ART - AUSTRALIAN - SCULPTURE PARK IN CANBERRA
the top of Capital Hill above the new Parliament House and you will
discern no statues, but as you turn full circle you will take in the
city’s layout as an environmental sculpture, with its patina of
foliage through which buildings protrude. The ground beneath your feet
and the flagpole overhead exemplify this earthwork, rivaled only by the
artificial lake to your north.
At the base of the hill is the tent embassy
which a National Party minister tried to have demolished as an eyesore
for tourist promoters. But who is doing the most damage to the
parliamentary triangle and its northern vista?
Neither the ACT Assembly nor the Federal
Parliament demonstrates any apprehension of the specialness of this
precinct. Hence, it is hardly surprising that so many MPs have
difficulty in grasping the significance of a sacred site for indigenous
people. Proof of our leaders’ insensitivity is the annual installation
of barriers and grandstands for the V-8 race, turning the heartland of
democracy into a mock gulag. The mix of sculpture, architecture and
planning required for its construction is one intervention to which
professionals lay no claim, although such barbarism could not be erected
without their guidance.
Burley Griffin’s 1911 scheme is remembered
for its respect for the environment and the integrity of its design –
indeed, its spiritualist inspiration. Such esteem cannot survive
standing in front of his conception of the future capital, which is as
gross as any lunacy by Ludwig II.
Most of the buildings within the triangle are
distinguished by their lack of sympathy with their surroundings, their
functional failure, or their mimicry of the landmarks in the capitals of
other nations. These edifices range from the fake Greek of the Library,
through the totalitarianism of the old External Affairs and Treasury,
the brutalism of the High Court and Gallery, and the toilet block walls
of the Science and Technology Centre.
On top of these blights, the authorities encourage rings of
commercial buildings which block the sight lines towards the new
Parliament, one of the few structures in the Territory worth taking
visitors to see.
Every minister and departmental head seeks to
leave their mark on the look of the place. So we have the flags of all
nations by the lake and a Commonwealth Place. Civic is a sand-pit for
the kiddidults who preside over the town, as gardens, paths and alleged
amenities come and go like the leaves on its plane trees. A proposal to
turn Glebe Park into Copenhagen’s Tivoli Gardens confirmed that the
overseas study tour is a shopping expedition for bargain-basement ideas.
Absent from such fantasies is any understanding that Denmark’s
playground succeeds because of its capital’s structure and services,
past and present, which cannot be duplicated at whim.
Failure to know the lie of Canberra’s land becomes blatant once we
regain our vantage point and peer north. To the right of Commonwealth
Avenue bridge, the rectangular extension to the visitors center on
Regatta Point looks like a 1950s motel, disrupting the original
structure that sat comfortably on the curved promontory. Further around
the shore, the cack green iron wall at the Featurist Museum defies both
its waterside frontage and the sweep of bush behind. The Lakeside hotel,
its contiguous Capital Tower, and the two residential blocks in Kingston
puncture the skyline with a randomness which testifies to the inability
of the planning authority to sustain a vision.
Although the Captain Cook water jet is an
unacknowledged sculpture, as is the Carillon on Aspen Island, the
dominant example is the Telecom tower on Black Mountain which, in one
more instance of bureaucratic hubris, was thrown up in imitation of one
in London. The lake itself is another denial of the local, drowning the
Molongo and defying the dryness, as if we were Geneva.
the water to the nor-nor-west from Capital Hill rests the Australian
National University which, on 14 October, opened its International
Sculpture Park in the Acton Peninsula cranny of its campus. In the
ambiguous title of the first commission, “Spirit Levels” by
Christine O’Loughlin, the Park has paid its homage to the whitefellas’
fascination with the primitive. No sign of this development is visible
from our distant elevation. Indeed, one wonders how many visitors will
ever find their way there as they shuttle to the Featurist Museum? If
only aficionados reach the ANU site, such neglect will be in keeping
with the fate of other sculptures in town.
Coincidentally with the ANU’s launch, the
Canberra Museum and Gallery (CMAG) held an exhibition of public art in
the national capital, a display consisting of drawings, photographs and
“Public” is a debatable description, on
two grounds. First, although the works are open to the public, many are
not on any pathway. Norma Redpath’s 1969 fountain in the Treasury
courtyard is identified in the captions and catalogue as her
masterpiece, yet it might as well be in storage for all the notice it
Secondly, some of the most accessible works
do not meet the “public” needs for which they were funded. For
instance, the so-called bus shelters in Civic, sketches for which are
show, won a design award on the grounds that the less user-friendly and
environmentally inept a structure is, the more laurels it deserves. Why
are bankers the object of witch hunts when there are still architects
who have not had tripods driven through where their hearts would be?
By bringing together city planning, design,
architecture and sculpture, CMAG has underlined the confusion of aims
among their practitioners. Are they meeting human needs, or making
giant-sized costume jewelry, as in the attachments to facades around the
ANU where Geoffrey Bartlett’s “Fusion” achieves nothing of its
title with the Ian Ross Building.
Before the ANU”s venture, Canberra already
had a designated sculpture garden beside the National Gallery and
another leading to the War Memorial.
The area beside the Gallery is best viewed
from the windows of the members lounge, where the metal objects are out
of sight and the flowering gum tops absorb your attention. The native
tree planting here remains a triumph. In contrast to the Kroller-Muller
outside Oterloo in the Netherlands, the NGA’s zone for outdoor
scuplture is cramped and does not contain works appropriate to the
surroundings, except the artificial mist, wood poles and metal boat by
the pond. The rest are also blind to the building and the lake. Most of
the abstract pieces have lost their power to outrage or even amuse.
The solemnity of Rodin’s Burghers of
Calais puzzle passers-by because no plaque explains their social or
aesthetic significance, as they would if indoors. Boudelle’s
“Penelope” is in the line of sight of the Burghers but no help is
offered to the visitor hoping to make sense of the aesthetic
differences. The current exhibition of Rodins is unlikely to have the
marketing appeal of any show with the Monet brand-name attached, even
though they are equal in achievement.
Anzac Parade is a sculpture court in all but
name along which the armed services battle each other for attention,
only to be vanquished once again by the chasteness of the Turkish
memorial at the northern end. The Infantry group of oversized figures
renders the heroic ludicrous. By contrast, in the Memorial grounds,
Simpson and his donkey appear on a scale congruent with the man’s own
For a national capital, Canberra has few
statues of the undeserving or the notorious. The best elements in
Australia’s polity must struggle to keep Canberra’s monuments close
to the everyday. The alternative, as James Joyce observed, is to erect
statues of two kinds. “He folds his arms across his chest. The statue which says; ‘How
shall I get down?’ And the other kind (he
unfolds his arms and extends his right arm, averting his head) the
statue which says: ‘In my time, the dung hill was so high’.”
George V sits outside the old Parliament
while his grand-daughter has strayed out onto the balcony of the
permanent Parliament House, only to be democratised by the sarcasm of
pigeons and as a photo opportunity for tourists.
Pedestrians stumble upon busts of various
worthies such as the first public servant, Solicitor-General, Robert
Garran. The first Prime Minister, Edmund Barton, stands outside the
eponymous office building in a pose suggesting that his pants are too
tight around his crutch. Serbs and Croats no longer blow up the busts of
war criminals in each other’s churchyards.
for a Small Capital, Les Murray observed that tourists driving round
Canberra in circles come to accept that “twelve identical statues of
Burns/ are unlikely even in this braw town”. Murray’s jest depends
on the city’s failure to integrate its sculpture, architecture and
Finally, there are the city’s stand-alone sculptures, most importantly, Redpath’s fountain which fulfils Schopenhauer’s requirement that the nature of water is to flow downwards, and not to be forced up. Admiration of the Redpath does not depend on comparison with the piddling fountains in Civic. The homoerotic Ganymede donated by Alexander Downer, senior, for Garema Place, lost its relevance when the toilet block-cum-gay beat was demolished. The kangaroos by the pond in Commonwealth Park, the Kossuth sheep and casurina pods along the City Walk, like the pears outside the NGA, aspire to the cutesy rather than the kitsch.
CMAG exhibition omits the most talked about and visited installation in
the city, namely, the Aboriginal Embassy outside the old Parliament
Ngunawal and Ngarigo perceived the surrounding hills and watercourses as
elements in a creation story which both informed their struggle for
survival and enriched their image-making and story-telling. In the
precinct of the Centre for Cross-Cultural Research, stand the decorated
poles of Fiona Foley’s “Winged Harvest”, invoking the place of the
Bogong moth in the region’s food-gathering
To label those pre-contact activities as
capital-A Art, however, is to impose the colonisers’ mentality on ways
of living where creativity and religion were not isolated from each
other, separated from the mundane, or price-tagged.
caution does not apply to how Aborigines from all over the continent are
reshaping the land around their tent embassy, by maintaining fires,
building humpies from local vegetation, and painting on the concrete
platform. Moreover, the occupants have planted saplings and mowed the
grass in circles reminiscent of motifs from their iconography, casually
mocking the rose gardens to either side.
Because these efforts are directed against
expropriation they must tussle with commodification and with the mass
media that both spreads and distorts their message. Yet the protest
remains. When the Howard government sought to divert attention from its
refusal to say “sorry” by installing a “Reconciliation Place”
between the lake and the Tent
Embassy site, the latter’s residents resisted before being fenced off
in another instance of power expressed through architecture.
Out of their originating context are the
funeral poles inside the National Gallery. In their own country, they
would be decaying. In the hands of conservators, the carvings are
shielded against the processes that their prototypes celebrated and
which are aging the poles out in the sculpture garden. The fear of death
in our society is so potent that nothing is allowed to proceed through
its cycle of fluorescence and corruption. No species is to become
extinct – in defiance of evolution. Sculptures in bronze, marble and
plastics claim immortality while buildings are heritage-listed or
declared works of art to impede the remodeling essential to overcome the
mistakes in their initial design, as at the NGA.
By contrast, the Aboriginal Embassy expresses the attraction of impermanence and the transitory while proclaiming a persistence of values. The hands of reconciliation briefly on the Capital Hill lawns flourish as memories long after they and their planters have left town. Ingo Kleinert’s corrugated iron dogs on the same site were in situ for only weeks in 1995 but they too have become a memory trace about that slope. Gregory Taylor’s naked and then decapitated Royals, who sunned themselves by the Lake briefly in 1995, haunt the monarchists who decapitated those dummies.