Archive for the 'Australian artist' Category

29
Apr
15

Review: ‘Earth Matters: contemporary photographers in the landscape’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 6th March – 3rd May 2015

 

The term “landscape” can be ambiguous and is often used to describe a creative interpretation of the land by an artist and the terrain itself. But there is a clear distinction: the land is shaped by natural forces while the artist’s act of framing a piece of external reality involves exerting creative control. The terms of this ‘control’ have be theorised since the Renaissance and, while representations of nature have changed over the centuries, a landscape is essentially a mediated view of nature.”

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Dr Isobel Crombie. Stormy Weather. Contemporary Landscape Photography (exhibition catalogue). Melbourne: National Gallery of Victoria, 2010, p. 15.

 

 

What’s the story!

I wish I could say that this is a marvelous, magical exhibition, that it has value in its being in the world… but I can’t. The exhibition is very disappointing, dispiriting even. If this is the current state of contemporary photographers working in the landscape in Australia, then the Earth is in deep trouble (as if we didn’t know it already).

A large part of the exhibition is given over to the work of the ND5 photographic collective. I am not going to name the photographers here since most of the exhibited work does not contain specific names (unlike this posting). The work has been culled (an appropriate word given the theme of the exhibition) from numerous bodies of work spanning the years 2010-2013. Pairs of photographs have been renamed with poetic titles such as The lie of the land and The walls of the world with seemingly scant regard for the origins and stories of the photographs from their respective series, and then cobbled together in this present form under the banal title Investigations (2010-13). This process pays no heed to the original conceptualisation of each series and the concerns of the collective at that time they were made and here this produces a display that has little rhyme or reason. Text quotations (see below) try to remedy the situation to little avail.

Further, if you think of those lush coffee table books – “Australia from the air” or “The wonders of the Great Barrier Reef” then you get the picture. Technically, the work is superb but aesthetically and emotionally these images are invariably dead (perhaps that is the irony – I looked for irony but it was sadly lacking). The collective say that they are fascinated – in the broadest sense – by places and opposites:
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“We are fascinated in the broadest sense by places like the Pilbara, including our ignorance and insensitivity to them. We are not ‘in the Pilbara’ in the way that scientists collect and identify it. Rather, we are collecting what can’t be seen; evidence of our uncertainty, interaction, wanderings and pondering…

We were drawn to its boundaries and edges; between solid and liquid, weight and weightlessness, hot and cool, dry and wet, between ourselves and the rest of the world, and that line of habitation that encrusts, indeed misrepresents our nation … The problem is how we index, moralise and politicise land use, rather than appropriating or projecting country as an aesthetic object.”

ND5. “The Pilbara Project – Photographers’ Cut” 2011

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Firstly, the opposites thing is such an easy way out; and secondly, as Isobel Crombie notes in the quotation at the top of the posting, any artist’s view of the landscape is always a mediated view of nature. Through their lurid, hyperreal photographs of the land these photographs do exactly what this collective said they didn’t want to do… appropriate and project country as an aesthetic object. Here the pastiche is the real.

The group also seems to want to have AGENCY in both its meanings – as in photographic agency (a business or organization providing a particular service on behalf of another business, person, or group); or an action or intervention producing a particular effect. What the collective is doing, in the broadest sense (for that is what they are working with), is creating an ideology of the landscape. And it’s not an ideology that I buy into.

You could propose that a couple of the photographs build an argument around the conceit / concept of the sublime – to question whether it can be undermined through irony (the impression of multiple light sources in Stirling Ranges, 2013, below), or to question whether it actually belongs on the surface of the earth (the dust-storm, In my Garden, 2012, below), where it can only be viewed as if the lens is detached from the surface of the earth. But this is drawing a long bow when these are viewed in the context of the rest of the work.

It is worth quoting Joan Fontcuberta extensively here for he, much more eloquently than I, names this work for what it is:
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“Arthus-Bertrand is a highly experienced and highly regarded professional who has taken more than 100,000 aerial shots, covering almost the entire surface of the globe [author of Earth from Above – “as magnificent a coffee-table book as you could hope to find, whose successive reprints have sold in astronomical numbers”]. There is no doubt as to the quality of his work, on the contrary, we can only celebrate the fact that he and his team at the specialised agency Altitude continue to be so prolific and so creative. But his popular and commercial impact and the eagerness of the cultural institutions to clasp him to their bosoms prompt reflections that go to the very heart of documentary photography and its current crisis.

When paparazzi and the celebrity/human interest-genre reign supreme, serious photo reportage gives way to mere illustration, to the aestheticisation of the world and the masking of conflicts rendered insignificant by distance. Something is wrong when readers can say, ‘How picturesque the favelas are, with those bright colours! What wonderful colours these polluted rivers have!’ Bretch said photographic realism bounces of the façade of things: a photo of the Krupp factories shows us smokestacks and sheds, but tells us nothing about the relations of exploitation inside them. What was needed to refute him were photographers with the talent and the guts to demonstrate that it was a matter of critical sense and eloquence, that photography was a language which really could penetrate the camouflaging surfaces of the real.”

Joan Fontcuberta. “Cosmic Palimpsests,” in Joan Fontcuberta. Pandora’s Camera: Photogr@phy after Photography. Mack, 2014, pp. 156-157.

 

That photography was a language which really could penetrate the camouflaging surfaces of the real. In this case the wonderful, hyperreal, saturated colours of the polluted rivers – that really hits the nail on the head.

If, as the collective says, “they want to examine its particular confluxes of culture, industry, environment and history in order to begin to craft a stronger vision for its future” (The Pilbara Project – 2010) then they need to be more concerned about what is present in the landscape, what is present in the community not from several emotional steps removed. You only have to look at the work of Edward Burtynsky and his Australian Minescape series to understand that in his series the photographs are all made in a way, and with a concern that goes beyond technical competence and cinematic craft – something that can rarely be said of the work presented by ND5.

Personally, I believe one of the main reasons for being an artist is to seek to redefine the sets of opposites that we find, to excavate… to pull away the mundane description of things. And in my opinion, if you really LOOK AT THIS WORK – and that’s seems to be a simple thing to ask an artist to do, to really look at their own work – then you have to ask yourself ‘Why would I want to look at this?’ There is no story, no pulling away of the veil, for these are boring images cloaked, as Fontcuberta says, in the colours of polluted rivers, in the camouflaging surfaces of the hyperreal. Perhaps these contemporary “picturesque” images are the modern form of the end of Pictorialism?

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The lack of a story continues to haunt the rest of the exhibition as well. If we address the title Earth Matters in both its forms – that Earth really does matter to us; and that Earth matters (as in we are all made up of atoms and that matter commonly exists in four states (or phases): solid, liquid and gas, and plasma) then the work can relate to the body, place, landscape, etc… what an opportunity!

The usually reliable Rosemary Laing provides a dirge-like image that took me nowhere. Siri Hayes supplies a wonderful, ironic image (Wanderer in a sea of images 2013, below) with chopped down trees in a grand vista, a person taking a photograph of a person taking a photograph with belching power stations in the background – and then prints it at a massive scale which over stretches the boundaries of the technical possibilities of the negative. At a distance it just about holds up, but as can be seen from the closeup below (click on it for the large version) the image is blurred and distorted when printed at this huge scale. Photographs have a correct proportion to their significance as an image which is completely destroyed here.

David Tatnall exposes black and white pinhole images of the landscape which really didn’t do much for me, especially with an extraneous blurred human figure that really meant very little in the context of the images, while Harry Nankin’s work fails to convince. His creatures crawling over photo-senstised plates of glass and then displayed on a light box left me cold – and yet another artist where you had to look up the meaning of the title / word ekkyklêma to try and understand the story being told. Christian Bumbarra Thompson supplies an image that means nothing to the uninitiated (another story that can only be guessed at – there is no text to explain), while Anne Ferran’s beautiful, luminous ink-jet print’s on aluminium, Untitled (2008) are just that – beautiful and luminous – unless you know the backstory which is nowhere explained in the gallery. (The photographs are “more than a decade’s exploration of a piece of ground on the outskirts of the small village of Ross in central Tasmania. Today little remains of its past as a female convict prison, apart from some mounds of earth and scattered stones. Her photographs and video works about this site reflect the ongoing difficulty of grasping and making sense of a ruined and fragmented past.”)

And last but not least, to the star of the show: Silvi Glattauer’s series Sanctuary (2014, below). OMG, these are gorgeous!

Beautiful photogravure prints on cotton paper give a wonderful soft tonality to these alien environments. The worlds are like liquid mercury. I did a double take trying to work out what they were for quite a few seconds before I got it. Beautifully composed, quiet, sensitive and eloquent these are everything that so much of the rest of the show isn’t. The story is in the macrocosm and the microcosm, the world at our fingertips that we never see, that we are forever destroying. Not the broadest of brush strokes picturesque but getting in and getting your hands dirty, paradoxically revealing cosmic worlds that we usually only dream of. Finally a story worth photographing: some matter that really does matter.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to the Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Christian Bumbarra Thompson. 'I'm not going anywhere without you' 2009

 

Christian Bumbarra Thompson
Bidjara man of the Kunja Nation
I’m not going anywhere without you
2009
from the series Lost together
Chromogenic print
100.0 x 99.3 cm
Monash Gallery of Art, City of Monash Collection acquired 2009
Reproduction courtesy of the artist

 

Installation photograph of 'Earth Matters' at the Monash Gallery of Art, Melbourne

Siri Hayes (born Australia 1977) 'Wanderer in a sea of images' 2013

 

Siri Hayes (born Australia 1977)
Wanderer in a sea of images
2013
Ink-jet print on polyester
220.0 x 280.0 cm
Collection of the artist
Courtesy of the artist

 

Siri Hayes’s exquisitely detailed photographs depict picturesque landscapes but landscapes that are also disturbed, perhaps devastated by fire, littered with debris, or cleared of their native vegetation for plantation timber. By using the conventions of classical landscape painting to photograph the contemporary landscape, Hayes draws our attention to environmental themes in this unique, large-scale installation.

 

Siri Hayes (born Australia 1977) 'Wanderer in a sea of images' 2013 (detail)

 

Siri Hayes (born Australia 1977)
Wanderer in a sea of images (detail)
2013
Ink-jet print on polyester
220.0 x 280.0 cm
Collection of the artist
Courtesy of the artist

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974) 'Sanctuary' 2014

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974)
Sanctuary
2014
Six photogravure prints on cotton paper
27.6 x 27.7 cm (each)
Collection of the artist
Courtesy of the artist

 

Silvi Glattauer. 'Sanctuary I' 2014

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974)
Sanctuary I
2014
Six photogravure prints on cotton paper
27.6 x 27.7 cm (each)
Collection of the artist
Courtesy of the artist

 

Silvi Glattauer. 'Sanctuary VI' 2014

 

Silvi Glattauer (born Argentina 1966; arrived Australia 1974)
Sanctuary VI 
2014
Six photogravure prints on cotton paper
27.6 x 27.7 cm (each)
Collection of the artist
Courtesy of the artist

 

 

Rosemary Laing. 'Swanfires, Chris's shed' 2002–04

 

Rosemary Laing
Swanfires, Chris’s shed
2002-04
Chromogenic print
110.0 x 235.5
Monash Gallery of Art, City of Monash Collection acquired 2011
Reproduction courtesy of the artist and Tolarno Galleries, Melbourne

 

Installation photograph of 'Earth Matters' at the Monash Gallery of Art, Melbourne

Installation photograph of 'Earth Matters' at the Monash Gallery of Art, Melbourne

 

Installation photographs of Earth Matters at the Monash Gallery of Art, Melbourne

 

Harry Nankin (born Australia 1953) 'Minds in the cave / fragment 2' 2014

 

Harry Nankin (born Australia 1953)
Minds in the cave / fragment 2
2014
Pigment ink-jet prints on cotton pape
Collection of the artist

 

Harry Nankin (born Australia 1953) 'Ekkyklema #1' 2014 (detail)

Harry Nankin (born Australia 1953) 'Ekkyklema #1' 2014 (detail)

Harry Nankin (born Australia 1953) 'Ekkyklema #1' 2014 (detail)

 

Harry Nankin (born Australia 1953)
Ekkyklema #1 (installation photographs)
2014
Gelatin silver chemogram films on starfire glass [on lightbox]
0.5 x 14.0 x 14.0 cm (each)
Courtesy of the artist
Collection of the artist
Note: 112 plein air silver gelatin shadowgram and chemogram films on starfire glass panes

 

 

An ekkyklêma (“roll-out machine”) was a wheeled platform rolled out through a skênê in ancient Greek theatre. It was used to bring interior scenes out into the sight of the audience. Some ancient sources suggest that it may have been revolved or turned.

It is mainly used in tragedies for revealing dead bodies, such as Hippolytus’ dying body in the final scene of Euripides’ play of the same name, or the corpse of Eurydice draped over the household altar in Sophocles’ Antigone. Other uses include the revelation in Sophocles’ Ajax of Ajax surrounded by the sheep he killed whilst under the delusion that they were Greeks. The ekkyklêma is also used in comedy to parody the tragic effect. An example of this is in Aristophanes’ Thesmophoriazusae when Agathon, portrayed as an effeminate, is wheeled onstage on an ekkyklêma to enhance the comic absurdity of the scene. (Text from Wikipedia)

 

Anne Ferran. 'Untitled' 2008

 

Anne Ferran
Untitled
2008
From the series Lost to worlds
2 ink-jet print on aluminium
120.0 x 120.0 cm
Monash Gallery of Art, City of Monash Collection acquired with assistance from the Robert Salzer Foundation 2009
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)

 

Anne Ferran. 'Untitled' 2008

 

Anne Ferran
Untitled
2008
From the series Lost to worlds
2 ink-jet print on aluminium
120.0 x 120.0 cm
Monash Gallery of Art, City of Monash Collection acquired with assistance from the Robert Salzer Foundation 2009
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)

 

 

Intellectually and emotionally engaging, sometimes austere, her [Ferran’s] photographs have explored histories of incarceration in prisons, asylums, hospitals and nurseries. They play with invisibility and anonymity, and are often haunted by things lost or unseen. Lost to Worlds 2008 was the culmination of more than a decade’s exploration of a piece of ground on the outskirts of the small village of Ross in central Tasmania. Today little remains of its past as a female convict prison, apart from some mounds of earth and scattered stones. Her photographs and video works about this site reflect the ongoing difficulty of grasping and making sense of a ruined and fragmented past.

 

Ninety Degrees Five. 'Earth matters' 2015 installation photograph

Ninety Degrees Five. 'Earth matters' 2015 installation photograph

Ninety Degrees Five. 'Earth matters' 2015 installation photograph

 

Ninety Degrees Five
Earth matters (installation stills)
2015
Multimedia, 10.13 minutes
Filmed and edited: Michael Fletcher
Score: Jo Quail-Sonver Collection of the artists

 

 

Earth matters: contemporary photographers in the landscape is an exhibition developed by MGA for ART+CLIMATE=CHANGE; a Melbourne-wide arts festival exploring climate change and environmental ethics. MGA’s contribution to this festival highlights the ecological sensitivity of contemporary Australian photographers. Moving away from the detached ‘picturesque’ views of nature, so prevalent in the history of photography, these artists engage with the earth in immersive and connected ways.

Siri Hayes and Christian Thompson wander into epic vistas to enact comical self-portraits that capture the capricious nature of human presence on this planet. Silvi Glattauer peers into the interiors of bromeliad plants to find fecund microcosms that bubble with humble but hopeful vitality. Rosemary Laing pays tribute to ecological tragedy with a monumental photograph of bushfire devastation, while Anne Ferran ruminates over the tragic scars of colonial history in the landscape. David Tatnall’s eerie photographs have been produced with a rudimentary pinhole camera, embed in the environment to bear witness to the earth’s passing. Harry Nankin does away with the camera and its singular perspective altogether, using raw photographic film to record ecological forces in nocturnal landscapes.

Earth matters features a new installation by the Ninety Degrees Five collective alongside the work of other contemporary landscape photographers including Anne Ferran, Silvi Glattauer, Siri Hayes, Harry Nankin, David Tatnall and Christian Thompson. Ninety Degrees Five (ND5) is a collective of five Australian artists established in 2010, featuring Peter Eastway, Christian Fletcher, Michael Fletcher, Tony Hewitt & Les Walkling.

Text from the MGA website

 

Installation view of various Ninety Degrees Five 'Investigations' 2010-13 at the exhibition 'Earth Matters', Monash Gallery of Art

 

Installation view of Ninety Degrees Five Investigations 2010-13 at the exhibition Earth Matters, Monash Gallery of Art

 

 

 

Ninety Degrees Five
The lie of the land
(Christian Fletcher, left; Les Walkling, right)
2012-13
From the series Investigations 2010-13
Pigment ink-jet prints
Collection of the artists

 

 

Christian Fletcher
From the series South West Light
2012
Pigment ink-jet print (detail)

 

Ninety Degrees Five. 'The walls of the world' 2012-13

 

Ninety Degrees Five
The walls of the world
(Tony Hewitt, left; Peter Eastway, right)
2012-13
From the series Investigations 2010-13
Pigment ink-jet prints
Collection of the artists

 

Tony Hewitt From the series 'Shark Bay Inscription' 2013

 

Tony Hewitt
From the series Shark Bay – Inscription
2013
Pigment ink-jet print (detail)

 

 

About Ninety Degrees Five

“Our work … seeks to encourage and reinforce public concern for the fate of the earth, and our responsibility to act on that awareness.”

Les Walkling

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Ninety Degrees Five (ND5) is a unique collaboration of four photographers, Christian Fletcher, Peter Eastway, Tony Hewitt, Les Walkling and film maker Michael Fletcher.

ND5 initially came together for The Pilbara Project in 2010. The Pilbara Project was developed and produced by FORM, an independent, non-profit cultural organisation in Western Australia. Curated by William L. Fox, the Director of the Center for Art and Environment of the Nevada Museum of Art, and Mollie Hewitt (FORM), the collaboration resulted in the book, The Pilbara Project: Field Notes and Photographs Collected over 2010, and the first Pilbara Project exhibition: 52 Weeks On, in February 2011.

Subsequent ND5 projects, South West Light 2011, Shark Bay – Inscription 2012, EAST 2013 and NORTH 2014 consolidated the collective’s independence and artistic agenda. The result has been ten exhibitions on three continents since 2011. Each exhibition is supported by public performances and events, including broadcast media, workshops, master classes, and artist talks.

Investigations 2010-2013 is ND5’s latest installation that remixes works from the first three ND5 projects (The Pilbara Project, South West Light, and Shark Bay – Inscription) to highlight their transcending artistic projections and cultural concerns. In this sense ND5’s projects are a primary research model for their ongoing Investigations, and thereby demonstrate an engaging, enquiring, and speculative process, not just its resolved and published outcome. This is important because ND5 has also become a case study in what can happen when a group forms from diverse but supportive individuals who are secure enough in their own practice to experiment with it.

This model privileges something of the urgency and necessity surrounding our worryingly fragile relationship to land and landscape, place and belonging, rights and duties, environmental crisis and environmental justice, sovereignty and reconciliation, trust and despair.

Investigations 2010-2013 also extends ND5’s collaborative endeavour through the acknowledgement, quotation and incorporation of other voices no less concerned with such matters, and thereby seeks to promote this conversation beyond individuals and collectives.

ND5

 

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

Text that accompanies the Ninety Degrees Five series 'Investigations' 2010-13

 

Text that accompanies the Ninety Degrees Five series Investigations 2010-13

 

Christian Fletcher. 'Stirling Ranges' 2013

 

Christian Fletcher
Stirling Ranges
2013
From the series South West Light
965mm x 2165mm

 

Tony Hewittt. 'Red Coast' 2014

 

Tony Hewittt
Red Coast
2014
From the series Shark Bay – Inscription
965mm x 965mm

 

Peter Eastway. 'South of Faure Island' 2014

 

Peter Eastway
South of Faure Island
2014
From the series Shark Bay – Inscription
965mm x 965mm

 

Les Walkling. 'In my Garden' 2012

 

Les Walkling
In my Garden
2012
From the series The Pilbara Project
965mm x 965mm

 

 

 

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

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26
Apr
15

Exhibition: ‘Australian Women Artists Between the Wars’ at Lauraine Diggins Fine Art, Melbourne

Exhibition dates: 3rd March – 30th April 2015

Artists: Clarice Beckett, Dorrit Black, Bessie Davidson, Ethel Carrick Fox, Joy Hester, Nora Heysen, Hilda Rix Nicholas, Margaret Preston, Jane Price, Thea Proctor, Kathleen Sauerbier, Grace Cossington Smith, Clara Southern and others.

 

 

A delightful exhibition on a subject I freely admit that I knew very little about. An intelligent opening speech from Associate Professor Alison Inglis from The University of Melbourne helped me to be more informed about this fascinating period in Australian art history.

The hero for me in this posting is the work of Clarice Beckett. The atmosphere of her paintings when seen in the flesh is incredible, perfectly capturing the suffused light of the bayside suburbs of Melbourne where she painted. Her impressions are so purposeful and vivid; no extraneous flourish is necessary. Look at the painting The Red Bus for example (below) … the brief almost cartoonish outline of the bus hugs the right hand side of the composition, the red picked up by one of the two people walking in the middle of a road that runs behind the tea-trees that shield the beach from view. Every Australian would understand the symbolic quality of this mythic road.

Shadows are delineated by a few patches of darkness, telegraph poles by four swiftly drawn lines balanced on the left-hand side of the painting by a faint sign post that is almost not there, reinforced spatially by a ghostly white figure further up the painting in the middle of the road. We can almost hear the cicadas song, feel the heat rising from the tarmac, a little breeze rolling in from the sea every now and then. These cultural memories, as annotated by Beckett, will last forever.

Marcus

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Many thankx to Lauraine Diggins Fine Art for allowing me to publish the text and art work in the posting. Please click on the photographs for a larger version of the art.

 

 

Clarice Beckett. 'Winter Morning, Beaumaris' c. 1927-31

 

Clarice Beckett (1887-1935)
Winter Morning, Beaumaris
c. 1927-31
Oil on canvas
39.3 x 55 cm

 

Clarice Beckett. 'Morning Ride' Nd

 

Clarice Beckett (1887-1935)
Morning Ride
Nd
Oil on canvas on pulp board
29.5 x 35 cm

 

 

Clarice Majoribanks Beckett (21 March 1887-7 July 1935) was an Australian painter whose works are featured in the collections of the National Gallery of Australia, National Gallery of Victoria and the Art Gallery of South Australia.

Beckett is recognised as one of Australia’s most important modernist artists. Despite a talent for portraiture and a keen public appreciation for her still lifes, Beckett preferred the solo, outdoor process of painting landscapes. She relentlessly painted sea and beachscapes, rural and suburban scenes, often enveloped in the atmospheric effects of early mornings or evening. Her subjects were often drawn from the Beaumaris area, where she lived for the latter part of her life. She was one of the first of her group to use a painting trolley, or mobile easel to make it easier to paint outdoors in different locations…
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Australian Tonalism

Australian Tonalism is characterised by a particular “misty” or atmospheric quality created by the Meldrum painting method of building “tone on tone”. Tonalism developed from Meldrum’s “Scientific theory of Impressions”; claiming that social decadence had given artists an exaggerated interest in colour and, to their detriment, were paying less attention to tone and proportion. Art, he said, should be a pure science based on optical analysis; its sole purpose being to place on the canvas the first ordered tonal impressions that the eye received. All adornments and narrative and literary references should be rejected.

Tonalism opposed Post-Impressionism and Modernism, and is now regarded as a precursor to Minimalism and Conceptualism. The whole movement had been under fierce controversy and they were without doubt the most unpopular group of artists, in the eyes of most other artists, in the history of Australian art. Influential Melbourne artist and teacher George Bell described Australian Tonalism as a “cult which muffles everything in a pall of opaque density”.

While painting the wild sea off Beaumaris during a big storm in 1935, Beckett developed pneumonia and died four days later in a hospital at Sandringham. She was buried in the Cheltenham Memorial Park (Wangara Road) not far from another noted female artist, Mary Vale. She was only 48 when she died, the year after her mother’s death. (Text from Wikipedia)

 

Clarice Beckett. 'The Red Bus' Nd

 

Clarice Beckett (1887-1935)
The Red Bus
Nd
Oil on canvas on composition board
36.5 x 44 cm

 

Dorrit Black. 'The Parish Hall' 1937

 

Dorrit Black (1891-1951)
The Parish Hall
1937
Coloured linocut
23 x 36 cm

 

Family archive image of Dorrit Black

 

 

“It is the artist’s business to reveal to mankind a new outlook on life and the world.”

Dorrit Black, 1946

 

It should come as no surprise that Dorothea Foster (Dorrit) Black, like other women artists, would be scorned by the sexist, conservative Australian art establishment during her lifetime. When her life was tragically cut short by a car accident in Adelaide in 1951, artist and critic Ivor Francis’s obituary declared Black was that city’s first and, perhaps least understood “modern” artist.

“She has so consistently been artistically cold-shouldered and ignored since her return here about 20 years ago that it is amazing how she maintained the courage to fight on against so much prejudice and misunderstanding,” he wrote. “… It will be many years before her exceptional talent can be properly appreciated in its right perspective, as it most certainly will be.” …

Black was part of a generation of women, alongside Margaret Preston, Grace Cossington-Smith and Grace Cowley, who took risks by travelling overseas, painting in modernist styles and pursuing artistic careers often against the wishes of their family.

“What decided me to throw in my hand altogether the other day was your declaration that I ought to consider my time as belonging to the family first, leaving my painting for my spare time …” Black wrote in a letter to her brother in 1938. “After more than 20 years of struggling to make an artist of myself, I cannot give it all up and settle down to being nothing but a good sister and daughter.”

“She was a very modern woman which meant she belonged to an age when educated women started to break out of Victorian traditions and become independent and self-determined,” Lock-Weir says.

Black travelled to Europe on three occasions, including a two-year stint beginning in from September 1927 when she studied with printmaker Claude Flight at London’s Grosvenor School of Art, and cubists Andre Lhote and Albert Gleizes in Paris. In the summer of 1928, she travelled to the south of France with Crowley and Anne Dangar, where each painted views of the medieval hillside town of Mirmande. Black returned to Adelaide in 1935 to care for her ailing mother, building a studio-house on the city’s edge at Magill where she mainly painted landscapes of the Adelaide Hills and south coast. She also continued to advocate modern art and taught at the South Australian School of Art, influencing a generation of artists led by Jeffrey Smart and Ruth Tuck.

“Plump, dignified, black-haired and well-groomed, she was regarded as a mother-figure by younger artists,” wrote Ian North in the Australian Dictionary of Biography.

Black’s untimely death in 1951 at the age of 59 left a small legacy of around 130 oil paintings, 159 watercolours, 50 linocuts and a handful of drawings, according to art consultant John Cruthers. “Some painters paint a lot, some paint a little, and then there’s Dorrit.”

Andrew Taylor. “Rescuing the reputation of early Australian modernist Dorrit Black,” on The Sydney Morning Herald website, June 6th 2015 [Online] Cited 24/04/2015

 

Miriam Moxham. 'Country Morning' c.1940

 

Miriam Moxham (1885-1971)
Country Morning
c. 1940
Oil on composition board
94 x 182 cm

 

Bessie Davidson. 'Autumn Table at Villeneuve' 1935

 

Bessie Davidson (1879-1965)
Autumn Table at Villeneuve
1935
Oil on plywood
44 x 82 cm

 

 

Bessie Davidson (1879-1965) was an Australian painter known for her impressionist, light-filled landscapes and interiors.

Davidson traveled to Australia to visit family in 1914 and was there when World War I began. She returned to France immediately, where she joined the French Red Cross and served in various military hospitals. During the war, she met the woman who would be her companion for the next two decades, Marguerite Leroy (d. 1938), whose nickname was “Dauphine”.

The postwar period between 1918 and 1920 saw Davidson producing quiet, intimate, loosely impressionistic paintings – mostly interiors, still lives, and portraits – in muted tones. Her style evolved in a more vigorous direction in the 1920s and 1930s, with rich, vibrant, often dramatic colors laid on with a palette knife. In this period her work sold well and was well-received by critics. She traveled around Europe, Russia, and Morocco making outdoor sketches that she used as the basis for paintings later produced in her studio. Her landscapes are notable for their quality of light and sense of atmosphere.

In 1930 Davidson was a founding vice-president of La Société Femmes Artistes Modernes. She was a founding member of the Société Nationale Indépendentes and a member of the Salon d’Automne. In 1931 she was appointed to the French Legion of Honor, in part for her cofounding of the Salon des Tuileries, the only Australian woman to receive that honor up to that time. She exhibited widely with such artists as Mary Cassatt, Tamara de Lempicka, Camille Claudel, and Suzanne Valadon.

Although still a citizen of the British Commonwealth, Davidson decided to stay in France during World War II. She lived with friends in Grenoble, and some sources say that she was a member of the French Resistance. Her paintings from this period are strong, bright, and lively. In 1945, she returned to her old studio in Paris, occasionally spending time at a farm she bought near Rouen. In the postwar period, she painted mostly outdoors on small wood panels. She died at Montparnasse in France in 1965. She was buried in Saint-Saëns, Seine-Maritime. (Text from Wikipedia)

 

Bessie Davidson. 'Still Life with Flowers and Pears' Nd

 

Bessie Davidson (1879-1965)
Still Life with Flowers and Pears
Nd
Oil on cardboard
61 x 46 cm

 

 

“In the period between the wars, Australian women artists were leading the way by challenging traditions and exploring new ideas in art with a focus on colour, form and design, and subjects such as urban culture.

Role models like Jane Price, Jane Sutherland and Clara Southern had provided women with a basis to seriously pursue art as a profession. Circumstances and opportunity1 saw a flourishing of female artists establish a career through dedicated studies at a growing number of art schools, combined with travel overseas and, quite often, financial independence.

Painting en plein air was continued but rather than romanticised landscapes concerned with effects of light, the rise of the modern woman artist painted the landscape familiar to them with an adventurous attitude towards colour: from the buses and telegraph poles of Beckett’s Melbourne bayside suburbs; to the South Australian landscapes of Sauerbier; urban scenes such as Tempe Manning’s Princes Street and the intimate depictions of home or studio as seen in Gurdon’s Under the Window and as favoured by Cossington Smith.

Whilst there was no overall identifying modernist movement, a common experience of nearly all the women represented in this exhibition was travel and studies overseas, particularly to Paris and London,2 where the exposure to influences such as postimpressionism, modernism, futurism, cubism shaped each individual artist’s subsequent style.

Seemingly traditional and feminine subjects such as still lifes, flowers, intimate interior and leisure scenes and were invigorated through the work of artists such as Proctor (The Sewing Basket); Preston (Flowers) and Davidson, who maintained her career in France.3 Women artists were also exploring more modern and urban subjects, such as Craig’s HMAS Cerberus and the iconic renditions of the building of the Sydney Harbour Bridge.

Women artists tackled a wide variety of subjects, including those more accepted in the male domain, and which modern women now inhabited. Rix Nicholas ventured out to capture Australians in remote rural areas as seen in the well-known Fair Musterer (1935, QAG) and as in Boy on a Horse. Nora Heysen was the first woman awarded the Archibald Prize4 and appointed as an official war artist in 1943, as was Sybil Craig in 1945. Printmaking was also a key to the rise of modernism, most effectively by Dorrit Black as seen in The Parish Hall and also by Mabel Pye and Lisette Kohlhagen. Greater commercial and domestic design opportunities were a further important influence, including murals as undertaken by Haxton5 and the frieze-like Country Morning by Moxham.

There is an ever-growing understanding and appreciation of women artists and their influence in shaping Australian art, from ‘lost’ moderns6 to the household names such as Preston and Cossington Smith.”

Text from the catalogue to the exhibition

 

Footnotes

1. For example, the massive impact of the First World War allowed a shift away from the role of women simply as wife and mother and the economic affluence post-war, prior to the Depression, facilitated the ability to travel and contributed to opportunities for commercial art; the growth of art schools; the rise of domestic decoration.

2. For example, Black studied in London with Claude Flight 1927 and with Andre Lhote and Albert Gleizes 1927-29 in Paris; Proctor studied in London with George Lambert in 1903; Sauerbier studied at the Central School of Art in London 1925-27; Cossington Smith attended the Winchester School of Art in 1912; Crowley studied in Paris 1926-29; Davidson attended the Academie de la Chaumiere in Paris as did Syme and Rix Nicholas, among other studies in Paris and London; Heysen travelled to England, Paris and Italy; Carrick Fox travelled extensively throughout her life including London, Paris, Spain, Italy, Northern Africa, Australia, Tahiti; Preston travelled to Europe and her work was hung in the Old Salon in 1905.

3. Davidson was appointed Chevalier de la Legion d’Honneur for Art and Humanity by the French Government in 1931.

4. Portrait of Madame Elink Schuurman, 1938.

5. Elaine Haxton was awarded the Sulman Prize (AGNSW) in 1943 for her mural designs.

6. See Dessmann, J. and Edwards, D., ‘The lost moderns: Tempe Manning, Niel A Gren and Norah Simpson’, Sydney Moderns: Art for a New World, Art Gallery of NSW, 2013.

 

 

Sybil Craig. (HMVS Cerberus, Half Moon Bay, Melbourne) Nd

 

Sybil Craig (1901-1989)
HMVS Cerberus, Half Moon Bay, Melbourne
c. 1927-28
Oil on paper
44.8 x 49.3 cm

 

 

HMVS Cerberus (Her Majesty’s Victorian Ship) is a breastwork monitor that served in the Victoria Naval Forces, the Commonwealth Naval Forces (CNF), and the Royal Australian Navy (RAN) between 1871 and 1924. Built for the colony of Victoria under the supervision of Charles Pasley, Cerberus was completed in 1870, and arrived in Port Phillip in 1871, where she spent the rest of her career. In 1924, the monitor was sold for scrap, and was sunk as a breakwater off Half Moon Bay. The wreck became a popular site for scuba diving and picnics over the years, but there was a structural collapse in 1993. Cerberus was sold to the Melbourne Salvage Company for £409 on 23 April 1924, with the buyer to break her up for scrap. The warship was towed from Corio Bay to Williamstown Naval Dockyard on 14 May for disassembly. After the salvage company removed what they could, she was then sold on to the Sandringham council for £150. The monitor was scuttled on 26 September 1926 at Half Moon Bay to serve as a breakwater for the Black Rock Yacht Club.

Sybil Craig studied privately with John Shirlow before attending art school at the National Gallery of Victoria (1924-1931) with Bernard Hall, William McInnes and Charles Wheeler. She also took private classes with George Bell and held her first solo exhibition in 1932 and as well as painting (in oils, watercolours and pastels) she also undertook more graphic work, including prints.

Craig was a founding member of the New Melbourne Art Club and was appointed an official war artist in 1945 (the third woman to be appointed after Nora Heysen and Stella Bowen) and depicted women workers at the munitions factory at Maribyrnong. Her paintings are particularly characterised by her use of colour and strong design. She is represented in key texts covering modern women artists.

 

Nora Gurdon. 'Under the Window' 1922

 

Nora Gurdon (c. 1881-1974)
Under the Window
1922
Oil on canvas
44.5 x 54.5 cm

 

 

Nora Gurdon is well known for her late impressionist landscapes and is also associated with the Heidelberg School with Streeton a frequent guest at her country property. In 1914 Gurdon went to England and during the war nursed for two years at the Le Croisic, France. Streeton was also in Europe working as an official war artist often painting hospital scenes. In 1920 Gurdon returned to Australia and from that time added scenes from domestic life to her painting oeuvre (Peers p. 149). However she remained independent, did not marry, and made further trips to Europe in 1927 and 1937.

She was a member of the Australian Art Association and the Melbourne Society of Women Painters and Sculptors, (MESWAPS) joining as early as 1923. From her country property, Gurdon welcomed many fellow painters. For the members of the MESWAPS ‘successful outdoor painting days were held at the studio of Nora Gurdon in Mount Dandenong’.

 

Nora Heysen. '(Self Portrait)' 1936

 

Nora Heysen (1911-2003)
Self Portrait
1936
Charcoal on paper
35 x 25 cm

 

Thea Proctor. 'The Sewing Basket' c. 1926

 

Thea Proctor (1879-1966)
The Sewing Basket
c. 1926
Watercolour
13.5 x 14 cm

 

May and Mina Moore. 'Thea Proctor' 1912

 

May Moore (New Zealand, Australia 1881-1931)
Mina Moore (New Zealand, Australia 1882-1957)
Thea Proctor
1912
Gelatin silver photograph, brown tone
18.5 x 10.0 cm

 

 

“… the portrait of Thea Proctor is brown-toned, although the minimal studio background and the very direct gaze of the subject signals change. Jack Cato wrote of May and Mina that: ‘these enterprising young women were unable to afford the great studio premises filled with light from glass roofs and glass walls that were then the order of the day. By necessity they devised a method of portraiture by using the meagre light from an ordinary window in an ordinary room. It made their work so distinctive.’1 Despite the strong chiaroscuro, Proctor’s face is clear and her gaze direct. Her very upright pose, with her hand on her hip and no props to lean against, is that of a modern woman. Proctor’s dress was made by herself for the going-away party of her relative John Peter Russell in 1912. Other photographs from this shoot were published in The Lone Hand in July 1913 where it was noted that ‘she is singularly free from feminine tremors concerning her own work’.”2
.

1. Cato J. (1955), The story of the camera in Australia, Georgian House, Melbourne p 136
2. Engledow, S. (2005), ‘The world of Thea Proctor’, The world of Thea Proctor, S. Engledow, A. Sayers and B. Humphries, National Portrait Gallery, Canberra p. 37

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Mabel Pye. 'Blue Vase' c. 1936

 

Mabel Pye (1894-1982)
Blue Vase
c. 1936
Coloured linocut
22.7 x 18.7 cm

 

Mabel Pye was a printmaker and painter from Melbourne who studied with Adelaide Perry and Napier Waller under Bernard Hall at the National Gallery School. Mabel introduced the use of linocuts into her work in the early 1930’s with bold colors and lines. Her work encompassed the use of the everyday including landscapes, portraits and still life. Mabel was a member of both the Victorian Art Society from 1918-1941 and also the Melbourne Society of Women Painters and Sculptures from 1920-1950.

 

Ethel Carrick Fox (1872-1952)

 

Ethel Carrick Fox (1872-1952)

 

Ethel Carrick. (Arabs Walking Down a Street) Nd

 

Ethel Carrick Fox (1872-1952)
Arabs Walking Down a Street
Nd
Oil on canvas
45.7 x 37.9 cm

 

 

Ethel Carrick Fox (1872-1951) was the wife of painter Emanuel Phillips Fox and a major artist in her own right. Carrick studied at the Slade School. She married E. Phillips Fox in 1905 and moved to Paris. She exhibited at the Salon D’Automne, Royal Academy London, Australian Art Association, Melbourne Society of Women Painters and Sculptors, as well as at solo exhibitions and dual shows with her husband’s work.

She travelled extensively from 1920-1940, and lobbied Australian public gallery directors and curators to buy her husband’s works. During the 1920s she was recommended by the Atelier Grande Chaumiere as a private teacher of still life painting in Paris, and included a number of Australians and Americans in Paris amongst her students. Carrick died in Melbourne in 1951. (Text from Wikipedia)

 

 

Lauraine Diggins Fine Art
5 Malakoff Street, North Caulfield,
Melbourne, Vic 3161
Tel: (61 3) 9509 9855

Opening hours:
Tues – Fri 10am – 6pm, Sat 1pm – 5pm

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22
Mar
15

Exhibition: ‘Juvenilia: Peter Milne’ at Strange Neighbour, Fitzroy, Melbourne

Exhibition dates: 27th February 27th – 28th March, 2015

Curators: Helen Frajman and Linsey Gosper

 

For those of you that remember The Venue, St Kilda and Razor Club, this posting is for you.

This is a FAB exhibition of the life and times of Nick Cave, Roland S Howard, Genevieve McGuckin, Polly Borland, The Boys Next Door, The Birthday Party et al. Peter Milne… the photographs are fantastic, perfectly capturing the spirit, youth and electricity of the times. My god, everyone is so young, so skinny and Roland is SO androgynous in quite a few of the photos – all eyeliner and come to bed eyes.

Although I never mixed in these circles I occasionally went to The Venue, but Razor was definitely the place to be. One enduring memory was of me, totally off my face on a big party night, climbing up past the ladies loo using the gutter down pipes up to the first floor balcony and clambering over, so that I could go and get someone from management to let us all in.

The hang of the exhibition is perfect. In a flow of images, here is Peter Milne at 17 sitting on a couch with Roland S Howard reading Playboy; Polly Borland at home with a broken, unlit fag hanging from her mouth; and the most beautiful, colour photograph of Nick Cave and Rowland S Howard after Birthday Party gig (1982, below) with arms around each, Nick planting a kiss on the dapper Roland, flocked wallpaper behind. Youth, innocence, life, love, beauty and nostalgia all rolled into one. Gen (Genevieve McGuckin), long-time partner of Roland, has been a friend of mine for years and so it is wonderful to see photographs of her in her youth, as vivacious and as delightful now as then.

I loved every second of this exhibition. The creativity of the people, the vibrancy of the ad hoc poses and the sheer joy of living the life – coupled with the magic of the insightful, intuitive images – make this a must see exhibition. If you do anything in Melbourne this coming week, go see this show (ends Saturday, 28th March).

Dr Marcus Bunyan

.
Many thankx to Strange Neighbour and Peter Milne for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All images courtesy of the artist and M.33. Download the Juvenilia web essay (2.7Mb pdf)

 

 

“Juvenilia brings together for the first time 100 astonishing photographs of friends and family taken by renowned Victorian artist Peter Milne when he was a very young man. Warm, intimate, surprising and already displaying the great compositional skills, originality and humour for which Milne is known, these images offer an unprecedented peep into mid 1970s to mid 1980s Melbourne and a milieu of people who would go on to play pivotal roles in Melbourne’s burgeoning cultural scene.

Starting in 1976 when Milne was 16 and photographing school friends Gina Riley and Rowland S Howard, through to images of the legendary band, the Boys Next Door lounging in Nick Cave’s bedroom in his parents’ house, the first Boys Next Door gig and photo shoot, parties, trips to the country, outings to the beach, rehearsals and a full length photo essay tracing A Day in the Life of Rowland S Howard, the photographs feature a dazzling cast including Anita Lane, Blixa Bargeld, Tony Clark, Polly Borland and Mick Harvey as well as Milne’s less famous but equally interesting friends and family.

Peter Milne is based in Castlemaine. He has exhibited extensively around Australia and internationally. He has had three monographs of his work published: When Nature Forgets (M.33, Melbourne, 2013), Beautiful Lies – Notes Towards a History of Australia (QCP, Brisbane, 2011) and Fish in a Barrel – Nick Cave & The Bad Seeds on Tour (Tender Prey, London, 1993). He is represented by M.33, Melbourne.”

Text from the Strange Neighbour website

 

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

 

Installation photograph of the exhibition 'Juvenilia' at Strange Neighbour, Melbourne

 

Installation photographs of the exhibition Juvenilia at Strange Neighbour, Melbourne
Photography: Alex Bell Moffat

 

 

“I was initially quite dubious when curators Linsey Gosper and Helen Frajman approached me about exhibiting this work because it is so obviously the product of a callow youth (the earliest images on show here were shot when I was 16 years old, soon after the dismissal of the Whitlam government in the mid 1970s).

I was placated by the argument that the work had some kind of historical value that negated my concerns about poor technique and the visible signs of decay in an archive that has been poorly stored for the last four decades but I still felt uncomfortable. I think my key anxiety was the possibility that I would come across like one of those figures we’ve seen in numerous, recent documentaries about the Punk days in Melbourne – fat, balding, middle-aged individuals banging on about how amazing they were when 18 years old. As a fat, balding, middle-aged artist (with visible signs of decay) I try to be more focused on my next body of work than I am on images I produced so very, very long ago.

However, having pulled the negatives and slides out of their dusty boxes, I now see some merit in them. I am immediately struck by the evidence that I really did hang out with some lovely, clever people who went on to fulfil much of the creative potential that they so clearly promised.

I cannot say that life in Melbourne in the late 1970s and early 1980s was bliss (because the city had some meagre, stale and forbidding ways) but it was a time and a place where I found myself in the company of a cohort with great inventive energy and all the joyous arrogance of youth.

Looking at these images now, I see that my friends and family were every bit as beautiful as I remember them.”

Peter Milne
2015

 

Peter Milne. 'Untitled (Peter Milne and Rowland S Howard' from the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Peter Milne and Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

 

Rowland S. Howard – A Short Biography

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Untitled (Rowland S Howard)' 1977 From the series 'A Day in the Life of Rowland S Howard' 1977

 

Peter Milne
Untitled (Rowland S Howard)
1977
From the series A Day in the Life of Rowland S Howard 1977
Digital photograph
© Peter Milne

 

 

“Christmas holidays 1977…

My friends and I were in our mid-teens and we’d heard about the coming of Australian punk: the Saints in Brisbane and Radio Birdman in Sydney. We’d been to a few gigs at Burnhearts, a gay venue housed in the old ‘Thumping Tum’ that had given up its Tuesday nights to punk. We’d seen Fiction, the Negatives and News there. Punk had exploded across the world, not that you’d know it in Melbourne unless you were one of the few hundred weirdo kids who listened to the new Community Radio station 3RMT FM.

Every form of popular music culture was about something from outside of Australia, untouchable and inaccessible to us. On the other hand, punk was raw and exciting, friends who could strum a few chords had started picking up guitars and all of a sudden, some of us were playing something that resembled music, sure it was dumb and clumsy but it was also empowering and exhilarating.

There was a girl at my high school, Jenny Shannon. Jenny had been telling me and my mates of when her good friend Anita Lane had taken her to see the coolest punk band in Melbourne, so we had to check them out, but each attempt was thwarted with false gig listings and cancellations. Finally, we heard of a gig in Footscray Gardens where Suicide Records were promoting the release of their ‘Lethal Weapons’ compilation LP with a free open air punk gig. We rolled across to Footscray on a beautiful sunny day with the occasional sun shower. In the old red rattler, we were amongst about 50 curious, pimply kids with our hair becoming shorter as our conviction for this new thing grew.

On this particular day punk bands played, loud, distorted music with no frills and minimal production. The Boys Next Door, a tall skinny gang of guys in black, stove pipe pants, long black duffel coats, high collars turned up and mean, superior stares saunter in. “Rowlands here” Jenny whispers “He’s not a member of the band he’s just a friend of Nicks.” Who’s Rowland? Who’s Nick I’m wondering? “We’re the Boys Next Door” one of them spits. With that, the sky suddenly opens and people run for the cover of the trees.

The promoter jumps onto the mic and announces that due to rain they won’t play. There’s a round of booing from 50 people who wanna witness the spectacle of some real punk bands like animals in a zoo. The tall skinny guy grabs the mic, “We’re not fucking playing!” “That’s Nick” says Jenny…more boos… “Fuck off” says skinny guy, so we’ve seen them now, they seem like real assholes and I can’t wait to actually hear ’em live. As we walk back to the station in the drizzle I’ve got Dum Dum Boys by Iggy Pop ringing in my head…

“The first time I saw the dum dum boys I was fascinated”

I didn’t get to catch the Boys Next Door properly until a few months later at the VCA, it was Rowlands 1st gig as the new member of the band…

“I was most impressed. No one else was impressed… they looked as if they put the whole world… down”

This era was exhilaration, bright, skinny, sharp, obnoxious vitality, compelling handsome boys with eyeliner, well-spoken brats with beautiful intelligent sharp witted girls hanging off their arms, the birth of a movement in popular culture that had come to kick the ass of everything that had come before it, to burn brightly and then splinter off into a million shiny pieces. Peter Milne was there at its birth, captured the first sparks of this Super Nova going off. Fortunately he was the only kid around at the time with a good camera who actually knew how to use it to recognize a bunch of ascending stars and shoot those “Fish in a Barrel.”

Quincy McLean
2015

 

 

The Birthday Party
Nick The Stripper
1981

Band Location: Melbourne, VIC, Australia
Track: Nick The Stripper
Album: Prayers On Fire
Composed By: Nick Cave
Produced by: Tony Cohen & The Birthday Party

 

Peter Milne. 'Anita Lane and Nick Cave, The Venue, St Kilda' mid-1980s

 

Peter Milne
Anita Lane and Nick Cave, The Venue, St Kilda
mid-1980s
Digital photograph
© Peter Milne

 

Peter Milne. 'Anita Lane at a party' mid 1980s

 

Peter Milne
Anita Lane at a party
mid 1980s
Digital photograph
© Peter Milne

 

Peter Milne. 'Boys Next Door first photo session after Rowland joined. Nick's bedroom, Caulfield' c. 1978

 

Peter Milne
Boys Next Door first photo session after Rowland joined. Nick’s bedroom, Caulfield
c. 1978
Digital photograph
© Peter Milne

 

Peter Milne. 'George and Troy' mid-1980's

 

Peter Milne
George and Troy
mid-1980’s
Digital photograph
© Peter Milne

 

Peter Milne. 'Janet Austin and Katy Becle' 1977

 

Peter Milne
Janet Austin and Katy Becle
1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Polly Borland at home' early 1980s

 

Peter Milne
Polly Borland at home
early 1980s
Digital photograph
© Peter Milne

 

 

The Birthday Party
Deep in the Woods

 

Peter Milne. 'Rowland S. Howard, Gina Riley, Simon McLean. TATROC gig, Greville Street, 1976' 1976

 

Peter Milne
Rowland S. Howard, Gina Riley, Simon McLean. TATROC gig, Greville Street, 1976
1976
Digital photograph
© Peter Milne

 

Peter Milne. 'Rowland S. Howard and Genevieve McGuckin, St Kilda rooftop' 1977

 

Peter Milne
Rowland S. Howard and Genevieve McGuckin, St Kilda rooftop
1977
Digital photograph
© Peter Milne

 

Peter Milne. 'Nick Cave and Rowland S Howard after Birthday Party gig, Melbourne' 1982

 

Peter Milne
Nick Cave and Rowland S Howard after Birthday Party gig, Melbourne
1982
Digital photograph
© Peter Milne

 

 

Strange Neighbour
395 Gore St, Fitzroy
Victoria Australia 3065
T: +61 3 9041 8727

Opening hours:
Wednesday – Saturday, 11am – 6pm

Strange Neighbour website

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08
Feb
15

Exhibition: ‘Bohemian Melbourne’ at the State Library of Victoria, Melbourne

Exhibition dates: 12th December 2014 – 22th February 2015

 

Definition

Bohemianism is the practice of an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, involving musical, artistic, or literary pursuits. In this context, Bohemians may be wanderers, adventurers, or vagabonds. (Wikipedia)

A Bohemian is a person, as an artist or writer, who lives and acts free of regard for conventional rules and practices.

 

This is a fantastic exhibition at the State Library of Victoria, one of the best I have seen so far in Melbourne this year. I have seen it three times and each time it has been a thoroughly rewarding experience.

  • Visually and intellectually stimulating, with a plethora of artefacts, texts and photographs
  • Excellent curatorship, with the exhibition logically structured in order to cohesively display the history, characters and stories, and strands of creativity and rebellious spirit that make up Melbourne’s cultural life
  • A great hang, with disparate elements and mediums all informing each other, pithy quotes, unique film footage, video, music
  • Not too big, just the right size to indulge your senses and brain power

.
One downside was that the exhibition needed a book or exhibition catalogue to flesh out the themes. Hopefully this will eventuate down the track. Also, it would have been nice to see more of what I would call ‘vernacular bohemianism’ – not just the famous people in each era, but the people that lived the life out on the streets, that supported the subcultures that sprung up from the 1950s onwards, but in a small exhibition it is understandable that there was not enough space.

Another perspective is that, in ordering such a diverse group of people who don’t want to be classified, who lived on the edge of society – you remove their cultural and historical ability to be transgressive, to cross moral and social taboos. By naming them as “bohemian” you seek to classify and order their existence and bring them within a frame of reference that is about control, power and visibility. This disciplinary power, Michel Foucault maintains, relies on surveillance to transform the subjects and the exhibition taxonomy is just that… a form of surveillance of the subject as well as a form of ordering it. Under this phenomena of power, dissonance/dissidence is neutralised and human beings are made subjects: through ‘the systematic linking of the categories of power and knowledge to form a hybrid, power-knowledge.’ (Hirst, 1992, “Foucault and Architecture,” in AA Files, No. 26, Autumn, pp. 52-60)

As John Tagg notes in his book The Burden of Representation (and this is what this exhibition does, it ‘represents’ a particular construction of identity as seen from the viewpoint of the establishment, the institution), “when Foucault examines power he is not just examining a negative force operating through a series of prohibitions … We must cease once and for all to describe the effects of power in negative terms – as exclusion, censorship, concealment, eradication. In fact, power produces. It produces reality. It produces domains of objects, institutions of language, rituals of truth.” (Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Basingstoke: Macmillan, 1988, p. 87)

Ultimatley, that is what this exhibition does, it produces a reality that many of these bohemians would not have bought into, for they lived outside the fold. It produces domains of objects, institutions of language, rituals of truth that, through their naming, seek to classify and negate the transgressive and subversive nature of many of these people and groups. These people lived in opposition to the tenants and morals of everyday society and that is why we still love them – for their creativity, their individuality, their thoughts and above all their panache, stepping outside the orthodoxies and regi/mentality of everyday life. Against the system, for life.

Dr Marcus Bunyan

.
Many thankx to the State Library of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“The mania of young artists to
wish to live outside of their time,
with other ideas and other customs,
isolate them from the world,
render them strange and bizarre,
puts them outside the law, banished
from society. These are today’s
bohemians.”

.
Félix Pyat (French, 1810-1889)

 

 

Artist, rebel, hippie, hipster?

Revealing Melbourne’s enduring counter-cultures, Bohemian Melbourne celebrates a who’s who of creative free spirits through their art and the bohemian legacy that has shaped the character of this city. The exhibition shines a light on Melbourne’s cultural bohemians from 1860 to today, tracing individuals who have pushed against convention in their lives and art, from Marcus Clarke, Albert Tucker and Mirka Mora to Barry Humphries, Vali Myers and Nick Cave.

Venture into history’s backstreets and smoky salons to discover the stories of the daring poets, artists, visionaries, rebels and rock stars who changed Melbourne forever. (Text from the website)

 

Marcus Clarke: “A Punk in the Age of Steam”

Marcus Clarke, writer, journalist and later a librarian at the Melbourne Public Library, is generally celebrated as the father of Bohemian Melbourne – although he was more its wild child. After a privileged start in a wealthy English family, which allowed him to cultivate the life of a young dandy and to indulge his passion for the writings of Honoré de Balzac and others, a 16-year-old Clarke suddenly found himself in colonial Melbourne in 1863, thanks to a turn in the family fortune.

Determined to maintain a semblance of the life to which he had become accustomed, Clarke was soon to be found strolling the streets of Melbourne as a flâneur, an observer of the city spectacle. A short-lived post as a bank clerk was followed by a stint on the land as a jackaroo, but by the age of 21 he was back in Melbourne and working as a journalist for the Argus newspaper.

Clarke’s bohemian ways soon attracted other young journalists and writers, and they began to congregate at various Melbourne watering holes, in particular the Cafe de Paris establishing the Yorick Club, the early members of which included fellow writers Henry Rendall, George Gordon McCrae and Adam Lindsay Gordon. The Yorick had a human skull for a mascot and rules that parodied the gentleman’s clubs of establishment Melbourne. Its members gathered in rooms adjoining the office of Melbourne Punch to smoke clay pipes, drink from pewter mugs, recite poetry and generally engage in horseplay. Bohemian society had found a Melbourne home and a creative community was born. (Wall text from exhibition)

 

Unknown photographer. 'Marcus Clarke' 1866

 

Unknown photographer
Marcus Clarke
1866
Albumen silver photograph
State Library Victoria

 

 

Bohemian culture in marvellous Melbourne

Marvellous Melbourne, which arose out of the egalitarianism of the gold rushes, gave birth to a strong bohemian culture. Marcus Clarke, the London-born journalist, writer, librarian and professional bohemian, joined the Athenaeum Club and founded in 1868 the Yorrick Club, Australia’s first bohemian club, which became a magnet for men of letters.

He was a dressed-up dandy, a flâneur and a heavy drinker, but had a touch of genius with his novel, For the Term of His Natural Life (1874/75), one of the classics of Australian colonial literature. He was dead by the age of 35, with suicide rumoured but rejected by his actress wife, Marian Dunn, the mother of his six children. Clarke in his behaviour and creative achievement became a model for other Australian bohemians to follow.

Extract from Professor Sasha Grishin. “Celebrating Melbourne bohemians at the State Library of Victoria,” on The Conversation website, 16 January 2015 [Online] Cited 03/02/2015

 

Unknown photographer. 'Marcus Clarke' (detail) 1866

 

Unknown photographer
Marcus Clarke (detail)
1866
Albumen silver photograph
State Library Victoria

 

 

“In 1863, when the young Marcus Clarke arrived in Melbourne, he could have slipped easily into what passed for mannered society in the booming gold-rush city. His uncle was a County Court judge, his cousin a politician, and Clarke himself was granted honorary membership of the elite Melbourne Club. But he chose to turn his back on the bunyip aristocracy. “I am a bohemian,” declared the man who would go on to write the first great Australian novel. “I live, I walk, I eat, drink and philosophise.”

All of which sounds perfectly normal – except, perhaps, for the philosophising – but in reality, Marcus Clarke’s life was far from average. He became a celebrated satirist of Marvellous Melbourne, by turns outraging and titillating 19th-century sensibilities in Australia’s modern metropolis. He befriended fellow intellectuals and bon vivants to form underground literary clubs that didn’t so much turn their backs on as raise an insulting finger to colonial mores. He was a poet and a playwright, a journalist and a novelist, a jackaroo, a wastrel and, above all, quite the tremendous wit.

Clarke’s most enduring gift is his writing, particularly the classic convict novel For The Term Of His Natural Life. But a new exhibition at the State Library of Victoria pays tribute to his other major legacy – that of Australia’s first bona fide bohemian.

“Clarke was an iconoclast, dangerous to know and a dandy about town,” explains historian Dr Tony Moore, author of Dancing With Empty Pockets: Australia’s Bohemians

“Most people think of him as a venerable old Victorian gentleman, but I characterise him as a punk in the age of steam.” [Marcus: I don’t know why a venerable old Victorian gentleman – he was dead at 35]

Moore, who is a Monash University academic and passionate chronicler of unconventional Australians, was an adviser to the exhibition and worked alongside curator Clare Williamson to create this retrospective of radicals. Melbourne’s roaming free spirits have been corralled together for the first time using material – some of it never previously displayed in public – drawn from State Library archives and borrowed from public and private collections. Viewed en masse, they comprise a rogues’ gallery of some of the country’s most indelible cultural icons…

His [Clarke’s] image adorns the exhibition posters, a larger-than-life bohemian in breeches and knee-high boots with a cabbage-tree hat perched jauntily above his broad, handsome face. Melbourne’s original radical would be thrilled to see that his notoriety lives on, more than a century after his death.”

Extract from Kendall Hill. “Bohemian Melbourne: Exhibition” on the Qantas Travel Insider website [Online] Cited 03/02/2015

 

Installation view of the exhibition 'Bohemian Melbourne' at the State Library of Victoria, Melbourne

installation-k-WEB

 

Installation views of the exhibition Bohemian Melbourne at the State Library of Victoria, Melbourne

 

 

Wall text from the exhibition Bohemian Melbourne at the State Library of Victoria, Melbourne

 

Unknown photographer. 'Members of the Ishmael Club' c. 1900

 

Unknown photographer
Members of the Ishmael Club
c. 1900
Gelatin silver photograph
State Library Victoria

 

Justus Jörgensen (1893-1975) 'Fifteen of the Founders' 1944

 

Justus Jörgensen (1893-1975)
Fifteen of the Founders
1944
Oil on canvas and gauze mounted on panel
Collection of the Montsalvat Trust

 

 

Montsalvat is the result of Justus Jörgensen’s vision for a collective experience of art and life. Jörgensen had trained in architecture and then in painting with earlier bohemian Max Meldrum. His studio in Queen Street, the Mitre Tavern and the Latin and Chung Wah restaurants were sites for lively discussions in which Jörgensen put forward his philosophies of art, the revival of medieval craftsmanship and communal living. This vision began to take shape in 1934 when he and his wife, Lily, brought land at Eltham; with the assistance of friends and followers, he built Montsalvat, an artists’ colony of studios, workshops and the communal Great Hall.

While Justus Jörgensen rarely exhibited, his great love was painting. This multi-panelled work comprises portraits by Jörgensen of 15 significant figures from the early years of Montsalvat. They are, from top to bottom, left to right:

Ian Robertson – student of Jorgensen who also ran an antiques shop
Leo Brierley – businessman and backer of Mervyn Skipper’s Pandemonium journal
Helen (Nell) Lempriere – niece of Dame Nellie Melba, painter, sculptor, and an earl student of Jorgensen
Norman Porter – friend and student of Jorgensen and lecturer in philosophy
Mervyn Skipper – author, journalist and Melbourne editor of the Bulletin
Helen Skipper – Mervyn’s first daughter, Jorgensen’s partner for many years, and mother of Sebastian and Sigmund Jorgensen
Justus Jorgensen – founder and architect of Montsalvat, painter, assistant to artist Max Meldrum and teacher.
Sonia Skipper – second daughter of Mervyn Skipper, and painter and teacher
Arthur Munday – law student, sculptor and stonemason trained by Jorgensen
William (Bill) Cook – teacher, philosophy and president of the Victorian Rationalist Society
Norman Radcliffe – student and friend of Jorgensen, and philosopher
Ray Grant – student of Jorgensen and philosopher
Edward Goll – internationally renowned pianist and teacher at Melbourne Conservatorium of Music
Arthur (George) Chalmers – pharmacist, student of Jorgensen, stonemason and carver, who also planted the first vineyard at Montsalvat

(Label texts)

 

Montsalvat is an artist colony in Eltham, Victoria, Australia, established by Justus Jörgensen in 1934. It is home to over a dozen buildings, houses and halls set amongst richly established gardens on 48,562 m2 (12 acres) of land. The colony of Montsalvat has a detailed history that reflects the life of Jörgensen and his friends and family; there is also a legend behind its name, while its buildings and gardens are steeped in the art and culture of Melbourne and its surroundings.

Visitors can pay a small fee to walk throughout the colony’s historical gardens, artists’ houses/workshops and explore the surrounding buildings. All of the buildings on the site were designed and built by residents with locally available materials, from various sources. The Great Hall offers an extensive network of spaces from extravagant halls and vast exhibition spaces, to small corridors and tiny balconies overlooking the gardens. (Wikipedia)

 

Percy Grainger (1882-1961) Ella Grainger (1889-1979) 'Towelling tunic, shirt, leggings, belt, shoes worn by Percy Grainger' c. 1934

 

Percy Grainger (1882-1961)
Ella Grainger (1889-1979)
Towelling tunic, shirt, leggings, belt, shoes worn by Percy Grainger
c. 1934
Cotton bath towels, plastic, leather and metal
Grainger Museum collection, University of Melbourne

 

“In 1932 or 1933 my wife and I took up again this idea of clothing made of towelling and when in Australia in 1934 and 1935 we were amazed by the beauty of the bath towels on sale in Australia – some imported from England, Czechoslovakia and America, but most of them (and among them the most beautiful ones) manufactured in Australia. Here was a chance to show what could be done with the beauty born of machinery – a beauty as rich and subtle, in its own way, as anything made by hand or loom.”

Percy Grainger, c. 1955-56

 

Unknown photographer
Percy Grainger at White Plains, New York
1936
Exhibition graphic from silver gelatine photograph
Grainger Museum collection, The University of Melbourne

 

Installation photograph of the exhibition 'Bohemian Melbourne' at the State Library of Victoria February 2015

 

Installation photograph of the exhibition Bohemian Melbourne at the State Library of Victoria February 2015, including at left Albert Tucker, Self-portrait with Joy Hester, 1939 (see below)

 

Albert Tucker. 'Self-portrait with Joy Hester' 1939

 

Albert Tucker
Self-portrait with Joy Hester
1939
Gelatin silver photograph
State Library Victoria

 

 

An Interview with Albert Tucker conducted by Justin Obrien in 1997.
Albert expands on his many insights,during the time he spent with John and Sunday Reed and other artists at Heide during the1940’s. An intimate insight into a unique man.

 

Unknown photographer. 'Opening of Mirka Café' 1954

 

Unknown photographer
Opening of Mirka Café
1954
Gelatin silver photograph
Courtesy of Heide Museum of Modern Art and William Mora Galleries

 

Unknown photographer. 'Opening of Mirka Café' (detail) 1954

 

Unknown photographer
Opening of Mirka Café (detail)
1954
Gelatin silver photograph
Courtesy of Heide Museum of Modern Art and William Mora Galleries

 

 

These clips features home movie footage taken by Gertie Anschel (c.1953-1954) with audio commentary by film director Philippe Mora.

Part 1 of 3 features scenes of Melbourne, The Mirka Café and Joy Hester and Gray Smith’s property. Philippe reflects on his childhood and identifies key figures of the Melbourne art scene. 

 

 

Part 2 of 3 features the property of Roger de Stoop, artist friends and Arthur Boyd at work on his 1956 Melbourne Olympic statue. Philippe reflects on his childhood identifies key figures of the Melbourne art scene.

 

 

Part 3 of 3 features the Moras, the art gang at a balcony party and late American actor Melvyn Douglas. Philippe reflects on his childhood, parents and identifies key figures of the Melbourne art scene.

 

 

Making Your Own Fun in the 50s

On the surface at least, Melbourne in the 1950s was a rather dour affair. For some non-conformists, such as Vali Myers and Barry Humphries, it was a place to escape rather than a place to be. For others, however, it was a site for creating underground cultures that were largely invisible to the mainstream.

This was no more so than in the case of gay and lesbian, or ‘camp’, culture, as it was known at the time. Homosexuality was illegal in Victoria until 1960, and in the 1950s it was sensationalised in the tabloid press as a subject for mockery if not horror. As a result, homosexual men and women developed alternative bohemian cultures and communities, with their own covert venues, house parties, secret languages and dress codes.

The gala costume arts balls that raised money for mainstream theatre and other arts charities were grand exceptions to the gnerally underground clubs and private parties. They offered rare moments in which camp culture could be expressed in public without fear for reprisal. Theatres and dance companies provided employment for many, and bars, such as the one nicknamed the Snake Pit at the Hotel Australia, and restaurants such as Val’s Coffee Lounge, provided opportunities for the camp community to meet and to mix with others who were outside the establishment.

 

Norman Ikin. 'Vali Myers' c. 1949

 

Norman Ikin
Vali Myers
c. 1949
Gelatin silver photograph
State Library Victoria

 

Mark Strizic. 'Barry Humphries in Melbourne' 1969

 

Mark Strizic (1928-2012)
Barry Humphries in Melbourne
1969
Exhibition print from flexible-base negative
State Library of Victoria
Courtesy of the Estate of the artist

 

 

A never seen on broadcast TV programme with Barry Humphries as Dame Edna Everage made in 1975. Barry Humphries was promoting his film ‘Barry McKenzie holds his own’. Films clips were provided officially by EMI. The interviewer trying to hold things together is Mark Caldwell. The programme was made in black and white.

 

 

Wall text from the exhibition Bohemian Melbourne at the State Library of Victoria, Melbourne

 

Installation photograph of the exhibition 'Bohemian Melbourne' at the State Library of Victoria February 2015

 

Installation photograph of the exhibition Bohemian Melbourne at the State Library of Victoria February 2015 with, in the distance, Henry Talbot Portraits of actor Frank Thring 1963, with Thring’s jewellery box and contents in the foreground.

 

It has been said of Frank Thring that he could make most stages or foyers seem small. His larger-than-life personality was almost matched by his frame, often decked out in imposing black and with flamboyant jewellery. Son of Frank Thring snr, founder of Efftee Films and 3XY Radio, Thring jnr earned fame as an actor in London’s West End and in Hollywood films such as Ben Hur, often playing sinister or decadent characters. In the 1950s, he would recite poems laden with innuendo and hold court at the ‘head table’ at Val’s Coffee Lounge. To be welcome at his table was a sign one was part of the ‘in’ crowd. (Label text)

 

 

Unknown photographer. 'Arts Ball, Palais de Danse - John Anderson as Sun God' c. 1963-64

 

Unknown photographer
Arts Ball, Palais de Danse – John Anderson as Sun God
c. 1963-64
Gelatin silver photograph
Australian Lesbian and Gay Archives

 

John Anderson was first-prize winner at a number of arts balls in the 1960s. His costume shown here reflects the creativity and effort that many put into their outfits. Costumes and headdresses were sometimes so large that Anderson and others regularly hired furniture vans to take them to the ball. One year the van that was transporting Anderson broke down and he completed the journey strapped upright on the back of a ute. His Sun  God costume wowed new audiences when he was invited to take part in a pageant on ice base on the theme of The Kind and I – with Anderson as the King – at the Southland shopping centre ice rink around 1970. (Label text)

But you will go to the ball, you will sweetie!

 

Richard Walsh (editor) 'The Review', Vol. 22, No. 22 Melbourne incorporated Newsagencies Co., March 1972

 

Richard Walsh (editor)
The Review, Vol. 22, No. 22
Melbourne incorporated Newsagencies Co.,
March 1972
State Library of Victoria

 

Before editing the irreverent Melbourne weekly The Review (Nation Review from July 1972, Richard Walsh edited counter-cultural Oz magazine with Richard Neville and Martin Sharp. Contributors to Nation Review included Max Harris, Bob Ellis, Phillip Adams, Michael Leunig and Germaine Greer. Greer had been part of the Drift in Melbourne, a loose association of artists, students and graduates. Enrolling in a Masters degree at Sydney University, in 1962 she becomes a leading light in the Sydney libertarian Push, an intellectual bohemia of larrikin anarchists. Gaining her PhD at Cambridge University, Greer then published her groundbreaking book The Female Eunuch. (Label text)

 

Ashley Mackevicius. 'Nick Cave' 1973

 

Ashley Mackevicius
Nick Cave
1973
Gelatin silver photograph
National Portrait Gallery, Canberra
Gift of the artist 2006

 

Ponch Hawkes. 'Soapbox Circus - The Fabulous Spagoni Family' c. 1977

 

Ponch Hawkes
Soapbox Circus – The Fabulous Spagoni Family
c. 1977
Gelatin silver photograph
State Library Victoria
© the artist

 

Ponch Hawkes. 'Melantroppos, Circus Oz, Princes Park' 1979

 

Ponch Hawkes
Melantroppos, Circus Oz, Princes Park
1979
Gelatin silver photograph
State Library Victoria
© the artist

 

Installation photograph of the exhibition 'Bohemian Melbourne' at the State Library of Victoria February 2015

 

Installation photograph of the exhibition Bohemian Melbourne at the State Library of Victoria February 2015 with artist Ponch Hawkes work at right

 

Rennie Ellis. 'Mirka Mora in her studio' 1978

 

Rennie Ellis
Mirka Mora in her studio
1978
Colour transparency
State Library Victoria
© Rennie Ellis Photographic Archive

 

Vali Myers (1930-2003) 'Passions' 1981-82

 

Vali Myers (1930-2003)
Passions
1981-82
Pen, black ink, sepia, burnt sienna and watercolour
Vali Myers Art Gallery Trust

 

Vali Myers discovered a love of drawing at an early age. Over the years it became her primary mode of artistic expression in place of contemporary dance. She dedicated her life to her art and would spend up to two years creating each of her intricately drawn artworks. Passions contains many elements that symbolically represent aspects of Vali Myers’ art and life. These include a fox (referencing her pet Foxy), ravens (Edgar Allan Poe’s The Raven being one of her favourite poems, a gypsy-like figure playing a violin and, at the centre of it all, a woman with flaming red hair. (Label text)

 

Liz Ham. 'Vali Myers in her studio in the Nicholas Building' 1997

 

Liz Ham
Vali Myers in her studio in the Nicholas Building
1997
Gelatin silver photograph
State Library Victoria

 

 

Australian artist Vali Myers moved to Paris from Australia at age 19 where she lived on the streets, danced in cafes, met Satre, Cocteau, Genet and Django Reinhardt. She moved to New York, tattooed Patti Smith’s knee, befriended Salvador Dali and met Andy Warhol and Tennessee Williams.

Vali was a great influence on lots of famous people Tennesse Williams, Jean Cocteau, Mick Jagger, Marianne Faithfull, Debbie Harry, Patti Smith, Jean Genet and Kate Bush.

 

Installation photograph of the exhibition 'Bohemian Melbourne' at the State Library of Victoria February 2015

 

Installation photograph of the exhibition Bohemian Melbourne at the State Library of Victoria February 2015

 

 

Australian artist Howard Arkley interviewed by ABC television shortly before his untimely death in 1999.

 

Howard Arkley (1951-1999) 'The Ritual' 1986

 

Howard Arkley (1951-1999)
The Ritual
1986
Synthetic polymer paint on canvas
State Library of Victoria

 

Howard Arkley is recognised as one of Australia’s most significant 20th-century artists. He is unique in embracing not only urban culture but also life in suburbia, a space generally shunned or scorned by bohemians, with exception of that other flaneur of suburbia, Barry Humphries. Like many bohemians before him, Arkley lived on the edge and experimented with mind-altering substances, and, like a good proportion of them, his life was tragically cut short as a result. Despite its large scale, comic-book style and pop colours, The Ritual is as much a cool and judgment-free study in composition and the human form as it is in the rituals or ‘habits’ associated with drug use. (Label text)

 

 

State Library of Victoria
328 Swanston St,
Melbourne VIC 3000
T: (03) 8664 7000

Opening hours:
Sunday 10.00 am – 6.00 pm
Monday 10.00 am – 9.00 pm
Tuesday 10.00 am – 9.00 pm
Wednesday 10.00 am – 9.00 pm
Thursday 10.00 am – 9.00 pm
Friday 10.00 am – 6.00 pm
Saturday 10.00 am – 6.00 pm

State Library of Victoria website

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12
Jan
15

New Fredrick White Sculpture website

 

I have made a new website for my friend FW. The site is fully responsive on all devices and showcases his amazing work to advantage.

Visit his new website.

Marcus

 

 

Fredrick White Sculpture website

 

Fredrick White Sculpture website
2015

 

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

 

Fredrick White
Transference
2014
Aluminium pipe
802 x 133 x 290 cm

Photographed at Pipemakers Park, Maribyrnong

 

 

Fredrick White Sculpture website

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07
Dec
14

Exhibition/text: ‘Everyday imagining: new perspectives on Outsider art’ at The Ian Potter Museum of Art, Melbourne

Exhibition dates: 1st October 2014 – 18th January 2015

Artists: Andrew Blythe, Kellie Greaves, Julian Martin, Jack Napthine, Lisa Reid, Martin Thompson and Terry Williams

Curator: Joanna Bosse

 

This is a gorgeous exhibition at The Ian Potter Museum of Art. Walking through the show you can’t help but have a smile on your face, because the work is so inventive, so fresh, with no pretension to be anything other than, well, art.

There are big preconceptions about ‘Outsider art’, originally art that was made by institutionalised mentally ill people, but now more generally understood as art that is made by anyone outside the mainstream of art production – “artworks made by folk artists and those who are self-taught, disabled, or on the edges of society” who are disenfranchised in some way or other, either by their own choice or through circumstance or context.

Outsider art promotes contemporary art while still ‘tagging’ the artists as “Outsider” – just as you ‘tag’ a blog posting so that a search engine can find a specific item if it is searched for online. It is a classification I have never liked (in fact I abhor it!) for it defines what you are without ever understanding who you are and who you can become – as an artist and as a human being. One of the good things about this exhibition is that it challenges the presumptions of this label (unfortunately, while still using it).

As Joanna Bosse notes in her catalogue essay, “Most attempts to define the category of Outsider art include caveats about the elasticity of borders and the impact of evolving societal and cultural attitudes… The oppositional dialectic of inside/outside is increasingly acknowledged as redundant  and, in a world marked by cultural pluralism, many question the validity of the category.”1 Bosse goes on to suggest that, with its origins in the term art brut (the raw and unmediated nature of art made by the mentally ill), Outsider art reinforces the link between creativity, marginality and mental illness, proffering “the notion of a pure form of creativity that expresses an artist’s psychological state [which] is a prevailing view that traverses the divergent range of creative practice that falls under the label.”2

The ambiguities of art are always threatened by a label, never more so than in the case of Outsider art. For example, how many readers who visited the Melbourne Now exhibition at NGV International and saw the magnificent ceramic cameras by Alan Constable would know that the aritst is intellectually disabled, deaf and nearly blind. Alan holds photographs of cameras three inches away from his eyes and scans the images, then constructs his cameras by feel with his hands, fires them and glazes them. The casual viewer would know nothing of this backstory and just accepts the work on merit. Good art is good art no matter where it comes from. It is only when you enquire about the history of the artist – whether mainstream or outsider – that their condition of becoming (an artist) might affect how you contextualise a work or body of work.

Bosse makes comment about the rationale for the exhibition: ‘The decision to focus on artists’ engagement with the exterior, everyday world was to counter one of the common assumptions about artists in this category – that they are disconnected from society and that their work is solely expressionistic, in that it relates almost exclusively to the self and the expression of the artist’s emotional inner life.”3 Bosse agrees with the position that to simply eliminate the designation would be a different kind of marginalisation – “one where the unique world view and specific challenges the individual faces would become lost in a misguided attempt at egalitarianism.”4

As chair of a panel session at the international conference Contemporary Outsider Art: The Global Context, 23-26th October at The University of Melbourne, curator Lynne Cooke also sees the classification “Outsider” as valuable, for “Outsider art is the condition that contemporary art wants to be” – that is imaginative, free, intuitive, visceral and living on the edge. She sees contemporary art as having run up the white flag leaving Outsider art – however you define that (not the white, middle class male establishment, and belonging to the right galleries) – to be the vanguard, the new avant-garde.5 The exhibition catalogue concludes with her observation that, while current curatorial strategies breakdown the distinctions between ‘inside’ and ‘outside’ – making significant headway concerning stigmatisation – these might have the effect of loosing what she describes as the “‘unique and crucial agency’ that this art has to challenge the ‘monocultural frame’.”6 These artists positions as ‘circuit breakers’, holding counter culture positions, may be threatened as their work is made ready for market, especially if they have little knowledge of it themselves.

And there’s the rub, right there. On the one hand Outsider art wants to be taken seriously, the people promoting it (seldom the artists) want it to be shown in mainstream galleries like the National Gallery of Victoria, and so it should be. Good art is good art not matter what. But they also want to have their cake and eat it too; they want to stand both inside and outside the frame of reference.7 In other words, they promote Outsider art within a mainstream context while still claiming “marginal” status, leveraging funding, philanthropy, international conferences and standing in the community as evidence of their good work. And they do it very successfully. Where would we be without fantastic organisations such as Arts Project Australia and Arts Access Victoria to help people with a disability make art? Can you imagine the Melbourne Art Fair without one of the best stands of the entire proceedings, the Arts Project Australia stand? While I support them 100% I am playing devil’s advocate here, for I believe it’s time that the label “Outsider art” was permanently retired. Surely, if we live in a postmodern, post-human society where there is no centre and no periphery, then ‘other’ can occupy both the centre and the margins at one and the same time WITHOUT BEING NAMED AS SUCH!

[Of course, naming “Outsider art” is also a way of controlling it, to have agency and power over it – the power to delineate, classify and ring fence such art, power to promote such artists as the organisations own and bring that work to market.]

Getting rid of the term Outsider art is not a misguided attempt at egalitarianism as Joanna Bosse proposes, for there will always be a narrative to the work, a narrative to the artist. The viewer just has to read and enquire to find out. Personally, what I find most inspiring when looking at this art is that you are made aware of your interaction with the artist. The work is so immediate and fresh and you can feel the flowering of creativity within these souls jumping off the page.

For any artist, for any work, what we must do is talk about the specific in relation to each individual artist, in relation to the world, in relation to reality and resist the temptation to apply any label, resist the fetishisation of the object (and artist) through that label, absolutely. This is the way forward for any art. May the nomenclature “outsider” and its discrimination be gone forever.

.
Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. Bosse, Joanna. Everyday imagining: new perspectives on Outsider art. Catalogue essay. The Ian Potter Museum of Modern Art.
2. Ibid.,
3. Ibid.,
4. Ibid.,
5. Cooke, Lynne. Senior Curator, Special Projects in Modern Art, National Gallery of Art, Washington, DC. My notes from the panel session “Outsider Art in the Centre: Museums and Contemporary Art,” at Contemporary Outsider Art: The Global Context, 23-26th October at The University of Melbourne.
6. Cooke, Lynne. “Orthodoxies undermined,” in Great and mighty things: Outsider art from the Jill and Sheldon Bonovitz collection. Philadelphia Museum of Art, 2013, p. 213 quote in Bosse, Joanna, op. cit.,
7. An example of this can be seen in the launch of the new magazine artsider – “Arts Access Victoria in Partnership with Writers Victoria invites you to the Launch of artsider, a magazine devoted to outsider art and writing.” What a clumsy title that seeks to have a foot in both camps. Email received from Arts Access Victoria 19/11/2014.

.
Many thankx to The Ian Potter Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Martin Thompson. 'Untitled' 2014

 

Martin Thompson
Untitled
2014
Ink on paper
52.5 x 105 cm
Courtesy the artist and Brett McDowell Gallery, Dunedin

 

Andrew Blythe. 'Untitled' 2012

 

Andrew Blythe
Untitled
2012
Synthetic polymer paint on paper
88 x 116 cm
Courtesy the artist and Tim Melville Gallery, Auckland

 

Terry William. 'Stereo' 2011

 

Terry Williams
Stereo
2011
Vinyl fabric, cotton, stuffing and fibre-tipped pen
21 x 43 x 14 cm
Private collection, Melbourne. Courtesy the artist and Arts Project Australia, Melbourne

 

Terry Williams. 'Telephone' 2011

 

Terry Williams
Telephone
2011
Fabric, cotton, stuffing and fibre-tipped pen
18 x 13 x 20 cm
Private collection, Melbourne. Courtesy the artist and Arts Project Australia, Melbourne

 

 

“An exhibition of Australian and New Zealand ‘Outsider’ artists which challenges a key existing interpretation of the genre will be presented at the Potter Museum of Art at The University of Melbourne, from 1 October 2014 to 15 January 2015. Everyday imagining: new perspectives on Outsider art, features the work of artists Andrew Blythe, Kellie Greaves, Julian Martin, Jack Napthine, Lisa Reid, Martin Thompson and Terry Williams.

The term ‘Outsider art’ was coined by British art historian Roger Cardinal in 1972 expanding on the 1940s French concept of art brut – predominantly artworks made by the institutionalised mentally ill – to include artworks made by folk artists and those who are self-taught, disabled, or on the edges of society. The work of Outsider artists is often interpreted as expressing a unique inner vision unsullied by social or cultural influences. Everyday imagining: new perspectives on Outsider art counters this view by presenting contemporary Outsider artists whose works reveal their proactive engagement with the everyday world through artworks that focus on day-to-day experiences.

Curator Joanna Bosse says the exhibition questions a key interpretive bias of Outsider art that is a legacy of its origins in art brut.

“The association with an interior psychological reality that is unsullied by social or cultural influences remains deeply embedded within the interpretations of Outsider art today, and can lead audiences to misinterpret the agency and intention of the artist. Everyday imagining: new perspectives on Outsider art questions this key interpretive bias, and presents the work of Australian and New Zealander outsider artists that demonstrate a clear and proactive engagement with the world. The work of artists Andrew Blythe, Kellie Greaves, Julian Martin, Jack Napthine, Lisa Reid, Martin Thompson and Terry Williams reveals their blatant interest in the here and now,” Ms Bosse said.

Terry Williams’ soft fabric sculptures of everyday items such as fridges, cameras and clocks convey his keen observation of the world and urgent impulse to replicate what is meaningful through familiarity or fascination. Kellie Greaves’ paintings are based on book cover illustrations with the addition of her own compositional elements and complementary tonal colour combinations. The traditional discipline of life-drawing provides Lisa Reid with a structure to pursue her interest in recording the human figure. Her pen and ink drawings are carefully observed yet intuitive renderings.

Jack Napthine produces drawn recollections of his past and present daily life in the form of visual diaries. Light fittings from remembered environments feature prominently as do doors with multiple and varied locks. Napthine’s work has a bold economy of means; he uses thick texta pen to depict simplified designs accompanied by text detail that often records the names of friends and family.

The work of Martin Thompson and Andrew Blythe also displays a similarly indexical approach. Both artists produce detailed repetitive patterns that are borne out of a desire for order and control. Thompson uses large-scale grid paper to create meticulous and intricate geometric designs whereas Blythe uses select motifs – the word ‘no’ and the symbol ‘x’ – to fill the pictorial plane with dense yet orderly markings that result in graphic and rhythmic patterns.

“In the last decade in particular there has been much debate about the term ‘outsider art': who does it define? What are the prerequisite conditions for its production? What is it outside of, and who decides? This exhibition doesn’t seek to resolve these ambiguities or establish boundaries, but looks beyond definitions to challenge a key assumption underlying contemporary interpretations of outsider art,” Ms Bosse said.

Everyday imagining: new perspectives on Outsider art is held in conjunction with the international conference Contemporary Outsider art: the global context, presented Art Projects Australia and The University of Melbourne and held 23-26 October at The University of Melbourne. The conference proposes an inter-disciplinary exploration of the field, drawing on the experience and knowledge of Australian and international artists, collectors, curators and scholars. More information at www.outsiderartmelbourne2014.com.”

Press release from The Ian Potter Museum of Art

 

Julian Martin. 'Untitled' 2011

 

Julian Martin
Untitled
2011
Pastel on paper
38 x 28 cm
Courtesy the artist and Arts Project Australia, Melbourne

 

Kelly Greaves. 'My little Japan' 2010

 

Kelly Greaves
My little Japan
2010
Synthetic polymer paint on paper
59.4 x 42 cm
Courtesy the artist and Art Unlimited, Geelong

 

Jack Napthine. 'Untitled' 2013

 

Jack Napthine
Untitled
2013
Fibre-tipped pen on paper
59.4 x 42 cm
Courtesy the artist and Art Unlimited, Geelong

 

Jack Napthine. 'Untitled' 2013

 

Jack Napthine
Untitled
2013
Fibre-tipped pen on paper
42 x 59.4 cm
Courtesy the artist and Art Unlimited, Geelong

 

Lisa Reid. 'Queen of hearts' 2010

 

Lisa Reid
Queen of hearts
2010
Pencil on paper
35 x 25 cm
Courtesy the artist and Arts Project Australia, Melbourne

 

 

The Ian Potter Museum of Art
Swanston Street between Faraday and Elgin streets in Parkville
The University of Melbourne
Victoria 3010 Australia

Opening hours:
Tuesday – Friday 10 am – 5 pm
Saturday and Sunday 12 – 5 pm
Monday closed

The Ian Potter Museum of Art website

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30
Nov
14

Review: ‘PHOTOGRAPHY MEETS FEMINISM: Australian women photographers 1970s-80s’ at the Monash Gallery of Art, Melbourne

Exhibition dates: 17th October – 7th December 2014

Artists: Micky Allan, Pat Brassington, Virginia Coventry, Sandy Edwards, Anne Ferran, Sue Ford, Christine Godden, Helen Grace, Janina Green, Fiona Hall, Ponch Hawkes, Carol Jerrems, Merryle Johnson, Ruth Maddison, Julie Rrap, Robyn Stacey.

Curator: Shaune Lakin

 

 

With the National Gallery of Victoria’s photography exhibition program sliding into oblivion – the apparent demise of its only dedicated photography exhibition space on the 3rd floor of NGV International; the lack of exhibitions showcasing ANY Australian artists from any era; and the exhibition of perfunctory overseas exhibitions of mediocre quality (such as the high gloss, centimetre deep Alex Prager exhibition on show at the moment at NGV International) – it is encouraging that Monash Gallery of Art consistently puts on some of the best photography exhibitions in this city. This cracker of an exhibition, the last show curated by Shaune Lakin before his move to the National Gallery of Australia (and his passionate curatorial concept), is no exception. It is one of the best photography exhibitions I have seen all year in Melbourne.

Most of the welcome, usual suspects are here… but seeing them all together is a feast for the eyes and the intellect. While most are social documentary based photographers what I like about this exhibition is that there is little pretension here. The artists use photography as both a means and an end, to tell their story – of mothers, of workers, of dancers, of lovers – and to depict a revolution in social consciousness. What we must remember is the period in which this early work appeared. In the 1970s in Australia there were no formal photography programs at university and photography programs in techs and colleges were only just beginning: Photography Studies College (1973) in South Melbourne, Prahran College of Advanced Education (Paul Cox, John Cato, 1974) and Preston Tech (c. 1973, later Phillip Institute) were all set up in the early 1970s. The National Gallery of Victoria photography department was only set up in 1969 (the third ever in the world) with Jenny Boddington, Assistant Curator of Photography, was appointed in 1972 (later to become the first full time photography curator). There were three commercial photography galleries showing Australian and international work in Melbourne: Brummels (Rennie Ellis), Church Street Photographic Centre (Joyce Evans) and The Photographers Gallery (Paul Cox, John Williams, William Heimerman and Ian Lobb). While some of the artists attended these schools and others were self taught, few had their own darkroom. It was not uncommon for people to develop their negatives and print in bathrooms, toilets, backyard sheds and alike – and the advise was to switch on the shower before printing to clear the dust out of the air, advise in workshops that people did no bat an eyelid at.

What these women did, as Julie Millowick (another photographer who should have been in this exhibition, along with Elizabeth Gertsakis and Ingeborg Tyssen for example) observes of the teaching of John Cato, was “bring to the work knowledge that extended far beyond picking up a camera or going into a darkroom. He [Cato] believed that you must bring to every image you create a wide depth of insight across social, cultural and historical concerns. John was passionate in his belief that an understanding of humanity and society was crucial to our growth as individuals, and ultimately our success as photographers.”1 And so it is with these artists. Never has there been a time in Australian photography when so much social change has been documented by so few for such great advantage. In all its earthiness and connection, the work of these artists is ground breaking. It speaks from the heart for the abused, for the disenfranchised and downtrodden. The work is not only for women by women, as Ponch Hawkes states, but also points the way towards a more enlightened society by opening the eyes of the viewer to multiple points of view, multiple perspectives.

There are few “iconic” images among the exhibition and, as Robert Nelson notes in his review in The Age, little pretension to greatness. One of the surprising elements of the exhibition is how the four photographs by Carol Jerrems (including the famous Vale Street, 1975), seem to loose a lot of their power in this company. They are out muscled in terms of their presence by some of the more essential and earthy series – such as Women at work by Helen Grace and Our mums and us by Ponch Hawkes – and out done in terms of their sensuality by the work of Christine Godden. These were my two favourite bodies of work: Our mums and us and Christine Godden’s sequence of 44 images and the series Family.

Hawkes’ objective series of mother/daughter relationships are deceptively simple in their formal structure (mother and daughter positioned in family homes usually looking directly at the camera), until you start to analyse them. Their unpretentious nature is made up of the interaction that Hawkes elicites from the pairing and the objet trouvé that are worn (the cowgirl boots in Ponch and Ida, 1976) or surround them (the carpet, the table, the plant and the painting in Mimi and Dany, 1976). This relationship adds to the power of the assemblage, juxtaposition of energy and form being a guiding principle in the construction of the image. While the environment might be ‘natural’ it is very much constructed, both physically and psychologically, by the artist.

The work of Christine Godden was a revelation to me. These small, intense images have a powerful magnetism and I kept returning to look at them again and again. There is sensitivity to subject matter, but more importantly a sensuality in the print that is quite overwhelming. Couple this with the feeling of light, space, form and texture and these sometimes fragmentary photographs are a knockout. Just look at the sensitivity of the hands in Untitled, c. 1976. To see that, to capture it, to reveal it to the world – I was almost in tears looking at this photograph. The humanity of that gesture is something that I will treasure.

The only criticism of the exhibition is the lack of a book that addresses one of the most challenging times in Australian photographic history. This important work deserves a fully researched, scholarly publication that includes ALL the players in the story, not just those represented here. It’s about time. As a good friend of mine recently said, “Circles must expand as history moves away from a generation and cohort and, hopefully, the future will ask its own questions” … and I would add, without putting the blinkers on and creating more ideology.

Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

1. Julie Millowick and Christopher Atkins. “Dr John Cato – Educator,” in Paul Cox and Bryan Gracey (eds.,). John Cato Retrospective. Melbourne: Wilkinson Publishing, 2013.

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Many thankx to the Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“As feminism took off among intellectuals of both sexes, art history would sometimes be interrogated to account for the reasons why there were relatively few great female artists.

While art historians would create reasonable apologies and impute the deficit to centuries of disadvantage to women, it was left to women artists to construct a view of art that redefined the stakes.

They sought a vision that didn’t see art as line-honours in transcendent inventions but a conversation that furthered the sympathy and consciousness of the community”

.
Robert Nelson The Age Wednesday November 5, 2014

 

 

Pat Brassington. 'Untitled' 1984 (1)

 

Pat Brassington
Untitled
1984 (1)
From the series 1 + 1 = 3
Gelatin silver print
18 x 28 cm
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist, ARC ONE Gallery (Melbourne), Stills Gallery (Sydney) and Bett Gallery (Hobart)

 

Pat Brassington‘s photographs have often made use of the artist’s home and family life as subject matter. The photographs included in this exhibition were taken during the early 1980s and, with their tight cropping and diagonal obliques, suggest that family life is an anxious and ambivalent place. Erotically charged body parts – whether partner’s or offspring – are left to hang, like fetish objects drifting through a dream. Brassington is consciously mining the clichés of psychoanalysis, with her focus on shoes, panties and an ominous father figure, but she reworks this symbolism with a comical lightness that is closer to a teen horror film than the analyst’s couch.

 

Helen Grace. 'Women at work, Newcastle' 1976

 

Helen Grace
Women at work, Newcastle
1976
From the series Series 1
Gelatin silver prints
17.5 x 11.6 cm (each)
Courtesy of the artist

 

Helen Grace. 'Women at work, Newcastle' 1976

 

Helen Grace
Women at work, Newcastle
1976
From the series Series 2
Gelatin silver prints
11.6 x 17.5 cm (each)
Courtesy of the artist

 

Helen Grace. 'Women at work, Newcastle' (detail) 1976

 

Helen Grace
Women at work, Newcastle (detail)
1976
From the series Series 2
Gelatin silver prints
11.6 x 17.5 cm (each)
Courtesy of the artist

 

Helen Grace was a member of the Sydney-based feminist collective Blatant Image (which also included Sandy Edwards), which formed around the Tin Sheds at Sydney University. The collective was interested in examining and reconfiguring the representation of women in popular culture, and also in developing alternative venues for socially conscious art and film. The photographs displayed here point to the two interconnected preoccupations of Grace’s work at this time: the social and cultural construction of motherhood and femininity (and the way that each of these categories are produced by and through consumerism and popular culture), and the documentation of women’s labour. An active member of Sydney’s labour movement, Grace photographed women working in a range of workplaces (including factories and hospitals) for both the historical record and as promotional aids for activist organisations.

Grace’s Women seem to adapt to repetitive-type tasks was widely shown in Sydney and Melbourne, including the exhibition The lovely motherhood show (1981). This work of seven panoramas depicting a string of nappies on a washing line at once points towards the inexorable tediousness of motherhood, and at the same timeattempts to demystify the romantic myths of motherhood found in contemporary advertising and popular culture. Grace’s photographs were also widely used in posters produced by trade union and women’s groups. During the 1970s and 1980s screen printing was a cheap and effective way to incorporate photographic imagery into posters. Community groups also embraced screen printing because its aesthetic stood in opposition to commercial advertising, and the process lent itself to a do-it-yourself work ethic.

 

Merryle Johnson. 'Outside the big top' 1979-80

 

Merryle Johnson
Outside the big top
1979-80
From the series Circus
Hand coloured gelatin silver prints
Monash Gallery of Art, City of Monash Collection
Donated by Merryle Johnson, 2014

 

Merryle Johnson‘s photographic feminism sits alongside her contemporaries Micky Allan and Ruth Maddison. In the first instance, it is expressed in the autobiographical nature of her images, which often refer to her family history. And like Allan and Maddison, Johnson also used hand-colouring to reinvigorate documentary photography and to bring a decidedly female perspective to the medium. Johnson’s contribution to feminist photography in Australia is also reflected in her use of photographic sequences – multiple images printed on the same sheet. In these works, the single, perfectly realised photographic image of Modernist photography was replaced with a series of images that draw attention to the fragmentary, contingent and inconclusive nature of photography. The serialisation of photographs also engages a more embodied, spatialised and assertive experience than single pictures alone.

 

Christine Godden. 'Joanie and baby Jade, Larkspur' 1973

 

Christine Godden
Joanie and baby Jade, Larkspur
1973
From the series Family
Gelatin silver print
8.4 x 13.8 cm
Courtesy of the artist

 

Christine Godden. 'Joanie pregnant' 1972

 

Christine Godden
Joanie pregnant
1972
From the series Family
Gelatin silver print
15.3 x 22.6 cm
Courtesy of the artist

 

Christine Godden. 'Untitled' c. 1976

 

Christine Godden
Untitled
c. 1976
Gelatin silver print
15.3 x 22.8 cm
Courtesy of the artist

 

Christine Godden. 'Untitled' c. 1976

 

Christine Godden
Untitled
c. 1976
Gelatin silver print
15.2 x 22.7 cm
Courtesy of the artist

 

Christine Godden. 'Untitled' c. 1976

 

Christine Godden
Untitled
c. 1976
Gelatin silver print
15.2 x 22.8 cm
Courtesy of the artist

 

Christine Godden’s Untitled c. 1976 is part of a sequence of 44 images that represented fragments and textures that combine tenderness and formal rigour in a way that evokes a sense of poetry. The series Family c. 1973 details the domestic environment and experience of young families in the American West.

As well as presenting subjects that engaged a ‘feminine’ subject, Godden’s photographs critically interrogate many of the claims for a distinctly ‘feminine sensibility’ being made by and for women artists at this time. The ‘Untitled’ prints on display here were originally exhibited in 1976 at George Paton Gallery, Melbourne and the Australian Centre for Photography in Sydney. These pictures were originally shown as part of a tightly organised sequence of 44 photographs intended to show ‘how women see [and] how women think’. The tightly cropped glimpses of bodies and textures combine tenderness and formal rigour in a way that evokes a sense of visual poetry.

Christine Godden’s Family series comprises a large number of images detailing the domestic environment and experience of young families living in the American west. Godden was at this time a student at the San Francisco Art Institute and was very active in feminist networks, including the Advocates for Women organisation, for whom she photographed events and actions. Godden’s Family series documents her experience of the counter-cultural families of America’s west coast, who provided and celebrated a new model of family life and women’s work.

 

Installation view of 'Photography Meets Feminism' at the Monash Gallery of Art

 

Installation view of Photography Meets Feminism at the Monash Gallery of Art with, at right, Anne Ferran’s Scenes on the death of nature, scene I and II (1980-86)

 

Anne Ferran. 'Scenes on the death of nature, scene I' 1980-86

 

Anne Ferran
Scenes on the death of nature, scene I
1980-86
Gelatin silver print
122.0 x 162.0 cm
Monash Gallery of Art, City of Monash Collection
Courtesy the artist and Sutton Gallery (Melbourne)

 

Anne Ferran‘s series Scenes on the death of nature presents five tableau-like scenes showing the artist’s daughter and her friends in classical dress. When they were first exhibited, commentators noted the enigmatic quality of the images, and how they resisted clear meaning, narrative and any attribute of personal style. To many, they represented a significant shift away from documentary photography. This might well be the ‘death’ to which the titles refer. For the critic Adrian Martin, the pictures appeared to evoke myth, while also being ambivalent about a photograph’s capacity to point to or allude to anything outside of itself; in this way, they can be seen to exemplify a certain post-modern approach to photography.

All the same, it is possible to see these important pictures as signposts for another kind of death. The photographs allude to some of the ways that the subject of girl/woman has been produced through visual culture, whether the monumental friezes of classical or Victorian architecture, or Pre-Raphaelite tableaux. In this way, they evoke the idea of ‘femininity’ as a source of meaning. Rather than rejoicing in, resisting or critiquing ‘femininity’ as earlier feminist photographers might have done, Ferran’s pictures remain steadfastly, even ‘passively’ ambivalent. As the artist wrote at the time, the works reveal ‘very little of a personal vision or private sensibility’. (Wall text)

 

Installation view of four Carol Jerrems photographs with 'Vale Street' (1975) at left

 

Installation view of four Carol Jerrems photographs with Vale Street (1975) at left and Lynn
(1976) at right

 

Carol Jerrems. 'Vale Street' 1975

 

Carol Jerrems
Vale Street
1975
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1976
© Ken Jerrems and the Estate of Lance Jerrems

 

Carol Jerrems. 'Lynn' 1976

 

Carol Jerrems
Lynn
1976
Gelatin silver photograph
National Gallery of Australia, Canberra
© Ken Jerrems and the Estate of Lance Jerrems

 

Carol Jerrems was one of a number of Australian women whose work during the 1970s challenged the dominant ideas of what a photographer was and how they worked. She adopted a collaborative approach to making photographs, which often featured friends and associates, and sought a photographic practice that would bring about social change. For Jerrems, as for many of her contemporaries, the photograph was an agent of social change, a means of both bringing people together and creating active and engaged social relationships. As she stated:
.

I really like people … I try to reveal something about people, because they are so separate, so isolated; maybe it’s a way of bringing people together … I care about [people], I’d like to help them if I could, through my photographs…

.
The iconic Vale Street shows Jerrems’s friend Catriona Brown standing in front of Mark Lean and Jon Bourke, teenage boys from Heidelberg Technical School where Jerrems was teaching at the time. The photograph was taken at a house in Vale Street, St Kilda. Although it is unclear if Jerrems conceived of this image as a feminist gesture, the subject’s assertive, bare-chested pose and Venus symbol led to this photograph being interpreted as a statement of feminist power.

 

Installation view of 'Photography Meets Feminism' at the Monash Gallery of Art

Installation view of 'Photography Meets Feminism' at the Monash Gallery of Art

 

Installation views of Photography Meets Feminism at the Monash Gallery of Art

 

Installation view of Ponch Hawkes series 'Our mums and us' at the exhibition 'Photography Meets Feminism'

 

Installation view of Ponch Hawkes series Our mums and us at the exhibition Photography Meets Feminism. Her photographs were made by women, of women, for women.

 

Ponch Hawkes. 'Ponch and Ida' 1976

 

Ponch Hawkes
Ponch and Ida
1976
From the series Our mums and us
Gelatin silver print
17.7 x 12.7 cm
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program by Ian Bracegirdle 2012
Courtesy of the artist

 

Ponch Hawkes. 'Lorna and Mary' 1976

 

Ponch Hawkes
Lorna and Mary
1976
From the series Our mums and us
Gelatin silver print
17.7 x 12.7 cm
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program by Ian Bracegirdle 2012
Courtesy of the artist

 

Ponch Hawkes. 'Mimi and Dany' 1976

 

Ponch Hawkes
Mimi and Dany
1976
From the series Our mums and us
Gelatin silver print
17.7 x 12.7 cm
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program by Ian Bracegirdle 2012
Courtesy of the artist

 

Ponch Hawkes‘s best-known series Our mums and us documents a selection of the photographer’s contemporaries standing with their mothers. The photographs were taken at each subject’s family home and record generational shifts in personal style and domestic decor. Originally shown at Brummels Gallery of Photography in 1976, which was Hawkes’s first solo exhibition, Our mums and us has become one of the most celebrated examples of feminist photography in Australia.

The use of pronouns in the title suggests the series was made by women, of women and for women; it is a defiant and celebratory feminist gesture, which foregrounds women as at once independent and connected to each other. Reflecting on the series, Hawkes explains that ‘feminism helped me to understand that my mother was actually a woman too, and not just a mother, and Our mums and us came out of that realisation.’

 

installation-i

installation-j

installation-k

installation-l

installation-h

 

Ephemera and books from Ponch Hawkes personal collection, including the cover of the seminal book A Book About Australian Women by Carol Jerrems and Virginia Fraser (Melbourne, 1974)

 

Ruth Maddison. 'Vehicle Builders Union Ball, Collingwood Town Hall, Melbourne' 1979

 

Ruth Maddison
Vehicle Builders Union Ball, Collingwood Town Hall, Melbourne
1979
From the series Let’s dance
Gelatin silver print
27.0 x 18.0 cm
Collection of the artist
Courtesy of the artist

 

Ruth Maddison. 'Women’s dance, St Kilda Town Hall, Melbourne' 1985

 

Ruth Maddison
Women’s dance, St Kilda Town Hall, Melbourne
1985
Gelatin silver print
36.5 x 24.5 cm
Courtesy of the artist

 

Ruth Maddison photographed the social spaces that had been important to activist communities but which were in the process of passing away. These were mainly commissioned projects for labour and social movements, otherwise these histories would have been lost.

Dancing and entertainment were features of Ruth Maddison’s work throughout the 1980s. These photographs reflected Maddison’s own social life, which often revolved around Melbourne’s pubs and nightclubs. But there was also a classical documentary function to her photographs of trade union dances and the annual women’s dance at St Kilda Town Hall. These pictures reflected social spaces that had been important to activist communities, but which by the mid-1980s were in the process of passing away; as women’s groups began to fragment, and as the membership of labour organisations changed. The photographs shown here of the Vehicle Builders’ Union Ball at Collingwood Town Hall were part of a commission. Like many photographers in this exhibition (including Helen Grace, Sandy Edwards and Ponch Hawkes), political affiliation and professional practice often came together in commissioned projects for labour and social movements.

 

Virginia Coventry. 'Miss World televised' 1974

 

Virginia Coventry
Miss World televised
1974
Gelatin silver print
15.5 x 13.5 cm (each)
Courtesy of the artist

 

Miss World televised is typical of Virginia Coventry‘s photographic work from this period, which tended to revolve around tightly organised sequences of pictures of the same subject (swimming pools in a Queensland town; the spaces between houses) or an event (a car moving through a carwash; a receding flood).

At the time, Coventry shared a house with Micky Allan. One night, while watching Allan’s black-and-white television, she saw footage of the 1974 Miss World pageant on the news. Immediately taken by the way the poor reception distorted the bodies of the contestants, Coventry began to photograph the footage. Once she developed the film, she realised the visual ‘disruption’ caused by the incongruity of the telecast process and the camera’s shutter speed obscured the figures and the beauty of the contestants, without necessarily deriding or critiquing the women themselves. As Coventry has written of the pictures: “I remember discussions with other women at the time about the way that the distortions offered a protection to the integrity of the actual person in the photo-images. Because of the radical slippage between reportage and reception, the individual is no longer the subject. The title operates to focus attention on Miss World telecast as a quiteabstract construction – as do the black-and-white, grainy, prints.”

 

 

PHOTOGRAPHY MEETS FEMINISM: Australian women photographers 1970s-80s looks at the vital relationship of photography and feminism in Australia during the 1970s and ’80s.

Given the vitality of both feminist politics and art photography during the 1970s, it is not surprising that they entered into a lively exchange that extended into the 1980s. On the one hand, feminists used the highly informative and accessible medium of photography to raise awareness of critical social issues.

On the other hand, photographic artists embraced feminist themes as a way of making their practice less esoteric and more engaged with contemporary life. This productive intersection of feminism and photography fostered a range of technical innovations and critical frameworks that made a significant contribution to the direction of visual culture in Australia.

PHOTOGRAPHY MEETS FEMINISM: Australian women photographers 1970s-80s will feature vintage prints of important photographs, many of which have not been seen for decades.

MGA Interim Director, Stephen Zagala states, “We are proud to present this exhibition, which provides an as-yet untold account of Australian photography and draws heavily on MGA’s nationally significant collection of Australian photography.””

Press release from the Monash Gallery of Art

 

“This exhibition explores the encounter between photography and feminist politics during the 1970s and into the 1980s.

Both photography and feminism thrived during this period. Feminist politics of the 1970s expanded on its earlier fight for equal rights by illuminating discrimination against women in various contexts. This included addressing domestic violence, inequality in the workplace, sexism in the media, and the economics of parenting. Alongside this expanded critique of patriarchy, feminist politics also celebrated ‘sisterhood’ by drawing attention to the undervalued achievements of women and by taking pride in distinctly female perspectives on the world.

Photographic practice also expanded its parameters during the 1970s. Together with other art forms such as painting and sculpture, photography became more experimental and irreverent. Most photographic artists rejected the tradition of highbrow fine art photography and invested the medium with personal sentiment and everyday content. The camera also became a useful tool for a generation of artists more interested in social engagement than aesthetic finesse.

Given the vitality of both feminist politics and art photography during the 1970s, it is not surprising that they entered into a lively exchange that extended into the 1980s. On the one hand, feminists used the highly informative and accessible medium of photography to raise awareness of critical social issues. On the other hand, photographic artists embraced feminist themes as a way of making their practice less esoteric and more engaged with contemporary life. This productive intersection of feminism and photography fostered a range of technical innovations and critical frameworks that made a significant contribution to the direction of visual culture in Australia.”

Text from the Monash Gallery of Art website

 

Sue Ford. 'Untitled' 1969-71

 

Sue Ford
Untitled
1969-71
From the series The Tide Recedes
Selenium toned gelatin silver print

 

Sue Ford. 'Untitled' 1969-71

 

Sue Ford
Untitled
1969-71
From the series The Tide Recedes
Selenium toned gelatin silver print

 

Sue Ford‘s series The Tide Recedes 1969-71 was made for her first solo exhibition at the Hawthorn City Art Gallery in 1971. People were becoming more removed from nature but Ford felt that woman share a particular biological and cultural affinity with nature. The contrasty black and white photographs of bodies melding with rocks in montage prints that are as rough as guts work magnificently.

These prints were made as preparation for Sue Ford’s ambitious series The tide recedes, shown as part of Ford’s first solo exhibition at the Hawthorn City Art Gallery in 1971. Throughout this body of work, images of naked women and of men and women embracing merge with a marine landscape. The series expresses Ford’s concern that people were becoming too removed from nature, and allude to the idea that women share
a particular biological and cultural affinity with nature. It also draws on a technique that was central to feminist photographic practice – montage, where two disparate fragments are brought together to produce new and often unexpected meanings. While this reflects Ford’s work as a film maker, where montage is often used in storytelling, this strategy also embeds her pictures in the field of activist art. With montage, it is the viewer who ultimately makes sense of a work, as they find and see connections between disparate fragments.

While the prints presented in the 1971 exhibition were ambitious in scale and resolution, Ford preferred prints that were – in her terms – ‘rough as guts’. Prints such as those shown here represented an explicit rejection of the maleness of both the camera as a technological instrument and the arcane knowledge of the darkroom.

 

Robyn Stacey. 'Queensland out west' 1982

 

Robyn Stacey
Queensland out west
1982
Hand-coloured gelatin silver prints
9.2 x 15.2 (each)
Courtesy of the artist and Stills Gallery (Sydney)

 

Robyn Stacey. 'Queensland out west' 1982 (detail)

Robyn Stacey. 'Queensland out west' 1982 (detail)

Robyn Stacey. 'Queensland out west' 1982 (detail)

 

Robyn Stacey
Queensland out west (details)
1982
Hand-coloured gelatin silver prints
9.2 x 15.2 (each)
Courtesy of the artist and Stills Gallery (Sydney)

 

Robyn Stacey. 'Untitled (Geoff in Bondi)' 1981

 

Robyn Stacey
Untitled (Geoff in Bondi)
1981
From the series Modified myths 1938-88
Hand-coloured gelatin silver print
39.0 x 38.3 cm
Courtesy of the artist and Stills Gallery (Sydney)

 

Robyn Stacey. 'Untitled (Picnic)' 1981

 

Robyn Stacey
Untitled (Picnic)
1981
From the series Modified myths 1938-88
Hand-coloured gelatin silver print
39.0 x 38.3 cm
Courtesy of the artist and Stills Gallery (Sydney)

 

Robyn Stacey established a reputation for her hand- coloured prints in the late 1970s and early ’80s. Introduced to the process by Micky Allan, Stacey’s early hand-coloured prints examined the life and culture of Australia, especially her native Queensland. Stacey hand-coloured her photographs so as to invest them with personal attributes: “At the time I was interested in hand colouring [because it was] a technique associated with women’s work and craft. This approach seemed a good way to visually re-enforce the personal and intimate quality of the prints.”

Among Stacey’s most important contributions to the feminist tradition of hand colouring photographs are her pictures of Queensland architecture, taken during a road trip to western Queensland made with her mother. These images refer to an heroic subject in Australian culture – the stoicism of the outback and the people who populate it. But Stacey revises these myths, by presenting the images as intimate and personal.

 

Robyn Stacey. 'Ice' 1989

 

Robyn Stacey
Ice
1989
from the series Redline 7000
Silver dye bleach print
104.0 x 175.3 cm
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program 2012
Courtesy of the artist and Stills Gallery (Sydney)

 

Robyn Stacey. 'Jet' 1989

 

Robyn Stacey
Jet
1989
from the series Redline 7000
Silver dye bleach print
164.0 x 103.0 cm
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program 2012
Courtesy of the artist and Stills Gallery (Sydney)

 

In the late 80s, Stacey began to hand colour her transparencies rather than the print, thereby incorporating an aspect of reproducibility to the images. In this way the work shifted from the unique print, with its references to nostalgia and the careful rendering of places and times, to something resembling the glossy images found in 1980s’ mass media, especially Hollywood cinema.

 

Julie Rrap. 'Persona and shadow: Madonna' 1984

 

Julie Rrap
Persona and shadow: Madonna
1984
Silver dye bleach print
203.0 x 126.5 cm
Monash Gallery of Art, City of Monash Collection acquired 1997
Courtesy of the artist and Arc One Gallery (Melbourne) and Roslyn Oxley9 Gallery (Sydney)

This photograph is from the series of nine works titled Persona and shadow. Julie Rrap produced this series after visiting a major survey of contemporary art in Berlin (Zeitgeist, 1982) which only included one woman among the 45 artists participating in the exhibition. Rrap responded to this curatorial sexism with a series of self-portraits in which she mimics stereotypical images of women painted by the Norwegian artist Edvard Munch (1863-1944). Each pose refers to a female stereotype employed by Munch: the innocent girl, the mother, the whore, the Madonna, the sister, and so on.

Appropriating the work of other artists is one of the strategies that characterises the work of so-called ‘postmodern’ artists active during the 1980s. The practice of borrowing, quoting and mimicking famous artworks was employed as a way of questioning notions of authenticity. Feminist artists tended to use appropriation to specifically question the authenticity of male representations of females. In more straightforward terms, Rrap reclaims Munch’s clichéd images of women and makes them her own. Rrap ultimately becomes an imposter, stealing her way into these masterpieces of art history, but the remarkable thing about these works is the way that the artist foregrounds the process of reappropriation itself. The procedure of restaging, collage, overpainting, and rephotographing becomes part of the final image, testifying to a d0-it-herself politic. (Wall text)

 

Micky Allan. 'Old age' 1978

 

Micky Allan
Old age
1978
From the series Old age
Gelatin silver photograph, hand coloured with watercolour and pencil
18.2 x 12.0 cm
© Micky Allan

 

Micky Allan. 'Old age' 1978

 

Micky Allan
Old age
1978
From the series Old age
Gelatin silver photograph, hand coloured with watercolour and pencil
18.2 x 12.0 cm
© Micky Allan

 

Micky Allan. 'Old age' 1978

 

Micky Allan
Old age
1978
From the series Old age
Gelatin silver photograph, hand coloured with watercolour and pencil
18.2 x 12.0 cm
© Micky Allan

 

Micky Allan’s two series Babies and Old age were shown in Melbourne and Sydney around 1976-77; their reception revealed much about the anxieties that informed photographic criticism and practice at the time, with critics dismissing the works as ‘slight’ and ‘feminine photographs par excellence’. Across a series of exhibitions between 1976 and 1980, Allan challenged many of the established conventions of fine art photography, in both technique and subject. Allan overpainted the black-and-white print with watercolour, gouache and pencil to the extent of both acknowledging the under recognised history of women’s photographic work – historically, women were employed by studios to hand-paint or tone photographic prints – and transgressing the smooth surface of photographic prints that was prized by traditional art photographers.

For Allan, overpainting rejected the technical sameness of modern photography and introduced an emotional warmth. Allan’s hand-colouring also interrupted the myth of photographic transparency – the notion of the photograph as a ‘disinterested’ window onto the world. Overpainted, the photograph became subjective, contingent and fallible. The lightness of many of Allan’s interventions enhances this sense of fallibility. (Wall text)

 

With a body of work ranging across painting, photography and performance, investigations of subjectivity have been central to Micky Allan’s practice. Allan has consistently drawn on feminist strategies which emphasise the personal and autobiographical. In the early 1970s she became involved with the experimental performance and collective activities based at The Pram Factory in Melbourne, working there as both a set designer and a photographer, documenting early feminist work. Of this time Allan has said that she saw “photography as a form of social encounter … that in comparison with painting it [was] much more integrated to what was going on.”1

Allan has acknowledged social documentary as the basis of her photographic work. For a short period she recorded political figures and the surrounding social changes in which she was both a participant and an observer. Old age, the second of three series whose focus is lifecycles (the other two being Babies 1976 and The prime of life 1979-80), comprises 40 hand-coloured individual portraits. Allan introduced the technique of hand-colouring in her work in 1976, a technique taken up by many women photographers at that time to counter the then dominant modes of masculine production. While there is stylistic variation across the series, each portrait, close-up in viewpoint, is meticulously rendered in pastel colours. The images do not capture a simple moment but rather work together to poignantly symbolise a rich regard for age. Of this Allan has said: “Altogether they are an attempt to familiarise and personalise “age”, in a society which tends to ignore or stereotype the old.”2

1. ‘On paper – survey 12′, National Gallery of Victoria, Melbourne, 21 Jun ‘ 20 Jul 1980, as quoted in 1987, Micky Allan: perspective 1975-1987, Monash University Gallery, Clayton p. 4
2. Ibid p. 19

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

 

Exhibiting artist’s biographies

Micky Allan (b. Australia 1944) studied Fine Art at the University of Melbourne, and painting at the National Gallery School in the 1960s. Allan began taking photographs in 1974 after joining the loosely formed feminist collective at Melbourne’s experimental arts and theatre space the Pram Factory. During this time Allan was part of a vibrant community of feminist artists that included Virginia Coventry, who taught her how to take and print photographs. Allan returned to painting as her primary medium in the early 1980s.

Pat Brassington (b. Australia 1942) is a Hobart-based artist who studied printmaking and photography at the Tasmanian School of Art, graduating with a Master of Fine Arts in 1985. Brassington draws on a personal archive of visual material to compose her images. This archive includes both photographic and non-photographic material, which has either been found or produced by Brassington. Her work takes inspiration from surrealist photography, with its recurring interest in fetish objects and uncanny domestic scenes. Brassington typically employs digital collage to manufacture disjointed compositions, and she exhibits her work in elliptical series that suggest dream-like narratives.

Virginia Coventry (b. Australia 1942) studied painting at the Royal Melbourne Institute of Technology during theearly 1960s, before undertaking postgraduate studies at the Slade School of Fine Art, University College, London. While painting and drawing have been constant features of Coventry’s practice, she started taking photographs during the mid-1960s and developed a significant reputation for her photo-based work during the 1970s. Her photographic work typically engages with socio-political issues and often incorporates textual elements that give it a discursive form.

Sandy Edwards (b. New Zealand 1948 arr. Australia 1961) has been an important figure in Australian photography as both a maker and advocate since the 1970s. Edwards’s practice has paid particular attention to women and their relationship with the media of photography and film. Most of her work is documentary in nature but her photographic prints are often presented in sequences that elaborate conceptual points. Edwards has also been a prolific curator of exhibitions promoting the work of contemporary photographers, especially in Sydney.

Anne Ferran (b. Australia 1949) is a Sydney-based photographer and academic. She studied humanities and teaching before training in photography at Sydney College of the Arts. She began exhibiting her work in the mid-1980s and has become one of Australia’s most critically acclaimed photographers. Ferran’s practice is largely concerned with using photography to reclaim forgotten pasts, with a specific interest in the histories of women and children in colonial Australia. In pursuing this interest, Ferran often develops her projects through archival research and fieldwork.

Sue Ford (Australia 1943-2009) studied photography at RMIT and was the first Australian photographer to be given a solo exhibition at the National Gallery of Victoria in 1974. Over the course of her artistic career Ford worked with still photography and moving images, beginning with traditional analogue film and then embracing the possibilities offered by photomedia and digital technologies. In this respect, Ford is a key figure in the history of avant-garde photographic experimentation. Ford’s artworks are also remarkable for their critical engagement with contemporary social issues, while also expressing deeply personal perspectives on the world.

Christine Godden (b. Australia 1947) has played a significant role in Australian photography as a maker, curator and advocate. After studying in Melbourne, Godden completed a Bachelor of Fine Arts at the San Francisco Art Institute in 1975 and a Master of Fine Arts at the Visual Studies Workshop in Rochester, New York in 1980. On her return to Australia, she became director of the Australian Centre for Photography, Sydney, and was consequently a prominent spokesperson for Australian photography during the 1980s. Her own photography is couched in a highly personal and poetic form of documentary practice.

Helen Grace (b. Australia 1949) is a self-taught artist who began making work as an active member of feminist and labour organisations in Sydney during the mid-1970s. Often straight-forwardly documentary in style, Grace’s approach to photography is closely aligned with political consciousness raising. Her work for the labour and women’s movements was widely circulated around the time of its production, both in the pages of publications and in posters produced by trade unions and women’s groups. Grace’s writing on photography and film, history and politics have also made a significant contribution to the critical discussion that surrounds feminist practice in Australia.

Janina Green (b. Germany 1944 arr. Australia 1949) studied Fine Arts at Melbourne University and Victoria College before training as a printmaker at RMIT. In the 1980s she taught herself photography and subsequently specialised in this medium. Green held her first solo exhibition of photography in 1986 and has exhibited regularly since then, participating in over 30 group exhibitions and producing over 20 solo shows. Green’s photographs are distinguished by their sophisticated and often sensuous surfaces, which testify to her early training in printmaking. In her role as a teacher in the photography department at the Victorian College of the Arts, Green has also played a significant role as a mentor for younger photographers.

Fiona Hall (b. Australia 1953) initially trained as a painter, and has ultimately become a celebrated sculptor, but photography was her primary medium in the late 1970s and early 1980s. Hall developed an interest in photography at art school and worked as an assistant to the well-known landscape photographer Fay Godwin while she lived in London between 1977-78. Hall subsequently studied photography at the Visual Studies Workshop in New York during 1982. Hall’s photographic practice demonstrates a fascination with decoration and style, which is informed by a critical interest in the premise of a ‘feminine’ sensibility.

Ponch Hawkes (b. Australia 1946) took up photography in 1972 while working as a journalist for the counter-cultural magazines Digger and Rolling Stone. Her early photography was informed by her role as a commentator on alternative social issues, and she has often used her images to engage with contemporary critical debates. During the 1970s Hawkes was part of a loosely formed feminist collective based at Melbourne’s experimental arts and theatre space the Pram Factory. Since that time she has continued to work closely with community groups around Australia and remains a key figure in contemporary photographic practice.

Carol Jerrems (Australia 1949-80) was born in Melbourne and studied photography at Prahran Technical College under Paul Cox and Athol Shmith between 1967 and 1970. Although she practised as an artist for only a decade, Jerrems has acquired a celebrated place in the annals of Australian photography. Her reputation is based on her compassionate, formally striking pictures, her intimate connection with the people involved in social movements of the day, and her role in the promotion of ‘art photography’ in this country.

Merryle Johnson (b. Australia 1949) graduated from Bendigo College of Advanced Education in 1969 with a major in painting. She took up photography in 1970 and it subsequently became central to her professional life, both as an arts educator and an exhibiting artist. Johnson’s approach to photography is informed by her broader training as an artist. This is particularly evident in her use of hand-colouring and sequencing. While the subject matter of her images is largely drawn from everyday life, she employs artistic devices to bring a sense of drama and fantasy to documentary photography.

Ruth Maddison (b. Australia 1945) is a self-taught photographer and artist. Maddison began working as a professional photographer in 1976, and she has been regularly exhibiting her work since 1979. Photography has been her primary medium, but in later years her artistic practice has expanded to include moving-image, textiles and sculpture. An interest in personal biography and the celebration of everyday existence informs her artistic practice. She is most well-known for her hand-coloured photographs of domestic life. In 1996 Maddison relocated from Melbourne to Eden, on the south coast of NSW.

Julie Rrap (b. Australia 1950) studied humanities at the University of Queensland (1969-71) before establishing her career as an exhibiting artist in Sydney during the 1980s. Rrap’s involvement with performance art and avant-garde politics during the 1970s laid the foundations for her later work in photography, painting, sculpture and video, which is largely concerned with the representation and experience of women’s bodies. The photographic objectification of female bodies is a persistent theme in Rrap’s work, but her highly expressive self-portraits invest the medium with a subjective intensity that affronts the clinical quality of voyeurism.

Robyn Stacey (b. Australia 1952) is a Sydney-based photographer who has been exhibiting since the mid-1980s. During the 1980s Stacey produced staged or ‘directorial’ photographs that drew on the visual language of cinema and television. Through the 1990s Stacey engaged in further training and study, and experimented extensively with new media including digital photography and lenticular prints. In 2000 Stacey began working with natural history collections in Australia and overseas, using photography to bring the contents of these archives to life. Throughout her career, Stacey has been interested in photography as an expressive medium that can be used to reiterate, remix and reanimate visual information.

 

 

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Victoria 3150 Australia
T: + 61 3 8544 0500

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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