2000 - 2018 Public Art and Memorial St Kilda

September 17, 2018

2000 - 2018 Public Art and Memorial St Kilda

2000 - 2018 Public Art and Memorial in St Kilda

Margins, memories and markers - the Port Phillip project,

2001 - 2003

Project Officer/Coordinator: Ilka Tampke

Creative director/writer Julie Shiels

Many local artists and groups involved, both in the permanent and ephemeral works.

Funding: VicHealth (Arts and Environment Scheme)

6 major artworks and 28 bronze plaque markers distributed across the city of Port Phillip.

Several markers in St Kilda, though not all of them were found by this researcher.

6 major artworks and 28 bronze plaque markers featuring personal memories and dotted throughout the city of Port Phillip.

(Bronze overalls and a pair of boots, the bronze crates?)

‘’The groups targeted in Port Phillip included the elderly Russian community, the homeless, young people, public housing tenants and people with disabilities. These people were seen as being left out of significant decisions being made in the city that had an impact on their lives. The project, entitled ‘Margins, memories and markers, was designed to validate and celebrate their life experiences’ (McLeod et al. 2004, p.24).

‘In the city of Port Phillip, a set of sculptures was completed that embody the stories of the people who have been consulted in that area. The sculptures, though, have references that are wider than these local narratives’ ( McLeod and Pryor 2001, p.20).

More information about this project can be found in McLeod et al. 2004, pages 36 - 40 (The online link is listed below in references). One of these artworks is Monument on wheels. . . . .

X marks the Memory - a series of 28 bronze plaques which tell anecdotes, and are written by participants in the project.(number) of bronze markers were installed in St Kilda. I was only able to find two of the plaques in St Kilda, out of. . . . . as detailed on the map (ref) Details of the found plaques are below.

Bronze plaque in O’Donnell gardens

(near the bronze crates, Aunty Alma’s Seats)

Part of Margins, memories and markers Art installation

'We used to hang out in Cleve Gardens on Fitzroy St and shelter around an old millet block. We lost some important people there. When the Grand Prix was just about to kick off they demolished it. We didn’t know where to go at first but now we hang out here.

Myrtle, Alma and the Parkies. X marks the Memory’

Bronze Plaque in The St Kilda Botanical Gardens

This is a tree where we all meet.

It’s got a long botanical name but we’ve shortened it to ‘Frisky’. We ring each other up and say, ‘Ill meet you at ‘Frisky’

Over the years my friends have changed but the park has always remained the same.

Ben Street - 19 years old - x marks the memory

Esplanade near the Palais Theatre

I lived a very safe live in Berwick until I was nineteen. When I decided to leave home I wanted to live near the Palais de Danse. My friends used to say, ‘Evelyn, you just about live there”. I wore the most beautiful dresses. St Kilda was a wild old place in those days so I moved a lot. I was always happy as long as I was close to the Palais de Danse.

Evelyn Williams 1911-2002 - X marks the memory

Catani Gardens, near Cleve Reserve

'From here you could see the entrance to the Spanish Mission, an art deco lavatory. Consenting sex between adult males was illegal, polic harassment continuous, and the dangerous beat culture dominant.
Day and night this informal male meeting place hummed with activity, and friendships were made, some lifelong!
Richard James - X Marks the Memory'

Monument on wheels

2003 - (launched 27 march 2003)

Artist Simon Perry,

Bronze caster: Bill Perrin

corner of Barkly and Blessington streets, St Kilda.

(more information on this project on p.37 of McLeod et al. 2004)

Described as ‘an anti-monument to the street characters of St Kilda’ (divercity, quoted in McLeaod et al. 2004)

Monument on wheels was conceived to pay homage and represent the importance of the local characters, who have always been part of the streetscape. It has shopping trolley wheels, and a strip of text. Julie Shiels says that the work celebrates the resourcefulness and the importance of these characters’, (julieshiels.com.au/ilovestkilda/rip-kenny-douglas-1942-2005, viewed 23.3.2017)

‘Under the palms is a sculpture in three parts by artist Simon Perry, which quotes from Anne Longmire's History of St Kilda, Volume III. Ribbons of metal text celebrating St Kilda's reputation as a home for the bohemian and unconventional misfits of Melbourne are mounted on wheels like miniature shopping trolleys’ (Katherine Kizilos, The Age, May 3, 2003).

The text on the artwork reads:

"They wandered by its sane sea because it was a more generous city.

"'Not as mean as the others where they would be singled out as being queer if their lipstick were skew-whiff,

"or buttons undone, or speech slurred, or hands shaky and yellow with nicotine."

(based on text by Anne Longmire, The show goes on - The history of St Kilda. Vol.3 1930 - 1983 Hudson, Melbourne, 1989, p. 248)

References:

McLeod, J & Pryor, S, Meade, J 2004, Health in Public Spaces: Promoting mental health and wellbeing though the Arts and Environment Scheme, John McLeod, Simon Pryor, John Meade for the Victorian Health Promotion Foundation.

2004, pp. 36-40, Health in Public Spaces: Promoting mental health and wellbeing though the Arts and Environment Scheme, made for the Victorian Health Promotion Foundation, 2004, https://www.vichealth.vic.gov.au/media-and-resources/publications/health-in-public-space,viewed 23.3.2017.

"They wandered by its sane sea because it was a more generous city.

"'Not as mean as the others where they would be singled out as being queer if their lipstick were skew-whiff,

"or buttons undone, or speech slurred, or hands shaky and yellow with nicotine."

Circle of hands

2003

Artist/faciiltator: Salvatori Lolicato

Veg Out Gardens

Plaster sculpture of many hands set into a wall in Veg out.

A circle of hands made in plaster with ceramic Mural for South East Water surrounding it.

Ref: http://www.pumpkinlane.com.au/salvatori-lolicato/

Inscription on plaque:

CIRCLE OF HANDS

THIS SCULPTURE

REPRESENTS THE COMING

TOGETHER OF THE LOCAL

COMMUNITY THROUGH

VEG OUT AND THE ST KILDA

BOWLING CLUB STUDIOS

ARTIST: SALVATORI LOLICATO

2003

Aunty Alma’s Seats

2005

Collaboration between Julie Shiels and Parkie Community of O’Donnell Gardens

Joint partnership of City of Port Phillip and Julie Shiels

Bronze milk crates with inscriptions, which ‘commemorate important Aboriginal Elders including Aunty Alma Roach who spent many afternoons in the gardens’ (Eidelson 2014, p. 63). The project of making them began after Julie Shiels and Aunty Alma had a conversation about milk crates as seats and Aunty Alma commented, that she often had to hunt to find one (Watson, p. 396). Shiels suggested she could turn them into bronze and put them in permanently and was encouraged by Aunty Alma, to do this. Given the history of the destruction of Cleve Gardens as a meeting place (references) the bronze crates in O’Donnell Gardens, make this meeting place permanent (Watson 2014, p. 396). Before the project was finalised Aunty Alma passed away, and soon after the community also lost William (Boom Boom) Forbes. Both people are commemorated on the seats.

‘Supported by Our Rainbow Place, ‘Parkies and Port Phillip Citizens for Reconciliation Inc.’

‘Alma was my sister. We used to meet in the park every day. It’s not the same without her.

Aunty Myrtle Evans’

‘Everybody loved Aunty Alma, especially me, her son.

J.B.’

Aunty Alma Roach 1942 - 2003’

‘Uncle Boom Boom Forbes 1944 - 2004.’

‘He had a heart bigger than Pharlap.

Boots and Patrick’

‘Every morning he would do his rounds, checking on the homeless to see if they needed help, black fellas and white fellas alike.’

The bronze crates make the place at O’Donnell gardens an ‘identifiable place in the urban Aboriginal Community’ (Watson 2014, p. 397 referencing Julie Shiels) and the permanence of the seats means that, ‘Aboriginal gathering and socialising in the park is now remembered, historicised, and sanctioned’ (Watson 2014 p. 398)

Mark Watson also refers to the seats as ‘narrating a new urban history’ (2014, p. 398), of indigenous occupation in the city. In terms of reminders of ‘Aboriginal history’ and ‘story’ in the City of St Kilda, both Aunty Alma’s Seats and The Great Wall of St Kilda, celebrate contemporary life of Indigenous Australians in St Kilda. They include the past in their auspice, but unlike memorials and artworks which look back to the past history, they celebrate presence and the future.

References

Lucas, C, 8.5.2005, ’ A crate idea’

http://www.theage.com.au/news/Arts/A-crate-idea/2005/05/07/1115422846894.html, viewed 24.3.17

Eidelson, M 2014, (p. 63) Yalukit Willam: The River People of Port Phillip Bay’ , City of Port Phillip, Melbourne, viewed 4.1.2017, https://heritage.portphillip.vic.gov.au/Aboriginal_heritage/Yalukit_WillamThe_River_People_of_Port_Phillip

Watson, M, 2014, ‘Cities’, in Performing Indigeneity: Global Histories and Contemporary Experiences: Global Histories and Contemporary Experiences, Graham, L and Glenn Penny, H,(eds), University of Nebraska Press, Lincoln and London, Nebraska, U.S.A..

The Rain Man and Rainman II

2005

St Kilda Rainman II 2012,

Pressed concrete and stainless steel

Sculptor: Corey Thomas and Ken Arnold

In the pond at St Kilda Botanical Gardens

Commissioned by the City of Port Phillip

*Add text on interpretive plaque (from photo)

The Rainman seems to have been removed for restoration and the new version re-named.

‘Just near the conservatory is an ornamental lake, which has in the middle of it a statue cum fountain – the St Kilda Rain Man. With unfurled umbrella, he’s pensively leaning forward with an outstretched hand feeling for rain – but he’s being rained on from within his umbrella, his hand is dry. A sort of metaphor on life really.

And here’s a twist: the St Kilda Rain Man is operated by solar power, so he’s always being rained from within his umbrella on nice days and on rainy, overcast days, he’s dry.

That’s life.’ (intermediatescan, 2012, The Scan)

Ref:

City of Port Phillip Public Art, http://www.portphillip.vic.gov.au/public-art-contact-us.htm

The Scan 2012, https://the-scan.com/2012/09/28/weekly-photo-challenge-solitary-the-st-kilda-rain-man/, viewed 23.1.2018

Indigenous Murals

2006

At Peanut Farm Reserve on the Veg Out Studio Walls facing the Football oval in Peanut farm

The Solar System Trail,

2008

The City of Port Phillip, Lonely Planet Foundation, Chris Lansell of Monash University, artist Cameron Robbins, Scienceworks and the Astronomical Society of Victoria,

A series of 10 models of the Planets, to scale, with interpretive plaques placed along the foreshore from Port Melbourne to Marine Parade, St Kilda.

Those in St Kilda include: Jupiter, Venus, the Moon and the Sun

References:

Walks in Port Phillip: Solar System Trail, City of Port Phillip, viewed 26.6.2018,

<http://stkildamelbourne.com.au/wp-content/uploads/2015/11/Solar_System_Self_Guided_Trail_web_friendly.pdf>.

The Jackson street mural

2009

Another mural had been painted in the area previously which had accidentally cleaned off by a graffiti removal team ( Szechtman 2016)

The mural was painted in 2009 by Camille Monet and local community as a consultative process.

The mural is referred to as the Jackson street mural, but is actually in a lane that runs from Fitzroy street and across Jackson Street.

Its theme was “Belonging in St Kilda” and involved local artist Camille Monet working with 77 residents.

‘The main goal of the project was to bring people from all backgrounds together in an enjoyable activity that cut across all barriers. People who participated in the mural included residents from local houses, the Gatwick, Salvation Army Crisis Centre, Rooming Houses and Galiamble’ (St Kilda Inclusion Project Webpage).

References:

St Kilda Inclusion Project Webpage, http://www.portphillip.vic.gov.au/print_stkilda_inclusion_project.htm

Viewed 12.2. 18

Robyn Szechtman, interview 2016.

The Fallen Tree Homeless Memorial

2010

Facilitated by Port Philip Community Group

Wooden seat sculptures made by Honeyweather and Speight

Since 2001 the place has been used for the homeless memorial event. The homeless memorial is an annual meeting of people on the winter solstice since.The event is co-ordinated through a partnership of Inner South Community Health and Port Phillip Community Group.

The Homeless Memorial public artwork comprises of an interpretive plaque, a metal upright sculpture and two carved wooden seats in the shapes of reclining women, one with a dog sitting (perhaps on guard) at one end.

‘In February 2009, Port Phillip Community Group Inc. successfully submitted a proposal for a memorial to provide a permanent focal point for the annual Homeless Memorial Ceremony, to provide a consistently accessible and inclusive community space for people to honour and remember people who have died as a result of homelessness, to contribute to increasing social awareness of issues related to homelessness’

(Agenda, ordinary meeting of Council, 22nd February 2010,

http://www.portphillip.vic.gov.au/default/meeting_agenda_archive/6_-_Proposal_for_Fallen_Tree_Homeless_Memorial.pdf, viewed 17.1.2018)

“5.4 FINANCE / RESOURCE IMPLICATIONS

5.4.1 The Port Phillip Community Group Inc. were successful in obtaining funding for the project through Council’s Community Grants process.

5.4.2 The installation would be considered for registration in the Port Phillip heritage collection; the work would be maintained as part of the city collection.

5.4.3 The installation is significant, safe, easy to maintain, and will have minimal ongoing cost to Council.’

(Agenda, ordinary meeting of Council, 22nd February 2010,

http://www.portphillip.vic.gov.au/default/meeting_agenda_archive/6_-_Proposal_for_Fallen_Tree_Homeless_Memorial.pdf, viewed 17.1.2018)

References:

Attachment 2, Stakeholder Communication Plan, http://www.portphillip.vic.gov.au/default/meeting_agenda_archive/6_-_Attach_2_-_Stakeholder_Plan.pdf , viewed 17.1.2018.

Agenda, ordinary meeting of Council, 22nd February 2010,

http://www.portphillip.vic.gov.au/default/meeting_agenda_archive/6_-_Proposal_for_Fallen_Tree_Homeless_Memorial.pdf, viewed 17.1.2018

The homeless memorial at the Peanut Farm raises the issue of maintenance of public artworks. The Homeless Memorial had been spoken about by many people as a place of importance, during my research on the Great Wall of St Kilda.So when I found it (29.9.2016), I was heart-broken at its state. The interpretive plaque had been tagged, and a couple of small Texta tags were on the seat sculptures. I wondered whose responsibility it is to maintain the sculpture. I was gladdened and saddened. Where else in Melbourne do they have a homeless memorial? But also why is it in such disrepair? The two wooden sculptures made out of wood, also served as two benches but it seemed as if they had not had any recent protective coatings, or been cared for. They had cracked in several places. A large aerosol tag went across the plaque so that it could hardly be deciphered. Both seats, the plaque and the taller sculpture all bore at least one tag each.

A year later in October 2017 I visited again (one year later, to find evidence that the sculpture had not been cleaned or maintained in any way, further tagging and a market lapping around the edges of the memorial.

Some of the marks and writing were sympathetic to the sculpture's context as a memorial. It seemed perhaps that a movement had begun with using it to record the deaths of loved ones and to leave messages to lost friends.

In 2018 I went to visit again and the memorial had been repaired and cleaned. New additions had begun to appear.

The St Kilda Botanical Gardens 150th Celebration Gates

2010

Designed, manufactured and installed by David Wood

From the firm - Bent Metal (A traditional blacksmith practice in South Melbourne)

Commissioned by the City of Port Phillip as part of the 150th year celebration of the gardens five new gates were designed with community consultation, to replace the former chain mesh ones.

They have names,

Gate 1, the Forgotten Entrance, Dickens Street - it was designed to ‘restore symmetry and complement the wealth of original features found at the southern end of the garden’ and celebrates milestones throughout the 150 years of the Garden’s people, plants and structures’.(bentmetal.com.au)

Gate 2, Corner of Dickens and Tennyson Street (entrance to play space) and

gate 3, corner of Dickens and Herbert Street

‘Within these gates six rings hold notations of what lies in the corner of the garden beyond.

Gate 4, the Map Gate, Tennyson Street: It ‘defines the main features of the garden, emphasising the recreational aspects’ (bentmetal.com.au). Significant trees in the gardens are also represented with hand forged metalwork in rings. Places are highlighted, such as the rose garden, rotunda, playground, glasshouse, cultural centre and pond.

There are two names on one of the gates: Alister Clark, George Young

Ref: haveyoursay.portphillip.vic.gov.au, viewed 22.1.18

Bent metal.com.au, viewed 22.1.18

www.portphillip.vic.gov.au/print_stb_gates.html, viewed 22.1.18

The Gatehouse Mural

2011

At the Gatehouse, Greeves street,

front area, and visible from the street.

Design: Morgan Duffy

Artist/facilitator: Gemma-Rose Turnbull

Mosaic artist and facilitator: Sean Curtis

Materials - glass mosaic

The Gatehouse is a drop-in centre.

The design for the mosaic was based on a drawing by a member of the Gatehouse community, Morgan

Glass Mosaic artist, Sean Curtis, used the drawing to make the design, and then the community of the Gatehouse worked together to make the mosaic.

‘The women who decided on the final design wanted to reflect the heart and warmth of daily life at St Kilda Gatehouse.'

(http://www.stkildagatehouse.org.au/projects.html, viewed 17.1.2018)

Mosaic Mural

27 JULY 2011

Those at Gatehouse often talked about bringing life and colour to the outside wall. Visiting artist, Gemma-Rose Turnbull, took on those ideas and made it happen. Morgan from Gatehouse drew a sketch of life at Gatehouse. With direction and guidance from Sean Curtis, from Translucent Art, the mural took shape. The result is a beautiful piece of art. It could not have been possible without the support of City of Port Phillip, The AndyInc Foundation and tile suppliers National Tiles and Axess Glass (http://www.stkildagatehouse.org.au/news.html)

Veg Out Ceramic Mural

2012

At: Veg Out Community Gardens

Attribution: ‘Ceramic mural made by the kids at Veg Out’

*No information regarding artist? (check to see if it looks like salvatori’s work)

Linda Stilwell Memorial

2013

Jacka Boulevarde

‘Linda Stilwell was abducted from the St Kilda Foreshore on 10th August 1968 aged 7. She had been out playing with her older sister and brother but had become separated form them when returning home. She has never been found. This memorial was initiated by the Stilwell family.’

(‘St Kilda, Elwood and Ripponlea Memorials and Monuments’ (webpage), City of Port Phillip, https://heritage.portphillip.vic.gov.au/People_places/Heritage_Projects/Memorials_and_monuments/St_Kilda_Elwood_and_Ripponlea_memorials_and_monuments, viewed 17.1.2018)

Bunjil’s Children

2014

Artist: ADNATE

mural on Peanut Farm (Football Club) Pavillion

Commissioned by the City of Port Phillip

‘The large scale artwork features local Indigenous youth, with Bunjil and celebrates local Indigenous culture and heritage.’

‘The mural depicts Bunjil the eagle, the creator spirit for the local Boon wurrung people and two local Aboriginal young people from the St Kilda football Club. One of the young players is lifting his guernsey pointing to his skin, echoing the famous on-field stand against racism made by St Kilda player Nicky Winmar 21 years ago.

The image establishes Peanut Farm Pavilion as a gathering place for the local indigenous community.

‘This project was created with Council’s guiding plans: Municipal Public Health & Wellbeing Plan and the Reconciliation Action Plan. The Local Indigenous Network and traditional owners were consulted on the project and provided full support. (http://www.portphillip.vic.gov.au/adnate-bunjils-children-2014.htm viewed 14.1.2018)

Hunter 2016, ‘St Kilda City Celebrates Indigenous Round', South Metro Junior Football League website, Friday, May 27,2016, By Will Hunter, http://smjfl.com.au/st-kilda-city-celebrates-indigenous-round/

Veg Out Ceramic Mural 2016

2016

by Salvatori Lolicato with community members

Ref:https://salvatorilolicato.com/portfolio/community-projects/, viewed 22.1.2018

Veg Out Ceramic Mural 2017

2017

by Salvatori Lolicato with community members

Ref:https://salvatorilolicato.com/portfolio/community-projects/, viewed 22.1.2018

the fancy seat in the st Kilda gardens

The hothouse murals

The playground artwork

St Kilda Botanical Gardens

The Great Wall of St Kilda

Installed 2009

by Camille Monet and the St Kilda and City of Port Phillip community

Mobile workshops began in 2007, travelling to community centres and places indoors and indoors over St Kilda and the City of Port Phillip to include the opportunity for residents to make their own tiles for the mural on the theme of ‘living in St Kilda’. Later the Veg Out Studios was used as an ongoing site for workshops over the summer of 2007-8. The central imagery was carved by Camille Monet and depicts the people and places of the ‘Real St Kilda’.

Raoul Wallenburg Memorial

2012

Carlisle Street

Designers: Futago

In 1994 a memorial garden was planted in memory of Paoul Wallenburg in the forecourt of the St Kilda Town Hall. This memorial sculpture was created in 2012 to acknowledge Walleburg’s legacy. The memorial comprises stylised ‘shutz-passes’ , the visa documents that Wallenburg distributed which ultimately saved the lives of their bearers.

It includes the quote:

‘Whosoever saves a single life, saves an entire universe’ (Mishnah Sanhedrin 4:5)

*add some other info about him

I found the mosaic by Glen Romanis with some seating. Then as I wandered to the right, I found a bowl of water which had been left out for the birds with a couple of seagulls and perhaps a hundred or so pigeons occupying the space. I took many photographs till I was disturbed by a man coming out of the bushes from relieving himself. I made towards the closest exit and found myself on a path beside the rushing traffic on Queens Rd. A path which disappeared into dense bush which I thought wise not to enter and had me tiptoeing on the curb of Queens road. I was relieved when I reached Albert Park and saw some cyclists and walkers and felt more comfortable to re-enter the bush and pick my way towards Albert Park safely.

I had temporarily become lost, and am reminded of Carolyn Whitzman (2013, p.42) asking ‘is there urban space where women can risk getting lost?’ Why include my foray into this space where I was perhaps wiser not to enter? In the urban space of St Kilda/Albert Park a small zone exists where Acknowledgement of Aboriginal heritage has been placed near a Tree of significance. But it is dangerous to access for some people. (perhaps a bit more of Whitman here)

Mosaic by Glen Romanis

Artist: Glen Romanis

The circular mosaic is near the Ngargee Tree 'depicts the Kulin Clans of Melbourne’ (Eidelson 2014, p.12).

It can be found in the park between Fitzroy Street, St Kilda Rd and Queens Road. The Ngargee Tree is nearby.

Will Coles - MAN-MADE

and Land of Sunshine Sticker

2014?

Man-made

Glove cast in cement

By Will Coles

From a 2014 series
Acland St, St Kilda (Intervention on existing street furniture?)

(land of sunshine logo in the diamond below perhaps refers to Dean Sunshine's documentation of Street Art in Melbourne. Dean Sunshine also published a book Land of Sunshine which documented street art in Melbourne between the years 2010 2012 ).