If the Warner Bros. Duck Amuck clip taught us anything, there is much power in the grey lead and the pen; characters are at the mercy of their maker no matter how many times they spit, "How ‘bout some colour, stupid!" Once the biro joins forces with paper, and is driven by some serious wrist rotations, anything can happen: a white box catches on fire, a zig-zag has an orgy and the sheepish gnome of missing things tells you he doesn't know where your left sock is.
For some reason when I first heard the name of The Jacky Winter Group's new gallery, Lamington Drive, I thought of that regal driveway in Eyes Wide Shut that leads Tom Cruise to that mansion where they have all those orgies. But of course ‘drive', when it's put with the word lamington, means fundraiser.
PM: Lamington Drive is a pretty weird name for a gallery.
JW: Jeremy Wortsman is an even weirder name, so that wasn't an option.
PM: Why did you name it after a primary school fundraiser?
JW: Well when I first heard it I thought it was a street name, which reflects the community aspect of the agency as well as its Australia-centric mission.
Must be killer to be an illustrator because everyone would always be inviting you to be in a group show. "Hey I'm putting on a group show, yo. Can you send me, like a drawing, it will be number 39."
WHY CANNOT THE ILLUSTRATORS HAVE THEIR OWN SHOWS? It's not like a zoo where the wombats are a bit boring, sitting in a hollow log all day, so they throw in some red-bum monkeys next door and a jazz orchestra near the kiosk.
I always thought, in my wisdom, that Keith Haring went to Collingwood Technical College. This is partly true. I mean (like my Dad ‘went to MIT' and got me a t-shirt), Keith went to Collingwood Tech and painted the wall behind the Tote when he was visiting from New York in 1984.
Though you may not be as patently ignorant as I, this doco is a good chance to brush up on the legacy of a painter, graffiti artist, sculptor and designer who was at the heart of New York's ‘80s street culture.
From this Thursday night, Green-Wood Gallery are placing works by 17 local illustrators at your fingertips, showcasing some of the Melbourne artists we hold dear. The Drawing Machine mashes sculptural and sound installations from the likes of Al Stark, Dylan Martorell, Tai Snaith and Nathan Gray, alongside fine-line work with Bonsai and Two and Deam and Drew.
Who can deny the eccentricity of a well-tended moustache or the embarrassment of maintaining said moustache during the tired, yet well-meaning ritual of Movember? Then there's the unbridled masculinity of a full naval beard, the narcissism of the goatee and the loaded sensuality of the shave itself.
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