Gallery visiting etiquette

I visited the Abbotsford Convent Open day on Sunday. It was so busy that it took me longer to find a park (eventually three block away) than I actually ended up spending at the Convent. Why didn’t I stay longer, I hear you ask? Well in a nutshell, ignorant gallery visitors.

The first thing I did upon entering the property was visit C3 gallery, and what was an interesting exhibition was ruined by observing a few stupid visitors. Had they not been let out of the house before? Nothing quite gets me more annoyed than inconsiderate and simply dumb behaviour in art gallery spaces. Why can’t common sense prevail I ask you?

Perhaps all potential gallery visitors should be personally given an interview at the entry, to ascertain if they are aware of ‘the rules’ or are at least in possession of reasonable critical consideration. That would be a little over the top I admit…

While I would imagine everyone has their own set of rules they’d love other gallery visitors to abide by, here are mine (though I do reserve the right to add as experience necessitates and as my thoughts clarify!) …

• do not touch;
  seriously, do not touch;
  that means everyone, yes including you even if you’re ‘careful’, DO NOT touch the art;
  especially if there are signs, written in very large font, that actually say: DO NOT TOUCH THE ART;
  even if there are no signs, just assume that you’re being asked not to touch;
  only touch if you are actively encouraged to do so, and as this is quite a rare occurrence, you’ll be quite sure when it happens – someone will personally invite you to do so and may even show you how…
• do not lean on the plinths (clearly associated with the above rule);
  do not rest your glass or papers or any part of your person on the plinths;
  surely with glass-top ones it’s obvious you’re ruining the see-through-ness of them, no? not to mention risk damaging the art…
• related to the second point above, be spatially aware of you and your limbs;
  accidents do happen, but carelessly knocking over displays or objects or whacking wall-hung art is uncool
• do not stand in front of the art, blocking it for others, if you’re not actually looking at the art but instead are chatting with your friends about getting so drunk last night, or texting, or inanely talking (like) about (like) so-and-so on your mobile
• mobiles … could mobiles be turned to silent perhaps; genuine emergencies, such as if you’re waiting for your friend to give birth or your child is in hospital, are of course forgiven
• I am absolutely in favour of introducing children to art and encouraging their interest; however, if your little one is screaming uncontrollably, they may benefit from a little outside-time to calm down; and they should never be allowed to run completely amok without consideration of the safety of the artwork
• do not steal the art
  mmm, you wouldn’t think this would need to be written or said out loud…
  but it is very sad that this actually happens

I wanted to inform said observed ‘inexperienced’ visitors of the error of their ways – they were picking up components of an installation work, and yes, there were signs everywhere requesting the art not be touched – but I was so amazed at such ignorant behaviour that the best I could do was to quickly walk out.

Would you like to add anything to the list?

Blog roundup

A few little tidbits from the interwebs:

• Karla Way made a futuristic neckpiece for music artist Peaches [post]
• more ring gorgeousness from Katherine Bowman: georgian ring and antique textile ring
• delightful drawings on Katherine Wheeler’s blog [link]
• Kristin d’Agostino has created a new project: on the brink of a relationship [link, site]
• cool specs on David Neale’s site [post]
• yay, Zoe’s back with more in her 365 project [link], really like #88
• more metal detecting fabulousness [link]

And finally, thank you to everyone who commented and contributed to the debate on gems in jewellery (a recent post) – I’ve enjoyed giving thought to the various points of view and hope we can all continue to chat about all things art!

‘Found in Translation’ @ RMIT School of Art Gallery

The RMIT Gold and Silversmithing 1st and 2nd year undergraduate show is ‘Found in Translation‘ at the RMIT School of Art Gallery. There are 109 pieces (according to the works list) of 31 artists. In my year there were only 12 students per cohort, but there seem to be more accepted into each year now – I understand one of the groups has 18 students, which is a lot!

installation view

The exhibition design is great – I liked the circular components and cluster groupings; I understand the white tops were laser cut to ensure perfect circles – fantastic attention to detail. There are many pieces on the walls too, which frees up floor space and gives a more uncluttered feel.

Exhibition media: ‘Found in Translation showcases the jewellery and hollowware made by first and second year students who are currently studying Gold and Silversmithing in the School of Art at RMIT University. The title of the exhibition reflects the ever-constant battle these developing artists wage in their endeavour to translate material and concept into object, whilst finding their individual voices within a thriving local and international gold and silversmithing community. Please join the students in celebrating the outcome of (many) hours of labor involving flaming torches, red-hot kilns and filed fingertips during this highlight of the School of Art Gallery exhibition calendar.‘

installation view

In a further development to a previous post on gems in jewellery, this exhibition surprised me in that it has many many examples of set stones. I noted the prevalence of claw-settings, and was told (by two delightful first-year students sitting the gallery, Loredana and Lucinda) that one of the first-year projects was claw setting, in which the students were to make a piece that referenced an art movement of their choice.

There were earrings referencing Fauvism ‘Hear the Wild Beasts‘, made by Kate Peterson; they’re outrageously colourful and wouldn’t have been out of place on Dynasty or some other over-the-top eighties drama-orama! There were also hair combs referencing Art Nouveau by Laura Barlow, and gorgeous brooches inspired by Australian Impressionism and incorporating only Australian gems by Loredana Ducco. The below brooches are ‘Brooch of Hours’ by Lucinda Knight.

photograph taken with artist permission

It seems that the project listing now taken in first and second year are slightly different to those I was taken through in my degree. Along with the claw-setting project, there are a group of works of fused necklaces using found objects – not really my aesthetic, but as a student sometimes you just have to go with the projects as they’re prescribed. There are also some great pieces from the raising and hinge projects.

Other pieces that caught my attention include:

• the fabulous pin on ‘The Naturalist Study’ by Alysha Batliwalla
• ‘Mourning Brooch’ by Katie Jayne Britchford
• the humour of the ‘Escape’ brooch by Colly Yichieh Lu, which is a large black fabric bag for the person to ‘escape’ into (it’s on the back wall in the top installation photograph)
• ‘Golden Stain Brooch’ by Marcos Guzman
• two small brass pouring vessels ‘You’ve Got Your Fathers Nose’ by Khyran Randall-Demllo
• … to name only a few…

My two significant thoughts walking away from this exhibition were firstly the fabulous use of colour (much of this coming from the stones used in the claw-setting pieces) and secondly a big question: where are the teapots?

It is my understanding that second-year students still make a teapot, however there is only one on exhibit here… where are the others?!

This is an impressive exhibition and I enjoyed my visit, which was much enriched by the conversation with the two exhibiting students. Go and see it, and be sure to engage and ask questions of those who are sitting the gallery – they’re the artists and it’s always lovely to be asked about your own work.

‘Found in Translation‘ is at RMIT School of Art Gallery until this Friday 13th November – so hurry!

‘Chinoiserie: Asia in Europe 1620-1840′ @ NGV

I visited National Gallery of Victoria (NGV) again on the weekend, in the hope that the jewellery collection had been rotated [sadly it hasn't, since April, which I'll write more about another time], and popped into the new Asian exhibition ‘Chinoiserie: Asia in Europe 1620-1840‘.

cover of room brochure; NGV publication ISBN 9780724103119; needlework panel 1720-30, from NGV collection

Exhibition media states: ‘Chinoiserie refers to a style in Western art which draws its inspiration from the arts of China, Japan and India. European fascination with exotic materials like lacquer, silk and porcelain, combined with a paucity of accurate information on the great civilizations of Asia, gave rise to European artworks which reflect, not the real world of Asia, but European fantasies of the civilizations of China, Japan and India. With its origins in the seventeenth century, Chinoiserie in Europe attained its apogee in the mid-eighteenth century where it informed some of the most delightful and beautiful artistic productions of the period.‘

No, there was no jewellery. There were some examples of silverware as part of the display of teapots and other tea accessories.

installation view; photography by permission

The textiles were lovely; there were many porcelain pieces obviously.

installation view; photography by permission

This is not a blockbuster exhibition by any means, but quite an enjoyable way to spend a little while in the gallery.

‘Chinoiserie: Asia in Europe 1620-1840‘ is at National Gallery of Victoria (International) until 14th March 2010.

Marcos Davidson ‘The House of Hallmarcos’ @ Until Never

Following a tip from a comment left on a recent popular story, and the positive experience of an artistically inclined friend, I decided to see Marcos Davidson’s new exhibition ‘The House of Hallmarcos‘ at Until Never. Thankfully the gallery is open until 6pm on a Saturday, so I could fit a visit into an otherwise very busy fortnight.

Walking into the gallery room above Hosier Lane was breathtaking. The natural light coming in through the huge warehouse window is lovely. The installation is to behold – I appreciate when an artist considers the presentation and physical context of the work as much as the individual pieces themselves.

photograph courtesy of gallery; photograph credits: Zac Caley and Amac

Exhibition media states:
“Featuring three major bodies of works: Sonic Selectors 2001-2009, Head Takers 2009 & Lapidem 2006.
The exhibition will also include an installation of paintings acknowledging and illuminating the street origins of the Marcos Davidson family tree of Hallmarks – The House of Hallmarcos.
Objet trouve from Marcos’ workshop will be transplanted to the gallery, like a ice-core sample from Antarctica, providing a glimpse into the world of the artists muses and appreciations.“

The left side of the gallery is an installation of the a ‘wunderkammer’ feel, surrounded by small paintings of hallmarks that Marcos uses which had their evolution in icons he used in his street-art origins (above). The right wall has a simple yet stunningly presented line of carved bakelite and fine silver rings (below) – a set of ‘Head Takers’ mask shapes, and ‘Sonic Selectors’ miniature musical references.

photograph courtesy of gallery; photograph credits: Zac Caley and Amac

Also shown is the ‘Lapidem 2006‘ which you would probably recognise from the 2006 Colin and Cecily Rigg Award; carved mask; carved emu egg set in a cup form in the spirit of early Australian silversmithing; and some assemblages. There are great images on the Until Never site and blog.

Among the items from Marcos’s collection brought to the gallery is a large collection of unused army-issue sewing kits, housed in the glass gallery desk – they’re poignant in the sense of what could have happened to them, and I’m curious how it is that they still exist as a group and the artist found them.

The sub-title of the exhibition is ‘Celebrating 30 years of continual practice, from 1979 to 2009‘; and the artist described as ‘Gold and Silversmith, Gem-Hunter, Metallurgist & Plastiquairian‘.

photograph courtesy of gallery; photograph credits: Zac Caley and Amac

The mask shapes in the ‘Head Takers’ rings reminded me of the pieces said to influence Picasso’s ‘African period’ which lead into his cubist experiments. It’s a bit eerie really that this reference is linked to the material by time – bakelite is said to have been developed during 1907-09, and this period in Picasso’s development is defined as 1907-09. A small little coincidence that is pleasing to me!

I have only lived in Melbourne for six years; but the inclusion of glyphs that Marcos used in street art in the 80s may bring other connections and memories for those who saw these in their original context.

Marcos Davidson ‘The House of Hallmarcos‘ is at Until Never until 15th November 2009.

Update (4th November): I foolishly forgot to include a link to Marcos’s own website – sorry about that! It’s here, and it has some gorgeous pieces… especially the averian lozenge ring

My jewellery collection #6

It was third year; I was sad or grumpy, most likely both; my artistic endeavours had hit a roadblock; I really needed a hug. My beautiful friend, Lucy Hearn, spent a little time to make me this brooch that I still hold very dear.

I consider it so precious that I wore it to Lucy’s wedding later that year. Her delight was just gorgeous when she had a moment to slow down from the hurdy-gurdy of her reception and realise what I was wearing!

It’s paper and about 10cm high. Lucy had been experimenting the brightly coloured plastic ‘harma’ beads that have become her signature. This is a black-and-white photocopy of highly-coloured plastic bead construction; the little round sticker is flourescent, which isn’t obvious in the above scan.

Lucy exhibited some necklaces of similar construction in our graduate exhibition ‘Out of the Basement‘ in 2006 (under her maiden name, Blackmore). In fact, at a recent exhibition opening I noted a well-known collector wearing the long hot pink necklace that was on display in that exhibition!

Lucy has had some fantastic success in the few years since graduating – I hope to write more about her in a future artist profile. In the meantime though, have a look at some of her work: e.g.etal, Studio Ingot, Craft Vic, and here (be sure to click on the gallery button).

Thank you lovely Lucy!

… last post on my jewellery collection #5 …

Calendar: November 2009

Graduate Shows

4th November: ‘Found in Translation‘, RMIT undergraduates (1st/2nd year), gold & silversmithing; RMIT School of Art Gallery [link]; opening night 4th November, 5-7pm; until 13th November

13th November: ‘MINT‘, NMIT graduates, jewellery; Northcote Town Hall [link; site]; until 21st November

exhibition media

16th November: ‘Cornucopia – an abundance of fresh talent, contemporary jewellery and innovative holloware‘, RMIT graduates (3rd year), gold & silversmithing; Guildford Lane Gallery [link]; opening on 19th November; until 26th November

Claire McArdle; image used with artist permission; from exhibition media

20th November: Monash Fine Art graduate exhibition, not sure of details yet but see comment on story here

24th November: VCA, graduates and postgraduates, all school of art; Margaret Laurence Gallery [link]; opening night 23rd November; until 29th November

There are lots of exhibitions of RMIT graduate and undergraduates – see this calendar for more details (photography, drawing, ceramics, sound art, textiles, architecture, media arts, interior design, sculpture, and more)

…

to the other exhibitions / events …

all month:

• NGV International [link] ‘Building a Collection: Recent acquisitions of prints and drawings‘; until 31 January 2010; my review story

4th November: last day for applications to participate in JMGA-NSW annual exhibition ‘Takeaway’ [link]

5th November: Metalab (Sydney), Melissa Cameron ‘Iteration‘ [see previous story] and Jane Bowden ‘Wrapped‘ [link]; until 26th November

exhibition media

8th November: last day for NGV International [link] ‘Persuasion: Fashion in the Age of Jane Austen‘ (primarily textiles); my review story

14th November: Craft Vic ‘Hatch’ market [link], City Library, Flinders Lane, 11am – 4pm

15th November: last day for Marcos Davidson’s ‘The House of Hallmarcos‘ at Until Never [link]

16th November: last day for applications for Janet Holmes a Court Artist Grant [link]

20th November: last day for applications to participate in Stanthorpe Art Festival 2010 [link]

20th November: last day for application to participate in Brunswick Street Gallery ‘2009 BSG Art Prize’ [link]

21st November: Object Gallery (Sydney), group show ‘Precious Pendants‘ (contemporary jewellery) [link]; until 31st January 2010

… link to exhibitions and events on the October 2009 and November 2009 sneak peek calendar …

Peter Greenaway ‘The Last Supper’ @ Melbourne Festival

One of the most advertised features of the Melbourne International Arts Festival is Peter Greenaway’s ‘The Last Supper‘ multimedia extravaganza. The interior of North Melbourne Town Hall has been transformed to mimic the interior of the St. Maria della Grazie Church in Milan – a ‘clone’ of da Vinci’s masterpiece painting high on one wall, and a table stands in the middle of the room with all of the items shown in the painting reproduced in what looks like white plaster.

from exhibition media; click on photograph to link through to original source

I haven’t seen the painting in person and I imagine this would have been quite amazing in its original setting; this is the first time this installation has been shown outside of Milan.

The projections on the painting are pretty and lovely and I am told a technical wonder; and I liked being immersed in the loud music. Though after the initial fascination with some of the lighting angles etc, it came to feel a bit clinically experimental and without narrative to me (highlighted by the repetition of a number of the sequences). Not that there’s anything wrong with that; perhaps that says more about my lack of knowledge of Greenaway’s work or philosophy.

Both the painting and the opposite wall are projected upon – I stood against a side wall and moving my head left then right to look at each wall at varying intervals actually gave me a bit of travel sickness of a sort (not entirely enjoyable).

I saw this the day before I attended Greenaway’s lecture. I wonder if it may have been more, or in fact less, interesting to see it after the lecture. I would have had more background; though on the other hand, during the lecture I was a bit disappointed to learn that some of the sequences in ‘The Last Supper‘ were in essence not unique and had already been explored in his first venture of this sort ‘The Watchman‘. Again, that may say more about my expectation, but it would have been more powerful to me if the light sequences had something specific to say about this special painting and not a technical bit of fun that could be applied to any painting…

I’m happy I went to see this, but sadly it didn’t blow my mind. However it does has many redeeming points, is worth seeing, and does have something interesting to say about the interaction of moving image in art and the art of installation. Lots of food for thought.

Peter Greenaway’s ‘The Last Supper‘ is at the Melbourne International Arts Festival until 8th November 2009; the projection is 20-minutes long, and is held every half-hour.