Vociferous Whimsy

From my note book, my real not-metaphorical notebook.

Sat, 12 May 2012 12:01:43 +1000

Though it has been almost six months since I was last in Brisbane, I think it’s time I shared some...

Non metaphorical notebook. More on this soon. (Taken with...

Fri, 11 May 2012 20:07:55 +1000

Non metaphorical notebook. More on this soon. (Taken with instagram)

This is no longer breaking news, but I’m sharing it...

Fri, 11 May 2012 17:33:00 +1000

This is no longer breaking news, but I’m sharing it because it will be very interesting to see what happens next as Tony Ellwood (most recently Director of Queensland Art Gallery/Gallery of Modern Art - QAG/GoMA) moves back to Melbourne.
I’ve posted here before about the NGV International and how we share initials (this is no great claim to fame) but I do connect with the gallery on a personal level as many people do. Tony Ellwood might just be the best person for the job of directing the NGV. I for one am super excited. More on these changes as information becomes available.

Interview with contemporary artist Valentina Palonen in lip magazine

Thu, 03 May 2012 10:00:32 +1000

Interview with contemporary artist Valentina Palonen in lip magazine: lip magazine is an off and...

Video via Rolu. My paintings are invitations to look somewhere...

Sat, 03 Mar 2012 12:00:05 +1100

Video via Rolu.

My paintings are invitations to look somewhere else, and have been for some time.

-Robert Rauschenberg

This is a great source because Rauschenberg tells us what he thinks of other artists and the movements he was working with in. I found this video quite inspiring.

Fashion and art, what about wearable art? Recently I posted a...

Fri, 02 Mar 2012 12:00:06 +1100

Firebird, Susan Holmes, Auckland 2009.

Screen Play, Amy Jean Boebel & Sue Hobby

Skin, Marjolein Dallinga, Canada, 2011.

Rattle Your Dags, Coulthard & Dixon, NZ.

Queen Adelaide, Emma Whiteside, NZ.

Lady Curiosity, Fifi Colston, Wellington

Second Skin, Hayley May & Fiona Christie

Fashion and art, what about wearable art?

Recently I posted a video from the Queensland Art Gallery/Gallery of Modern Art which discussed the differences and similarities between art and fashion, as well as the place of both in our daily lives. It was an interesting and lively debate, but I felt one obvious area was overlooked and that is the area of wearable art.

Wearable art uses the body as a canvas and transforms something functional, like an item of clothing, into a piece of art that is worn. Conceptually this can take many forms. Haute couture, for example, can be regarded as art that is worn, due to the extensive skill and many hours of work that goes into each gown. It has elements of the realisation of an idea, that of the designer, as well as the collaboration of the artist/designer’s team, as in a traditional or contemporary workshop where ideas are carried out by crafts people.

The garments created for performances such as Cirque du Soleil might be regarded as wearable art. The body paintings by Joanne Gair too contain skill, illusion as well as a focus specifically on painting.

The QAG/GoMA discussion centred on fashion, so there is acknowledgement that fashion can be art some of the time, and vice versa too. What was missing was the necessary suggestion that when art and fashion meet they can form wearable art, which can serve to blur the aesthetic intentions of both fashion and art.

Costumes which are created by a range of practitioners for the New Zealand World of Wearable Art Awards can certainly be seen as the pinnacle of this idea. Taking the concept literally and to its end points the creators of WOW aim to take art off the wall and place it on the body, combining elements of theatre, dance and fashion parade to present a brilliant show every year.

The images above are a collection I’ve put together of my favourites from among the winners, (obviously there wasn’t room to include them all.) See the World of Wearable Art website for more pictures.

From the Queensland Art Gallery/Gallery of Modern Art, this...

Thu, 01 Mar 2012 12:07:00 +1100

From the Queensland Art Gallery/Gallery of Modern Art, this video discusses the differences, similarities and nuances between art and fashion. This discussion happened in response to the announcement that Yayoi Kusama will be collaborating with Marc Jacobs on designs for Louis Vuitton. Questions at the end were particularly interesting.

Chaired by Dr Mark Pennings (QUT), panellists include Professor Suzi Vaughan (Deputy Vice-Chancellor, Learning and Teaching, QUT); Ben Byrne (fashion historian and post-graduate secretary, QCA); and Alison Kubler (art curator and writer).

I’ve been reading a lot about Jane Austin’s Pride...

Wed, 29 Feb 2012 12:02:00 +1100

Muslin gown c. 1800

Block printed cotton gown 1795-99

I’ve been reading a lot about Jane Austin’s Pride and Prejudice lately. Over the Christmas holidays I read the novel, sometimes out loud to my partner, followed by P.D James’ Death Comes to Pemberley (2011), which is set six years after the original using James’ renowned skills in crime fiction. A page turner which does some very interesting things, I would recommend it to Austin fans, but suggest it’s not what you expect.

Recently I was gifted The Making of Pride and Prejudice, which follows the 1995 BBC production of Austin’s book. This is my favourite adaptation of P&P and after reading the ‘making of’ it’s easy to see why it has stood the test of time.

Above is a selection of textiles I have curated from the Victoria and Albert Museum which reflect what we’ve come to regard as the P&P aesthetic, the Regency era (1811-20).

Costume designers for the BBC production would have looked at the V&A but it was closed at the time. They looked to the London Museum and to experts working in the field. The was to achieve a natural look, this was something the whole production also aimed for - specifically to avoid what had become the clichés of past period costume drama productions.
During the period of Pride and Prejudice (which was published 1813), inspiration for fashion came from Ancient Greece, I think this is clear in the gowns I’ve selected.

Image 1,2, 3 and 4 - Muslin Gown, unknown artist/maker, c. 1800, muslin with floral pattern produced in India. Muslin is a very sheer, thin fabric so shawls were worn around the shoulders, as shown here.

Images 5, 6 and 7 - Block printed cotton gown, unknown artist/maker, 1795-1799, block printed cotton with pattern inspired by Indian textiles. This style remained popular until end 18th century. A good example of what Bennett sisters could theoretically have worn as younger women.

Review published - The Mad Square

Tue, 28 Feb 2012 19:31:32 +1100

Review published - The Mad Square: Rabelais is the La Trobe University magazine, issue one features...

It seems textiles won’t leave me alone, these recent posts...

Sat, 25 Feb 2012 11:41:00 +1100

Chamboard by house of Dior fall winter 1

Evening dress House of Dior fall winter

detail Evening Dress House of Dior fall

Venus by House of Dior fall winter 1949-

Christian Dior Venus fall winter 1949-50

Detail Venus House of Dior fall winter 1

It seems textiles won’t leave me alone, these recent posts have happened organically and who am I to resist a small sojourn into the land of fashion? Above is a curated collection from the Metropolitan Museum of Art, NY which I somehow stumbled upon this morning.

From top, left to right:

Chombard, House of Dior, Christian Dior (French, 1905–1957), fall/winter 1954–55. Materials: silk, simulated pearls, beads, sequins, rhinestones, plastic.

Dress, Evening, House of Dior, Yves Saint Laurent (French (born Algeria) Oran 1936–2008 Paris), fall/winter 1958–59. Materials: nylon, rhinestones (strass), simulated pearls.

Detail of Evening Dress, as above.

Venus, House of Dior, Christian Dior (French, 1905–1957), fall/winter 1949–50. Materials: silk, sequins, rhinestones, simulated pearls.

Detail of Venus, as above.

These are fairly hi-res images so might take a second to load.
While we’re on textiles, do you have a favourite era? The 1950s is certainly one of mine.

Above is a selection of costumes from the National Gallery of...

Fri, 24 Feb 2012 14:24:00 +1100

Costume for a Syrian woman

Costume for a slave or dancing girl

Costume for an attendant of the Immortal

Costume for a squid c.1916

Costume for a Nymph c.1912

Costume for a Bluebird c.1921

Above is a selection of costumes from the National Gallery of Australia’s 2010-2011 exhibition of the Ballets Russes - the art of costume.

From top down: Léon Bakst’s Costume for a Syrian woman (1909) featured in the Ballets Russes production of Cleopatra.

Léon Bakst’s Costume for a slave or dancing girl (c. 1918 or 1936) also from the 1908 production of Cleopatra.

Aleksander Golvin and Léon Bakst, Costume for an attendant of the Immortal Köstchei (1910) from the L’Oiseau de Feu or Firebird ballet. This costume belongs to the villain of the piece who is eventually defeated by Prince Ivan with the help of the firebird. I think I was read a book with a very similar story to this when I was a kid.

Natalia Goncharova, Costume for a Squid (c. 1916) from the production Sadko. “The full opera version of this ballet is taken from an epic Russian folk poem set in Novgorod, Russia, where Sadko, an impoverished musician, leaves his wife in search of his fortune.” (NGA website)

Léon Bakst, Costume for a Nymph (c. 1912), from the production of L’Après-midi d’un Faune or The Afternoon of a Faun, which featured classical inspired poses, like Greek statues.

Léon Bakst, Costume for a Bluebird (c. 1921) from the production of The Sleeping Princess.

About the Collection:

The National Gallery of Australia has a renowned collection of costumes from the Ballets Russes (the Russian Ballet), which was founded by the flamboyant Russian arts producer Serge Diaghilev (1872–1929). By integrating design, music and dance, and encouraging the artistic experimentation and collaboration of painters, choreographers and composers, Diaghilev created the new art of modern ballet. From 1909 to 1929, his company Les Ballets Russes de Serge Diaghilev performed in Paris, throughout Europe (although never in Russia) and in North and South America. (NGA website)

I couldn’t resist curating a small selection of textiles...

Thu, 23 Feb 2012 14:42:00 +1100

Gloves 1630 - 1650

Altar Frontal with Doves

Large-leaf verdure Tapestry

Part of a Chasuble

Baby's Bonnet

I couldn’t resist curating a small selection of textiles available at the Museo Poldi Pezzoli, Milan, which I’ve studying for an assignment on Renaissance self-portraits by women artists. There’s no link between the subject and these exquisite textile, except my love for them both.

The Altar Frontal with Doves is from a Milanese workshop dated approximately last quarter of the 15th century, or is from Indian workshop perhaps early 17th century.

The Large Leaf verdure Tapestry dates from the second half of the 16th century, from Flanders. It is 300 x320 cm, so could have filled a whole wall.

Part of a Chasuble, the oddly shaped piece of cloth, comes from Italy or Spain in the second quarter of the 16th century. A chasuble is “a sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass, typically having a simple hole for the head.” (Wiki)

Gloves 1630-1650 originate in England or Flanders and feature silk, leather, pearls and silver embroidery.

Baby’s Bonnet probably comes from Central Europe in first quarter of the 19th century, it features mental thread on silk.

I love looking an textiles, especially when they are so rich with history. The baby wearing this bonnet would have been quite wealthy, and may have donned it only for special occasions.

On an art crawl last year, during the exhibition Power to the...

Fri, 03 Feb 2012 15:16:51 +1100

On an art crawl last year, during the exhibition Power to the People at the Australian Centre for Contemporary Art (ACCA). The artist is Natasha Johns-Messenger - http://www.natashajohnsmessenger.com/

It was like thinking with portals.

In this video, leading Japanese contemporary artist, Riusuke...

Wed, 11 Jan 2012 12:01:05 +1100

In this video, leading Japanese contemporary artist, Riusuke Fukahori demonstrates his technique. Using layers of acrylic paint separated by resin Fukahori creates extremely life-like images. Inspired by a goldfish he kept for seven years, he began painting fish in 2000, while searching for ideas.

Riusuke Fukahori is represented by ICN Gallery, London which focusses on Japanese and Asian artists.

ADA - analog interactive installationA kinetic sculpture by...

Tue, 10 Jan 2012 12:02:06 +1100

ADA - analog interactive installation
A kinetic sculpture by Karina Smigla-Bobinski

From the artist’s website:

Filled up with helium, floating freely in room, a transparent, membrane-like globe, spiked with charcoals that leave marks on the walls, ceilings and floors. Marks which «ADA» produces quite autonomously, although moved by a visitor. The globe obtains aura of liveliness and its black coal traces, the appearance of being a drawing .

Roman Ondák discusses Performance 4, Measuring the Universe, at...

Mon, 09 Jan 2012 13:01:00 +1100

Roman Ondák discusses Performance 4, Measuring the Universe, at MoMA New York.

The gallery space allows for different participatory acts. The viewer is encouraged to take risks and have fun. In the past passivity was all that was expected - to look and appreciate. Today viewers frequently produce the artwork under the direction or suggestion of the artist.

Measuring up the Universe is formed entirely by gallery goers having their height, name and date recorded on the gallery wall. The installation would look different every day as the black marks increased and darkened the walls. This is a very versatile idea, I’d love to see it replicated in Australia, perhaps with white text on a black wall. Lighting up the universe.

Artist bio:

Roman Ondák (b. 1966, Zilina, Slovakia) is widely regarded as one of the most important neo-conceptual artists working today. His work is characterized by a minimal use of materials paired with a subtle humor. Inviting strangers to participate in the production of his works is also a common strategy for the artist. Ondák lives and works in Bratislava, Slovakia.

You might also like Yayoi Kusama’s The Obliteration Room at the Queensland Art Gallery/Gallery of Modern Art.

Review | Yayoi Kusama: ‘Look Now, See Forever’

Sun, 08 Jan 2012 11:55:00 +1100

Yayoi KusamaDots Obsession 2011Vinyl balloons, dot sheets, paint, mirrorsImage: Exhibition...

Yayoi Kusama - An Introduction. (Via KusamaDocumentary). An...

Sun, 01 Jan 2012 11:08:53 +1100

Yayoi Kusama - An Introduction. (Via KusamaDocumentary).

An exhibition of Kusama’s work is currently on display at the Queensland Art Gallery/Gallery of Modern Art, Brisbane, until 11 March 2012.

Review | VCA Graduate Show 2011

Fri, 23 Dec 2011 12:35:00 +1100

Valentin Palonen Everyday Alchemy Mixed media If you haven’t seen the School of Art Masters...

Sir Kenneth Clark on Raphael - The Hero as Artist (episode 5)...

Mon, 19 Dec 2011 09:56:00 +1100

Sir Kenneth Clark on Raphael - The Hero as Artist (episode 5) from the BBC series ‘Civilisation’ (1969).

In this rare video Clark describes how Raphael was received at the time. Though not in favour as he is today Raphael’s significance is noted by Clark who goes into great detail about several of Raphael’s great works.

A brief overview by Nicholas Penny from the Grove Dictionary of Art states:

He has always been acknowledged as one of the greatest European artists. With Leonardo da Vinci, Michelangelo and Titian, he was one of the most famous painters working in Italy in the period from 1500 to 1520, often identified as the High Renaissance, and in this period he was perhaps the most important figure. His early altarpieces (of 1500–07) were made for Città di Castello and Perugia; in Florence between 1504 and 1508 he created some of his finest portraits and a series of devotional paintings of the Holy Family. In 1508 he moved to Rome, where he decorated in fresco the Stanze of the papal apartments in the Vatican Palace—perhaps his most celebrated works—as well as executing smaller paintings in oil (including portraits) and a series of major altarpieces, some of which were sent from Rome to other centres. In Rome, Raphael came to run a large workshop. He also diversified, working as an architect and designer of prints.