to know the newer artists, and keep taking their photo as they become bigger in the industry. I like to watch their evolution ... I want to take the steps together with the artists ... to bear witness ...” As well as finalising arrangements for Speed Of Life, Sukita has been immersed in the process of selecting images for his retrospective Sound & Vision in Tokyo, a title which cheekily references Bowie’s 1977 single of the same name, and his 1989 box-set. The three hundred works range from a study of his mother he took as an 18 year-old, his fashion, theatre and film output, his enduring interest in the sub-culture, and inevitably his music work. Particularly poignant are the images of the devastation wrought upon the body of a badly burned victim of the Nagasaki atomic bomb who consented to allow Sukita to photograph him. “The resulting portraits brought home the immense suffering of war and how it continued to affect many people for the rest of their lives. This opportunity made me realise how difficult it was to take photographs of people, to capture their lives in a portrait”. Sukita also discovered how difficult it was to represent his own life through his work. “At first, I had double the number of photos, it was

I like to watch their evolution ... I want to take the steps together with the artists ... to bear witness ...” quite hard to narrow them down. I wanted to make a balance, and not just focus on the music ones ... to show a range of all the work I’ve done in the past, and speak to the audience. I suppose that the people who are going to look at the new [Bowie] publication might think, ‘oh what kind of person took these older photos?’, so I thought it was a good opportunity to show all my work, to better represent who I am”. In a strange coincidence, the closing ceremony of last month’s London Olympics also produced by Stephen Daldry and billed as “A Symphony of British Music”, gave Sukita an unexpected jolt. One of his images was projected during a montage tribute to Bowie’s status as a music and fashion icon. The shot, from a February, 1973 session at RCA studios in New York, showed Bowie wearing specially commissioned stage clothes by Kansai Yamamoto. “Seeing it was quite a shock, but also surprising, and it made me happy as well. I was excited to see it. I realised how I’ve been working with such superstars all these years, but it also lets me know I’m not finished yet!”. So yes, at his current rate, Sukita-san may well click into eternity. Inga Walton

(Interview interpretation by Kazuko Harukaze).

Images courtesy of the artist & Genesis Publications, UK. © Masayoshi Sukita, 2012. | Photographic prints from Speed Of Life are on display, and limited numbers of the book are available at: Mossgreen: 310 Toorak Road,
South Yarra, Victoria, 3141, (until 8 September, 2012); Hedleys Books & HedSpace Gallery: 150-52 Queen St, Masterton, New Zealand, 5810, (5 September-6 October, 2012). | A retrospective of Masayoshi Sukita’s work, Sound & Vision, is at the Tokyo Metropolitan Museum of Photography (until 30 September, 2012): 153-0062, Yebisu Garden Place, 1-13-3 Mita Meguro-ku, Tokyo, Japan, | See also:


eptember has arrived and it’s once again time for the Sydney Fringe – 2012 is only the third year of the festival and yet it has already established itself as one of the biggest names in the Sydney arts calendar. This year the fringe is branching out from the Inner West. For the first time the fringe is open-access, and has encouraged collaboration from artists and venues as far afield as Parramatta, and beyond. A highlight of this year’s Fringe will be an exhibition of work by Emmy Etié, a French photographer who for fifteen years has captured the magic of live bands and the mystery of musical geniuses using her camera. Etié’s work is simply stunning – rocking, you might say. Somehow she manages to capture the essence of a live show with the same electricity you feel when you are in the audience yourself. This talent has gained her commissions for the likes of French Rolling Stone magazine, and jobs photographing rock royalty such as Iggy Pop and George Clinton. This Sydney Fringe sees Etié bringing her exhibition of Rock and Roll Shots, that she toured around France in 2008, updated with new work for a Sydney audience. The exhibition will run for the course of the festival at Enmore’s Green Room Lounge. I met with Emmy at the Green Room to talk about her exciting career. LB: How did you get started in photography? I read it was when you were sixteen? EE: Yes, when I started to take photos of musicians, it was at gigs, in the mid nineties, maybe in ‘95 or ‘96. I was going to gigs with friends and taking my camera, and at the beginning it was just black and white and I was using just film, manual, so I had to do the focus by myself which I’m not doing anymore, I mean for gigs especially. And at the beginning I was the only one taking photos ... Because at the beginning I wasn’t going to big, gigs, and even at some medium gigs I was sometimes the only one. And I was also taking photos for friends in bands, and then I started to learn how to print the photographs myself. In high school everyone was going into the darkroom with their portraits, and I (laughs) was going in with my gig photographs. I really liked it and so I decided to learn photography after my high school diploma. So I went to Paris. LB: After growing up in La Rochelle? EE: Yes, I’m from La Rochelle which is on the West coast, north of Bordeaux two hours’ drive. So I went to Paris in 1999. I did a professional photography school but there was a focus on advertising. I was taking photos of products, using studio lights, but we were also given some assignments on portraits and documentary photography. image: self portrait by Emmy Etié

continued >>

La Rochelle

Rock and Roll by Lisa Bowen

The Bellrays


> This course ran for two years and then after that I worked as an assistant for fashion and advertising photographers from 2001 to 2004. And then in 2003 I had my first assignment for a magazine, which was to travel to London to take photos of the Kings of Leon. It was the beginning of their career, and I had to take photos of them and then shoot at their gig at the Astoria. I was given the assignment because my friends in bands were sending the photos that I took to one of the journalists who was working for these magazines, and the journalist said: “Ooh I love your photos. You should contact the boss of the magazine,” and I did and he said “Okay, let’s try on this Kings of Leon thing.” After that I started working for many magazines and photographing many bands. I would go to the promo days and shoot bands after their interview for the magazine. I would be given a special time-slot, sometimes I had to shoot them in ten minutes. I had to find a cool space not far from where they were doing the interview.

La Rochelle Rock and Roll / Lisa Bowen

All these photo sessions are interesting. I always have fun and there’s always something happening to make for a little story. LB: You must get some insight into the “rockstar” lifestyle? EE: Yeah, sort of. What I like is when I’m doing a photo session and then I have to go the gig afterwards. I have to shoot so many different types of music. I love rock and roll, or blues, but sometimes I have to shoot an electronic artist I haven’t heard of. So I spend time with them and I think to myself “I wonder what the gig will be like.” I have photographed artists who are very quiet beforehand, and then when the gig starts they are super active on stage. Like, Danko Jones for example. Before his show he is very shy, and very quiet, but when the gig starts he’s just on fire! Also, The Bellrays are like that. LB: The Bellrays! Oh yes, the lead singer – she looks fabulous.

EE: Yes, exactly. So she’s very quiet and then on stage she’s just super energetic and the LB: Who is the most memorable artist that you’ve live photos are always great. There’s always photographed in that way – not a live shoot, but a something exciting happening when The promo shoot? Who was your favourite? Bellrays are performing. EE: I have a good memory of photographing Frank Black for Crossroads magazine. It was in his hotel in Paris, an old school hotel, and he was just lying on the couch and it was very cool. There’s one photo from this shoot in the exhibition actually. I had more time for this shoot, I think I had between twenty and thirty minutes, and I just arrived with one light, not a flash just a spotlight. It could have continued for an hour. He didn’t say anything at all; he just lay on the couch. And then I had to shoot again him a few years later in Marseille in 2008. It was after his gig he was a little but um, not drunk but er, (laughs). I photographed him with a bottle of wine with his face a little bit tired after the gig. It was a good memory.

LB: When you’re at a gig and you’re photographing a band on stage do you have a formula that you go by? Do you have shots planned out for each stage of the performance? EE: No. It’s great when you are able to shoot for the whole gig, but for bigger shows I’ll only be allowed to shoot for the three first songs, so sometimes nothing happens. It depends on the music. If it’s rock and roll, for example if it’s Iggy Pop & the Stooges it will always be great from the beginning. LB: I was reading a piece about your work written by Bob Short. He calls you a goddess, and kind of says that you have photographic magic powers ... >>

the soundtrack of our Lives


> EE: Yes, yes he’s a friend of mine and I took photos of his cover band, 77 Sunset Strippers. His photograph was once on the cover of the NME, and he also joins bands to play bass or guitar. He writes a lot, he’s doing reviews of gigs and records, and he’s really a great writer. LB: Yes! I love what he says about you. EE: (Laughs) Yeah he wrote a great, er, text. I, er, was very flattered and yes ... LB: I’m not surprised. He also talks about everybody having a camera at gigs nowadays; do you think that because of this, rock and roll photography is a dying craft?

La Rochelle Rock and Roll / Lisa Bowen

style. So I was thinking that maybe because the level is not as high as before (laughs)... What I would like to do is try to introduce myself into fashion or advertising, so I wanted to use this exhibition to showcase my work, as I’m new to Australia. I have spent the last three years in and out of Australia. I spent one year in Melbourne in 2009, then I went back to France, and then came back for a few months and I’ve spent more time in Sydney this time, and I met my partner here last year. I love Australia; I love the music, the bands, I love the people and I like the relaxed atmosphere. It’s very different than France and Paris.

“I get the impression that soon we won’t be able to see the difference between a bad and good photograph because the good ones won’t exist anymore.” EE: Sometimes I’m a bit worried, yes. The great thing is that we will always need pictures. I’m worried about the quality; the quality is getting much worse. The quality is now not good at all, and I think with digital photography, I get the impression that soon we won’t be able to see the difference between a bad and good photograph because the good ones won’t exist anymore. In art, fashion and advertising the photos that you see now you wouldn’t have seen them before because the quality would never have been acceptable. On the other hand, I saw that art photographers are now using their mobile phones to take photos and there are exhibitions of this work also, so there’s a whole new way of working now.

LB: Are you going to a lot of gigs in Sydney to take photographs? EE: Yes, yes, most of the time I take my camera unless I know that there’s no light and it will be hard to shoot, but most of the time I’m going to gigs at the Sando on King Street not far from here.

It’s another way of working, here, because all the international bands usually do their Australian promotion by internet or by phone because it’s too expensive to come. In Europe it’s different. Bands from the UK can come to Paris for a day, a day or two, stay there, then come back, then come back to play a month or two later. When the money was there I went to New York to see the New York Dolls at CBGB LB: Do you still use film? for Essay magazine and it was paid for by the EE: I still have a medium format camera, a record company, Roadrunner. Once upon a Hasselblad, so sometimes I’m doing things. I time, you could fly to LA for three or four days, would like to do another project, music related, do an interview with the band, see them play, portraits using my medium format. I would come back with the paper, then finally make like to do fashion with a new rock and roll the article and photos. It was good. >>


> LB: In interviews bands often say they notice that fans behave differently in different countries. You have been to so many gigs around the world. Have you noticed differences in crowds at gigs, country-to-country or even cityto-city, for example, Melbourne and Sydney? EE: In France there’s a difference between cities; in Paris they’re colder. But it’s the same with Melbourne and Sydney also. I think in Sydney people are more for standing still. In Melbourne they’re more on fire I would say.. Maybe not on fire, but they interact with the band more, but in Sydney – even if they love it they would still be standing still. And a difference between Paris and Bordeaux it’s the same - Paris they are more.. er, dance less. LB: Who is your favourite band or artist? EE: (thinks for a long time.) Well there’s a lot that I love actually. Lots that are in the exhibition. There’s a special moment this year actually. I got to see The Sunnyboys at the Dig it Up festival in Enmore. That’s the Australian band that I really wanted to see and everyone told me that it was impossible, and I was there. They were playing under another name, Kids in Dust, and I was taking photos, so I was in the front row. And after a few songs I was starting to cry because the songs are great, they’re a beautiful band and it was a very emotional experience. There have been a few gigs like that, that were special in terms of atmosphere, when something magical would happen. There’s this band called The Soundtrack of Our Lives, and they are very special. I saw them once but they are very special on stage; it’s just magical. And also, Mark Lanegan is great. He doesn’t move at all, there’s just his voice, he’s got something.

La Rochelle Rock and Roll / Lisa Bowen

LB: This exhibition, Rock and Roll Shots, has been a touring exhibition around France. What is your favourite photograph in the exhibition? EE: (thinks for a long time). Probably, ah yes, I love this portrait of George Clinton. It was shot with a grainy film - Delta 3200. I love working with this film. I miss working with film actually, because you can see the difference from digital especially with this kind of grainy black and white. So I love this one best. And all the live photos of The Bellrays, because I saw them many times. I was on tour with them in 2003 so I have lots of photos, and those black and white photos, I love them too. But I like all the photographs in the exhibition, and there’s a story behind every one. LB: Will you be telling us the stories? Will you provide a description for each photograph? EE: Just when it was taken, where, and the name of the band. But I was thinking that I should make a book with all these photos. And if I do that, in the book I will write my anecdotes and also I would like to ask the bands, journalists, and fans to write something about the photos or the bands, to tell us something that happened at the gig. It would be better than simple photo-book I think. It’s always more interesting when you have a little story; you’d be like “I didn’t know that!” LB: Will you be taking photos on opening night? EE: No, I will be having the night off. Emmy Etié’s Rock and Roll Shots will run from 7th to 30th September at the Green Room Lounge, 156 Enmore Road, Enmore.

Opening night on Friday 7th September at 6.30pm includes a show by Emmy’s friends LB: And how do you capture that moment on film? Johnny Casino and the Secrets. - EE: I don’t know! (laughs)

George Clinton


greenwish #9

Not so crafty ... I’ve had conversations with several people recently who have mentioned the dearth of quality in modern buildings and a lack of care on the part of builders to execute a project well. So I thought, why is that? Certainly in Australia, the building industry is probably one of the most regulated in the world. You would surmise from this that the quality of building would benefit from this regulation, and that quality would be improving concurrent with the regulation applied. Unfortunately, it seems the opposite is the case. Many buildings end up a shadow of their intended selves. Designers and clients are disgruntled and feel let down, builders feel they have done their job ... and as a result, somehow, the fabric of our world loses value and a sense of well-being. Look at any evening TV show such as Grand Designs, The Block etc., where drama and emotions abound, expectations and dreams fizzle, and fingers are pointed. Building is a hugely complex process (greater than most people imagine), merging several aspects of life that are complex in and of themselves: home, money, social status, and relationships. The Building Codes Australia (BCA) – recently name-changed to the National Construction Codes (NCC) – stipulates the minimum requirements to be met on all building sites. Subsequently, the focus for builders and those training to become builders is to learn how to comply. It’s about meeting regulation, rather than learning a craft or developing a love of working with a particular material and a team of other craftspeople, passing on their skills. It teaches how to ‘just do what you have to’ rather than how to excel. continued >> < Andrew Merry, Edgewood no. 3 (detail) 2006, from Edgewood: aerial photography of new suburbia

Greenwish#9 / Robyn Gibson > Andrew Merry, Edgewood no. 7 (detail) 2006, from Edgewood: aerial photography of new suburbia

> The vast difference in attitude between the two is obvious and I think one of the main reasons why there is a lack of confidence in the ability of trades to do a good job. Craftsmanship has become a job; high quality has become ‘meets all the requirements’.

recycled materials, create more individual, crafted interiors with a strong attention to detail is indicative of a move away from the mass-produced home, and reflects a desire to express a lower-impact lifestyle and greater environmental concerns. People want to connect with something deeper and more But take a quick look at the standardised nature meaningful, questioning what a sustainable life is of the residential landscape in this country in the process. (for the most part), and it is easy to see why Having said that, those who find creative and a laissez-faire attitude might abound. Most unconventional ways to make their homes tradespeople will get to carry out a very small themselves – pulling together salvaged materials variety of tasks, as the industry continues to and items in highly creative ways, and/or utilising produce replica 1970’s brick-veneer houses highly-skilled craftspeople who work beyond on steroids, pumped up to meet twentythe suburban brick-veneer mentality – will find first century lifestyle expectations. There is it increasingly difficult to work in an industry no chance to diversify skills, or offer creative resolutions to challenging design issues, because that is set up for the mass-produced and they’re not often faced with them. The ‘cookie- standardised home. There are legislative moves afoot to make it more difficult for ownercutter’ approach to housing has stamped builders or unregistered builders to exist within out much creativity, and over-regulation has the industry as it stands. Unfortunately, such managed to stamp out a whole lot more! It legislation is likely to play into the hands of the brings to mind the embarrassing Aussie ‘she’ll ‘business-as-usual’ builders, where bottom lines be right mate’ adage all over again! dictate outcomes rather than quality. But in the current consumerist paradigm, should So it seems that many new buildings, having we expect less because the general quality met the raft of minimum standards, still fall very of goods we see every day is less than great? short of many people’s expectations. The path Does this mean our expectations have slipped? from craftsman-to-master builder-to-tradieI think not. It is obvious in the movement of to-subbie appears to have navigated quality in people towards green, ethical and hand-made the wrong direction. Maybe the current move goods and services that a revolution is already towards small, well-designed and hand-made happening. Artist markets, farmers markets, can make more than an impression on the buying local and regional, and utilising recycled juggernaut that is the building industry. Certainly and upcycled products (to name just a few) is the recognition of and trend towards good all material indication that we are craving to be design can create a healthy transition to a more surrounded by things and experiences that are considered and crafted world. imbued with love and spirit by the hands of a Robyn Gibson is a printmaker, and partner in Lifehouse maker or producer. The demand is similar for a renovation or new house. I see this in most design briefs we receive from our clients. A desire to utilise

Design, award-winning sustainable building designers in Castlemaine, CentralVictoria. Lifehouse Design is currently developing a unique flexible module-based house, called the LiFEHOUSE. -


< Annabel BUTLER, Jigsaw Puzzle Rooftops (detail), oil on canvas, 92x84cm. Over the Rooftops, Australian National Capital Artists gallery, until 23 September.

DATELINE: SEPTEMBER 2012 by Courtney Symes

There’s a cool calmness unique to art galleries. Whilst the minimalistic style of many galleries encourages quiet contemplation, galleries inherently become places where we feel compelled to whisper, even if there’s no one else around, so as not to disturb the revered tranquillity. There’s no better example of such a space than the National Gallery of Australia (NGA). With such a big title to live up to, it’s no wonder there was a competitive selection process for the design of our Nation’s gallery. In 1968, the government announced a limited competition to design a building to accommodate our national gallery in Canberra. Thirteen architectural firms were invited to submit proposals for a building that then Prime Minister John Gorton said “should reflect the most modern thinking of the present day, that it should be particular to Australia, and be an expression of the national character”. Sydney firm Edwards Madigan Torzillo and Partners was awarded the tender with a design by the senior partner of the firm, Colin Madigan. Fourteen years later, the National Gallery was completed in 1982. Most recently, in September 2010, the Gallery was treated to a mini makeover with a new entrance, foyer, Gallery shop, and event space. This aweinspiring building is looking as magnificent as ever – Madigan would be proud. The inside of the NGA is looking pretty good too, with a pleasing line-up of exhibitions for the second half of 2012. It’s been 100 years this year since the birth of Jackson Pollock and Morris Louis in 1912. NGA exhibition, Abstract Expressionism, pays homage to and celebrates the contribution these artists have made to the Expressionism movement. Spanning four galleries, this exhibition includes a variety of iconic paintings, prints and drawings from the NGA’s collection. Abstract Expressionism “is the term used to describe the gestural abstraction that dominated painting after World War II. The style emphasises spontaneity and intuition, and was not based in the geometry that had underpinned much earlier abstract art”. Vibrant and vivacious, this movement has strongly influenced the development of modern art and contemporary painting. continued >>

ACTease / Courtney Symes

> Evelyn DUNSTAN, Matikao (Buds) Promise #2. Ranamok Glass Prize, Canberra Glass Works until 13 September

> Key works featured in the exhibition include Pollock’s Blue poles (one of his most renowned paintings), Totem lesson 2, as well as six drawings and six etchings, which are rarely displayed to the public. Works from Willem de Kooning, Mark Rothko, Arshile Gorky, Lee Krasner, Helen Frankenthaler, Philip Guston, Hans Hofmann, Robert Motherwell and Clyfford Still will also feature alongside three paintings from Morris Louis. It’s the scale and colour intensity of some of the works, such as the invigorating yellow used by John Seery in East, 1973 that will stop viewers dead in their tracks. It’s evident that this exhibition has been carefully curated to allow the power and drama of these large-scale beauties to wash over viewers. Runs until 20 January 2013.

renowned for its brightly coloured houses. Butler explains that she “was struck not only by the colour of the buildings but also by the interlocking, jigsaw puzzle nature of the rooftops, studded with attics and chimneys”. The warmth that exudes from these paintings demonstrates Butler’s fond memories of her time spent in this part of Munich. “These paintings are not realistic depictions of Munich. They are my recollections, painted from memory since returning to Australia.” Runs until 23 September.

Also at ANCA, Sara Freeman’s Passing Clouds is an ethereal collection of new paintings in egg tempera and beeswax that focus on “meditations on time and spaciousness”. With titles such as Shadows, Silken and Fauns, nymphs, trees and birds are just some Skyscape, this series offers texture and of the subjects featured in Sydney Long’s moody muted colours. These works form a evocative Australian landscape paintings. Long coherent collection, whilst also standing out (1871-1955) was one of Australia’s leading Art on their own as individual pieces. Runs until 9 Nouveau painters during the 1920s and 1930s September - and an influential Symbolist. The muted tones “Glass is an important artistic medium and graceful lines featured in many of Long’s which is evolving rapidly both creatively and paintings demonstrate an elegant, graceful technically,” says Andy Plummer, Co-founder style, offering the viewer a form of escapism and judge of the Ranamok Glass Prize. This from everyday reality. NGA’s The spirit of the prestigious prize, now in its eighteenth year, land exhibition explores Long’s work in detail “encourages creativity, skill and innovation in and is the first major exhibition of his works contemporary glass from Australia and New in the last 30 years. Viewers will be treated to Zealand”. The $15,000 prize is sponsored by a comprehensive display of Long’s landscape over 30 companies and is awarded annually and cityscape paintings of Australia and Britain. to an Australian or New Zealand glass artist. Runs until 11 November. This year, 29 finalists were selected from over There’s something warm and cheerful about 100 entries. The finalists’ work is featured in Annabel Butler’s vibrant colour-blocked works the touring exhibition that will be running at in her latest exhibition, Over the Rooftops at the Canberra Glass Works until 13 September. Australian National Capital Artists gallery. Exhibition visitors will not be disappointed, Butler has drawn inspiration for this series of assures Plummer, “The calibre of this year’s paintings from the buildings that surrounded entries has proven yet again that Australia her studio in Neuhausen, Munich. ‘Neuhausen’ and New Zealand-based artists are producing translates to ‘new houses’, but ironically, this world-standard works”. continued >> suburb is one of the oldest in Munich and is

> It was in Chiang Mai, Thailand that the v.o.i.d concept was established. Artists Ellis Hutch, Helen Michaelson and Mona Oren all have strong connections to this place where they met to collaborate on this project. Each of the artists hail from different cities: Queanbeyan, N.S.W, Perth, W.A and Paris, but they have managed to meet on several occasions to keep their collaboration going. The v.o.i.d project is performance based and consists of a series of videos that will be presented at Canberra Contemporary Art Space. Walking Blank and Unique State are also running at Canberra Contemporary Art Space this month. Rosalind Lemoh’s Walking Blank is comprised of sculptures inspired by (and including) found objects. By closely observing and following the journey of these

objects, Lemoh challenges the meaning of everyday things, such as a banana. Expect to be surprised by the way Lemoh’s “creations startle us as they express the way small and mundane objects come to carry memories and sentimental significance in our lives”. Whilst printmaking is steeped in tradition, Joel Gailer puts a contemporary spin on a craft that has been around since the Middle Ages. Gailer utilises the floor of the gallery to display his works, which are featured in the August issue of Canberra’s Art Monthly magazine. By strewing numerous copies of the magazine containing his work across the gallery floor, he questions our beliefs surrounding the use of printmaking for massproduction vs. art. All exhibitions run until 29 September. -


Roslyn HARRIS, The Diagnosis Series â&#x20AC;&#x201D; Bipolar Disorder (detail). Ranamok Glass Prize, Canberra Glass Works until 13 September

ACTease / Courtney Symes

< Bruce LATIMER, Showboat (detail) 2005, colour etching. Geelong Gallery, Geelong acquisitive print awards, 2005. Reproduced courtesy of the artist. DATELINE: SEPTEMBER 2012 by Courtney Symes

I’ve always associated the month of September with celebration. Both of my parents’ birthdays, as well as birthdays of numerous friends fall in September. This year, I have even more reason to celebrate with many of my friends expecting babies this month. So what makes September so attractive for birthdays? Doing the math, Christmas and New Year’s Day conveniently fall nine months prior to September, if you catch my drift. September is actually a great month to celebrate a birthday – the weather has started to warm up with a few pleasant spring days and there’s a nice gap of a couple of months before the Christmas craziness begins. Geelong Gallery are also in the mood to celebrate this month with an exhibition to mark their 50th print prize. There’s an enticing line-up of exhibitions around Melbourne this month, so what other reason do you need to get out and enjoy Victoria this spring? Geelong Gallery’s Sentinels and showboats – milestones in print collecting exhibition is a double celebration; firstly for the 50th anniversary of the Gallery’s first print prize, and secondly for the 30th anniversary of the print prize’s key support group, the Geelong Grasshoppers. Sentinels and showboats consists of around fifty exceptional works including a variety digital prints, linocuts, etchings, mezzotints, engravings and artists books. The exhibition “offers an exciting and rare opportunity for visitors to view the award-winning works as a complete ensemble including some of the real highlights of Geelong Gallery’s outstanding print collection,” says Geelong Gallery Director Geoffrey Edwards. Runs until 9 September. Brunswick’s Hoffman Brick, Tile and Pottery Company was the largest business of its kind in the Southern Hemisphere during its hey-day. Melrose art pottery is a Bundoora Homestead Art Centre touring exhibition that will be hosted by Geelong Gallery until 7 October. Curated by ceramics expert, Gregory Hill, Melrose art pottery focuses on Hoffman’s determination to survive the challenging times during the depression in the 1930s. Whilst Hoffman was a well-established company (founded in 1862), by the time the depression continued >>

image: SCALE FREE NETWORK, Elaboratorium Test image 2 2012, video flex camera, overhead projector, moss, video projection. Install detail.

Melburnin’ / Courtney Symes

> rolled around it was the Melrose range that carried the company through and preserved jobs. Inspired by the modernist movement, the Melrose range also had a patriotic flavour, featuring native Australian flora and fauna such as gum leaves. The exhibition features over 100 pieces sourced from public and private collections, many of which have not been on public display before. Benjamin Sheppard’s latest exhibition, Le Coq at Counihan Gallery this month draws inspiration from the cockerel as a “flamboyant and proud, posturing and prosaic” symbol. Sheppard’s symbolic use of animals such as the cockerel also touches on other themes, such as ego, masculinity and “how we negotiate certain power structures and social relations”. Sheppard’s latest series of works consists of elaborate drawings and lineal sculptures that were created throughout his residency in France’s medieval town of Caylus last year. The title for Counihan Gallery exhibition, The Elaboratorium originates from a 17th century term that described where chemical substances were made and ‘elaborated’ on. This unique exhibition from ScaleFree Network is the amalgamation of an artist’s studio and a science laboratory. ScaleFree Network is an art-science collective that includes Briony Barr, Dr Gregory Crocetti and Jacqueline Smith. Exhibition visitors can expect works that draw inspiration from microscopic images of “Brunswick’s mossy outcrops and hidden watery worlds” with projections of the minute details. The ScaleFree Network’s public program also encourages participants to create a drawing based on microscopic footage, as well as bring in objects to observe under the microscope. Le Coq and The Elaboratorium both run until 16 September. The Housing Project at Fortyfivedownstairs is an aural snapshot of life in urban areas. Artists Sue McCauley, Keith Deverell, Chris Knowles and Ann Ferguson have collaborated with Angus Durkin and Gordon Tait (design and construction) and Dave Lane (sound recordings) to create an interactive experience inspired by “the challenges, experiences, problems, and delights of urban life”. Visitors are encouraged to engage with this piece by creating a miniature city with ceramic pieces. When the ceramic pieces are placed on specific points of the platform, pre-recorded sounds and voices are triggered to create a unique cityscape that can be adapted, depending on where the pieces are placed. Over one hundred people “from all walks of life” were involved in creating the voices for this piece. Elderly citizens, children, university students, homeless people, refugees, urban planners and architects all share their personal and professional stories, memories and opinions of urban life for this project. Runs from 11 – 22 September. >>

> Exploring the “themes of loss and grief,” Rhonda Is In Therapy is a powerfully “moving and honest” story of Rhonda’s reaction to a major accident in her life. Written by Bridgette Burton and directed by Wayne Pearn, Rhonda Is In Therapy is performed by a talented cast including: Jamieson Caldwell, Louise Crawford, Ben Grant and Kelly Nash. Look no further for a ‘real’ performance that will touch its audience. Runs from 7 – 23 September at fortyfivedownstairs. - The biennial Wild Awards exhibition is back this September at Steps Gallery, Carlton from 13 – 26 September. All creatures great and small - have been captured and will be presented in a variety of mediums including watercolour, oil, pastels, pencil, ink, scratchboard, and 3D forms. A combination of traditional and contemporary works also means that there will be something for everyone. This Wildlife Art Society of Australasia exhibition supports BirdLife Australia’s ‘Birds in Backyards’ projects. Centre 5 was a group of influential sculptors established in Melbourne during the 1960s. Two members of this talented group, Clifford Last and Vincas Jomantas are the stars of McClelland Gallery and Sculpture Park’s latest exhibition, Awakening Forms. Works included in the exhibition focus on the progression of these two immigrant artists (from Britain and Lithuania) and their influence on Australian sculpture from the 1950s onwards. A variety of works from McClelland’s own collection are featured; “from the early compositional figurative forms to the accomplished cool geometric and machine like sculptures that would mark their later works”. Awakening Forms demonstrates the passion and “lifelong experimentation” that both artists dedicated to their craft. Join Charlotte Carter for a Curator Talk at 11am Thurs 20 September. Runs until 28 October. -

Melburninâ&#x20AC;&#x2122; / Courtney Symes

image: Patrick HEDGES, Water Baby (detail), scratchboard.



1. Judy HOLDING, Danger 1 - Bilby 2012, 6mm MDF painted in 2pack auto paint and acrylic, 40 cm x 40 cm. Photographer John Brash Fotografitti. Image reproduced courtesy of the artist. Silhouette Australis, Deakin University Art Gallery, Deakin University Melbourne Burwood Campus, 221 Burwood Highway Burwood (VIC), 12 September â&#x20AC;&#x201C; 20 October.



2. Bill DAVIES, Blue 2012, drawing. Model Behaviour, CASPA, Above Stoneman’s Bookroom, Hargraves Street Castlemaine (VIC), 1 – 28 September - 3. Tim JONES, Woods with ladders 1999, wood engraving, ed 35, 9 x 12.5 cm. Courtesy of Australian Galleries. Amongst the trees - sculpture and works on paper by Tim Jones, Ararat Regional Art Gallery, 20 September – 28 October 2012 - NEXT SPREAD: Baby GUERRILLA, The Fall 2012, ink on paper (paste-up), Brunswick Road, Brunswick. (VIC) The Other, Trocadero Artspace, 1/119 Hopkins Street Footscray (VIC), 5 – 22 September


4. OPAL VAPOUR, presented as part of Malthouse Theatre’s Helium season. Choreographed and performed by Jade Dewi Tyas Tunggal; live and recorded music by Ria Soemardjo; lighting design by Paula van Beek. Tower Theatre, Malthouse Theatre, 21 September – 6 October – au/malthouse-events/opal-vapour 5. Laith MCGREGOR, The Astronomer 2010, biro on paper, wood, rope and screws, 260 x 100 x 200cm (variable). Courtesy of the artist and Sullivan + Strumpf, Sydney. Winner of the 2012 National Work on Paper Prize, Mornington Peninsula Regional Gallery, Civic Reserve, Dunns Road Mornington (VIC), 23 August – 7 October 2012 -




UNKNOWN ARTIST after Walter Fitch. Charles Lemaire, editor, Nymphaea gigantea W.Hook, 1855, botanical print from Le Jardin Floriste, vol. 3, handcoloured engraving on paper with gum arabic. Collection: Art Gallery of Ballarat. Purchased with funds from public donation, 2011. Caqpturing Flora, Art Gallery of Ballarat, Lydiard Street North, Ballarat (VIC), 25 September â&#x20AC;&#x201C; 2 December


Victoria REICHELT, Blue Ocean, 2009. From the series Spectrum. Oil on linen, 81 x 81cm. Private collection. Courtesy the artist and Dianne Tanzer Gallery + Projects, Melbourne. Victoria Reichelt: Catalogue, Gippsland Art Gallery, 68-70 Foster StreetSale (VIC), 8 September â&#x20AC;&#x201C; 4 November 2012.

stralian stories with Neil Boyack


ou can’t dance to story-songs. You listen to them, and become aware of all the things you experience when you read. Gareth Lydiard showed just how innovative one can be around Australian history when he recorded the The Drones’ story-song classic Sixteen Straws (Gala Mill, 2006). The piece is based on a traditional work that has changed names to protect the guilty. The original work was initially titled A Convicts Lament on the Death of Captain Logan, but is now better known as Moreton Bay. It was allegedly written by a convict named Frank the Poet. Lydiard injects drama into the narrative through characters like ‘the Jew with one hand’, but it was the commandant of the Moreton Bay penal colony from 1826 until 1830, Captain Patrick Logan (1791 – 1830), who motivated

was brought back to Moreton Bay, the convicts “manifested insane joy at the news of his murder,” they “sang and hoorayed all night, in defiance of the warders.” Sixteen Straws doesn’t describe the postscript but does illuminate the Irish-English rivalry (colonised and coloniser in a new colony) to underscore political undercurrents, alongside descriptions of the physical depravity and utter mental desperation convicts suffered.

I doubt that magistrates of the time would have taken a strengths-based approach to stealing ... in a hotbed of insidious and sometimes overt Irish dissent. hatred in the original piece. He used the flogging of others as his control apparatus, as shown in a sample record of his floggings that were noted in the diary of one of the prison clerks. From February to October in 1828 Logan ordered 200 floggings with over 11,000 lashes being dealt to the backs and bodies of convict meat. It is alleged that Logan met his end at the hands of Aboriginal attackers (or defenders) when he went ahead of his exploring party whilst touring in the Brisbane River area in October of 1830. When Logan’s body

Works coming from the colonial era are often anonymously written. Anonymous Australian tunes that you may know are, Botany Bay, The Wild Colonial Boy, Click Go the Shears, Wallaby Stew, Farewell to Old England, Van Diemens Land. There are many more. The motivation for not taking any credit for writing these ditties is imaginable, especially considering that many authors, and co-authors, must have been of Irish extraction, and many had an axe to grind as ex-convicts, or as an underclass within a struggling British colony. I doubt that

Being Anonymous: story songs, blackbirds and the lash

magistrates of the time would have taken a strengths-based approach to stealing, guard/ soldier killing and railing against the state in a hotbed of insidious and sometimes overt Irish dissent. Capital punishment was the order of the day, corporal punishment was cultural, and the place was filled with convicts, ex-convicts, and soon after, the sons and daughters of convicts. Alcohol, of course, central to Australian history, has it’s place atop the holy mountain of anonymous convict ditties, poems, limericks and shanties. The following piece underscores the desperation of the addict who wrote it, and the currency with which it was used: The Convicts Rum Song Cut yer name across me backbone Stretch me skin across a drum Iron me up to Pinchgut Island From today till Kingdon Come! I will eat yer Norfolk dumplings Like a juicy Spanish plum Even dance the Newgate Hornpipe If ye’ll only give me Rum! The raison d’être of many of these colonial pieces is to tell the story of a journey through great adversity. Not surprisingly many tales end in death, grief, loss and sadness. Perhaps this was the start of Australia’s deep-rooted cultural trait of creating monuments to losers and failures who have given things a crack along the way. At least we don’t pretend. These old writings are created with the tools of meter and rhyme, the norm of the time (applause), where the need to rhyme was the master of sense. Modern day connections exist here.

Captain Patrick Logan (1791 – 1830)

You only have to look at popular hip-hop as it falls into this trap. Lets take these common words and mash them into a breakbeat, whilst watching rumbling “back” (in gold swimsuits) and wall to wall abdominal six packs packing steaming firearms. Cat, mat, fat, sat, bat, bitch, witch, snitch, pimpin’, shrimpin’, yabbyin’, scabyyin… This old rhyming format illustrates the excellence of the contemporary story-song. Asides from Gareth Lydiard and The Drones, possibly the best-known exponent of the story-song is DonWalker (Cold Chisel, Catfish, Tex Don and Charlie). He has an effective talent for creating a serious mood and thus a dark subtext emerges in his pieces. He also uses Australian historical subject matter some of the time. Stronger examples of his story-song work are Harry was a Bad Bugger (Tex Don and Charlie’s All is Forgiven, 2005), No Reason (Cutting Back, 2006) and the incomparable national treasure that is Three Blackbirds (We’re All Gonna Die, 1995). Three Blackbirds is a seventeen minute historical piece which follows the lives and motivations of three men (Harry Hunter, Sid Hadley and Frenchy D’Antoine). These blokes forcibly took Aboriginal people >>

continued from pervious page

Stralian Stories / Neil Boyack

image: still from Eliza Fraser (1976)

> into the slave trade, perpetrating massacre after massacre along the way. Walker performed Three Blackbirds live for the first time at last year’s Newstead Shor t Story Tattoo. Story-songs identify characters through a narrative that is detailed and poetic. The narrative in story-songs usurps the musical melody to spoken landscape. It could be argued that something like Redgum’s I Was Only 19 is a story song. It really adopts a pop format, yet resonates strongly, and comes pretty close. There’s others too like Rose Tattoo’s The Butcher and Fast Eddy, Paul Kelly’s From Little Things Big Things Grow, Tex Morton’s On the Gundagai Line, even AC/ DC’s Jailbreak. We could go on. The thing that separate story songs from other songs about stories, is the depth of description and detail. In order for anyone to do this they have to offer the narrative time, space and colour. The artists telling the stories obviously have names and identities, and the stories are about people we can sort of imagine and identify with, but we can never know them. Thus story-songs contain a delicious diversion about them, a sense of distance, a known unknown, especially the ones from old times. The tools with which we imagine the characters in these works belong to our own mind-movies and, arguably, images brought to us by Reg Grundy and Australian mini-series’ from the seventies and eighties,

where a lot of work seems to be going into fleshing out our history and our cultural lineage: All the Rivers Run, Against the Wind, Women of the Sun, Cash and Company. There are also movies like Eliza Fraser, The Chant of Jimmy Blacksmith, and Walkabout included in this group. More recently The Proposition tells of old Australian times with a violent and stark reality that inspires and repels. There are many other movies and mini-series that we could mention. You should not however include the Mick Jagger version of Ned Kelly, nor the Heath Ledger version. They were both bollocks. Allowing the narrative ascendency over melody can be a difficult thing to do, especially if you are a musician by trade. We are lucky in Australia to have such disciplined and respectful exponents of the story-song form, and we are lucky that we have such a rich tradition to draw from. Maybe someone will come up with an “app” to highlight the anonymous work that has given so much to our culture and identity. ps. the ingredients for Norfolk Dumpling are as follows: one heaped tablespoon of self-raising flour or plain flour and baking powder to each person; a good pinch of salt; water to mix. Neil Boyack is a writer, poet, social worker, and director of the Newstead Short Story Tattoo. Check and

words & pics: Ben Laycock

BOLIVIA: LAND OF REVOLUTION! The year is 2006. Bolivia is in turmoil. (yet again) For the first time in history the Bolivians have elected an indigenous president; Evo Morales, of the Aimara people. This would be the equivalent of electing Pat Dodson Prime Minister of Australia. He even brought his shaman along to the inauguration ceremony. Naturally the first act President Morales wants to introduce is La Ley de la Tierra (The Law of the Land), giving land rights to indigenous groups, land to the landless campesinos (peasants), and taking it away from the big landowners. (Latifundios) But as you can imagine, this is easier said than done. Whenever such a reform has been attempted in the past, it has been met with a bloody coup-dâ&#x20AC;&#x2122;etat. But since then, whilst Big Brother has been preoccupied in the Middle East, genuine democracy has blossomed throughout South America.

La Paz after marching over mountains and through jungles from every corner of the country to demand the law be enacted. The leaders of the Opposition have been on a hunger strike for a week, lying in coffins on the steps of parliament. The Latifundios are marching in the streets. The wealthy states are threatening to secede from the central government. The health workers are striking to get rid of the corrupt administration. The street vendors are up in arms because the government is trying to limit their numbers. And letâ&#x20AC;&#x2122;s not forget the students blockading the highways and demanding more places for poor students, more funding, more schools and anything else they can think of.

So a three way tussle for precious land ensues, between the Indians, the campesinos and the latifundios, all voicing their new found democratic rights at the top of their lungs. All that democracy, dammed for so long, The landless campesinos are converging on bursting out like a fountain. >>

â&#x20AC;&#x153;Leap forward to 2010. Evo Morales passes a law giving Mother Ear th equal rights to human beings ... Any person has the legal right to defend [her] ... in a cour t of law.â&#x20AC;?

Greetings From Bolivia / Ben Laycock

> Unfor tunately we were caught up in one of these student blockades. We were taking a taxi from a little village called Buena Vista to the provincial capital of Santa Cruz to catch a plane to La Paz. We came across a long line of trucks and cars blocked by a group of angry students with large limps of wood and rocks to smash the windows of any vehicle that tried to get past.

hour of our flight was drawing nigh and we were hopelessly lost in the middle of the jungle. Then we hit the highway again. Our driver drove like a man possessed and got us there with five minutes to spare, only to find the flight had been delayed till the next day.

Leap forward to 2010. Evo Morales passes a law giving Mother Earth equal rights to human beings. La Ley de la Madre Tierra gives her the After sweating in the hot sun for ages, a fellow right to life in all her forms and eco systems, rode up on his motorbike and discretely offered the right to clean air and clean water, the to show us a back road around the impasse, for right to defend herself from threats of any a modest fee of course. We followed him down kind. Any person has the legal right to defend a dirt track but it too, was blocked with angry Mother Earth on her behalf in a court of law. students with lumps of wood and rocks, so for This is the first law of its kind to be enacted anther modest fee our guide took us down anywhere in the world. an even smaller, dirtier track. This track got Next episode: La Paz, the highest Capital city. rougher and rougher and thinner and thinner Ben Laycock 2012 and boggier and boggier. Enormous buses and trucks were driving straight at us, trying to kill us, the trees were closing in on all sides. The

the blue mountains • The Blue Mountains Botanic Garden Open 9.30am-5pm. Free entry. T: (02) 4567 3000; E: Find us on Facebook: Mount-Tomah-Botanic-Garden/120351291351529 -

canberra • National Gallery of Australia Open daily 10am - 5pm. Parkes Place, Parkes, Canberra 2600. T: (02) 6240 6411, www.nga.

• PhotoAccess Huw Davies Gallery Until 2 September DAN O’DAY: I closed my eyes and saw this. 6 – 23 September ACT SNAP - ACT Senior Secondary Student Photography Survey Show. 27 September – 14 October. GEORGE SERRAS: Lao. PhotoAccess Huw Davies Gallery, Manuka Arts Centre, Manuka Circle Griffith ACT. Tuesday to Friday 10am to 4pm, weekends 12 noon to 4pm. T: (03) 6295 7810; au Image: LYDIA BRODIE, Dickson College, Ninja 2012.


cowra • Cowra Regional Art Gallery See our website for this month’s exhibitions. 77 Darling Street Cowra NSW 2794. Tues to Sat 10am - 4pm, Sun 2 - 4pm. Free Admission. Image: G.W. Bot Glyphs: Tree of Life (detail) 2012, watercolour and graphite on colombe paper, 100cm x 100cm. Winner 2012 Calleen Art Award.

rookwood • Hidden: A Rookwood Sculpture Walk 2012 1 September – 14 October 2012 Explore sculpture amongst the graves and be part of a truly enlivening experience! Hidden invites you to explore the biggest working cemetery in the Southern Hemisphere and admire the 39 highly contemplative sculptures that respond to the iconic site. Open sunrise to sunset, starting at the Northern end of Hawthorne Avenue, Rookwood Cemetery. Entry is Free. Catalogue and visitor information available at the Anglican and General Office, Hawthorne Avenue, Rookwood. For more information visit www.hidden.rookwoodcemetery. or call Bethany on (02) 9746 2177

sydney • Art Gallery of New South Wales JACKY REDGATE: the logic of vision, until 9 September. 18th Biennale of Sydney: All our relations until 16 September. EUGÈNE ATGET: Paris 1898–1924, 24 August – 4 November. Art Gallery Rd, The Domain, Sydney NSW 2000. T: (02) 9225 1744,

windsor • Hawkesbury Regional Gallery To 14 October: Northern Impressions – A celebration of Contemporary Printmaking and Strong Women, Strong Painting, Strong Culture. Deerubbin Centre, 1st Floor, 300 George Street Windsor 2756. T: (02) 4560 4441 F: (02) 4560 4442; Mon-Fri 10am-4pm Sat & Sun 10am-3pm, (Closed Tues and public holidays). Free admission.

devonport • Devonport Regional Gallery 25 August – 28 October. Main Gallery Homage: The Royal Dozen (2008–10) & The Regal Twelve (2004–07). An Australian Centre for Photography touring exhibition. Artist: ALEXIA SINCLAIR. Image: Marie Antoinette - the Extravagant Queen (1755-1793) 2005. The Little Gallery Catching a Mirage. Artist: FERNANDO DO CAMPO. Open Mon - Fri 10am-5pm, Sat 12noon5pm, Sun and Public Holidays 1pm-5pm. 45 Stewart Street, Devonport,Tasmania 7310. E: T: (03) 6424 8296;

hobart • Inka Gallery Inc. Not-for-profit, artists’ run, original contemporary art. Exhibitions three-weekly. Salamanca Place, Hobart. Hours 10am-5pm,T: (03) 6223 3663; www.inkagalleryhobart.


â&#x20AC;˘ MONA, Museum of Old and New Art, Hobart Ancient, modern and contemporary art. Monanism the permanent collection â&#x20AC;&#x201C; evolving over time. Current exhibition: Theatre of the World curated by JEAN-HUBERT MARTIN through to 8 April, 2013. More than 350 artworks and objects of curiosity spanning 4,000 years of creativity. MONA Library: YANNICK DEMMERL drawings: blowing off everything for your art, 19 September to 3 December. Fees: $20/adult; under 18s are free. Autumn/ winter opening hours: 10am to 5pm, closed Tuesdays. Food, bars, winery, microbrewery, accommodation, bookshop and library. 655 Main Road Berriedale, Tasmania, 7011. T: (03) 6277 9900,

box hill • Box Hill Community Arts Centre 28 August – 9 September, ALRASSA ARTISTS; 11 – 23 September Domestic Bliss Whitehorse Heritage Week Exhibition; 25 September – 7 October ANNE SINGH – Across Mind and Space’. 470 Station Street Box Hill t: (03) 9895 8888 Image: Alrassa Artists

• Whitehorse Art Space 6 September - 6 October 2012 Back to the 70s. Reminisce about life in the 1970s at this exhibition featuring photography, artwork from the Ceramics Victoria and Whitehorse Art collections and fashions on loan from the Box Hill and Whitehorse historical societies. Also in the All Nations Foyer The Calligraphic Line presented by the Calligraphy Society of Victoria Inc. Hours: Tues and Fri 10am-3pm, Wed and Thurs 9am-5pm, Saturday noon-4pm. T: (03) 9262 6250, 1022 Whitehorse Road, Box Hill VIC 3128, Image: John VOLLER, Keg and eight beakers (detail) c. 1974, stoneware, grey ash glaze over iron oxide. Ceramics Victoria Collection.



brunswick • Counihan Gallery in Brunswick Until 16 September, Gallery One: Le Coq, BENJAMIN SHEPPARD. Gallery Two: The Elaboratorium: Scale Free Network, BRIONY BARR, DR GREGORY CROCETTI, JACQUELINE SMITH. Opening event Thursday, 16 August, 6-8pm. Floor talk Saturday 1 September 2.30pm. Scale Free Network drawing workshops Saturday 18 August and Saturday 1 September, 12-2pm. Bookings required T: (03) 9389 8622. 27 September – 28 October: Riffle, NAOMI TROSKI; joining our own dots . spheres of influence, CAITLIN STREET. Opening Event: Thursday, 27 September 6-8pm. Floor Talk: Saturday 20 September 2.30pm. 233 Sydney Road, Brunswick 3056 T: (03) 9389 8622; E: Image: Caitlin Street, Synapse (detail) 2011, optician’s lenses and digital video, stereo, colour, 2 minutes 15 seconds. Image courtesy the artist.

bundoora • Bundoora Homestead Art Centre 31 August – 14 October 2012 Time Machine: Sue Ford. SUE FORD (1943-2009) was one of Australia’s most important photographers and filmmakers. Time Machine chronicles a period when photography was charged with political and personal meaning. It provides a great opportunity for audiences to reassess the talent of this important photographer, whose work was at once political, beautiful and elegiac. 7-27 Snake Gully Drive, Bundoora. (Melways 19 G2) T: (03) 9496 1060; http://

burwood • Deakin University Art Gallery Silhouette Australis, JUDY HOLDING, 12 September – 20 October 2012. A solo exhibition of collaged paper silhouettes, artist books, laser cut steel, aluminium and wood sculptures.

Judy Holding Blue Mallee 2012, painted 6mm MDF in 3mm coreten steel base, A/P Ed 30, 30 x 20 x 10 cm. Photographer Tony Fuerie.

Gallery hours 10am-4pm Tuesday to Friday, 1-5pm Saturday. Closed Public Holidays, Free Entry. 221 Burwood Hwy, Burwood 3125. T: (03) 9244 5344; F: (03) 9244 5254, E: artgallery@;

collingwood • Friends of the Earth: Art Auction Fundraiser Sunday 16 September, viewing from 4pm onwards, auction starts 6.45pm for Friends of the Earth’s Anti-nuclear and Clean Energy (ACE) campaign. Hogan’s Gallery, 310 Smith Street, Collingwood (next door to FoE). We are seeking quality art donations - please contact Zin E:, M: 0408 165 735. www. ,

deer park • Hunt Club Community Arts Centre Galleries To 29 September Pelican, an exhibition of new works by Hunt Club Community Arts Centre illustrator-in-residence, MEREDITH THOMAS, featuring paintings and working drawings from her latest book Johnny and the Pelican and flight-themed paper sculpture works. Presented as part of the Brimbank Writers Festival 17 – 28 September. Centre open Mon-Thurs 9am - 7.30pm, Fri 9am - 4.30pm, Sat 9am -12.30pm. Closed Public Holidays. 775 Ballarat Road, Deer Park (Melway 25, F8) T: (03) 9249 4600 E: huntclub@ arts Image: Meredith Thomas, Pelican (detail) acrylic on canvas.

Silhouette Australis Judy Holding

12 September to 20 October 2012 A solo exhibition of work by Judy Holding. Collaged paper silhouettes, artist books, laser cut steel, aluminium and wood sculptures all share a visual language that is a thinking through of Holding’s commitment to the Australian landscape.

Deakin University Art Gallery, Deakin University, Melbourne Burwood Campus, 221 Burwood Highway, Burwood Victoria 3125. Melways Ref 61 B5. T +61 3 9244 5344 F +61 3 9244 5254 E Hours Tuesday–Friday 10 am–4 pm, Saturday 1 pm–5 pm, free entry. Gallery closed on public holidays. Please visit for exhibition details. Deakin University CRICOS Provider Code: 00113B

doncaster • Manningham Art Gallery Relocation 5 September – 10 November Potters Cottage: a tribute. In celebration of its relocation to a new exhibition space within Manningham City Square (MC²), Doncaster, Manningham Art Gallery presents an exhibition that pays tribute to the continuing legacy of Potters Cottage in Warrandyte. Fondly remembered by many in the Warrandyte community, Potters Cottage was a prominent and influential feature of the Australian ceramics landscape. Potters Cottage: a tribute features a collection of exemplary and rarely seen works by the founding members of Potters Cottage. Curated by GRACE COCHRANE. MC² (Manningham City Square), 687 Doncaster Road, Doncaster 3108. Mel Ref. 47 F1. Open Tuesday to Saturday 11am to 5pm. T: (03) 98409367. E:; www. Free entry. Image: REG PRESTON and PHYL DUNN, 1960s. Courtesy Potters Cottage archives, private collection. Photo: Edna Walling.

east melbourne • The Johnston Collection House Museum and Gallery Fairhall: The Bride, The Ship & The Wardrobe: Romance Was Born Meets William Johnston, with a series of installation works by KATE ROHDE, 2 July – 24 October. LUKE SALES and ANNA PLUNKETT from ROMANCE WAS BORN, one of Australia’s most internationally celebrated fashion houses, will apply their famously quirky design sensibility to William Johnston’s collection for this guided tour. Sales and Plunkett have created themes based on the colours of the rooms and into each theatrically designed space they will introduce examples of their clothing set against the backdrop of Johnston’s extraordinary collection. Gallery: Commanding Splendour: The Duke of Wellington & The Empire Style 2 July – 26 October. Celebrates Wellington and explores the theme of Empire Style as it emerged in England in the early 19th century. This exhibition is to be viewed free of charge in conjunction with all house-museum Tours or Lecture bookings. Bookings essential

footscray • Trocadero Artspace 5 – 22 September The Other is a show celebrating the work of some of Australia’s leading contemporary artists including BABY GUERRILLA, KRISTIN MCIVER, VIN RYAN, ADAM LAERSKEN, SAM WALLMAN, MICHAEL BRENNAN, ALY AITKEN, CRAIG COLE and CALM. Trocadero Artspace, 1/119 Hopkins Street Footscray VIC 3011. Hours: Wed - Sat 11am-5pm. Image: Baby Guerrilla, Last Supper (detail).

healesville • TarraWarra Museum of Art 5 August – 9 December 2012 TarraWarra Biennial 2012: Sonic Spheres. Curator: VICTORIA LYNN. An assemblage of contemporary Australian artworks engaged with music, sound and voice. The exhibition will include drawings, musical scores, sculptures made from musical instruments, paintings and video. This year, the biennial will include the work of 20 artists and one collaborative group: ROBYN BACKEN, LAUREN BRINCAT, EUGENE CARCHESIO, THE DONKEY’S TAIL, MARCO FUSINATO, NATHAN GRAY, DAVID HAINES and JOYCE HINTERDING, ROSS MANNING, DYLAN MARTORELL, VICTOR MEERTENS, ANGELICA MESITI, YUKULTJI NAPANGATI, JAMES NEWITT, TOM NICHOLSON with ANDREW BYRNE, JOHN NIXON, SANDRA SELIG, CHRISTIAN THOMPSON, RAY JAMES TJANGALA and JOHNNY YUNGUT TJUPURRULA. Performances on the first Sunday of every month. See website for details. TarraWarra Museum of Art, 311 HealesvilleYarra Glen Road, Healesville. For information and bookings visit Image: Dylan MARTORELL Masuk Angin gamelan robot 2012, mixed media, dimensions variable. Photo: Dylan Martorell. Courtesy of the artist and Utopian Slumps, Melbourne.

langwarrin • McClelland Gallery + Sculpture Park Until 28 October. CLIVE STEPHEN: Sculptor and Awakening Forms: VINCAS JOMANTAS and CLIFFORD LAST. Australia’s leading Sculpture Park and Gallery. 390 McClelland Drive, Langwarrin (Mel. Ref. 103 E3 only 45 min from St Kilda!) T: (03) 9789 1671. Gallery Hours: Tues-Sun 10am-5pm (Entry by donation). McClelland Gallery Café, Tues-Sun 10am-4.30pm. Guided Tours: Wed and Thurs 11am and 2pm, and Sat and Sun by appointment only. Prior bookings highly recommended. E: info@mcclellandgallery. com,

melbourne • BLINDSIDE 5 – 22 September G1 & G2: BOE-LIN BASTIAN, JESSIE BULLIVANT, CRAIG BURGESS, CJ CONWAY DARREN MUNCE and MAKIKO YAMAMOTO, curated by JULIA POWLES, Start. 26 September – 13 October G1: LIZZY SAMPSON, Consumer Behaviour. G2: ALICE WORMALD, In The Unreal Air. BLINDSIDE, Nicholas Building, 714/37 Swanston St (enter via Cathedral Arcade lifts, cnr Flinders Lane), Melbourne. Hours: Tue to Sat 12-6pm. T: (03) 9650 0093; Image: Alice Wormald, Untitled (3) 2011.

• fortyfivedownstairs 29 August – 8 September, Parallel Tensions: New Designer Exhibition, MELBOURNE FASHION WEEK 2012, fashion design. 7 – 23 September, Rhonda is in Therapy, BRIDGETTE BURTON, theatre. 11 – 22 September, Walking to Work, JAMES YUNCKEN, painting. 11 – 22 September, The Housing Project, group exhibition, mixed media installation. 25 September – 7 October, Breath of Life, RUMI TAKAMOTO, paintings and sculptures. 25 September – 6 October, Sweet Oriander photographs by FIONA SWEET and GARTH ORIANDER, from the Malthouse Theatre – the Michael Kantor years. 27 September – 7 October, DasSHOKU SHAKE!!, YUMI UMIUMARE and THEATRE GUMBO, cabaret/theatre. 45 Flinders Lane, Melbourne, 3000. T: (03) 9662 9966 Image: Eddie Perfect, 210x297mm, by Fiona Sweet and Garth Oriander, archival photographic print, 2010. • WIN An Original KALIOPY Artwork! Untitled IV, from The Diaries Of The Lioness collection, oil on canvas, 1250mm x 900mm. Value: $2800(AU). Please make your answers via the Message tab on Kaliopy’s Facebook Page www.facebook. com/kaliopyartist. There will be three judges. You have between 15 June – 15 September 2012 to apply. Go to: events/190874684373691/ Brought To You By

• Print Council of Australia Inc. Printmakers and print collectors stay in touch with print exhibitions, events and technical issues through IMPRINT magazine. Members receive frequent email updates and information about opportunities (courses, forums, group exhibitions and competitions). Subscriptions $65/year or $45 concessions see website: or phone T: (03) 9328 8991 for membership details

moonee ponds • Incinerator Gallery NEW EXHIBITIONS. 15 September – 21 October. Bilk on Tour. Touring exhibition from BILK GALLERY, showcasing some of Australia’s finest jewellery, metalsmithing and glass blowing. Twilight opening Friday 14 September 6-8pm. Special guest CHRISTOPHER MENZ. Dining with Cordyceps JODIE GOLDRING. Goldring explores the insidious changes to our domestic environment and consumption habits over the last century. Part of The Atrium Project. CURRENT EXHIBITIONS. Until 9 September. Naturally Wild ROUSSEL CLO. French born Australian artist, Roussel Clo captures the drama and tension of life in urban spaces and the personal angst of environmental destruction. Web LAURA WOODWARD. Created specifically for the Incinerator Gallery’s Atrium, furthers her ongoing investigations in to the creation and use of systems, and water, within her work. Call For Entries Fire Works: Art and Design by Bright Young Things. The Incinerator Gallery’s newest art prize for VCE students who live in or go to school in Moonee Valley. $500 cash prizes for best design and best art. Entries open 22 August. For more information and to enter visit our website. Opening hours: Tues to Sun, 10am-4pm. Free Entry. Incinerator Gallery, 180 Holmes Road, Moonee Ponds VIC 3039 T: (03) 8325 1750, E: incinerator@, Image courtesy Bilk Gallery.


• ACCA - Australian Centre for Contemporary Art 11 August to 23 September 2012. PAT BRASSINGTON: ÁRebours, a major survey by one of Australia’s most important and influential photo-based artists. This is the first extensive gathering of Brassington’s 30 years of practice and explores her ongoing aesthetic language derived from surrealism and cinema reinterpreted through photography. Sculptural Matter. Including video and photography, cast and found forms, installations and assemblages, Sculptural Matter explores a sculptural way of thinking and making from both a historical and contemporary perspective. It includes such iconic works as Richard Serra‘s Hand Catching Lead (1968) and Alina Szapocznikow’s Photosculptures (1971) to Thea Djordjadze’s recent temporal installation, constructed in situ in the ACCA exhibition hall. Sculptural Matter will introduce leading established as well as emerging international practitioners to Australian audiences, many for the first time. Artists: NAIRY BAGHRAMIAN, CAROL BOVE, THEA DJORDJADZE, GABRIEL KURI, SARAH LUCAS, SHAHRYAR NASHAT, RICHARD SERRA, ALINA SZAPOCZNIKOW, TATIANA TROUVE. Australian Centre for Contemporary Art, 111 Sturt Street, Southbank.Gallery Hours: Tuesday-Friday 10am-5pm, Weekends and Public Holidays 11am-6pm. Mondays by appointment. T: (03) 9697 9999. Admission: Free.

st andrews • The Baldessin Press and Studio Artists / writers retreats, workshops, studio access etc in tranquil bushland 50 kms from Melbourne. T (03) 97101350, www.


sunshine • Sunshine Art Spaces Artist studios, gallery and shop front. Three artists – weaver LIA PA’APA’A, illustrator ASHA FARAH and comic book artist JARROD ELVIN – have been successful in obtaining licences on the studio space located in what was previously a chemist shop. Opposite the studios is a Gallery space, which will feature a exciting program of exhibitions. Open Weds-Fri, 11am-3pm. 2 City Place, Sunshine (Melway 40, H1) T: (03) 9249 4600 E:; www.

upwey • Burrinja Gallery ANDREW CHAPMAN: Nearly A Retrospective. Featuring documentary work, spanning over 40 years, by Victorian photographer Andrew Chapman. Crossing a wide range of subjects and periods the exhibition offers a fascinating insight into Australian social and political life, until 28 October. Cnr Glenfern Rd and Matson Dr. Tue to Sun 10.30am-4pm. T: (03) 9754 8723. W: burrinja. Image: Andrew Chapman, Speed Axe (detail).

wheelers hill • Monash Gallery of Art (MGA) 3 August – 30 September 2012 Photographic abstractions. Drawing on MGA’s nationally significant collection of Australian photographs, this exhibition highlights the work of artists who use photography to achieve abstract effects. 860 Ferntree Gully Road, Wheelers Hill 3150. Tues - Fri 10am to 5pm, Sat - Sun 12 to 5pm, Closed Mon. T: (03) 8544 0500, E: mga@, Image: David MOORE, Blue collage 1983, chromogenic print collage, 22.0 x 30.0 cm. Monash Gallery of Art, City of Monash Collection. Courtesy of the Estate of David Moore.

geelong • Geelong Gallery Skater – portraits by NIKKI TOOLE, National Portrait Gallery and Geelong Gallery touring exhibition, until 9 September. Sentinels and showboats – milestones in print collecting until 9 September. Melrose art pottery, a Bundoora Homestead Art Centre touring exhibition, until 7 October. Geelong region artists program, Marie Antoinette through the Notebook – MARION MANIFOLD 8 September to 21 October. 2012 Geelong contemporary art prize 15 September to 18 November. Geelong Gallery, Little Malop Street, Geelong 3220. T: (03) 5229 3645, Free entry. Open daily 10am to 5pm. Closed Christmas Day, Boxing Day and New Year’s Day. Image: DANE LOVETT, Cosmos vessel III (detail) 2012, synthetic polymer paint on canvas. Courtesy of the artist and Sullivan+Strumpf Fine Art, Sydney.

mornington peninsula • Mornington Peninsula Regional Gallery Mornington Peninsula Regional Gallery, Civic Reserve, Dunns Rd, Mornington VIC 3931. T:: (03) 5975 4395; W: Open Tuesday – Sunday 10am-5pm.


CENTRAL VIC ballarat • Art Gallery of Ballarat Capturing Flora: 300 years of Australian Botanical Art, 25 September – 2 December. T: (03) 5320 5858 Free entry. Open daily 9am to 5pm. E:; www. Image: Miss Maund, Telopea speciosissima (detail) 1838, plate 71 from Benjamin Maund’s The Botanist engraving on paper, hand coloured. Collection: Art Gallery of Ballarat. Purchased with funds from the Joe White Bequest, 2010.

• Ballarat Arts Foundation Grants Rounds for emerging artists: 1 – 31 March and 1 – 30 September. Visit Downloads on or T: (03) 5332 4824 or M: 0409 352 268

• Her Majesty’s Friday 7 September 7pm at The Call Room Ballarat Mining Exchange, What a Man’s Gotta Do; Thursday 27 September 11am and 1pm at Ballarat Mining Exchange. KAPOW!; Until 31 October, 2012 Royal South Street Competitions. Her Majesty’s Theatre, 17 Lydiard Street South, Ballarat. Box Office/Ticket Sales: MajesTix T: (03) 5333 5888 Box Office hours - Monday to Friday, 9.15am - 5pm and one hour prior to performance starting times.

• Post Office Gallery Wed 5 – Sat 29 September 2012 TARLI GLOVER: Hard Land. Tarli Glover’s ongoing series of landscape paintings expose the harsher side of the Australian landscape and the aftermath of extreme weather events and environments, changed by climatic occurrences of fire, flood, drought and cyclones. Her sparse, minimalist canvases map and etch out fictional terrains with roads, tracks, built structures and vehicles, capturing the openness of space peculiar to the landscapes of regional and inland Australia Post Office Gallery, University of Ballarat. Cnr Sturt and Lydiard St Ballarat. VIC. 3350. Mon/Tue by appt. Wed-Sat 1-4pm. T: (03) 5327 8615, E:; Image: Tarli Glover, Black Paddock 2012, acrylic on canvas. Courtesy the artist. • Radmac Now Showing at the Radmac Gallery throughout September 2012. Local Artist GIL LEASK with a very colourfull range of Landcapes and Seascapes, created in oils, and JAMES SCOTT with a very interesting range of oils, acrylics and mixed media, his exhibition titled The Unborn Collection. Radmac Gallery, 104 Armstrong Street (Nth) Ballarat 3350 Ph (03) 5333 4617 Gallery Hours 8.30 am to 5.30 pm Mon – Fri 9am to 12pm Sat. Entry Free. Enrol now for Art Classes, Gallery and Studio Space available. Image: James Scott, from The Unborn Collection.

bendigo • Artsonview Framing and Gallery Expert custom framing by GEOFF SAYER. Conservation and exhibition framing also available. Plus a small but interesting range of original artwork and photography. Ceramics and etchings by RAY PEARCE, limited edition prints by GEOFF HOCKING now in stock. 75 View Street. E:; T: (03) 5443 0624

• Bendigo Art Gallery Philanthropy: The art of giving, 8 September – 18 November 2012 42 View Street, Bendigo. T: (03) 5434 6088. Image: PETRINA HICKS Emily the Strange (detail) 2011, light jet print. Collection Bendigo Art Gallery. The Gift of Grace and Alec Craig. Courtesy the artist and Stills Gallery.

• The Capital Info and tickets online at T: (03) 5441 6100 or visit 50 View Street, Bendigo. Full list of shows at website.


• Community & Cultural Development (CCD) - for arts, festivals and events info at your fingertips. Select Council Services, then Arts Festivals and Events for Events Calendar and Arts Register. The CCD Unit is an initiative of the City of Greater Bendigo. E: au T: (03) 5434 6464

• La Trobe University Visual Arts Centre VAC Gallery: To 9 September JEREMY KIBEL – Looking Back at the Glass Asylum. 12 September – 21 October RIKI-METISSE MARLOW, LAURA WOODWARD, ERIN MANNING, TONY FALLA, NATHANIEL STERN, and BRYAN CERA. Co-Curators ANDREW GOODMAN and KENT WILSON – Entertaining the Environment. Access Gallery: To 9 September PAUL FLETCHER – The Tyranny of the Moment, the Closeness of Distance. 12 September – 7 October CLAYTON TREMLETT – The Unissued Stamps of Australian History. Gallery hours: Tue - Fri 10am-5pm, Sat - Sun 12pm-5pm. 121 View Street, Bendigo. T: (03) 5441 8724; Image: Image: Jeremy Kibel, Untitled (detail) 2007, spray pack mixed media on Indian handmade paper. Image courtesy of the artist and Blockprojects.

castlemaine • Arts Officer - Jon Harris Community Activity and Culture Unit Mount Alexander Shire Council Jon Harris (Tues, Wed, Thurs, Fri) PO Box 185 Castlemaine 3450. T: (03) 5471 1793, M: 0428 394 577, E:

• Buda Historic Home and Garden A property of national significance. Home of the creative Leviny family from 1863 to 1981, featuring their personal belongings, original furnishings and arts and crafts collection. 1.2 hectares of heritage gardens to wander including plant nursery. 42 Hunter Street, Castlemaine 3450. T/F: (03) 5472 1032, W: Open Wed - Sat 12-5pm, Sun 10am-5pm. Groups by appointment.

• CASPA Model Behaviour – drawings by BILL DAVIES. Opening Sat 1 September, 4pm, until Fri 28 September. Above Stoneman’s Bookroom, Hargraves St.

• Castlemaine Art Gallery and Historical Museum JOHN BORRACK: Selected Paintings and Drawings 1970 – 2011, 9 September – 28 October. Best known for his lyrically structured paintings, John Borrack’s sensitive interpretation of the Australian landscape balances the needs of technique and theory with clarity of emotional expression. CAGHM, 14 Lyttleton Street Castlemaine, Vic. For full list of events and exhibitions log onto: Image: Haasts Bluff NT (detail) 2004/05, watercolour. Collection of the artist.

• Falkner Gallery 6 September – 28 October - Place: JAN McNEILL, oils and watercolours; and As the Crow Flies: DEE GILL, drawings and SARAH ORMONDE, ceramics. 35 Templeton Street, Castlemaine. Hours: 11am-5pm Thurs-Sun T: (03) 5470 5858; E:; W: www. Image: Jan McNeill, Field (detail), oil painting.

• Greengraphics: web and print We design almost anything, in web or print. At The Hub 233 Barker Street, Castlemaine 3450. Call (03) 5472 5300 or visit www.


• Lot19 Studios and Artspace We are currently seeking submissions for the annual spring sculpture prize! see the website for details, and for ongoing exhibitions and arts events. Lot19 Langslow Street (up Mcshannags Road) Castlemaine.

• Nunan Gallery New and retrospective art work by BRIAN NUNAN. Be unafraid – come and visit and enjoy. Open Frid. Sat. Sun 10am to 5pm. Nunan Gallery, 40 Campbell Street Castlemaine. T: (03) 5470 6724; E:; Image: Brian Nunan, Kimberley Man.

• unworded poetry This body of work by JANET GALBRAITH comprises works on paper, textile art, and found objects. The works address those spaces and experiences that cannot be spoken – are unworded. The works are primarily small and fragile but powerful in their ability to reach deep into the soul of the viewer. This is Janet’s first solo show. unworded poetry will be shown at the Phee Broadway Theatre Foyer, Mechanics Lane, Castlemaine from 25 September – 23 October.

kyneton • Stockroom Thurs-Mon 10.30am-5pm. 98 Piper Street, Kyneton 3444. T: (03) 5422 3215. www. Image: JASON WATERHOUSE, Pencil.

• Sojourn A creative journey of the coast and country offering glimpses through the eyes and imaginations of three unique photographers, DEBORAH MULLINS, HOWARD MAYLOR and LIZA CLEMENTS. By offering perspectives that are often overlooked these works inspire the viewer to pause their sojourn to discover a moment in time that can be seen one minute but gone the next. 22 August – 9 September 2012. Exhibit Artist Space 12-14 Piper Street, Kyneton M: 0407 357 888

maldon • Maldon Folk Festival 2012 Maldon: The Soul of Folk. Featuring the WHITETOP MOUNTAINEERS from Virginia; Australia’s legendary MARGRET ROADKNIGHT; Melbourne’s CLAYMORE; South Australia’s COUNTRY EXPRESS ... bluegrass, hillbilly swing, harpists, singer-songwriters and more. Maldon’s vintage cafés, pubs and shops are ideal for genuine, earthy roots music. The Maldon Folk Festival stands committed to genuine, hand-made, live music from the soul and heart.

newstead • Dig Café New exhibition by MARGARET PRIMER, French Impressions, acrylics on canvas, 5 September – 17 October. Closed Monday and Tuesday. Open Wednesday and Thursday 9am-4pm, Friday and Saturday 9am - late, Sunday 9am-4pm. Cnr Lyons and Panmure Streets Newstead. T: (03) 5476 2744;

â&#x20AC;˘ Gathering Gathering is located in Newstead, 15 minutes from Castlemaine, 25 mins from Daylesford. We stock all original, all Australian, all handmade goods. Perfect for shopping for that special gift or for something for yourself. You can find one of a kind pieces for grownups and kids to wear, adorn yourselves with, and place in your home. It is a space in our community to see hand making at its best. Panmure Street Newstead.

â&#x20AC;˘ Karen Pierce Painter, Illustrator, Art Teacher, Community Artist. Quality prints and cards. Old Post Office Studio, 22 Panmure Street Newstead. T: (03) 5476 2459,

mildura • The Art Vault 5 – 24 September SUSAN BARAN Spring small gallery; Olsen, Rees, Storrier Stock Show main gallery. 26 September – 15 October ANDREW SVRTA Signature Rhythm small gallery; CHRISTINA CORDERO Silent Stories main gallery. 43 Deakin Avenue, Mildura 3500. T: (03) 5022 0013 E: Gallery Director: Julie Chambers. Wed - Sat 10am to 5pm and Sun Mon 10am to 2pm. Artists in Residence: TONY AMENEIRO, Susan Baran, Christina Cordero. Image: JOHN OLSEN, Echidna with Dark Puddle (detail) 1987, lithograph, 3/10, 2nd stage 90x36cm. • Mildura Arts Centre Until 30 September 2012, Mildura High School / Secondary College / Senior College Centenary Art Exhibition, Venue: Rio Vista Historic House, 199 Cureton Avenue, Mildura, Open Wed-Mon: 11am-4pm. Until 5 October 2012, The Mallee Youth Photo Project (MYPP),Venue: LEAP Project Space, 39 Langtree Avenue, Mildura, Open Tues-Fri: 11am-3pm. Mildura Arts Centre Regional Gallery is closed while the Centre undertakes an exciting redevelopment of Mildura’s arts and cultural precinct. 199 Cureton Avenue, Mildura VIC 3500. T: (03) 5018 8330; F: (03) 5021 1462; www. Image credit: DENISE JAMES, Who’s Green Dress? (detail) © Mildura Arts Centre Collection, gift of the artist 2004.

swan hill • Swan Hill Regional Art Gallery IVOR CANTRILL 29 August – 14 October, Paintings, Drawings and Prints, 1981-2012. This exhibition looks back some thirty years with paintings recalling travel, time in the garden, family, music lessons, painting itself and more. ANNETTE HEPBURN - Life Story, 4 – 30 September. Opening hours 10am-5pm Tuesday to Friday, 11am-5pm Saturday and Sunday. Horseshoe Bend, Swan Hill, 3585. T:(03) 5036 2430 E:artgal@; Image by Ivor Cantrill (detail).



benalla • Benalla Art Gallery All the Flowers: introducing TIM MAGUIRE’s Poppies (2007) 4 August to 26 September. JUDY LORRAINE 15 September to 21 October. Opening hours 10am - 5pm. Benalla Art Gallery, Bridge Street, Benalla, Victoria, 3672. T: (03) 5760 2619; E:; www.

shepparton • Shepparton Art Museum 20 September – 19 November: 2012 Sidney Myer Fund Australian Ceramic Award. 70 Welsford Street, Shepparton VIC 3630; T: (03) 5832 9861; E:; Acting Director: Ryan Johnston. Open 7 days, Free Entry.

wangaratta • Wangaratta Art Gallery 56 Ovens Street Wangaratta. Director: Dianne Mangan, Hours: Mon-Tues 12-5pm; Wed-Fri 10am-5pm, Sat-Sun 1-4pm. T: (03) 5722 0865, F: (03) 5722 2969, E: d.mangan@wangaratta. or; then follow the links to the gallery. Follow us on Facebook. Image: AMANDA HO, Plant, Mineral, Animal 2012, cotton warp, silk stainless seel weft. Image courtesy of the artist. Petite miniatures entry 2012.

LAUNCH PARTY Saturday 18 February 2012 • Free arts activities, live music & tours of SAM: 10.00am to 5.00pm • Sir John Longstaff: Portrait of a Lady Exhibition • 2011 Indigenous Ceramic Art Award Exhibition • 6 New Permanent Collection Galleries For more information visit 70 Welsford St, Shepparton, 3630 VIC p 03 5832 9861 f 03 58318480 e

ararat • Ararat Regional Art Gallery Under My Skin: CATH JOHNSTON, to 16 September 2012. Recent Acquisitions - ROBYN DAW, TIM GRESHAM, NEWELL HARRY, LUCY IRVINE, VIRGINIA KAISER, ANNEMIEKE MEIN, NALDA SEARLES, JENNY WATSON, to 22 October. Artist’s talk by Jenny Watson on Wednesday 12 September at 7pm. Amongst the trees: works on paper and sculpture by TIM JONES, 20 September – 28 October 2012. Artist’s talk by Tim Jones on Thursday 20 September at 6pm. Town Hall, Vincent Street, Ararat. Mon to Fri 10am-4.30pm, w/ends 12-4pm. Free entry. T: (03) 5352 2836; E:; Image: Cath Johnston, Handle with Care 2011.

hamilton • Hamilton Art Gallery 107 Brown Street, Mon - Fri 10am - 5pm, Sat 10am - 12pm and 2 - 5pm, Sun 2 - 5pm. T: (03) 5573 0460, E:, W: Image: ROBYN PHELAN, Depleted 2009, Southern Ice Paperclay, cobalt glaze, 36 x 29 x 24 cm.

horsham • Horsham Regional Art Gallery 7 September – 7 October: WILLIAM MACKINNON: Paintings Conceived While Driving. 21 Roberts Ave, Horsham. Tues-Fri 10am-5pm, Sat-Sun 1-4.30pm. T: (03) 5362 2888; E: hrag@;

WESTERN VIC!/troublemagazine

your art life online


issue 94 September 2012  

Trouble magazine released September 2012. Features: comics face by Ive Sorocuk, The Secret Life of Wonder Woman by Julie Ditrich, Masayoshi...

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