Ha-Ha | ‘It’s better than sex’

Ha-Ha the street artist is also known as Regan Tamanui. As a street artist he has been using spray can and stencil art in and around Melbourne since 2001. He is also a professional artist and gallery curator with several gallery shows under his belt.

Ha-Ha began his street art back when he used to work as a ‘garbo’ for the cities of Whitehorse, Moreland and Glen Eira and took hundreds of stickers to work each week and stuck them up all over the neighbourhood. Now he mainly uses stencils in and around the Melbourne CBD, Fitzroy, Collingwood, Brunswick and Richmond areas close to home.

  • Ha-Ha often depicts pop kitsch art. He is fascinated by conspiracies, robots, Dystopian future, underbelly sub-cultures and anti-corporate and anti-government campaigns. He claims his inspiration came from another stencil street artist Psalm.
  • Ha-Ha once said that: ‘The risk of getting caught is the ultimate thrill. It’s better than sex’.

Further information is available at his website or you can follow him on his Instagram account @regantamanui

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Hutton’s Hamming It Up

Hutton’s Hams and Bacon (Pine-Apple Brand)

During the 1860s the suburb of Preston in Melbourne’s north saw the introduction  of a bacon-curing factory. Following its opening in 1862, came a tannery in 1865. These original establishments would be followed by several larger factories, including Hutton’s Hams and Bacons and Zwar’s Parkside Tannery.

Mel B. Spurr seen in this Hutton‘s poster, was a short plump pink-faced fellow with a jaunty comedian’s facade and an air of deceptive innocence, but he never left much of a mark on Australian history, but maybe it’s marketing tagline had greater success – “No, no, no, –  I must have Hutton’s”.

However, I don’t eat meat, so Hutton’s Means Nuttin’ To Me

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Wowed By the Cloud

The Cloud (1900) by Charles Douglas Richardson.

Victorian Heidelberg School artist and sculptor, Charles Douglas Richardson (7 July 1853 – 15 October 1932) trained at the Artisans School of Design, Trades Hall and the National Gallery School, both in Melbourne; before he began studies at the Royal Academy School in London. During this time he shared studios with fellow Melburnians, Tom Roberts and Bertram Mackennal.

Richardson was one of the most gifted sculptors working in Australia ca. 1900. His cast ‘The Cloud”, a bronze nude female sculpture, consists of a 167cm life-size bronze casting which was unfortunately damaged after it was exhibited at the Ballarat Art Gallery in 1977.

  • The current bronze cast (1986) stands in the centre of a lily pond as part of the Bayside Town Hall gardens which was originally planned for the City’s Centenary Celebrations in 1934; before the plans were scrapped. However, 52 years later, ‘The Cloud’ finally  lifted and the statue emerged.

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Here Comes the Bride

Australian crepe wedding dress (1953) made by Violet Cocking (nee Dowey) who had resided in North Street, Castlemaine, prior to her marriage to Stanley Cocking in 1924. The dress was inspired by the gown worn by Queen Elizabeth II upon her Coronation in June 1953; which depicts emblems of the Commonwealth; similar to those which were stitched onto the Queen’s gown. [Castlemaine Museum – gift by Pat Cocking, 2003].

Jean-Paul Gaultier:

  • The Bride [La Mariée] from The Hussars Collection haute couture Autumn-Winter 2002-2003. The Indian-style feather headdress and train is covered in ivory silk tulle. The dress has a jewelled bodice and an ivory silk faille skirt decorated with fastenings from a Hussar coat. The ensemble is worn with draped ivory tulle gloves.
  • The Bride from the Tribute to Africa Collection haute couture Spring-Summer 2005. This fan-pleated chiffon shield gown and marabou-lined tulle veil took 140 hours to create.

Chinese Wedding jacket and skirt (c 1932). This fully-lined jacket and skirt is made of red satin with a Mandarin-style collar and three-quarter length sleeves. The jacket zips up at the front and has two short slits at the sides. The entire jacket is covered in sequins with special beaded patterns on the back, down the sleeves and along the front opening; depicting two phoenixes. It was worn by Mrs Kit Lee on her wedding day on 20 November 1932 in Guangzhou, China, when she was aged 17. Mrs Lee came to Australia after WW2 arriving with five children and made a living from farming, as her husband died when their youngest son was two years old. [On view at the Melbourne Chinese Museum].

  •  ‘Signing the Register‘ – by Edmund Blair Leighton [City of Bristol Museum and Art Gallery]. Edmund Blair Leighton (born in London, 21 September 1852 – died 1 September 1922) was an English painter of historical genre scenes, specializing in Regency and medieval subjects. For further information on Leighton, see my earlier post.

Arthur Boyd (1920-1999) four artworks from the Love, Marriage and Death of a Half Caste, more commonly known as the the ‘Bridegroom‘ series, Bridegroom Waiting for His Bride to Grow Up (1958); The Frightened Bridegroom (1958), The Bridegroom Drinking From a Creek and The Wedding Group.

  • The series was painted between 1957-1960, after Boyd travelled to Central Australia and earned him critical acclaim. The paintings gradually dispersed across public and private collections around the world. In recent years many of the works have returned to Australia, providing an unprecedented opportunity to reunite them at a special exhibition curated at the Heide Museum of Modern Art. Held during 2014-2015, the exhibition presented the core paintings of the series along with related drawings and ceramic pieces.

Like these images? – I Do!

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Walk Softly Witch! You Are Wanted by Carter Brown

The 1950s were a golden era for Australian pulp fiction and one of the main attractions was its striking cover art. With import restrictions on books and magazines from the United States (US) in the 1940s and 1950s; opportunities arose for local publishers to meet a growing demand for ‘American style’ fiction.

  • Despite their local production, the stories were still set amongst the mean streets of America.
  • With the introduction of television and the lifting of import restrictions in 1959, the demand for locally produced pulp fiction declined.

Australian publishers Horowitz and Cleveland from Sydney, led the way, putting together a multitude of writers capable of producing books to order; such as the ‘Larry Kent’ series which ran to over 400 titles; while Alan Geoffrey Yates, writing under the pseudonym ‘Carter Brown‘, issued some 300 crime novels between 1954-1964.

Yates was born in England on 1 August 1923, and later settled in Australia in 1948. He began his working life as a film technician, salesman and in public relations for Qantas airlines before taking up writing full-time.

  • A writer under many pseudonyms, Yates wrote westerns as Todd Conway, and science fiction as Paul Valdez.
  • He even found the time to write books under various versions of his own name as well as other pseudonyms, including Dennis Sinclair and Sinclair MacKellar.

The phone rang.
I eased the dame’s arm from around my shoulder.
‘Business first’, I said.”
– Larry Kent

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Hop To It | The Tale of Aurora and Tithonus

[Aurora and Tithonus by Francesco de Nura ]

Francesco de Mura (21 April 1696 – 19 August 1782) was an Italian neo-Classicist painter of the late-Baroque period, active mainly in Naples and Turin. He was a pupil of Francesco Solimena, then later Domenico Viola, where he met his contemporary, Mattia Preti.

  • While still in his teens, De Mura painted frescoes in San Nicola alla Carità in Naples (1715); and ten canvases of the Virtues and an Adoration of the Magi for the Church of Santa Maria Donnaromita (1728).
  • His other works include frescoes of the Adoration of the Magi in the apsidal dome of the Church of the Nunziatella (1732).
  • De Mura also painted portraits.

About the painting – Aurora and Tithonus.
Aurora was the Goddess of Dawn and was inspired by the love of mortals. Her favourite being Tithonus, son of Laomedon, King of Troy. Aurora stole him away and prevailed on Jupiter to grant him immortality, but forgetting to have youth joined in her wish, realised to later, to her great mortification that he was growing old, instead of remaining young and youthful.

When Tithonus’s hair turned white, she left him. However he was still allowed to remain in their palace. After a while Tithonus lost the power to use his limbs and Aurora locked him up in a chamber where his feeble voice was sometimes heard.

  • Finally she turned him into a grasshopper.

As you do!

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Somewhere Over the Rainbow Bluebirds Fly…

Australia Fair, performed on the 73-key Belgian built Verbeeck Concert Street Organ.

Australia Fair’ is the name of this beautiful street organ made by Johnny Verbeeck, built from the Verbeeck’s Organ Works (Est 1884), in the city of Antwerp, Belgium.

  • The ‘Australia Fair’ travelling concert organ entertains crowds throughout Australia, bringing happiness to thousands who listen to her music. This isn’t hard, because its mission is to entertain and delight generations of Australians in street organ concerts.
  • It is the only travelling Concert Organ in Australia. It has entertained extensively at all levels from local functions to “Yarralumla” – the residence of the Governor General of Australia.
  • All Australians are encouraged to support ‘Australia Fair’, as it is self-funded and reliant on personal donations to ensure her continued future.
Somewhere over the rainbow bluebirds fly
Birds fly over the rainbow
Why then, oh, why can’t I?

Further information for the Australia Fair Grand Concert Street Organ is available on this Facebook page.

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What Are We Hanging Around For?

[Sea Country Spirits (2015-2016) consists of 32 sculptures of spirits, of takorra (sky) beeyak (land) and warri (sea); from Wathaurong country, which Jenny presents as a rhythmical dance of animated spirit forms of different scales, made from copper wire, tree grass, driftwood, kangaroo bones, feathers, wood, synthetic polymer paint, seaweed, grass roots and resin].

  • Australian indigenous artist, Jenny Crompton (born in Warthraurong in 1968) lives on the Victorian Surf Coast, the land of her ancestors, the Wadawurrung.
  • Crompton is the creator of Sea Country Spirits which consists of the surreal shapes of birds and their nest crustaceans, shellfish, fish, shells and macropods, displayed together to create an ethereal sensation of different living creatures.
  • These are gathered to tell a story about the life cycles of Crompton’s Country and to express the continuous rhythms the land has been echoing for millennia.

Crompton’s focus on themes explore the environment and indigenous culture of her country. Part of her process is walking the land and respectfully gathering natural materials, which allows her to reconnect, listen and interpret an essence of her culture through the making of sculpture and paintings.

  • Crompton won the Deadly Art Award at the Victorian Indigenous Art Awards (VIAA) in 2014 and was a finalist in the 2015 VIAA awards.
  • She also won the 2016 Lorne Sculpture Biennale, Sculpture Trail Award.

You can follow Jenny Crompton via her website.

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Hey, Flick That Chip Off Your Shoulder

[“Flick That Chip off Your shoulder” street art mural by Indonesian artist Eko Nugroho in Hosier Lane and “Dilema Generasai #2″, oil & synthetic polymer paint on fiberglass steel, at National Gallery of Victoria].

Eko Nugroho (b. 1977 in Jogyakarta, Indonesia) is a contemporary Indonesian artist. Nugroho belonged to the generation of artists, who joined student and youth political activism movements called Reformasi, the ‘2000 Generation’;  which were active in the late 1990s. Their political messages were based on observations and daily impressions of socio-political issues which occurred at that time.

  • Nugroho’s works cross many art disciplines including public murals, paintings, drawings, embroidery, comics, video animation and contemporary wayang kulit (shadow puppets).
  • Like many of his peers, he has managed to merge ‘high art’ with popular and street art, to become a successful contemporary Indonesian artist.

In 2012, Nugroho’s contribution to the RALLY: Contemporary Indonesian Art exhibition saw time for him to paint a mural which he completed in one day on a wall in Melbourne’s famous Hosier Lane.

  • Entitled Flick That Chip Off Your Shoulder, it contained his signature creatures and playful elusive forms for which he has become known for.

Dilema Generasai #2 [translated: Generational Dilemma] (2012), features one of Nugroho’s helmeted figures, which reference his concerns for political and social issues affecting Indonesia’s younger generations.

  • Both of these examples showcase Nugroho’s questions about humanity’s existence and ironic nature; including frivolity and dysfunctions; and the absurdity of life; which are all addressed through his comic-inspired universe populated by hybrid-aliens and bizarre narratives.
  • The masks and headgear worn by his protagonists are symbols of protection and concealment, which act as metaphors for different psychological states such as detachment, isolation and indifference.

You can visit his website or contact him directly by email or via his studio.

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The Village Life of Hendra Gunawan

Hendra Gunawan was an Indonesian artist, poet, sculptor and guerilla fighter who was born in Bandung, the capital of West Java, (former Dutch East Indies), on June 11, 1918 and died in Bali on July 17, 1983.

  • Gunawan was best known for his combining of Western painting techniques and traditional Indonesian aesthetics.
  • His oeuvre spans a vast array of subjects including (but not limited to): fishermen, fish, water buffaloes, nude women, masked men, guerrilla fighters and abstract forms.
  • Gunawan fought against the Dutch colonial rule as a guerilla fighter; and later as an activist against the ruling government; for which he was incarcerated from 1965–1978.
  • It was during this period that he continued to paint, creating works on small scraps of rough canvas made available to him.

Today, his work can be found in the Neka Art Museum in Bali, the Singapore Art Museum; and the Ciputra Sundagese Heritage Museum in Jakarta name but a few.

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These Tins Really Take the Biscuit!

Biscuit Tin CollectionFrom Melbourne Open House -“Cabinets of Wonder” ephemera collection at the Royal Historical Society of Victoria. entitled – ”The Welcome Guest”.

These biscuit tins belong to the personal collection of “TG” [Occupation: Driver]. In reference to his collection, TG says: “I got interested in collecting biscuit tins, packaging and signs for a few reasons. My mum, my girlfriend (1970-1973), her mum and two of her aunties worked at Guests [biscuit factory] in West Melbourne. My uncle worked at Brockhoff’s in West Melbourne. My interest also came from the 1960s when I noticed a ‘stars ‘n stripes’ wrapper on Guest’s USA cream biscuits. It also featured the Guest Bell Boy, known as The Welcome Guest. Guests are a favourite collecting area but I have also expanded my interest on biscuits to confectionery”.

  • He may be crackers – but his collection isn’t crumby – in fact I think it’s very Nice

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Chrissy Amphlett | You’re Not Like the Rest

The late Divinyl’s singer Chrissy Amphlett helped put Australian rock music on the international map and is recognised with a permanent accolade to her in the form of a renamed lane off Little Bourke Street between Spring and Exhibition Streets, in Melbourne, Australia.

  • Amphlett Lane, was renamed from its former name Corporation Lane due to ‘Team Chrissy’, a well run campaign by Amphlett fans and 7000 lobbyists.
  • The laneway is nestled behind Melbourne’s Princess Theatre and the rear of the Palace Theatre on Bourke Street, two of the Divinyl’s concert venues.
  • As well as a commemorative plaque, the laneway is adorned with two artworks by Tasmanian artist Peter Gouldthorpe and a stencil work by Melbourne artist Damien Arena; one featuring the singer’s iconic schoolgirl uniform and her beloved dogs.

Amphlett was only 53 when she died from breast cancer in 2013; and had worldwide hits with the Divinyl’s such as: Science Fiction, The Boys in Town and I Touch Myself (which has been latterly used in breast cancer awareness campaigns).

Too much too young – Get Me Out of Here!

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These Conor’s Are Probably a Gonner

Street artist Conor Harrington was born in Cork, Ireland in 1980.  These days he is living and working in London, where he considers himself as a ‘painter’ rather than street artist or gallery artist, to which he is both.

Harringon’s career began as a teenager tagging and graffiti painting in the streets of Ireland. Most of these nights were called hip-hop nights, where he would hang out with the DJs and MCs from around the Irish countryside at clubs in the 1990s. During the day he studied at the Limerick School of Art and Design, graduating with a Bachelor of Fine Arts in 2002.

These days Harrington’s outdoor street murals are often on a large scale. His work is a mixture of classical and contemporary art, blending the two together into a new and inventive way of art.

  • In 2013, Harrington participated in the Dulwich Outdoor Gallery project, initiated by the Dulwich Picture Gallery.

Discover further information on Conor Harrington’s website.

These Conor’s are probably a gonner, but look out for further Harrington street art murals on a wall near you!

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Successfully Sensitive | Emotionally Unstable

Brit D’Argaville’s  ‘Political Problem’ [Neon transparent synthetic polymer resin, 39.8 x 122.6 x 6.4 cm. Exhibited at Start Up – Top Arts 2015 National Gallery of Victoria (NGV)]

Using specific colour and font, Brit D’Argaville’s ‘Political Problem‘ draws on gender stereotyping and double-standards exposed between male and female representation in both politics and the media.

  • For example, ‘SUCESSFULLY SENSITIVE’  is represented in blue capital letters, which depicts how male politicians are perceived when they cry in the public domain.
  • In contrast, the pink and feminine representation reads ‘emotionally unstable‘ in flowing collapsed letters; representing stereotype bias when a female politician cries in public and according to the artist; conveys a sense of hopelessness.

For further information on this artwork, see D’Argaville’s page on Top Arts 2015 at the National Gallery of Victoria (NGV) Melbourne website.

The NGV is celebrating its 25th year of the Start Up Top Arts exhibition, presenting outstanding work by students who have completed Art or Studio Arts studies in the Victorian Certificate of Education (VCE) each year.

The current Top Arts exhibition for 2019 can be viewed at the NGV Australia, Federation Square, Melbourne, Ground Level, NGV Design Studio. (Duration: 22 March, 2019 – 14 July, 2019, Open 10.00 a.m. – 5.00 p.m. daily – Free entrance).

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Tea for Two and Two for Tea

Peter Philippi was born in 1866 in Trier. He studied between 1885-1902 at the Düsseldorf Academy of Fine Art.

  • Between 1895 – 1902 Philippi was taught at the Academy by Professor Eduard von Gebhardt.
  • Upon completion of his studies, Philippi settled in Rothenburg ob der Tauber.
  • From there he regularly sent his paintings to various art exhibitions.
  • His works are on display at the Berlin National Gallery and the Neue Pinakothek in Munich.

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