An Aussie in Manila

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In the tradition of children the world over who pull their toys apart to see what makes them tick, the exhibition “An Aussie in Manila” deconstructs the adopted lifestyle of Philippine-based Australian artist Henry Bateman. In a visual exploration of his 4 years in the Philippine capital and through his unique approach to photography he examines and comments upon his Manila experience.

From a Metro Manila Shopping Mall to the Holy Week celebrations, from observations of the local art scene to a self critical appraisal of his own work, the work in this exhibition is an intellectual journey colored by an antipodean aesthetic.

What is it that distinguishes Manila in the eyes of this Aussie expat?

It’s not only the jumble of the urban streetscape or the overtly polite shop assistants. For Bateman there is more to this Filipino/Chinese/Spanish/American conglomerate. In this profligate meeting of East and West, where for most, the dance is attuned to the melody of the cash register his sojourn has become an enthralling escape from the eucalyptus.

Henry Bateman has been making art for over three decades. His first paid gigs were designing lighting and/or sets for a variety of Australian theatrical productions that ranged from straight theatre, through dance to musicals. In between these jobs he developed his studio practice.

He first showed his studio work in a group exhibition devoted to drawing at Sydney’s Boronia Gallery in 1984. This was followed by a solo exhibition of paintings, later in the same year, at the University of Western Australia. His 1985 exhibition “Hung up on a Wall” attracted controversy over the nudity depicted in the exhibition’s poster, a reproduction of one of the works on display.

At the turn of the century Bateman abandoned painting in favor of photographic based works. It was the post production facilities of the computer that attracted his interest. Over the years he has developed a unique approach to manipulating his photographs that enables him to express his thoughts about his subjects rather than rendering their literal representation. In 2007 a selection of these works were exhibited in Canberra at the Australian National University.

Bateman also writes regularly about the international arts scene for the Los Angeles based contemporary art website www.artslant.com and about the local art scene for the Philippine based Expat Travel & Lifestyle Magazine.

The “An Aussie in Manila” exhibition is part of the Australian Embassy’s celebration of its National Day on the 26^th of January, showcasing the best of Australian music and art. Known as Celebrate Australia 2010 it will also feature the exhibition White Hot: Contemporary Australia Glass, featuring the works of renowned Australian glass artists from January 27 to February 26 at the Ayala Museum. The Australia Day celebrations also include performances and master classes by didgeridoo virtuoso William Barton and the Orava String Quartet. The group is scheduled to perform on January 27 at Greenbelt 3 Park; January 28 at the Alabang Town Center; and January 29 at the TriNoma.

“An Aussie in Manila” will be Bateman’s fourth solo exhibition in the Philippines and his second at the Sining Kamalig Gallery which is situated on the 4^th level of the Gateway Mall, Araneta Center, Cubao, Quezon City. The exhibition runs from January 28, 2010 through to February 21, 2010. And at 3pm on February 13 the artist, Henry Bateman, will give an Artist’s Talk entitled “Photographic Art as a Commodity”.

Four Months & Counting

first published in News & Buzz London at www.artslant.com

The independent charity, The Art Fund has joined forces with the Staffordshire County Council, Lichfield District Council and Tamworth Borough Council to raise the £3.3 million necessary to keep the recently found Staffordshire Hoard in the West Midlands. The Birmingham Museum & Art Gallery and The Potteries Museum and Art Gallery, Stoke-on-Trent have just under four months to raise the seven figure valuation set by the Treasure Valuation Committee for the Hoard.


Found in July by metal detectorist, Terry Herbert on a farm owned by Fred Johnson the Staffordshire Hoard is the largest and most valuable treasure find in British history. And should the valuation not be met the ownership of the treasure will revert to the finders for them do with as they see fit.

The Art Fund is an independent charity with some 80,000 members committed to saving art for everyone to enjoy. Since 1903 they have assisted more than 600 museums and galleries around the UK to save over 860,000 works of art, from priceless masterpieces which were under threat of being sold abroad, to acquiring fascinating works costing a few hundred pounds. Each year they provide about £4 million to museums and galleries to help them build the public collections of the future. They also led the 2001 successful campaign to extend free admission to all national museums and galleries.

Andrew Macdonald, Acting Director of The Art Fund, said: "This awe-inspiring hoard really must be kept in the West Midlands where it was unearthed. Since we were founded in 1903, The Art Fund has led many successful campaigns to save treasures such as this, and our success is down to the support of members of the public who care as much as we do about preserving the nation's heritage."

The public can donate to save the Staffordshire Hoard at www.artfund.org/hoard and more information about the Hoard itself can be found here.

Sleepless in Transit

First published in News & Buzz at www.artslant.com

Friday December 4 was a day of relaxation for Stephane Guegan, the director of cultural services at the Musee d’Orsay in Paris. Charged with the delivery of 112 of Musee d’Orsay's best post–impressionist paintings half way across the world for the National Gallery of Australia’s exhibition Masterpieces from Paris, the exhibition had opened.

Described as the creme de la crème of the French museum’s collection, Mousier Guegan claimed that a decent night's sleep became elusive from the moment he first saw the insurance valuations of the works listed on paper - and that was before he even left Paris. For included amongst the 122 paintings are seven van Goghs, nine Gauguins, eight Cezannes and five Monets.

This exhibition of priceless paintings, which also includes works by Georges Seurat, Pierre Bonnard, Douanier Rousseau and Edouard Vuillard, are on loan whilst the Musee d’Orsay renovates its post-impressionist galleries. It is the first time they have been brought together in an exhibition outside of France.

After the Australian exhibition, which closes on April 5, 2010, Mousier Guegan will be faced with more disturbed nights as his charges travel to Tokyo and San Francisco before returning to the walls of the Musee d’Orsay.

More information about the Masterpieces from Paris can be found at the National Gallery of Australia’s web site, here.

Financial Boost for Aussie Artists

First published in news & Buzz at www.artslant.com

Australian visual artists are set to receive an increase in the revenue generated by their work with the Australian National Government's passing of the long awaited resale royalty scheme.


Under the scheme artists whose work is re-sold in the secondary market for more than $1000 will receive a 5% royalty. Ex pop star and current Federal Arts Minister, Peter Garrett, said "It is only fair that artists and their descendants should share in the growing value of the artworks - particularly as value can grow substantially over time. In particular there will be benefits for Indigenous visual artists, who have experienced significant increases in the value of their work."

The Resale royalties will be collected and distributed to artists by a single collecting organization which is expected to be in place by mid 2010. The scheme will cover original works of art, such as paintings, collages, drawings, prints, sculptures, ceramics, an item of glassware or photographs made by living artists and/or their estates for up to 70 years.

It is expected that the royalty will be collected from overseas sales as well local sales especially from 49 countries that acknowledge a resale royalty right for visual artists. These countries include England, France, Germany, The Netherlands and the US State of California.

Further information about the Australian Resale Royalty scheme including a PDF link to all the countries that acknowledge a resale royalty right can be found here.

Another for The Domestic Interiors Series

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Domestic Interior #8 (2009)
Archival inkjet on canvas, 20"x20"

What a Picture - What a Photograph

First published in News & Buzz at www.artslant.com

With the dust barely settled after FIAC the next annual art fair is girding its loins for its Paris exposition. Paris Photo 2009 will grace the Carrousel du Louvre Exhibition Hall from November 19 to 22 whilst another nine Paris galleries will be presenting exhibitions related to the photographic medium.

The Middle East is the focal point of this year’s fair with three exhibitions. The Central Exhibition will show a selection of rare images from the collections of the Arab Image Foundation in Beirut. The Statement Section will provide an overview of emerging talent from Tehran to Damascus, Beirut to Cairo and Tangiers to Dubai. And in The Project Room a program of video screenings will be on show, a display of the growing interest in this medium among the artists of the region.

A hundred and two exhibitors (89 galleries and 13 publishers) will be showcasing a wide variety of photography from the 19^th Century through to the present day. Created in 1997 by the Dutch Publisher, Rik Gadella, this year’s Paris Photo fair will be featuring the work of 500 international photographers. From Germany to the United States, from Japan to Morocco, the 2009 edition of Paris Photo is geographically diverse with selected participants coming from 23 countries.

The satellite exhibitions to the main event include “Michael Kenna, a retrospective” at the Bibliothèque nationale de France, “The Subversion of Images, Surrealism, Photography, Film” at the Centre Pompidou, “ August Sander : Seeing, Observing, Thinking” at the Henri Cartier Bresson Foundation, “Delpire & Cie” at the Maison Européenne de la Photographie ans “Federico Fellini, La Grande Parade” at the Jeu de Paume.

The Middle East focus expands out from the Carrousel du Louvre with exhibitions such as “Palestine, creation in all states” at the Arab World Institute, “Djân, Body and Soul” at VU Gallery, “150 years of Iranian Photography” at the Musée du Quai Branly, and “Iran 1979-2009 : Between Hope and Chaos, 30 years of Iranian Documentary Photography” at the Monnaie de Paris.

For more information about Paris Photo 2009 go to their web site, here.

7th Australian Film Festival in the Philippines

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The Australian Embassy in Manila, Screen Australia, and the Australian Department of Foreign Affairs and Trade in cooperation with the Ayala Malls Cinemas, Greenbelt and Ayala Center Cebu present the 7th Australian Film Festival in the Philippines from 5-14 November.


The 6 award winning films in the festival are:

Unfinished Sky (R 13)
Director: Peter Duncan
When Tahmeena stumbles onto John’s isolated farm, he has no choice but to take her in. An illegal refugee, she's been badly beaten and speaks no English. While John's not inclined to welcome visitors, he’s even less inclined to involve the police. As they communicate through signs, pictures and a gradual understanding of each other's language, they begin to recover faith in themselves and their trust in humanity.
Selected Awards:
Toronto International Film Festival, Pusan International Film Festival, Brisbane International Film Festival- Voted #1 film (2007), Best Film - Method Film Festival (2008)

The Black Balloon (PG 13)
Director: Elissa Down
Thomas and his family move to a new home. He has to start at a new school, all he wants is to fit in. When his pregnant mother has to take things easy, his father puts him in charge of his autistic brother. With the help of his new girlfriend Jackie, Thomas faces his biggest challenge yet. A story about fitting in, discovering love, and accepting your family that is funny, confronting, and ultimately heart-warming.
Selected Awards:
Australian Film Institute 2008 AFI Award – Best Film, Best Direction, Best Editing, Best Original Screenplay, Best Supporting Actress (Toni Collette), Best Supporting Actor (Luke Ford)
Berlin International Film Festival Crystal Bear - Best Feature Film
Film Critic’s Choice of Australia – Best Film, Best Director, Best Supporting Actress

The Bank (PG 13)
Director: Robert Connolly
The Bank is a political thriller set in the world of high finance, a modern day story of alchemy.
Selected Awards:
2002: Göteborg Film Festival, Palm Springs International
2001: San Sebastian International Film Festival, Toronto International Film Festival, London Int. Film Festival, and Vancouver International.

Danny Deckchair (PG 13)
Director: Jeff Balsmeyer
An ordinary bloke rockets out of his loveless relationship into a new world in which he gets the chance to stand out from the crowd and fall in love.
Selected Awards:
2003 Film Critics Circle of Australian nominated for Best Supporting Actor - Female Justine Clarke
2004 Paris Film Festival nominated Grand Prix – Jeff Balsmeyer

Garage Days (R 18)
Director: Alex Proyas
GARAGE DAYS is a film about one kids dream to be a rock star. Freddy learns there is more to being a rock star than just drugs and tunes. He learns about friendship, babies and love.
Selected Awards:
2003: Sundance Film Festival (USA)

The Hard Word (R 18)
Director: Scott Roberts
Three brothers have found a uniquely profitable way to spend their jail time. Crime does pay, and no one gets hurt – until they discover the catch. When sex and greed come between bad cops and good criminals, the consequences are fatal –for some.
Selected Awards/Festivals:
2002: Filmfest Hamburg, London Australia film Festival 4 x Australian Screen sound Awards.

Screening schedules for Manila and Cebu can be found here.

Muddying the Water

First published in the News & Buzz section of www.artslant.com

Copyright questions raised by the fair use clause in the law, where appropriated material is used for the creation of a “new” work, are complex; so much so that the courts decide them on a case by case basis. In this digital age, the ubiquity of copyright infringement has ensured that the Associated Press/Shepard Fairey dispute over the “Hope Poster” is destined to remain front page news for some time to come.

Shepard Fairey lied to the court about which Associated Press photo he used as a basis for his “Warholianesque” poster and fabricated evidence of support has done his cause more harm than good. Fairey has stated “The new filings state for the record that the AP is correct about which photo I used as a reference and that I was mistaken. While I initially believed that the photo I referenced was a different one, I discovered early on in the case that I was wrong. In an attempt to conceal my mistake I submitted false images and deleted other images. I sincerely apologize for my lapse in judgment and I take full responsibility for my actions which were mine alone. I am taking every step to correct the information and I regret I did not come forward sooner.”

The fallout from this statement has seen his legal team withdraw from the case and Associated Press add the brand launched by Fairey, Obey Clothing, as a co-defendant. Associated Press have also claimed that Fairey profited from the work which was originally available as a free down load during the 2008 US Presidential race.

With copyright laws designed to encourage creativity and innovation, rather than restrain it, how the courts decide on this case will be of intense interest to artists and others for whom remixing is an important aspect of their work. As the LA Times editorial of November 1 concludes “The dispute between Fairey and the AP offers a chance to make that line a bit clearer. We don't think the court should condone his deception -- some kind of sanction would be appropriate. Yet that should not tip the balance the court must strike between creators and those who follow them.”

The Rembrandt Code

first published in News & Buzz at www.artslant.com

One of the world’s great paintings, Rembrandt van Rijn’s The Night Watch, has become the star of avant-gard film maker, Peter Greenaway’s latest movie, Rembrandt's J'accuse.

Greenaway is most widely known for his films, The Draughtsman's Contract, a 17^th Century murder mystery, The Cook the Thief His Wife & Her Lover, described as a corrosive allegory of life in contemporary England and his interpretation of Shakespeare's The Tempest, Prospero's Books. He trained as a painter but moved over to film making with the making of his first film ‘The Train’ in 1966. With his interest in Renaissance painting in general and the Flemish painters in particular, an influence that is a hallmark of many of his films, it is little wonder he should turn his attention to the 17^th Century masterpiece.

The Company of Frans Banning Cocq and Willem van Ruytenburch, more commonly known as ‘The Night Watch’ is renown for its size (11ft 10in x 14ft 4in), the effective use of chiaroscuro and the sense of movement in an otherwise traditionally static scene. It is on permanent display at Amsterdam’s Rijksmuseum and is considered to be the museum’s most famous painting.

In ‘Rembrandt's J'accuse’, Greenaway presents the debatable conspiracy theory that Rembrandt, through subtle hints in the painting, puts all the characters involved in a complex and devious conspiracy to murder. The ‘evidence’ offered by Greenaway are the numerous details in the painting that were never noticed before or that were simply not correctly interpreted. He also implies that Rembrandt’s social and financial ruin that followed the completion of the work was an act of revenge by the paintings cast.

More information about Rembrandt and his work can be found here and about Peter Greenaway and his work, here.

Dream Factory with Photoshop

First published in News & Buzz at www.artslant.com

Photoshop, the photographic post production tool of the new century, is either loved or despised by photographers, depending upon their aesthetic vision for the medium. But in Harry Brant Chandler’s exhibition “Dreamers in Dream City” it along with other computer processes comes into its own.

Chandler had only 15 minutes to get a snapshot of the Walt Disney Concert Hall architect Frank Gehry. From the architect’s conference room portrait of his interpretation of Rodin's Balzac, Chandler super-imposed the snapshot upon the Los Angeles’ landmark he created. And so it is with the other 54 portraits in the exhibition.

From aviator Amelia Earhart to the Watts Towers creator Simon Rodia, from musician Jim Morrison to author Raymond Chandler, all are placed within the context of the dreams they realized. "I wanted to place the subjects in the context of their specific environments that showed what their dreams were about," Chandler says.

Renown as the city of dreams, Los Angeles attracts hopefuls from around the world, particularly to the Hollywood studios. But this exhibition goes beyond tinsel town and celebrates the builders, the inventors, the artists, the folk heroes, the activists, the entrepreneurs, the discoverers as well as the entertainers.

As the executive director of the Museum of the American West at the Autry National Center, Jonathan Spaulding, says "What Harry has done is create something which is authentic to his interpretation of these particular people and the story of Los Angeles."

Chandler’s manipulated photographs are on display at the Autry National Center until January 3, more information and a selection of images from the exhibition can be seen here.