On the Street Man with Beastman

Sydney based prolific street artist Beastman (Bradley Eastman) is influenced by beauty and symbolism behind nature’s repetitive geometric and symmetrical repetitions, glyphs and tribal images.

  • Beastman’s instantly-recognisable style has graced walls throughout Australia including a commission to paint the frontage of Radio 4ZZZ building in Brisbane.
  • He is represented in streets and galleries around the world, including an exhibition at the Inner State Gallery in Detroit. This unnamed work, painted in 2013, was a “fun, spontaneous, improvised mural” that has become a city landmark.
  • Beastman has also exhibited  overseas in London, Berlin and New Zealand.

“When I was younger I just wanted to draw monsters and stupid stuff,” Eastman has said. “As I’ve grown older my taste in art has become more mature. I am more interested in geometry, balance and colour theory.”

    • Find out more about Beastman at his website.

Hey man, let’s feast man!

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The Glorio of Loureiro | In the Springtime of His New Moon

[Images: The Spirit of the New Moon (1888), The Spirit of the Southern Cross (1888) and Spring (1891) by Artur Loureiro.]

Portuguese painter, Artur José de Sousa Loureiro was born on 11 February 1853, in Porto, Portugal. Lourerio attended the Escola Superior de Belas-Artes do Porto, where he studied under João António Correia. In 1875, he went to Rome with the support of his patron Delfim Guedes (1842-1895), the future Count of Almedina. In 1879, he moved to Paris with a scholarship to study at the École des Beaux Arts; living in the Latin Quarter and obtaining a position in the studios of Alexandre Cabanel.

Loureiro exhibited at the Salon from 1880 to 1882, along with his fellow painters from Portugal. While in France, he met Marie Huybers (the sister of novelist Jessie Couvreur) and married her, even though marriage violated the terms of his scholarship.

Loureiro sought another scholarship, but illness prevented him from submitting an entry. He then moved to London, where his exhibits attracted attention, but his health required a warmer climate. By 1884, both he and Marie emigrated to Australia, settling in Melbourne. The following year, Loureiro joined the first Australian Art Association, which merged with the Victorian Artists Society in 1888.

  • Loureiro became a “Professor of Design” at the Presbyterian Ladies Academy; sat on several art juries; and was named Inspector for the National Gallery of Victoria.
  • After Marie’s death in 1901, he returned to Porto, where he established a studio at the “Crystal Palace” (an exhibition hall modelled after the one in London). It quickly became a gathering place for local artists and their students.
  • His only son was killed during World War I.

A few months before his death on 7 July 1932, in Terras de Bouro, Loureiro was awarded the Order of Saint James of the Sword. He died suddenly while on a landscape painting sojourn in the countryside.

Loureiro | In the Springtime of His New Moon

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These models knelt for Albert Edelfelt

Finnish artist Albert Gustaf Aristides Edelfelt  was born on 21 July 1854 in Porvoo, Finland. He began his formal studies of art in 1869 at the Drawing School of the Finnish Art Society; and continued as a student of Adolf von Becker (Antwerp Academy of Art), and later with Jean-Leon Gerome (École Nationale des Beaux Arts, Paris).

  • In Paris he shared a studio with the American, Julian Alden Weir who introduced him to John Singer Sargent. After Paris, Edelfelt studied at St. Petersburg, Russia.

Edelfelt was one of the first Finnish artists to achieve international fame. He enjoyed considerable success in Paris and was one of the founders of the Realist art movement in Finland.  Among his students was Léon Bakst. Sadly, Edelfelt died on 18 August, 1905 at the age of 51 years.

  • A Finnish commemorative coin celebrating the 150th anniversary of his Edelfelt’s birth was minted in 2004.  The reverse face of the coin shows an embossed image of his face.

Is it a great painting? – A penny for your thoughts.

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Btoy Will Never Be Coy

Born in Barcelona, Spain in 1977, Andrea Michaelsson (aka Btoy) is a female street artist known for creating extremely fine and detailed stencils. Michaelsson studied law for four years before realising it was not the career she wanted and began to study photography at the Institute of Photographic Studies, in Barcelona.

It wasn’t until after her mother passed away in 2002, that Michaelsson became ‘Btoy’ and began her street art career. She found that painting offered an escape route from her stress, due to its distraction.

  • The photographs of Cartier-Bresson and their composition influenced her greatly.
  • Her street art stencils often portray the importance of women and sometimes incorporate famous portraits.
  • Most of these are female icons from the 1950’s, often depicted through powerful brush strokes combined with acute stencil lines.
  • She also sought influence with Hollywood actresses like Clara Bow and Louise Brooks, and their silent films. These women were the first liberated women and flappers.

Btoy prefers to place her artwork and posters in old places, including old textured and rusty doors and walls.

She has opened several exhibitions and provided installations and murals for art festivals and galleries in Los Angeles, London, Mexico, Barcelona, and Brussels.

Find out more on Btoy’s Website.

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Christchurch Cardboard Cathedral | Never Kitsch

  • Japanese architect Shigeru Ban (born on 5 August, 1957, in Tokyo, Japan) is known for his innovative work with paper; particularly recycled cardboard tubes used to quickly and efficiently house natural disaster victims. He studied at the Tokyo University of the Arts, and then at the Southern California Institute of Architecture. Later he went to Cooper Union’s School of Architecture, graduating in 1984. Ban was profiled by Time magazine in their projection of 21st century innovators in the field of architecture and design.

In 2014, Ban was named the 37th recipient of the Pritzker Architecture Prize, the most prestigious prize in modern architecture for his innovative use of material and his dedication to humanitarian efforts around the world; calling him “a committed teacher who is not only a role model for younger generations, but also an inspiration.”

  • The Cardboard Cathedral in Christchurch, New Zealand, is Ban’s transitional pro-cathedral which opened in August 2013 and seats around 700 people. It is an A-frame style, rising 24m, incorporating 86 cardboard tubes of 500 kg each atop 6m long containers, timber and steel. The roof is poly-carbon, with eight shipping containers forming the walls, sitting on a concrete slab foundation.

The site, on the corner of Hereford and Madras Streets in Latimer Square, is several blocks from the permanent location of Christchurch Cathedral, (see above) which was significantly damaged in the 2011 Christchurch earthquake. Following the earthquakes, Shigeru Ban was invited to Christchurch by Rev. Craig Dixon, the Cathedral’s marketing and development manager, to discuss a temporary cathedral that could also host concerts and civic events. The concept was developed during that visit.

Ban designed the building in collaboration with local architects Warren and Mahoney. Initially it was hoped to have the cathedral open in February 2012 for the first earthquake anniversary. However, it was not until April 2012 that the site was blessed, and construction began on 24 July 2012. The building opened to the public on 6 August 2013 with a dedication service on 15 August. It was the first significant building opened as part of Christchurch’s rebuild.

  • The building has its critics and admirers and the ‘Wizard of New Zealand’, as one of its strongest critics, called the design “kitsch”. – Far from it, I believe.

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Mister Lister | What a Twister

Brisbane born street artist, contemporary Australian painter and installation artist Anthony Lister (born 1979+) lives in Sydney but his work can be found worldwide on streets, in galleries and decorating high-end shops and businesses.

As a 17 year old teenager, Lister helped pioneer the street art movement in his home city of Brisbane and is considered one of Australia’s premier street artists. He studied at the Queensland College of Art, graduating in 2001. Shortly after, Lister traveled to New York, where he was mentored under Max Gimblett; one of New Zealand’s most influential artists.

  • Lister is notable within the Lowbrow (art movement) and has been featured on Juxtapoz, Vogue, WoosterCollective and Highsnobiety. Taking influence from the dirtier and rough techniques of “Bad” painting and merging it with the spirit and practices of street art, Lister has embraced an explosive, scratchy, scrawling form of figurative aesthetic using a variety of mediums from painting, drawing and installation to film, music and VR technology. His scrawling, figurative street art style employs charcoal, acrylic, oil and  spray paint.

Lister has exhibited his work extensively within Australia and internationally both in the gallery and on the streets, including Bogan Paradise, a three-story exhibition in a disused sex shop in Sydney, in 2011, Los Angeles solo exhibitions and Unslung Heroes, The Outsiders/Lazarides Gallery, London and Newcastle, in 2012. Other exhibitions include those held at the Olsen Gallery (Sydney), Black Art Projects (Melbourne), Urban Spree Gallery (Berlin), Robert Fontaine Gallery (Miami) and Allouche Gallery (New York).

  • Noted as one of the Top 50 most collectable Australian artists, Lister’s work is included in the collections of the National Gallery of Australia (NGV), and many other notable collections. Both Hugh Jackman and Pink have purchased some of his work.
  • Commercially, Lister has worked with various international fashion, lifestyle and technological brands such as Hermès, Mercedes-Benz, The Standard Hotel, Vogue Australia, Westfield and Samsung.
  • He has also collaborated with Blek le Rat, Space Invader, Mark “Chopper” Read, and Nick Cave.

Further information and bio is located at Streetartbio.com

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Greer Honeywill | Architecture of the Heart

[Above images: Architecture of the Heart  #1 and #2 (2008-2012) Duratran, powder coated light box 96 cm x 62 cm]

Australian conceptual artist, Greer Honeywill  (born 1945 in Adelaide, South Australia), studied art at the South Australian School of Art and Western Teachers College; graduating as an art teacher in 1964. Honeywill continued her studies in drama at Adelaide Teachers College in 1967 (now University of South Australia).

Between 1963 and 1976 Honeywill worked as a stage designer in Adelaide. She designed Eureka Stockade for the University of Adelaide Theatre Guild and the 1976 production of Jumpers, both for the Adelaide Fringe Festival.

Greer Honeywill relocated to Melbourne in 1990.

  • In 2003 she graduated from Monash University, with a PhD in Fine Art and was awarded the Mollie Holman Medal for academic excellence for her work which ranged from large-scale outdoor installations to more formal plinth based sculptural objects and wall mounted text based works.
  • Honeywill relocated to Tasmania in 2010 and in late 2011 commenced a second PhD at the University of Tasmania, which was awarded in August 2015. Her thesis was – The Ever Present Eye.
  • Since 2016, Honeywill has returned once more to Melbourne where she continues to live and produce great art.

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How to become a Walker Stalker

British street artist David Walker likes to paint around East London. Walker aims to challenge preconceptions about fine art and urban art painting within the gallery confines and the public domain.

  • According to his website, Walker’s works are mostly in portraiture.
  • He has developed a signature multi-layered style, painting freehand, using only spray paint and without the aid of brushes.
  • The results are visually rich portraits that fuse photo realism, abstraction and graffiti art sensibilities with a raw energy that comes from the medium.

Walker’s work is exhibited in the United Kingdom (UK) and internationally and over recent years he has shown work in Europe (Berlin, Lisbon, Paris), Hong Kong, and in the United States (US) in Denver, Los Angeles and New York amongst others and his paintings have been shown alongside the leading figures in the urban contemporary and street art movement.

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Joyeux Noël | Festive Greetings to You All

The United Nations International Children’s Emergency Fund (UNICEF) provides emergency food and healthcare to children and women in countries that have been devastated by war or other significant emergencies. UNICEF has been selling greeting cards for over 70 years. These cards are beautifully designed and made with a commitment to sustainable forest management and responsible use of the planet’s natural resources.

  • The image on the left is entitled ‘The Journey‘ by Danish graphic artist Gisken Gross. Little is known about her however she may be the wife of Birkerød garden architect Fritz Hermansen.

The other illustration was not part of the UNICEF Christmas card range. This design is by Australian artist Anthony John Heriot Harvey (b. 25 May 1930) aka Tony Harvey. He was a graphic designer, cartoonist, illustrator, print maker, industrial/product designer and sculptor.

  • A student at Melbourne High School from 1944-1946, Harvey read widely, borrowed from the Melbourne Public Library, frequented the National Gallery of Victoria and Ellis Bird’s secondhand bookshop discovering old engravings and copies of Punch, The Studio and Art in Australia which inspired his own artistic endevours.
  • Harvey had an extensive career as an educator in Victoria. He was especially noted for his wit, humour and economy of line in his Punch and Bulletin cartoons and vibrant range of lino-cut and silk screen Australian greeting cards produced during the 1950s and 1960s.
  • He died at Port Melbourne on 27 July 2014, at the age of 84.

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What a lot of ‘White Noise’ | The Pamela Anderson House

St Kilda West’s “Pamela Anderson House” was once owned by infamous Australian Rules footballer/commentator from “The Footy Show“, Sam Newman. Situated at 270 Canterbury Road, on a former railway reserve, this post-modern style house was built in 2001 by Melbourne architect and interior designer Cassandra Fahey (born c. 1972).

  • Fahey was given a fairly open brief including requirements for a sense of privacy, light and an overall ‘exoticism’.
  • The house which is actually named ‘White Noise’ is inspired by Robert Venturi’s “Billboard Facade“, combining Post-Modernism with Minimalism architectural design.

Its façade consists of a 9×8 metre patterned glass mural of ‘Baywatch‘ star Pamela Anderson, built on commission for Newman. Fahey tested over 200 patterns to obtain a subtle yet confronting version of the pixelated image of Pamela Anderson. The facade itself is manufactured from laminated Digi-glass and digital film sitting on an aluminium plate grid frame. The garage door opens where Anderson’s mouth appears – and the project was completed with Anderson’s permission.

As a result, this three-storey town house design won a prestigious architecture award – for Best New Residential Building in the Royal Australian Institute of Architects (RAIA) Victorian Architecture Awards in 2003. Although it is not listed on the Victorian Heritage Register, it offers three bedrooms, a gourmet kitchen, a north-facing terrace with lap pool, a private courtyard with pond and a two-car garage.

Although Newman never lived in the house, which he had built at the height of his playboy notoriety, its glass panel frontage made headlines across the world. Since then it has been sold on a few times. The house became a decisive point amongst the local community with many ‘fors’ and ‘againsts’, but despite its polarising affect on the community and drawing many local and overseas visitors, it still stands today.

  • Fahey completed the Bachelor of Architecture at Royal Melbourne Institute of Technology (RMIT) in 1998 and since then has gained further qualifications.
  • Her work has received a number of awards as well as being featured in many local and international publications.
  • As Director of the architecture firm “Cassandra Complex” Fahey is also known for her works on the “The Smith Great Aussie Home” and the BHP Billiton Healesville Sanctuary “Platypusary

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A Dash of Ash | Up in a Flash

Ash Keating (born Melbourne, 1980) is a male artist born in Australia, currently working in media, sculpture, painting, photography, installation and screen-based performance.

Keating painted a 19 m x 7.5 m vinyl billboard on the North Wall of the National Gallery of Victoria (NGV) for the 2013 Melbourne Now exhibition, using Dulux Weathershield Low Sheen paint and 25 fire extinguishers, to complete this work.  On the day he commenced at 5.30 a.m. and finished by noon; transforming a grey wall into a vibrant spray of colours reflecting an Australian sunset.

  • Melbourne Now, was an exhibition celebrating Melbourne’s contemporary artists and became the biggest undertaking in the NGV’s history. Keating was one of more than 400 artists to have created 170 projects which showcased the latest in Melbourne art, design, architecture, fashion and performance.

Keating completed a Bachelor of Fine Art in Painting at Monash University, Caulfield in 2003 and then went on to complete a first class BFA Honours year at the Victorian College of the Arts in 2006.

  • He was the Victorian winner of the 2011 Qantas Visual Arts Award, and a winner of a 2008 ANZ Art and Australia RIPE award, as well as being selected as a finalist in the 2011 Blake Prize, the 2011 Substation Contemporary Art Award, the 2009 Qantas SOYA awards and the 2009 RBS Australian Emerging Artist awards.

Ash Keating has exhibited extensively in solo and group gallery exhibitions in Australia since 2004, including solo exhibitions at the Latrobe University of Modern Art and Utopian Slumps in Melbourne and BREENSPACE in Sydney, as well as being represented in group exhibitions at Gertrude Contemporary, Bus Projects, West Space, Linden Centre of Contemporary Arts, Monash Gallery of Art, Monash University of Modern Art, RMIT Gallery Melbourne, CACSA Adelaide and Artspace, Sydney.

Keating has created several ambitious site-specific art projects internationally including, ‘Pascua Lama’ (2006) at the Museo de Contemporeano, Santiago, Chile, ‘Label Land’ (2008) in Seoul, Korea, ‘Timuran’ (2009) in Jogjakarta Indonesia, ‘Ascension’ (2011) at ‘3331 Arts Chiyoda‘, Tokyo Japan, ‘Gardensity’ (2009-2011) for the 6th SCAPE Christchurch Biennial of Art in Public Space in Christchurch New Zealand, and ‘Zi Namsan +’ (2011) for City within the City exhibition at Artsonje Centre Seoul, Korea.

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To Market, To Market, To Buy a Fat Pig

[Featured images by Bartolomeo Passerotti | Two Market Stalls: The Fish Stall and The Butcher Stall (both oil on canvas 112cm x 152cm).]

Italian artist of the Mannerist period Bartolomeo Passerotti, was born in Bologna in 1529. He traveled to Rome in the mid-16th century where he worked under Girolamo Vignola and Taddeo Zuccari. Upon returning to Bologna Passerotti accumulated a large studio, where he influenced many Bolognese artists who would later play a role in the rise of the Baroque period in art.

  • The Fish Stall and The Butcher Stall are two of four Market Stall paintings by Passerotti. Dated ca 1578-1580, they are signed with a sparrow, the artists symbol.
  • Both of these artworks were purchased by Otto Messenger and donated to the Galleria Nazionale d’Arte Antica di Palazzo Barberini in 1967.
  • Two further works in this collection include: The Chicken Sellers (part of the Longhi collection) and The Chicken and Vegetable Sellers (Gemaldegalerie collection, Berlin).
  •  For other market stall depictions in art see The Fruit Seller by Vincenzo Campi.

Four of Passerotti’s sons, Ventura, Aurelio, Tiburzio and Passarotto became painters. Bartolomeo Passerotti died in 1592 at the age of 63.

To Market, To Market, To Buy a Fat Pig, Home Again, Home Again, Jiggity-Jig, is a nursery rhyme which is based upon the traditional rural activity of going to a market or a fair where agricultural produce would be bought and sold.

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Why do these remind me of the ICPOTA man with his newspaper cap?

[River art installation: Talking Our Way Home by Shaun Kirby, River Torrens, Adelaide, South Australia. (Five glass and steel origami-like boats suggesting movement, transport and the idea of journey)].

Installation artist Shaun Kirby (born London 1958- ) migrated to Adelaide, South Australia with his family in the mid-1960’s. They were part of the vast post-WW2 British “Ten-Pound Pom” assisted migration scheme, based on the Australian request to “populate or perish”.

  • Kirby spent a short time at the former Elder Park Migrant Hostel which was not far from where his installation currently sits.
  • The floating artwork signifies both cultural and social issues portrayed, including the journey that many new Australians have embarked upon.

However, I cannot help but see these origami-like boats looking like the ‘ICPOTA’ character who used to appear in The Age broadsheet newspaper’s personal or classified advertisement section which was also advertised on television. ICPOTA was actually an acronym for this section i.e. “In the Classified Pages Of The Age” (ICPOTA). (See image above).

  • In the personal columns there were many advertisements asking for companion relationship connections. Many of these included words and phrases such as:
  • Desperately seeking | looks not important | have a PhD from the School of Hard Knocks | student of life | fun loving | care-free | seeking same | seeking friendship with a view to romance, etc.

The ICPOTA character was created by graphic artist Alex Stitt. His career began with the introduction of television (TV) to Australia in 1958. After creating many commercials for TV, his all-singing and all dancing  ICPOTA became a hit. Further successful campaigns included:

  • The Anti-Cancer Council’s Slip! Slop! Slap! campaign
  • The large couch potato called Norm for the “Life. Be in it” health and fitness campaign for the Victorian government in 1975 and later for the Australian national campaign in 1978.
  • Stitt has also worked with Fred Schepisi, Peter Ustinov and is a serious artist in his own right.

So, Be In It – Slip, Slop or Slap,
Fold up an Origami-like newspaper hat.
Take your friends down to the Torrens
Whether local or foreign,
And relish this artwork in its own habitat.

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Some Scenics by Phoenix | The Street Artist

Phoenix the Street Artist has been making collage installation street art in public spaces around the Melbourne CBD and beyond since the 1980s. Phoenix works with a combination of drawing and photocopying using cardboard, paper, pencil, pens, box cutters, transparencies, found objects, cornflour paste, blue-tac, and recycled boxes.

Phoenix’s art suffered a major setback when a fire burned down his home studio in 2004, which contained many of his works, as well as his collage system; an extensive library of collected and photocopied elements and other collage materials. Only a small portion of these, mostly charred and water-damaged; were able to be salvaged from the ashes and debris.

  • After five years, the ‘Phoenix rose from the ashes‘ and he put up his first street art in December 2009.

This spurred him to start taking his collage and copy art to the streets as Phoenix. Find out more via Phoenix’s website.

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From Hot Winds to Hayricks, its a Garden Idyll

[Mrs. Conder (Portrait of Stella)], [Garden Idyll (ca.1906) 65.2 cm x 75.5 cm], [Hot Wind (1881) oil on board 29 cm x 75 cm] and [Hayricks in Giverny oil on canvas].

English-born painter, lithographer and designer Charles Edward Conder was born in Tottenham, Middlesex, on 24 October 1868. He emigrated to Australia and was a key figure in the Heidelberg School, a distinctive Australian expressionist art movement.

With a fond interest in art, Conder left school at 15; due to his very religious, non-artistic father; who decided that the young Conder should follow in his footsteps, as a civil engineer. In 1884, at the age of 16, Charles Conder arrived in Sydney, Australia, where he worked for his uncle, a land surveyor for the New South Wales government. However he disliked this work, preferring to draw the landscape rather than survey it. By 1886, Conder became an artist for the “Illustrated Sydney News” and joined the Art Society of New South Wales.

Two years later Conder moved to Melbourne where he met Australian artists including Arthur Streeton, and Tom Roberts.  He was a fun-loving man who painted with an often humorous touch; and along with other painters such as Frederick McCubbin had been influenced by Whistler. Conder left Australia in 189o and spent the rest of his life in Europe, mainly England, but visiting France on many occasions. He became fully involved with Aestheticism and mixed with leading artists and writers of the day including Henri Toulouse-Lautrec, Oscar Wilde and Aubrey Beardsley.

Conder continued to paint, but his output was severely affected by continual poor health, including paralysis and a bout of delirium tremens. Thus, his later works are not as critically well regarded as his earlier Australian paintings. He married a wealthy widow, Stella Maris Belford at The British Embassy in Paris on 05 December, 1901, providing him with financial security.

    • He spent the last year of his life in a sanatorium and died on 09 February, 1909 in Holloway Sanatorium of “general paresis of the insane” (tertiary syphilis).
    • Satirist Barry Humphries is a major aficionado and collector of the artist; and at one time had the world’s largest private collection of Conder’s work.

Clearly a Conder fonder from near yonder!

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