trixtah: (Default)
Well, I was going to post up a pic of me sitting very self-consciously on my car de coolness, but I'm having Goddess Visitations of Hell, and my normal l33t pic-shrinking skillz are not working. So, another day.

[livejournal.com profile] saluqi and I attended a very groovy exhibition at the NGA on Asia/Pacific photography from 1840-1940 - Picture Paradise. It covered a wide geographical area, from India to the west coast of North America, and all stops in between. This is appropriate because of the roving "crews" (whalers, sealers, sailors, gold diggers, pirates) who created a Pacific economy as colonialisation got underway. And, of course, Northern European colonialisation of those regions is a shared theme. We remarked on the propensity of the colonial elite to build humungous European-style mansions with their cast-of-thousands coolie labour, cut down all the trees and plant oaks in their newly-created parks just like Home (although having lived overseas for a significant proportion of my life now, I know deeply what it's like to miss one's own native foliage. I do prefer what is native to the actual location though).

There was a good range of actual photography styles - historical documentary, landscapes, romanticised "noble savages", bloody awe-inspiring Ansel Adams, the cultural commentary (look at what those nasty Chinese people do to torture criminals), homoeroticism, eroticalisation (is that a word?) of The Other; cultural imperialism, commentary about the cultural imperialism, and on and on. The only problem with the exhibition was that there was no warning about some of the more confronting images (just a warning that some images may not be suitable for children would have sufficed), nor was there much actual commentary on the themes (like those I just identified and more). I don't like it when an artist/curator needs to write an essay on the "meaning" of a work (I dislike art-wank), but I also think a discussion of historical context and the more obvious themes would be in order. For example, all the nameless subjects - I'm sure the Rajah of _stan (pick any) had a name, but it wasn't given with the picture of him in all his finery. Imagine omitting the name of Queen Victoria in any portrait of her.

Perhaps the book that was printed for the exhibition went into the thematic discussion a bit more, but I wasn't going to buy it due to the shoddy nature of the reproductions. It's not that hard to get reproductions of photos right (daguerrotypes and the like can be tricky because of their nature, but still), and for something produced by the NGA itself, it was unbelievable. Highlights blown out, pictures including the frame and thus cluttering up the actual image, incredibly flaky colour balances...

Blah de blah. If you're in Canberra, do go along to it though, if you have an interest in photography and/or the period and region.

Oh, and it inspired a cheezy joke made up by me, due to a cute pic of a duck:

What do you call a collection of insane ducks?
Quackers.

Sorry about that.

Artiness

Dec. 31st, 2006 04:16 pm
trixtah: (Default)
A conversation with [livejournal.com profile] saluqi the other day reminded me that I intend to spend a few days in the Blue Mountains some time, and part of my agenda is to visit the Norman Lindsay Museum while I'm there. I'm embarrassed to admit that I didn't put together the fact that the chap who did all those lovely etchings of naked ladies, and equally charming sculptures, ditto, was the same as the one who wrote The Magic Pudding (the pudding that liked being eaten all day long, hee!). Oops, how embarrassing, but yunno, I'm a foreigner.

I'm currently tossing up whether I want to visit the Louvre collection of Egyptiana (links to extremely wanky Flash front page) which is on at the NGA at present, but it might be expensive and a scrum. Still, next week it's probably going to be less scrum-like, and I'll probably kick myself if I don't go. The only other thing there that's appealing (other than the regular collections, which I should troll through again) is an exhibition on "The Birth of the Modern Poster", and that's not starting for a couple of months. Also upcoming is one on Aussie printmaking, 1801-2005, which could be worth a look.

Finally, I think I'll probably go along to check out the exhibition on photography and war that's on at the Australian War Memorial. I hope it'll be less irritating than the one about "Anzacs" in France, 1916. The statement "It is April 1916, the midpoint of the Great War. Australian units have begun to arrive in France. For the first time, the men of the AIF find themselves at the main battle front of the mighty conflict." might summarise my issues with the exhibition. [Hint: AIF (Australian Imperial Force) and Anzac are not synonymous, although one is a subset of the other.]

So, that's my kultcha for the upcoming week! One good reason for holidays, enforced or not, after all.
trixtah: (Default)
I went to the National Museum of Australia yesterday to see the exhibition on Cook's Pacific Encounters. Frankly, I was a bit meh about the whole thing. It's actually the Göttingen University collection of Cook material - while it's great that they let all this stuff go travelling, it could have done with a bit of mix-and-match curating, from my perspective.

I admit to being probably quite fussy about Pacific collections. When you've seen the Māori and Pacific collections that the Auckland Museum has, you realise the breadth of what there is to cover. The British Museum has an excellent collection as well. So, it wasn't for the actual material they had that was specifically interesting to me - other than its age - it was the context of Cook's voyages that was the interesting part.

So, ok, you got an anteroom with a once-over-lightly description of Cook and the voyages, and a couple of potted biogs of Banks and Solander, with a few portraits - mainly reproductions - including the Dance one of Cook and one or two bits and pieces from the voyages, such as a spyglass used by one of Cook's lieutenants, a sextant, a botantical collecting bottle, a couple of printed volumes. And really, that was about it.

Then it was onto the main collection, which was admittedly large and diverse, but it had no context. The only theme appeared to be that all objects of a common type were chucked in together, but with no attempt to compare and contrast. While you can do a bit of that visually, things saying that "Tahitians used pieces of mother-of-pearl from oyster shells for fishing lures while the Maori used paua in similar instances" would have given more information. All we had was a description of the object (eg. kahu muka, flax fibre cloak) and where it was collected from (eg. New Zealand). There was no attempt to place items in context of the voyages - something saying, "Collected by Furneaux in 1773 in Dusky Sound, South Is, NZ, possibly from the Ngatimamoe tribe" would have been really nice.

Of course, that kind of provenance might have been difficult to put together, although my understanding is that the University of Göttingen acquired the collection very early on, from a very limited number of dealers and direct endowments. An alternative could have been to excerpt some log and journal entries that related to various objects, even if not identified specifically. Such as, say, about a headdress: "Besides the common dress some of these people wore on their heads ^round Caps made of birds feathers which were far from being unbecoming" (from Cook's description of the Endeavour's visit to Queen Charlotte Sound). By the way, Cook's, Banks' and Parkinson's (the artist) Endeavour journals are online at the National Library of Australia.

It's a shame that no-one appeared to think of doing something like that, although it's possible that the printed catalogue ($40, so I didn't buy it) gives more background. I strongly think, if so, that that kind of information (even condensed) should be part of the exhibition proper. The trend of essentially expecting you to buy a catalogue for the context is one that really irks me - it certainly appears to be getting more common in various institutions. Still, I wished I picked one up for a look to see if that was the case.

A nice alternative would be if the collection had been used as a basis for tracing the changes in Pacific art over the last 300 or so years, in which case you would need very little reference to Cook, or no more so than the other Pacific explorers of that time and subsequently, such as Wallis, de Surville, Du Fresne, etc.  Doing that for the whole Pacific would be a big job, though.

Still, it was interesting enough, and it's always groovy visiting the museum, which is a funky building, although the flow from one area to the next is kind of lacking. I like it despite that.
trixtah: (Default)
Got to the Australian Museum, which was decent. They had a HUGE mineral collection, which is certainly the largest of any museum I've seen (and museums, I've seen a few). It's one of those sciences/hobbies that seems to have gone entirely out of vogue, and I wonder why that is. Part of the casulties of the academisation of sciences, perhaps: it's no longer cool to be going around chipping out your own rocks (not that many amateurs probably wouldn't ruin more than they manage to collect), or making your own incredibly detailed botanical watercolours, or seeing how many frogs you can galvanise with lightening. The trouble is that all those kinds of things have all been DONE, and you now need access to involved and expensive varieties of machinery and processes to make new discoveries. No wonder there is a dearth of interest in the sciences.

Getting back to the rocks, it's evident there was a great deal of sponsorship from the mining companies, which made great reference to the "pioneering spirit" of the early mineralologists... what they had to do with modern mining practice is beyond me. So, there are literally thousands of rocks of all shapes and hues. The exhibition was good at describing the elements that make up the various kinds of rock (it must be said that pyrite fascinates me the most -- how does iron and sulphur combine to produce that?), but left out what I would have found interesting, how people actually ascertained what elements composed the rocks. It could have talked about the early methods through to the modern ones, like weighing, finding specific gravity, hardness, reaction to acids, the streak test (the colour a mineral leaves when rubbed against a white ceramic tile, which is the ACTUAL colour of the mineral, regardless of oxidation), crystal structure analysis, magnetism, microscopy, and onto chromotography, etc. That all leads onto all kinds of science.

So, while it was somewhat interesting (and I don't really find rocks that interesting), it could have been made more so, although museums as a whole have definitely improved along those lines. But once again, it isn't exactly a trendy subject.

After that, I went to the Anzac memorial, which is on the way to the train station and got a bit weepy there, although the constant spiel in the exhibition area on the meaning of the Australian flag was somewhat irritating. I consider myself to be a fairly patriotic New Zealander, but really, the flag doesn't grab me. But maybe Australians are more like Americans in how they feel about it.

But, just to give an indication of what most NZers that I've encountered feel about the flag, let's play a quick game of spot the difference:

and

I can guarantee that 99.9% of the world will not be able to say which one is the Australian and which is the NZ flag. I have even encountered a number of Australians who can't bloody tell the difference. For the record, the NZ flag has only got the four stars of the Southern Cross and they are red in the middle. Australia has six stars, the sixth and six-pointed star representing the six states of the Federation.

So you can undoubtedly see why tons of NZers are keen on a campaign to change our flag. Ditching the Union Jack would be a good first step (since we're getting to the point where less than 50% of the population has ancestors originally from England/Scotland/Wales), but I'd be sad to see the Southern Cross go. The campaign is gaining some momentum, so it'll be interesting to see what results. I mean, making a change certainly worked for the Canadians. The trouble is that some of the flag debate is being tied up with the whole republicanism issue and muddying the waters, where the Canadian experience shows that the two issues are separate. Also, call me strange, but if we HAVE to have a bloody head-of-state, I'd much rather that she lives on the other side of the world and has another country paying for her upkeep.

So, yes, the visit to the Anzac memorial provided some food for thought. I also realised that I'd gotten my wires crossed on Anzac Day: my great-uncle who was killed during WWII was killed at El Alamein. It's the other great-uncle who was wounded in France. It's worth looking at the Commonwealth War Graves Commission website for interesting facts: both of my family members are listed there. The database which is accessible at the Imperial War Museum (well worth a visit when you're in London) has fuller details, such has the cause of death. My great-great uncle "died of wounds", which sounds like a horribly protracted process. Let's hope it wasn't.

Back to Canberra now, yippee.

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