GAB 59 (Grishin’s Art Blog number 59)
Refik Anadol, Quantum memories, 2020 (render), custom software, quantum computing, generative, algorithm with artificial intelligence (AI), real time, digital animation on LED screen c4 channel sound, 1015.0 x 1020.0 x 250.0 cm, Commissioned by the National Gallery of Victoria, © Refik Anadol, image courtesy of Refik Anadol
If the 2017 Triennial at the National Gallery of Victoria broke attendance records with over 1.2 million visitors, it was short of a miracle that the 2020 Triennial took place at all. To bring together over 100 artists, designers and collectives from over 30 countries, featuring 86 projects, in the era of COVID was always going to be a tall ask. It has happened, it has a huge ‘wow’ factor with a mixture of popular household names as well as completely unexpected quirky discoveries.
The Triennial 2020 is built around four broad themes with porous borders: Illumination, Reflection, Conservation and Speculation. Even after wading through the voluminous catalogue – that is more like a piece of bulky furniture than a read-in-bed book – the thematic categories are more like general conceptual props than clear categories. The concern is with the ability for art to challenge assumptions about the status quo, alert us to impending disasters, suggest alternatives, dazzle us with unexpected inventions and inspire us with wondrous creations of undreamt of beauty.
The one work that had the greatest impact on me was by the young Turkish artist Refik Anadol, who now is based in Los Angeles. Titled ‘Quantum memories’, 2020, it is presented on a huge ten metre by ten metre LED display screen as you enter the NGV building in St Kilda Road. Commissioned by the NGV, it is a collaborative work between the artist and Google. Employing a dataset drawn from over two hundred million images linked to nature, Anadol uses a Google quantum computer (described as a thousand times more powerful than a conventional supercomputer) combined with machine learning algorithms enabled by AI.
Porky Hefer (designer), Southern Guild, Cape Town (fabricator), Buttpus designed 2019, manufactured 2020, felted karakul wool, industrial felt, canvas, leather, sheepskin, salvaged hand-tufted wool carpet, recycled PEP stuffing, foam, steel 1512.0 x 1512.0 x 328.0 cm, National Gallery of Victoria, © Porky Hefer
The image processing algorithms ingest millions of photographs and generate new images with related statistical properties. We are exposed to images of fantastic, ever-changing landscapes that never existed – something uncanny, a memory of something that never previously experienced, but somehow convincing and real. Enthralling, completely seductive and endlessly changing it brought to mind the words of the Sufi mystic Rumi, “Don’t grieve. Anything you lose comes round in another form.” Anadol presents us the world ‘in another form’ guided by Artificial Intelligence. The work is not like a video installation presented on a loop, but every moment it is in a state of flux constantly reinventing itself and creating new images.
From the very high tech to the low tech is Porky Hefer’s Plastocene – Marine Mutants, 2020, from a disposable world. Hefer, based in Cape Town, South Africa, creates through his Southern Guild fabricators a series of handmade large-scale environments consisting of imaginary sea creatures from a dystopian future that he terms Plastocene. It includes a huge octopus-like creature made from hand-felted cigarette butts. In Heffer’s worldview, the end of the Anthropocene era will be marked by a new species that will transmutate and absorb the plastic bags, straws, coffee cups and other pollutants. Although humans as we know them will struggle to survive in this polluted environment, these mutants will flourish.
If Anadol and Heffer are relatively unknown to Australian audiences, Jeff Koons is one of the most-high profile and iconic contemporary American artists. His ‘Venus’, 2016-20, is a two-and-a-half metre high mirrorpolished stainless steel sculpture with colour coating to add to the Baroque exuberance of the piece. The source image is a relatively obscure 1769, 34 centimetre painted porcelain figurine of the same name by Wilhelm Christian Meyer. Koons has taken liberties with his model to heighten the latent eroticism of the forms. As he observed, “Venus represents the combination of understanding the needs of society and of something greater than self, while at the same time the desire for procreation and the continuation of the species. It involves the seductiveness of all the senses – the joys, pleasures and pains of life itself.” This acquisition will certainly become a selfie-magnet for the NGV.
Another very high-profile participant in the NGV Triennial is the Korean artist Lee Ufan who employs the Zen Buddhist practice of painting as a form of meditation that reveals energy and realisation. His ‘Dialogue’, 2017, a major new acquisition for the NGV, is what could be described as a sublime piece that seems to radiate in its space. The artist recently observed, “What is light and what is darkness? I do not like the definition that sees existence in terms of light and nothingness in terms of darkness. There is darkness in all form of light, and light penetrates all kinds of darkness. A concept of light or darkness considered in isolation cannot be valid.”
It is a meditative, hypnotic painting that seems to vibrate in space and in contrast to the loud, bombastic and attention grabbing forms that populate the Triennial that occupies all levels of the gallery building.
It is always difficult to summarise an exhibition like this Triennial that is conceived as a series of immersive spaces with superb moments such as the blue paintings and sculptures of Dhambit Mununggurr, the dialogue with the NGV collection by the Fallen Fruit or painting with neon light by the Welsh conceptual artist Cerith Wyn Evans.
The NGV Triennial is being held at a time when the success of exhibitions can no longer be measured by attendance numbers, but it seems to be hitting the right spot. The Victorian premier, Daniel Andrews is allocating a record $1.46 billion for the building of a new NGV Contemporary and another $20 million is promised by the Ian Potter Foundation. The future looks bright for subsequent NGV triennials.
Triennial 2020, National Gallery of Victoria,
19 December 2020 – 18 April 2021
GAB 58 (Grishin’s Art Blog number 58)
Australian Women's Art
Dr Deborah Hart, Head of Australian Art at the National Gallery of Australia (NGA), tells the amusing story that when she was making a pitch to the gallery management to stage a major exhibition of Australian women's art, she projected a slide with the portraits of numerous women artists. The director asked, does everyone know their names? So was born the idea to stage a major exhibition of Australian women's art simply called 'Know my name'.
Know my name: Australian Women Artists 1900 to Now is a vast exhibition with over 400 works by more than 170 Australian women artists working from 1900 through to the present. It is being staged in two parts - the first from Friday 13 November 2020 to 4 July 2021 and the second part opens in late July 2021.
Having and exhibition based on gender is invariably problematic and historically artists like Margaret Preston and Georgia O'Keeffe were well known for refusing to exhibit in 'she-gender' exhibitions. Critics of gender segregated exhibitions speak of a 'ghetto mentality' and will argue that good art will always rise to the top and does not need any special nurturing conditions. A similar case has been argued concerning Indigenous art - that it should simply be seen as Australian art and will shine through its own brilliance.
The contrary argument is that the whole structure of the 'art industry' is engendered and discriminates against women artists. Sadly this is difficult to refute as the facts speak for themselves. According to the National Museum of Women in the Arts, 51% of visual artist today are women yet few public art galleries exhibit more than 25% women artists on their walls. At the Tate, for example, in 2017, 27% of living contemporary artists in the Tate collection were women, while at the NGA 25% of its Australian art collection and 33% of its Aboriginal and Torres Strait Islander art collection is by women artists.
Please don't bring up Linda Nochlin and why there have been no great women artists article, that was fifty years ago and today it is simply boring. The fact remains that there are entrenched mechanisms in place that hinder the emergence and recognition of women artists in Australia and there is a good case to exercise affirmative action and to stage a major all-women exhibition.
The proof has to lie in the pudding and how good is Australian women's art and the Know my name show? Firstly, what is the show about? It is not an exhibition of dusted off pieces by obscure women artists drawn from the vaults of the NGA and now presented centre stage. It is a carefully curated exhibition (main curators: Deborah Hart and Elspeth Pitt) that is designed to bring to the fore the best and most interesting of Australia women's art from the past 120 years with numerous loans from museums, art galleries and private collections across the country; specifically acquired pieces by the NGA for this exhibition as well as treasures and lesser known works from the exceptionally rich holdings from the NGA collection. It includes Indigenous and non-Indigenous art, painting, printmaking, sculpture, photography, video, installation work and a generous cross-section of the applied arts.
The NGA is billing this exhibition as, "the most comprehensive presentation of art by women assembled in this country to date ... Know My Name is not a complete account; instead, the exhibition proposes alternative histories, challenging stereotypes and highlighting the stories and achievements of women artists."
Visually, in a word, it is stunning. Located in the NGA's original main galleries with the ridiculously high ceilings and cement walls - the spaces have never looked so good in the time I've known the building since its opening in 1982 - some of the walls have been 'shifted'. rebuilt, reclad and all have been repainted. The height has been used to an advantage rather than as a crushing blow that in Robert Hughes' memorable turn of phrase made Pollock's Blue Poles look like a shimmering postage stamp.
Some really huge pieces have been unfurled, like Judy Watson's nearly six-metre-long painting Canyon, 1997. Huge installations dangle from above, including Mira Gojak's Transfer Station I, and exhibits are allowed to crawl up walls whether it be a display of feminist posters, abstract geometrics of Margaret Worth, early anatomical pieces by Marie Hagerty, a new bronze mandala-like sculpture by Linda Lee (2020) or the classic floating brides by Rosemary Laing.
The exhibition has been built around seven themes with porous borders: Connection with country, Performing gender, Collaboration and care, Colour, light and abstraction, Micky's Room, Lineages and Remembering. Chronology is treated in diachronic terms - something that happens across time with numerous points of reference - rather than a linear construct of time.
Part of the strength of the show is that it provides a new perspective to the familiar. Important Aboriginal pieces by Sally Gabori, Queenie McKenzie, Emily Kame Kngwarreye and the Utopia batiks are juxtaposed with major installation works by Fiona Hall, Rosalie Gascoigne and Janet Lawrence.
In another space, the female form is interrogated with monumental well-known performative photographic series by Anne Ferran, Tracey Moffatt and Julie Rrap shown in their entirety. Also in the space are the less iconic female nudes by Janet Cumbrae Stewart, Freda Robertshaw and other female artists working earlier in the 20th century as well as sculptures by Mestrom Sanné and Rosemary Madigan.
I did leave the exhibition feeling excited - from the moment you entered guided by Inge Kings' s black two-and-a-half-metre high Fetish, past the walls of images of Australian women artists' portraits, Micky Allan's quirky room installation, Vivienne Binns' newly acquired Tower of Babel, 1989 and eX de Medici's brand new sprawling almost six-metre-long The wreckers, 2018-19.
It is a national exhibition, not simply Melbourne-Sydney in its focus, with Western Australian, South Australian and Queensland women artists all well represented. Naturally, not everyone in the 'sisterhood' will be pleased about inclusions and exclusions in the exhibition and there will be a deafening 'why not me' outcry. In many instances the question is valid and hopefully as more public art spaces realise that women artists make art at least as interesting as their male counter parts, we will see more gender equity in the display of Australian art.
Know my name is a free exhibition at the NGA in Canberra, but timed online bookings are necessary in compliance with COVID restrictions. Part one will be on display until 4 July 2021 and part two from late July 2021.
GAB 57 (Grishin’s Art Blog number 57)
I once had a friend who worked as a curator at the Art Gallery of New South Wales for many years who claimed never to have seen an Archibald exhibition in his life. His justification was fairly simple - the Archibald is an exhibition for people who know nothing about art and 80% of those who go to the Archibald never go to any other art exhibition, and 80% of people who frequently go to art exhibitions never go to the Archibald.
This was a few years ago and the stats probably no longer hold true (if they ever did), but the distinction between a serious exhibition and an art circus designed for popular entertainment still sounds valid. The inherent problem with the Archibald and, for that matter, the Wynne, is that they are selected and judged by people who are not art professionals - the Trustees of the Art Gallery of NSW. When the Archibald was set up 99 years ago, trustees of a public art gallery were expected to be art people - artists, art teachers, curators - now they are expected to be people with deep pockets, management expertise or backgrounds in finance, fundraising or philanthropy.
Today, the eleven trustees of the Art Gallery of NSW include two artists, Ben Quilty and Tony Albert, while the rest may have a serious interest in art, but a background in commerce, finance, law, banking and philanthropy and include Mr David Gonski AC, Ms Gretel Packer AM and Ms Lucy Turnbull AO. For its purpose as trustees, it is a strong group that the gallery is fortunate to have assembled, but hardly a professional art body that you would trust to decide on the merits of painting.
I have seen more Archibald exhibitions in my life than is good for my mental health and have come to the conclusion that there are three main criteria employed for judging the prize, namely, fashion, politics and money. I am not implying that there may be something illegal or improper here - this is not the NSW government - but I suggest that all of these are assumed, implied and emerge in a consensual way.
This year's Archibald is a pretty ordinary selection of 55 largely mediocre paintings selected from the 1068 entries and, as in previous years, some of the better entries have ended up at the Salon de Refusés across town and up the hill.
The $100,000 prize for the 99th Archibald has been awarded to Vincent Namatjira's Standing strong for who you are - a portrait of the Indigenous AFL footballer Adam Goodes. In the age of the Black lives matter protests, it seemed inevitable that the prize would go to an Indigenous artist and what could be more appropriate than a self-portrait of Namatjira (the great-grandson of the renowned watercolourist Albert Namatjira) clasping hands with Goodes surrounded by smaller images of Black pride. This makes Vincent Namatjira, who started dot painting in 2012 and painting portraits in 2013, the first Australian Indigenous artist to win the Archibald.
The politics are right, the simplified caricature-like style is fashionable and already much money has been invested in promoting this promising artist aged in his late thirties. My reservation is that I don't find this a particularly strong painting and it is less adventurous and less accomplished than some other paintings by him seen in earlier Archibald exhibitions such as Self-portrait on Friday (2017), Studio self-portrait (2018) and Art is our weapon - portrait of Tony Albert (2019).
There are quite a number of Aboriginal artists in this year's Archibald, including Charlene Carrington with her quirky portrait of her father, where she notes, "In the painting, that brown hill, his hat, is Red Butte. That's a good fishing place and where the old people used to hang out. That yellow part of his hat is the sandy ground around Red Butte, the buttons are the Texas rock holes. When we were young we used to walk up there and go swimming. It's real clear, like a big pool. The moon on his neck is the necklace that I gave him that he always wore." Executed in natural ochres it is quite an effective painting. Other Aboriginal artists included are Tiger Yaltangki, Blak Douglas, Meyne Wyatt, Thea Anamara Perkins and Kaylene Whiskey.
One of the more interesting artist, who like Carrington is an Archibald first-timer, is Karen Black with her evocative and slightly weird painting of the wonderful artist Madonna Staunton in the final stages of life. Sinead Davies' portrait of Claire Dunn grows on you as you spend time with it, but strictly needs to be seen in the flesh. Wendy Sharpe's bombastic expressionist style perfectly suits her portrait of Magda Szubanski. Not a great portrait, but memorable and effective.
Is the 2020 Archibald a good show? In a word - no. Is it worth seeing? Again - no. But if you do see it - you will be viewing it in COVID comfort where you don't really have to compete with the crowds standing with their backs blocking the paintings while taking selfies.
The Archibald, Wynne and Sulman Prizes are at the Art Gallery of NSW until January 10, 2021
Are art schools an endangered species?
The plight of art schools in Australia in recent decades is hardly breaking news. Shrinking budgets, staff cuts, closures, amalgamations and reduced course offerings have plagued many art schools. Some workshop disciplines are no longer viable and others are staffed through makeshift arrangements with casuals and sessional staff carrying the brunt of the teaching and administration of courses.
Four year ago, Tamara Winikoff sounded the alarm in her article 'What's happening to Australia's art schools?' Writing as the Executive Director of the National Association for the Visual Arts (NAVA), she spoke to a number of the key players in Australian art schools and observed some alarming trends.
She noted, "The general tendency was for directors to gloss over the problems of diminishing staff numbers and their having to shoulder a greater administrative load, insecurity with the loss of the tenure system, less contract staff, the increasing crowded marketplace for the lucrative international students, and the authority of the word over image i.e. the pressure to publish in order to gain university brownie points." She concluded, "It's clear to me that a proper study is needed to make dispassionate comparisons between past and present and across the sector with a view to identify optimal conditions that are appropriate to diverse contexts."
As far as I am aware, no such study has been undertaken, although presently, Paul Fletcher, the Minister for Communication (the Arts have been dropped from the ministry's name) has ordered an Inquiry into Australia's Creative and Cultural Industries and Institutions with submissions invited until October 22, 2020.
Art schools in Australia have a venerable ancestry and appeared relatively early in the life of colonial Australia. The National Gallery Art School in Melbourne, for example, was founded in 1867 with the idea that it was the place where one could establish artistic standards and acquire the necessary skills through which to attain these standards. Many art schools in 19th century Australia were founded around individual artists who gave classes and these art schools vanished as quickly as they were established. The Julian Ashton Art School in Sydney is an exception, founded in 1890, it continues to the present day. The Victorian Artists' Society in Melbourne is another exception, founded in 1870, it also continues to operate and as part of its activities offers art tuition, although arguably it is not primarily an art school.
There were a few well-established art schools in the capital cities of most Australian states and territories by the 1960s. In the 20th century, private art schools, especially those established by Max Meldrum, George Bell and Desiderius Orban, had a greater longevity and had a greater impact than most of the other private ventures. However, as a rule, art education had become principally a state-funded activity.
In the 1970s and 1980s the art school scene started to change quite markedly in Australia with a number of new institutions being established. Many were created within the context of Colleges of Advanced Education or TAFE colleges and some offered radical and progressive alternatives to those available in traditional existing art schools. Sydney College of the Arts, for example was conceived in 1974 as an independent College of Advanced Education and in contrast to other Sydney art schools adopted a more postmodernist perspective in its teaching.
Minister John Dawkins' controversial reforms to tertiary education that commenced in 1988 had a huge impact on art schools in Australia in the drive to establish a unified national system. Most of the art schools lacked the scale to stand alone and lost any semblance of autonomy as they were forced into unions with universities. A rare exception is the National Art School in Sydney, traditionally known as East Sydney Tech and tracing its origins back to the Sydney Mechanics' School of Arts in 1843. It staved over many years attempts to be taken over or amalgamated and remains an independent art school with ongoing funding guaranteed by the NSW government as a State Significant Organisation.
The West Australian artist and teacher, Paul Uhlmann, reflecting on the transition from an independent art school system to one subsumed within a university, observed, "Many art schools struggle to be understood, struggle for identity and autonomy within the framework and hierarchy of a university; for example, the particular languages of making through painting or graphic means are not readily understood as being valid modes of knowledge production in their own right."
Presently there are about 39 art schools throughout Australia operating within universities. The largest of these is RMIT with 6537 undergraduate and postgraduate students and the smallest, Charles Darwin university with a total of 161 students. Su Baker, a long-term Chair of the Australian Council of University Art and Design Schools, observed in 2018, "In the last decade we have seen art schools morph into the institutional shape of their host university and in some cases the radical destruction of many of these once active institutions."
The loss of identity within the broader university context has affected art schools on many levels. Similar strictures are now applied to an art school as to the broader university community with requirements for many of the staff to hold PhD qualifications, to teach similar class sizes as across the university and to have similar accountability and evaluation procedures for staff and students. Operating within a university, rather than a College of Advanced Education or a TAFE, did enable a member of staff to be promoted to the more senior academic ranks with the accompanying shift in administrative responsibilities. This also added considerably to the staff budget of the institution.
The economic realities within the universities now applied to art schools and the central university administration was forced into tough decisions whether to cut resources to their affiliated art school or to one of their more traditional discipline areas. Frequently it was the art school that suffered first and workshops that traditionally required four or five members of staff were forced to make do with one or two, Ten years ago, printmaking workshops in art schools had a number of teachers plus technical assistants, today they are lucky to have more than one full-time member of staff. Similar observations can be made about many ceramic workshops.
When the Minister for Education in Scott Morrison's federal government, Dan Tehan, announced his proposed Job-ready graduates package in June 2020 with a proposed massive hike in student fees for humanities and arts students, this was a major blow for universities in general and art schools in particular. Most Australian universities were already in a financially weakened state following the impact of COVID-19 on their existing revenue stream. The Job-ready package has been introduced to parliament and now has been referred to the Senate Education and Employment Legislation Committee with a report due September 25, 2020. If passed, it will force many universities to make difficult decisions in the process of balancing the books.
Art schools, through the Australian Council of University Art and Design Schools, immediately responded to this package by diplomatically stating: "Humanities course funding will certainly be impacted by the proposed changes, with a much higher student contribution (and increase in the overall funding to universities). While the creative arts may not experience such a negative impact, we acknowledge the high value of humanities and arts subjects to our sector and to society. Those proposed changes may have devastating consequences yet to be determined not only for the individual, but for the nation."
In a hard-hitting media release, Professor Joy Damousi, President of the Australian Academy of the Humanities, wrote, "Evidence shows that the skills and knowledge from the humanities and social sciences training - including critical thinking, communication skills and understanding the impact of change on humanity - are highly valued by employers and in the workforce."
One suspects that within some university budgets the viability of their art schools will come into question. Are art schools viewed as an integral part of the fabric of the university or as a desirable luxury that cannot be viewed as being on the same level of importance as schools of law or political science or business management?
There is also disquiet within some of the art schools themselves. Have art schools within universities become too academic, too theory-based and insufficiently hands-on and technique orientated? Do graduates from art schools emerge with an adequate skills toolkit as well as a broader appreciation of the art making process - a creative mindset? Could more flexible atelier workshops, rather than art schools, be more responsive to the changing nature of the arts themselves?
While the future of art schools in terms of structure, teaching strategies and broader philosophies of art should be on the agenda for future discussion, the current plight of art schools is an urgent matter for the present.
Art schools in Australia are facing an existential threat. Decades of inadequate funding have left many of them in a perilous state and the present political and intellectual hostility to the creative arts from the present federal government and some state governments is threatening their very existence. Some art schools have thrived within their tertiary host institutions, however, many have not.
If art schools are becoming an endangered species, then it becomes a collective responsibility for all of us to fight for their preservation and restoration. Art is not a luxury, but a necessity of life.
An earlier version of this art blog was published in The Conversation.
Who owns Hagia Sophia in Istanbul?
The church of Hagia Sophia is one of the most incredible buildings of all time, of any civilisation. Sophia means wisdom in Greek, so its dedication is to God as Holy Wisdom. In Byzantine times Hagia Sophia was the Cathedral of Constantinople. With the Turkish occupation in 1453 it was converted into a mosque and in 1935, under the guidance of the ‘father of modern Turkey’, Mustafa Kemal Ataturk, it was turned into a secular museum and became the chief tourist attraction in Istanbul. A few weeks ago, the Turkish president, Recep Tayyip Erdoğan, who is losing his grip on power, converted it into a mosque with the first Muslim ceremonies held there this week.
To the Middle Ages, both in the East and the West, Hagia Sophia was the greatest building ever made. The French cleric, Abbot Suger of the Royal Abbey of St Denis in Paris wrote in his little book on his administration De Administratione in 1144 – “from very many truthful men, we had heard wonderful and almost incredible reports about the superiority of Hagia Sophia over any other building”. Abbot Suger in his own lifetime set out to match the beauty of Hagia Sophia in the rebuilding of his own church, that of St Denis in Paris, and in the process created a new style of architecture which we now call Gothic.
The legend of the Great Church was certainly not restricted to Suger and if we glance at the popular Old French Crusading literature, such as the amazing Pilgrimage of Charlemagne (Le Pelerinage de Charlemagne) of the mid-12th century – the great church appears as made of pure gold, studded with jewels, while its pulpit is a circular disk radiating with light.
For the medieval west Hagia Sophia was an object of envy – the greatest monument of the true and legitimate empire which they sought to emulate. For the medieval East, for the pagan Slavs it was the principle reason for their conversion to Christianity according to their earliest surviving literary source, the Primary Chronicle. Here it is narrated how the envoys of Prince Vladimir visited Constantinople and in 987 reported to their prince: “We did not know whether we were on earth or in heaven. For on earth there is no such splendour or such beauty and we are at a loss of how to describe it. We only know that God dwells there amongst men and that their ceremonies are fairer than those of other nations.” Legend has it that the Slavs on hearing this report on the beauty of Hagia Sophia decided that this indeed was the true faith and accepted Orthodox Christianity from Byzantium.
When the Ottoman Turks conquered Constantinople in 1453, Hagia Sophia was the single most significant architectural monument on which they modelled most of their own subsequent domed mosque architecture. The great architect of Islam, Sinan, set himself the conscious goal to match in his mosques the splendour of the Great Church. In Canberra, the Australian War Memorial was conceived as a scaled model of Hagia Sophia.
This biggest, and according to many, the greatest church of Christendom, was built in a breathtakingly short period of five years, 532-37, by Emperor Justinian’s architects - Anthemios of Tralles and Isidoros of Miletus. Contemporaries speak of it as a gigantic fabric of vision with the dome appearing as if not supported from the ground, but as if suspended by a golden chain from heaven.
With an overall width of some 70 metres it is a breathtakingly bold building. To put it very simply, the architects took the basic basilica for the plan and placed on top of it a huge dome. But rather than trying to support the dome on pillars or columns, which would be close to impossible on such a scale, at the east and west ends they built two half domes as if falling into the centre, but prevented from doing so by supporting the huge weight of the central dome itself. Built in earthquake prone Constantinople, there was a partial collapse of the dome and repairs in 558, but for the next one and a half thousand years it has remained intact - over 55 metres above the floor with diameter of the dome some 33m.
If we still find the interior of Hagia Sophia overwhelming today even after the experience of skyscrapers and the megalomania of postmodern architecture, it is difficult to imagine its impact in 537 when it was first unveiled. Procopius, Emperor Justinian’s chronicler, noted "It seems not to be founded on solid masonry, but to be suspended by that golden chain and so cover the space. All of these elements, marvellously fitted together in mid-air, suspended from one another and reposing only on the parts adjacent to them, produce a unified and most remarkable harmony in the work, and yet do not allow the spectators to rest their gaze upon any one of them for a length of time, but each detail readily draws and attracts the eye to itself. Thus the vision constantly shifts around."
Hagia Sophia was envisaged as a building with the most impressive stage of all of Christendom, to celebrate the theatrical liturgy to God. A huge five-metre high mosaic image of the Virgin and Child appeared in the apse by 867 accompanied by archangels. Other figurative mosaics are found throughout the great church. This includes a huge Deesis mosaic image made in about 1261 – an abbreviated image of the Last Judgement where the Virgin and John the Baptist come to intercede before Christ for humankind.
The Erdoğan regime is clinging on to power with its actions becoming increasingly desperate and dictatorial. Converting Hagia Sophia into a mosque and covering up the mosaics during Muslim prayers is an attempt to appease the Islamic fundamentalists. This move will fail and while the governments of Greece, Russia and the United States have condemned the move, as has Pope Francis and the United Nations, it will be up to the people of Turkey to overturn this government. For the rest of us, we will need to boycott all travel to Turkey, which has become a dangerous country to visit, even for Anzac commemorations.
Topple the monuments and burn the books
The pharaoh Akhenaten, the great tenth ruler of the Eighteenth Dynasty in ancient Egypt, advanced a form of monotheism and promoted a huge revival in the arts and, on his death, his statues were smashed and his triumphs defaced by his successors.
The early Christians toppled the statues of Greek and Roman gods, and of the tyrants who enslaved them and made their fortunes from their labour. Most of the Romans whom we see in art were slave owners. In the process, the Christians destroyed the masterpieces of classical antiquity whose maimed fragments make up today's blockbuster exhibitions.
The Renaissance historian Giorgio Vasari in 1550 lamented that the early Christians, "ruined or demolished all the marvellous statues, besides the other sculptures, the pictures, mosaics and ornaments representing the false pagan gods; and as well as this it destroyed countless memorials and inscriptions left in honour of illustrious persons who had been commemorated by the genius of the ancient world in statues and other public monuments ... their tremendous zeal was responsible for inflicting severe damage on the practice of the arts, which then fell into total confusion."
A grandiose equestrian monument to the tyrant Sforza was completed in clay in 1493 (with the horse over seven metres long), but a few years later it was used for target practice by the French troops occupying Milan and thus the world lost the most significant sculpture by the hand of Leonardo da Vinci. Most of the treasure house of French medieval sculpture and the original stained glass windows at the Basilique Cathédral de Saint-Denis, the Royal Abbey, was destroyed following the French Revolution of 1789.
The Buddhas of Bamyan in Afghanistan were blown up by the Taliban in 2001, mainly as a protest that money was being offered for their restoration while there was famine in the country. After the Russian Revolution, statues of the tsars were toppled by the Bolsheviks, while after the denouncement of Stalin's personality cult by Nikita Khrushchev in 1956, statues of Stalin were toppled. In the process, some of the finest Russian and Soviet monumental sculptures were destroyed.
I was annoyed on one occasion when the prominent German painter, sculptor, stage designer and art professor Jörg Immendorff said to me that they should open a Third Reich museum in Berlin. Knowing his anti-Nazi sympathies, I realised only later that what he was really saying is that you need to come to terms with your history, rather than simply negate it. In his schooling, it seemed to him that nothing happened in Germany between 1933 and 1945 and that the toppling of sculptures and the burning of books leads to a temporary amnesia. You can only confront the dark corners of history by turning a light on them - they will eventually die through exposure to the truth and it will be a lengthy process, but they cannot be obliterated through force.
The destruction of the Edward Colston statue (1895) in the centre of Bristol on June 7, 2020, I suspect, is hardly a cause for celebration. As not known by many outside art circles, the sculpture was a major artwork by the Irish working class artist, John Cassidy, who I think may have been assisted on this commission by Mr J. Ashton Floyd. Cassidy, who spent most of his life in Manchester, in his monumental sculpture celebrated the merchant philanthropist who endowed schools, alms houses, hospitals and churches in Bristol, London and elsewhere. Colston was a merchant trader, and in 1680 became a member - and between 1689-90 - a Deputy Governor, of the Royal African Company that traded slaves to the Caribbean and the Americas.
The company had been established by King Charles II and his brother the Duke of York (later King James II) with many notable investors, including the philosopher John Locke and the diarist Samuel Pepys. Colston left the company in 1692, but unlike Locke, never renounced slavery and continued as a Tory Member of Parliament. It is unclear how much money he made from the slave trade, most of his wealth came from his other merchant activities, but what he and much of his society did was reprehensible and needs to be condemned. However, the toppling of his sculpture has already caused a backlash from some in British society with statues of Black cultural figures in Britain defaced or toppled.
Should major artworks of bad people be destroyed? The 'Topple the racists' group in the United Kingdom has produced a map of UK statues and monuments "that celebrate slavery and racism" and that need to be toppled. These include Horatio Nelson's column in Trafalgar Square (a hero, but nevertheless a supporter of slavery), Cecil Rhodes, Henry Dundas, Robert Clive, Francis Drake, Sir Walter Raleigh, Captain James Cook and Lachlan Macquarie. Winston Churchill, as a racist, has been added to the list and his monuments have been defaced and are now being protected by police. Statues of King Leopold II in Belgium have been attacked, as has Christopher Columbus in America, together with any number of Confederate statues scattered throughout the country.
In Australia, with this reasoning in mind, anything connected with Captain Cook, Lachlan Macquarie and much of the cream of colonial society should be targeted, their statues toppled, their books burnt, and places, streets and suburbs named after them, renamed. The monuments along Anzac Parade in Canberra could also be targeted as well as any memorial that mentions the Boer War. From more recent history, Jo Bjelke-Petersen and Robert Menzies surely are also ripe for the chop.
This historical revisionism may be good for the heart and produces a warm inner glow that comes with the settling of old scores, but will only stir the possum of racism in society and, along the way, destroy a good deal of nationally significant art. Also, as history has shown us time and time again, tides do change and when the other mob sweeps into power, they will topple the statues and burn the books of earlier liberators.
It is painful and unpopular to speak of tolerance, particularly if you come from a population that is being murdered, vilified and excluded and when you have a knee placed on your throat that is choking you to death, but sometimes history has to be confronted, highlighted and condemned rather than toppled, disguised and santitised. Make more monuments, make more art to drown out the voices of our dark histories. White Australia does have a Black history, we should celebrate this Black history rather than try to sanitise colonial history.
The Russianness of Russian art
I have never been a great admirer of national theories of art. Arguments that Italian art is characterised by a sense of classical grace, French art through an innate ‘stylishness’, while German art through a Teutonic harshness and emotionalism seem to have as many exceptions as examples that create the stereotype. Nikolaus Pevsner’s brilliant Reith Lectures titled ‘The Englishness of English Art’ took a slightly different perspective, isolating qualities that he thought were peculiarly English, and through them he ventured to explore the English national character.
About a month ago I embarked on a little art adventure to explore the art of the Russian diaspora in Australia. Collaborating with the main Russian language newspaper in Australia, Unification, through its energetic editor Vladimir Kouzmin, I invited Russian artists in Australia to submit up to three artworks each for potential selection in an online exhibition. From the submissions by April 25 I had selected 27 artists, while by May 25, we had 50 artists in our exhibition represented by about 120 works. I had known only about two or three of these artists personally and so had little idea of what to expect.
What surprised me was not so much the quality, although some of it is very, very good, but a somewhat unified sensibility. The 50 artists, from all the Australian states – with the largest clusters from Sydney, Melbourne, Perth and Brisbane – all identified with Russian culture. Many of the artists were trained in Russia in some of the most prestigious art schools including the Surikov Institute and the State Stroganov Academy, both in Moscow, and at the Russian Repin Academy of Arts in Saint Petersburg. Others in very respected regional art schools. Some completed their training in Australia, a few were fully trained in Australia and a few are self-taught.
What struck me and a number of my art friends who looked through the recent selection of artwork is that it all seemed to be characterised by a Russianness – less in terms of imagery and more in terms of a sensibility. It is an often observed feature that migrants in the diaspora frequently long with a sense of nostalgia for their home country. In Russian there is an untranslatable word “Тоска” that is sometimes rendered inadequately in English as “yearning”. The genius Vladimir Nabokov when confronted with this dilemma translated it as “hyp’” with an explanatory note that it was like “hypochondria, but without the chondria”. Much of the work in this exhibition is characterised by this sense of “Тоска” a yearning for something mystical and profound.
While a small number of the artists do ‘brand’ their images with a cupola topped church, most of those who employ Russian imagery generally do this in a more subtle and effective manner. Yulia Pustoshkina has developed what she has termed ‘folkloric surrealism’, a creative grafting of the Russian traditions of folkloric imagery of Ivan Bilibin and the miniaturist manner of Palekh and Fedoskino mythic illustrators with her own quirky imagination. There is a slightly whimsical wit in her art and a delightful sense of revelation in the mesmerising degree of detail. Vera Yavits is another artist obsessed with fantasy and her own personal enchanted vision. The brilliant and versatile Yelena Revis, originally from Omsk and now based in Sydney, creates her own brand of energetic modernism.
It is more problematic to speak of a Russianness with artists working in a non-figurative manner. The Sydney-based artist working under the name Robertz in her rich acrylic abstractions allows us to become enveloped by layered seas of colour – pulsating in their intensity.
The Melbourne-based artist Irene Grishin Selzer has devised an unusual technique in her ‘clay paintings’ where she blends different soils, glazes and oxides to create a fired panel of considerable size where there is a layering of marks like some indecipherable script that becomes a completely absorbing experience. The painting, although physically made of the materials of this place, is like an exquisite microcosm with a palpable feeling of a yearning for a different plain of existence.
Vladimir Rachko is a very accomplished artist from Moscow (now based in Melbourne) who creates elaborate, cerebral paintings drawing on the history of the Russian avant-garde referencing the greats like Kandinsky, Malevich and Filonov in a witty and erudite manner. His artist wife, Elena Rachko creates exquisite and refined still life compositions.
Natasha Daniloff, an artist with a considerable Australian reputation, imbues everyday objects with a sense of nostalgia and profound charm. As with the work of Elena Rachko, Daniloff’s work may contain nothing in it that is demonstratively Russian, yet it reflects a whole range of cultural associations that are distinctly of Russia.
Vera Sell-Ryazanoff is a mystical Russian artist with a very impressive training from Moscow. In the many years that she spent in Australia (presently she resides in Berlin) she perfected a technique of painting with sand that seems to create dissolving auras of light illuminating angelic beings.
It is difficult when addressing an exhibition of the work of 50 artists not to write in the form of an annotated catalogue, so I will pause rather than mention a score or so of other very interesting artists. Much of the art in this exhibition is of a profoundly contemplative nature; it references things, concepts, ideas and literary associations that lie beyond the artwork itself. The cultural associations draw on a great literary tradition – from Pushkin, Dostoevsky and Tolstoy to Gumilev, Mandelstam and Akhmatova – and breathe of the spirit of Russia.
None of the work at this exhibition could be described as ‘nationalistic’, in the sense of championing one country as being superior to all others, but much of the work has a national identity – sometimes a spiritual yearning, a daydream, nostalgia and the search for another, deeper dimension beyond that which exists on the surface of things.
The exhibition will continue to consider further entries until June 15, 2020 and subsequently will remain as an online exhibition.
The online experience of art
Objectless art has been around for a while with its roots in Fluxus, conceptual art and post-performance art.
Glitch art, GIFs and web collage have been omnipresent and have permeated many aspects of cultural life as well as commercial advertising. Journals including NOOART (Journal of Objectless Art) reflect a sophisticated discourse that has arisen around objectless art. Objectless prints and posters – in other words prints entirely conceived on a computer screen and designed to be viewed on computer screens anywhere in the world – appeared freakish a few decades ago and are now marketed as downloadable prints internationally.
In contrast to art that was conceived from the outset to exist as a digital code and to never seek refuge through objectivity, there is a growing fashion for objectless art that is basically a surrogate for something that exists as a physical object. Museums around the world have for at least a couple of decades offered virtual tours to their exhibitions – usually in the form of a slick promo to encourage you to go and see the real thing.
COVID-19 has changed all of that and the ‘real thing’ has become inaccessible, possibly permanently inaccessible, and all that we are left with is the virtual tour. On March 12, 2020 the Tate opened its much-anticipated Andy Warhol exhibition that was scheduled to run until September 6, 2020. Five days after it opened, the Tate closed its doors indefinitely and the potential audience was treated to a rather lame curators’ virtual tour of the exhibition that only highlighted the tragedy of missing what appears to be a great show.
As far as recent virtual tours go, my favourite is from the Hermitage Museum in St. Petersburg in Russia that runs for a cool 5 hours and 19 minutes and takes in 45 of the museum’s galleries with a focus on 588 works interspersed with live performances. With echoes of Alexander Sokurov’s Russian Ark (2002), the Hermitage virtual experience is also one continuous take. What I like about it is that it is an artwork in its own right, rather than a clinical documentation of something that is now inaccessible to us.
As public and commercial art galleries are generally closed to the public (although occasionally some of the commercial art galleries are accessible by appointment) most of the art has gone online. If art is thought of as a commodity, then there is no reason why collectors should not buy art online in very much the same way as they may acquire an expensive piece of furniture or fashion garment. If, on arrival, the garment fails to live up to expectations, it can easily be slipped back into its box and returned for a full refund. Likewise, if the purchased artwork when displayed in its new setting fails to please its new prospective owner, it can normally be sent back for a refund.
I must confess that I am a highly addicted art user and I need my regular fix of seeing art in the flesh – with its tactile surfaces, scale and even sense of smell – and do my frequent commercial art gallery crawls on a look out for artists whose work I have never seen before and whose names are unfamiliar to me. Art that I see on my computer screen, or even worse on the small screen of my phone, does little for me unless I already know the artist well and have a good idea of what her work usually looks like in the flesh. The digitised image is of course better than nothing, but it is a bit like a shadow of the real thing.
The lockdown of our galleries does in a curious way throw open possibilities. For many years I have been interested in the work of contemporary Russian artists working in Australia. Over the years I have encountered a handful of such artists and found the work interesting, intriguing and ultimately fascinating. There have been exhibitions of the work of Russian artists scattered throughout Australia, but what I thought would be a good idea would be to hold
Logistics of hiring a venue and having the appropriate lighting and security (not to mention the politics of accepting and rejecting work) as well as the considerable expense to the artists as well as the organisers made such a venture not viable. With the coronavirus locking us down, the opportunity arose for a national exhibition that could be held online. Vladimir Kouzmin, the editor of the Russian language newspaper in Australia ‘Unification’ that is celebrating its 70th anniversary, much to my surprise, agreed to give realisation to my proposal. Assisted by the talented web designer Leonid Tsvetkov who within a couple of weeks had devised a simple, attractive and user friendly webpage on the newspaper’s website and after a couple of weeks of word-of-mouth advertising on Russian language social media sites from a greater pool of potential candidates, I selected 27 artists and about 70 works for the first instalment of our exhibition.
On April 25, 2020 it went live with texts available in Russian and English. My intention is to add to the website as new artists apply for consideration for the exhibition with a target of about 40 artists by mid-May and 60 or so artists by June 15, which will be the cut-off date for the online show. While as curator I adopted a broad-church approach to show including a broad range and diversity in mediums, styles and conceptual approaches, I did enforce a professional standard in the selection that rejected work that technically was unresolved or bordered on photographically derived commercial illustration.
The results are fascinating with the names of most artists unfamiliar to me. There are a number of very strong artists, primarily women, who are worthy of greater national exposure. Perhaps when this virus thing blows over, there may be a chance to stage a smaller and more selective exhibition where the work can be presented to the public in the flesh. For the time being, this virtual adventure unfolds and, at least for the curator, this is a particularly exciting experience.
From Ovid to COVID
Ovid’s Metamorphoses, penned at the beginning of the first century AD, is a Roman poet’s epic account of the loves of the gods from the creation of the world to the reign of Julius Caesar. This ‘best seller’ from Roman antiquity is one of the most influential works in Western culture with a profound impact on literature and the visual arts.
One recurring theme in Ovid is divine vengeance where aggrieved gods will turn on their adversaries to smite them with an arsenal of horrors, including plagues. At one stage the Roman poet exclaims:
“All remedies we try, all medicines use,
Which Nature could supply, or art produce;
The unconquered foe derides the vain design,
And art, and Nature foiled, declare the cause divine.”
Ovid’s famous account of a plague on Aegina (Met. 7.523-613) is a tale of Juno, enraged that the island was named after her rival, sending a plague to wipe out the population – that commenced as a “young disease with milder force” that grew “to a larger size” and “Infected all the air, and poisoned as it flew”.
Throughout the ages people have seen pestilence as an act of divine wrath. Recently I came across an interesting Galaktotrophousa icon – literally a milk-giving icon. It has an inscription: “Star of Heaven, please save us from the epidemic. Please answer our prayers, because your Son hears you and he will not hold back anything from us. Our Lord Jesus, set us free from death, because your pure Virgin Mother hears our prayers, and for the sake of your Mother help us. For our sake, you pure Virgin, the hand of Jesus, you are the saint and the Mother of God”.
Outside a few pockets of fundamentalists (of various persuasions) plus the flat earth advocates and climate change deniers, few see in COVID-19 divine retribution. This may be an unnecessarily hasty conclusion to draw and this coronavirus may well be explained as a direct global response to climate change. The planet is striking back, at least according to Dr. Aaron Bernstein, the interim director of Harvard University's Center for Climate, Health, and the Global Environment. He observed, “We've had a few shots over the bow here – SARS, MERS, COVID, Ebola. We need to hear what nature is trying to tell us, which is clear: let's be smarter about how we do business with the biosphere and stop disrupting the climate we depend on.”
The devastation caused by this virus with the tragic loss of life has caused a significant pause in global warming, a radical reduction in greenhouse emissions and the regeneration of habitats. Dolphins may not be swimming in the Venice canals (they are actually in Cagliari’s port, in Sardinia), but the water in the canals has become clearer and you can see fish and there are ducks in the fountains in Rome.
It goes without saying that when the economy sneezes, the arts get a cold. Now the economy is gravely ill and the arts have hit a brick wall. New York’s Metropolitan Museum of Art faces a US$100 million loss from the Covid-19 pandemic, despite its pre-coronavirus endowment of US$3.6 billion. In the US it is estimated that 30% of the country’s museums will fail without considerable assistance.
The recently released nearly 400-page The Art Market 2020 paints a gloomy picture of the global art market. The global art market sales in 2019 were about US$64.1 billion, down about 5% on 2018. The challenges of Brexit, the turmoil in Hong Kong and the economic uncertainties in Europe and America all took their toll.
In 2020 the international art market is collapsing. Most of the international art fairs (that constitute almost 40% of the global art sales) have either been postponed, scaled back or cancelled. The Melbourne Art Fair has been rescheduled from June this year to February 2021. Most of the commercial art galleries, nationally and internationally, have closed their doors to walk-in traffic and have had their openings banned (during which most of the sales occur) in this period of social distancing. They have continued to open by appointment only or as an online presence. Art auctions continue to limp along, but much of the public spectacle has gone with the heavy reliance on on-line bidding. Also the general economic downturn and the mood of apocalyptic uncertainty have taken the wind out of their sales.
The German Culture Minister, Monika Grütters, has promised government financial help to cultural institutions and artists affected by the coronavirus. Other countries in Europe and certain state governments in America have followed in their footsteps. We all know that more Australians annually visit cultural institutions than sporting fixtures, but at a government level we seem to be more fixated with the latter. There has been little or no relief for individual artists in Australia as few qualify as small businesses employing staff or can claim to have been made redundant by their loss-making studio.
Go online and go digital is hardly a saviour. Most who can and should have done this years ago, but for many this is not feasible. Many, if not the majority, of visual artists in Australia live below the poverty line. Many survive on casual jobs, a bit of waitressing in a café down the road, occasional shifts in a bar or at a public art space and sales from exhibitions in public and commercial art galleries. What happens if all of these sources suddenly dry up – all at the same time? The situation becomes dire, with basic necessities of life still needing to be met – rent, food, utilities and frequently studio hire.
As a matter of urgency, we need immediate rent relief for all artists, a mortgage moratorium and a subsidy for loss of income. Cultural institutions and artists, as a priority, need immediate government assistance. Libraries, museums, performing arts and music sectors, according to satellite national accounts data from the federal Department of Communications, are worth collectively around A$8.1 billion in economic output in 2020. If you add the commercial visual arts sector, the number will be considerably higher. Without federal government financial support, many in the arts sector will fail permanently at a great loss to Australian cultural life and to the economy.
Some artists, such as the unique Chips Mackinolty have made some brilliant COVID art; globally many have simply applied facemasks to some of the most famous artworks, from the Venus de Milo, to the Mona Lisa and Lucian Freud nudes.
Erwin Fabian: one of Australia's leading artists dies as 104
When Erwin Fabian died on 19th January 2020, there was a sense of disbelief. In part it was because he had always been there - as long as anyone could remember- he was 104 years-old after all. Also, in part, with him died some of Australia's cultural heritage - a Dunera boy, he was a survivor of the holocaust and he was one of Australia's most respected sculptors and graphic artists.
In a weird coincidence, his neighbour in Arden Street in North Melbourne, across the road from where Fabian had his studio, James Mollison, Australia's most distinguished gallery director, died the same day. He was 88.
Erwin Fabian was an extraordinary man and artist in every conceivable sense. He did not suffer fools gladly and when journalists approached him for a comment he would send them packing despite the despair felt by his gallerists who knew and treasured publicity as a strategy to promote their artist's work, However, when intelligent and well prepared commentators, such as Jana Wendt, sought him out, his door was always open and he was both receptive and hospitable.
I was fortunate that at our first meeting several decades ago we 'clicked', a friendship was born and Fabian was determined that someone should know his story, see and understand his work and a long series of taped interviews took place over a number of years. He was impatient not to be distracted too much from his art making, as he used to say, he was "delayed in starting", and once he was confident that his story was in my hands, the publication could wait until he died. Now that he has passed over, the monograph is being written and will be published in 2021.
What was so remarkable about Fabian's art that it warrants all of this attention Why is he represented in all of the major public art collections in Australia, in his native Berlin as well as the British Museum in London and many other collections around the world.
Erwin Fabian was born in Berlin in 1915, the son of the distinguished expressionist painter Max Fabian. By the time he was ten, he had lost his father, by the time he was twenty-two, he had lost his homeland, and by the time he was twenty-five he had lost his freedom. At the age of twenty-five, he had been reclassified by the British authorities from being a Jewish refugee fleeing Nazi Germany to an undesirable enemy alien to be deported to Australia for internment in internal prison camps in remote locations of Hay, Orange and Tatura.
He was deported on the infamous Dunera, which brought many German and Austrian Jewish cultural refugees fleeing the Nazis in Europe. They were sent to Australia to be interned, but ultimately, collectively, they were to do more for the creation of Australia as a clever country, than decades of federal government policies and funded programs.
As a sculptor, Fabian worked almost exclusively with scrap metal, very occasionally with glass and wood, materials that were allowed to sit, frequently for years, waiting to mature like ripening fruit, on the concrete floor of his studio. Then the alchemy commenced as shapes were arranged and rearranged until they seemed to belong. This was an ineffable quality of belongingness that is the key to his art making, a process that stretched over a number of years or sometimes found an almost instant resolution. I feel that the essence of Fabian's creative process is the creation of a new natural order, where all of the elements appear as if they belong, as if they have been found this way in nature without actually resembling any specific form found in nature.
Fabian had that rare ability of creating a new and convincing reality through which the viewer can be seduced and captivated. His sculptures, in the final analysis, belong to the grand tradition of humanist sculpture - in other words, they interact with us on a human and emotive level - we come to believe in their existence not only as aesthetic objects, but as metaphors for the human spirit,
The other major aspect of Fabian's oeuvre were the monotypes that he started to make while he was in prison camps in Australia. In his unusual technique, Fabian covered a hard surface, like a pane of glass, with ink, then placed a sheet of paper on top of this and drew on this, on the back of the paper, creating a sort of traced image in reverse - a unique impression with a rich play of different textures and lines, where masses suggest faces, figures and forms without even a hint of literalness of representation. As with much of his work it is immediately memorable and visually exciting.
Fabian was initially recognised as a printmaker when the National Gallery of Victoria acquired a figurative monotype under Daryl Lindsay on the recommendation of Dr Ursula Hoff. Subsequently, purchases were made by the British Museum in London, the National Gallery of Australia in Canberra and by many other institutions.
In the final analysis, Erwin Fabian's art is a celebration of visual intelligence. He was a major and significant artist, one of the venerated and respected elders of our tribe.
GRISHIN'S ART BLOG
Sasha Grishin AM, FAHA is the author of more than 25 books on art, including Australian Art: A History, and has served as the art critic for The Canberra Times for forty years. He is an Emeritus Professor at the Australian National University, Canberra; Guest Curator at the National Gallery of Victoria, Melbourne; and Honorary Principal Fellow, Faculty of Arts, at the University of Melbourne.
Keep up-to-date with Sasha Grishin's blog with the RSS feed.
RSS offers ease of access and ensures your privacy, as you do not need to subscribe with an email address.
Click here to download a free feed reader