Ecstasy

Part two of the Bega deconstructed project...

Bob Georgeson, Ecstasy, 2012, Video projection, Woolworth's complex, Bega.

The Pearls

Bob Georgeson, The Pearls, 2009, Photomontage

Bega deconstructed

They say that Bega will be transformed when the new bypass is completed, but for many local residents they might have wished that they could have bypassed this town forever. 'I've had a Bega of a day' is instantly understood as meaning NOT GOOD. However, as the largest centre of the Far South Coast it's facilities such as the hospital, local government and shops make it impossible to ignore. There are little treasures amongst the architectural monstrosities. The Historical Society's museum, Candelo Books, the Regional and Spiral Art Galleries, the Anglican Church are small cultural havens that contrast with the arguing couples outside the Centrelink offices, or the bunch of colourful characters that sit at Gloria Jeans Coffee Shop. A visit to Bega makes one realise how fortunate ones life has been...

So, I have decided to deconstruct Bega with a view to eventually using it's vagaries for public art projects. I am indebted to Craig Cameron for sparking this project with his original idea of using vacant shops as art spaces...

Bob Georgeson, Undercover Parking, 2012, Installation view, Woolworth's complex, Auckland St, Bega.

road TRIP

The third in my series of experimental films...

...a warning for my overseas readers: Australia really looks like this!


...and, as I am still learning all this stuff any feedback on technical issues, file sizes, file formats, video and sound quality etc. would be appreciated...

Orgasm

for Max Ernst...

Bob Georgeson, Orgasm, 2009, Photomontage

Contemporary Australia: Women

No problems with taking photographs at Brisbane's Gallery of Modern Art! Unlike the rather tired looking National Gallery in Canberra this institution has a vibrancy and excitement about it that is perhaps only rivalled by Hobart's MONA. And what a knockout exhibition within it's two giant display spaces. Here the artists are given ample room to produce site specific works, and let fly they do! Ones faith in the future of art is restored. Superbly curated by Julie Ewington the new breed (with a few old faces thrown in) of Oz women artists strut their stuff in a powerful show that demonstrates that contemporary art can be intelligent, fun, dynamic and accessible. And still deal with feminist issues. It's a big call, but why do I feel that women are leading the way in art at the moment? Well, unlike the blokes, they mostly avoid the wank factor...and nice touches like the explanations for kids about the works, thoughtfully hung at kid height, add to the embracing of humanity and the desire to promote art. No need to say more...let the pics do the talking...

Judith Wright, A wake, 2011, Mixed media installation.

Deborah Kelly, The Miracles, 2012, (detail), photographs

Deborah Kelly, The Miracles, 2012, photographs

Sandra Selig, prisms remember you, 2012, Spun polyester threads, nails, paint.

Justine Khamara, Watch me slip through these thin sheets, 2011, Mirrored panels, printed fabric.

Justene Williams, Your beat my scenic personality of space, 2010, Multi-screen video installation.

Airport

Bob Georgeson, Airport, 2012, Triptych, Digital photography.

unDisclosed: 2nd National Indigenous Art Triennial

"No photos, no photos" the guard yells at me as she runs across the gallery. Oops...the digi camera slips back into my pocket. I had only just entered the temporary exhibitions area of the National Gallery of Australia when confronted by this encounter. It struck me later that it was, in a way, a fitting metaphor for dealing with this exhibition. Even though I live in an area that has thousands of years of Aboriginal habitation, and at the foot of the sacred mother mountain Gulaga, relating to what it is like to be Aboriginal is beyond me. I can sympathise, say I am sorry, wish for solutions, crave for justice, but at the end of the day I cannot 'feel' the anger, resentment and frustration of being born black in Australia.

Lorraine Connelly-Northey, 2010, Three Rivers Country, Corrugated iron, tin, mesh and wire, Museum of Contemporary Art.

And, as a result, much of the work in this exhibition is political, or at least, a 'statement'. And where it isn't, one is faced with the issue of the more 'traditional' interpretations being seen, and bought, by whites as 'abstract expressionism'. Confused? I certainly am...

Michael Cook, Broken Dreams, 2010, Digital colour photographs, NGA Canberra.

However, the fact that Indigenous art can now be successfully contemporary, and shown in the hallowed halls of this institution, is a good thing. And while the political confrontation of Vernon Ah Kee's tall man (about the tragic death of a young man on Palm Island) or the 'in your face' shock value of  Tony Albert's Pay Attention Mother Fuckers leave me wondering whether this is in fact 'art', other works by Lorraine Connelly-Northey and Michael Cook still get the message across while amazing with their conceptual brilliance and execution. My final comment is that its a pity it is only to be held every three years...

Shinju

Bob Georgeson, Shinju, 2005, Musical jewel box, pearls, chopsticks, lace, photos.

In my study of erotica one of the more bizarre sexual practices I have come across is the so-called Japanese 'art' of rope bondage known as kinbaku. I am not going to condone or explain it...Google it if you are interested in such things. Shinju is the Japanese word for pearl, but also refers to a particular form of binding of a particular part of the female anatomy...you can figure out the rest...

Cultural conflict

Spotted in the temple of consumerism in the Nation's capital last week...


It's a worry. Meanwhile a few blocks away outside the School of Art...


All aboard!