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(generated from captions) show on the saddest of notes. It was a note that was sounded this time last week by Carro. For the couple of years we had the pleasure of Rebecca's Wilson's company. You are passing has prompted sadness. You could say of her work it was undefinal. He was a force and -- she was a force and a pioneer. Vale Rebecca Wilson.He made me love the sport and he made me love him. And he wasn't what he appeared to be. Therefore, I feel cheated by him and I don't want to watch him play golf I don't want to watch him play golf
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worth a trip worth a trip to the TAB.15 seconds. .I think there is going dob a lot of NRL play agents signing up to be AFL agents. Look at AFL - you don't know what you are in for! (LAUGHTER)

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Hello. I'm James Valentine. This is The Mix -
arts, show business and culture. In here is Primavera 2016. This is an exhibition
of young, up-and-coming artists at the Museum of Contemporary Art
in Sydney. We're going to
follow the silver strip in, and here's what else
we're going to do. # Through summers long and... # We take Oscar-winning
singer/songwriter Glen Hansard back to his busking roots. The only thing you have
is your song. And if you sing it well,
then people might stop and listen. Someone's left the lights on
in Alice Springs. WOMAN: They're painting
their country. So, they're telling the story
of where they belong to. And the iconic photographs
of Walker Evans. WOMAN: He was a foundational artist who created what we think of
as the documentary image.

Biljana, you're our Primavera artist. We're walking all over your work and
we're walking into a corner. Why?

Well, it's a sort of false corner. And the screen kind of signifies,
like, a through... ..like a space
through the museum walls. So it's about breaking through
the gallery architecture. There's an incredible range of work
here at Primavera. So, sometimes I wonder, is a young artist almost bewildered
by the infinite range of possibility? I think some are. I think it depends on the person. Are you not?
I'm not, no. Like, I feel, like, you know,
it's a process that I'm in and each work sort of leads on
to the next work. And, so, I just sort of follow the
trajectory and see where it goes. So, we've got silver tape, we've got
painted surfaces, is that right? No.
No. So, what are these?
(CHUCKLES) There's a projector
just up there above our heads. Oh, right. Oh, OK.
And another one over there. So, it's a...
so, the work was created, you know, as a sort of intersection
between these two fields. I was thinking about it as this conversation
between these reflective surfaces, so that your body would be reflected
as you walked through the space but also that as you walked, you know,
through this projection, like, beam, that you would then
get these shadows, so that your body
would be registered by the work. See, you fooled me.
Hey. Good. Primavera is on at the Museum
of Contemporary Art in Sydney until the 4th of December.

Glen Hansard
is a bone fide musical talent, even though those ripped jeans and
guitar do somewhat betray his origins as a busker
on the gritty streets of Dublin. Since the 1990s, he's been the lead
singer of the band The Frames. And in 2007,
he starred in the film Once, which won him an Oscar for Best Song. He's in Australia
touring his solo album and he sat down with Zan Rowe
to soak up some Sydney sun. (GENTLE GUITAR MELODY PLAYS)

# Through summers long
and winters cold # May you always have
someone good to hold

# And may good fortune
wait on every bend

# And may your winning streak # May it never end... # To walk on a stage
and play to an empty auditorium is exactly what busking is. You know, there's nobody
obliged to come in and sit. Nobody is there to see you. They're all on their way
from A to B. The only thing you have
is your song.

And if you sing it well,
then people might stop and listen. # Ooh, ooh, ooh

# Ooh, ooh, ooh... # ZAN ROWE: Do you still feel like you
have that challenge, though, now? I mean, you've been playing
for decades. Do you still feel like you're
going to walk out on to the stage and you're going to have to
win people over? Well, I mean, yeah. I mean, you're
only as good as your last gig. I mean, that's, you know...that's... It's an old saying, but it's...
t's an old one but it's a true one. You know, the best thing you can say
about any singer is, "I believe you when you sing." And the only way we can believe
a singer when they sing is if they believe it. I've sort of noticed that whenever
I'm uncomfortable on stage or whenever I've got a problem
with the sound and the monitors or I've got a problem with
the audience, it's usually me. You know, what's that great saying? If you meet six assholes in a row,
you're probably the asshole. (LAUGHS) That's a rare moment
of self-awareness from a musician, saying, "It's usually me." (APPLAUSE) And the Oscar goes to... ..Glen Hansard
and Marketa Irglova for Falling Slowly, from Once.

You'd been playing music for about
20 years with The Frames and solo, and...then a whole bunch more people
discovered your music through the film Once, and life seemed to shift
in a totally different direction. What was that like for you? Brilliant.
(LAUGHS)

It was really good news. I mean, Once itself was just
a project we did with friends. But what came out of that
was really welcome. It was fantastic. And it changed a lot of things
and it changed nothing. But it brought an audience
to the songs and that's... We were so grateful for it.
I was so ready for that good news. # I don't know you # But I want you # All the more for that. #

Joni Mitchell put it the best when she just said, "All
we're doing is rhyming our lives." But the funny thing is
with the creative process, there isn't really a moment where you're sitting down
going, "What will I write about? Yeah. Or, "Let me tackle this aspect
of my life through songs." Songs tend to come in much more... They seem to sneak up on you,
you know. They're much subtler. You might find yourself
being very honest about something you weren't even
sure you felt a certain way about. And sometimes you can predict six
months into your romantic future with a song and you had no idea,
but somehow you're singing about it. So, at some level, you did know. Have you ever been stitched up
by one of your own songs? Oh, God, yeah.
It's happened to me a few times. Maybe you're Nostradamus. The
Nostradamus of singer/songwriters. No. No. I just think all songwriters
have a thing in them where they know
more than they think they know. # A choice you've made it # Now. #

# The snow is around
# Christmas # I'm wiring the sound. #
# Christmas. # You still go back
to your busking days. You do an annual busking for charity
gig. What's all that about? The great thing
about Christmas in Dublin is that all of the musicians
that we know from Dublin, they're all at home
'cause it's Christmas. Just a text message goes out every
year to a bunch of singers I know. "Are you free
for a couple of hours?" We go out and we sing a few songs,
two or three songs each. And it's become
this kind of lovely tradition. # In sin and error pining... # If I, as an artist, in any way
can generate energy or money, which is just energy,
to give, to help someone
get through a Christmas... You know, you can't change
their lives, that's up to them. But maybe you can make it
comfortable around the times
when it kind of matters the most. And Christmas is a big time. # We had last year. #

Glen Hansard is performing
around Australia during the month of October. Check his website
for tour dates and venues.

This is Danae Valenza's
neon and sound work. And while I'm dancing about it
and we're talking about lights, the crowd that put on Vivid in Sydney
have been at it again, switching on coloured lights
around the country. Last week, they were in Alice Springs
for Parrtjima, the Indigenous festival of light. A number
of contemporary art installations were bathed in rainbow hues. And one group of artists
in particular had some really impressive links to that very famous Aboriginal
landscape painter Albert Namatjira. We sent Eloise Fuss along and kept her up
way past her bedtime to check it out.

(HAUNTING MUSIC PLAYS) (WOMAN SPEAKS INDIGENOUS LANGUAGE)

ELOISE FUSS: They're skirts
floating in the heart of the desert at the Parrtjima Festival of Light. SONG: # Butterfly... # (MAN SPEAKS INDIGENOUS LANGUAGE) # Gentle rain... # Lit up in the night-time, they're
aglow with these vibrant paintings in the style of the iconic
Australian artist Albert Namatjira. Here on the edge of Alice Springs, this work's titled
"Butterflies Go Round and Round". It features these large watercolour
images of the MacDonnell Ranges. And it's by
a very special group of artists.

WOMAN: When I do my paintings,
I keep it in my head. It's just like an imagination. When I get my brush,
mix the colours, then I sit down and start painting, then I've got it all in my head.

These artists
are descendants of Albert Namatjira.

Here at the Many Hands Art Centre
in Alice Springs, they're breathing new life
into his famous watercolour style.

WOMAN: So, most artists are
descendants of Albert Namatjira. There are quite a few people that are direct grandchildren or people that are related by blood, others that are related by kinship. So, most artists
are established artists that have works in the major
public collections around Australia.

We also go out
to the country of Albert Namatjira, which is, of course, the country
of the artists as well. We go out to
the West MacDonnell Ranges, so it's the 120 kilometres of ranges
from here to Hermannsburg, which the artists usually paint.

It's nice.
Do you like bright colours? Yes.
Yeah. And quite strong colours
in your work too. Yes.

Albert Namatjira was the first
major Australian painter to fuse European and Aboriginal
influences in his artwork. He was introduced to the watercolour
landscape technique back in the 1930s by painter Rex Battarbee.

The watercolour tradition started before people painted on canvas
with dots. It's really kind of
the first start of painting that became really popular
in Australia and overseas. Many of the artists here learned
to paint through Albert Namatjira, out near Hermannsburg, in
their country of the Aranda people.

They are painting their country, so the interpretation that
they're painting is very unique and they're telling the story
of where they belong to.

Your homeland.
Yeah.

BENDOR: Albert Namatjira
is an inspiration, but from that inspiration, which is actually called
the Hermannsburg School of Art, so from that school of art, the
artists are developing new styles and new techniques,
new ways of painting.

We want to be part of the biggest,
best public galleries in the world and be considered
doing contemporary art.

And it's here that the contemporary
and ancient combines. WOMAN: I've got to keep on doing
painting. We all can stand up. I love my paintings, yes. (SPEAKS INDIGENOUS LANGUAGE)

(TOOT!) Ooh, it's a noisy exhibition,
this one. I'm James Valentine, this is The Mix. We're off to the pub in a moment
to talk about books. Now, books have been a big topic
this week. The literary world was rocked when the identity of author
Elena Ferrante was revealed. She's the author of the hugely
popular Neapolitan novels. And this little intrigue
got us thinking about other moments when the nom de plume
has been plucked. So, our top five this week,
the top five literary unmaskings.

We begin at number five
with The Bride Stripped Bare, an honest and explicit account
of female sexuality, that was published anonymously
in 2003, but quickly attributed to
the Australian author Nikki Gemmell. Horror writer Stephen King took a crack at publishing
under the alias Richard Bachman so he could put out a few more books
each year. But it wasn't long
before a Washington, DC bookseller recognised his writing style
and outed him. At number three is Primary Colors, a supposed work of fiction that actually described
the moral dilemmas facing an insider during Bill Clinton's
first presidential campaign. Soon after its release in 1996, its author was revealed to be
Washington columnist Joe Klein. Best-selling author JK Rowling
makes the cut. Three years ago,
she wrote The Cuckoo's Calling under the name Robert Galbraith. It was rejected by several publishers before she was finally exposed
by a Sunday Times arts editor.

And at number one is probably
the strangest literary unmasking - that of superstar author JT LeRoy for his 1999 novel The Heart Is Deceitful
Above All Things. It turns out
LeRoy wasn't even a 'he' at all. In fact 'he' didn't even exist. He's well, her - writer Laura Albert.

Alright. Pub chat.
We're going to get all bookish today. I'll put my beer down first,
which is a little bit rude, but Kate Evans, Radio National,
there's your red. How are you?
Thank you. Ashley Hay, writer, commentator
and everything else, how are you? I'm very well thank you.
Welcome to the pub chat. Let's talk a bit
of narrative non-fiction. Now, by this we mean...
What do you mean by it? It's one of those lovely
catch-all phrases, isn't it? I think it's sort of...is
a little bit different from memoir. It's a little bit different
from journalism. It's got elements of both, but you've got lovely
sort of imagination and structure coming into play. It's something that you can read
the way you'd read a novel. Even though there's real research,
real substance. And it's perhaps
looking outwards into the world, rather than just inward,
into the inside of the writer. It's often something taken that otherwise would be treated
in a scientific or scholarly way and a sort of journalist or a writer
has a go at it or goes and does the research
about it. I think so,
and I think that science writing can often do it incredibly well. It may move through
a lot of landscapes, but it allows a writer,
and a good writer, to really spend a lot of time
with a particular subject or with a number of researchers. And it can be a fabulous way
of drawing people in who might otherwise
feel quite anxious about getting into that world. I think of someone like
Malcolm Gladwell as being, you know, a real expert
at doing this kind of thing. You know he's looked at things like
Blink, just our instincts. And you get a whole book out of it. And again,
they seem very shareable to me. Like, I want to go, "Have you read
Blink? It's fascinating." And, of course, Malcolm Gladwell
writes for the New Yorker, which is a place
that I tend to equate as being a bit of a hotbed of this. Is it a modern sort of phenomenon? Is it something that's come up
in the last 25 years? I think it has in particular. But I think it's also changed because it did start out
with the one thing. You know, and it was Salt
or it was The Color Purple. And now it might be more of an idea like children who are very different
from their parents, like Andrew Solomon's
Far From The Tree or somebody
who takes something in their life but decides to make much more of it. So, I just read this fantastic one
called War & Turpentine by a Flemish poet, so it may not... The name might not
immediately spring to mind. I love the Flemish poets.
Don't be silly. Well, but his name's
Stefan Hertmans and what he had was a grandfather
who was in World War I, so Flanders Fields, you know,
something that seems so familiar. But I'd never read a story
of an actual Flemish soldier. And, so, he had the notebooks but he made it a story
that was about his grandfather and about art
and about Belgian identity. And, also, I think these books
often take you into the archive, into the process of research and showing it to us, rather than keeping it as
something that's a specialist skill. So, they put the writer in there -
so the story...the narrative is sometimes the story of the writer
tracking it down. Isn't it?
That's right. In Australian writing recently,
there's been Kristina Olsson's Boy, Lost. So, Kristina's was about
a lost brother, is that right? Yes. Yes. Her brother who was
snatched from her mother, I think back in the 1950s.
Wow. Like, actually. 'Cause it sounds like
a plot for a novel, doesn't it? But we're talking about
an actual event. This is an actual event. But they are these quite wide
canvases of social issues in one way and intensely personal stories
in another way, and very well researched as well. You get that kind of layered effect. Well, that's what we like about
them, I think. We love the research. We love the fact
that someone's done this. You feel quite grateful
to the writer. You know,
"Thanks for doing all that work," 'cause you feel smarter after
you've read it or listened to it. You feel smarter after
you've read one of these. I think so. And it's, um...
There's an intimacy to them as well. So, you feel not just smarter
but closer somehow. Well, I think of someone
like Simon Winchester who just seems...
this is a speciality really. He'll find a very interesting
bit of forgotten history, a story that's been lying there
that we haven't thought about and bring it to life. The Atlantic. In fact, hasn't he
done a few oceans? He's had a shot at
a couple of oceans. There's a few. Actually oceans are big
at the moment, aren't they? (CHUCKLES) Oceans are big.
Really big. Isn't that dreadful?
I shouldn't have said that. But there's
a new history of the Pacific. And, of course, historians
and scientists have been looking at these things. But there's something about
the approach. It's also popularising it, isn't it? They're different from
'a history of', aren't they? Or the story of the gene
of some sort. It's different again from that,
isn't it? That'll be a science book
or a history book. These are something else. I think, too, it's the label
that they often take on is of literary non-fiction. And the literary thing gives you
a key of what we want as well, which is, you know,
the story, the fine writing and something with a bit of heft
and a bit of depth that we're going to take out
the other end of it. Alright, a couple of favourites
to finish. Which is your most recent favourite?
What's around now? Ah, well, I did just read Wasted, which I did think
was a fantastic exploration and an incredibly personal story, but also this very interesting
examination of how and why we drink. That's probably
one of my recent picks. Kate? Well, I've already thrown in
War & Turpentine, by Stefan Hertmans, but I might actually add in
Andrew O'Hagan's long essays because he often then
turns them into books as well. And pretty much anything he writes,
I will read. And I'd put it all in the category
of narrative non-fiction, I think. Yeah, yeah. Alright, terrific.
Thank you so much. Why we drink as well is to have great
conversations like this in the pub. Thank you very much. So, thank you
for sharing them with us.

Also currently on at the MCA, a wonderful exhibition by great
Australian artist Louise Hearman. Walker Evans
was one of the leading figures of the 1930s
documentary photographer movement. His images captured the despair
of the Great Depression. An exhibition of his magazine work
is currently on display at Melbourne's Centre
for Contemporary Photography. Alongside it
hangs work by photographers who are carrying on his tradition. Will Huxley went along
to have a look. SONG: # I got your picture

# You gave to me... #

Walker Evans is perhaps
one of the most well known documentary and art photographers
internationally. He was a foundational artist
who created, in a way, what we think of
as the documentary image, and was part of
a group of photographers who photographed around
the effects of the Depression. # I've got your memories... # MAN: He thought
the true use of photography and its real use
should be as the medium of record. # I really don't know
what I know... # To photograph people
in the Depression era and in the 1930s and pre-War was often seen as a spy. He called himself a penitent spy
and something of a voyeur. And he knew that was
a problematic position. When he photographed people
anonymously on the subway with a hidden camera, he didn't publish those photographs
till many years later, partly because it was illegal
to photograph on the subway, partly because he felt
it was poor form. VOICEOVER: It's akin to hunting,
photography is. In the same way
you're using a machine and you're actually
shooting something and you're shooting to kill. You get the picture you want,
that's a kill. That's a bullseye. CASS: Walker Evans was the first
documentary photographer to be included in a solo exhibition at the Museum of Modern Art
in New York. For our purposes here, Walker Evans created
the foundational look of documentary and we are looking
not so much at his museum work, but as his very important work
for Fortune magazine, his work in books
and other journals.

Walker Evans distinguished
the documentary style from straight documentary practice. He spoke of documentary practice
as a police photograph, a forensic photograph, something that is made
in the moment, recording for
the purpose of evidence, where what he was doing was taking
aspects of that approach but making it into art practice. There are two exhibitions
that live alongside each other. Walker Evans: The Magazine Work is curated by an eminent
international curator and writer. Then we come into my show,
called The Documentary Take. This is about contemporary artists for whom documentary is beginning to seep into their practice. I think that Walker Evans has fed into our intuitive understanding
or appreciation of what photography can achieve. This exhibition
is really folding Evans into how we see contemporary art. My work in this exhibition
is called Drive By. And it is an ongoing collection that I've been putting together
for several years. And it shows found photo...
what I call found photographs, which these days
means bought photographs. They were all bought on eBay, so
they're from all around the world. And they're all of people in cars,
passing by. You get a little potted history
of photography. You get a history of attitudes,
of vernacular style. My work's relationship to Evans really is quite fundamental. I'm interested in
documentary records. I exhibit other people's photographs
as if they're my own in the sense of a collection. The collection is the artwork. When I push 'buy' on eBay, that's me taking the photograph.

Evans is echoing through
this exhibition, but the artists
aren't talking about him. He's crucial to the idea of
documentary as a specific style, as a detached way
of looking at the world. And these artists have the privilege and have the inheritance
of that idea.

Walker Evans: The Magazine Work
and The Documentary Take are part of the Melbourne
International Arts Festival and will run
until the 13th of November.

This button is an artwork by Emily
Parsons-Lord. It contains future air. I'm going to breathe this in and this will have the opposite
effect to helium upon my voice. Are you ready?

(IN A DEEP VOICE)
OK, here's the link. In Greek mythology,
Sisyphus was condemned to roll a boulder up a hill. Recently someone thought, "Hey, that's a great idea
for a coffee table." (LAUGHS)

This is Sisyphus. It's a kinetic art table
that utilises a robotic magnet to heroically push a ball
endlessly through sand, creating mesmerising patterns.

The genius underneath this tabletop
Greek tragedy is a tiny computer which plays a series of patterns
in the way an MP3 player plays music. In fact its creator Bruce Shapiro says it's very much like
a musical instrument, but instead of songs it plays paths. And like the Greek hero,
there's no stopping because there's no on and off switch. But the pattern's speed and lighting
can be controlled through an app. It's like having
your very own Zen garden.

Ah, feeling more relaxed already.

We've been at
the Museum of Contemporary Art for Primavera, Louise Hearman, and this wonderful new sculpture
by Caroline Rothwell. Don't forget to follow us
on Instagram. And we've got lots of great stories
on the ABC Arts Channel on iview. I'm James Valentine. Who knows
which way the wind will blow? Captions by Ericsson Access Services Copyright Australian
Broadcasting Corporation

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