Attending an exhibition opening can be a bit like going on a blind date. What if I don’t like the work? What will I say? Painting can go so wrong and often does. But in this small gallery in the heart of Richmond, sixteen paintings demonstrate that Harley Manifold knows what he is doing with paint. His surfaces are articulate, composite, layered. Colour is calibrated into convincing form.
Two mobile phones attached to a purple wall greet you at the entrance to this exhibition. Their screens are displaying images of David Hockney’s drawings done on a phone. My younger companion’s first reaction is not to the image but to the type of phone. Iphone not android she observes glancing and moving on.
Is this an exhibition about drawing, about Hockney or about technology? Or about advertising? Apple doesn’t seem to have its logo anywhere, but let’s face it; this exhibition is about one company’s product. Is Apple getting all this endorsement for free?
There’s a converted butter factory in a small town tucked into the green rolling foothills of the Strzelecki ranges, where the main street is wide and cars are parked at 45 degree angles. Anyone who can spell Strzelecki must be a local. This is Yinnar on the doorstep of the still-operating Hazelwood coal-fired power station, subject of much debate and despair.
There’s a Drawing Prize here of national repute. Despite the rhetoric of demographic disasters: job losses, mine fires, pollution, asbestos and the rest, Arc Yinnar an artist run venture has been operating for 32 years. As well as hosting a national prize, it boasts two galleries, public access facilities for printmaking, ceramics, metalwork, photography, painting and drawing, a retail outlet, theatrette and private studios. All this on a shoestring grant of $3000. When the lights go out at Hazelwood, this sort of cooperative venture is what keeps communities afloat and shores up their identity. Its funding should be assured for the long term, but I am told it is reduced every year and tied to utilitarian outcomes.
A drawing show throws up immediate questions; how much drawing is going on, what do people draw and what do they draw for
This landscape painting prize, based in Sale, is one of those generous moments when a local benefactor makes a significant contribution to the nation’s cultural life….and ensures that serious contemporary work reaches the regions. It encompasses vertiginous highs and repellent lows. Predominantly the work is largish and surreal. Colour has mostly escaped any sense of
“A sophisticated observational drawing of a kind not seen often nowadays. The work employed a minimal range of drawn marks to represent a grand view, full of space and depth, and subtly guiding the eye to move from focal point to focal point. A devoted attentiveness is beautifully maintained.” Judges John Wolseley and Geoffrey Dupree
Categories. They are very useful things. All sorts of unlikely objects or ideas can be clumped together simply on the basis that they have one thing in common. Art historians tidily sweep works into certain little piles from which a narrative can be plotted. Post Impressionism can go over here, tuck Baroque back a bit, pop in those Futurists there, and now where did I put the Surrealists? It’s a helpful tool albeit with limitations.
In art things are always much more complex. An artist like any human being has a multiplicity of influences, yearnings and aims. And a trajectory of work over a lifetime can veer like a drunken sailor, as for instance in the case of Turner who for many years produced highly rendered topographical views and house portraits before his work transformed into almost completely abstract whirling vortices of light and colour.
If it’s hard to categorise either art or artist, you can imagine the difficulty of administering an art award that has a $50,000 purse for ‘a painting of an Australian subject in sympathy with the work of E. Phillips Fox.’ The artists trying to get their work before a judge might pause and wonder what exactly this means.