The Kingpins' "Unstill Life" (detail), 2009, from the exhibition page on Facebook
Tonight the ABC screened a documentary on a recent exhibition at Hazlehurst Regional Gallery in southern Sydney entitled “Reality Check”.
It’s a brief but interesting exploration of the curatorial process and ensuing artworks produced as a part of this exhibition, which was commissioned by Hazlehurst’s curator, Daniel Mudie Cunningham, and based around responses to the original Sylvania Waters TV series from 1992.
I haven’t seen the exhibition so I can’t comment on the artworks exhibited, but I thought the documentary raised (though lacked the length to explore) some interesting issues. To begin with, let’s look at the artists selected for the show: Mitch Cairns, Carla Cescon, Peter Cooley, John A. Douglas, The Kingpins, David Lawrey & Jaki Middleton, Luis Martinez, Archie Moore, Ms & Mr, Elvis Richardson, and Holly Williams. Sadly, we don’t get to meet all of them. But as a group, it’s collectively what you might call mid-level contemporary artists, some of whom, like Archie Moore and Luiz Martinez, have real talent and artistic credibility, and some of whom, like The Kingpins, I’ve always thought were better known for their splashy performances and canny artistic positioning than for any ground-breaking originality. I found myself wondering what an older, more established artist might have made of the project … or was I perhaps merely curious as to what happens to all the up-and-coming Primavera stars in 15 years time?
The documentary gives us an interesting snapshot of the artistic process in the 2000’s in Australia. One thing I immediately noticed was the run-down condition of the houses many of the artists lived in, hinting at the often penurious circumstances of working artists, even if few nowadays are prepared to take the next step and attempt a class analysis.
We also get to see some intelligent discussion of the original TV series by Catherine Lumby, who I would love to see doing more television and blogging, as well as some photogenic curatorial glosses from Mudie Cunningham.
Overall, the documentary left me a little disappointed. Perhaps it was always difficult to address so much in 25 minutes, but I don’t feel as though – on the basis of the documentary – that many of the artists really engaged with the subject matter at hand. The exceptions are John A. Douglas, who presents an impressively humane perspective on the difficulties faced by the Donaher family, and Luiz Martinez, who painted a scene from the original TV show that beckons an almost Hopper-esque tabluex of ordinary life.