This is not a blog about the current Federal election … this is about something much more enduring and exciting – a bold new art installation that plays with the idea of animus, memory, the machinery of war, and to a degree geopolitics. It will be launched in the coming months on the forecourt at the Australian National Maritime Museum, and today, International Museums Day with its focus on cultural landscapes, seems an appropriate time to reveal something of the art work.
Last week saw a Christo-like wrapping of silky black satin on the wharf at the Australian National Maritime Museum in Sydney’s Pyrmont. Intriguing and mysterious the form it enveloped was unreadable…
What could be under the silk? Well it’s an amazingly beautiful material, bronze. Used for millennia for public statuary, it is here applied to fuse old and new in an incredibly detailed and exacting process. This has produced a sculpture that explores something of the history of the site as a mercantile and maritime centre. Continue reading
The other day, I was walking through the Museum’s stores, when a strange object caught my eye: a neatly framed pair of odd looking dolls with very puffed up hair, which reminded me of the very elaborate 1980s hairstyles like the one Joan Collins wore on her Dynasty days.
These dolls are part of the Museum’s scrimshaw collection. Scrimshaw are objects created by whalers from the by-product of the whale, such as bones, teeth, baleen and bones. It was first done by sailors working on whaling ships out of the coast of New England between 1745 and 1759 until the moratorium of commercial whaling in 1986.
Yesterday I visited a sculpture being made at a fine art casting foundry on Sydney’s North Head at Manly. The work is being crafted using the lost wax technique, a traditional, ages-old method that will result in a timeless bronze. Each visit and each stage of the moulding and casting process brings surprises, most recently forms and colours that evoke the strangeness of a cast of characters from B-grade 1960s schlock-horror monster films such as Godzilla and even, in spirit, the hyper-real gigantic 50-foot woman.
The first week of September sees the Blu-ray release of The Monuments Men. Imbued with an all-star cast, including George Clooney, Cate Blanchett & Matt Damon, this isn’t just another wartime drama, but the true story of the greatest art heist in history.
Julian Bickersteth of International Conservation Services tells part of that story here.
It is not often that a conservator appears in a movie – we are one of those professions that tend to operate under the radar, hidden away in the back of museums. But when we do hit the limelight we like to do it in style, so it is great to see a conservator taking a lead role in The Monuments Men, played by none other than George Clooney.
George plays the central character of George Stout (called Frank Stokes in the film) who was a key player in the Monuments Men, or to give them their full title, the Monuments, Fine Art and Archives (MFA&A) section. Set up by the Allied Forces in World War II, they were entrusted with the mission of locating and protecting works taken by the Nazi Regime. The film is based on the book of the same name by Robert Esdel, and tells their remarkable story, based around a simple job description: to save as much of the culture of Europe as they could during combat.
Don’t squeal, unless it’s a big deal!
Always say thankyou, don’t forget please, and always, always cover your sneeze!….
Who ever said propaganda was only useful for a war effort? It’s even better put to work on the “home front!”. This month our kids craft item is inspired by our exhibition Persuasion: US Propaganda posters from WW2. Full of vibrant colours, retro graphics and unashamed slogans it made us feel like making a very persuasive poster of our very own. And what better place to start than selling good manners, etiquette, hygiene and all such behaviours that distinguish your little “do bees” from your “don’t bees”. Here’s hoping a bit of poster magic can turn them into a food-eater, a bed-goer, a play-safe and a tooth-brusher! Continue reading
It is odd under here.
The warm, almost suffocated air inside the velvety fabric tent. Like hiding under the covers. The image- all upside down, back to front and obscured, unfocused in a gridded glass plate. It is a concept of the life in front of the lens. While I look through this camera, a passer by, enamoured with the display of vintage technology, stops to take a photograph of a photograph being taken.
We are outside the museum for an introduction to our Ansel Adams-inspired photography workshop, learning what it is like to work with large format analogue cameras like those Adams would have used. We’ve toured the beautiful images in the exhibition with ANMM curator Richard Wood and now it is time for our workshop with tutors Michael Waite and Benjamin Stone-Herbert from the Australian Centre for Photography.
Tiny slide frames are handed around. This is how we will learn to compose our shot. Michael suggests that even contemporary landscape artists and photographers may not have any better tool for thinking about a shot than a simple rectangular frame held up to the life around them. The perfect photo may just be found in deciphering the best way to frame the vast chaos and disordered collection of shapes in any given environment.
It is really a perfect day to be out on the harbour. Blazing sun cut by the cool breeze flapping in from the open doors and windows of our tiny ferry as it powers down the Parramatta River. Michael encourages us to concentrate on the journey. To not see the ferry as a barrier between us and the “out there” subject but as something that could frame our images. A scratched window, a red railing, a smear of reflection all adds to the scene. This idea is inspiring and releasing to almost all the participants and they head about keenly experimenting with compositions in, on and through the ferry towards the passing vistas.
There is no shortage of beautiful and fascinating subjects- Graffiti-ed pylons, churning water, dilapidated boats and sheds along the river, or even the other photographers.
And it is lucky we are focusing on the journey.
As we pull in towards our destination (the semi- submerged shipwrecks of homebush bay) we discover the water level is too low to go any further today. We have to be content with a long distance shot or risk being marooned on the banks of the river. But there has been so much to capture already no one seems to be worried. As Ansel Adams would say “every experience is a form of exploration” and today, it would seem, we have been explorers.
Ahoy there landlubbers, scurvydogs and sprogs!
We be gettin excited for Pirates Ahoy family fun day this Sunday. So much so that our craft spot this ere month be dedicated to puttin a swashbucklin pirate print on everythin!
A tote, bandanna or flag as well, this ere creative caper be an excellent activity for celebratin pirates any time.
If ye be without the doubloons to get ye a scurvy silkscreen, ye can use a simple sponge roller for your pirate print instead.
With plenty of attention focused on the British royal family at the moment, I was delighted to discover a royal connection in a recent addition to the museum’s collection – a framed 1900 print of the Orient liner Ophir in the Suez Canal by British artist Sir Frank Brangwyn.
Ophir was built by Robert Napier & Sons in Glasgow in 1891 and was the first twin-screw vessel to operate on the Australian mail service. It was often described as ‘the opulent Ophir’ because of its sumptuously-decorated interiors.
In 1900 it was chartered to the British Admiralty as the royal yacht HMS Ophir for the tour of the British Empire by the Duke and Duchess of Cornwall and York (later King George V and Queen Mary). The main task for the Duke was to open Australia’s new Federal Parliament in Melbourne, but the tour also served to thank the colonies for their assistance during the Boer War.
In March 1901 the Duke and Duchess departed Portsmouth on an eight-month tour that took in the following ports: Gibraltar, Malta, Port Said, Suez, Aden, Colombo, Singapore, Albany, Melbourne, Sydney, Auckland, Wellington, Lyttleton, Hobart, Adelaide, Albany, Fremantle, Mauritius, Durban, Simonstown, St Vincent, Quebec, Halifax and St John’s.
The tour was an outstanding diplomatic success, with thousands of people turning out in each port to welcome the royal couple. The museum holds several mementos from the tour, including a breakfast menu and a souvenir copper medallion issued to school children in New Zealand.
Following the royal tour, Ophir’s popularity soared, helping to sell summer cruises to the Norwegian fjords. However the vessel continued to lose money for the Orient Line because of its high running costs and it started to spend increasing time laid-up. During World War I it was commissioned as an armed merchant cruiser and in 1918 it was purchased by the Admiralty and converted into a hospital ship. Ophir was finally scrapped at Troon, Scotland, in 1922 – a sad end for the former royal yacht.
The museum’s colourful Frank Brangwyn print captures Ophir at the height of its grandeur and popularity, surrounded by Arab traders in bumboats as it travels through the Suez Canal. Brangwyn (1867–1956) was a prolific artist whose favourite subjects included ships and life on the high seas. Like many European artists of the time, he was influenced by Orientalism and the colours of the Mediterranean and Africa.
Art historian Libby Horner writes, ‘[Brangwyn’s] paintings, whatever the title, are usually concerned with the dignity of human labour, and the working man.’ Our print certainly epitomises this – it is not a staid ship portrait but a vibrant picture of how Ophir would have been seen by the inhabitants of Port Said or Suez, when it was a regular visitor on the fortnightly Royal Mail route from London to Sydney.
The long-held belief is that Ophir was named after a gold mining town near Bathurst, NSW. However recent research by the P&O archivist Rob Henderson into the personal papers of the Anderson family (co-founders of the Orient Line) suggests that it was named after the biblical port of Ophir, thought to have been on the coast of Arabia on the Red Sea. A wonderful connection between a vessel, a shipping company and an artist so inextricably linked with the Orient and the exotic sights and delights of travel by sea!
Curator, Post-Federation Immigration
According to the media reports there were 60,000 people watching. From my position, in the back of a canoe with Matt Doyle full blast on his didgeridoo in the front, I was too busy paddling and keeping it upright to notice just how many were watching us, taking pictures or filming.
So how does a curator end up here, in Cockle Bay, Darling Harbour, paddling his self-designed-and-built plywood version of an Arnhem Land derrka, sitting behind Matt Doyle who is painted up, wired up and playing didgeridoo? We are opening the 2013 Sydney Festival event on Darling Harbour, which is featuring Dutch artist Florentijn Hofman’s Rubber Duck installation. Continue reading
Meet Jane Bennett, an artist whom you may see around the museum wharves from time to time. We invited Jane to contribute a guest blog post about her work and current exhibition at Frances Keevil Gallery.
Hi, Jane Bennett here.
I would like to invite you to the annual end-of-year show at the Frances Keevil Gallery where I will have three of my recent Pyrmont paintings on display.
I first started painting Pyrmont when I was in art school in the late 1970s, documenting Pyrmont’s original character that came from its industrial heritage – the workers’ cottages perched on the creamy sandstone escarpment above dark, decaying wharves and warehouses.
During the 1980s Pyrmont was discovered by developers and radically transformed from a once-neglected industrial suburb in a 19th-century time warp, to a sleek media and entertainment hub. Buildings were often demolished as fast as I could paint them. Almost everything that I have painted has either been demolished or has changed beyond all recognition – the pubs have been gentrified, working-class terraces are replaced by apartment blocks and old warehouses are converted into offices. Continue reading
Has the Australian National Maritime Museum fetishised fish? and is fetishised even a word?
This weekend is your last chance to find out, and to view what I think is one of our most inventive readings of Australian art from a maritime perspective.
Fish in Australian art is an exhibition of watercolours, prints, publications, drawings, paintings, multimedia, artefacts, and artifice… all of which feature Australian stories of fish or fishing. Through artist’s eyes you see the wonders of fish, fish as characters in dreaming or creation stories, as objects of European curiosity, science, charm, fantasy, nature, and the sublime. You see fish as decorative or design elements, and you see fishing as a way to while away the hours, for musing, sport or industry, and above all for cooking, eating, or serving at the table.
The exhibition includes works from important Indigenous artists like Yvonne Koolmatrie, Arthur Koo’ekka Pambegan, Micky of Ulladulla and Roy Wiggan, and many household names of European Australian art like Arthur Boyd, William Buelow Gould, Conrad Martens, John Olsen, Margaret Preston and Anne Zahalka, in an exhibition which is both thematic and broadly chronological. I especially like the luminous drawings from the natural history painters who worked with pencil and brush to document all they saw around them – here, the fish and the fishing techniques of Indigenous Australians, and their watercraft.
There are a number of works by the Port Jackson painter, Ferdinand Bauer and Thomas Watling on loan from the British Museum of Natural History which are truely sensational and here in Australia just for this exhibition.
These works show Indigenous people fishing from their nawi and cooking their catch. They are beautifully drawn. There are so many nuanced details, like the moon rays floating to the water in the ink and watercolour sketch A N. South Wales native strikg fish by moonlight while his wife paddles him along with a fire in the Canoe ready to broil the fish as caught attributed to the Port Jackson Painter, 1788-97. These details remind you that these painters were not just about picturing science and are worth a really good look.
The exhibition blends media and artefacts, and in this early colonial section you see a canoe of bark with tied ends, made by Albert Woodlands from the west Kempsey region, built before 1938, and on loan from the Australian Museum. This Indigenous canoe is used to interpret the fishing drawings and to add texture and meaning – together they become a delicious viewing experience for those interested in Aboriginal watercraft. The canoe – similar in style to the nawi used by Sydney Aboriginal people – forms such a refined shape that it is almost sculptural.
There is much to see in this exhibition and I can only suggest you make it to the museum this weekend to catch it before it goes…
Adam Cullen, well-known Australian artist, worked at the Australian National Maritime Museum for six years from 1994 and all his friends and colleagues here would like to say how saddened we were to hear of his death.
Adam came to the museum from the Museum of Contemporary Art and worked in our conservation and design areas as a preparator, forming the creative backbone of exhibition construction and installation. Sculptor Stephen Crane, his supervisor, remembers Adam’s good humour and gentle nature in the workplace, often spiked with observations on life’s underbelly, and how many laughs were had when spacking, painting and finishing.
Painting was what he did and sadly one of the core exhibitions which featured his gestures, some words scrawled on the wall about the history of Trade Union movement, has just been bumped out, this week of his death.
Adam worked part time and left the museum after he won the Archibald Prize in 2000. The museum holds a startling portrait of surfer Mark Occhilupo in its collections and many stories of Adam in its soul.
Adam and I shared an interest in Eastern Long-necked turtles and I am very sad to hear that he can no longer enjoy them at his property in the bush.
An unsuspecting shop window on a dark street, empty, except for a few wooden chairs and tables.
A trickle at first, then pooling, sloshing, filling, water floods the restaurant.
Tables bob,tip and capsize, gigantic Groper-like fish swim in and around.
On the street outside a small crowd gathers to watch in disbelief, passing drivers crane their necks to do a double take of this uncanny scene.
I’m watching documentation of artist Craig Walsh’s digital projection work, Incursion, a site specific project for the 2007 Nuit Blanche in Toronto, Canada, and a featured work in our lovely exhibition Fish in Australian Art.
In just a few short weeks Craig Walsh will be here at the museum for an in- conversation event with Stephen Scheding, co-curator of Fish in Australian Art. It will be an opportunity to hear from Craig on his work, his use of technology, his collaborative process and a chance to see extracts and documentation from some of his diverse and spectacular site-responsive installations and projections. After the talk, audiences will also enjoy wine, cheese and the chance to pop in into see the beautiful exhibition as it enters it’s final weeks.
Craig is well known for his large scale public artworks, projections that simulate surreal scenarios, artificial life forms, portraits and stories onto the landscape or sites of significance. He plays with the sculptural properties of projections to instil a kind of mythology into any chosen location. Having exhibited as far and wide as Yokohama, Gwangju and Murray Bridge, Craig has had the opportunity to work with people and places from all over the world, particularly through the recent Digital Odyssey project, a tour and residency that saw him packing his life and his studio into a caravan to travel around Australia producing 16 new works the space of 18 months in collaboration with regional communities. For the moment, he is enjoying the stability of a home in the suburbs while he undertakes a residency in Sydney.Looking at Craig’s body of site-specific work makes you wish you had seen all this in situ. There is something special about accessing the insight that an artist can shed on their own practice, particularly in revealing the visual trickery behind artworks. For example Incursion is not just a projection, it has elements of performance and sculpture- the footage was made by creating a scale model of the restaurant into which water and fish and miniature furniture were all placed and filmed through the glass. The resulting footage projected onto a rear projection screen covering the glass windows of the real restaurant created a captivating illusion, an environment where the fish were not part of the “…of the day” menu but rather the dominant species invading and consuming the space of the restaurant.