Saturday, April 15, 2006

ART the manifesto part 1

You can see I'm getting very bored. I've put half of this on this blog and the rest is on artandmayhem so none of the other OSAS's come up here and wring my neck...

This is a great point for me to try to articulate something that I don't think I'm doing at all. It's like trying to explain Spanish or playing the piano or growing cell cultures. But it makes a nice break, from trudge typing through long slow meandering interviews - that seem to make about as much point as a bloody cricket test match. Green. White. Sun. Red ball. Yellow bat. Green grass stains. Yes its all good, yes its all no good. It's no good, god its good. Not. Gaaaah!

I like Elizabeth Grosz's last biofetish explanation of ART. That it’s some animal fecund thing. I heard that and saw glistening bits of Bataille and Deleuze sparkling around my head in a sensuous excess of autumn leaves and really drippy pink sticky flouro oil paint. Multiplying madly. Creatures create. Creatures do shit that makes no sense, that is not economically rational at all. It is not deterministic and the rationality is one that is aligned with process rather than product. Like playing solitaire or stupid board games. Lining up leaves or collecting blue things, or having a reproductive system based on menstruation. What kind of evolution is that?

I've been meaning to read Popper’s later work - the one where he goes 'they took it too far, my anti-determinist thing - those pesky humanities philosophers - I just wanted a more flexible framework for understanding experimental change - damn those postmodernists'. but, yeah, I get distracted. I've been meaning to get back into the studio too.

So art could be, can be, has been anything, right?

So why do I cringe when some sad fuck at some party comes up to me and says, yeah, err, I'm kind of an artist, you know, I do this stuff where we organise information and.... (and like, he works in RETAIL or something)???

Why do I cringe when I walk past that nice dykey cafe with tall the well publicised 'queer art exhibition' that makes me want to rip my fingernails out?

Part of me, does after all, embrace bad art. I love the excrescence of it, the towering piles of shit surging from people’s small minds and inept fingers everywhere. At a certain point, bad art makes less sense and does less damage than bad surgery, or bad writing, or bad computer programming. And it’s often easier to ignore than bad music too, and it lasts much less than bad acting.

I decided to go to art school about a decade ago - when that book 'the artists way' came out. I heard about it from a North American woman - who used to go to the same community college painting class that I was attending. This was great - because self-help books are always far more fun when read out in a Californian accent. It was a fantastically cheesy tome, playing on the romanticist myth or the artist - and constructing the perfect authentic self - based around notions of autonomy and imagination and play. And then it was such a best seller that when the sequel came out 'the artists way at work' no one really seemed to notice!

But yeah, I bought the myth of authenticity, or autonomy, of serious play, and I still do. (you know that line at the end of Foucault’s the order of things about Humanism – being like a face drawn in the sand that gets away by the tide of history? – THAT SCARES ME). I'm just a bit more knowing and cautious about the structures whereby that's managed. My own art training was in painting, at a reasonably traditional school (well, modernist) - which I attended - mainly because there was no HECS on the then diploma course. Actually at art school I was barely interested in painting at all - and could hardly draw, and barely learned, but painters seemed to get the best deal, and my friends were in painting so that's where I stayed.

I probably learnt more about paint afterwards. And I learnt, not only the technical stuff, but also the imaginative stuff, how minds and experiences are formed - while forming - and are - while not entirely constructed by language - then certainly mediated - by - not even language - but 'meaning making structures'. I think that meaning making structures - are patterns and habits and forms of play by which we structure our interactions with our selves, our own thoughts, our own bodies, the spaces around us, the materials we have. The stuff we touch and shape and use.

In terms of THE ART PROJECT - then I have to write about my metier - my media/speciality - because that's the one that I know. I'd call myself a painter - just because I've had a reasonably serious relationship with paint for the past ten years. There are certain words that I only know in Spanish or French or English -and certain sensations, expressions, states that I only know in 'paint'. I know what type of gestures, consistencies, colours and marks make me happy or sad or awkward or anxious in the same way that certain sounds delight my ears - or certain physical touches arouse or repel me. I know painting like I know my own body, or my (ex) lover's body. The texture, my habitual movements, the ones I fight against. The bits where I fuck up or fail or stumble -and where things flow and fly like magic.

Maybe this is why I’ve hardly been near my studio for the past month. Can I still call myself a painter, when I’m not painting? And how long can that go for? I’m spending more time wrestling with words at the moment. My sex life, rage, tears, grief, hysteria, pain, joy, lust etc. – contorts itself inward and gets hammered out on the keyboard as my bum hardens on the seat below me. Fine stuff but it’s not paint. There’s no drip, no odd gestures. No flays of pink, no flinging of Payne’s grey. No working up of yellows and greens with the right bits of oil, no transparent slicks, no sacred muds. This time my thoughts aren’t being worked out in the movement of arms and legs. No pacing up and down before my easel, no panting. I’m not even listening to music. The thoughts get pushed right down. I try to walk them off – because I need to feel this space, this stillness of words. It’s not painting. It’s not mad movements in space with some coloured semi liquid – semi solid hanging off and object in my hand, or smeared across my elbows and hips, on my face, in my hair. Hopefully some of it ends up spread across a surface that arbitrarily ends somewhere. The only rule for painting, is that you use paint, or something like it. Like using letters or a script if you’re writing. That’s it. I wouldn’t call myself a writer if I wasn’t writing, so why call myself a painter if I’m not doing it?

The best analogy for my artistic metier (painting) is sex. Not only because it tallies nicely with Liz Grosz's animal play kind of thing, but also because there's a lot of cultural attention given to sex - and its something people can identify with. Sex is constantly fraught with anxiety, failure, incompetence - as well as intense joy, crazy pleasure - mad terror, tears, weird smells and messy fluids. I can't really say that our culture allows much space for that sort of thing at all - I mean even food has been gourmetted within an inch of its life - or dulled down to scary bland industrial pap. Most food experiences in anglo industrialised societies are intensely simulacral - we're just consuming a bunch of signifiers, rather than having some sort of rich physical interaction with stuff that could have an element of surprise...... I think that's why I'm also fascinated with pornography - because it represents an increasing cultural colonisation and commodification of what has been a reasonably private and largely secretive experience. Look at the way vulvas have entered the regimes of public bodily maintenance - with every second beautician offering bikini waxes! Even scrotums and perineums are part of consumer cultures personal maintenance. How many men getting a sack and crack wax check out their own perineum in the mirror? Its not that easy! so why do people bother? and what has this got to do with art? or OSAS?

I'd like to think that ART - as a culturally contested zone where desires, play, surprise and rules get mediated. Of course this means that any activity that is 'avant garde' is placed immediately in a position of recuperation within consumer culture and this is largely what ART institutions are designed to do: manage creativity so it can be harnessed and projected back into the capitalist imaginary. The specualtive art market is just the financial fetishizing of this very significant cultural role that ART actually plays in consumer society. I also think that 'outsider' art is just as implicated within capitalist cultural management as anything else. And I don’t see kitsch as some sort of quasi-primitivist authentic parallel universe. I think shunting art into this little space of ‘outsiderism’ often just facilitates the acute conformity, either of the individuals concerned, or of the society that champions it. The most bourgeoise boring fucks in the world wet themselves at the idea of the artist as ‘enfant terrible’, and the real tragedy of genuinely madness – is that mentally ill people are incredibly boring. There are few surprises in a solid word salad.

So I think art is implicated with capitalism. Artists do operate largely as extreme sports entrepreneurs. Most of us are just fledgling bits of the petite bourgeoise who find new forms of real estate (from squats to warehouse apartments), new fashion (obvious) new communication systems (blogs, podcasting, film) and other accroutements. And also new forms of self sufficiency. Artists work from home, work odd hours, don’t unionise, don’t separate themselves from their work. We’re a perfect model for the new TEAMCREW corporate slaves of the new knowledge economy. Why is it that so many artists either come from middle class (open minded but cautious parents) families, or drag along huge suitcases of their aspirational class resenting baggage?

I shouldn’t be so cynical should I? Why do I cane the avant-garde – when so much art, especially in Sydney is not even aspiring to being avant-garde? Its just really drab flat stylised shit – that’s about as transgressive as a misspelt cappuccino in a country town? You know the kath & kim stuff on Glenmore road, or the evil evil toadlike shit of Pro Hart & Charles Billich, that sucks the soul out through your eyeballs. People reckon they are “aussie heros” but people also vote for John Howard. There’s no excuses for confusing demagogy with popularism.

I think its because the avant-garde still represents the capitalist imaginary and its an imaginary that still holds true for most people – and almost certainly for the readers/contributors of OSAS. How many of us are scraping by the fringes of academia/curatorship – or some other little fucked up corner of the knowledge economy? (Who else is living off a trust account? Or an inheritance?) Just on the edge of some nice hidey hole – that we try to despise while clinging to like a life-raft as we drift on the sea of precarity… Hell! there’s no way I’d say no to a lectureship or some nice curatorial position – would you? Isn’t OSAS also about creating our own circulations – our own new niche that can allow us to wedge our way into the systems that exist. I’ve heard that a couple of uni lecturers now mention my BLOG in their art writing courses. It gives them easy kudos to be talking about blogging – when they only publish where they can earn DEST credit points, and it might help me brow-nose my way into the odd guest lecturing scam – where I get paid to be the officially sponsored freak for an hour. Queer theory anyone? Would you like it illustrated or served with Deleuze? Then I can say I’m an artist, maybe show a coupla slides from some naked whacky performance piece – but no, not my oil paintings. No that won’t quite do, will it?

255 Comments:

Anonymous Fergus the dog said...

Mayhem, you're coming from a place a lot of people forget - social generosity, but I can't stand anymore crap art. My reaction is to withdraw, to tune out. Other people keep torturing themselves and talk of projectile vomit and running around screaming, a superstitious reaction, but I read TAL for two years, I know those were medieval times. All we had for fun was public executions.

Think back to the days before innocence lost.

I want to enjoy good art again and I know the best place to get it is from renegade operators on the free market.

9:54 pm  
Anonymous Shaneesha said...

Hang on - we sometimes had book burnings as well.

12:34 am  
Anonymous magic pudding said...

"Just on the edge of some nice hidey hole – that we try to despise while clinging to like a life-raft as we drift on the sea of precarity"

What are we trying to despise? Do we despise anything? Self-loathing? I don't partake.

2:58 pm  
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3:06 pm  
Blogger mayhem said...

Hey fergus - are you anything to do with that last posting?

wuff!

in general I try not to hate myself too much - but I'm amazed at the amount of contempt and loathing there is out there for academics - and its a tensino that's gotta be dealt with.

btw - are any sydneyphiles going to the lisa tickner chatfest at power next tuesday?

does anyone want info?

6:51 pm  
Anonymous Tiiger Winton said...

I think the post by anon is an adbot/

8:17 pm  
Blogger Ian Milliss said...

I think its just spam, I'll see what we can do about spam filters.

Longer comment on this and last few posts sometime soon, but one quick comment, I am in no way anti-intellectual but yes I'll admit to being pretty hostile to academics. That hostility is based on repeated experiences of being both patronised and exploited by them. And I have never found them to be in the least bit inhibited by their profound ignorance - I have even been "reassured" by one that I didn't write an anonymous article that I certainly did write. I know I'm dealing in unfair generalities here, but academics share a malicious syndrome with journalists, being close to the action breeds the delusion that they are part of the action when they aren't, their role is to record it. Look at Janine Burke's deluded belief that she is somehow closer to Joy Hester and Bert Tucker than their family members (she never even met Hester who died in 1960). I can imagine what Tucker would have said about that if she had dared to express it during his lifetime.

Ultimately art and artists come before art writing, it's just a fact of life. Remember Barnett Newman, "Aesthetics is for artists what ornithology is for birds."

Mayhem, the implication is that academics should do a bit of self examination rather than just complain about being held in contempt. (and since you are both artist and academic I know you will understand that this is not in any way a personal criticism of you)

8:32 pm  
Anonymous Gricegrocers said...

Peoples: isn't that what "self reflexivity" is about - self examination, ie linking personal experience with the prevailing theory or other collected data?

3:52 am  
Anonymous Clive Market Analyst said...

Anyone got a top 100 Orstrayerrn art of the 1970's?

Wossit..

Fairweather
Albert Tucker (only his portraiture)
Whiteley
Blackman
Brack
Williams
Lanceley
Cybotron
The Saints
The Boys Next Door
AC/DC
The Cantrills
Tony Trembath
Gareth Sampson
Thea Astley
Radio Birdman
Carol Jerrems
The first episodes of Prisoner

??

Thoughts commments??

1:41 pm  
Anonymous Clive Market Analyst said...

Olley
Gleeson
Olsen
Johnson ...?
Aspden
Ron & Valerie Taylor
Patrick White
Helmut Newton
?

2:29 pm  
Anonymous Clive Market Analyst said...

Trent Nathan
Jenny Kee
Thancoupie
Carla Zampatti
?

2:43 pm  
Blogger Ian Milliss said...

too busy to busy, tooooo......bssssyyy....
but
Olsen was at his worst then (those frogs are as bad as any Pro Hart)
Margaret Olley was forgotten except as a chubby woman in chiffon in a Dobell portrait, she miraculously re-emerged a decade later.
No Ron and Valerie Talor without Ask the Leyland ask the Leyland ask the Leyland Brothers.
keep going, you said a hundred.

2:46 pm  
Anonymous Clive Market Analyst said...

33, World Safari 1, Albertus Zwier "Alby" Mangels

34, In The Wild, Harry Butler

3:03 pm  
Anonymous Clive Market Analyst said...

35, Newsfront
36, Pure Shit ( I mean the movie!)
37, FJ Holden
38, Dot and the Kangaroo
39, Jutta Feddersen
40, Rosaleen Norton (whether she was drawing or not)
41, Madame Lash (just for the name)
42, Christo (oz gets into rap)
43, Jenny Watson
42, Leigh Bowery, as a more painful earlier incarnation before his fame
43, The Night the Prowler
44, The Skyhooks Clothing Designers

3:20 pm  
Anonymous Clive Market Analyst said...

45, Rosalie Gascoigne's Ikebana

3:27 pm  
Anonymous Clive Market Analyst said...

46, Chopper Squad
47, Bobby Dazzler
48, Phoenix 5
49, Stewart Macfarlane's New York Realism
50, Asher Bilu

3:42 pm  
Anonymous Clive Market Analyst said...

51, Citrus Suprematism, an international avant garde art movement championed in Australia by Graham Kennedy and Don Lane.

3:55 pm  
Anonymous Clive Market Analyst said...

52, Chiko Roll advertisments
53, Fairlight Computer Musical Instrument

4:03 pm  
Anonymous Clive Market Analyst said...

Lloyd Rees

4:13 pm  
Blogger Ian Milliss said...

Christo was 1969
You forgot that program that was resurrected as Bargearse.
And the most important cultural event of the 70s was the rise of haute cuisine as the predominant Australian cultural activity where the most problematic social and cultural issues were symbolically addressed and resolved. Think Tony and Gay Bilson (Tonys Bon Gout and Berowra Waters Inn), Patric and Chrissy Juillet (Le Cafe).

4:17 pm  
Anonymous Clive Market Analyst said...

Ok Lloyd Rees can be 42 instead of christo, we can drop Christo. I wish I didn't get rid of my copy of the Artist Craftsman in Australia.

Definitely Haute Cuisine.

54, Bargearse
55, Haute cuisine
56, Tony and Gay Bilson
57, Patric and Chrissy Julliet
58, Margaret Fulton
59, Rip curl wetsuits
60, Billabong surfwear

I've been looking at the fascinating classic Austrayan TV site.

Does anyone know if there was an Aus answer to Butterick Dress Patterns.

And was Beadcrete patented in the 1970's?

4:36 pm  
Anonymous Clive Market Analyst said...

61, Vincent Serventy (I'm gonna get lynched by the tray sheek bookburning fortysomething eyebashers, ain't I)

4:52 pm  
Anonymous Clive Market Analyst said...

62, MLC Centre, Sydney.

4:57 pm  
Anonymous Clive Market Analyst said...

63, Pro Hart
64, Margel Hinder
65, Ocker Funk
66, Ken Unsworth
67, Valie Myers

5:10 pm  
Anonymous Clive Market Analyst said...

68, The Big Pineapple

5:17 pm  
Blogger Ian Milliss said...

Bargearse was Bluey (why does the brain retain such crap)
Simplicity, Vogue...other brands but english or US I think.
Pebblecrete is 70s, look at the opera house, goes with mission brown and "restoring" terrace houses by knocking pseudo spanish arches through walls that have had all the original plaster chipped off. Beadcrete is so 21st century, so bling.

5:19 pm  
Blogger Ian Milliss said...

Margel Hinder was more 50s-60s, but still alive in the 70s.

5:20 pm  
Anonymous Clive Market Analyst said...

69, Klaus Moje

5:21 pm  
Anonymous Clive Market Analyst said...

My information has it that the Hinder work "From Northpoint" in the collection of Macquarie University is from 1970.

5:24 pm  
Anonymous Clive Market Analyst said...

This website reports that she did two significant commissions in the seventies.

http://www.odanaonline.com/stock/mhchronology.htm

I need to look up Central Street on the www.

5:31 pm  
Anonymous Clive Market Analyst said...

70, Aunty Jack

5:51 pm  
Anonymous Clive Market Analyst said...

71, George Gittoes
72, Ian Milliss (It's my guess!)
73, Earl Backen
74, Guy Warren

6:01 pm  
Anonymous Clive Market Analyst said...

75, The Cars That Ate Paris
76, Picnic At Hanging Rock
77, The Devil's Playground
78, The Chant of Jimmie Blacksmith

6:05 pm  
Anonymous Clive Market Analyst said...

79, James Willebrant

6:09 pm  
Anonymous Clive Market Analyst said...

80, Jeffrey Smart
81, Davida Allen

6:12 pm  
Blogger mayhem said...

80 Ted Mulrey Gang
81 Australia Square(or is that the MLC centre?)

6:16 pm  
Blogger Ian Milliss said...

Margel Hinder did some great plexiglass things in the 70s, although, strangely, they look better now than they did then, you can see some of them at Penrith Regional Gallery (of course. AGNSW and MCA are reserved for quisling art).

Given that you came up with Valie Myers it's my guess you were around then too. On the whole I found much of the 70s painful and I've been reminded of them too much recently because of my retro. Speaking of pain, Mike Kitching and Ken Rheinhardt. They were both even more famous than Mike Parr......

6:20 pm  
Anonymous Clive Market Analyst said...

The round one was in the sixties.

Excuse me Mayhem, but fuck Ted Mulray! Number 80 should be Wendy Saddington or Chrissy Amphlett's dress sense. Chooky! BAGERR!

6:22 pm  
Anonymous Clive Market Analyst said...

It's waaay too long ago to be painful now, Ian. I was born in the 70's. Will look up Kitching and Rheinhardt.

Valie Myers was back in the 90's due to a documentary shown on ABC.

6:26 pm  
Anonymous Clive Market Analyst said...

82, Leo Sayer

6:28 pm  
Anonymous Clive Market Analyst said...

83, Sorry there are no bark paintings yet and too few textile artists.

You can exact your revenge on me with 90's retro. Ouch!

6:37 pm  
Anonymous Clive Market Analyst said...

Allright fine have Ted.

83, Mike Kitching
84, Ken Rheinhardt

6:41 pm  
Blogger Ian Milliss said...

Leo Sayer? Sheesh....like I said, painful. Anyway, not australian.

If you want music, Max Merrit, Jeff St John, Billy Thorpe, Lobby Lloyd, Python Lee Jackson. (Wendy Saddington was great). You also missed Earthworks posters, most memorable imagery of the 70s.

6:44 pm  
Blogger Ian Milliss said...

Margel Hinder did some very spectacular textile hangings. She really deserves a revival.

6:46 pm  
Blogger mayhem said...

83 Rolf Harris

I was quite young and quite isolated in the 70's and most of my culture was via countdown. Ted mulray was a vapid mysoginist turd but I thoguht he got a zeitgeist downnw pretty well - probably even better than FJ holden (sorry MH) and the whole turn in the song 'yea jump in my car'from a free libidinous seduction thing - into a whimping out recoil when faced with a possible link to authority - I thought kind of got some post whitlam era angst down pretty well.

besides chrissie amphlett transcends the 70's - she got me wet for 3 decades.

I don't remember very much visual art from the 70's. I didn't become aware of ART until I was 10, and we visited AGNES - and also sister thelma showed us how to use acrylic paints. (before then it was strictly crayons and textas and craft paper with CLAG).

btw did anyone read part 2 of my manifesto?

6:46 pm  
Anonymous Clive Market Analyst said...

Doug Parinson and Rick Springfield when he was fey!

What was Earthworks?

6:46 pm  
Anonymous Clive Market Analyst said...

Yes I read part 2. It's good to read something about the physical act of painting.

6:52 pm  
Blogger Ian Milliss said...

I read it too, enjoyed both and also your last few postings GG and meant to write a more meaningful comment than this....aaaggghh, I should be doing other desperately urgent things but I'm doing this, I suppose this is proof of how bored I am by it. (I'm fact checking things written for my retro and I am very very sick of reading about myself, I know it sounds really wanky) But I will write something better about your posts in a day or two I thought they raised a whole series of issues that could be prodded and untangled.

Bark painting ... Wanjuk Marika, the first Chairman of the Aboriginal Arts Board and all round great guy and great artist. Also 1971 was when Geoff Barden got the yuendumu elders to do the first acrylic paintings.

Earthworks was the political poster workshop operating out of Sydney Uni Tin Sheds. They made most of the best art of the 1970s. The conceptual art that the institutions push as the official history was almost all tragic derivative crap.

7:12 pm  
Blogger Ian Milliss said...

Rolf Harris was 50s-60s.

7:15 pm  
Anonymous Clive Market Analyst said...

Exellent, its always good to have names, especially aboriginal ones.
Several years ago there was a big stash of political poster art found at an anarchist bookshop in inner western Sydney, which I seem to recall the CIA was interested in studying.

I'm big on painting so I don't know much at all about conceptual art.

7:23 pm  
Anonymous Clive Market Analyst said...

(SPARE), Rolf

85, Wanjuk Marika
86, Earthworks
87, Howard Taylor
88, Donald Friend
89, Arthur Boyd
90, Lloyd Rees
91, Max Merrit
92, Jeff St John
93, Chrissy Amphlett
94, Wendy Saddington
95, Yuendumu elders
96, Doug Parkinson
97, Rick Springfield
98, Billy Thorpe
99, Lobby Lloyd
100, Python Lee Jackson

9:50 pm  
Anonymous Clive Market Analyst said...

Ooops, I counted Lloyd Rees twice, so Rolf gets to be number 90.

10:04 pm  
Blogger Ian Milliss said...

And that is about as inaccurate a picture of the 70s as you'll ever get. Different to the usual one, but inaccurate.

Is that really what has filtered through to an educated and sophisticated artist born in the 70s?
We really do need an OSAS.

I have just read an unpublished article by Donald Brook called 1968 which is his description of the art world he found when he moved to Sydney in that year and his life over the next six years until he moved to Adelaide in 1974. It's the most accurate (and droll) description that I have seen of that period. I'll post a link to it as soon as it is published.

10:30 pm  
Anonymous Clive Market Analyst said...

Sounds like I'd better read it!

10:58 pm  
Blogger Ian Milliss said...

Sorry if I sound patronising, no doubt my older friends were equally amazed by my youthful misconceptions but it does seem that the explosion that occurred in Sydney in the 70s is a special case, something that has had to be suppressed, written out, smoothed over.

There was another article by Tim Johnson back in about 1989 in On The Beach about the 70s avant garde that was pretty good, admittedly it only dealt with part of the art world. There is also Helen Grace's Before Utopia which is also very good but also only deals with part of the art world even though it covers a very wide context. It is amazing how little has been written (beyond the utterly conventional, that is) and I think that is because much of what happened in the 70s was seriously disturbing to many people and still is disturbing. I have seen several academics simply refusing to go there, refusing to do the research, just rolling out acceptable myths. It is highly commendable that Mayhem is doing original research into the art school part of it for her thesis.

11:29 pm  
Anonymous Clive Market Analyst said...

What was so disturbing about the art in Sydney? Do you mean the Tin sheds scene?

11:34 pm  
Anonymous Clive Market Analyst said...

Yellow house? Jack Mundey? Hunters Hill residents getting friendly with unionists? Industrial rock music?

11:59 pm  
Anonymous Clive Market Analyst said...

Was it cloak and dagger disturbing or was it bad for John Olsen's cred disturbing?

12:06 am  
Blogger Ian Milliss said...

No, although thewy were involved. The real problem was that over a number of years from about 1975 to 1979 there was an artists insurrection, with several large demonstrations, publications and a lot of yelling, screaming and conflict, centred on the Sydney Biennale but much more wide reaching than that and involving all manner of artists. In the short term the artists won, but in the long term they lost, mostly because artists have the memory of goldfish and institutions have the memory of elephants. The institutions just bided their time and eventually undid nearly everything that had been won. It was art foreshadowing life because it was in miniature exactly what is now happening in the wider Australian society.

12:09 am  
Blogger Ian Milliss said...

I meant the tin sheds were involved, the others appeared while I was writing.

12:12 am  
Blogger Ian Milliss said...

The Tin Sheds were just pissants, amusing but lightweight. Mundey was also disturbing that's why they set out to destroy him.

12:14 am  
Anonymous Clive Market Analyst said...

The liberal party was established in Australia to buffer society against the imbalance of market forces, although some people think that Fraser was a lot more right wing back then.

12:17 am  
Blogger Ian Milliss said...

ooopsa I meant the Yellow House were just pissants. Its getting late and I've been working too hard ///\ \^^&&*\\| |"""**blaaahbl h blah gurgle. gurgle..

I think its time to go to bed.

12:17 am  
Anonymous Clive Market Analyst said...

Over and out.

12:20 am  
Anonymous Clive Market Analyst said...

100-200

101 Paul Partos
102 Howard Arkley
103 Tim Johnson
104 James Clifford
105 John Peart
106 John-Firth Smith
107 John Coburn
108 Olive Cotton
109 Robert Dickerson
110 Elwyn Lynn
111 Bryan Westwood
112 Clement Meadmore
113 Tim Storrier
114 Geoffery Bartlett
115 Tony Tuckson
116 Rick Amor
117 Wendy Paramour
118 Fred Cress
119 Peter Powditch
120 Gary Shead
121 Robert Dickerson
121 John Plapp
122 Robert Macpherson
123 William Yang
124 Bill Henson
125 Dick Watkins
126 Bruce Petty
127 Patrick Cook
128 Larry Pickering
129 Michael Leunig

3:44 pm  
Anonymous Clive Market Analyst said...

130 Hector Gilliland
131 Peter Kaiser
132 Ivan Durrant
133 Nancy Borlase

7:25 pm  
Anonymous Clive Market Analyst said...

134 Clifton Pugh
135 Ken Johnson
136 Robert Jacks
137 Mirka Mora
138 Stelarc
139 Mike Parr
140 John Nixon
141 Jack Absalom
142 Sidney Nolan
143 Judy Cassab
144 Richard Larter
145 Pat Larter
146 Sweeney Reed
147 William Robinson
148 Allan Mitelman

7:53 pm  
Anonymous Clive Market Analyst said...

149 Tony McGillick
150 Peter Booth

12:25 am  
Anonymous Clive Market Analyst said...

151 Errol Davis

12:30 am  
Anonymous Clive Market Analyst said...

152 Vernon Treweeke

Good old Perith Regional and Maquarie Uni Gallery websites.

12:43 am  
Anonymous Clive Market Analyst said...

153 Mark Holden

7:41 pm  
Anonymous Clive Market Analyst said...

154 Janet Dawson

9:58 pm  
Anonymous Clive Market Analyst said...

155 Patrick Hockey

10:12 pm  
Anonymous Clive Market Analyst said...

156 Linda Jackson - Good ol' Powerhouse Museum.

6:27 pm  
Anonymous Clive Market Analyst said...

157 Roger Kemp

6:44 pm  
Anonymous Clive Market Analyst said...

158 Trevor Nickolls

7:58 pm  
Anonymous Clive Market Analyst said...

Helen Fuller

8:24 pm  
Anonymous Clive Market Analyst said...

160 Paul Rigby (cartoonist, the West Australian)

6:36 pm  
Anonymous Clive Market Analyst said...

161 Juan Davila

6:29 pm  
Anonymous Clive Market Analyst said...

162 Imants Tillers

6:45 pm  
Anonymous Clive Market Analyst said...

163 Leonard French

8:18 pm  
Anonymous Clive Market Analyst said...

164 Erica McGilchrist

8:23 pm  
Blogger Ian Milliss said...

You need to make your criteria clearer. Surely it need more than just being alive in the 70s? Many of these people hit their peak before or after the 70s.

11:34 pm  
Anonymous Clive Market Analyst said...

The criteria is about that - they are artists who were working in the 70's. The advantage of doing it this way is that it leads to interesting artists such as the wonderful Vernon Treweeke and Margel Hinder - artists I didn't know about until compiling this list.

There are others who have done this, no doubt, but I try to make my own judgements about art. Probably because when I look at a John Olsen or Fred Williams I feel so crestfallen, in the "is that all there is" kind of way. I feel so cynical when I see a lot of the so called elite at the AGNSW. Sure, they've done some good paintings , but not necessarily the best art of their times. Somebody had better check.

Sorry to be a pain/bore, but hey it's about learning and if any untrusting novice who knows even less than me finds it a help - that's great.

12:16 am  
Blogger Ian Milliss said...

Your not being a pain or a bore, I was just curious because at times its strangely skewed. I'm not commenting a lot simply because I'm curious to see how something I lived through looks now to someone younger.

I'm glad you like Vernon, he was, still is, a friend of mine although I didn't see him for decades and I think when a few more people look at him again, and get over their hangups about fashionability (whales? big titted earth goddess women? fluorescent paint?), then he will be recognised again as someone quite extraordinary. It is very sad however that most of his paintings that I saw and loved in the late 60s no longer exist, even in photos. Maybe he can be convinced to remake them.

I saw Margel as a sort of relic (she would have been about my age now so that's a sobering reflction on how I must appear) and I was too purist about what I was doing to like her work much. Now a few decades later, having seen eveything that's at Penrith, I am amazed by her work and I think it just looks better and better every time I see it again.

And you should add Neil Evans, Dave Morrissey, Tim Burns, John Peart, Jan Eager, Judy Cassab, Henry Salkauskas, Eva Kubbos, George Baldessin, Tony Coleing, Tim Johnson, Peter Kennedy.

2:03 am  
Blogger Ian Milliss said...

And Viv Binns. Thought she was there but couldn't see her when I rechecked, Also Joan Grounds, Marr Grounds, Aleks Danko, John Armstrong.

8:49 am  
Anonymous Clive Market Analyst said...

165 Neil Evans
166 Dave Morrissey
167 Tim Burns
168 Jan Eager
169 Henry Salkauskas
170 Eva Kubbos
171 George Baldessin
172 Tony Coeling
173 Peter Kennedy
174 Viv Binns
175 Joan Grounds
176 Marr Grounds
177 Aleks Danko
178 John Armstrong

4:02 pm  
Anonymous David Haines said...

Nice to see Vernon get a rap - he is local to me but never had a convo, his son is pretty well known in these parts as a techno musician doing intersting stuff - also nice to see Margel on the radar and agree I really like her work a lot - what about Frank Hinder, was he mentioned or am I confused and reading too fast? I met Tim Burns last year for the first time he is a breath of fresh air, wish we had caught up with him again this time..he is running his Tv transmitter in an old quarry off human shit under pyramids - brilliant. Was Carol Rudyard making art in the 70's ? Did you get Mike Parr onto your list ?
Forgive me if I have lost the plot. Was Peter tyndall doing stuff in the 70's or is he at his peak in the eighties. I am not sure when Adrian Hall arrived but he might go back that far as well. Another one might be Tristan Carey but unsure when he arrived. Phillipa Cullen is also a name that Steven Jones talks of quite a lot and Joyce went and vistied her house when she first came to sydney. Obviously this list could be huge does Syd Ball make it on although I guess he is on the cusp of the early eighties but as he taught me in the early eighteis when I went to art school I think he was well established by then - recently saw a painting of his done the year I was born 1966 and it looked as good as any of the recent work done by youngins discovering concrete art today.

6:48 pm  
Blogger Ian Milliss said...

Syd Ball was first seen in Sydney in late 60s (round striped paintings done while he was still in New York) so he is definitely there in the 70s. Frank Hinder yes but I can't believe I forgot Margo Lewers, talking of Penrith, she looks more and more like a really major figure I think. Peter Tyndall was around but really makes it in the 80s. Phillipa Cullen was a friend of mine (sort of) as of course is Stephen Jones who is important in his own right as a long term leader in video and everything techno. Adrian Hall was around. And if we are going to talk Tristan Carey we should mention David Ahern and Roger Frampton and AZ Music which I also helped set up and that is how I knew Phillipa Cullen, her attempts to connect electronic music, computers and dance still looks advanced. Phillipa's death in India was one of the more stupid and pointless deaths of the time, as was Mitch Johnson's, one of the founders of Earthworks Posters who died of viral pneumonia after lying in Balmain hospital emergency for hours because they just couldn't be bothered to treat him quickly enough.

But talking about Phillipa and Tim Burns and some (but not all) of the others gets back to one of my earlier points, that much of the official history of the 70s is a lie. Its the history of Australian quisling art. There was a moment starting in the late sixties and ending in the late 70s where we escaped from cultural cringe and starting doing original and amazing art in australia but then slowly the institutions, particularly the Australia Council, reimposed order, put us back in our place as just a bunch of colonials. Of course they called it "internationalism" this time but the content was the same, "if you want to be taken seriously, copy what they are doing over there and don't get ideas above your station!" And so it continues.

12:06 am  
Anonymous Clive Market Analyst said...

This is great. I'll add these people to the list. Mike Parr is there already. same with John Peart, Judy Cassab, and Tim Johnson.

12:21 am  
Anonymous Clive Market Analyst said...

179 Syd Ball
180 Carol Rudyard
181 Peter Tyndall
182 Tristian Carey
183 Frank Hinder
184 Phillipa Cullen
185 Tim Burns
186 Adrian Hall
187 Mitch Johnson
188 David Ahern
189 Roger Frampton
190 Stephen Jones
191 Margo Lewers

12:38 am  
Blogger Ian Milliss said...

You've got Tim Burns already (#167)

12:54 am  
Anonymous Clive Market Analyst said...

oops.

185 Margo Lewers
191

1:21 am  
Anonymous David Haines said...

Yes Margot Lewers also crossed my mind, in fact, if I ever had any spare dosh, which I dont, she is one person I would love to own a work by.

Keven Sheehan is another one who springs to mind - I think he emerges full tilt in the late 70's. Great Artist and also hugely influential on a younger generation and still going strong.

9:46 am  
Anonymous David Haines said...

Its also interesting in that I suppose this is like a memory list - who people can remeber and also who they like. I can think of other names but just cant quite bring myself to write them down. Its like we are saying eh ! remember these people theyre great..well thats what happens to me anyway.

10:29 am  
Anonymous Clive Market Analyst said...

I've just been putting the names down before making value judgements about their work or stage of career.
I know very little about a lot of these people.

191 Keven Sheehan
192 Ann Thompson
193 Keith Looby

11:16 am  
Anonymous Clive Market Analyst said...

194 Andrew Sibley

11:33 am  
Anonymous Clive Market Analyst said...

195 Margaret Woodward

11:46 am  
Anonymous Clive Market Analyst said...

196 Robert Juniper

11:48 am  
Anonymous Clive Market Analyst said...

197 Martin King

3:23 pm  
Anonymous Clive Market Analyst said...

198 Graham Kuo

4:10 pm  
Anonymous Clive Market Analyst said...

199 Glenn Morgan
200 Peter Powdich

4:13 pm  
Anonymous Clive Market Analyst said...

201-300

201 Bert Flugelman
202 Derry Messum

1:32 pm  
Anonymous Clive Market Analyst said...

203 David Moore
204 John Young
205 Margueritte Derricourt

5:25 pm  
Anonymous Elvy Sukaesih's hair said...

Are you sure your'e not autustic or something, Clive?

5:25 pm  
Anonymous Clive Market Analyst said...

206 Clifford Possum Tjapaltjarri
207 Rover Thomas

10:24 pm  
Anonymous Clive Market Analyst said...

208 Michael Dransfield

11:40 pm  
Anonymous Clive Market Analyst said...

209 Mad Max
210 Picnic At Hanging Rock

2:04 am  
Anonymous Clive Market Analyst said...

211 Marion Borgelt

9:17 pm  
Blogger Ian Milliss said...

You are getting more and more 80s people. Maybe you should start an 80s list?

10:55 am  
Anonymous Clive Market Analyst said...

In good time.

11:50 am  
Anonymous Clive Market Analyst said...

Everyone on this list had exhibitions on the 70s.

The current issue of Art Monthly critisised the overly simplistic categorisation of artists from this era, so why not list a whole lot of artists from the era? It's not so much an analysis as it is raw data.

I still like Nevill Drury's survey of Australian art which was by region and by genre, it was quite innovative.

Probably a lot of those artists were just replaying their favourite hits and memories of the modernists, but I wonder if there was not some level of "dialogue" between the artworks of the time.

"Dialogue" is a silly word for artworks.

12:03 pm  
Blogger Ian Milliss said...

Interesting. Some like Powditch are already well known in the late 60s. Others (Glenn Morgan, John Young) I would have thought did not show at all until well into the 80s. I probably wasn't paying enough attention at the time.

Obviously we canto develope this list idea further when we are structured in a way to do it, but the reason I find it interesting is that there IS a dialogue between things, art is a type of conversation and when you isolate works from their time you lose the conversation , all you have are bon mots at best. And this list making demonstrates one of the reasons I'm so down on conventional histories, they fail to show you how many people can contribute significantly to a scene. What is missing here, however, are the links and interactions.

There are also still a few major gaps ie the dealers,critics,curators, publishers. Rudy Komon, Kym Bonython, Barry Stern, Frank MacDonald, Max Hutchinson (more sixties, soon gone to NY), Anne Lewis, Giulia Crespi, Frank Watters, Geoffrey and Alex Legge, Chandler Coventry, Betty Kelly, Marie de Teliga, Rex Irwin, Noela Yuill, Elizabeth McGillick, Donald Brook, Elwyn Lynn, John Henshaw, Daniel Thomas, Nicky Draffin, Frances Lindsay, Renee Free, Joan Kerr, Brian Finemore, Graeme Sturgeon, John Stringer, Bernard Smith, Virginia Spate, Terry Smith, Wallace Thornton, Ross Wolf, Leon Paroissien, Bernice Murphy, Kerry Crowley, Mervyn Horton, Nick Waterlow, Jim Davenport.

This is all shades of Anne Kayes networking work in the Situation exhibition.

1:55 pm  
Anonymous Clive Market Analyst said...

I've read bits of the Situation blog, but didn't see the show. TAL has a picture of the networking piece. That sort of thing could be called a Mind Map. Tony Buzan wrote a book on mind maps, I don't know what Mind Maps were before Buzan staked his name.

7:30 pm  
Blogger Ian Milliss said...

If you are interested in mind maping you should have a look at FreeMind

http://freemind.sourceforge.net/wiki/index.php/Main_Page

Playing around with it is a pretty good way of getting a handle on mind mapping, and it is even very useful for lots of things.

11:09 pm  
Anonymous Clive Market Analyst said...

Excellent, exactly what I needed.

11:35 pm  
Anonymous Clive Market Analyst said...

212 Su Baker
213 Allan Baker

5:35 pm  
Anonymous Clive Market Analyst said...

214 Charlie Numbulmoore

5:38 pm  
Anonymous Clive Market Analyst said...

215 John Cattapan

5:44 pm  
Anonymous Clive Market Analyst said...

216 Les Blakebrough
217 Philip Piperides

5:48 pm  
Anonymous Clive Market Analyst said...

218 Jeff Makin

Perhaps not Philip Piperides

5:52 pm  
Anonymous Clive Market Analyst said...

219 Joel Ellenberg

7:47 pm  
Anonymous Clive Market Analyst said...

220 Brian Dunlop

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