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The Production Book

Dec 12, ’08 3:15 PM

Kate McCurdy

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The Production Book, published annually, is the most comprehensive film and television directory for crew, suppliers and production information in Australia.
Known as the ‘industry bible’, it is spiral bound, tabbed and indexed so that you can find what you’re looking for quickly and easily.

The Production Book contains over 16,000 listing spanning 230 categories, including Actors, Directors and Agents, Book Publishers and Bookshops, Distributors, Libraries (Public, Sound, Stills Photographs, Stock footage), Postproduction, Researchers, Television Production Houses, Visual Effects, Writers and Wranglers.
It also includes other useful information all in the one place, such as sunrise and sunset times, calendars, distances between cities, location contracts, international time zones, and film and television production lists.

The Production Book is a must-have resource for creative professionals – and those studying to be – in the film, television, media, advertising and multimedia industries in Australia and overseas.

The Production Book is also online as a searchable directory available through subscription to the website.

The 2009 edition is available for pre-order through The Production Book website.

18cm x 23.5cm
Approx 860 pages
Spiral Bound & tabbed throughout
230 categories
16000 listings
$140 inclusive of GST and postage

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Art Deco: 1910-1939 – NGV, Melbourne – Gallery

Sep 18, ’08 12:46 PM

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Art Deco: 1910-1939 is a comprehensive exhibition celebrating the significant period in which its glamour and style influenced design worldwide. Direct from London’s famed Victoria and Albert Museum (V&A), the exhibition is staged exclusively at the National Gallery of Victoria (NGV); the fifth exhibition in the extremely popular ‘Melbourne Winter Masterpieces’ series, and the first to feature the decorative arts with over 300 works on display.

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Art Deco: 1910-1939 – NGV, Melbourne

Sep 18, ’08 12:46 PM

Oliver Bernard (designer) England 1881–1939 Strand Palace Hotel staircase 1930–31 glass (lit), chrome 370.8 x 447.5 x 444.7 cm (main); 261.0 cm (stairs) Victoria and Albert Museum, London © V&A Images/Victoria and Albert Museum, London

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Kate McCurdy


Art Deco 1910-1939
Art Deco: 1910-1939 is a comprehensive exhibition celebrating the significant period in which its glamour and style influenced design worldwide. Direct from London’s famed Victoria and Albert Museum (V&A), the exhibition is staged exclusively at the National Gallery of Victoria (NGV); the fifth exhibition in the extremely popular ‘Melbourne Winter Masterpieces’ series. The first exhibition to feature the decorative arts, there are over 300 works on display.

Exhibition structure
The exhibition explores the chronological development of Art Deco, from its origins in Europe during the years leading up to the First World War, to the explosion of the movement at the 1925 Paris Exposition, and its enormous popularity and influence on design to countries across the globe. Art Deco 1910-1939 pays particular attention to the major influence of Deco in Australia, dedicating an entire section to Australian architecture, fine arts and product design.

AWA, Sydney (manufacturer) Australia 1913– Empire State, Fisk radiolette and cigarette box 1936 bakelite, glass, metal 28.5 x 28.5 x 18.0 cm Private collection, Sydney © Peter Sheridan

AWA, Sydney (manufacturer) Australia 1913– 'Empire State, Fisk radiolette and cigarette box' 1936 bakelite, glass, metal 28.5 x 28.5 x 18.0 cm Private collection, Sydney © Peter Sheridan


A global influence
The scope of Art Deco’s influence is accurately represented in the exhibition by the display of a wide range of artistic media including painting, jewellery, ceramics and glassware, fashion, industrial design, graphic design, film, architecture and interior design, automotive design, photography and furniture design. Also well represented is the spread of Art Deco at a global level, with featured art and design pieces from Europe, the USA, Asia as well as Australia and New Zealand.

Origins
Art Deco first appeared in Europe, in the years before the First World War. The movement developed in many of the cities where Art Nouveau was popular, and in the years following the war Art Deco’s own popularity and influence on art and design grew quickly, its influence spreading worldwide. The highpoint of this time was the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes, the first world fair dedicated to modern decorative arts. In the 6-month duration of the exhibition, 16 million visitors came from around the world to view the latest offerings in Art Deco design, which also served to reassert France’s reputation as the arbiter of taste and producer of luxury goods, as well as the centre of fashion, internationally.

Pablo GARGALLO Spain/France 1881-1934 Kiki de Montpamasse 1928, cast 1978 Bronze, ed. 2/3 27.5 x 16.5 x 17.0 cm Musée dArt Moderne de la Ville de Paris Gift of Pierette Anguera-Gargallo, 1981

Pablo GARGALLO Spain/France 1881-1934 'Kiki de Montpamasse' 1928, cast 1978 Bronze, ed. 2/3 27.5 x 16.5 x 17.0 cm Musée d'Art Moderne de la Ville de Paris Gift of Pierette Anguera-Gargallo, 1981


Inspired by the ancient, the exotic and the Avant-Garde
Art Deco itself is influenced by many factors, most significantly by ancient and exotic inspirations as well as styles from the avant-garde movements. Motifs, symbols and imagery from exotic cultures were widely appropriated to the style of Art Deco designs. Paul Colin’s depiction of cabaret dancer Josephine Baker, featured in the Exotic section of the exhibition, illustrates Art Deco’s fascination for the exotic.
The Avant-Garde also had a strong influence on the development of the Art Deco style, in which the art of French Cubism, Orphism, Italian Futurism and Russian Constructivism gave designers a fundamentally new and modern language of forms. These ideas were applied to graphics and textile designs, decoration of ceramics and glassware, as well as architecture, interior design and photography.

Paul Colin France 1892–1985 Josephine Baker 1927 from Le Tumulte noir (The black craze) portfolio, Paris: Editions d’Art Succès, 1927 lithograph and pochoir 47.3 x 63.6 cm (sheet) Victoria and Albert Museum, London © V&A Images/Victoria and Albert Museum, London © Paul Colin/ADAGP, Paris. Licensed by VISCOPY, Sydney

Paul Colin France 1892–1985 'Josephine Baker' 1927 from 'Le Tumulte noir (The black craze)' portfolio, Paris: 'Editions d’Art Succès', 1927 lithograph and pochoir 47.3 x 63.6 cm (sheet) Victoria and Albert Museum, London © V&A Images/Victoria and Albert Museum, London © Paul Colin/ADAGP, Paris. Licensed by VISCOPY, Sydney


The 1925 Paris Exposition
The 1925 Paris Exposition can be regarded as the belated ‘launch’ of Art Deco; the moment at which the style exploded onto the main global stage, while reinstating France’s position as a trendsetter and world centre for style at the time.
The Exposition included paintings from Jean Dupas; furniture design from Jacques-Émile Rulhmann, Sir Edward Maufe, Louis Süe and André Mare; François Pompon’s sculptures including the famous Polar bear; silversmith Jean Puiforcat’s designs; glass pieces from René Lalique, Maurice Marinot and Edward Hald; glamorous jewellery by Louis Cartier and fashion by couture houses Madeleine Vionnet and Maison Myribor.
Also exhibiting at the Exposition were works from designers Jean Dunand , Henri Rapin, Pierre Legrain, Rose Adler, Thayaht, F. Gregory Brown, Gio Ponti and Josef Hoffman.

The Art Deco streamlined lifestyle
A number of these pieces are exhibited in Art Deco 1910-1939, including Louis Cartier’s Tutti Frutti strap bracelet and double-clip brooch, a complex arrangement of coloured precious stones including ruby, emerald and sapphire. These pieces were sold to Cole Porter’s wife Linda Lee Thomas, whose fame adds to the glamorous appeal of this jewellery.
Other glamorous pieces featured in the exhibition are Coco Chanel’s dresses. Extending ideas from pre-First World War designer Paul Poiret, Chanel and Jean Patou created dresses that were designed to reflect the 1920s lifestyle of attending cocktail bars and the cinema. Hair and dresses were cut shorter, the latter to allow women to dance the Charleston, and accessories were designed to match.
The Art Deco style of streamlining influenced not only products and architecture, but the streamlined silhouette was also a coveted style in dress design. A significant practice in fashion design in this time was that of the bias cut in garment construction. This involves the woven fabric being cut on the diagonal to the direction of the weave, which provides greater elasticity and more fluid draping. Designers such as Charles James used this practice to produce sleek designs in matt silk crêpe or smooth glossy satin, which were sophisticated and very Art Deco.

Tamara DE LEMPICKA Poland 1898–1980, emigrated to France 1918, worked in United States 1939–69, Mexico 1962–80 The telephone II (Le téléphone II) 1930 oil on wood panel 35.0 x 27.0 cm Wolfgang Joop Collection, London © Tamara De Lempicka/ADAGP, Paris. Licensed by VISCOPY, Sydney

Tamara DE LEMPICKA Poland 1898–1980, emigrated to France 1918, worked in United States 1939–69, Mexico 1962–80 'The telephone II (Le téléphone II)' 1930 oil on wood panel 35.0 x 27.0 cm Wolfgang Joop Collection, London © Tamara De Lempicka/ADAGP, Paris. Licensed by VISCOPY, Sydney


The telephone and the skyscraper
Other highlights of the exhibition include Tamara de Lempicka’s The telephone II from 1930, and the stunning installation of the original architectural elements from the foyer of the Strand Palace Hotel from London’s West End, rescued by the V&A during the demolition of the foyer space in 1969.
Perhaps one of the most significant aspects of Art Deco’s influence on architecture is that of the skyscraper. As well as a striking symbol of modernity, the spectacle of the towering skyscraper also signifies the impact of the new modern style on the art and lifestyle of America. As the style of Art Deco spread from Europe to the United States and the rest of the world, so the American interpretation of Art Deco was shown and promoted to international audiences via the Hollywood film.

Travel and transportation
Travel is also an important inclusion in the exhibition, particularly film footage of the interior design of the Normandie, is featured in the Travel and Transportation section. The depictions of other modes of transport of this era, including grand luxury liners, streamlined trains and motor cars, as well as the exotic tourist destinations communicates the extent of Art Deco’s influence on mass culture and the modern world. Motor vehicle design is featured with the 1937 Cord 812 Westchester sedan, produced by Auburn Automobile Company in Indiana, USA,  given a prominent position in the exhibition.

AUBURN AUTOMOBILE COMPANY, Auburn and Connersville, Indiana (manufacturer) United States 1900–27 Cord 812 Westchester sedan 1937 160.0 x 180.0 x 500.0 cm Private collection, Melbourne Photo: Courtesy of Brian Scott

AUBURN AUTOMOBILE COMPANY, Auburn and Connersville, Indiana (manufacturer) United States 1900–27 'Cord 812 Westchester sedan' 1937 160.0 x 180.0 x 500.0 cm Private collection, Melbourne Photo: Courtesy of Brian Scott

Deco Down Under
One section of Art Deco 1910-1939 has an entirely Australian focus, displaying its architecture, fine arts and product design.
Historical photographs highlight the Sydney Harbour Bridge as being one of the most striking examples of this country’s architectural design, although local architecture in cities, suburbs and towns throughout Australia were strongly influenced by Art Deco. From the mass-produced objects of glassware and ceramics to distinctive handcrafted items of similar products, Australian Art Deco reflects unique national characteristics while at the same time embracing international modernity and Australia’s enthusiasm to be considered part of the global community.

This extensive exhibition is at once a nostalgic tour of the past and also a celebration of style that has never truly gone out of fashion.


Art Deco 1910-1939
28 June – 5 October 2008
NGV International
180 St Kilda Road
10am-5pm
Exhibition fees apply

Further information:
www.ngv.vic.gov.au

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TOYGIANTS – Gallery

Jul 18, ’08 12:10 PM

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Toygiants is a celebration of toys: the culture, the passion, the obsession.

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Warwick Baker – Gallery

Jul 18, ’08 12:07 PM

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Warwick Baker is a young photographer on the rise, with fashion and portrait work, as well as an increasing music folio with an impressive list of clients including Cut Copy, My Disco, Gotye, Sarah Blasko, Claire Bowditch and Powderfinger. Kate McCurdy spoke to Warwick about what goes on behind the lens.

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Warwick Baker

Jul 18, ’08 12:07 PM

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Warwick Baker is a young photographer on the rise, with fashion and portrait work, as well as an increasing music folio with an impressive list of clients including Cut Copy, My Disco, Gotye, Sarah Blasko, Claire Bowditch and Powderfinger. Kate McCurdy spoke to Warwick about what goes on behind the lens.

Why photography?
Warwick learned the social aspect, and the fun, of photography when he first studied it at Belconnon High School in Canberra, before moving to Melbourne to complete a BA in Photography at RMIT University. In addition to this, Warwick believes that he has learned more about photography from working part time at the Camera Exchange in Melbourne and from assisting Glasgow artist Paul Knight for two years.
Warwick recalls that he was first attracted to the camera because ‘it is like having a license or passport to anywhere you want to visit’. It also allows him to indulge his curiosity in human nature by allowing him to approach complete strangers on the street, who then consent to him photographing them in their home environment. ‘I could only do that being a photographer’, he acknowledges.

Film vs digital
Warwick shoots with both film and digital cameras, but will use them in different ways in different circumstances. When working for clients he says that he only shoots in digital because of its immediacy and its cost effectiveness. Alternatively, for his own projects he chooses film with a large format 5×4 inch camera ‘for its incredible detail and stillness’, as well as the nature of the photography itself.
‘I love the therapeutic process of using a large format camera and that every picture is considered. I also like the anticipation of waiting for the film to get processed,’ something that seems somewhat out of time in the digital age. Indeed, in the two weeks after Warwick bought a new digital camera he was astonished that he had pumped 10,000 frames through it; ‘I wouldn’t even do that in a year of shooting film.’

Cut Copy - In Ghost Colours

Cut Copy - In Ghost Colours

The shoot
When preparing for a photo shoot, Warwick explains that this is where most of the work takes place.
‘There is always heaps of preproduction. Taking pictures is probably one-tenth of the process.’
He prefers to have a preconceived concept and structure behind it, and makes sure that the ideas are accepted by everyone involved before anything happens. With that security in place, Warwick does enjoy having an element of spontaneity and improvisation in the shoot, such as what happened on the shoot for Cut Copy’s In Ghost Colours album, as the two-day duration of the shoot allowed him the time and the freedom to experiment more with his subjects.
Most often Warwick has creative freedom with regards to the concept of the shoot, although it is always subject to the client’s approval. When working with bands, his inspiration comes from  extracting themes from the music, which was the case with My Disco’s album Paradise.
‘It is a very minimal, sparse and cinematic record so I wanted to have My Disco in the barren landscape looking very insignificant in contrast to the unforgiving landscape.’

The landscape, and indeed the whole environment in which he photographs someone, has a great effect on the atmosphere and mood of a shoot.
‘I’m really over the studio because it is a very lifeless and uninspiring place,’ he says. ‘It is so important that everyone is comfortable in the space where the pictures are being made.’

Introducing new characters
The concept for a series of promotional photographs for Belgian-Australian artist Gotye came from a discussion between Warwick and Wally de Backer (Gotye) about dream states in Where the Wild Things Are. Together they came up with the idea to include the darkly animated creatures from the Hearts a Mess video clip, by Brendan Cook, in the photos.
‘I was really excited because I am a great fan of Brendan’s clips and I have never added graphics before.’ The result is an exploration of a dreamscape, as the pajama-clad Gotye gives the photographs a sinister yet childlike quality.
While at this time not interested in venturing into the world of music video production, Warwick continues to create interesting artistic concepts for his work with musicians and bands, with a dream to one day photograph Nick Cave.
‘I would love to photograph [him] somewhere in the desert in South Australia or Western Australia,’ he describes. ‘I would like to present him as a lost, disillusioned and lonely explorer from the 1800s.’

Gotye

Gotye

Creative influences
Warwick lists among his creative influences the work of Rineke Dijkstra, Alec South, Wolfgang Tillmans, Steven Shore, August Sander, Jacob Holdt, Robert Frank, Luc Delahaye and Paul Knight. ‘I also have a letter written to my grandfather by Max Dupain in 1939 in his Bond Street studio discussing surrealism that I find incredibly inspiring.’
While he doesn’t think that he has a particular style, Warwick says that he loves the ways in which the medium of photography allows him to explore new subjects, themes and aesthetics: ‘I look for subtlety and hidden elements when I am creating pictures.’

My Disco

My Disco

Warwick has recently been involved in the I am Afraid exhibition at the Uber Gallery, portraits from which are currently hanging in Alter. He is currently working on a new body of work that will be published in a book by And Collective, Every place tells a story.

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TOYGIANTS

Jul 18, ’08 12:06 PM

Book review

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© TOYGIANTS

© TOYGIANTS

Toygiants is a celebration of toys: the culture, the passion, the obsession.

While the Toygiants project has taken more than four years to complete, the content is the result of a lifetime of meticulous collecting. Selim Varol is the owner of one the largest toy collections in Europe, and perhaps the world, with more than 10,000 individual pieces to his name. After happening upon a shop window which displayed a number of the pieces from the collection, photographers Daniel and Geo Fuchs had to know more about Selim’s obsession for toys.
What followed was the start of a strong friendship between the Fuchs and Selim, one which Selim says has ‘greatly impacted the development and direction of [his] collection’. He describes the time they spent together photographing the toys as ‘imbued with an aura of childlike intimacy where no one else was permitted’. The end product of the book – and accompanying exhibition – however, draws the reader in and demands their involvement; by rekindling childhood memories of their own toys, or touching on the cult following of film characters and icons, or by simply blowing their minds through the sheer spectacle of some of the compositions.

Toygiants takes you on a journey through the fascination of toy design, from the more conventional dolls such as Barbie and Blythe, to the increasingly popular designer vinyl craze sweeping the globe. There are superheroes from the comic book worlds, such as Superman, Spiderman, Batman, Wonder Woman and Hell Boy, as well as the cast from Sin City, albeit characters from the feature film version of the graphic novel. Movie characters abound, from the usual suspects of Star Wars and Star Trek, to the more unconventional such as Uma Thurman as The Bride in Quentin Tarantino’s Kill Bill (as well as Tarantino himself), Al Pacino as Scarface, Bruce Willis as Die Hard‘s John McClane and Sly Stallone’s Rambo.

What really stands out in Toygiants is the opening ‘sequence’ of images, a politically charged and alarming display of toys that unbelievably do exist. The first toy to take the stage, is that of George W. Bush, in full US Air Force gear, complete with interchangeable hands so that he can give the thumbs up to the troops. What follows is a sinister exploration of a real life game of heroes and villains: an extreme close up of Bush is placed in a double page spread with Osama Bin Laden. More portraits of world figures follow, from the revolutionary Che Guevaro, Fidel Castro and Abraham Lincoln, to the more notorious faces of Saddam Hussein, and Adolf Hitler.
The Hitler sequence begins with an extreme close-up, followed by what may be deemed fantastic poses including the figure of Hitler playing with Star Wars ships, to having his head in the jaws of a dinosaur, to being subjected to the sadistic whims of mutants. The imagination and invention of the compositions of the group shots elevate the objects out of their packaging and the toybox, and brings them to life: whether it’s Andy Warhol in the barber’s chair (hair by Edward Scissorhands), or colour-coded designer vinyl toy group compositions on long fold-out pages, or the extreme close-up portraits that allow you to become closer to the toys than you thought was possible.

© TOYGIANTS

© TOYGIANTS

Toygiants also shows that the collector’s bug does not belong solely to Selim, as Daniel and Geo Fuchs are collectors in their own right. Using their camera to collect, ‘they do not view these extremely disparate collections in a conventional way, but rather see archiving, or placing an order of particular things that interest them, as photogenic landscapes,’ observes Dr. Eugen Blume, Director of the Nationalgalerie in Hamburger Bahnof – Museum für Gegenwart, Berlin. He believes that their aim is to ‘conserve the world in absolute detail’, and that’s just what they have done with the world of toys in Toygiants. This is especially the case for the accompanying exhibition at the Rebel Arts Gallery, Hamburg, which includes an oversized 4 x 5.5 metre groupshot, as well as a selection of enlarged portraits. At this size, the toys command the exhibition space and become powerful images, and indeed works of art, in their own right.

By making the decision not to include captions to help illustrate each of the figures in the book, Toygiants does rely a little too heavily on the pop culture knowledge of its reader, and in some instances can distance those who may be new to this toy world. But when examined for what it is, a photographic collection of toys as you’ve never seen them before, this book is truly a collector’s item in itself.

TOYGIANTS Silver Edition contains invaluable extras such as interviews with Daniel and Geo Fuchs, as well as a removable poster of one of the group shots.

Kate McCurdy

© TOYGIANTS

© TOYGIANTS

Daniel and Geo Fuchs
TOYGIANTS Silver Edition
Gingko Press
Release date: 5 April 2008
ISBN: 978-1-58423-284-1
Format: 320 mm x 250 mm, Number of pages: 212 + 4 Fold-Outs, Hardcover in plastic cover with silkscreen, Removable poster: 305 x 960 mm
RRP: 45 euros / $49
Exhibition: Daniel & Geo Fuchs TOYGIANTS
Rebel Arts Gallery Hamburg in cooperation with artempus con-temporary gallery Düsseldorf
from April 26 – July 31 2008

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Further information
Daniel and Geo Fuchs

Gingko Press

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Olivia Desianti Gallery

Apr 8, ’08 3:13 PM

Olivia Desianti has achieved quite a lot for someone in her early twenties. By the age of twenty-one she has graduated with a degree in design (Visual Communication), begun her own online music magazine Arcady, established herself in the music photography scene, and started work as junior designer for the Herald Sun newspaper in Melbourne.

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Olivia Desianti

Apr 8, ’08 2:42 PM

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The Living End

Live music photography. The Living End at Palace. 23/09/2006

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Caroline McCurdy

Olivia Desianti has achieved quite a lot for someone in her early twenties. By the age of twenty-one she has graduated with a degree in design (Visual Communication), begun her own online music magazine Arcady, established herself in the music photography scene, and started work as junior designer for the Herald Sun newspaper in Melbourne.

After growing up in Perth, Olivia found that Melbourne would prove to be a more inspiring place to work. ‘There’s so much culture in Melbourne, which is why I moved here in the first place’, she exclaims. Originally getting involved in design, she moved on to advertising at her step-brother’s agency but, after three months, lost interest. She says she found it to be a harsh eye opener and had the feeling that she wasn’t going to last long in that particular field.

Olivia explains, ‘At university, I veered off slightly and started writing and taking photos for various music publications in my spare time. I ended up falling in love with the constant flow of work and the uncertainty that is always present in mass media. Within university itself, we started focusing on publication design, and from the minute I started that project, I knew I had finally found what I want to do.’

Ampersand

‘AMPERSAND’ Corporate Identity.
Student project.
Logo design for a fictional organisation to teach young women and couples about having children.

During her time spent at university, Olivia was also finding her feet in the Melbourne music scene photographing live bands. Since 2005 she has been involved with an American online music magazine, Aced Magazine, by doing album reviews, then moving on to gig reviews. Following this, Olivia received a photographer’s pass to Bloc Party’s first Australian gig: ‘I ended up meeting heaps of people from that gig who helped me kickstart my career in band photography.’

From her university introduction to publication design, combined with experience on the music scene, Olivia began the online music magazine Arcady. Olivia started Arcady as a hobby to vent her design ideas and also to get a leg up in the music industry. She explains, ‘it began as a place to combine my two passions: music and design. I wanted a place where I can be within the music industry and still be visually creative. It started off as a bit of fun, a place where I can freely state my views on music.’

Being a young designer in Melbourne, Olivia says her advice to other young designers who are venturing into the design scene is to ‘network as much as you can. It doesn’t have to be with other designers; befriend people in the business, accounting, music, food, whatever industries. Explore how they think and find what you’re really interested in. Those contacts will come handy at some point.’ She is a designer who has a love of mass media, and that is her niche. ‘You have to find a niche that suits you, and the only way you can do that is to meet new people and find out what their world is like.’

Learn

Illustration for ‘Learn’ liftout of Herald Sun depicting subjects which students learn being applied to everyday life.

Apart from networking and gaining the right experience, Olivia says another important aspect of finding work is to be able to work in different disciplines, as more and more employers are now asking for web design skills. Olivia believes that this is bad news for most designers. She’s a firm believer that one has to perfect the craft of your choice, but to gain a basic knowledge of other disciplines is also essential.

Arcady magazine

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Sugar

Oct 22, ’07 1:55 AM

Going by the rather unique name of Sugar Power, or simply ‘Sugar’ as is her preference—’no need to be too formal’—this young designer has more than just an unconventional name. In addition to her unique style and approach to her work, Sugar’s general outlook on life and attitude to… well, everything… are to be admired. Loueze Harper spoke to Sugar about her unconventional approach and genuine love of life.

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Sugar Gallery

Oct 20, ’07 10:07 AM
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