I am making a master list of kitsch films, books, magazines and every other periodical, TV and music, and whatever else pops up in my mind through out the year that I am investigating this topic. Feel free to leave a comment or better yet make a suggestion! I’m starting to notice that a lot of my lists are material mostly harks back between the 40s and 70s, the HEIGHT of kitsch appeal. Then again, I think, arguably, pretty much everything from any era can be considered kitsch—it’s a product of whatever era from which it derives. And it seems mostly exploitative, horror, sci-fi and smut reigns supreme in this category.

I will document my findings here and on my Flickr account, plus there’s been a group blog set up by one of my classmates, so feel free to look at that too!

Films

Anything with Marilyn Monroe
Anything with Jayne Mansfield
Anything with Elvis
Barbarella
Valley of the Dolls
Grease
The Wizard of Oz
The Producers
(and pretty much every musical starring Doris Day et al)
The Adventures of Priscilla, Queen of the Desert
Strictly Ballroom
Baz Luhrmann’s Romeo and Juliet
Pulp Fiction
Inglourious Basterds (and every other Tarantino flick)
Across the Universe
Tim Burton’s Batman
Mars Attacks!
The Killer Condom (I saw this on SBS years back… I wish they’d put it back on!)
Monty Python
Bruce Lee Collection
The Spirit
Phantom of the Opera
Attack of the 50 Ft. Woman
Queen of Outer Space
The Giant Behemoth

I’m trying to remember the cult films I watched during film studies in second year… there was some truly kitschy stuff featured.

TV Shows

I Dream of Jeannie
Bewitched
I Love Lucy
Happy Days
The Brady Bunch
The Jetsons
The Flinstones
Scooby Doo
Batman
Doctor Who (old school)
Monty Python Flying Circus

Novels

Romance, glorious manhood swashbuckling, bosom heaving romance… or shall I call them that now negative connotation, the ‘bodice-ripper’?

I didn’t really do much on new year’s eve. As with many other Chinese, I had a relatively big ‘nian ye fan’ (New Year’s Eve dinner) with my folks, then we waited until 11pm (8pm China Beijing time) and we watched the CCTV Spring Festival Gala, an annual program broadcast by CCTV (the China government’s puppet, in less flattering words ) throughout China and the world via satellite until about 2/3am. This is a ritual that goes with New Year for many, many, if not all, Chinese and their families. I couldn’t keep my eyes open at 2:30 so I didn’t see the final countdown. No big deal for me anyway. This event holds little resonance with me as the years go by. The day when I’ll pay attention is when China is no longer Communist. Last year’s was slightly better, but it really hit its peak in the mid-90s I reckon. Now it’s all about over-extravagance and explosions of colour, but I think the director must’ve took a note from viewers’ comments and restrained things a tad.

Today in the arvo I went with my folks to Chinatown and also Southbank where the Chinese New Year action was. Russell Street wasn’t that much of a buzz, except for the dragons and the familiar bang drumming. The streets were awash in firecracker pellets, and the roar of firecrackers igniting and going off was always in the distance. Southbank’s Hawkers’ Bazaar was more lively and pretty with the natural and urbane beauty of the Yarra River landscape. The food was more varied, the main stage had music, opera and lots of dragons (of course!), and there were plenty of other stalls selling Chinese knick-knacks, parasols, good luck banners and the like. I’ve a bunch of photos I took on my Flickr.

I’ve finally returned to using my neglected moleskine journals; I’ve missed drawing like this. I’m trying to push myself to do more work for myself so that I don’t go absolutely batty working for tutors and clients alike, and being subservient to their outrageous demands of me, bless their souls.

Oh yeah, it’s Valentine’s Day. Happy relationship validation day! Of course, I don’t care one iota for this holiday. This is obviously because I am still single. (Single and still loving it!) Anyhow, last year I distinctly remember one of my clients lamented that we were both working on V-Day. I couldn’t really have cared less, really… Savings > love, at this point in my life.

Somewhat disgruntled that a staff member snapped up my entry pass away as admission (I wanted it to be my souvenir), I quickly brushed the annoyance aside. I could already hear the over-awed and overzealous comments of fellow patrons before we’d even entered the first room. The exhibition itself is not pretentiously or ambitiously designed (think back to National Gallery of Victoria’s interiors that echoed the eccentricity of Salvador Dali). There are 6 rooms to navigate through: After Impressionism, Neo-Impressionism, Cezanne/van Gogh, Gauguin and the Pont-Aven School/Toulouse-Lautrec, Symbolism/The Nabis, and finally Decoration/Rousseau. Altogether a coordinated layout, letting the artists’ vision and unique styles and techniques speak for themselves. NGA has provided a comprehensive online gallery of all works in respective rooms shown, which is awfully good of them, eh?

I suppose what is potentially problematic is the fact that many paintings featured are those that we’ve come to know very intimately through the mass media  (or media reproduction) without having viewed the actual artwork. It’s the Mona Lisa Effect. Finally seeing the real thing leaves you remarkably underwhelmed. In spite of it all, Van Gogh’s Starry Night is always a pleasure to admire in its palpable form, (I first got to see it at NGV’s Impressionists exhibition in 2004 and it truly moved me then), Monet’s astonishing sense of colour, gestural brushstrokes and his illusory technique are wondrous to view up close; Seurat’s meticulous ‘pointillist’ technique—small daubs of paint juxtaposed together via calculated colour schemes—is frankly mind-boggling; Toulouse-Lautrec’s bold and brassy graphic technique and his affinity for Moulin Rouge prostitutes and dancers are amusing. However, I found that the lesser known artists caught my attention: Pierre Bonnard (possibly my favourite artist from this period next to Renoir), Maurice Denis and Edouard Vuillard, all of whom were part of the Nabis, a Post-Impressionist avant-garde group leading the way in both fine arts and graphic arts, have a strong selection of works featured. Their symbolist work which draws on literature, mythology, philosophy and dreams, capture vignettes of everyday life, using methods established by the earlier post-impressionists. Bonnard’s The White Cat is an adorable example—it has decorative motifs but also abstraction.

I’ve pre-ordered the Masterpieces from Paris catalogue at the “special price” of $39.95. When I was in the NGA shop they had run out of stock. I found that rather short-sighted, seeing as this is one of the most important and logistically expensive events organised. Or perhaps this is an indication of just how huge this show is. Maybe being an indulged Melburnian I’m used to the standards set by NGV. Regardless, I eagerly await my book, if only so I can relive the gallery experience (I can’t very well go back to Canberra like that)

Some of the outstanding paintings that caught my eye:

Georges Seurat was famous for his “pointillist” technique. See it to believe it!

I wrote about Pierre Bonnard’s Siesta – The artist’s studio for my first year uni essay, and have since been a passionate fan of his work. I fell in love with the intimacy and warmth of his colours and subject matter, but there’s a touch of loneliness about it too, which I instantly connected with in this painting, The Man and the Woman [L'homme et la femme]. Or maybe I’m just a refined pervert. Whatever. Us perverts can validate our perversion through art. (Oh wait, not if I’m Bill Henson I can’t)

The pioneer of ‘en plein air’, Claude Monet at his best. I’ve tried to emulate his gestural brushtroke technique and it is HARD!

Maurice Denis explores mythology and decoration in his depiction of the Muses. I love the restrained contours, and the red leafy patterns at the top and bottom.

Another painting by Émile Bernard of his sister Madeleine that depicts everyday life in a profound, idyllic way. I wanted a postcard of this but there wasn’t any!

Masterpieces from Paris is open from 9 Dec 2009 – 5 Apr 2010 at National Gallery of Australia, Canberra.

Oh yeah, I got my Ps, yo. It took me 2.6 years to get there, but get there I did. That doesn’t mean I don’t still feel like a learner driver.

And now, summing up the year more superficially:

Number of films seen (approx): 29
Best film
Up!
An extremely, unabashedly and wholeheartedly sentimental film on what it is to be young and feel young. Made me cry, and is nothing below the standard of Pixar excellence—a visually spectacular treat, especially in 3D! Kevin is the greatest!

Honourable mentions:

• Changeling
• The Young Victoria
• Mary and Max
• Watchmen

Best album (or rather the album that defined my year)
Mucho Punk, and Mucho Musica, both by Clazziquai
I have quite possibly played both these albums (the former is the Korean version, the latter, the Japanese version) near a thousand times. I don’t listen to the Top 20 anymore, only when it suits me best (which is like, never) so I tend to limit my music tastes, but I’ve made some interesting discoveries this year too in the world of Kpop. See my honourable mentions.

Honourable Mentions:

• Winter Magic – Hayley Westenra
• DREAM – Yuno Ito
• Songs for Ophelia – Ibadi
• Purple Drop – Humming Urban Stereo
• It’s Not Me, It’s You – Lily Allen

Best score/soundtrack
Harry Potter and the Half-Blood Prince
For actually being a way better compilation than the film itself. No, seriously, Nicholas Hooper has done a fine job, honing in his strengths to make an altogether, darkly dramatic and sinister mood, but never losing the youthful fun that comes with growing up in a wizarding world. More impressive to me was his ability to bend convention and experiment with sounds and instruments. God do I love an artist who makes calculated risks!

Honourable mentions

• Up! – Michael Giacchino
• Mad Men: Music from the Series Vol 1, 2 – Various Artists
• Mad Men: Original Score Vol 1 – David Carbonara
• The Twilight Saga: New Moon – Alexandre Desplat (oh the shame, but oh the beauty of this score)

Best TV Show
Mad Men
I’d only started watching this show round about this time last year, but only in the last half of this year did I really sink myself into the smoky era of these dashing, mad ad men.

Honourable mentions

• Collectors
• The Big Bang Theory
• Talkin’ Bout Your Generation

Number of books read: 162
Best books I can very rarely just choose one! (all have received 5 stars on my Goodreads)

• Goddess of the Hunt, Surrender of a Siren, A Lady of Persuasion (trilogy) – Tessa Dare
• Scandal – Carolyn Jewel
• The Duke of Shadows – Meredith Duran
• Hard Evidence – Pamela Clare
• Delicious – Sherry Thomas
• Not Quite a Husband – Sherry Thomas
• Letters to a Secret Lover – Toni Blake
• Riding on Instinct – Jaci Burton
• Sex, Straight Up – Kathleen O’Reilly
• Really Good Logos Explained: Top design professionals critique 500 logos and explain what makes them work – Margo Chase

Best comic arc
From my DC point of view, Blackest Night has undoubtedly been shitloads of drama, epicness and OH MY GOD THE ORGASMIC COLOUR OF RAINBOWS, and the mysterious disappearance of Bruce Wayne aka The Batman has left writers and artists with plenty of fodder for Dick and Damian (oh say that fast ten times), but to me, the most outstanding narrative throughout has been Greg Rucka and JH Williams III’s run on Detective Comics starring the ever awesome Kathy Kane, aka Batwoman. MUCH LOVE!!

From my Marvel point of view, X-Men still makes no sense to me (I can barely keep up with the bajillion series running simultaneously), Amazing Spiderman has gone to the pits, but I’ve been far more intrigued by the War of Kings, and now currently the Realm of Kings, as all manner of creatures and peoples fight for what’s left of them. Inhumans arc has been especially of interest to me.

“GO BEYOND YOUR IMAGINATION” urges the bold slogan for Salvador Dalí: Liquid Desire, the blockbuster exhibition currently showing at NGV International, as part of Melbourne’s Winter Masterpieces series. Indeed the exhibition encourages us to forsake our preconceived and perhaps misinformed notions of Salvador Dalí’s (1904–89) life and art, and look beyond his “melting clocks”, in reference to The Persistence of Memory (1931), the Surrealist painting for which he is arguably most recognised. In fact, Dalí’s contribution to Surrealism encompasses only a small part of his career. Liquid Desire invites us to explore the full scope of his illustrious and fascinating career, including not just his work in painting, but also prints, drawings, objects, film, photography, literature, design, his epic romance with his wife, Gala, and his colourful life as a celebrity. The exhibition is a pivotal achievement in Dalí’s recognition as a great 20th century artist, as it is the first and largest comprehensive retrospective to be held in Australia, conceived and developed over seven years by a team of five curators. It comprises over 200 displayed works, most of which are on loan from the two largest collections of Dalí in the world: Fundacio Gala-Salvador Dalí in Spain and the Salvador Dalí Museum in St. Petersburg, Florida. The exhibition methodically charts Dalí’s career in chronological sections, with understated design but always providing entertaining insights into the curious character himself.

One of the strongest messages coming through Liquid Desire is the breakdown of preconceptions that Dalí is limited to just the small window of Surrealist works of the 1930s that is familiar to everyone. Do not expect to see The Persistence of Memory in this collection. “If you think you know Dalí’s work, think again,” boasts NGV Director Gerard Vaughn. The extensive diversity of works on display is certainly testament to that statement. It is indeed refreshing to learn about the inner workings of a Spanish artist other than Picasso or Magritte. NGV Curator Ted Gott vehemently proposed to the lenders about a “complete retrospective, as comprehensive as possible, not just privileging the famous paintings.” Dalí did not limit himself to any one medium. The layout of the exhibition highlights this notion, starting with “Teenage Dalí” which emphasises Dalí’s exceptional Impressionist work, hinting at the genius that is to come, followed by his experimentation and absorption of Cubism, Abstraction, Neo-Classicism, New Objectivity during his student years, and his contribution to the Surrealist movement in Paris in the 1930s. His work becomes ever diverse once he relocates to America during the Second World War, where he dabbled in virtually every creative medium possible. In this respect, he was very much like the Old Masters for whom he held such high regard. This fondness for the Renaissance influence is very much alive in all his works. Like Da Vinci before him, many of Dalí’s ideas were far ahead of his time, such as his elaborate set designs for renowned film directors, Fritz Lang and Walt Disney; unfortunately they often could not come to fruition due to technology constraints. 2003 saw the completion of Dalí’s and Disney’s Destino, a remarkable and exquisite feat that remains faithful to the original creators’ intentions. We can only wistfully imagine where Dalí might have taken animation or photography, given his experiments all predating digital technology. Insights like these give us a glimpse into Dalí’s immense versatility across all creative media.

While Liquid Desire marks the first Dalí retrospective in the country, there is a nostalgia for Dalí’s Australian presence in the past, as Memory of the child-woman (1932) was the first and only work by Dalí to be shown at the Herald and Weekly Times 1939 Exhibition of French and British Contemporary Art, and again briefly at the NGV in 1943. Dalí’s painting met controversy among bewildered audiences (many of whom had never seen Surrealist art before), with its blatant Freudian readings of solitary nightmares. It received scathing reviews from notable figures of the Australian art establishment who thought it overtly sexual and masochistic. They rigorously denounced both Freud and Dalí alike. Regardless, the painting’s notoriety only heightened its popularity among the public. It created a new dialogue with Australia and the Australian literary, music and art world.  It is curious to note the reception of its now third viewing of the painting today to that of 70 years ago, and to recognise its power to provoke and intrigue, even in 2009. Moreover, it is a poignant moment to realise the direct relevance that Dalí had to Australian art history.

Given the enduring allure of the Dalí name worldwide, there comes a responsibility in truthful representation and preservation of the artist’s intentions. However, when it comes to Dalí, trying to deal with his character is a tenuous issue; given that his persona is so encompassing, trying to find the truth behind it is impossible. Liquid Desire does not follow the thematic approach; rather, it adheres to a strict chronology, but it works naturally. Gott’s vision of the exhibition was “not over the top and surreal with melting walls and weird things”. Overall the exhibition is laid out as a classical Old Master exhibition. The walls are sparsely coloured in neutral hues, letting the artwork speak for themselves. There is a sense of order in amongst the diverse subject matter; however, when it comes to chronicling Dalí, there is a delicious twist. We may start out with the teenage impressionist and finish with an aging Renaissance artist fascinated by atomic theory and optics. That is the strangeness of Dalí. Thematic structuring of his artwork is unnecessary, given that his chronology is itself so bizarre and fascinating. Moreover, exhibition routes cannot be defined for each individual. Newcomers to Dalí may welcome the sequential order, but “wall jumpers” may choose to explore at random, creating a discord to navigate through. They may defy the stifling procession that comes with huge crowd numbers hovering over the same artwork in the same order. Perhaps Dalí himself would have preferred it this way in the Surrealist spirit. He describes his ideal museum space as a “labyrinth, a great surrealist object”. People will leave with the sensation of having had a “theatrical dream”. Certainly we all have some sort of fantastical experience, perhaps a desire to paint our own dreams, in the gallery space.

Despite the seriousness in its representation of Dalí as an Old Master, the exhibition is not without its “weird” aspects. Just as Dalí had no shame in taking his brand of surrealism to the masses (particularly in America, Dalí’s land of opportunity), Gott has no qualms about bringing the camp side of Dalí to the surface in Liquid Desire, merging Dalí’s profound, avant-garde works of his younger years and his later intrigue over science and religion with his self-promotional dalliances in American popular culture. Television ads, interviews and fashion parades reveal Dalí as an eccentric but cultivated showman (“I am mad” he ambiguously states in one instance); his infamous and trademark moustache is boldly displayed and distorted in his collaborated works with photographer, Phillipe Halsman. He designed ads for Bryans Hosiery, an ashtray for Air India and even a shoe-hat. He could call big names like Harpo Marx, Andy Warhol, Coco Chanel, Alfred Hitchcock and Alice Cooper his friends and collaborators. Even his long passionate union with his older wife, muse and manager, Gala, provoked delight and scandal amongst contemporary audiences. Curiously, Dalí’s work often depicts her as a saint, a goddess demanding great reverence, yet Gala herself appears an elusive figure in real life, only adding to Dalí’s appeal. It shocked and outraged the American high art establishment (in an assent towards Abstract Expressionism, a movement Dalí found akin to “indigestion”), but we may read this now as a mischievous artist trying to break down the snobbery associated with all so-called high and low culture. Perhaps Dalí did trivialise his talents as an artist, but his Renaissance idealisation of craftsmanship and design marries seamlessly with the supposedly common material and subject, transcending his work into something else entirely. Dalí embodies this quintessential mix of contradiction and embellishment, making him all the more peculiar and entertaining. The exhibition is mindful of his reputation and lustre as a cultural icon by giving us a complete overview, letting us form our own bias. Today we can gleefully chortle at this romantic, bohemian life so foreign to our own.

Additionally, eccentric Dalínian motifs appear throughout the exhibition space in both subtle and explicit formations. For instance, even before entering the exhibition we first encounter Dalí’s character signature recreated as a bright neon sign—the quirky, scripted penmanship briefly hints at what we can expect from the flamboyant showman. Large sticker prints of ants periodically scour the walls and floors, acting as guides or curious diversions for the visitor. The ants clearly refer to Dalí’s obsession with their associations to decay and destruction, manifested in such featured works as Un chien andalou (1929) or Soft self-portrait with grilled bacon (1941). A silhouetted rhinoceros plaque also periodically marks works of interest, with brief descriptions that simplify the works’ complexities and questions aimed at engaging younger audiences. For example, “Do you sometimes like to be different from other people?” in reference to The Sick Child—Self Portrait (c.1921) which seems to undermine the deeper themes Dalí intended to portray, but nonetheless it creates an open dialogue with children. Curiously, one wonders how children react when bombarded by such a kaleidoscope of mature and bizarre work. The rhino motif must seem less intimidating to a child than other Surrealist imagery, and no doubt alludes to Dalí and the rhinoceros (1956) and Dalí’s fascination with the mathematical perfection of the animal’s horn.

Furthermore, certain sections of the exhibition are displayed in tactile and multimedia environments that both accentuate the themes represented, and interact with the visitor on different levels. Upon entering the exhibition we are led to a three panel video installation of Dalí’s native Catalonia in Spain. The installation makes a strong connection between Dalí’s artistic imagination and the ruggedly romantic landscapes of the vast wind-swept plains of the Ampurdán and the rocky “otherworld” of the Cap de Creus. We feel a sense of its tranquillity and lushness through the ambient surround sound, and moody lighting. One engages with the singular and focused dialogue of communion with the aboriginal terrain; this holds extra resonance to Australian audiences with our own keen sense of the importance of land and the psyche of both our indigenous peoples and our pioneering ancestors. Though there are no signs of his Surrealist vision just yet, we are teased into stripping back and discovering Dalí’s origins. Likewise the walls in the “Renaissance” section are furnished with a sumptuous pattern of alternating black stripes in a perfectly tempered mood. The featured works, predominantly of Dalí’s black and white ink illustrations of The Autobiography of Benvenuto Cellini (a polymath of the High Renaissance) are imbued with a glowing effect in stark contrast to the dark background. Central to this arena is a majestic flower arrangement, characterising Dalí’s reverence for the Renaissance’s renewed desire to depict the beauty of nature and symmetry. Similarly, surface textures are effectively utilised in “Jewels” in which the room is upholstered in cushioned red velvet panels, like a precious jewellery box. The jewelled objects are held in black velvet-lined glass-fronted lock safes recessed into the walls. This sensibility to rich, sensuous texture and the opulent hedonism of jewellery makes the experience a welcome change when aligned to Dalí’s darker and absurd works. Tactile texture also appears in the cinema showing Un chien andalou. The walls are lined with thick black fur, which is a Dalí reference. Gott explains: “In the early 1930s Dalí fantasised that he would create dog fur lined living rooms for his patron Edward James so that is why the cinema is fur lined.” In-jokes like these enrich visitors with prior knowledge of the artist, so even people familiar with Dalí can still be pleasantly surprised. We can never know what to expect next.

Aside from the exhibition, the visitor can enjoy a number of related activities and programs designed to enrich the Dalí experience. Free guided tours operate daily, symposiums and introductory talks are held discussing aspects of Dalí’s career and life; classes and workshops provide in-depth views into Dalí’s philosophies, interests and practice for kids, students and adults alike. Attend movie screenings, experience a taste of the Catalan medieval past beloved by Dalí with a performance by the Early Music Consort of Melbourne, or imagine yourself in Dalí’s world of decadent parties in New York, and dance to the sounds of the roaring 20s with the Cairo Club Orchestra. The multitude of lively and popular events seems to suggest the NGV’s intention to further break down the distinction between high culture and low culture, of viewing the artwork in a traditional setting, and experiencing the artist via other outlets. While they are not quite the “real thing”, these events allow us to briefly enter the world that Dalí inhabited, and we are able to appreciate him that much more.

Despite Dalí’s position at the forefront of so many of the 20th century’s artistic, political and social events and developments, there are few serious appraisals of his life and times. Liquid Desire attempts to rectify this problem by presenting a kaleidoscopic and panoramic celebration of both the extraordinary works and life of an extraordinary character. The exhibition proudly affords him a place in shaping the assent of contemporary art. Notwithstanding his crazy antics and his commercial work, Dalí’s work reveals intelligent engagement with contemporary science and art movements. As we read more about Dalí, the mask of the jokester and the typecasting of him dissolve and we realise the incredible breadth of the man. Just as Dalí constantly disturbed the equilibrium of social and cultural norms, the exhibition alters our initial opinions about his character and work. Multiple viewings of Dalí’s sheer abundance may unveil just why he remains such an intriguing and multi-faceted enigma. Perhaps we cannot see further into Dalí’s character than what is on the surface, but as Gott argues, “What’s wrong with the enjoyment of the artifice itself? He devoted his whole life to it. Let’s enjoy it and thank him for it.”

Selected Bibliography
Frey, Bertron Schwartz. Designing Exhibitions – A Compendium for Architects, Designers and Museum Professionals. Basel: Birkhauser – Publishers for Architecture, 2006.
Gott, Ted, Montse Aguer Teixidor, Joan Kropf, Laurie Benson and Sophie Matthiesson. Salvador Dali: Liquid Desire. Melbourne: National Gallery of Victoria, 2009. Published in conjunction with the exhibition: “Salvador Dali: Liquid Desire” shown at the National Gallery of Victoria in Melbourne, Victoria 13 June to 4 October, 2009.
Henning, Michelle. Museums, Media and Cultural Theory. Maidenhead: Open University Press, 2006.
Hooper-Greenhill, Eilean. Museums and their Visitors. London: Routledge, 1994.
Kachur, Lewis. Displaying the Marvelous – Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations. Cambridge: MIT Press, 2001.
Newhouse, Victoria. Art and the Power of Placement. New York: Monacelli Press, Inc., 2005.
Putnam, James. Art and Artifact – The Museum as Medium. London: Thames & Hudson, 2001
Weisberg, Shelley K. Museum Movement Techniques – How to Craft a Moving Museum Experience. New York: AltaMira Press, 2006.

Electronic Sources
Featured Dali paintings from The Age
Anderson, Gary. ‘Dr Ted Gott and Salvador Dali,’ ArtsHub: http://www.artshub.com.au.ezproxy.lib.monash.edu.au/au/newsPrint.asp?sId=178962 [accessed: 26/8/09]
Anderson, Gary. ‘Dr Ted Gott and Salvador Dali Part II,’ ArtsHub: http://www.artshub.com.au.ezproxy.lib.monash.edu.au/au/newsPrint.asp?sId=179022 [accessed: 26/8/09]
Bunyan, Marcus. ‘Exhibition photographs: ‘Salvador Dali: Liquid Desire’ Melbourne Winter Masterpieces at the National Gallery of Victoria, Melbourne « Art Blart’: http://artblart.wordpress.com/2009/06/11/exhibition-salvador-dali-liquid-desire-melbourne-winter-masterpieces-at-the-national-gallery-of-victoria-melbourne [accessed: 21/8/09]
Edwards, David. ‘Salvador Dalí: Liquid Desire – art preview from The Blurb’: http://www.theblurb.com.au/Issue102/Dali.htm [accessed: 19/8/09]
McLaren, Rebecca. ‘Salvador Dali: Liquid Desire – ABC Melbourne (Australian Broadcasting Corporation)’: http://www.abc.net.au/local/stories/2009/06/12/2597037.htm [accessed: 19/8/09]
National Gallery of Victoria. “Salvador Dali: Liquid Desire.” http://www.ngv.vic.gov.au/dali [accessed: 19/8/09]
Nelson, Robert. ‘Salvador Dali exhibition Liquid Desire opens at NGV Melbourne’: http://www.theage.com.au/executive-style/culture/salvador-dali-rolls-into-town-20090612-c5ly.html?page=-1 [accessed: 21/8/09]
Thompson, Karen. ‘Salvador Dali: Liquid Desire’ @ NGV « Melbourne Jeweller’: http://melbournejeweller.wordpress.com/2009/06/22/salvador-dali-liquid-desire-ngv?[accessed: 21/8/09]
‘The Age – Salvador Dali – Liquid Desire’: http://www.theage.com.au/interactive/2009/national/dali [accessed: 21/8/09]
‘The Design Files: Salvador Dali : Liquid Desire exhibition at the NGV’: http://www.thedesignfiles.net/2009/07/salvador-dali-liquid-desire-exhibition.html [accessed: 21/8/09]
‘Salvador Dali: Liquid Desire’: http://www.theage.com.au/photogallery/entertainment/salvador-dali-liquid-desire/20090611-c4nt.html [accessed: 21/8/09]

The last time I participated in a reading challenge was in my final year of high school, for the Australian Readers’ Challenge to encourage literacy in Aborigine communities, but back then I had a generous time span of 6 months to read 10 books. Quite a cinch, right? Wrong! VCE did not allow me to read much other than set Literature texts. Anyway. The same holds for uni, unfortunately.

Now I have a shitload on my to-read list. I keep buying and buying and accumulating and accumulating, until my house nearly tumbles from too many books crammed into too few crevasses. (OK I love to embellish my words, but it’s true, my balcony was on the verge of collapsing at one point but probably not for reasons I imagined…)

Anyway, I’m going to post my progress here periodically during September. So wotcher! Without further ado, I give you:

Jen’s “Books I’ve Either Borrowed for a Long Time or Bought a Long Time Ago” Reading Challenge

Books I’m Partly Through

My Family and Other Animals – Gerald Durrell
Eve of Darkness – S. J. Day
Skeletons at the Feast – Chris Bohjalian
The Thorn Birds – Colleen McCullough
The Russian Concubine – Kate Furnivall YAY!
Wives and Daughters – Elizabeth Gaskell
The Diplomat’s Wife – Pam Jenoff
The Communist Manifesto – Karl Marx
Man Alone With Himself – Friedrich Nietzsche
Breaking Dawn – Stephenie Meyer
Batman: Knightfall — Broken Bat – Doug Moench
JLA: New World Order
Batman: Officer Down

Next up … (I’ll be lucky to reach this point)

Bound By Your Touch – Meredith Duran
The Book of Rapture – Nikki Gemmell
Little Dorrit – Charles Dickens
Lord of the Fading Lands – C. L. Wilson
The Tales of Beedle the Bard – J.K. Rowling (yeah, laugh at me)
Eve of Destruction – S. J. Day
Eve of Chaos – S. J. Day
Burning Bright – Tracy Chevalier
Passion and Pleasure in London – Melody Thomas
Road to Paradise – Paullina Simons
Mine Till Midnight – Lisa Kleypas
Never Dare a Duke – Gayle Callen
As an Earl Desires – Lorraine Heath

Completed

• Duke of Shadows – Meredith Duran.
  Duran really evokes a sense of the time in a turbulent era of British India, married with the intense romance between the two leads, this is quite impressive stuff! I really like the heroine here. Not coincidentally because she happens to be an artist either.
  Rating: 5 out of 5 stars
• Bound by Your Touch – Meredith Duran
  Guess I was slightly disappointed by this book’s premise, after reading a very awesome Duke of Shadows, but nevertheless this is still wonderfully written, with strong characters and relationships.
  Rating: 4 out of 5 stars
• Not Quite a Husband – Sherry Thomas
  This author is now one of my auto-buys. I was blown away by Delicious, and this one is almost equally as good. I have quite a thing for “renewed and rekindled romance” and this novel has it in spades. Interesting parallel to Duran’s Duke of Shadows, given the location and the political intrigue. On the other hand, it did seem awkward why the couple would break off in the first place; they had such great chemistry when they were first acquainted.
  Rating: 4.5 out of 5 stars
• The Russian Concubine – Kate Furnivall
  I wrote a long-arse review on my Goodreads account which has sort of become a rant (I digress), but I will say here that it was an enjoyable read, and I appreciated (VERY MUCH, in fact) the attention to historical detail, and the touching love story between two people of entirely different cultures and race. And I can’t wait to read the next novel. I think I’m on a roll with the inter-racial romance thing (mainly a Chinese man with a European/Anglo woman) …
  Rating: 4 out of 5 stars

• Eve of Darkness – Sylvia Day
  I remember devouring the first third of the novel, thinking what a unique—albeit occasionally confusing—premise this was, and then getting bored towards the end. I’m hoping the next two instalments have more to offer.
  Rating: 3 out of 5 stars

• Mine Till Midnight – Lisa Kleypas
  Wow, I have not read a Kleypas novel for a couple years at least! But now I’m doing major catch-up, and she’s still got it. Appealing characters and taut, amusing narratives of country life. I’ve always thought her forte was in the Gypsy/English (or “lower class” male with “upper class” lady) pairing. Hah!
  Rating: 4 out of 5 stars

• My Family and Other Animals – Gerald Durrell
  A delightful, light read about Gerald’s eccentric adventures with exotic creatures and people in Corfu, but more interesting and amusing to see are the reactions Gerald’s animals can coax out of his siblings and indulgent mother, who aren’t always as open to the wild menagerie growing bigger and bigger each day. Worth checking out the film too; it’s pretty faithful and captures the whimsical voice of the narrative.
  Rating: 4 out of 5 stars

• Batman: Knightfall: Part One — Broken Bat – Chuck Dixon, Doug Moench, Alan Grant
  I was pretty much gnawing my fingernails off out of fear for Bruce. He’s perpetually the man of strength and indestructible resilience and stamina, so it’s frightening to see him crushed by another man. A shitty villain like Bane. Oh sure, he deduced Batman’s true identity under a year or so, but that doesn’t make him a worthy villain to me. At least Ra’s al Ghul and perhaps even Hush (the villains who know that Bruce is Batman) has more charisma and showmanship than the steroid-glutting brute. Bane is boring. It’ll be interesting to see how Bruce recovers, and how Gotham will react to the new Bat on the block …
  Rating: 3.5 out of 5 stars

• Batman: Knightfall: Part Two — Who Rules the Night – Chuck Dixon, Doug Moench, Alan Grant
  Well, after finishing Knightfall volume one, I had to keep going, didn’t I? Jean Paul Valley (aka Azrael or Azbats) takes over the mantle of the Bat, and pretty much goes even more batshit nutters, becoming more aggressive and brutal than Bruce, crossing the line where Bruce would not, driving Robin away, and even coming up with a new and improved Bat costume. All heavy metal and artillery, yo! The final showdown with Bane is intense, but loses energy by the end when I just wanted it to end, damn it!
  Rating: 2.5 out of 5 stars

• Batman: Knightfall: Part Three — Knightsend – Chuck Dixon, Doug Moench, Alan Grant
  Good grief what a bizarre climax. I’m not sure what I think yet. It was great to see how Bruce manages to rehabilitate himself, emotionally (although never quite to the degree you or I imagine, heh; he’s still psychoBat!) and physically after Bane snapped Bruce’s back. He even approaches the deadly assassin, Lady Shiva, for guidance. Does he cross the line? Knowing Bruce, I think we all know the answer anyway. I’m just glad Bruce kicks some major Jean Paul arse by the end. It was all quite sudden though—when Jean Paul took off the mask; it unhinged him, which I thought was quite a poignant moment. And it just hit home how much I miss Bruce Wayne as Batman in the current DC universe. Where are you Bruce?!
  Rating: 3.5 out of 5 stars

My aim was 10 books for September, and I just made it! Of course, I didn’t finish all the books that are on my currently-reading list, but I’ve taken a lot off the load already.

I’ll have my review of the film soon enough, but I thought I’d jot down my thoughts on the score now while my enthusiasm’s still this amazingly high. Once again, British composer Nicholas Hooper takes up the mantle of composing the Harry Potter films for director David Yates. I thoroughly enjoyed his interpretation of The Order of the Phoenix—really, just glad to be shot of John Williams for once—and I fully anticipated the same magical and uncoventional tone that embodied the last score. I am probably one of the few who’s absolutely adored what Hooper’s contributed to the series. Yeah, maybe I’m a nutcase. But I admire how he takes advantage of what’s at his disposal—he creates unusual musical arrangements but somehow he makes them work. He takes calculated, creative risks and I think for the most part they’re incredibly successful. It’s wonderful, really, and I couldn’t be more pleased with what he’s done in Half-Blood Prince. If only the film had highlighted this wondrous music better. Apparently Hooper may be stepping down for the Deathly Hallows films, making way for John Williams’ return. Personally am not warming to this piece of news (just yet).

1. Opening (2:54)
   A shadowy, ominous opener, with traces of Williams’ Hedwig’s Theme, followed by sombre strings and choir chants. This is Hooper’s strength in reconstructing the Harry Potter theme into something new. Sadly this is the only song that does justice to the theme. The mournful number ends abruptly to segue into heavy percussion and meandering strings, signifying the approach of the Death Eaters and the destruction and devastation they bring with them. The drum notes are a different approach to the dark side than in OOTP, but effective all the same.
   Rating: 4.5 out of 5 stars
2. In Noctem (2:01)
   One of the highlights of the score. A melancholy, haunting requiem for all that’s been lost through tragedy, but of course, this is Dumbledore’s song through and through. I’ve been trying to track down the lyrics and the best I’ve found is here. Shame this was never used in the film—it’d potentially be the strongest element in the film in terms of marrying the narrative with the audience’s emotional journey.
   Rating: 5 out of 5 stars
3. The Story Begins (2:05)
   I think this is a sister song to Journey to Hogwarts (OOTP). A curious but wary opener, followed by more optimistic, exhilirating tones. The piano at the end is cheeky!
   Rating: 4 out of 5 stars
4. Ginny (1:31)
   The harp plays a huge role in defining Ginny—it’s perfect. It’s a soothing, gentle instrument, and I’ve never underestimated the eery similarities between Ginny and Lily Potter. We’ll hear more of this harp later on. What I don’t get is why Hedwig’s Theme was thrown so clumsily into this; it definitely doesn’t fit.
   Rating: 3.5 out of 5 stars
5. Snape & The Unbreakable Vow (2:51)
   A pivotal moment in the film, for it gives us a chance to see what the enemy’s up to. For the most part this song is forboding and scintillating.
   Rating: 3.5 out of 5 stars
6. Wizard Wheezes (1:43)
   I absolutely love what Hooper’s done with the Weasley twins theme/s. In the exuberant spirit of Fireworks (OOTP), this is an all-out flamboyant jazz/swing number, theatric and deliciously playful, such that Fred and George would mightily approve, methinks. Alas, the fun ends far too soon.
   Rating: 5 out of 5 stars
7. Dumbledore’s Speech (1:32)
   Whispers of In Noctem is breathed into this song, a prophetic foreshadow of what’s to come.
   Rating: 4.5 out of 5 stars
8. Living Death (1:55)
   Borrowing elements from The Room of Requirement (OOTP) but evolved into something far more cheerful and lively. Quite ironic given the title.
   Rating: 4.5 out of 5 stars
9. Into the Pensieve (1:46)
   Like being cast behind the darkest curtain, only to have it open to reveal an out-of-this-world realm, traces of inaudible voices and cries teasing at the cusp of your reality. It’s riveting.
   Rating: 4 out of 5 stars
10. The Book (1:45)
    Not quite the frightening ode I’d imagined!
    Rating: 4 out of 5 stars
11. Ron’s Victory (1:45)
    And so Won-Won should have his moment in the spotlight! Quidditch demands speedy, meandering melodies, and a full percussion and brass arsenal gone batshit crazy.  I wouldn’t have it any other way!
    Rating: 4 out of 5 stars
12. Harry & Hermione (2:53)
    This is a gorgeous song for young, broken hearts. The harp makes another appearance in subdued, lulling tones, but it serves Hermione’s loss far more than Harry’s (Ginny who?). It’s a touching moment in the film, and handled quite nicely in the essence of what the book describes.
    Rating: 5 out of 5 stars
13. School! (1:05)
    A mellow ode to life at Hogwarts, playful and youthful, but always with dark, sinister undertones lurking in the distance.
    Rating: 4.5 out of 5 stars
14. Malfoy’s Mission (2:45)
    Draco, the poor bugger’s got himself tangled up in some nasty business. And his unease with his new role is beautifully portrayed by the piano and strings. The Death Eaters’ theme crashes in quite haphazardly to good effect, of course.
    Rating: 4.5 out of 5 stars
15. The Slug Party (2:11)
    I call this a cross between bossa nova, Pink Panther and Austin Powers. I’d never have imagined such sounds to land in a Potter score, but it’s absolutely brilliant. Slughorn’s parties are exclusive—a five star do, sophisticated and sooo fashionable—and all about socialising with the elite. And even in amongst all the decadent facade, there is a touch of the ominous, the cheek of Hooper, the ol’ devil! Love it!
    Rating: 5 out of 5 stars
16. Into The Rushes (2:33)
    Ah, here come the Death Eaters! The percussion is well arranged here, and those scintilating strings are frightfully sharp building up to a deafening crescendo, then hide into slithering shadows, with the percussion rising up again.
    Rating: 4 out of 5 stars
17. Farewell Aragog (2:08)
    Poor Acromantula gets a Celtic hymn for his farewell. Think grey clouds and mountains, and the carcus of that great giant of a spider. A frightening creature like Aragog only deserves the best, after all.
    Rating: 4 out of 5 stars
18. Dumbledore’s Foreboding (1:19)
    Choir sings its prophetic melodies in the distance, accompanied by meandering strings.
    Rating: 4.5 out of 5 stars
19. Of Love & War (1:18)
    Can’t you just feel the wind as you soar higher into the skies? God, I love Quidditch.
    Rating: 4 out of 5 stars
20. When Ginny Kissed Harry (2:38)
    Don’t get me wrong, I quite detest the Harry/Ginny relationship, but what Yates and Hooper here has done is simply magical. As the title suggests Ginny takes the initiative in guiding Harry, and he allows himself to be guided by her. It’s a gorgeous balm to the spirit, that gives real emotional depth to an actual relationship that is considerably lacklustre. I could listen to this again and again.
    Rating: 5 out of 5 stars
21. Slughorn’s Confession (3:33)
    After trying all possible methods, Harry manages to coerce Slughorn into revealing his memory, but it’s a moment tinged with sadness and regret. The only time in the score when woodwinds are played so emphatically and beautifully.
    Rating: 4.5 out of 5 stars
22. Journey to the Cave (3:08)
    Harry and Dumbledore have come a long way, and the epic scope of what they’re about to uncover is unleashed here. Wow!
    Rating: 4 out of 5 stars
23. The Drink of Despair (2:45)
    The pain and anguish of drinking the liquid from the pedestal (geez, I don’t even remember what this is called) takes its toll on both Dumbledore and Harry. Some effective synths of disjointed voices lead into a mournful hymn.
    Rating: 4 out of 5 stars
24. Inferi in the Firestorm (1:53)
    A full out assault of strings frantically rush on, spilling into an almighty crescendo. It’s riveting, frightening stuff.
    Rating: 3.5 out of 5 stars
25. The Killing of Dumbledore (3:35)
    I suppose “Murder” would be too much, and “Dumbledore Dies” would be too sensational. An understated arrangement of the strings, gentle elegy for the fallen Headmaster concluding with more forceful punctures.
    Rating: 4.5 out of 5 stars
26. Dumbledore’s Farewell (2:22)
    A more formal requiem, led by a single string building up into a harmony of anguish and sorrow. Another highlight.
    Rating: 5 out of 5 stars
27. The Friends (2:01)
    In spite of all that stuff of death and despair, here’s something a little sombre but more optimistic, much in the tone of Loved Ones & Leaving (OOTP).
    Rating: 4 out of 5 stars
28. The Weasley Stomp (2:09)
    What a shame this makes no appearance at all in the film (although I might be mistaken, might it have been included in the credits?), but perhaps it’s a little too happy for the tone of HBP, but damn if it isn’t one addictive song! There’s a touch of Irish folk and the contagious, invigorating, lively sounds of a Quidditch anthem. Let’s do the Weasley Stomp!
    Rating: 5 out of 5 stars

Overall Rating: 4.34 out of 5 stars

Meanwhile, I’ve decided to go for a general pop culture and kitsch theme, but with a slight emphasis on personal opinions and evocative and unique collections. But there are still streaks of mainstream thought within all that indie-ness. My mind is still befuddled. It’s past midnight, damn it.

NB: You can make 2 votes!

Hmm. I will get down to updating about my agIdeas antics. Eventually. Hopefully the memories are still preserved in the short-term bank of my brain.

Stefan Sagmeister opened up.
Garson Yu finished. It was 6:30pm.

I’ll get round to adding more juicy details later…

I finally caved and bought a Rorschach action figure—the cheapest I could find was at the Moonee Ponds store. Will photograph close-ups when I next find spare time. They definitely have the action figures and most comics cheaper there… Good grief, why do I keep going to Minotaur (Then again, prices differ for various things. It pays to shop around)? Also got Catwoman #27 and an X-MEN: First Class special issue dirt cheap. Very pleased with my self-restraint. *cough*

Am curious to read more Green Lantern after the reading a good preview of Chuck Dixon’s newest take on the Emerald Guardian. At least, I think it was Chuck Dixon. I can’t remember at top of my head, but it was good! And that’s the most important part! ‘Sides, Green Lantern is HOT. I dunno, there’s something about Hal that reminds me of Bruce … Plus Chris Pine (of new Star Trek fame) is said to play Green Lantern in new film soon to be in production in Australia. Huzzah!

It’s also agIdeas Design Week, but I’m going to be attending the agIdeas Design Conference, which kicks off tomorrow for 3 days. 3 days non-stop of design! With the likes of Stefan Sagmeister and Tobias Frere-Jones speaking, will I live through it all from sheer awesomeness? Watch my blog for posts in the next few days.