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Robyn Mckenzie, the Local Group, Store 5 1989

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Robyn Mckenzie, the Local Group, Store 5 1989 ir:,',::':ii'': ., and.'ajr11nt,,*5eri:'9.Bened'l:,ii l: :'."::::,' I 1 ll$,LocatGrouo,,,-,. Store 5 1989-1993 i,,lBecause.,Of:rthe, $ize of, the igalliaryllSpacei],!he F(OOyn McKenzre peison, ;,rnrnd!Rgrtheiaxhibritiqq :ge_nerally, stoo{:, 1, out6iO]e,ian]ittrellwell{*lay (sometimes the artist and/ ,t. :,,',,:,At..thgl,Etalt ,/,t6,1.gsg;t or:;,ias,iOtten in],ili'eit;t'ence, Gary wiIson, who Store 5 was a small exhibition space, accessed took on the role of Director, or Melinda Harper, from the end of a cobbled laneway off High who also managed the running of the gallery). ,::,,,, :.,rS*e6ir'neaf,,th6,,e6iner,:,.wi!!r,,,,C.Mpel Stieelin J9!n9d py r119-!!o_1s before and after viewing,ihe Prahran. From early 1989 it ran a program of one exhibition, a gauntlet was formed that the visitor :',.,: ', 'r,r:,::.aftemOOnql:fiiSepia.mUei',1 1ithd€beC6.w'as:: P*ip.t:aachinglihe gallery, at the end of the lane renovated and a second room added which you naturally looked up at the walkway - looking functioned as an office, and the program changed to see who was there. Then later, outside the to a schedule of two week exhibitions open four gallery on the walkway now yourself, you would days a week. Over the life of the gallery, which be looking down at those who were approaching, Gary Wilson - who, with Melinda Harper, were anonymously, without a social exchange of some :i:rr,,.::::::,,ienting..!iVin$11sp.;aOe,,i61he,building'iO,rWhiehrenting living space in the building to which the sort. lt was inevitably therefore a self-conscious :]]lt]::t.]tt,iorAer,,.,t6r,mer strire:io0ii,wa6,dttached;s.tarerri-OOrn,,wi6,erttachd.: AS,:ttA5,,art ;trdenlstudents,,,,....1.. - e Ce,,.,rind.fo1 some a daglting one. There 1,,,!helhad a1letlggdiiviototiaiCollegerrln,,Prah!:an a!ri, i:,,was.ta,,0eiformancg,'.,l,ejvtehtrrqtatns,,t6,eXhibitions a the same time - across the road in High Street.' Store 5 - it made 'looking at art' a form of ritual The majority of artists who associated with Store 5 theatre (sometimes a theatre of the absurd or a lived, studied, worked or had their studios in that theatre of cruelty, perhaps). As a visitor to Store part of town.2 | came from the other side of the river 5, the physical set-up meant that you felt your to visit. viewing experience/practice was as much on ,..:.,,,,,.:,llValkihg..Ufi. , S ,mg,S Lane to::theuehd;:.a:.bourtVaO.. Otepl6y*, thOworkS, !n',!|Q,ex,hibl!i9.q.r.itself : you were consciouq,of,how,fr spent, lf.r.lr:lllldpehed:.'ottr::suff6unqed,:gn,,th!ed,,sioe$:bY the rtjm,€_you uffi storied, dark, back of a building. Stairs led up to you actually looked at and how.a .!., .,tajirsiinooi,o warmi,lrmco:nyr,ame,en ! ,,,,,,,,,,,,, ,,,,, ..., . ,,.,,,,,,,.' tt:,.i.,of,.WhiCh,.W,asl.Storc..5;,'ar'fO0mi,.appiOXimatelV:,thfea, ,:.r,',Prt tiCal.:mod6ls and a half metres wide and six metres deep, with The first exhibition in the space in April 1989 white painted walls and brown painted wooden established a 'core group': Poliness and Wilson ftoorboards. There were windows of wire netted were joined by Melinda Harper, Rose Nolan and ,,lhldustfjal glass, onrrthe::tfo!l!,.uve'.ll,,fA,cJng],roltolhe Stephen Bram, and importantly the exhibition . walkway and double boom doors to the left as you :inclrdcd :wqk:Withe,,oldel..adi$,J0hn Nixon, urto entered (once presumably used for winching stock ,ac.!ed,ras::a. menlo(':!h,:.fespe9t.,of,1he project as a up and down), that opened westvvard, letting light whole in the initial stages.s :::':16,,{he,,.1t!erl:t g7gs, tndi,Eaily,i.gs0s;i.eio-ndsi6!'. .,,.:r.' ...ft.'ot:t.r,o*e. *1a.,ina,naxi, r,rre prihclpre that th€.m6rc..ConvetriiiorralrriorrnAArt,,n@eedt*ft-tr-.,,....',.ar,ilmaiian.Oi,ihe.lsp.acerand,conditions,of viewing 4,1's,pt1,VeQ0o.aridtopening,ftOlfrc;.ffd,..a,piogram:,.1,,1,,.:.@,ae.much.a*r,t,olm.e,artigts, remit as ,-,, of,ganiqgd',il1,.adrehceL.,Johnr,,Ni*;n"'''- aa.,a,,Se*ei l a,mAki6,o{,6tdr,a:,bgalcy. Of Minimalism, ofi,tefipoiaty,,exhibifion,:rgp,4q4Sll{$1t.An0;ec*,,Alinex.':1,e.e6bt1 .- ',-,ih,,emphasis a..iiSeff in progiath,r.,Mdlbduine;:19?lg;rtnsxt$q'oifer"'$iary1,;,1with1br,o-ader.,tre:rdsor:ttre,:time, keeping :: .,1:, uv whom;:ritrwae he-er.andieiibb;6ii punk;,,bif;,efic,inioini* .tne,jdeil ;ihlbilit .,i tnat coutd.bCouiin w.heia,fariOungoAo*;iraii.:, park, atlMoDonildlt).:and'llrn ti aiitt,;,t r,:- O u rat ionrBtb.1n'otqd,fr. ten c.y.gndrth6 1eSponSiG,,,. Oevefopmen$iaeaa. ngsttmernbe-rs1of,the srou p of:,Uki.in iAaau&aid. rnnojVed.:ilr,,ii i'.,o **, The pioliam'of,Stoie'.:6,,@.many.1ihi1 srinr.. a-.round0f ,one.dar,.exhtbjlionsr.g! at$,pr-q1glgd res pons'ivq a deyeio.pm6ni.frofu]Eiie.$hoiiv'':io, ttr e next, creating:a.,dia|9(iue,,,,.feMeen::irtiS*.iinO, meir rcrk, particU!,,@,i,ife.latiqA rio: 15!l.na1ufe,,anl,i'r, cfwacter of' ii$,,insttibiioqgnd,ne6liatifi .O+*e: space. Where Store:,5,differed:fro1,n11661,miiOgi,,|.a*, ;. *ggesting':,'be]ngd,plim.sn6nt..VenUe-tidhei :,,, filun a changlng-.1@il me,ant:thai,fng:.,,1.1i fta.s on tne cpneeiiitalr..anO.,f,ef,CO,rtua,,,*O*tS, d the ex h i b iti on rl,,Vidwin$;ret,ithnShiO-:' Ai lS 5" rhe physicar spaCirieiibni: airtffiflpa*.*;ie a Gonstant, a template,,,r,g@,..a,,me,a$nr.e;abWing1r.,,,,..:: omrparison, superimp.|iition1tnd.r ,.l,- new abstraction'.10 From this, we might select what always stood out was the shock of those exhibitions which gave coherence to this an analytical approach to expression and group in particular: Geometric Abstraction atthe meaning - and a refusal of the usual signs of Australian Centre for Contemporary Art, 1986, meaning or analysis. curated by Sue Cramer and John Nixon, included that was how things seemed then. that was work by Harper and Wilson in their first year out according to the rules of this new world (i of aft school; and Reslsfance, at 200 Gertrude thought was coming) that never eventuated. Street in 1989, curated by Melinda Harper in very embarassing, but iwas/am a real idealist the year Store 5 opened, included works by the in a way. there was a threshold that was never artists of this 'core group' (except Nolan).The most passed. whether it was one of practice or direct statement of their affiliations was the 1992 reception i don't know.13 exhibition Abstract Arf at Roslyn Oxley9 Gallery, organised by John Nixon, which brought together The untidiness of life, or Mondrian's work by the Store 5 aftists and contemporaries Chrysanthemums from First Draft (West) in Sydney.11 Nixon's There were memorable shows of work by contribution to the catalogue acknowledged that the 'core-group' which could be seen to be 'each of these artists has their own project ... formulated within this paradigm, and advancing the exhibition constitutes a meeting ground for this agenda: Anne-Marie May's Consfrucflons their ideas and their differences', while making of Grey Rays 1991 (No. 96) and Stephen Bram's the claim for a shared fealty to the cause of non- 'Photomicrographs' (No. 79) - high magnification objective geometric abstraction. lt ended with the photographs of the crystalline structure of the ad hominem statement: 'Theirs is a transgressive mineral Galena - stand out as two very different but idealistic art and the world is a better place examples. because of their endeavours.'12 But from my perspective this project is not what As Stephen Bram explained that time to me in a Store 5 was principally, and certainly not wholly recent email: about, either at the time, or looking back from the it seemed to me (and still does) that there armchair of hindsight - things were too untidy, it was nothing so well suited to the exploration exceeded the discipline of its original brief. of language, meaning and representation The work of artists who were ostensibly 'true as abstract painting, and it was a feeling believers' in the initial project of Store 5 was i had that the works exhibited there were diverted from its 'core values', simply through discovering/establishing new meanings, and undertaking the project and working through it. new criteria for the evaluation of meaning ln the process/practice itself, things came in from that was exciting at the time. also that i was outside, other things happened. amongst artists who weren't prepared to The extension of Gary Wilson's work is a case simply accept pre-established mechanisms in point. Take his Flower Construction #7 (No. 51): with which works would be read - the self-tie garbage bags dropped onto a backboard ol insistence on abstraction was to do with coloured newsprint, the arrangement pressed by a suspicion of iconicity. covering sheet of Perspex, clamped in place by ttx 4A frame. While the work is a material composition, all of her own making. it is also representational - both garbage bag A concern with the exploration of materiality and flower. ln another work in the series, black remained central, but Popist attitudes, an aesthetic household garbage bags were arranged into two logic approaching the relationship between large crushed flower heads with abundant petals, abstraction and representation from the other end looking 'all but like' chrysanthemums. 1a These of the stick, and concerns from outside the circle, works use'poor', everyday materials, combined like feminism, jostled up, pushed in, and thickened with a Constructivist logic, but a Pop sensibility is the air. also there in the mix. lt was a very different look. Rose Nolan's VFL Paintings 7982-7989 (No.
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