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Un artiste australien autour de la figure du Masculin

“Straight White Male”: Australian artist Ben Quilty explores masculinity – in pictures

In his solo exhibition at Pearl Lam Galleries in Hong Kong, Ben Quilty subverts the paradigm of masculinity in an ongoing pursuit to find himself.

Award-winning Australian artist Ben Quilty’s latest series of paintings is a potent examination of the cult of masculinity through a keen exploration of history and culture, as well as his own identity.

Portrait of Ben Quilty in front of 'Fairy Bower Falls Rorschach no.2', 2014. Image courtesy the artist and Pearl Lam Galleries. 

In the summer of 2014, Ben Quilty (b. 1973, Sydney) became the first Australian artist to be invited to hold a solo exhibition at London’s internationally acclaimed Saatchi Gallery. The artist follows up the groundbreaking show with a headlining solo exhibition in Hong Kong. “Straight White Male” runs at Pearl Lam Galleries until 1 March 2015.

War and masculinity

CULT Magazine writes that Ben Quilty has “dedicated much of his revered creative output to reflecting and, more importantly, interrogating the fraught nature of Australian masculinity”. While earlier works focused on teenage rites of passage and young male angst (drinking, drugs, vandalism, violence, etc.), the artist’s defining body of work – the 2012 show “Ben Quilty: After Afghanistan” that catapulted him to fame – was produced after his 2011 attachment to the Australian Defence Force as an official war artist in Afghanistan. Speaking to CULT, Quilty declared:

War is a very flawed but very successful way of initiating young men […] you meet young 19- or 20-year-old men who have served for nine months in Afghanistan […] and they are actually functioning young men. But the risk, and the costs, […] is way, way too much. As we’ve seen, Post Traumatic Stress Disorder (PTSD) is just running rife […] we can look to the Vietnam War as a guide for how PTSD unravels over decades […]

Ben Quilty, 'Private Cary Adams, 7RAR, 69-70', 2014, oil on linen, 80 x 70 cm. Image courtesy the artist and Pearl Lam Galleries.

Ben Quilty, 'Private Phillip Butler, 7ARU, no.2', 2014, oil on linen, 80 x 70 cm. Image courtesy the artist and Pearl Lam Galleries.

For Quilty, war is the ultimate signification of the violent, self-destructive initiation and rites of passage that western young men have to go through. He continues to explore this theme in “Straight White Male”, painting raw, moving portraits of Australian war veterans based on live sittings. Private Phillip Butler, 7ARU, No. 2 (2014), for example, depicts a Vietnam veteran who was subsequently diagnosed with post-traumatic stress disorder. In his artist’s statement, Quilty describes his subjects as

disempowered straight white males who have survived the mistaken military engagements of the past.

The ‘luckiest’ way to be born

In contrast to the sombre portraits of war veterans are more lighthearted canvases depicting friends and family, or the “nearest and dearest males in [Quilty’s] life”. There are also a number of self-portraits in an exuberant, heavily gestural abstract expressionist style. Quilty describes the series as

a lighthearted yet dark gesture that examines [his own] role […] as a straight white male in […] society, which is probably the luckiest way to be born on […] earth at the moment […] There is a sense of the absurd […] the polarity of the easiest living position in society.

Ben Quilty, 'Dad with peacock hair', 2013, oil on linen, 135 x 115 cm. Image courtesy the artist and Pearl Lam Galleries.

Ben Quilty, 'Painting for a rug about my Dad', 2014, oil on linen, 160 x 170 cm. Image courtesy the artist and Pearl Lam Galleries. 

Elsewhere, the artist tells the Wall Street Journal that inserting humour and subverting the images of himself and his father “is a way of talking about [his] own awkwardness as a straight, white male”. He tells Wanderlister in an interview:

I am straight, white and male and for many parts of the world (and definitely in Australia) straight and white and male is the paradigm. It is a paradigm that often embarrasses my sense of myself.

Introspection and the Rorschach method 

Quilty openly states that the way he tackles all his subject matter is through introspection and self-reflection. He tells the South China Morning Post that much of his work is autobiographical.

Ben Quilty, 'Straight White Male - Self portrait, 2014, oil on linen, 170 x 160 cm. Image courtesy the artist and Pearl Lam Galleries.

Ben Quilty, 'Pacific Self Portrait', 2014, oil on linen, 202 x 265 cm. Image courtesy the artist and Pearl Lam Galleries.

Even when he is painting other subjects or landscapes, a powerful sense of self-inquiry and introspection pervades Quilty’s works. A possible reason is his employment of a technique in which “the canvas is literally printed with the mirror image of its other half”. The technique was inspired by inkblot tests created by Hermann Rorschach, a 19th century psychologist and pioneer of mental health research. The doubling or mirroring evokes a mood of introspection and self-examination.

Ben Quilty, 'Andre at Jim Morrison’s Grave', 2014, oil on linen, 202 x 265 cm. Image courtesy the artist and Pearl Lam Galleries.

Ben Quilty, 'Fairy Bower Falls Rorschach no.2' (installation view), 2014, oil on linen, 220 x 780 cm. Image courtesy the artist and Pearl Lam Galleries.

This method was used in the show’s headlining piece: a stunning twelve-panel landscape entitled Fairy Bower Falls Rorschach No.2 (2014). The work depicts the site of an early 19th century massacre of Aboriginal people in the southern highlands of New South Wales, whose “aesthetic charm belies the brutal history of murder and destruction”, according to Quilty’s statement.

In addition to creating an introspective atmosphere, use of the Rorschach technique means that the original painted image is both damaged and duplicated in the process of its creation. The phenomenon ingeniously “echo[es] the disturbance and violence the site has witnessed”, according to the press release, and for Quilty, the work is a

re-examination of the role of straight, white, males in the brutal history of British colonialisation.

Michele Chan


Related Topics: Australian artists, painting, oil, gallery shows, picture feastsevents in Hong Kong

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Alexander McQueen à Londres

Alexander McQueen-Mania Sweeps Over London

Lorena Muñoz-Alonso, Tuesday, February 17, 2015


Untitled from the series ‘Alexander McQueen Working Process'  © Nick Waplington

Next month, not just one but three major Alexander McQueen exhibitions will open their doors in London to celebrate the life and work of the ill-fated London-born fashion designer.

The McQueen season will kick-off at Tate Britain, with « Nick Waplington/Alexander McQueen: Working Process, » a solo show by photographer Nick Waplington documenting the making process­—from inception to catwalk—of what turned out to be McQueen’s final fashion collection in 2009, the now-mythical “Horn of Plenty, » (see Tate Britain Will Show Intimate Photos Of Alexander McQueen).

“McQueen thought of ‘Horn of Plenty’ as a retrospective, » Isabella Maidment, co-curator of the Tate exhibition, told artnet News. « It’s clear that, for whatever reason, he wanted to look back on the work he had previously done. He recycled garments, fabrics, and references used in other collections. But he also invited previous collaborators and models. So he was obviously thinking about his legacy, and he was keen on documenting it. Whether that was simply to move on to a new body of work or not, we will never know. »

Waplington, best known for his photographic work around class and conflict, was a friend of McQueen and although he had never shot fashion before, McQueen chose him for his “dirty, messy style. »

The project’s initial outcome was a book, which was published in 2013, three years after McQueen’s untimely death in 2010, aged 39. Now, the images will be displayed as large prints in a museum for the first time.

The fact that « Work in Process » also marks the first major solo exhibition by a living photographer at Tate, as well as the institution’s first foray into fashion, suggests that the museum is exploring new avenues. “’This show is a deliberate decision from Tate to appeal to a broader audience, » Maidment confirmed. « Its opening will follow on from London Fashion Week, which is a moment when there’s a lot of interest in fashion in the city, and we definitely want to build on that. »

The timing is certainly appropriate, as the show will also coincide with the London run of “Savage Beauty » at the Victoria & Albert Museum (see Homecoming: Alexander McQueen’s Savage Beauty Finally Lands in London). When the exhibition first opened at New York’s Metropolitan Museum of Art in 2011, it was an extraordinary success, and Brits seem equally eager to celebrate the legacy of the globally-admired Londoner (see 16,000 Advance Tickets Sold for V&A’s Alexander McQueen Showand V&A to Print 50,000 More Tickets for « Alexander McQueen: Savage Beauty).

To top it all, SHOWstudio’s gallery is staging an exhibition of monumental prints of the editorials that revered fashion photographer Nick Knight made of McQueen’s fabulous creations for a number of fashion magazines, including Visionaire to Dazed & Confused.

“The thing about McQueen is that he’s got this fascinating personal story, » Maidment concluded. “That someone from an unprivileged background could end up working for Givenchy and triumphing in the fashion world  is a classic fairy-tale narrative that is incredibly appealing to everyone. But I think people also relate to how iconoclastic his vision was, how he managed to work within a restrictive establishment and do something radically new. »