I`m all for artistic freedom, but having my private life photographed `in the name of art` without my consent would greatly upset me.
Using a telephoto lens, in 2013 photographer Arne Svenson took pictures of residents in their downtown New York apartments without their knowledge. When these works, collectively forming the series ‘The Neighbours’, were first exhibited that year at Julie Saul Gallery they sparked controversy, and a lawsuit.
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Meta Data Retention is an absolute violation of our FREEDOM. What next, Government surveillance cameras in our homes?
Peter Greste had many thoughtful things to say on Monday night’s Q&A, but perhaps his most essential was this: “If we ignore it, it will come back to bite us in the arse.”
It was not intended as a universal admonition to Australians – he was talking specifically about the implications of the recent university massacre in Kenya – but coming from Greste it might as well have been a broader warning to be careful what you vote for.
When you’ve spent 400 days locked in an Egyptian prison for the crime of doing your job, you come decorated with a certain assumed moral authority. A tougher task is to wear that…
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Late Victorian and Edwardian marble and bronze sculptures, statues and busts are quaint relics of the central Victoria gold rush in the centre of City of Greater Bendigo. The highlights of this collection are works by some of the leading sculptors in Australia: James White and Charles Douglas Richardson. There are also works by some less well known sculptors, R.G. Summers and John Walker that tell us as much about the history of that time as the works of more famous sculptors.
On the Corner of Bridge St and Pall Mall is Charles Douglas Richardson’s The Discovery of Gold, 1901-06, with three bronze base relief panels around the base showing the history of mining in Bendigo.
The twice life sized marble memorial to Queen Victoria, a bronze memorial to George Lansell, The Quartz King and…
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Today is Good Friday 2015 and on Good Friday 1994 Clifford Possum Tjapaltjarri AO and I decided to create a collaborative painting as an expression of the day. Given that this renowned Aboriginal artist basically took over this project it might be a bit of a stretch describing it as a collaborative work, but whatever tag is placed upon it, that which is a constant is that this work is a creative gem that gives expression to Christ`s crucifixion in the manner of Aboriginal Art.
Clifford Possum Tjapaltjarri AO, who died in 2002, described this work as showing God`s anger over the crucifixion of his son, which is expressed by the storm filled atmosphere depicted through the grey cloudy background overlaid with grey dots and lightning. Here too, we see Christ`s foot tracks leading to the middle cross, while his crown of thorns and nails are shown on the ground- the murderous deed has been done.
In addition to God`s anger, the artist also gives expression here to grief in the form of seven concentric circles, which are a symbolic expression of seven Ancestral Sisters, who came to be stars when they journeyed to the Milky Way to escape the advances of a `dizzy` old tribal man. In this painting, however, the sisters are shown watching the crucifixion and the grey dots that lend to the storm and God`s anger double to give expression to the Sisters` tears.
This work was sold in 1994 and was included in the Clifford Possum Tjapaltjarri AO Retrospective 2002-2003. Since then Good Friday was resold at auction for AU$40,000.00 with only one bid. I do not know who the bidder was, but I do know that there was a terrible failure in the Australian Art Market on that auction day when only one bidder was able to recognize this painting as a Masterpiece, which remains important to this artist`s body of work and his own personal history and, of course, to the History of Aboriginal Art.
Carl G Jung started his career as a Medical Doctor before moving on to become a practicing Psychiatrist and Psychologist with a main focus on discovering the workings of the Psyche, or Mind, which led to new concepts in Psychology, such as the Collective Unconscious that is now universally embraced by most, if not all, schools of Psychology. In contrast, however, other findings by Carl Jung have been met with less enthusiasm and in some cases with total derision, or alternatively with total awe. This state of affairs in relation to Jungian `theory` is still in play today and makes this explorer of the Mind one of the most controversial figures in the School of Psychology.
For this writer, however, the ideas of Carl G Jung have been an inspiration for more than two decades, so while moving on to create memes for my new website titled Ballyhoo Central, which I did not continue with, I found a reason to incorporate aspects of Jungian wisdom into my work-life and have opted to share a little here on this blog. Enjoy!
Click on the link to Wikipedia for further information on Carl G Jung
There are many books on Carl Jung and by Carl G Jung translated in many languages. The most recent one that I downloaded as an eBook from Amazon was an exceptionally good read, though I am not sure that this would be suitable as an introduction to Jung, but definitely worth reading, as it was written by a senior trial lawyer, who – loosely speaking- puts Jung’s concepts on trial. This book is titled: CARL JUNG DARWIN OF THE MIND by Thomas T. Lawson.
There is much imagery on the market that masquerades as Art while it is little more than wall-paper described as Abstract Art, or Abstract Expressionism, in a bid to attach the work to a genre in order to legitimize it as Art. Of course, one can argue that any painting, or object, can be described as Art if the artist says it is and rightly so, but that does not mean that the rest of us have to accept the work as having real artistic legitimacy. Nevertheless, all works presented as Art, be it wall-paper, or masterworks, and everything in between regardless of subject matter, or no subject matter in terms of `wall-paper`, is political.
The above image is part of a painting created by Frank Mosmeri, who disposed of this work by painting over it, because he felt embarrassed by the fact that it had nothing to say. I thought it beautiful visually and the artist could have `sold` it by referring to it as an expression of beauty. But for the artist it was simply `wall-paper` and, in that, it was still political in saying nothing. That is, it was a `safe` image, as is the Minimalist genre that found its way to the National Gallery of Victoria in the form of a `block-buster` exhibition of Contemporary work, while the Vietnam War was raging.
`Safe Art` makes no waves in lending little to nothing to the issues of the day; nor does it awaken the mind to the Self. Mindless in content `safe art` is political, in that it keeps the Public unaware, so any Government involved in an unjustifiable War, or is engaging in propaganda to implement policies that negate the `common good` would welcome `Safe Art` into society and into the halls of power. When one looks at Public Sculpture funded by Government, -local or federal- what we see is not imagery that reflects the horrors of war, or poverty and the like, but rather the opposite to inject a feel-good in society and a reinforcement of the power-structure of a Nation and its Culture.
The notion of Empire is particularly visible in much Architecture that is designed to house government. Take the Victorian Parliament, as an example, with its Greek-Romanesque pillars symbolic of the Roman Empire erected in front of this government building leaves little room to doubt that it was designed to remind the population where power rests. Just like Visual Art, Architecture too is political and this extends to home dwellings, which suggest that the occupants are either wealthy or poor. All our possessions do likewise and so too our clothes and choice of style. `You are what you wear` might be a cliche, but this is rooted in fact like most cliches.
The above painting is also by the artist Frank Mosmeri, but unlike his `safe` piece, this work in the genre of Expressionism offers an emotionally charged image concerned with the treatment of live-stock for human consumption. Mosmeri is not a vegan, but eats little meat, as he has been growing more aware of what live animals go through to fulfill Human want. The artist is not alone in his thinking on this subject, nor is this work finger-wagging judgmental, but with its very creative delivery it makes contact with our emotions to lend to a greater sense of compassion for cattle and perhaps a touch of guilt and, in that, reminds us to be more vigilant towards their treatment, as cruelty towards animals is inhumane.
It would not be an exaggeration to say that this work does not serve the interest of the Cattle Industry; nor a Government receiving Tax revenue from it. It might also not sit well with meat eaters, while in contrast attracting admirers made up of Vegans and animal lovers, or protectors, who act as protagonist against the export of live-stock here in Australia and elsewhere. Unlike `safe art` that acts political in saying nothing, this work, in contrast, is political in what it does say and is a noteworthy work of Art, rather than wall-paper masquerading as such.
Similarly is Mosmeri`s painting titled `Beluga Whales`, which at first glance appears as an image of two very cute and happy Marine mammals, but after a closer look and the image of the spear in this work comes into focus, our first impression gives way to a foreboding view telling that these unsuspecting innocent Whales are in danger and so they definitely are in the `real` world. Works such as this and `Dinner` are obviously political, but `safe art` that is essentially decorative is equally political and particularly so for those in control, who are more apt to embrace it, as they can do what they will with their power in Societies where ignorance among the masses flourishes.