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Outpost, graffiti artists on display at Cockatoo Island.

13 Dec

We went to the last day of the Outpost Art from the Streets installation at Cockatoo Island last Sunday.
We got completely drenched on the ferry but the trip was great.
It was good to put some names to the works I’ve admired on the side of the local subway tracks.

An artwork by the famous Beastman (he’s so hot right now…) was the first artwork in the “Artery” tunnel that runs under the island (the island was for 150 years an RAN shipyard). The tunnel is a great natural art gallery. My boys are great fans of street art.

Artists include Ears, Ghostpatrol, Ben Frost, Ha Ha, James Jirat Patradoon, Jumbo, Max Berry, Numskull, Vexta, Zap, Deb, Bennett, Mini Graff, Shannon Crees, Shida, Sprinkles, Lister, Itch, Makatron, Sync, Reka, Phibs, Prizm, Beastman, Dmote, Drewfunk, The Yok, SMC3, Meggs and Rone.

Some young louts waiting to vandalise something…

A wet Tebbit!


More Beastman??

Kidzoom Home. Scary stuff.

More Beastman??

So sad….

1976 school bus. Ironlak Bus.

Run!!! The storm approaches!





Sydney's top urban exploration sites

5 Sep

My favourite urban exploration sites in Sydney at the moment-

Site One- Dunlop/Slazenger Factory in Alexandria
9 Bowden Street, Alexandria.
Open and easy to access.

We found all sorts of old Slazenger things- tennis racquets, golf balls, shoes, etc. A favourite haunt for film makers (there were two crews there, early on a Sunday morning).

Part of the vast Green Square area, soon to be luxury flats.

Look at my car!

The holes in the asbestos sheeting roof make for splendid effects.

Famous graffiti artists work.

Site Two- Rozelle Tram Depot.
South of Harold Park Raceway, next to Jubilee Oval, Glebe Point.

Rozelle Tram Depot is a large tram depot in Glebe that has stood effectively empty sine the 1960s.
It is currently being redeveloped as part of Mirvac Harold Park residential redevelopment and will be developed as a retail area.

The vandalised trams within will be retained on site and restored.
Currently patroled by security, as is now part of construction site. Quiet on Sundays.

This place is classic as the interior is slowly returning to nature, complete with ponds of tadpoles.

A local ruffian leaving his mark.


Site Three- Summer Hill Hospital
Grosvenor Centre, 56 Liverpool Road, Summer Hill (abandoned hospital).

Private property. Soon to be redeveloped into flats. Main building is heavily alarmed.
Summer Hill’s largest mansion, Carleton (now the Grosvenor Hospital’s main building), was built in the early 1880s on Liverpool Road for Charles Carleton Skarrat.

Definitely haunted…..

That ruffian again!

The above images were sent to me by anonymous sources.
The sites are (dangerous) private property and are not open to the public.

Central Park- Laneway plan grows from heritage-listed alley

16 Aug

Kelsey Munro Urban Affairs, August 15, 2011

THE developer of the former brewery site at Broadway has engaged a Sydney architect to turn a crumbling, heritage-listed alley near Central Station into a bustling Melbourne-style laneway precinct.

Kensington Street runs south from Broadway along the boundary of the brewery site and is lined with vacant, heritage-listed terraces and brewery administration buildings, some home to artists’ studios.

The street is book-ended with two great Art-Deco pubs- at the east the County Clare.

As it looked in the fifties, note the tram lines and clear road.

And on the western end by this robust specimen (love the stumpy concrete awning)…

Architect Tim Greer, who oversaw the reinvention of Eveleigh Carriageworks and the award-winning Paddington Reservoir Gardens, is running the project, which he said will provide a threshold zone between lower-rise, old city blocks and the towering new residential precinct.

Frasers Property’s chief executive officer, Guy Pahor, said the Melbourne laneway concept was apposite for what will be renamed Kensington Lane. ”This has a lot of parallels in terms of the scale,” he said, ”but also in what we intend to do with it, which is provide a rich diversity of uses which may include small eclectic retail outlets, cafes, possibly small book stores, possibly a boutique hotel and student accommodation.

”The restoration of the old Clare Hotel and the Fosters administration building is part of that mix.”

Mr Pahor said the developer was investing in the laneway because it believed the success of Central Park, the residential component, would depend on the quality of the public spaces delivered around it.

Brewery workers on their smoko break, some years ago.

Mr Greer said: ”[Kensington Lane] has some very significant remnant heritage buildings and also a lot of missing teeth which are ripe for new contemporary buildings.”

Frasers Property expects to put a detailed proposal for the laneway to planning authorities next year.

The building site yesterday.

The completed project, showing the “central park” open space.

Read more:

Glorious psychedelic cacophony for starters

16 Jun

AS an array of colours and shapes bounced off the roof of the Sydney Opera House after the opening of Vivid Sydney on Friday night, inside at the Opera Theatre English space rock ensemble Spiritualized was employing its own kind of light show to colour its creations.

Spiritualized was there to perform its third and most critically acclaimed album, Ladies and Gentlemen We are Floating in Space, a landmark in post Britpop psychedelia released in 1997. It’s an album that is by turn delicate, mournful, hypnotic and, in terms of creating a really intense racket, quite beautiful.

Main man Jason Pierce prefers the enigmatic approach to stage performance.

He sat down for the entire show, off to one side with his music stand, a microphone and an electric guitar.

For this gig he had plenty of collaborators to help him recreate his best work, including an eight-piece choir (in appropriate smocks), a similarly sized string section and six horn players, most of whom were recruited in Sydney.

That was in addition to the rock nucleus of bass, drums, two guitarists, a percussionist and a keyboards player. You felt it might be loud. And so it was.

Initially, as they launched into the title song as an opener, it was hard to tell if the guitar feedback was a technical fault or part of the set, but as the show progressed it became clear that every dynamic shift and nuance, even the severest barrage of white noise, was deliberate.

Pierce’s songs often have a dirge-like repetitiveness, either in the sense of stripped-back melancholy or in the way the instrumentation builds slowly around one theme until it becomes a ball of static directed straight at your eardrums.

These attacks were the best parts of this performance, even if the decibel level did have some unsuspecting festivalgoers stuffing bits of paper into their ears by the end of the fifth song, Stay with Me.

The highlight was the closing, 17-minute psychedelic groove of Cop Shoot Cop. This glorious cacophony featured the entire ensemble. The combination of heavy percussive rumble with strings, horns and guitars going full tilt and the strobe lighting used to illuminate it made it as thrillingly intense as a fairground ride you never want to get off.

Quieter moments such as the gospel-tinged Come Together and Broken Heart allowed the subtleties being played by the strings and horns to push through. Elsewhere they were contributing to the whole without being distinct.

With the album done, they came back on for Out of Sight, a standout from Spiritualized’s first album Let it Come Down.

Its more restrained, poppy groove was a comedown, but pleasantly so after the onslaught before it. You’d want an act to open your festival that lived up to the title Vivid Live. Spiritualized did that with ease.


400,000 attend the biggest ever Vivid Sydney


NSW Deputy Premier, Andrew Stoner, has declared Vivid Sydney 2011 a record success, with sell-out music concerts, huge crowds experiencing over 40 light installations and packed creative ideas sessions.

Vivid Sydney cemented its popularity, as over 400,000 attendees from Sydney, Australia and the rest of the world experienced events around Circular Quay from the Sydney Opera House to The Rocks. From jets of flame shooting out of Campbells Cove at FireDance to world exclusive concert performances by artists, including The Cure at Sydney Opera House and events for creative industry professionals, the festival offered something for everyone. Vivid Sydney catered for families, young people, seniors, creatives, tourists and everyone in between.

Vivid Sydney is a ground breaking event model. The spectacular festival not only provided entertainment for the public and attracted visitors, but also proved to be an excellent platform for creative industry events. There is no doubt the international spotlight was shining on Sydney over the past 18 nights, that showcased our creative industries credentials to the world.

Vivid Sydney executive producer, Ignatius Jones, said the success of the 2011 festival was a credit to the passion and talent of the creative teams involved in the event. Reminiscing the dazzling display of sound and lights Jones added, “it’s been a fantastic journey this year and an absolute pleasure to work with Events NSW who have a strong vision to create a festival that puts Sydney on the map globally as the creative hub of the Asia Pacific. Events NSW estimate Vivid Sydney will generate up to $10 million in economic benefit for the State.

“We knew this year’s festival would be popular, but we were blown away at seeing such huge crowds down at the festival, night after night enjoying colourful jellyfish swimming across the Sydney Opera House sails, painting digital light graffiti on the Museum of Contemporary Art and watching the awe inspiring 3D projections on Customs House” said Jones.

Vivid LIVE at Sydney Opera House and the Vivid Sydney music program, featured over 30 ticketed events, including a number of Sydney and world exclusive performances from artists such as The Cure, Bat for Lashes, Cut Copy and Spiritualized. Over 35,000 tickets were sold, in addition to 4,500 tickets to interstate and overseas visitors, which generated a $2.34 million gross box office. This makes it the most successful Vivid LIVE yet for Sydney Opera House. As an astonishing achievement, around 59 per cent of the tickets were sold to a new audience.


Venice Biennale: The ‘It’ Bag

3 Jun

June 2, 2011, CAROL VOGEL, NYT.

It’s something of a tradition here that when the National pavilions dole out information on their artists, the papers and catalogs generally come with a handy tote bag.  Both a practical object and a free ad (they usually have an image of some sort and the name of the country on them) some are always more in demand than others.

Venice Biennale- This year one particular stand-out can be found at the Australian pavilion: it’s gold lamé and has the name of the artist — Hany Armanious — emblazoned in black letters and the rest of the information in bright red.  Officials there said within three hours on Wednesday they had dispensed with more than 2,000 of them and as they’re getting scarcer this season’s “it” bag is becoming a collector’s item. One man even asked for two of them so he could turn them into a pair of shorts.

Mr. Armanious was on hand to talk about his exhibition, appropriately named “The Golden Thread,’’ which includes a group of sculptures in the form of familiar images and found objects.

The artist acknowledged that he had a hand in the design of the tote bag. “It’s obviously playing with the title of the show, a subtle signifier,’’ he said, then paused and added, “I wish I had had the foresight to include a matching hat.’’


Vale Rollin Schlicht- Architect's first love was painting

4 May

Rollin Schlicht (as I remember him, in the ’70s) as sketched by Brett Whitely.

Studio days … Rollin Schlicht honed his crafts in Australia, Britain, and France.

Rollin Schlicht, 1937-2011

Rollin Schlicht was an architect, painter, printmaker and an architecture and urban affairs commentator. He was also a key member of the Central Street Gallery, which did so much to re-frame debate about the visual arts in Australia during the second half of the 1960s.

Darkly good-looking, with a hooked nose and Zapata moustache, he bore an uncanny resemblance to Gauguin – an affinity that he did not overlook, doing a series of self-portraits at one stage representing himself as the French artist. More interesting was the way in which he adapted the palette and decorative genius of Gauguin in his early abstract work and also in a late burst of outstanding painting.

Rollin Schlicht was born on October 27, 1937, on Ocean Island in the Gilbert and Ellice Islands (now Kiribati and Tuvalu), the son of Theo, a doctor to the phosphate mining company there, and his wife, Kathleen. The family was Australian (from Beaufort in Victoria) but Theo always wanted to be a psychiatrist and work in England.

Advertisement: Story continues below When war broke out in 1939, the family was stranded in South Africa before returning to Australia, where Theo was drafted into general practice. He joined the RAAF in 1943 and spent three years in Japan before going on to England. It wasn’t until 1951 that the family was reunited in England, where Theo had become a psychiatrist.

The separation from his father and the expatriation to England was something Schlicht never quite overcame.

In London, the Schlicht household was something of a bohemian locus, especially for Australian artists such as Arthur Boyd, Charles Blackman and Justin O’Brien (who gave his name to Schlicht’s younger brother, Justin, who would also become a psychiatrist).

Despite this, Schlicht’s parents resisted his going to art school so he studied medicine. This lasted just a year before he volunteered for national service, expecting to be rejected. He wasn’t and so served his two years before going to a kibbutz in Israel, where he entered into a hasty and short-lived first marriage.

Schlicht returned to England to study architecture. There he met Diana Tilley-Wynyard (with whom he had three children) and Janice Wainwright, later a fashion designer who eventually became his second wife.

Schlicht fell in with a group of expatriate Australian artists, who all seemed to live in what was then a very cheap area, Ladbroke Grove, and drink on Portobello Road.

When Tony McGillick established the Central Street Gallery with John White and Harald Noritis in Sydney, Schlicht saw his opportunity to return to Australia to begin a career in art. He held his first one-man show at Central Street in April 1967, later exhibiting there in group shows, along with a one-man show at Melbourne’s Pinacotheca in 1969.

Central Street was Australia’s first ”white box” gallery. Located in a warehouse building in a lane next to Central Street police station, it began life on the first floor but eventually expanded to the ground floor, where Schlicht designed a highly sophisticated adaptation, mixing cool modernism with the robust industrial character of the building. When the gallery closed in 1970, Schlicht continued to show with Chandler Coventry, for whom he designed another sophisticated two-level gallery in Sutherland Street, Paddington.

In Australia, Schlicht earned an income not from his painting but from architecture. He worked with Philip Cox and Allen Jack and Cottier. In 1967, he was joint winner with Carl Plate of the Aubusson Tapestry Prize. This took him to France and again to England.

He returned to Sydney in 1993. Here, the artist and paint manufacturer Jim Cobb (Chromacryl Paints) gave him accommodation and a studio and Schlicht managed the company for a while.

He continued to practise architecture on and off but largely devoted himself to painting. Schlicht was also a writer; he was architecture and urban affairs writer for The Sydney Morning Herald in 1994, a poet manque and a contributor to books and magazines.

Rollin Schlicht is survived by Janice and his children, Erin, Saskia and Justine.

Paul McGillick, May 2, 2011

'Artists In Residence’ opens at Central Park

12 Apr

Frasers Property Australia is undertaking an $8 million public art programme at Central Park, the redevelopment of the former Carlton United Brewery site, in Chippendale.

Frasers commissioned highly acclaimed Sydney artists Jennifer Turpin and Michaelie Crawford of Turpin + Crawford Studio to develop a holistic public art strategy for Central Park in 2009. The strategy provides a cohesive long-term thematic and planning framework for the commissioning of permanent and temporary public artwork at Central Park.

Turpin + Crawford will work with other public art curators to ensure the highest calibre contemporary art is commissioned for Central Park. Renowned curator Anne Loxley is currently collaborating with Turpin + Crawford on the ‘Artists In Residence’ temporary art project for the historic Irving Street Brewery.

Turpin + Crawford have also been commissioned by Frasers to deliver the major kinetic artwork ‘Halo’, especially designed for Chippendale Green, the major new public park at the heart of the new precinct.

Importantly, Frasers’ commitment to public art and cultural at Central Park includes both temporary activations of the site and permanent installations.

Other art and cultural initiatives from Frasers include the highly regarded and awarded FraserStudios art space managed by Queen Street Studio, a supportive relationship with the UTS School of Architecture and ‘Art at Central Park’ with local gallery NG Gallery.

Upcoming art projects at Central Park include:

• Artists in Residence is an ambitious temporary public art installation that will see four major artworks installed one after the other on the heritage Irving Street Brewery building, within the Central Park construction site. Beginning this April with ‘Local Memory’ by Brook Andrew, the project will ‘grow’ as works by artists Mikala Dwyer, duo Claire Healy and Sean Cordeiro and Caroline Rothwell are sequentially and cumulatively installed over the year. Responding to the concept of artists ‘taking up residence’ in the brewery building, these highly regarded Australian artists will transform the building with an arresting and dynamic suite of artworks.

• Turpin + Crawford’s major new artwork, ‘Halo’ will be installed at Central Park later this year. ‘Halo’, a kinetic wind-driven sculpture, will be a dynamic centrepiece for the Central Park precinct. A 12-metre diameter carbon fibre ring ‘floats’ off-centre around a 14-metre high pole. Gently spinning in the wind, the ring tilts and turns in a slow and mesmerizing airborne motion.

• FraserStudios is the creative transformation of three warehouses on Kensington Street, within the Central Park development site, into artists’ studios and rehearsal space.  Managed by Queen Street Studio, a not for profit local arts management company, FraserStudios opened in September 2008 and will remain open until December 2011. Free visual and performing arts residencies are offered, plus subsidised rehearsal space, events and workshops.

• ‘On Exhibition’ is a rolling program of exhibitions within the Central Park Display Pavilion, curated by managed by NG Gallery. Having commenced in October 2010 with former FraserStudios visual arts resident Mai Nguyen-Long, On Exhibition will continue to feature predominantly local artists. Frasers’ acquires a work from each exhibition, slowly building an eclectic collection.

• French artist and botanist Patrick Blanc has created 24 vertical gardens for the façades of One Central Park’s two residential towers. These living artworks will embody the green sensibility underpinning the precinct.
• One of the unique architectural features of Central Park is the dramatic lighting installation to One Central Park’s monumental cantilevered heliostat. Yann Kersale is a renowned lighting artist, based in France, whose previous collaborations with architect Jean Nouvel include Torre Agbar in Barcelona. At night the heliostat’s thousands of LED lights will theatrically and colourfully illuminate the towers, carving a shimmering firework of movement in the sky.


‘Artists In Residence’ opens at Central Park
Frasers Property Australia launches $450,000 temporary public art project

Sydney – 12 April 2011 – Frasers Property Australia will tonight open the $450,000 Artists In Residence project, a major component of the developer’s $8 million public art program at its landmark Central Park mixed-use development project in Sydney’s downtown.

Artists in Residence is a temporary public art project designed to transform the iconic, heritage-listed Irving Street Brewery building and brick chimney – prominently located at the centre of the Central Park development site – with the installation of four large, vibrant and witty artworks that will attract the attention of local residents, students and passers-by commuting to the city via Broadway.

As the first artist to unveil his work, Brook Andrew will tonight ‘switch on’ his piece, ‘Local Memory’, which features 18 individual photographic portraits of locals who have been in some way associated with the brewery throughout its working history from 1908-1998.
Local Memory is situated on the Broadway-facing façade of the Irving Street Brewery, perfectly placed to surprise and captivate passers-by.

Artists In Residence curator Anne Loxley said Mr Andrew’s artwork uses the architectural remnants of two floors of the brewery to arrange the 18 large-scale photographs, which will each be framed in red neon. The artist describes the work as “as a large-scale pulsating, glowing wall of faces”.

“Brook’s work depicts not only the workers but the brewery’s broader community. In researching this work he was interested not just in the workers, but also local residents, people who visited and drank at the pubs, kids who played in the area and even people who may have delivered or made other calls for various reasons at the brewery,” Ms Loxley said.

Four artworks will be installed on the Irving Street Brewery Building from April until early 2012 and will remain in place for up to three years. The works will be installed every three months, so that gradually, a playful ‘conversation’ will develop between the four works.

Ms Loxley said that as a whole, the four Artists In Residence artworks will not just intrigue and delight passers-by, they will allow pause to consider in myriad and open-ended ways, the history, nature and future of Central Park.

Artists In Residence was conceived and developed by art consultants and acclaimed public artists Jennifer Turpin and Michaelie Crawford, whose intention was to gradually transform the much-loved building with a group of bold and imaginative ‘residents’ who take occupancy with their arresting and mostly sculptural interventions. 

Ms Crawford said each artist had been given free rein to create an artwork that will not only contribute to the creative character of the Chippendale community, but would also be inspired by “the history, fluids, processes and intoxications of the site’s brewing past.”

In June 2011, ‘Local Memory’ will be complemented by Mikala Dwyer’s work which will crown the iconic 52 metre tall chimney. Later in 2011, the collaborative duo Claire Healy and Sean Cordeiro will install a major sculpture. The final installation by Caroline Rothwell will be revealed in early 2012. 

Artists In Residence showcases the work of four of Australia’s most highly regarded contemporary artists selected from a competition involving seven artists. Brook Andrew’s work has been featured in numerous prestigious exhibitions both in Australia and internationally; in 2009 Mikala Dwyer was the recipient of an Australia Council fellowship; the collaborative duo Claire Healy and Sean Cordeiro, represented Australia at the 2009 Venice Biennale; and Caroline Rothwell recently exhibited a major installation at the Contemporary Art Society, London.

Frasers Property Australia’s CEO Guy Pahor said the $450,000 public art project will engage and enthrall the local and broader public, who will be able to literally watch the transformation of the brewery from street level.

“Artists In Residence forms part of Frasers’ $8 million public art programme which includes temporary work designed to enliven the site during construction, as well as permanent works embedded within the parks, streetscapes and buildings of Central Park,” Mr Pahor said.

“Chippendale has a well-established creative community and a colourful, eclectic character. We’d like to see that creative character extend into Central Park, and our public art programme is a major commitment to this end,” added Mr Pahor.

The Central Park Display Pavilion is now open daily from 10am to 6pm, at 80 Broadway, Chippendale. Telephone 1300 857 057 for details or visit

– End –

Media enquiries:
Libby Conway at The Capital Group 02 9252 3900 or 0439 076 835
Lisa McCutchion at Frasers Property, tel (02) 8823 8800 or 0407 222 206,

About Frasers Property Australia
Frasers Property Australia (Frasers Property Management Australia Pty Ltd) is the Australasian division of Frasers Property, the international property arm of Frasers Centrepoint Limited. Frasers Property Australia is currently planning or developing residential, commercial and retail properties, including ‘Central Park’ on Broadway, ‘Lumiere Residences’, ‘Lorne Killara’ and ‘Trio’ in Sydney and residential subdivisions in Western Australia and New Zealand.

In 2009 Frasers Property Australia won the NSW Urban Development Institute of Australia Award for Concept Design for its $2billion future Central Park development, and the Property Council of Australia’s National Award for mixed-use development for Regent Place. 

Frasers Centrepoint Limited, a leading property company based in Singapore, is an integrated real estate company with a global portfolio of residential, commercial and serviced apartment properties spanning 16 countries across Asia, Australasia and the United Kingdom.