Barangaroo - Where Art, Architecture, History, Politics and Economics meet

The discussion "Why the hullaballoo about Barangaroo? Where Art, Architecture, History, Politics and Economics meet" was held on Sunday 10th March, in the courtyard of the Frances Keevil Gallery, where my solo exhibition "From the Hungry Mile to Barangaroo" continues until Sunday March 24th.

This was a brave experiment.

Neither Frances nor myself have ever put together anything like this before.

It was well worth it! The conversation between the panel members was informative, entertaining and at times passionate and stirring. The audience was enthralled - many of them stayed on afterwards to ask questions, take photos and even get autographs!

Meet the distinguished panel: 

From left to right : 

Philip Thalis, Dr Jack Mundey AO, Alex Greenwich MP, John McInerney, Dr Graham Jahn AM

And the facilitator for the event, the renowned investigative journalist, Quentin Dempster.

From left to right - 

 Dr Jack Mundey AO, Alex Greenwich MP, John McInerney, Dr Graham Jahn AM, Quentin Dempster, and Frances Keevil, Director of the Frances Keevil Gallery.

Dr Jack Mundey AO, is the legendary elder statesman of activism. He spoke movingly of the history of the famous Green Bans, in which as secretary of the New South Wales Builders' Labourers Federation (BLF), he led a successful campaign to protect the built and natural environment of Sydney from inappropriate development.
Apart from his unique credentials as a champion of heritage and sustainable urban planning, Jack had played an important part at the beginning of the story of the Barangaroo development.
 In 2006, Jack was a member of the jury to choose the design for Barangaroo. The jury had unanimously selected the design by the team headed by Philip Thalis - which bizarrely has now been completely discarded by LendLease, the developers of the site.
Incidentally, LendLease's design had come a distant second in the initial competition.

Philip Thalis, deep in thought.
Philip Thalis is the principal of Hill Thalis Architecture + Urban Projects. 
His design team won the competition to design Barangaroo - yet their design has not been adopted for the actual construction.

Philip Thalis gave a thought-provoking speech pointing out flaws in both the process and the design.The contrast between the potential of what Barangaroo, could and should have been, and the unfortunate reality was made completely clear to the audience.

John McInerney, previously for many years a Councillor of the City of Sydney, is now the "President of Australians for Sustainable Development". He has a wealth of experience in how councils and the State government interact throughout the stages of planning and development, and provided startling images of the impact of the Barangaroo buildings which are currently under construction.

John McInerney examined many of the peculiarities of the entire planning process of the controversial Barangaroo project, and exposed some very disturbing implications for the future of Sydney. Most people in the audience had not previously grasped the consequences of some of these decisions and were completely gobsmacked.

 

Alex Greenwich MP in action. 
His speech about the development of Barangaroo being used as a "Trojan Horse" to  force the displacement of the residents of Millers Point, was passionate and articulate.

Dr Graham Jahn AM, Director of Planning and Transport at the City of Sydney.

Dr Graham Jahn AM, added some background detail.

Quentin Dempster was a wonderful choice as facilitator for the discussion. His polite, yet probing questions brought out the best in the panel. The chaotic and complex narrative of the planning process behind Barangaroo was revealed to the eager audience.

Dr Jack Mundey AO, Alex Greenwich MP, John McInerney - 3 champions of social justice.

Jack and me 

 

 

I can't thank all the participants enough for their wonderful efforts to make this discussion a success!
And I am just as grateful to Lynn and Frances, Directors of the Frances Keevil Gallery for stepping well outside their comfort zone to host this event at the gallery and to organize it so well.

Related posts

From the Hungry Mile to Barangaroo 

Storm Warning, Goat Island 

Lashed to the Mast

An April update 

Why the Hullaballoo about Barangaroo

Why the hullaballoo about Barangaroo?

 Panel Discussion at the Frances Keevil Gallery
Why the hullaballoo about Barangaroo? 

Where Art, Architecture, History, Politics and Economics meet

2 – 4pm Sunday March 10

DH248 'The wharves and High St
from the Stamford on Kent'
2007 oil on canvas 75 x 100cm

Enquiries about this painting

Other Enquiries

It's that time of year again.

Galleries and collectors are slowly waking up after their annual summer hibernation. The Art market is as seasonal as fruit-picking. 

March is "Art Month".All of the galleries bring out the big guns to impress. 
My solo exhibition "From the Hungry Mile to Barangaroo" is the signature event of the Frances Keevil Gallery for Art Month.
Instead of doing the usual artist's talk to accompany the show I thought that I'd try something a bit different.
The trouble with artist's talks is that they probably only really interest other artists.
So what would interest the average Sydney-sider?
How about ludicrous amounts of money, murky politics, waterfront real estate to die for ..... and a little whiff of scandal? Sounds very Sydney to me.

After a great deal of thought, many emails and even more phone calls, I have put together  a carefully selected panel for a no holds barred discussion about Barangaroo.

I hope that it will be a balanced yet informative discussion. Some past history and controversy will be aired, but it's an opportunity to discuss some of the many complex issues raised by the Barangaroo development in front of the exhibition of paintings I actually created on the site.
The  participants are:

Graham Jahn AM Director City Planning Development and Transport, City of Sydney
Dr Jack Mundey AO legendary activist and 'Grandfather of the Green Bans', who was also a member of the jury that chose the original design for Barangaroo
Philip Thalis principal of Hill Thalis Architecture + Urban Projects, whose design team won the competition to design Barangaroo - yet whose design has not been adopted for the actual construction.
John McInerney

former Councillor of the City of Sydney and now President of "Australians for Sustainable Development". John also actually lives in Millers Point.

Related posts

'From the Hungry Mile to Barangaroo'
Storm warning, Goat Island
"See the sites"Elizabeth Fortescue The Daily Telegraph  March 02, 2013

'From the Hungry Mile to Barangaroo'

My solo exhibition 'From the Hungry Mile to Barangaroo' will be held at the Frances Keevil Gallery until 24th March 2013.

'Goat Island from Moore's Wharf'

2013 oil on canvas 122 x 183cm Sold

The 'Hungry Mile''
2007 oil on canvas 100 x 122cm
Enquiries about these paintings
This exhibition will be the major event for Art Month, and will opened by Elizabeth Fortescue, Visual Arts Writer for The Daily Telegraph on Tuesday 5th March 2013, 6 – 8pm.

'Wharf 6/7' 1999 oil on canvas 61 x 101cm
'Harbour Control Tower from Moore's Wharf ' 
2013 oil on canvas 51 x 25cm  Sold

'L3' Crane, with the 'Taiko'

2006 oil on canvas 51 x 25cm

'Barangaroo from Glebe Island' 2010

oil on canvas 31 x 61 cm  Sold

'The empty wharf from shed 6' 2008

oil on canvas 31 x 61cm

'Interior, Wharf 8-9' 2000

oil on canvas 31 x 61cm

'Night, from bridge of 'Maersk Gateshead'

2009 oil on canvas 61 x 91cm

'The 'Southern Cross'

2007 oil on canvas 31 x 92cm Sold

Enquiries about these paintings

'Yellow cranes from the cage'

2007 oil on canvas 153 x 61cm Sold

'Capitaine Tasman' + 'Caledonie Express' night

2007 oil on canvas 31x103cm

'The last call of the 'Tampa'

2007 oil on canvas 31x103cm

'Forklifts in the fog panorama'

2007 oil on canvas 31x103cm

'The Pacific Dawn with demolition of Shed 6'

2008 oil on canvas 31x103cm

Enquiries about these paintings

The gallery was still hanging the exhibition when these photos were taken.

'The Last of the Hungry Mile' 2007 oil on canvas 180 x 122cm
FINALIST : 2008 SULMAN PRIZE, ART GALLERY OF NSW
'Walsh Bay Wharves, Moore's Wharf and the Hungry Mile'
2002 oil on canvas 122 x 152cm
'Relics from the 'Dead House' 2007 oil on canvas 122 x 100cm
Enquiries about these paintings

The paintings show the transition of the former wharf, East Darling Harbour, known as the "Hungry Mile", to the construction site, Barangaroo.

'Sydney Harbour Panorama from the Stamford on Kent'
2007 oil on canvas 25 x 153cm Sold

'Moore's Wharf from the bridge of 'Scholarship'

2007 oil on canvas 25 x 51cm Sold

Moore's Wharf, Sydney Harbour Bridge and Walsh Bay Wharves'

2007 oil on canvas 25 x 51cm Sold

'Wharf Skeleton' 2008 oil on canvas 75 x 100cm

'The wharves and High St from the Stamford on Kent'

2007 oil on canvas 75 x 100cm"

'The Last of the Hungry Mile' 2007 oil on canvas 180 x 122cm
FINALIST : 2008 SULMAN PRIZE, ART GALLERY OF NSW
Enquiries about these paintings

I've had a ring-side seat to paint this fascinating area, courtesy of many businesses and private individuals, who had to put up with having a self-appointed "Artist in Residence" paint from their offices, shops, cafes or homes.

'Harbour Control Tower from Moore's Wharf '

2013 oil on canvas 51 x 25cm Sold

'L3' Crane, with 'Taiko' 2006

oil on canvas 51 x 25cm

'The 'Charlotte ' passing Goat Island 2011

oil on canvas 15 x 18cm Sold 

'Goat Island from Moore's Wharf' 2010

oil on canvas 45 x 91 cm

'High Street from the wharf' 2007

oil on canvas 31 x 41cm

'Forklifts in the fog' 2007

oil on canvas 31 x 41cm

Enquiries about these paintings

I've been able to create large-scale plein air canvases in the middle of the Barangaroo demolition site, from the top of the Harbour Control Tower and in Moore's Wharf, the headquarters of the Sydney Ports Corporation Emergency Response Tugs and Pilot Boats.

'Sydney Harbour Panorama from the Stamford on Kent'
2007 oil on canvas 25 x 153cm Sold
Moore's Wharf from the bridge of the 'Scholarship'
2007 oil on canvas 25 x 51cm Sold
Moore's Wharf, Sydney Harbour Bridge and Walsh Bay Wharves'
2007 oil on canvas 25 x 51cm Sold
'Wharf Skeleton' 2008 oil on canvas 75 x 100cm

'The wharves and High St from Stamford on Kent'

2007 oil on canvas 75 x 100cm

Enquiries about these paintings
These are the last outposts of maritime and industrial activity, once so familiar around Sydney Harbour.

'Wharf Skeleton' 2008 oil on canvas 75 x 100cm

'The wharves and High St from the Stamford on Kent'

2007 oil on canvas 75 x 100cm

Enquiries about these paintings
 
See also my previous solo exhibition in 2011 at the Frances Keevil Gallery : "May Close without warning"

Related posts

The Mother Art is Architecture

Eaten by Robots

The Last of the Hungry Mile

To the Point

Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
Last week I returned to a painting that I had started 2 years ago but had left half finished due to having to complete other projects.
I had painted the two hotels from this viewpoint on the corner of John and Harris Streets countless times before. I still had several canvases of the Terminus but I especially wanted to paint a panorama giving equal space to the Terminus and Pyrmont Point Hotels.
59 versus 61 Harris Street Pyrmont - the old versus the new Pyrmont, divided by the striding legs of the Anzac bridge looming over the towers of Jackson's Landing.




Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

I had completed a similar canvas from this viewpoint about 2 years ago, but had sold it almost immediately to a local couple who had met each other at the Point Hotel.


Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
In the first photo of the work in progress, the previous colour scheme of the "Pyrmont Point Hotel" from 2 years before is still visible. The strange faded plum tone reminded me of an over-ripe version of the once ubiquitous "Paddo pink" in the first wave of gentrification that spread all over the 1980s inner city. It clashed horribly with the dark crimson awning.
Now it is under new management, with a brand new colour scheme to mark the change. The walls are a more subdued and elegant pale yellow green, with awnings and window frames in chocolate. One effect of the new wall colour is to make the "ghost sign" of the hotel's original name the "Royal Pacific" more apparent.
Meanwhile the Terminus hasn't changed a bit.

Half finished canvas on the easel

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

I spent the first afternoon repainting the walls of the "Pyrmont Point Hotel" to the new colour. It probably would have been quicker and easier to just start a completely new canvas.

The practice of plein air painting often results in many half finished and potentially unfinishable canvases, so that you have to grit your teeth and accept it as an inevitable part of the process. So many elements are beyond the artist's control that plein air painting becomes hopelessly frustrating if you can't cope with "unfinished business".
I love being able to revive a canvas that I have had to turn face to the wall for weeks, months or even years.

Half finished canvas on the easel

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
By the end of the first day, I had the basics blocked out and the canvas only needed the finishing touches.
And just as well.
When I delivered another work to the Frances Keevil Gallery, I discovered that a couple from Pyrmont were extremely interested in this painting. They had actually watched me while I was painting it!
Unfortunately they were due to leave Australia the next week.
I would have to complete the painting by Wednesday at the latest if it was going to be dry (well... dryish!) by Saturday, when the clients came in to the Frances Keevil Gallery to view it.
I don't think that they realized that it was an oil painting and they were cutting it a bit fine if it was to be finished, dry and ready to be delivered.


Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

It was Tuesday.

And there were many distractions.
I love chatting to people as I paint. I get to meet interesting people and learn a lot of fascinating things about the location.
But I was under a bit of time pressure and I must admit that I was worried.
The painting looks almost finished in this photo, but the final touches which can make or break a painting are very fiddly and it's perilous to rush them.
One of the most important of these was the "ghost sign" of the Pyrmont Point's previous incarnation as the Royal Pacific. Another vital detail was the light coming from the interior of the Pyrmont Point which contrasted with the dead heart of the Terminus.

The artist with local resident Van Le

with the nearly complete canvas

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:

janecooperbennett@gmail.com

Tuesday seemed to be an extremely busy day on the corner of John and Harris St.
I became a bit of a tourist attraction. Here I am with Van Le, a local resident.

The artist with local resident

Francis Lee with the nearly complete canvas

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
And with Francis Lee, another local resident, who kindly took these pictures of me in action.

"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
I needn't have worried.
The painting was completed.
And the couple loved it and bought it.
Apparently one of the pair had been covertly watching me paint the finishing touches on this canvas from a safe distance at the pub opposite.
I'm glad that I didn't know that at the time or I would have suffered stage fright.
I actually think that this painting turned out better than the one that I had painted 2 years before. Mind you, I've certainly had quite enough practice painting these pubs. The first time was about 30 years ago - doesn't time fly when you're having fun!
Also watching me were 2 photographers who were checking out the Terminus. They took a few photos of me (no makeup, covered in paint from head to foot, looking like a bag lady...oh well!) and chatted about the charms of urban decay as I desperately tried to finish my commission. Like many photographers, they seemed more interested in the freshly squeezed oil paint on my palette than the actual canvas. The process not the result.
Check out the photos they took of me and my painting here at the blog on their site.
Tristan Stefan Edouard Photography
For more information about the Terminus and Pyrmont Point Hotels see My Pyrmont page in this blog

Related posts
Looking over the overlooked-Urban decay in Pyrmont
To the Point
Wrong side of the tracks - Darling Island Bond and Free
Pretty vacant   A Tale of two hotels - the Terminus and the Point

The bad twin of Pyrmont Street

Pyrmont Paintings past and present 
Paintings of Pink pubs - Painting the Jolly Frog Part 2
 

My exhibition of Pyrmont paintings at the 2012 Pyrmont Festival

Exhibition of paintings of Pyrmont by Jane Bennett

at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
The photos of the display are courtesy of Frances Keevil, who also very kindly took time out from the gallery to hang and help me label the work. If not for Frances I'd probably still be there trying to cable tie canvases onto the security fence. It was still a nightmare to hang, and having to cable tie extremely valuable and historic paintings to a security fence is far from ideal.
The artworks are at risk of being damaged, and so was I. Due to the unfortunate timing of the Sydney half marathon being run on the morning of the event and the roads being closed as a consequence, there was very little time to unload my art and hang it.

Exhibition of paintings of Pyrmont by

Jane Bennett at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
I had brought 50 paintings on canvas and board for the exhibition. The largest was a 61 x 183cm canvas of a panorama of "Union Square" and the smallest was a tiny work on board of a detail of a window of the Terminus Hotel that at 9 x 13cm could fit in the palm of your hand.

Exhibition of paintings of Pyrmont by

Jane Bennett at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
This shows a couple of paintings of the CSR with some information sheets about my experiences creating them.
I also brought a small folio of works on paper, most of which had never been previously exhibited.

Exhibition of paintings of Pyrmont by

Jane Bennett at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
Despite the rain we had a good audience. I met lots of people who once lived or worked in Pyrmont as well as many of the new residents of Jacksons Landing and the apartments on top of Pyrmont Point.
I am now trying to complete 6 commissions resulting from contacts made on this day.

Exhibition of paintings of Pyrmont by Jane Bennett

at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
This shows a corner of my stall. I'm glad I decided to add this to my allotted space on the security fence, as the stall gave a little shelter from the rain, and I wouldn't have been able to display my books or photos of the rest of my work otherwise.
But the stall and the fence for the daily cost $220, which Ned Kelly would have been ashamed of.
Pyrmont Point was once the site of no less than 5 of my studios. Had the earlier businesses and residents of Pyrmont been as greedy, I wouldn't have been able to create any of the paintings that the current residents enjoy.
Wood if I could...

Table easel made of recycled timber by artist Jane Bennett
I had made eleven small table easels in the weeks before as preparation for the event. Small paintings would get lost on the fencing next to larger works, and it freed up space for sheets of information about my series of Pyrmont paintings. The historical context is becoming more and more important as time goes by and the new residents seek information about their area.

Table easel made of recycled timber by artist Jane Bennett
I'm no carpenter - in fact I've very rarely picked up a hammer or screwdriver in my life before. I had bought a couple of little easels, but they were fairly useless. They tended to collapse or fall over easily - not a good look in a public exhibition. I couldn't find anything that would serve my purpose in the art shops they were either far too big or small, much too expensive, or had useless fiddly bits that would soon snap off or stab an expensive painting in the back.
I was sick of playing "Goldilocks" so I decided to try my hand at making what I needed despite a total lack of skill, knowledge, experience or the correct tools or materials.
I used some bits of scrap wood I found lying around the garden.
"Recycled" is probably too kind a word for it, "rubbish" is closer to the mark. It was a motley collection salvaged from a warped canvas stretcher,part of an old fence, a couple of garden stakes and a rotting pallet that a neighbour put out for council clean-up. But once I had sanded them and covered up the wonky bits with wood stain they scrubbed up quite well.
These "easels" are just simple A frame tripods. I didn't even attempt to make them with adjustable heights. which I knew was well beyond my almost non-existent woodworking abilities. Also most of my easels with adjustable heights have some major design flaw anyway that makes them hell to use.

These are simply to prop up a small to medium size painting so it can be seen with a bit of dignity at an event where there is no hanging system, and very limited time to prepare the display.

No two of them are the same size or shape. I practice saying "quirky rustic charm" a lot.

"Terminus Hotel" displayed on a Table easel

made of recycled timber by artist Jane Bennett

2010 oil on canvas 31 x 31cm
Enquiries
janecooperbennett@gmail.com
But they do the job.
The red cedar woodstain especially suited the Terminus Hotel paintings, as it picked up the burnt siena of the ivy -covered bricks.

oil painting of "Gargoyle on spire of

Maclaurin Hall, University of Sydney"

displayed on a Table easel made of recycled timber

2009 oil on board 25 x 20cm
Enquiries
janecooperbennett@gmail.com
This shows my painting of "Gargoyle on spire of Maclaurin Hall, University of Sydney" displayed on a table easel that I made from parts of a shabby old frame that had warped and had to be removed. Unfortunately I discovered at the festival that the white paint blistered in the rain, so I have now taken it apart, sanded it back and given it a coat of the same red cedar wood stain so it now matches the others.
For more information see My Pyrmont page in this blog

Related posts

Looking over the overlooked-Urban decay in Pyrmont
To the Point
Wrong side of the tracks - Darling Island Bond and Free
Pretty vacant   A Tale of two hotels - the Terminus and the Point

The bad twin of Pyrmont Street

Pyrmont Paintings past and present 
Paintings of Pink pubs - Painting the Jolly Frog Part 2