Michael Zavros

Nothing is left to chance and every detail is carefully calculated: the hyperrealistic (and divisive) paintings of Michael Zavros

Retrieved on: 
Lunedì, Giugno 26, 2023

Even the essays in the catalogue accompanying this new exhibition at the Gallery of Modern Art, Brisbane, are riddled with quotations from the artist.

Key Points: 
  • Even the essays in the catalogue accompanying this new exhibition at the Gallery of Modern Art, Brisbane, are riddled with quotations from the artist.
  • Assembled by curator Peter McKay, it contains over 100 pieces, primarily paintings, but also including sculptures, photographs, video pieces and performance art.
  • Read more:
    What should the Australian War Memorial do with its heroic portraits of Ben Roberts-Smith?

Mastery of technique

    • Zavros exhibits a mastery of an exquisite technique and a refined sensibility.
    • In his earliest pieces, clippings from a fashion magazine were meticulously reproduced as oil paintings as in Man in wool suit (1998).
    • The huge Acropolis Now (2023) mural in acrylic, measuring about 7.5 metres by almost 20 metres, frames the entrance to his exhibition.
    • This applies to some of the most accomplished and acclaimed pieces including Bad Dad (2013), and Phoebe is dead/McQueen (2010).

Conspicuous consumption

    • On a very simple level, one can say much of his imagery touches on highly desirable luxury goods, as items of conspicuous consumption.
    • The artist has reasoned that, as many people aspire to own such items, exquisitely rendered images of them would appeal to the same people.
    • Is Zavros celebrating the existing world order and its elite and the consumption of luxury goods, or is he critiquing it, shining a light on folly and exposing it with irony and creating subversive art?

Power and prestige

    • The large installation piece Drowned Mercedes (2023) has the aspirational car of his dreams made functionless by being filled with water.
    • In the garage of the house where he normally parks his car, during the floods the water would have flooded this car.
    • This gleaming symbol of power and prestige is destroyed through the impact of climate change.

What should the Australian War Memorial do with its heroic portraits of Ben Roberts-Smith?

Retrieved on: 
Lunedì, Giugno 5, 2023

Justice Anthony Besanko ruled the newspapers had established, by the “balance of probabilities” (the standard of evidence in a civil lawsuit), that Roberts-Smith had committed war crimes.

Key Points: 
  • Justice Anthony Besanko ruled the newspapers had established, by the “balance of probabilities” (the standard of evidence in a civil lawsuit), that Roberts-Smith had committed war crimes.
  • Following the ruling, much public debate has focused on what the Australian War Memorial should do with Robert-Smith’s uniform, helmet and other artefacts of his on display.

The case of the oil paintings

    • The memorial also has two heroic oil painting portraits of Roberts-Smith by one of Australia’s leading artists, Michael Zavros.
    • These paintings were commissioned by the memorial in 2014.
    • Pistol Grip (Ben Roberts-Smith VC) is a larger-than-life-sized depiction of Roberts-Smith, camouflage arms outstretched, mimicking the action of holding a pistol.

Moral and ethical ambiguity

    • In 1992, the Canadian Airborne Regiment was deployed as peacekeepers to Somalia.
    • In 1993, 16-year-old Shidane Arone was found hiding in the Canadian base, believed to have been stealing supplies.
    • Master Corporal Clayton Matchee and his subordinate Private Kyle Brown were charged with his murder and torture.
    • It addresses an ethical grey area many soldiers face during active service when the hierarchy of command comes into direct conflict with conscience.

The complexity of contemporary art

    • Brandon’s curatorial decision to display Kearns’s Somalia paintings strike at the heart of what is special and important about contemporary war art in a national museum.
    • Contemporary art presents ethical and moral complexity, grey zones and a range of perspectives.
    • The portraits should be displayed in ways that address this complexity, capturing the evolving story of Roberts-Smith in explanatory wall text.
    • The most compelling contemporary art works – and the most valuable museum displays in our national institutions – are those that consider our complex stories, raise important and self-reflective questions, and challenge simplistic narratives.