Glenn Walls

Massacre

Posted in Massacre by Glenn Walls on November 13, 2018

Massacre Postcard Back

Massacre Postcard Front

Massacre – Opening 30th November 2018

Kings ARI. 171 King St, Melbourne. Exhibition Dates: 1st December – 21st December 2018

Fuck Tha Police 4

Fuck Tha Police. Jelutong wood, pencil on paper 2018.

Masscare Poster 9mm Ver 2

Massacre (after Felix). Digital Print on paper stack, 2018

Massacre – Bodies that Matter

‘Our blood runs in the streets and in the parks and in casualty and in the morgue…. ‘Our own blood, the blood of our brothers and sisters, has been spilt too often….

‘Our blood runs because in this country our political, educational, legal and religious systems actively encourage violence against us…

‘We are gay men and lesbians.’

From the ‘One in Seven’ Manifesto, Sydney Star Observer, 5 April 1991

During the 1970s, 80s & 90s in Sydney, Australia a high number of LGBTIQ people were violently bashed, murdered or disappeared entirely. Although some of these incidents were reported in the gay press and the NSW Anti-Discrimination Board[1] at the time many remained unreported to the authorities[2] due to cultural and societal attitudes with and within the NSW police force and the wider community tolerance of homosexuality. With the advent of AIDS in the 80s, “a significant media and social response of gay alienation within the context of ‘moral panic’ occurred” (Strike Force Parrabell 2018, p. 13). ‘Beats’ such as toilet blocks, public parks and beaches (Bondi Headlands) where men met other men for sex or social contact became the target of gangs that felt it was their duty to rid and protect the community of such ‘intolerable’ behavior[3].

By the late 90s, early 2000s with a growing acceptance within the wider community of homosexuality a series of media reports and research papers emerged within the mainstream press highlighting both the injustice caused to the LGBTIQ community and the entrenched homophobia and failure within the NSW police force that allowed a ‘killing and bashing spree” to take place with little repercussion to the perpetrators[4].

In 2018 the NSW Police Force released “Strike Force Parrabell”. Listed are the findings of the review of 88 deaths between 1976 and 2000. During this period “it is clear and beyond question that levels of violence inflicted upon gay men, in particular, were elevated, extreme and often brutal” (Strike Force Parrabell 2018, p. 14). The document acknowledges and highlights the unwillingness and inadequacies of the NSW Police Force, due to entrenched homophobia entwined with perceptions of Australian identity and masculinity, to investigate these crimes fully. However, this does not negate the trauma, anger, frustration and grieving for those left behind. “These people’s lives were taken prematurely and whilst we might consider the individual a victim, in reality, there are many other victims left behind to ask unanswered questions of why” (Strike Force Parrabell 2018).

Inspired by Cuban artist Felix Gonzalez-Torres work “Untitled” (Death by Gun), 1990, this exhibition will be based on research conducted on the gay killings that took place in Sydney in the late 1970s till 2000. This was a period of extreme distrust by the LGBTQI community in the NSW Police Force who symmetrically failed to acknowledge, protect, report or simply dismissed community concerns. This will result in a series of works highlighting the high number of victims and the fact that a number of murders are unsolved. Although there is conjecture as to whether some of these murders are a gay/hate crime, the fact that were not properly investigated at the time is a dark stain on our history.

American PhD candidate Scott Johnston was only 27 when he died. “It was December 10, 1988, when Scott’s naked body was found by two rock fishermen at the base of the cliff, near Blue Fish Point, just south of Manly, on Sydney’s northern beaches. Scott’s clothes had been found neatly folded on the clifftop above” (Kontominas 2017) including his pair of Adidas sneakers. This is shown in the exhibition as a wood carving. The police deemed it suicide. Three months later, Coroner Derrick Hand came to the same conclusion. His brother Steve Johnson and boyfriend of five years, Michael Noone is still today not convinced that this is the case. All failed to acknowledge that the location was a well know beat where anti-gay gangs operated and where other gay/hate murders had occurred previously.

Utilizing contemporary modernist train maps and the language of modernism that created clean, clinical space free of interpretation, this exhibition will counteract the seemingly accepted view of modernist design and continues Walls’ interest in how society continues to humanise modernist/minimalist theory and practice to reflect an interpretation of the individual relating to identity and sexuality.

What is Strike Force Parrabell?

On 30 August 2015 Strike Force Parrabell commenced a thorough investigative review to determine whether 88 deaths originally listed in a submission to the Australian Institute of Criminology[5], and commonly referred to by media representatives, could be classified as motivated by bias including gay-hate (Strike Force Parrabell 2018).

[1] While the onset of HIV/AIDS has been seen as 
a motivating factor for some of the violence, the start of the violence predates that. A report by the NSW Anti-Discrimination Board in 1982 already highlighted the issue, and over that decade, there was ongoing and increasing violence. In 1990 the Surry Hills police noted a 34% increase in reports of street bashings during that year alone (Wotherspoon 2017).

[2] The Gay and Lesbian Rights Lobby and later, the AIDS Council of NSW (now ACON) kept records, usually comprising self-reported incidents of gay-hate violence, that on several occasions amounted to more than 20 entries per day. Unfortunately, fear associated with anti-gay attitudes of officers within the NSW Police Force at the time prevented these reports being formally recorded, which in turn meant that crimes were not investigated (Strike Force Parrabell 2018, p. 14 & 15)

[3] This inherent lack of consequences or accountability meant that perpetrators were given a kind of ‘social license’ to continue inflicting violence upon members of the gay community. This phenomenon has been associated with what some perpetrators believed was their moral obligation, driven by poor societal expectations. The Bondi incidents together with similar disappearances and deaths of men in and around beats attracted heightened levels of violence and were often associated with a victim’s sexuality or perceived sexuality (Strike Force Parrabell).

[4] During the 1970s, there were ongoing demonstrations in Sydney focusing on what needed to be changed to give homosexuals equal civil rights with their heterosexual counterparts. One of the catchcries of the time was ‘stop police attacks, on gays, women and blacks’. And this catchcry highlights an important fact: that the police were seen as the enemy by many of these emerging social movements. As for gays, the police had 
never been sympathetic to their parading through Sydney’s streets. And this antipathy culminated
in the notorious first Mardi Gras, on the night of Saturday 24 June 1978; it started out as a peaceful march down Oxford Street from Taylor’s Square to Hyde Park, and ended in Kings Cross with police wading into the marchers with their batons, leading to 53 arrests (Wotherspoon 2017).

[5] In 2002, a list of 88 deaths of gay men between 1976 and 2000, potentially motivated by gay hate bias were compiled by Sue Thompson, the then NSW Police Gay and Lesbian consultant. There has been significant media coverage of presumed facts associated with gay hate motivation for each of these 88 deaths.

Reference List

In the Pursuit of Justice. Documenting Gay and Transgender Prejudice Killing in NSW in the Late 20th Century 2017, ACON. viewed 11th November 2018, https://www.acon.org.au/wp-content/uploads/2018/05/In-Pursuit-of-Truth-and-Justice-Report-FINAL-220518.pdf.

Kontominas, B 2017, Scott Johnson: Inside one brother’s 30-year fight to find the truth, ABC News, viewed 11 November 2018, https://www.abc.net.au/news/2017-11-30/scott-johnson-inside-brothers-fight-to-find-the-truth/9211466

Strike Force Parrabell 2018, New South Wales Police Force. viewed November 11 2018, https://www.police.nsw.gov.au/safety_and_prevention/your_community/working_with_lgbtqia/lgbtqia_accordian/strike_force_parrabell

Wotherspoon, G 2017, Gay Hate Crimes in New South Wales from the 1970s, viewed 11th November 2018, https://www.acon.org.au/wp-content/uploads/2018/05/In-Pursuit-of-Truth-and-Justice-Report-FINAL-220518.pdf.

White, White, White Male

Posted in White, White, White Male by Glenn Walls on October 25, 2018

White, White, White Male 1

White, White, White Male. Digital Print. 2018 (part of the male series of digital prints)

Shot on location at Ludwig Mies van der Rohe – Barcelona Pavilion, Barcelona Spain.

Woman of the Bauhaus

Posted in Woman of the Bauhaus by Glenn Walls on July 1, 2018

 

Bauhaus 8

Glenn Walls. Ludwig Mies van der Rohe = Gunta Stolzl. Pencil on Paper, 2018

Bauhaus 4

Glenn Walls.  Ludwig Mies van der Rohe = Gunta Stolzl. Pencil on Paper, 2018

Drawing Benita Koch-Otte 1

Glenn Walls.  Benita Koch-Otte. Pencil on Paper, 2018

Woman of the Bauhaus

More women than men applied to the school in 1919, and Gropius insisted that there would be “no difference between the beautiful and the strong sex” – those very words betraying his real views. Those of the “strong sex” were, in fact, marked out for painting, carving and, from 1927, the school’s new architecture department. The “beautiful sex” had to be content, mostly, with weaving.

Glancey, J 2011. Haus proud: The woman of Bauhaus, The Guardian, Viewed 1st July, 2018. <https://www.theguardian.com/artanddesign/2009/nov/07/the-women-of-bauhaus&gt;

 

Philip Johnson

Posted in Philip Johnson by Glenn Walls on March 31, 2018

Philip Johnson 2

Glenn Walls. Philip Johnson. Pencil on Paper. 2018

Philip Johnson 1

Glenn Walls. Philip Johnson. Pencil on Paper. 2018

National Pride

Posted in National Pride by Glenn Walls on October 1, 2017

Indigenous 6

Glenn Walls.  National Pride – Indigenous Flag. Acrylic Perspex. 59 cms diameter, 2017.

“Tell him he’s dreaming” is taken from the 1997 Australian movie, “The Castle”.

 

 

A Dollop of Modernism does everybody good (Barcelona Pavilion)

Posted in A dollop of Modernism does everybody good (Barcelona), Uncategorized by Glenn Walls on August 30, 2017

A dollop 1

A dollop of Modernism does everybody good. Digital Print, 2017. Photographed on location at Ludwig Mies van der Rohe, Barcelona Pavilion, Barcelona, Spain. 2017.

A dollop 2

A dollop of Ludwig Mies van der Rohe does everybody good. Digital Print, 2017. Photographed on location at Ludwig Mies van der Rohe, Barcelona Pavilion, Barcelona, Spain. 2017.

A dollop 11

A dollop of Modernism does everybody good. Digital Print, 2017. Photographed on location at Ludwig Mies van der Rohe, Barcelona Pavilion, Barcelona, Spain. 2017.

Stop Being Poor

Posted in Stop Being Poor by Glenn Walls on May 13, 2017

Donald Trump 3

Stop Being Poor, 2017. Mirror plinth, mirror perspex, yellow paint, wood. mixed media

A dollop of Modernism does everyone good.

Posted in A dollop of Modernism does everybody good by Glenn Walls on April 23, 2017

10. A dollop of Modernism

A dollop of Modernism does everyone good. Digital Print, 2017. (Reworking of the work; Le Corbusier designed nothing for me. 2011).

Why Bother

Posted in Why Bother by Glenn Walls on April 23, 2017

AA 26.jpg

Why Bother. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, mirror perspex, yellow paint. 2017

Retrospective

Posted in Retrospective by Glenn Walls on March 27, 2017

Artbank 1

Dual Meaning of Things, 2009. Exhibited at Westspace Sept 2009. Part of the Superlost series.

Artbank 2Prototype for Sophisticated Living No 1. Mirror tiles, wood, skateboard woods. 65 x 65 x 45 (approx.).

Artbank 4Prototype for Sophisticated Living No 1. Mirror tiles, wood, skateboard woods. 65 x 65 x 45 (approx.)

Artbank 6

Superwheels. Mirror tiles, wood, skater wheels.

Artbank 7

I am one of God’s mistakes. Part of Superlost exhibition. Mirror perspex, wood.

superstudio-cite-5

Super Suspended 2. Mirrored tiles, skate wheels, various materials. 2016

Based on the Continuous Monument by Superstudio. Background taken from Cite de I’Architecture et du Patrimoine.

Artbank 9

Supershoe 2. (Woman’s Nike Sky Dunk Hi Essential). Jelutong wood, Mirror tiles. 2017

Artbank 10Installation view. Exhibition Carlton Hotel & Studios.

Artbank 11The Death of Architecture (Superstudio: The Continuous Monument). Metal Staples, wood, skater wheels. 2016

Artbank 12Prototype for Sophisticated Living No 3. Adidas soccer ball, wood, fake fur

Artbank 13

Supershoes. Mirror tiles, wood. Nike Shoes. Begun 2008. Completed 2017

Artbank 47

Less is More. Mirror perspex on wood. 2017

Modern Art for Government Offices

Posted in Modern Art for Government Offices, Uncategorized by Glenn Walls on March 5, 2017

5. Modern art for government officersModern Art for Government Offices. Architecture & Art Magazine covers. Australia 1960s

AA 16

Modern Art for Government Offices. Architecture & Art Magazine covers. Australia 1960s

AA 11

Modern Art for Government Offices. (Sydney Opera House. Lend Lease Corporation Ltd redevelopment proposal by architects Roy Grounds, Robin Boyd & Frederick Romberg for Sydney historic Rock’s area. Bates, Smart & McCutcheon, South British Insurance Company Building.  Architecture & Art Magazine cover. Australia May 1962.

AA 12

Modern Art for Government Offices. (Jeffrey Howlett & Don Bailey. Council House, Perth. Architecture & Art Magazine. 1961). Digital Print, Perspex. 2017. Opened in 1963 by the Queen. Remodelled and updated with Asbestos removed in 1999. Heritage listed in 2006.

AA 10

Modern Art for Government Offices. (Bates, Smart & McCutcheon, South British Insurance Company Building. Queen St, Melbourne. 1961. Photo: Wolfgang Sievers) Architecture & Art Magazine cover. Australia 1961.

In the foreground and further along the Pearl Assurance Building and the RACV Building

AA 13

Modern Art for Government Offices. (Warrigah Mall Regional Shopping Centre. Architects: Alexander Kann, Finch and Associates. Opened April 1963. Redeveloped numerous times beyond recognition). Architecture & Art Magazine cover. Australia June 1963.

AA 14

Modern Art for Government Offices. (Southern Cross Hotel, Melbourne. Welton Becket and Associates in partnership with Leslie M Perrott & Partners. Architecture & Art Magazine. 1962). Digital Print, Perspex. 2017. Hotel demolished.

modern-art-for-govt-1

Modern Art for Government Offices. Architecture & Art Magazine covers. Australia 1960s

Arts & Architecture 9

Modern Art for Government Offices (Harry Seidler, Blues Point Tower. Architecture & Art Magazine cover. July 1962. Photo Max Dupain). Digital Print. Perspex. 2017

Blues Point Tower is considered by many Sydney residents to be inconsistent with its surrounding buildings and cityscape. Over time, many public figures have criticised it, or even called for its demolition. However, in 1993, North Sydney Council added the building to its local heritage register.

The Death of Architecture (Superstudio: The Continuous Monument)

Posted in The Death of Architecture (Superstudio: The Continuous Monument) by Glenn Walls on August 28, 2016

Stapler Monument 1Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016

Stapler Monument 2 Glenn Walls. The Death of Architecture (Inspired by Superstudio, The Continuous Monument). Metal staples & Skateboard wheels. 2016

Continuous MonumentSuperstudio, The Continuous Monument. Never constructed 1969 – 71

On top of the world… Il Monumento Continuo, a gridded structure that the Superstudio architects suggested would eventually cover the planet (Glancey, J. 2003).

 

The Death of Architecture (Part 4)

Posted in Uncategorized by Glenn Walls on July 26, 2016

Death 36

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

Death 61

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

Death 65

The Death of Architecture (Part 4) . Based on Superstudio, The Continuous Monument. Mirrors, mirrored perspex on wood, skater wheels

The Death of Architecture 1

The Death of Architecture (Part 4) Mirrored perspex on wood.

The Death of 3

The Death of Architecture (Part 4) Mirrored perspex on wood.

The Death of Architecture (Part 3)

Posted in The Death of Architecture (Part 3), Uncategorized by Glenn Walls on July 26, 2016

Death 5

The Death of Architecture (Part 3). Mirror perspex, Jelutong wood and wool rug

Death 50

The Death of Architecture (Part 3). Mirror perspex, Jelutong and wool rug

1

The Death of Architecture (Part 3). Development work. Jelutong

2

The Death of Architecture (Part 3). Development work. Jelutong

4

The Death of Architecture (Part 3). Development work. Jelutong

Death of Architecture: Farnsworth House (Part 2)

Posted in Death of Architecture: Farnsworth House (Part 2), Uncategorized by Glenn Walls on March 14, 2016

Farnsworth House Final

Death of Architecture: Ludwig Mies van der Rohe, Farnsworth House (Part 2)

The Death of Architecture. Superstudio (Part 1)

Superstudio Cite 5

Super Suspended 2. Mirrored tiles, skate wheels, various materials. 2016

Based on the Continuous Monument by Superstudio. Background taken from Cite de I’Architecture et du Patrimoine.

I am Australian 2015

Posted in Uncategorized by Glenn Walls on May 7, 2015

I am Australian 1

I am Australian. Acrylic on wood . 29 x 42 cms each panel. 2015

White People

Posted in White People by Glenn Walls on August 12, 2014

White People 7        White People 6

White People 3        White People 1

White People and their Spaces. Mirror acrylic on wood. 2014

More to come…….

What you would see if you were Superstudio….

Domestic Scale

Posted in Domestic Scale by Glenn Walls on August 12, 2014

Dieter Rams 1     Dieter Rams 3

German designer Dieter Rams (1932 – ) epitomised the modernist aesthetic within his designs that adhered to principle of ‘form follows function’.

As head of design at Braun, the German consumer electronics manufacturer, Rams emerged as one of the most influential industrial designers of the late 20th century by defining an elegant, legible, yet rigorous visual language for its products (Design Museum, 2014).

Rams’ objective was to design useful products, which would be easy to operate (Design Museum, 2014). Rams embraced the modernist aesthetic of ‘less is more’ Rams’ designs always looked effortless with an exquisite simplicity borne from rigorous tests and experiments with new materials and an obsessive attention to detail to ensure that each piece appeared flawlessly coherent. Dieter Rams remains an enduring inspiration for younger designers, notably Jonathan Ive and Jasper Morrison, who have acknowledged his influence in their work at Apple and Rowenta respectively (Design Museum, 2014).

My work focuses on the use of Rams radio design series for Braun, including RT20 table radio, 1961, as a framework to construct narratives that modify the designer original intentions by creating variant surfaces on the object. I am interested in how I can construct narratives by adding new layers to these objects in order to imbue them with personal significance. Through the placement of text and pattern that interrupts the modernist aesthetic, I envisage how we are able to occupy and personalise these objects to our own agenda.

3

Everything popular is wrong (Oscar Wilde) Wood, Perspex, working clock, 2013

2

Aim Higher / Aim Lower. Wood, Perspex, 2013, 130 x 250 x 95 mm

1

There is a possibility something will fuck up today. Wood, Perspex, working clock, 2013

Dieter Rams Clocks 3

Dieter Rams Clocks 4

Glenn Walls’ series of sculptures could be mistaken at first glance, for everyday domestic appliances. Based on the RT20 radio designed by Dieter Rams in 1961, Walls interrogates the tenets of Modernism by transforming the radio into a functioning clock and applying disruptive text that subverts the minimalist simplicity of the design. In works such as There is a Possibility Something Will Fuck Up Today, 2013, this modification serves to unpick Modernism’s master narratives – such as the notion of creating a definitive design prototype appropriate for every person and context as seen in the International Style of Le Corbusier. Fittingly, this series is juxtaposed next to iconic furniture such as Grand Confort, 1928-30, by Le Corbusier, Jeanneret and Perriand, plus Marcel Breuer’s Wassily chair, 1925-26, that forms part of the exhibition design schema. Through visual and conceptual interference, Walls is able to personalise the aesthetic principles of Modernism, harnessing their attributes to serve his own agenda.

Architects

Posted in Architects by Glenn Walls on April 21, 2014

Architects 3

Architects 2

Architects 4

Architects 5

Architects, 2014

Large scale bookcovers

Posted in Large Scale Bookcovers by Glenn Walls on April 21, 2014

Self and Boring Others

Self and Boring Others, 2014

No Difference At All - Uganda

No Difference At All is based on R. D. Laing 1961 book, Self and Others (seen in the top work). Eminent Italian graphic designer Germano Facetti designed the cover. R.D. Laing was a Scottish psychiatrist who wrote extensively on mental illness. The World Health Organisation considered homosexuality a mental illness until 1993. Using Facetti design of Laing’s book cover, No Difference At All highlights that sexual preference within the LGBTI community is no longer considered a mental illness by most western countries, however countries such as Uganda recently have imposed harsh anti gay laws and continue to label it as a mental disorder. The three circles are the colour of the Uganda flag. The red circle of the work is a mirror where we see a reflection of ourselves, noting that there is no difference at all, legally or medically between any of us. We are all the same no matter what our sexual preference may be.

How to avoid everything

Posted in Uncategorized by Glenn Walls on February 6, 2014

How to avoid everything booklet

How to yellow 2

How to avoid everything booklet 1

How to avoid everything booklet 2

Glenn Walls, How to avoid everything, Yellow booklet, Perspex,

10 x 15 cms, 2014

Prototype for Sophisticated Living 4 (Team Australia) Curated by Veronica Tello. Part 2 (Revisited)

Team 10

Team 22

Team 32

Team 41

Team 27

Team 40

Team 37

I am Australian

Posted in I am Australian by Glenn Walls on November 21, 2013

I am Australian Final 2

I am Australian. I will wear black until something blacker comes out. Perspex on wood. 2014 (study for larger work).

I am Australian. I will wear white until something whiter comes out. Perspex on wood. 2013/14 (study for larger work).

I am Australian is based Marcel Duchamp cover design for the Surrealist oriented publication Minotaure No 6, 1934. Minotaure was published between 1933 and 1939. The magazine focused on articles relating to Surrealist principles and theories, architecture and also contained the first published essays of the famed French psychiatrist and philosopher, Jacques Lacan (Vol. 1 & 4). Duchamp cover utilizes modernist principles of simplicity and lent itself to the redesign of the aboriginal flag. Alfred Deakin was Australia’s second prime minister and instrumental in the writing of the White Australia policy.

Nothing for me. Part 2

Posted in Uncategorized by Glenn Walls on October 14, 2013

Villa Savoye 8.1

Glenn Walls. Modernist architecture is a lie.

Le Corbusier & Pierre Jeanneret, Villa Savoye, 1928 – 31, Digital Print  2013.

Shot on location at Le Corbusier & Pierre Jeanneret, Villa Savoye. Poissy, France. September 2013.

BC 8

Glenn Walls. Ludwig Mies van der Rohe designed nothing for me.

Ludwig Mies van der Rohe, Barcelona Pavilion, 1929.

Shot on location at Ludwig Mies van der Rohe, Barcelona Pavilion. Barcelona, Spain. September 2013.

Villa Savoye 12

Glenn Walls. Le Corbusier designed nothing for me.

Le Corbusier & Pierre Jeanneret, Villa Savoye, 1928 – 31.

Shot on location at Le Corbusier & Pierre Jeanneret, Villa Savoye. Poissy, France. September 2013.

Works

Posted in Works by Glenn Walls on July 14, 2013

Super Wheels

Superwheels. Mirror tiles, skateboard wheels. 2013

Superlost 95

Prototype for Sophisticated Living No 4. Balsa wood, paint, 2007 -13

I am Anonymous 2

I Am Anonymous. Mirror perspex, wood. 120 x 240 cms. 2007 – 13

Dead Artist/Dead Art

Posted in Dead Artist/Dead Art by Glenn Walls on April 17, 2013

Dead 8

Ulises Carrion No 1 & No 2, Pencil on paper, 19 x 29 cms, 2013

How to Avoid Everything. Theoretical Book Covers 2013

Posted in How to avoid everything by Glenn Walls on April 17, 2013

How to avoid 6

How to avoid being you. Hiding your being in the built environment. Perspex on wood. 2013

How to avoid 3

How to avoid being you. Hiding your being in the built environment. Perspex on wood. 2013

How to Avoid Modernism – Ulises Carrión

Posted in How to Avoid odernism -Ulises Carrión by Glenn Walls on December 3, 2012

Carrion 6

How to Avoid Modernism – Ulises Carrión

Pencil on Graph paper. 2012

Ulises Carrión is credited with being one of the first artists to write a general theory about artists’ books. His influential essay, ‘The New Art of Making Books,’ written in 1975, analyzes the traditional form of books in the context its tactile, visual, and intellectual merits. Carrión’s work with visual and concrete poetry expanded the use of the book as a medium for artistic expression that uses the page as an alternative gallery space.

The above information is taken from the following website:

http://www.library.vcu.edu/jbc/speccoll/davidetcarrion.html

Life without Objects

Posted in Life without Objects by Glenn Walls on January 29, 2012

Book covers. Installation view.

Includes (lower right hand side): Shelter. Le Corbusier, Unité d’Habitation ( Version 1). Perspex on wood. 2012. 19 x 29 cms (study for larger work)

Prototype for Sophisticated Living No 1 (Version 2). Mirror tiles, skateboard wheels. 65 x 65 x 45 (approx.). 2007/2012

Book covers. Installation view. Front sculpture: Hoodwink (after Sean). Jelutong, Mirror perspex, Mirror tiles, white tape. 2012. (Prototype)

Shelter. Le Corbusier, Unité d’Habitation ( Version 1). Perspex on wood. 2012. 19 x 29 cms (study for larger work)

Installation view. TCB Inc. Untitled (Baseball Bats). Baseball bats and mirror tiles. Dimension variable. 2012

Book covers. Installation view.

Includes: Shelter. Le Corbusier, Unité d’Habitation ( Version 1, study for larger work), Everything Popular is Wrong, All Art Is Useless. Perspex on wood. 2012. 19 x 29 cms. 2012

Hoodwink (after Sean). Jelutong, Mirror perspex, Mirror tiles, white tape. 2012 (Prototype)

Life without Objects.

Opening Wednesday 15th February 2012

6 – 8pm

TCB

12 Waratah Pl  Melbourne VIC 3000. Wed – Sat 12 noon – 6pm

Exhibition dates: 15 Feb – 3 March

Nothing for Me.

Posted in Nothing for me by Glenn Walls on November 4, 2011

Glenn Walls. Ludwig Mies van der Rohe designed nothing for me, Ludwig Mies van der Rohe, Barcelona Pavilion, 1929), Digital Print, 2011

Shot on location at Ludwig Mies van der Rohe, Barcelona Pavilion  (1929), Barcelona, Spain. September 2011

Superlost Again 2011: Theoretical Book Covers

Posted in Superlost Again 2011 by Glenn Walls on July 6, 2011

      

Democracy in America. From barbarism to decadence without civilisation in between. Perspex on wooden board. Version 1, 29 x 42 cms, 2011

If you are not too long, I will wait here for you all my life. Perspex on wooden board. Version 1, 29 x 42 cms, 2011

       

Bigamy is having one husband to many. Monogamy is the same. Perspex on wooden board. Version 1, 29 x 42 cms, 2011

Everything Popular is Wrong. Power and Participation in Contemporary Architecture. Perspex on wooden board. Version 1, 29 x 42 cms, 2011

        

Chronic Psychoses and Recovery from Modernist Theory. Perspex on wooden board. Version 1, 29 x 42 cms, 2011

All art is quite useless. New Directions in African Architecture. Perspex on wooden board. Version 1, 29 x 42 cms, 2011

Superlost Again 2011

John Buckley Gallery

13 July – 6 August 2011


Going Home (Part 2)

Posted in Going Home (Part 2) by Glenn Walls on June 6, 2011

Glenn Walls. Le Corbusier designed nothing for me. Digital print. 2011. Part of the Going Home (Part 2) series

Modernist architects Ludwig Mies van der Rohe and Le Corbusier proposed buildings intended for an ordered, structured life and contemplative viewing. What attracted me to their domestic buildings were their pure forms, cleanliness, timelessness and strong sense of interplay between masculine/feminine and public/private space. I only know these architects’ works via books, documentaries and the web; I am from the suburbs, raised without connection to modernist architecture. My work seeks ways to link my experiences of domestic buildings with the pure forms and theories of these architects. To achieve this I have photographed my father outside his house. Through research, experimentation and production I link these spaces through the use of text, white electrical tape, human figures and objects, into the public/private spaces of Mies and Le Corbusier.

Glenn Walls. My other house is modernist. Digital print. 2011. Part of the Going Home (Part 2) series

The Grid. Le Corbusier, Unite d’Habitation 1946 – 52. 2011 & 2012

Posted in The Grid by Glenn Walls on February 20, 2011

The Grid. Le Corbusier, Unite d’Habitation 1946 – 52 Vs Superstudio. Ink on paper. 2012

Shelter (Aboriginal Flag). Le Corbusier, Unité d’Habitation ( Version 1). Perspex on wood. 2012. 19 x 29 cms (study for larger work)

The Australian Aboriginal Flag is a flag that represents Indigenous Australians. It was designed in 1971 by Aboriginal artist Harold Thomas, who is descended from the Luritjapeople of Central Australia and holds Intellectual propertyrights in the flag’s design. The flag was originally designed for the land rights movement, and it became a symbol of the Aboriginal people ofAustralia.

The symbolic meaning of the flag colours (as stated by Harold Thomas) is:

  • Black: Represents the Aboriginal people of Australia
  • Red: Represents the red earth, the red ochre and a spiritual relation to the land
  • Yellow: Represents the Sun, the giver of life and protector

Superlost again

Posted in Superlost again by Glenn Walls on June 17, 2010

Glenn Walls, Duel Meaning of Things, 2009. Exhibited at Westspace Sept 2009. Part of the Superlost series.

Glenn Walls, Duel Meaning of Things, 2009                  Superstudio, The Continuous Monument, 1968 -71

Quaderna designed by Superstudio, 1970. Reworked for Superlost installation 2010. Back image taken from Zonatta Magazine.

Superlost. Exhibited at RMIT Project Space and Spare Ro0m, 2010

Projects for Total Urbanisation

Posted in Projects for Total Urbanisation by Glenn Walls on June 17, 2010

Prototype for Sophisticated Living 4 (Team Australia) Curated by Veronica Tello

Posted in Sophisticated Living 4 (Team Australia) by Glenn Walls on January 23, 2009

Team Australia. Group show at the Carlton Hotel and Studios. December 2008

Team Australia is:
jeremy drape, emily ferretti, veronica kent, annika koops, brendan lee, natalie ryan, utako shindo, jackson slattery, salote tawale, glenn walls

Curated by Veronica Tello

Prototype for Sophisticated Living 3

Posted in Prototype for Sophisticated Living 3 by Glenn Walls on January 7, 2009

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Prototype for Sophisticated Living 3 exhibited at RMIT gallery, December 2008

Going Home

Posted in Going home (Digital prints) by Glenn Walls on December 6, 2008

Glenn Walls                                                                                                 Ludwig Mies van der Rohe, Farnsworth House, 1945 – 51

Untitled (Going Home) is a series of digital prints photographed in the house I grew up in. Located in Melbourne the house had been in the family for almost fifty years. However growing up in this house, I dreamt of living in another world, a modernist world. This world consisted of clean lines, white walls and minimalist furniture that had no connection to past histories or memories.

In June 2006,  the house was left vacant and up for sale. Realising the house would soon be out of my family possession, I went back to document my connection to the house, its history and more importantly my memories. For a few short weeks I had the opportunity to act out my childhood fantasy of connecting my family home to a particular form of modernism I only know through books and the Internet, however at the same time allowing the house to shine in its blandness as a place of memory.

 

Prototype for Sophisticated Living 1 (Broke exhibition)

Posted in Prototype for Sophisticated Living 1 (Broke exhibition) by Glenn Walls on July 3, 2008

Prototype for Sophisticated Living 1 exhibited at the Carlton Hotel & Studios 2008 in the group show Broke

Room 2

Prototype for Sophisticated Living 1 for the exhibition Broke At the Carlton Hotel & Studios 2008

Let’s talk about it, or new utopias

By

Rebecca Coates is an independent curator and writer, Adjunct Curator at Australian Centre for Contemporary Art (ACCA), and currently undertaking a PhD at the University of Melbourne looking at site-specific, ephemeral based installations.

Blubberland: The Dangers of Happiness , a new book by Elizabeth Farrelly, coins a new term for a new form of architectural horrible-ness.  For Farrelly, Western society is now a “Blubberland”, a society in which ‘most of us have more than enough of what we need and more than enough of what we want as well’.  As she continues, most of the inhabitants of Blubberland have far too much and more not only of material goods but also bodily fat, ‘to a degree that is dangerous for them and for the future of the planet.’  Thus the development of the McMansion: vast sprawling architectural monstrosities with too many bedrooms, an equal number of bathrooms, four-space garages, and so many windows that those commissioning them can’t afford the curtains.  And filled they are to groaning point with all the stuff and possessions a family could not possibly want, let alone need.
The disillusionment and rejection of modernist architectural ideals by the 1960s Italian group Superstudio might be akin to a similar rejection of today’s faceless, tasteless, mass-consumist architecture in what was once the green belt.  Once only the domain of savvy architects and design aficionados, Superstudio’s little-known architectural vision is undergoing a cult revival as architects and artists look to articulate their dissatisfaction with popular trends and developments.
Founded in Florence by a group of radical young architects in 1966, Superstudio laid out their vision of a built environment, ‘an efficient minimalist space that provides an ordered existence .. [The space should] not [be] constructed on the whims of consumerism and fashion.’   The location of this new form of avant-garde thinking is of course not accidental: Florence, Italy: a town ‘where all such contradictions become evident … [a town which] stands historically symbolic.’   And what better vehicle to launch their manifesto than Italian Vogue: anarchy and avant-garde are nothing if not fashionable.

To read the full transcript click on the Articles icon on the right hand side.

Room 1


How to avoid Modernism

Posted in How to avoid modernism (Video installation) by Glenn Walls on July 3, 2008

How to avoid Modernism at Gertrude Contemporary Art Spaces, April 2008.

How too

In 2005 l created a scale model of Philip Johnson’s Glass House (1949). As with Farnsworth House I was attracted to Johnson’s simple lines, geometrical forms and large floor-to-ceiling windows that opened up the interior to the outside world. It was not until 2008 that the thought of using the model for the work How to avoid modernism (2008) came to fruition and was exhibited at Gertrude Contemporary Art Spaces in April 2008 (slide). Glass House 1

Philip Johnson, Glass House, 1949

Superlost

Posted in Superlost by Glenn Walls on July 3, 2008

Superlost



Superlost

Mountain (Superstudio)

Posted in Green by Glenn Walls on July 3, 2008

Text Me

Posted in Text Me by Glenn Walls on July 3, 2008

Text Me at Spacement

Text Me at Spacement

Text Me at Spacement

Text Me at Spacement

Text Me
Spacement, Melbourne
August 17th to September 2nd 2006

By Christine Morrow.  Curator, Museum of Contemporary Art, Sydney

Published in Eyeline Number 61: Spring 2006

Text Me presented artworks on the theme of messaging. Curator, Glenn Walls, assembled a group that included him, four artists who regularly work with text – Rose Nolan, Sanné Mestrom, Gabrielle de Vietri and Danielle Freakley – together with the design duo Pandarosa.

The works incorporated the motif of text, or oblique references to it, across various technologies of expression not restricted to the typographic form. Although the artists showed an awareness of the history of concrete poetry, conceptual art and particularly the Art & Language movement, they avoided rehashing any of the old concerns of structural linguistics about the systematic features inherent in language’s operation.

The exhibition did not focus on the structures of language per se but its instrumentality in building relationships or communities. By foregrounding the social functions of language and privileging individual utterances, the exhibition closely examined various intimacies created by speech and writing. Certain of the artists achieved this by inserting themselves into the work, or by using first-person to second-person speech, as if to whisper to the viewer, this is about you and me. Others created this intimacy by expressing personal vulnerability. These various strategies seemed to run the spectrum bounded by the two extremes of what the imperative Text me can signify: on the one hand a breezy sign off meaning let’s talk and on the other a neediness of the you never write, you never call…variety.

Sanné Mestrom has become known for large-scale painted wall texts of quasi biblical messages rendered with dizzying spatial illusions. By contrast, in Text Me she presented a series of large black and white images that were so degraded they appeared to be copies of copies. They depicted a performance by the artist that involved smearing her painted body along a wall. There was no typographic text in this work; instead Mestrom presented the evidence of using her body as a writing instrument to create what could be seen to function like a kind of graffiti tag, based on the body leaving behind its own indexical signature on the wall. However, the immediacy of effect it sought to create was undone by presenting the documentation of the work rather than either performing the work or exhibiting the smeared wall.

Pandarosa presented a wall-painting framed by two freestanding cardboard forms painted with ink drawings of each of the two members of the collective. The painted wall featured their signature style of silhouette shapes overlaid with organic-looking spidery drawing. It appeared to spell out Pandarosa. It too functioned as a graffiti tag, but in a more literal way than did Mestrom’s work. The work’s main content was a representation of its own authors who signed it thrice over: once by creating it in their signature style, a second time by writing their name large within it and a third time by presenting images of each of the two of them framing the work like bookends. As we might expect from graphic designers, there was an overt concern with the way text’s typographical features mediate its signification. But in this instance, the duo achieved a kind of anti-typography for there as a partial breakdown of legibility in the individual letters and their sequencing.

Glenn Walls presented an installation that featured a crumbling wall supporting a puzzling assortment of images. These functioned like conceptual clues needing interpretation. This work was also a kind of graffiti tag, or signature writ large, but a very subtle one. By exhibiting a wall, the artist invoked his own surname, Walls, in the form of a rebus. The wall was papered with a repeated pattern of symbols reminiscent of a personal coat-of-arms based on an assortment of mementi mori: including a modernist building, a retro car, three skulls and an urn. An image of the artist appeared separately in each of the framed photographs displayed on the wall, but in them he was not really himself. Instead he functioned as a kind of blank person on which to hang messages and monograms. The entire effect was to generate a slippage between logos, the plural of logo (or logotype), and logos, the word. This wall appeared to simultaneously break down and reconstitute itself; through its self-referential play, it absorbed the signature, transformed and diffused it……….

Christine Morrow

To read the full transcript click on the Articles icon on the right hand side.

Men

Posted in Men (Video installation) by Glenn Walls on July 3, 2008

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Men exhibited at Westspace Inc

Digital

Posted in Digital by Glenn Walls on July 3, 2008