Archive for the 'Australian artist' Category

22
Aug
14

Review: ‘The road: Photographers on the move 1970-1975′ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 13th June – 31st August 2014

Artists: Micky Allan, Virginia Coventry, Gerrit Fokkema, John Gollings, Tim Handfield, Ian North, Robert Rooney, Wes Stacey

 

This is another stimulating exhibition at the Monash Gallery of Art, a gallery that consistently puts on some of the best photography exhibitions in Melbourne each year. Kudos to them.

Each of the eight artists in this exhibition present mainly conceptually based work. Each body of work is individually strong but in the context of the exhibition they come together seamlessly to form a kind of giant jigsaw puzzle of images, a series of impressions of Australia and the road: work that responds to the experience of automotive travel in Australia, announcing “the road-trip as the quintessential Australian journey, highlighting the challenges to life and culture that accompanied suburban expansion and the ways that Australians embraced the road during the 1970s and ‘80s.”

It is a pleasure to finally see Ian North’s colour series Canberra suite (1980-81, below). Having seen but a few images online, to see the whole body of work in the flesh was illuminating. While lacking the formal rigour and structure of some of the other work in the exhibition, I enjoyed the natural simplicity of the photographs, their planned naïveté, which perfectly captures the suburbs of Canberra at that time. I also delighted in the intimacy of the small silver gelatin prints of Micky Allan’s Mock-up for ‘My trip’ 1976 (1976, below) with their pithy aphorisms such as “Need help?” when the car is bogged.

Another great series is Wes Stacey’s spunky The road (1974-75, below) – small automated chemist shop prints with their 1970s colours and rounded corners all housed in cheap plastic sleeves pinned to board. This series is beautifully resolved which today allows for a sensually self-indulgent nostalgia to form for the time in which they were taken. The cars, the colours, the travel, people and places so evocatively captured on an Instamatic camera form a captivating narrative of “the sense of movement and adventure that underpins a road trip in a relatively cheap and expedient way.” Another strong series of photographs are by Tim Handfield who I have always thought is an excellent photographer with a good eye. As can be seen by the four images in this posting, Handfield is a master at handling form, structure and colour in the image field. In these photographs he almost seems to compress the space inside the photograph so that they have a vaguely threatening presence.

Finally, there is the wonderful Surfers Paradise Boulevard (1973, below) by John Gollings. The artist’s riff on the American artist Ed Ruscha’s book Every building on the Sunset Strip (1966) – which presented composite black and white panoramas of each side of Los Angeles’s Sunset Strip – Gollings vision is in glorious Ektacolour film which highlights the sensuality of what can, at that time, be seen as a sleepy surf coast town. The shock comes on seeing the main strip of the town and envisioning in your mind what a monster it has become today… how human beings almost always despoil the very thing that is beautiful and valuable in a spiritual sense (such as my favourite place in Australia, Byron Bay). This fragmented, Hockney-esque view of the vernacular forms of cultural expression perfectly captures the insouciance of a town that doesn’t yet know what’s going to hit ‘em – through an ideal representation of contemporary urban space and the automotive experience of it.

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 text and photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Marcus Bunyan and Monash Gallery of Art

 

 

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Installation view of Ian North’s series Canberra suite 1980-81 at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

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Installation views of Wesley Stacey’s series The road 1974-75 at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

 

This exhibition brings together a range of photographic projects that responded to the experience of automotive travel in Australia during the 1970s and ’80s. The work in this exhibition shows that there was a strong relationship between photography and the road in Australian culture at this time. Photography helped to make sense of the particular experience of movement made possible by faster cars and better roads; at the same time, it helped to demonstrate the challenges to life and culture that accompanied suburban expansion and the rise of the road in Australia.

The road is one of the great subjects in Australian visual culture. In many of our greatest films, books and works of art, the road is a place where personal identity is negotiated, where the national story unfolds, and where culture, technology and nature come together at times in extraordinary ways. MGA’s latest exhibition The road: Photographers on the move 1970-1975 brings together a range of photographic projects that explore the road as experienced by many Australians in the 1970s and ‘80s.

Presenting the work of eight prominent Australian artists, The road: Photographers on the move 1970-1975 announces the road-trip as the quintessential Australian journey, highlighting the challenges to life and culture that accompanied suburban expansion and the ways that Australians embraced the road during the 1970s and ‘80s. Using a range of strategies – from Instamatic cameras and chemist-shop printing, to expansive composite panoramas and photographic grids that replicate the experience of the modern city – these photographers helped to make sense of the particular experience of movement and landscape made possible by faster cars and better roads, in a way only photography could.

The exhibition features some of the most significant photographic projects produced by Australian photographers during this period. Wes Stacey’s mythic series of over 300 photographs The road presents an epic travelogue of road trips made by the artist in his Kombi Van during 1973 and 1974. The exhibition also features John Gollings’s monumental, ten-metre long streetscapes of Surfers Paradise Boulevard from 1973, as well as Robert Rooney’s iconic Holden park, featuring the artist’s Holden car parked in 20 different locations across Melbourne. The road also features work by two of Australia’s most important feminist photographers, Micky Allan and Virginia Coventry, who both challenged many of the gendered assumptions about the road, automotive travel and Australian life during the ‘70s and ‘80s.

As MGA Curator Stephen Zagala notes, “The road has often provided Australian photographers with a means to an end, whether a landscape or a picturesque community in some distant part of the country. But as this important exhibition shows, during the 1970s, the road took on a whole new meaning for Australian photographers. It provided a space for innovation and experimentation, and also a photographic reconsideration of Australian life.”

Gallery Director Shaune Lakin states, “The history of MGA – with its genesis in the late 1970s – is intricately linked to The road, one of our most important exhibitions of the year. Relatively cheap and accessible petrol, increased private car ownership, and a vastly improved network of roads encouraged the suburban expansion of Melbourne, and MGA is one of the many legacies of this expansion. We are proud to present this exhibition, which provides an as-yet untold account of Australian photography and has such a close historical association with our gallery.”

Press release from the MGA website

 

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Installation views of Micky Allan’s Mock-up for ‘My trip’ 1976 (1976) at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

 

Micky ALLAN
b. 1944, Australia

Micky Allan’s My trip is a conceptual art project based on a road trip that she made through country Victoria in 1976. Allan’s conceptual premise was to photograph everyone who spoke to her and then invite these people to use her camera to photograph whatever they chose. Allan also recorded the conversations that transpired in these encounters, and subsequently compiled all these elements as a photographic essay that was printed and distributed as a broadsheet. Like many road trip narratives, Allan’s My trip conceptualises travel as a trajectory of chance encounters that illuminate social differences.

Micky Allan completed a Bachelor of Fine Arts at the University of Melbourne in 1967 and a Diploma of Painting at the National Gallery School in 1968. Allan began taking photographs in 1974 after joining the loosely formed feminist collective at Melbourne’s experimental arts and theatre space the Pram Factory. In this context Allan was part of a vibrant community of feminist artists that included Sue Ford, Ruth Maddison, Ponch Hawkes and Virginia Coventry, who taught her how to take and print photographs. Allan is well-known for reclaiming the antiquated practice of hand-colouring monotone photographs, as a way of investing the photo-mechanical process with subjective qualities. She has often used the theme of travel to embed her practice in a personal journey of discovery.

 

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Installation views of Virginia Coventry’s series Service road 1976-78 (detail) at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

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Virginia Coventry
born Australia 1942
Service road
1976-78
1 of 34 gelatin silver prints and two text panels
26.5 x 32.5 (each)
Collection: Powerhouse Museum, Sydney
Courtesy of the artist and Liverpool Street Gallery (Sydney)

 

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Virginia Coventry
born Australia 1942
Service road
1976-78
1 of 34 gelatin silver prints and two text panels
26.5 x 32.5 (each)
Collection: Powerhouse Museum, Sydney
Courtesy of the artist and Liverpool Street Gallery (Sydney)

 

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Virginia Coventry
born Australia 1942
Service road
1976-78
1 of 34 gelatin silver prints and two text panels
26.5 x 32.5 (each)
Collection: Powerhouse Museum, Sydney
Courtesy of the artist and Liverpool Street Gallery (Sydney)

 

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Virginia Coventry
born Australia 1942
Service road
1976-78
1 of 34 gelatin silver prints and two text panels
26.5 x 32.5 (each)
Collection: Powerhouse Museum, Sydney
Courtesy of the artist and Liverpool Street Gallery (Sydney)

 

 

Virginia COVENTRY
b. Melb 1942

Virginia Coventry’s Service road continued the artist’s interest in reflecting social and emotional experiences that differed from dominant, particularly masculine positions and experiences. The series presents two rows of reverse-angle photographs of houses and empty blocks that line a service road near the recently-completed Princes Freeway at Moe, Victoria. The weatherboard houses and the scene no doubt reflect the experience of many Australians living in postwar suburban developments who commuted between home and work, in this case the thousands of men who worked at the nearby Yallourn and Morewell power stations. Coventry photographed these homes and empty blocks as if viewed from a car passing by. Coventry has also included a number of views of the road, seen from inside the homes. The dark interiors take on a particular psychological and emotional countenance, one that contrasts starkly with the brightly lit outside. In this way, the series illuminates the experience of many women for whom the service road was a place of loneliness and dislocation.

Virginia Coventry studied painting at the Royal Melbourne Institute of Technology during the early 1960s, before undertaking postgraduate studies at the Slade School of Fine Art, University College, London. While painting and drawing have remained a constant part of Coventry’s practice, she started taking photographs during the mid-1960s and developed a significant reputation during the 1970s for her photographs and installations. Her photographic work often comprised sequences of images combined with text and other fragments, and examined the relationship of landscape, place and power – particularly in relation to the experience of women. Her photographs were included in a number of key exhibitions of the period, including Three women photographers at George Paton Gallery, the Sydney Biennales of 1976 and 1979, Ten viewpoints (Australian Centre for Photography, 1976), and Self portrait/self image (Victorian College of the Arts, 1980).

 

Gerrit FOKKEMA
b. 1954, Papua New Guinea; Australia since 1958.

During the 1970s Gerrit Fokkema used the spacious streetscapes of Canberra to compose surreal photographs of contemporary urban life. In Exit Canberra and Ligertwood Street, the infrastructure of new suburbs has become overgrown with grass while waiting to be populated. The road itself doesn’t appear in these photographs, but its presence is alluded to with street signs and a lamp post. In this way, Fokkema suggests that these places exist at the ‘end of the road’ or on a ‘road to nowhere’. The optimistic skies that feature in these photographs seem to mock the aspirations of Canberra’s town planners.

Gerrit Fokkema studied photography at Canberra Technical College (1974-77) while working as a press photographer. In 1980 he moved to Sydney to work for the Sydney Morning Herald, and in 1986 he left the paper to pursue a freelance commercial career. Throughout his professional life Fokkema has maintained a personal photographic practice and exhibited his work on numerous occasions. He held his first solo exhibition at the Australian Centre for Photography in 1975, where he exhibited regularly throughout the late 1970s. His photographs are executed in a social-documentary mode, with a particular interest in urban landscapes and situated portraits of ‘everyday’ Australians.

 

John Gollings. 'Surfers Paradise Boulevard' 1973 (installation view)

John Gollings. 'Surfers Paradise Boulevard' 1973 (detail)

John Gollings. 'Surfers Paradise Boulevard' 1973 (detail)

John Gollings. 'Surfers Paradise Boulevard' 1973 (detail)

 

Installation and detail views of John Gollings’ work Surfers Paradise Boulevard 1973 (details) at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

 

John GOLLINGS
b. Melb 1944

John Gollings is best known for his architectural photography, and has over the last four decades photographed most of Australia’s and Asia’s most significant architectural projects. In 1973, Gollings travelled to Surfers Paradise to photograph its buildings, streetscape and signage. He had recently read influential architects Robert Venturi, Denise Scott-Brown and Steven Izenour’s book Learning from Las Vegas (1972), which asked architects to pay closer attention to vernacular forms of cultural expression in favour of heroic or monumental architecture of the past. Gollings was also familiar with the work of the Californian artist Ed Ruscha, notably his book Every building on the Sunset Strip (1966), which presented composite panoramas of each side of Los Angeles’s Sunset Strip. For many urbanists at the time – including the authors of Learning from Las Vegas – Ruscha’s book realised an ideal representation of contemporary urban space and the automotive experience of it.

Gollings undertook a depiction of Surfers Paradise Boulevard that drew on Ruscha’s composite panorama of Sunset Strip. Sitting on the bonnet of a V8 Valiant station wagon, Gollings drove up and down Surfers Paradise Boulevard on a quiet Sunday morning, progressively photographing each side of the strip with his Nikon camera using Ektacolour film. The resulting composite panorama has become a remarkable historical record of an urban setting that has undergone radical transformation in the time since 1973.

 

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Installation view of Tim Handfield’s work Babinda 1981 at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

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Installation view of Tim Handfield’s work Gordonvale 1981 at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

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Tim Handfield
born Australia 1952
Promenade
1985
Silver dye bleach print
51.0 x 67.0 cm
collection of the artist
courtesy of the artist and M. 33 (Melbourne)

 

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Tim Handfield
born Australia 1952
Bayview Heights, Cairns
1980
Silver dye bleach print
51.0 x 67.0 cm
collection of the artist
Courtesy of the artist and M. 33 (Melbourne)

 

 

Tim HANDFIELD
b. Melb 1952

These photographs come from an extended series of pictures taken by Tim Handfield on the road. The series features images of the roadside landscape of places Handfield travelled through and visited along Australia’s eastern seaboard during the 1980s. The photographs relate to a broad body of often diaristic postwar literature, cinema and visual arts that considered the particular experience of the world made possible by the road (at least in the West). In this way, the pictures reflect the dominance of American culture at this time, when earlier assumptions about the road as a place of quest and opportunity were giving way to accounts of the road as a place of boredom, sameness and danger. The series is also about the particular experience of travel and landscape in Australia, at a time when the impending bicentennial of European settlement led many to reconsider the assumptions upon which Australian life was based.

Tim Handfield has been working at the forefront in Australia of new colour photographic processes since the mid-1970s. Spending extended periods of time in the United States during the early to mid-1970s, Handfield became interested in the work of American photographers such as William Eggleston and Stephen Shore, who found deadpan beauty in the banality of American suburban life. After returning to Australia, Handfield sought out non-dramatic urban sites, which he photographed in highly formal ways. These images were ideally served by the Cibachrome printing process, a dye destruction positive-to-positive photographic process noted for the purity of its colour, clarity of image and archival stability.

 

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Ian North
born New Zealand 1945; arrived Australia 1971
Canberra suite
1980-81
1 of 24 chromogenic prints, printed 1984
37.0 x 46.0 cm (each)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of David Symen & Co. Limited, 2001
Courtesy of the artist

 

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Ian North
born New Zealand 1945; arrived Australia 1971
Canberra suite
1980-81
1 of 24 chromogenic prints, printed 1984
37.0 x 46.0 cm (each)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of David Symen & Co. Limited, 2001
Courtesy of the artist

 

 

Ian NORTH
b. 1945, New Zealand; Australia from 1971.

Ian North developed his Canberra suite while living in Canberra during 1980-84. The suite reflects North’s experience of the particular suburban interface that is so intrinsic to Walter Burley-Griffin’s vision of Canberra. Having grown up in New Zealand, making artwork about the sublime urban spaces of Wellington, North brought a particularly soulful sensibility to Australia’s suburban capital. Canberra suite also reflects North’s professional experience of the city. He moved to Canberra in 1980 as the first Curator of Photography at the National Gallery of Australia. A key feature of NGA’s collection development at the time was the acquisition of work by contemporary American photographers, including prints by William Eggleston and Stephen Shore and books by Ed Ruscha. After work hours, North made a pastime of wandering the streets of Canberra and taking photographs in a similar vein. Like his American contemporaries, North embraced the roadside as an uncanny threshold between public and private space, systematically documenting the everyday in order to imbue it with a sense of mystery.

Ian North initially studied art history and spent most of his professional life working as a curator and an academic. Alongside his career as a curator, North developed a substantial artistic practice which flourished when he moved away from museum-based work. Working with photography and painting, North’s art practice focuses on the representation of the landscape.

 

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Installation views of Robert Rooney’s series Holden Park 1 & 2, May 1970 at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

 

Robert ROONEY
b. Melb 1937

Robert Rooney’s Holden Park 1 & 2, May 1970 is one of the key works of postwar Australian photography. The work comprises a grid of photographs depicting Rooney’s Holden car parked at 19 different sites around the artist’s East Hawthorn home, locations which Rooney chose at random from a street directory. Holden Park draws on a range of influences that include the photographic books of American conceptualist Ed Ruscha, the absurd topographies of the Swiss conceptualist Daniel Spoerri, and the American composer John Cage’s interest in chance as a creative principle. However, and while the work is very ‘literate’ in relation to these influences, Holden Park is very much a product of postwar Melbourne. Rooney has always maintained a strong interest in the suburban experience and the way that Melbourne has developed around this experience. While it would be disingenuous to say that Holden Park is a product of social history, it was certainly informed by and reflects the sensation of driving around Melbourne’s suburbs on a Sunday afternoon.

Robert Rooney is one of Australia’s best-known artists. Rooney studied art and design at Swinburne Technical College and quickly developed a significant reputation for his abstract painting and art criticism. Rooney gave up painting during the early 1970s and for over a decade focussed largely on photographic work. Using an Instamatic and later a 35 mm camera, Rooney photographed in great detail his suburban life, organising his pictures according to gridded frameworks that seemed to distil the rigour of European and American conceptualism and performance art, the humour of Pop Art, and the particular countenance of Australian suburban life during the 1970s. Examples include AM/PM of 1974, for which Rooney photographed his bed each morning and night for 107 days, and Garments 1972-73, for which he photographed the clothes he would wear each day for 107 days.

 

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Installation views of Wesley Stacey’s series The road 1974-75 (detail) at the exhibition The road: Photographers on the move 1970-1975 at the Monash Gallery of Art

 

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Wesley Stacey
born Australia 1941
The road (details)
1974-75
304 chromogenic prints
9.0 x 12.7 cm (each)
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist

 

 

Wesley STACEY
b. 1941 Australia

Wesley Stacey’s The road is an epic travelogue that documents a series of specific road trips made by the artist in his Kombi Van during 1973 and 1974. This project grew out of Stacey’s interest in Instamatic cameras and automated colour printing, which became readily available during the early 1970s. Remote Australian landscapes are a persistent theme in Stacey’s photography, but these new technologies allowed him to document the sense of movement and adventure that underpins a road trip in a relatively cheap and expedient way. The road was initially exhibited as a series of sequential panels at the Australian Centre for Photography in 1975, and then re-configured as a series of photobooks containing 305 prints. A second version containing 280 photographs was printed for the National Gallery of Australia in 1984.

Wesley Stacey studied drawing and design at East Sydney Technical College (1960-62) before working as a graphic designer and photographer for the ABC in Sydney and the BBC in London through the 1960s. In the late 1960s he worked as a magazine photographer in Sydney and from 1969-75 worked as a freelance commercial photographer. In 1973 Stacey helped establish the Australian Centre for Photography and was a member of its inaugural board of management. In 1976 Stacey moved to the Bermagui area of the NSW South Coast, where he purchased land and established a rudimentary bush camp where he continues to live.

Text © Monash Gallery of Art 2014

 

 

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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19
Aug
14

Review / Interview: Simon Maidment, co-curator of the exhibition ‘David McDiarmid: When This You See Remember Me’ at NGV Australia, Melbourne

Exhibition dates: 9th May – 31st August 2014

 

Here’s winking at you, sweetie…

My apologies for the slightly out of focus nature of some of the installation photographs, but I had to take them quickly as I walked through the gallery with co-curator Simon Maidment. If you relied on the nine press images supplied by the NGV (bottom of the posting), you would have no idea of the complexity of this artists work nor would you possess an understanding of the scale, intimacy, brashness, beauty and confrontational visibility of the art. You would also have no idea what a stunning installation the NGV has produced to display the work.

Simply put, this is the best exhibition I have seen in Melbourne this year.

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David McDiarmid (1952-95) – activist (the first gay person ever to be arrested in Australia) and multi-dimensional artist – proves the personal IS political AND influential. His work moves from early personal narratives through decorative to visually commanding and confrontational art. As homosexual identity transits from camp to gay to queer, McDiarmid deconstructs and redefines this identity using context as a FOIL for his art making. As Robert Nelson in his excellent review of the exhibition in The Age newspaper observes, “McDiarmid’s expression of the erotic is an act of protest as well as festivity. When McDiarmid began in full fervour, gay sex was not only reviled but illegal; and as he ended his career, homosexuality seemed to pass from the police to the undertaker. He began his expose of gay eroticism in the spirit of a demonstration and ended it as an act of compassion.”1

Well said. Homosexuality was illegal were McDairmid started making art and was deathly when he himself succumbed to the Grim Reaper. But during the journey that he took the key thing to remember is that McDiarmid never “passed” as something he was not. He was always up front, out there, doing his thing since he was first arrested in 1971. He was always pushing the boundaries, offering a wider perspective on social histories and political contexts. He questioned the marginalization of minorities (Secret Love, 1976), the boundaries of self and society and examined taboo and transgression in a conservative society. He lived at the cutting edge of culture. Later, he waged a life and death struggle for HIV/AIDS funding, awareness and compassion with a fierce determination combined with sparkling wit, humour and sardonic aphorisms. Sexual politics and safe sex campaigns went hand in hand.

Of course, sexuality and sexual identity were at the core of his creativity. He explored the urban gay male world and the struggle for gay rights, sexual and emotional sensibilities and the cultural politics of HIV/AIDS. Early work was influenced by time spent in New York (where he knew Keith Haring) and San Francisco, where he experienced the development of the clone scene and the music of the clubs. His mode of construction has a lot in common with folk and women’s art (in particular patchwork and quilting) coupled with the use of contemporary materials (such as holographic foil).

McDiarmid’s later work becomes more symbolic and universal but still contains that cutting edge of the personal (DEMENTED QUEEN REMEMBERS HER NAME – forgets to die; POSITIVE QUEEN FEELS NEGATIVE – goes shopping). In the most amazing room of art I have seen this year, McDiarmid uses reflective cut and tiled holographic foils to create moving tribute and biting comment on the HIV/AIDS epidemic. In this darkened room the viewer is surrounded by tiles that “scintillate in spectral transience, changing their colours holographically according to your movement. The image is blunt and horny but also melancholy and scary; and similarly the medium impenetrable, deflecting the gaze and forcing you to change perspective.” (Robert Nelson)

But it’s more than that. You are surrounded by metallic flesh and embedded amongst the iridescence is both love and hate, life and death, winking eyes and holographic rainbow coloured skulls. Body language (1990, below) contains the names of McDairmid’s dead lovers woven into its fabric, a Swastika with the word AIDS for a head and the desire for the anus as a man pulls his arse cheeks apart. But here’s the rub – the tiny, puckered hole contains a holographic image of a winking eye, inviting you in, sharing the death/life joke with you. It’s a classic. In this room it feels as though you are surrounded by the fires of hell as the opalescence of the work changes from footstep to footstep, from positive to negative, from love to hate – and the pure beauty of the work is overwhelming. These are absolutely stunning works of art by any mark of the imagination, up there with the very best art ever made in Australia. His famous Rainbow Aphorisms series 1994 (below) are strong but they are are not a patch on the silver foil works. Less successful are the textile and costume designs, the weakest part of the exhibition.

One question springs to mind. Would his art have been as strong without the impetus of “death art” behind it? What would it have looked like?

I wonder which direction his art would have taken after his initial investigation of gay male identity had he not contracted HIV/AIDS and started making art about the disease. This strong focus gives the work the impetus and grunt it needed to move from the purely decorative and graphic, ney camp in some cases, to work with serious gravitas. In these later works McDiarmid lays it all on the line and just goes for it. I am so glad he did. They are powerful, concise, confrontational, beautiful, shimmering renditions of a soul living life to the full while he still had time.

It’s a pity the NGV has not advertised and promoted this exhibition more extensively. With a stunning catalogue, insightful research, amazing installation and world class art this is one exhibition you shouldn’t miss in Melbourne this winter.

Dr Marcus Bunyan for the Art Blart blog

ART BLART: THE ONLY PLACE TO SEE INSTALLATION PHOTOGRAPHS OF THIS EXHIBITION ON THE WEB.

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Many thankx to Simon for allowing me to take the installation photographs during our discussion and to the NGV for allowing me to publish them, along with the nine press images at the bottom of the posting. Please click on the photographs for a larger version of the image.

 

 

Unidentified photographer. 'David McDiarmid at his first one-man show 'Secret Love', Hogarth Gallery, Sydney, 1976' 1976

 

Unidentified photographer
David McDiarmid at his first one-man show ‘Secret Love’, Hogarth Gallery, Sydney, 1976
1976
Silver gelatin photograph
Dennis Altman Collection, Australian Lesbian and Gay Archives (ALGA)

 

David McDiarmid Installation photograph of early works

David McDiarmid Installation photograph of early works

 

David McDiarmid
Installation photograph of early works including, in the case, Vest (c. 1972), hand-embroidered by McDiarmid with the words ‘sydney gay liberation’ as a gift for John Lee with photographs of McDiarmid and artist Peter Tully used as a wallpaper on the wall behind at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid Installation photograph of early works including 'Secret Love art show, poster' (1976, far left), 'Secret Love' (1976, top centre left), 'Ken's Karate Klub' (1976, centre below left) and 'Tube of joy' (1976, above right) - all from the 'Secret Love' series, 1976 except KKK

 

David McDiarmid
Installation photograph of early works including Secret Love art show, poster (1976, far left), Secret Love (1976, top centre left), Ken’s Karate Klub (1976, centre below left) and Tube of joy (1976, above right) – all from the Secret Love series, 1976 except KKK – at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Secret Love' 1976

 

David McDiarmid
Secret Love
1976
From the Secret Love series, 1976
Metallic paint, red fibre-tipped pen, coloured pencil, collage of cut photo-offset lithograph and red and black ink on graph paper
78 x 66 cm
Collection of Paul Menotti and Bryce Kerr, Sydney

 

David McDiarmid. 'Secret Love' 1978

 

 

David McDiarmid
Secret Love
1978
Collage of cut colour photo-offset lithographs on plastic, metal and plastic
135 x 142.8 cm
Collection of Bernard Fitzgerald, Sydney

 

David McDiarmid. 'Secret Love' 1978 (detail)

 

David McDiarmid
Secret Love (detail)
1978
Collage of cut colour photo-offset lithographs on plastic, metal and plastic
135 x 142.8 cm
Collection of Bernard Fitzgerald, Sydney

 

David McDiarmid Various artworks from 1978

 

 

David McDiarmid
Various artworks from 1978 including Strangers in the night (top second left), Mardi Gras (top fourth left), Juicy fruit (top second right) and Real confessions (bottom second left)
All National Gallery of Victoria

 

Bush Couture, Sydney (fashion house) Linda Jackson (designer) David McDiarmid (painter) 'Paua kimono' 1984

 

Bush Couture, Sydney (fashion house) (front)
Linda Jackson (designer)
David McDiarmid (painter)
Paua kimono
1984
National Gallery of Victoria, Melbourne

 

 

Interview with co-curator Simon Maidment

MB: First of all Simon, can I ask how long have you been at the National Gallery of Victoria and what brought you to the institution?

SM: I’ve been at the NGV since June 2013 and I joined because of a new vision for the gallery which is making contemporary art a priority, both in collecting practices in the exhibitions that the NGV holds. Recently, there has been a real push for change, precipitated by the appointment of Max Delany who is a friend and colleague I respect a lot and who has been really supportive of my career.

MB: So what was your background in terms of training?

SM: I studied as an artist and immediately before coming to the NGV I was undertaking my PhD at The University of Melbourne’s Victorian College of the Arts Centre for Ideas with Elizabeth Presa as one of my supervisors.

MB: And what new knowledge was your PhD based around?

SM: It investigated curatorial practices that could be thought of as context responsive, looking at artists who seek to enact some sort of social and/or political change.

MB: So this exhibition would be perfect to fit into that…

SM: Yes, indeed… so largely my background has been working with living artists. I have done a few shows in which I have worked with existing bodies of work, but I have done a lot of shows where I have been facilitating artists works. I started as an artist working in media arts – sound, video, projection and digital technologies – and often worked as a studio assistant for more senior artists, people like Sue Ford, Susan Fereday, Ian de Gruchy and my role with them became more and more about facilitation. Then the directorship of Westspace came up and I got that, and my focus turned more from collaboration and working as a studio assistant to facilitation. I became a curator because basically that is what I was doing.

MB: So can you tell me Simon, what was the lead in time for this exhibition? I know it was postponed and delayed at various times, what were the reasons for that?

SM: It was kind of before my time so I am not really sure, but there have been different curators at different times from the NGV involved with the project. So Ted Gott was involved with the exhibition, even before he began work at the NGV. Ted was involved with David’s estate with Sally Gray, my co-curator, right from the start, so he’s been an advisor to Sally right from the start of this long journey. I think the initial discussion about the show was with Ted, and then when Jason Smith was in my position he was involved in this project. When I was talking with Sally the very first discussions about holding the exhibition at the NGV was maybe 15 years ago…

MB: So to finally get it here and up on the walls…

SM: So when I started 11 months ago there was really very little in place. So Max Delany and Sally started a conversation about working towards this show probably about 14 months ago. When Tony Ellwood started he was like, “We’re doing this show.” He’s a big fan of David McDiarmid. He was very familiar with his work so I think that helped speed things along and he really facilitated getting this exhibition done. It was scheduled for 2011.

MB: To get it together from start to finish in 14 months is pretty amazing really…

SM: It was a lot of work but bearing in mind how familiar Sally is with the material we kind of had a real head start.

MB: But then you have to pull it all together from lenders and institutions that hold works and that would have been very intensive. Then to design it all and to make it look like it does. It looks fantastic! Everyone at the opening was just smiling and having a good time, looking at the work, remembering.

SM: I knew the work en masse would blow people away.

MB: Reading the catalogue, you can see that David comes from a period where there was a ground swell of social movements, which was almost like one movement. Everybody went to everyone else’s rallies and they all protested together. David McDiarmid was the very first gay person to get arrested in Australia and at the moment I am digitally restoring the image of him being marched away by two policemen at the ABC protest in Sydney. It is so degraded it will take a long time to restore but it is a really important image. Out of that there comes a real social conscience, fighting for your rights and freedom. So leading on from that, when you think about having this exhibition here now (after Ted Gott’s seminal exhibition Don’t Leave Me This Way: Art in the Age of AIDS at the National Gallery of Australia in 1994), you observe that marginalised voices rarely enter institutional centres of art, rarely enter the mainstream art. It’s usually ARI’s or small public galleries. Not that the artist is gay (because they are just artists) but that the CONTENT addresses gay issues – which is why it’s so fantastic to see this exhibition here at the NGV.

So were there any barriers here to doing David’s show?

SM: No, not really. I think one of the really important things to note is that they show would not have really happened without the large gift from the estate. Becoming the key holder and custodian of David McDiarmid’s work added extra emphasis and responsibility about doing the right thing. At that point the organisation is implicated in that legacy and somehow we have to disseminate the work out into the community.

MB: It is quite a confronting show, how do you think the general public will respond to it?

SM: I have done a couple of tours of people through the exhibition, members and other, and one of the things that has been surprising to me, in a way, which has only become apparent when I have been describing the show in which David makes work in response to particular social and political conditions and contexts… is how different things are. AIDS is now not a terminal illness. To speak to a younger generation than even myself, they have no idea about dying from lack of a viable treatment, of AIDS being a death sentence.

MB: Last night I had a cry for all the people I had loved and lost. But it’s not just the public coming in to see this exhibition, it’s young gay men who don’t ever see anybody ill, don’t understand about the side effects of taking the medication, about what living with HIV is like. They don’t understand the struggle that went on for them to live as they do now. Do you think they will engage with that?

SM: We have structured the show in a way that teases those things out. One of the aspects of McDiarmid as a figure that I find very interesting is that, in 20 short years of practice, he spanned incredible key moments and periods of change in broader society and also within gay society. The legal, medical, institutional change… and really looking at that 20 years is looking at a period of immense social change. The narrative of the exhibition is then to reflect on that broader cultural shift through the biography of one person.

MB: It’s interesting when I looked at the show, when you start making work as an artist it’s always about personal narratives – lovers, friends, places – which then widens out into more universal concerns. You can see in David’s early work him scribbling, writing and really intimately notating his world, investigating his self and his relations to the world around him. And then to take that insight and then to mould it into these reflective images into the Rainbow Aphorisms at the end is an incredible journey. Stephen Alkins was saying to be last night that even the last works were still grounded in this humorous, ironic look at life. He as a really important multimedia artist when you actually study the work.

SM: Just to pick up on one aspect that you are mentioning, and going back into my own background, one of things that Max Delany and I have been talking about that has in some ways illuminated this project is that, in the 1970s and 80s that saying ‘The personal is political’, is very important. David’s work is talking very much about the political as his own biography. Perhaps there is a shift in his later work to a more symbolic realm, and I would argue that nowadays artists working in a political and social context and to affect social change is not so much now as a personal identity – a woman, a black man, a gay man – it’s not necessarily about individual identities anymore, in some ways those battles seem to have been won within Western society. Actually for artists now in this context it’s more about neo-liberalism or capitalism. So it tends to be more on an institutional level and people tackling that in a much more symbolic realm. For instance I am thinking of such people as Jeremy Deller, an English artist who engages with British history and in particular his Battle of Orgreave, a reenactment of the actual Battle of Orgreave which occurred during the UK miners’ strike in 1984.

MB: People like Tom Nicholson in Australia, then, who did the Monument for the flooding of Royal Park (2008-2010), a proposition for the scattering of nardoo sporocarp throughout Royal Park, a vast Park in Melbourne’s inner north which was Burke and Wills departure point, now commemorated by a small cairn.

SM: Exactly. Artists like Tom are working in very propositional ways about memory, social imagination, monuments and memorialisation. All those kind of things are very much within a symbolic realm now. McDiarmid’s work fills the personal and then moves into the symbolic.

MB: But then Stephen Alkins said it was always personal to David, still based in the personal. He was very loyal to his friends, he was a very quiet person, very loving person with great energy. But he didn’t suffer fools gladly, and I think that this comes out of that culture of standing up for yourself and being strong because of the stuff we had to go through to where we are today. Seeing this exhibition actually shows you that difference and what we had to fight for.

SM: There’s a real drive there in that last room. He made so much work, across so much media, at the end of his life – that impending death drive was the source of so much creativity.

MB: McDiarmid was heavily influenced by international artists such as Keith Haring but he never really showed overseas. What do you think about that diaspora, that going overseas and then returning home to then begin exhibiting?

SM: Well the earlier work is, as you say, heavily influenced by the New York scene, the clone scene that was prevalent in the 80s – San Francisco, New York – so he’s definitely channelling those places… Interestingly, unlike many other artists, his art practice is nearly all Australian.

MB: Finally, what do you think is is his legacy in terms of his standing as an artist?

SM: In the last ten years of his life he was heavily involved as a community artist. He was incredibly busy and incredibly involved with things like the organisation of the Sydney Gay Mardi Gras and the design of the posters and floats. He was director of Mardi Gras from 1988-90 and he worked up float designs for various groups. You really get a sense of, as you said, of the solitary work of an artist and a real commitment to that work. In terms of his legacy as an artist, I don’t think that we will know until the exhibition is over. His work, such as the Rainbow Aphorisms, has been distributed widely but not really in an art context, and certainly not in a museum show such as this. People have not had the opportunity to visualise his work as a whole body of work until now.

MB: That brings me to the international context. The Keith Haring Foundation relentlessly promotes his work through books, exhibitions and conferences throughout the world. Do you think that you will start promoting his work overseas to other galleries and getting it into international exhibitions?

SM: I think the book will open a lot of doors. Because his work reproduces so well, because his writing is so interesting there is a broad range of voices for the scholars to investigate. But I think because the work reproduces so beautifully that will be hugely important. One of the aspects that the book will hopefully communicate to a younger audience is that of an infected muscular, sexually active, virile man not an emaciated artist… but to understand that and where that came from, and how radical that was at the time. I think that is one of the legacies that people will take away from David’s work. He is one of the artists that has been really instrumental in redefining that imaginary representation of a dying gay man.

MB: I remember seeing those + and – posters in gay sex venues, and thinking to myself, wow those are so amazing, who did those!

SM: Yes, those posters are about not closing down, about always been open to possibilities.

MB: Thank you so much Simon for taking the time to talk to me, it’s been great.

SM: Always a pleasure.

 

Dr Marcus Bunyan with Simon Maidment for the Art Blart blog June 2014

Simon Maidment is Curator of Contemporary Art at the NGV.

 

David McDiarmid Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group's 'Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992'

David McDiarmid Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group's 'Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992'

 

David McDiarmid
Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group’s Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992 (commissioned by the AIDS Council of NSW) at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Sleaze Ball, Horden Pavilion, 12 October 1985' 1985

 

David McDiarmid
Sleaze Ball, Horden Pavilion, 12 October 1985
1985
Screenprint printed in black and gold ink
91.2 x 65 cm (sheet)
National Gallery of Australia, Canberra
Gift of the artist, 1991

 

dm-o-WEB

 

 

David McDiarmid
So I walked into the theatre
1984-85
Synthetic polymer paint, iron-on transfer, and cotton thread on cotton
Heide Museum of Modern Art, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

dm-p-WEB

 

David McDiarmid
So I walked into the theatre (detail)
1984-85
Synthetic polymer paint, iron-on transfer, and cotton thread on cotton
Heide Museum of Modern Art, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

So I walked into the

theatre and lit a cigarette

I looked around. Then I

saw Tony. He lives in

Brooklyn and has a nice

beard and greasy hair.

He didn’t acknowledge

me, but I expected that.

I’d already made it with

him several times before

and each time, he pretended

was the first. He had

even told me his name

once, and that he lived

with a lover. We always

have great sex, but he doesn’t

want me to do anything

but stand there. He has

an incredible mouth…

 

David McDiarmid. 'Disco kwilt' c. 1980

 

David McDiarmid
Disco kwilt
c. 1980
Artbank collection

 

David McDiarmid Installation view of works, mainly from the series 'Kiss of Light', 1990-92 including at left 'Mighty real' 1991

 

 

David McDiarmid
Installation view of works from the series Kiss of Light, 1990-92 including at left Mighty real 1991 with Kiss of Light 1990 right at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne
Collage of cut self-adhesive holographic film on enamel paint on plywood

 

David McDiarmid. 'Mighty real' (detail) 1991

 

 

David McDiarmid
Mighty real (detail)
1991
From the Kiss of light series 1990-92
Collage of cut self-adhesive holographic film on enamel paint on plywood
144.5 x 123.6 cm
Collection of Bernard Fitzgerald, Sydney

 

dm-r-WEB

 

Detail of one of David McDiarmid’s holographic film art works showing the winking eyes

 

David McDiarmid. 'Body language' 1990

 

David McDiarmid
Body language
1990
From the Kiss of light series 1990-92
Collage of cut self-adhesive holographic film on enamel paint on plywood
152.4 x 121.8 cm
National Gallery of Victoria, Melbourne

.
There is a holographic winking eye in the arsehole of this work

 

dm-v-WEB

 

 

David McDiarmid
Thinking of you (detail)
1990
Collage of cut self-adhesive holographic film on enamel paint on plywood
140 x 120 cm
Collection of Steven Alkins, Mullumbimby, New South Wales

 

Installation photograph of the last room showing, at left on the wall, work from the 'Rainbow Aphorisms' series 1994 with in front 'Totem works' 1992-95

 

 

Installation photograph of the last room showing, at left on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-95 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

David McDiarmid. 'Standard bold condensed' 1994

 

David McDiarmid
Standard bold condensed
1994
Screenprint on mylar on colour laser print
255.7 x 242.3 cm (overall)
National Gallery of Victoria, Melbourne
Gift of the Estate of David McDiarmid, 1998

 

Peter Tully (1947-1992) David McDiarmid Australia 1952-1995 Lived in United States 1979-1987 Ron Smith born Australia (1950s) 'Totem works' 1992-95

Peter Tully (1947-1992) David McDiarmid Australia 1952-1995 Lived in United States 1979-1987 Ron Smith born Australia (1950s) 'Totem works' 1992-95

 

David McDiarmid
Works from the Rainbow Aphorisms series
1994, printed 2014
Computer generated colour inkjet prints
149.1 x 110 cm (image and sheet each)
Collection of the McDiarmid Estate, Sydney

 

Peter Tully (1947-1992)

David McDiarmid
Australia 1952-1995
Lived in United States 1979-1987

Ron Smith
born Australia (1950s)
Totem works
1992-95
Anodised aluminium, found objects (installation)
Dimensions variable
Collection of Ron Smith, Woonona, New South Wales

 

Installation photograph of the last room showing, at right on the wall, work from the 'Rainbow Aphorisms' series 1994 with in front 'Totem works' 1992-95, then at left on the wall 'Pictograms' 1995

 

Installation photograph of the last room showing, at right on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-95, then at left on the wall Pictograms 1995 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne

 

 David McDiarmid. 'Pictograms' 1995

 

David McDiarmid
Pictograms
1995
Vinyl and reflective plastic on aluminium

 

 

“I never saw art as being a safe thing. I know that exists but that’s not something that involves me.”

David McDiarmid, 1993

 

The vibrant, provocative and pioneering work of leading Australian artist, designer and gay activist David McDiarmid will be presented in a retrospective exhibition at the National Gallery of Victoria. Defying classification, McDiarmid’s work encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics.

David McDiarmid: When This You See Remember Mewill bring together more than 200 works, including the artist’s early gay liberation work; New York graffiti and disco quilts; fashion collaborations with Linda Jackson; his pioneering Rainbow aphorisms andGothic aphorisms digital work; material he produced as Sydney Mardi Gras Artistic Director; posters created for the AIDS Council of NSW; and, his significant and highly influential international campaigns developed in the context of AIDS, sexual politics and safe sex in the 1990s.

Tony Ellwood, Director, NGV, said, “The NGV is pleased to be staging this retrospective of an artist whose work had enormous impact on both the gay liberation movement and the international dialogue around AIDS, and whose clear messages of liberation, equality and emancipation continue to resonate today. David McDiarmid: When This You See Remember Me explores the social history, as well as political and art historical context, that informed McDiarmid’s work, which inspires through its courage, poetry, exuberance and cultural impact.”

Defying classification, the work of David McDiarmid encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics; happily residing in the spaces between high and low art, popular culture and community engagement. At once kaleidoscopic, celebratory and darkly humorous in tone, the artist’s idiosyncratic, highly personal and at times, confessional work highlights the redefinition and deconstruction of identities – “from camp to gay to queer” – drawing on the experiences of a life intensely lived in Melbourne, Sydney and New York. Charting the shifts in politics and individual and community expression that unfold across the decades of the 1970s, 80s and 90s, this exhibition also reveals McDiarmid’s artistic and grassroots political response to the impact of HIV / AIDS during the 1980s and beyond, for which he is best known internationally.

Recognising the cultural climate in which the artist worked, including the burgeoning of the gay rights movement, and a decade later, the advent of the AIDS crisis, the playful and provocative nature of McDiarmid’s work was critically related to changes that were occurring throughout this time to sexual identity and politics in Australia.

Dr Sally Gray, Guest Curator, said, “McDiarmid’s work speaks so eloquently of its time yet its importance and relevance endures today. David McDiarmid: When This You See Remember Me is the first exhibition in which the full scope of McDiarmid’s creative oeuvre is on display and is the culmination of painstaking research, with the support of many of his collaborators, friends and fans.”

David McDiarmid: When This You See Remember Me will coincide with the 20th International AIDS Conference in Melbourne in July 2014.

This exhibition includes coarse language and sexual content. Press release from the NGV website

 

William Yang. 'Artist David McDiarmid' May 1995

 

William Yang
Artist David McDiarmid photographed at the Art Gallery of New South Wales adjacent to his giant artwork on the gallery’s facade for Perspecta May, 1995
1995
© Reproduced with permission of William Yang

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Judy' 1976

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Judy
1976
from the Secret love series 1976
Metallic paint, red fibre-tipped pen, cut photo-offset lithograph and red and black ink on graph paper
78.0 x 66.0 cm
Collection of Paul Menotti and Bryce Kerr, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Strangers in the night' 1978

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Strangers in the night
1978
Collage of cut coloured paper and photocopy on mulberry paper
62.6 x 50.7 cm
National Gallery of Victoria, Melbourne
Proposed acquisition
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87) 'Hand and heart' 1984

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Hand and heart
1984
Synthetic polymer paint on cotton
250.0 x 230.0 cm
Powerhouse Museum, Sydney
Gift of the Estate of the late David McDiarmid, 1998
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Sydney Gay and Lesbian Mardi Gras, poster' 1989-90

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Sydney Gay and Lesbian Mardi Gras, poster
1989-90
Colour photo-offset lithograph
69.0 x 49.0 cm
Powerhouse Museum, Sydney
Gift of Sydney Gay & Lesbian Mardi Gras Limited, 1995
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Untitled' 1990-95

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Untitled
1990-95
Self-adhesive holographic film and self-adhesive colour plastic on plastic
122.7 x 122.7 cm
Collection of Bernard Fitzgerald, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Discard after use' 1990

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Discard after use
1990
from the Kiss of light series 1990-92
Collage of self-adhesive holographic film on enamel paint on plywood
61.2 x 61.2 cm
National Gallery of Victoria, Melbourne
Gift from the Estate of David McDiarmid, 1998
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'I want a future that lives up to my past'  From the 'Rainbow aphorisms' series 1994, printed 2014

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
I want a future that lives up to my past
From the Rainbow aphorisms series 1994, printed 2014
computer generated colour inkjet prints
149.1 x 110.0 cm
Collection of the McDiarmid Estate, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

David McDiarmid. 'Q' From the 'Rainbow aphorisms' series 1994, printed 2014

 

David McDiarmid (Australian 1952-1995, worked in United States 1979-87)
Q
From the Rainbow aphorisms series 1994, printed 2014
Computer generated colour inkjet prints
149.1 x 110.0 cm
Collection of the McDiarmid Estate, Sydney
© Reproduced with the permission of the David McDiarmid estate

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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15
Aug
14

Review: ‘Sue Ford’ at The Ian Potter Centre: NGV Australia, Melbourne

Exhibition dates: 17th April – 24th August 2014

 

This is hugely disappointing exhibition of the work of Sue Ford at NGV Australia, Melbourne. The artist deserved better.

There is no doubting the importance of Ford’s early black and white photographs. Images of this type had not been seen in Australia before, and looking back now it is hard to appreciate the impact that the Time series (1962-74),  Self-portrait with camera (1960-2006) and images of women had on the photographic scene at the time. These muscular, robust photographs, while not possessing great technical skill, are rightly acknowledged as seminal images in the history of photography in Australia. I cannot praise them highly enough.

However, this exhibition and the important series in it have been ruined by a disastrous hang. The first room is spoiled by an ugly, cheap looking round central installation which is covered by pinned images from the much later series Somewhere in France, 1917 (1995, below) inside of which is projected the video Faces 1976-96 (below). This huge installation simply destroys the sensitivity, size and presence of the small silver gelatin works, overpowering them with repetitive images of a much larger scale.

The second room features a haphazard disposition of Ford’s important portraits of women from her book A Sixtieth of a Second: Portraits of Women 1961-1981, the arrangement of which seems to have no rhyme or reason. It’s all downhill from there. It doesn’t help that Ford’s work looses focus after the initial succinct statements as she begins to work with experimental photographic techniques – photograms, multiple exposures and mirroring of negatives – and, starting in the mid-1980s, branches out into research of Indigenous histories which only results in serviceable photographs at best. What is more disturbing is how later work such as the powerful series Shadow portraits (1994, below) are displayed. I remember seeing this series many years ago at the NGV in St Kilda Road and being bowled over by their size and formal presence; here in a darkened room they are displayed piecemeal and all impact and import is lost. The whole room should have been dedicated to this series, surrounding you with scans of nineteenth-century cartes-de-visite, the empty silhouettes filled with magical photograms of indigenous Australian fauna. That would have been something.

Finally, the exhibition shows 1990s works such as Bima, Brenda and the Madonna (1992-93), Video land (Kakadu river tour) (1994) and Yellowcake (1991) which continue Ford’s interest in social and political issues relating to the Australian landscape. Featuring still images of video shot from a tv screen these fractured, distorted and oversaturated images are printed as colour photocopies and then displayed as fragmented images in a rigid grid system pinned to the wall. These are ugly works. They contain too many elements, the colour, distortion, and bounding box of the tv screen playing badly against the too rigid grid system of the colour photocopies. Ford’s work seems to tail off into something unnatural, a dissolution of identity that really has nothing constructive to say. Perhaps these works do parallel the physical, ecological and spiritual gulf that Ford felt existed between many non-indigenous urban Australians but I don’t really feel that connection in the work and her investigation doesn’t lead to good art. If you want to see the most excellent use of colour, collage, montage, weaving and layering you only have to go up a level at NGV Australia to look at the David McDairmid exhibition to see how it should be done… it’s like night and day, one artist experimenting for abstraction’s sake, and the other really knowing their medium, what they are doing and what narrative/message they want to communicate.

What we cannot take away from Sue Ford is the utmost importance of those feminist images of strong, independent women and the precious, jewel-like, time travelling portrait works. For Ford the process of taking, looking at and using photographs was implicitly connected to a sense of time, time in flux in which the faces of a doubled past (1962-74, 1976-96) are reanimated in the present allowing for a consideration of the effects of ageing and change. Ultimately, these are conceptual works that have great power and integrity.

Unfortunately, the itsy bitsy design of this exhibition doesn’t allow any of the work to shine. It is not up to scratch and not worthy of the artist. Did the NGV run out of time, money and inspiration or where there other factors going on behind the scenes, such as access to the work? I don’t know the answers to these questions, but when you put this exhibition side by side with the 2011 Time Machine: Sue Ford at the Monash Gallery of Art, there is no comparison as to which better conveys the importance of Ford’s work in the history of Australian photography.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

For some time I have been thinking about the camera itself. Trying to explore its particular UNIQUENESS, coming to terms with the fact that I had been trying to ignore for some years, that the camera is actually a MACHINE. The machine has an enormous power easily abused. Man seems to misuse his machines continuously, with disastrous results for this century. In Time series I tried to use the camera as objectively as possible. It was a time machine. For me it was an amazing experience. It wasn’t until I placed the photograph of the younger face beside the recent photograph that I could fully appreciate the change. The camera showed me with absolute clarity something I could only just perceive with my naked eye.

.
Sue Ford 1974

 

 

Sue Ford (Australia 1943-2009) 'Discussions between Bob Hawke and Galarrwuy Yunupingu' 1988, printed 2014

 

Sue Ford (Australia 1943-2009)
Discussions between Bob Hawke and Galarrwuy Yunupingu
1988, printed 2014
Gelatin silver photograph
51 x 61 cm
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Ross', 1964; 'Ross', 1974 1964-74, printed 1974

 

Sue Ford (Australia 1943-2009)
Ross, 1964; Ross, 1974
1964-74, printed 1974
From the Time series 1962-74
Gelatin silver photograph
(a-b) 11.1 x 20.1 cm
National Gallery of Victoria, Melbourne
Purchased with the assistance of the Visual Arts Board and the KODAK (Australasia) PTY LTD Fund, 1974 (PH171.a-b-1974)
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Annette', 1962; 'Annette', 1974 1962-1974, printed 1974

 

Sue Ford (Australia 1943-2009)
Annette, 1962; Annette, 1974
1962-1974, printed 1974
From the Time series 1962-74
Gelatin silver photograph
11.1 x 20.1 cm
National Gallery of Victoria, Melbourne Purchased with the assistance of the Visual Arts Board and the KODAK (Australasia) Pty Ltd Fund, 1974 (PH170.a-b-1974)
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'No title (Photogram of two hands and garden path)' c. 1970

 

Sue Ford (Australia 1943-2009)
No title (Photogram of two hands and garden path)
c. 1970
Gelatin silver photogram
27.6 x 34.7 cm irreg. (image and sheet)
National Gallery of Victoria, Melbourne
Gerstl Bequest, 2000 (2000.60)
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Vietnam: the six o'clock news' c. 1970

 

Sue Ford (Australia 1943-2009)
Vietnam: the six o’clock news
c. 1970
Collage of cut gelatin silver photograph on offset-photo lithograph
19.1 x 24.3 cm (image and sheet)
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Lyn and Carol' 1961, printed 1988

 

Sue Ford (Australia 1943-2009)
Lyn and Carol
1961, printed 1988
Gelatin silver photograph
34.1 x 34.2 cm
Art Gallery of New South Wales, Sydney
Purchased 1988 (372.1988)
© Sue Ford Archive, Melbourne

 

 

“The ground-breaking work of Australian photographer and filmmaker Sue Ford will be explored in a major retrospective opening at the National Gallery of Victoria on 17 April. One of the most important practitioners to emerge in the wave of 1970s feminist photographers, Ford is recognised for her inventive and unique approaches to the medium and passionate engagement with feminism and gender issues, contemporary politics and the histories of Australia and its Indigenous people.

The exhibition will bring together more than 150 photographs, digital prints, collages and films spanning the five decades of Ford’s career, as well as important archival materials and, poignantly, several unseen works that the artist was working on at the time of her death in 2009.

Tony Ellwood, Director, NGV, said, “Sue Ford has a long and significant history with the National Gallery of Victoria; she was the first Australian photographer to hold a solo exhibition at the Gallery with her renowned Time Series in 1974, and we have been honoured to present her work many times since. It is appropriate, then, that the NGV presents this retrospective exhibition surveying and celebrating her artistic work and life.”

Ford’s Time Series 1962-74 is regarded as a key moment in Australian photography. In this work, black-and-white double portraits of Ford’s friends and associates were taken around ten years apart and displayed side by side. Some sitters were photographed for a third and even fourth time, producing a remarkable dialogue on the passage of time, identity and personal histories. The entirety of the Time Series will be on display in the exhibition, along with Ford’s long-term project Self-portrait with camera, an extraordinary series of 47 self-portraits taken between 1960 and 2006.

The exhibition will feature Ford’s social documentary and portraiture work; both political and personal, these images reveal intimate depictions of life in inner-city Melbourne along with powerful records of critical political and social milestones including the 1988 Barunga Festival in the Northern Territory. Her prolific output also allows for the exhibition to survey the development of her experimentation with photographic, film, printing and multimedia techniques since the 1960s, such as the photogram, multiple exposures and mirroring of negatives.”

Press release from the NGV website

 

Sue Ford (Australia 1943-2009) 'Somewhere in France, 1917' 1999

 

Sue Ford (Australia 1943-2009)
Somewhere in France, 1917
1999
Digital plan prints on paper
(1-54) 219.6 x 901.8 cm (overall) (installation)
National Gallery of Victoria, Melbourne
Purchased, 1999 (1999.96.1-54)
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Shadow portraits' 1994

 

Sue Ford (Australia 1943-2009)
Shadow portraits
1994
Colour photocopies (a-bbbb)
166.5 x 594.0 cm
National Gallery of Victoria, Melbourne
Purchased, 1995 (1995.614.a-bbbb)
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Jim', 1964; 'Jim', 1969; 'Jim' 1974; 'Jim' 1979 1964-79, printed 2014

 

Sue Ford (Australia 1943-2009)
Jim, 1964; Jim, 1969; Jim 1974; Jim 1979
1964-79, printed 2014
From the Time series II 1962-82
Gelatin silver photographs
(a-d) 11.1 x 8.2 cm (each)
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Fabian', 1966; 'Fabian', 1974; 'Fabian', 1980 1966-80, printed 1982

 

Sue Ford (Australia 1943-2009)
Fabian, 1966; Fabian, 1974; Fabian, 1980
1966-80, printed 1982
From the Time series II 1962–82
Gelatin silver photographs
(a) 11.0 x 7.6 cm, (b) 11.8 x 8.4 cm, (c) 11.3 x 8.2 cm
Art Gallery of New South Wales, Sydney
Purchased with funds provided by the Art Gallery Society of New South Wales Contempo Group 2013 (265.1996)
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Self-portrait 1961' 1961, printed 2011

 

Sue Ford (Australia 1943-2009)
Self-portrait 1961
1961, printed 2011
Type C photograph
26.0 x 19.9 cm
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Self-portrait 1974' 1974, printed 2011

 

Sue Ford (Australia 1943-2009)
Self-portrait 1974
1974, printed 2011
Selenium-toned gelatin silver photograph
19.9 x 18.0 cm
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Self-portrait 1986' 1986

 

Sue Ford (Australia 1943-2009)
Self-portrait 1986
1986
Gelatin silver photograph
8.4 x 6.5 cm
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Dissolution' 2007

 

Sue Ford (Australia 1943-2009)
Dissolution
2007
From the Last Light series 2007
Colour lightjet print
112.0 x 142.0 cm
Sue Ford Archive, Melbourne
© Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Bima, Brenda and the Madonna' 1992-93

 

Sue Ford (Australia 1943-2009)
Bima, Brenda and the Madonna
1992-93
Colour laser prints
Sue Ford Archive, Melbourne

 

Sue Ford (Australia 1943-2009) 'Video land (Kakadu river tour)' (detail) 1992-93

 

Sue Ford (Australia 1943-2009)
Video land (Kakadu river tour) (detail)
1992-93
Colour laser prints
Sue Ford Archive, Melbourne

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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05
Aug
14

Exhibition: ‘Chris Round / Inversion’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 22nd – 26th July 2014

 

My apologies to Chris Round that I did not get this posting up during the short run of the exhibition. It was a bit of a crowded time with the exhibition Out of the closets and Nite Art on.

The work, shown in the small black gallery at Edmund Pearce, had great presence and beauty. The backgrounds had a luminous pastel affect, much more so than in the reproductions shown here. The objects seemed to float off the paper. This is experimental work for Round (vis a vis his landscape practice) but the influences for the work can be seen in the two landscape photographs that I have included here.

I really enjoyed the beauty, serenity and context of these metaphorical landscapes.

Marcus

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

 

 

Chris Round. 'Inversion #5' 2014

 

Chris Round
Inversion #5
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #4' 2014

 

Chris Round
Inversion #4
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Nowra, NSW' 2013

 

Chris Round
Nowra, NSW
2013
Archival inkjet print
© Chris Round

 

Chris Round. 'Inversion #2' 2014

 

Chris Round
Inversion #2
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #1' 2014

 

Chris Round
Inversion #3
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

Chris Round. 'Ulladulla harbour, NSW' 2012

 

Chris Round
Ulladulla harbour, NSW
2012
Archival inkjet print
© Chris Round

 

Chris Round. 'Inversion #1' 2014

 

Chris Round
Inversion #1
2014
Archival pigment print on cotton rag
64 x 84 cm
Edition of 7
© Chris Round

 

 

Inversion marks a departure from my normal landscape based work and in to experimental still life. This series is an investigation into form and visual illusion using functional, mass-produced objects. By removing context – using a reflective surface that’s not immediately apparent and at times changing colours – I’m interrogating the duality of the real and the imagined, the prosaic and the beautiful. I’m also exploring the physicality of depth and space, re-evaluating both utilitarian aesthetic and function simultaneously.

Text by the artist on the Edmund Pearce website

 

Chris Round. 'Inversion #6' 2014

 

Chris Round
Inversion #6
2014
Archival pigment print on cotton rag
84 x 64 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #7' 2014

 

Chris Round
Inversion #7
2014
Archival pigment print on cotton rag
84 x 64 cm
Edition of 7
© Chris Round

 

Chris Round. 'Inversion #8' 2014

 

 

Chris Round
Inversion #8
2014
Archival pigment print on cotton rag
84 x 64 cm
Edition of 7
© Chris Round

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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02
Aug
14

Catalogue essay: ‘Aspects of the Self (Revealed)’ by Dr Marcus Bunyan for the exhibition ‘Hidden Talents’ at the Faculty of the Victorian College of the Arts (VCA) and Melbourne Conservatorium of Music (MCM), The University of Melbourne, Australia

Exhibition dates: TBC

 

This is the catalogue essay for the exhibition Hidden Talents, an exhibition of the hidden talents of professional staff at the Faculty of the VCA & MCM, The University of Melbourne, Australia. The exhibition has been postponed until a later date but I did not want the catalogue essay to metaphorically sit under the bed with no one reading it.

The essay was written without seeing any of the art work for the exhibition (which is going to consist of knitting, performance, video, sculpture, painting, etc…). I have used my imagination to write about the subject matter, asking why it is important to reveal hidden aspects of the self.

Curator Tracey Claire observes, “Practicing artists are as likely to be found behind a desk as in front of a class at the VCA & MCM… Be it dancing, cycling, sailing, knitting, painting, writing, film making or performing, all the individuals in this exhibition are creative artists thriving in a melting hot pot of creativity… Professional staff tend to go about their business quietly, excelling in the dark arts of spreadsheet wizardry and effortless administration but in their private lives, conjuring mysterious creations. Toiling endlessly in the hours beyond their professional lives, yet inspired and nurtured by precisely this environment, they distill these experiences and produce magic.

This catalogue essay examines the significance of these activities and is accompanied by 5 of the very first black and white images that I ever took, long before I ever started studying photography in 1989.

Dr Marcus Bunyan for the Art Blart blog

 

Keywords

Hidden Talents, The Self, Aspects of the Self, self-expression, image man, essence man, actual self, networked society, perfomative self, citational self, cosmopolitanism, hybridity, visibility, bricolage, Goethe, hybrid identities, identity formation, self actualisation, social transparency, The University of Melbourne, Australia, Victorian College of the Arts, Melbourne Conservatorium of Music, VCA.

 

Download the Aspects of the Self (Revealed) catalogue essay (2.6Mb pdf). Please click on the photographs for a larger version of the image.

 

 

Marcus Bunyan. 'Zen' 1984

 

Marcus Bunyan
Zen
1984
From the series First experiments
Silver gelatin print
© Marcus Bunyan

 

 

Aspects of the Self (Revealed)

Dr Marcus Bunyan

 

“In our era of internet ubiquity, the line that separates our selves from the media with which we self-express has dissolved, and the distinction between medium and maker is confused. As we publicise our private stories, and perpetually alter, rebrand, and repaint ourselves to the world, performances of self are status quo and everyone is an artist.”

.
Josephine Skinner 1

 

.
We are all performance artists. And this text is a performance piece, an aspect of myself as I choose to express it in this place and time. An aspect – appearance, look, character, view, interpretation, phase, countenance2 – which, like the word itself, is both stable and fluid, and will change at any time: perhaps even now; or in the future.

Having noted the amorphous nature of the wor(l)d, what I will do in this performance is examine the truths and separate them from the platitudes of Josephine Skinner’s quotation in order to understand not only that the private be made public but also why the hidden should be revealed. Of course, our sense of self changes when the private becomes open, public and possibly universal. I will ask why this is important and how it affects our sense of connection to other human beings. To do this I will examine my own private story, not to rebrand or repaint myself to the world, far from it, but because every life path has important lessons for us all.

In the beginning, I grew up on a farm. My parents were impoverished. It was subsistence living and we were the working poor. We had no running hot water and my mother used to have to boil water on a stove and fill a bathtub on the kitchen floor so that we could be cleaned. We ate what my abusive father shot and took the violence that he dished out. I used to explore the remote reaches of the land, out behind the pond at the front of the farmhouse and up the cart path into the forests, creating fantasy worlds to escape what was going on at home. There, fantasies became a form of escapism, for my imagination, for action,3 a place where I could create new worlds of magic, light and freedom.

My mother was a piano teacher and my father was a part-time singer. I started to study piano at the age of 5 years old under my mother’s tutelage. I had a natural gift and became a child prodigy, the youngest person at that time to attain a distinction in Associated Board Grade 8 examination, at age 11. I was sent to boarding school on a music scholarship at the age of 12, leaving all my school friends behind. There, in that upper class boarding school, I was ostracised because they found out I was gay (just as I was discovering it myself), and because I was a music scholar. My parent’s adage to life was what I would come to call Protestant work ethic: ‘you never work hard enough, you’ll never be good enough, you’ll never make anything of yourself.” This damnation has stuck with me and I have struggled against its prophecy, working hard to make something of myself, something I can be proud of. Even now my mother (I don’t see my father) still fails to recognise my achievements, my life path.

So I was abused at home and bullied at school. At boarding school I developed what I was told was depression but which was actually bipolar disorder, undiagnosed until I was in my forties. At the age of 16, I was one of the youngest people to go to the Royal Academy of Music and at 17 I went to the Royal College of Music full time. I moved away from home, which was a blessing, and started living on my own. It was a tough initiation into adult life but I was determined not to be dependent on anyone else. My parents finally divorced when I was 18 and, at the same age, the stress of my hidden sexuality leading me to have a nervous breakdown. After nearly a year recovering I came out as a gay man. I graduated with my degree at 21 and gave up being a concert pianist the same year. The time to start living my own life had begun.

I worked in pubs around London for years. I hated classical music (a rejection of the past) and was really into the funk scene. I was a dilettante, a person without real commitment or knowledge. Not once did I ever think of myself as intelligent or creative, it just wasn’t in my vocabulary. I enjoyed partying, holidays, friends and motor racing and started taking a few photographs. That was it until I was about 28 when I returned to Year 12 and university to study, study, study, to read Carlos Castaneda, Robert Johnson and Joseph Campbell, to devour Borges, Jung and Foucault – not the usual university curriculum for an artist, but I was searching for a spiritual way in life. These authors offered wisdom and learning, and a network to other authors and artists investigating similar subject matter. The start of a path had been found and an inquiring mind slowly emerged. I tell you all of this simply as a statement of fact – this was my beginning, this is what I went through, and this journey and learning informs my being and relation to other people and to the world.

Today, we need to understand our own paradigm of sharing, what we are prepared to reveal of ourselves now that we live in a networked society. In a networked society the private and the public self are no longer two endpoints of a linear dichotomy for the boundaries have well and truly been breached: mobile technologies, computers and social media bring the outside world into our home and we willingly promote our point of view to others. Our interior thoughts are advertised through our exterior relations and appearance – on videos, on mobile phones, through millions of images and informational flows that surround us everyday. Our performative self, our citational self constantly performs and citationally quotes our relations of our self to others through different nodal points, or contexts of connection. But our interiority is still different from our exteriority, even as we perform the self.

Yet, while it is correct that in our era of internet ubiquity, the line that separates our selves from the media with which we self-express has dissolved – we are still not yet fully immersed in this system. Critically, we still have a choice about what we reveal of ourselves to others. My degree as a concert pianist may appear at the bottom of my CV, and I may not tell many people about it, but how I imagine my art, how I write my words and my worlds, is inherently related to the line and ‘magic’ of music. How I relate to other people is based on my core values (strong moral code, loyalty, love of helping people) developed during childhood, core values that have remained stable but whose context may have changed over the journey from youth to adulthood. And because of our class (our position in the world and our contexts), we inhabit the privilege of that disclosure. In this moment, we can still prioritise what other people know of us. What we should not do is divest this choice from our whole selves, partitioning ourselves off in different contexts. We cannot act within our core values in one situation and not in another – unless we want to deceive ourselves and those around us – AND YET WE DO!

While our fundamental values remain consistent (the actual self) what is rapidly changing is the environment in which our social self operates.4 As Sally Shaw notes, “We are experiencing an important cultural moment: the next generation will not be able to recall a time without smartphones, the internet or other enhanced means of communication.”5 Globalised mass media, technological advances in communications, future generations’ normalising of the constant barrage of information and the endless pursuit of “stuff”6 (materialism gone mad) means that “image man” takes precedence over “essence man.”7 But all is not lost if we are prepared to be open to possibilities, to be brave in our choice of engagement with others, and be accepting in our attitude and perspective on life. As the artist Bill Henson observes, “Of course, we live with each other and get along using “civilisational logic” – go at a green light, stop at a red light. But there is a deeper logic – no less exacting or emphatic.”8

This deeper logic, a logic that opens up spaces of inquiry, has links to creative, moderate cosmopolitanism,9 hybridity,10 bricolage and visibility. It is how creativity is changing how our talents are recognised by our friendship networks, our work colleagues or students, without having to justify or hide their existence. It is how the networked personality extends along a horizontal consciousness (not a vertical hierarchy), in which interior/exterior, self/other, is re/formed. Through respect, authenticity (and not anxiety about it!) and openness, we can embed the self into naturalised flows of increasingly open (media) systems. We have a new freedom to construct social relations across time and space for the horizon of social relationship – my body, the social body, the actual self – can become open constellations. Here there is fluidity in identity representation in which stable dimensions, persistent appearances and secure meanings are disavowed. This is coupled, however, with a paradoxical insecurity of those in power, evidenced by the proliferation of borders, walls, security cameras and protected areas.11

This new process of self actualisation enables a creative context, the context for understanding creativity, intelligence, self and what you bring to an encounter, what you are prepared to reveal of your self during that encounter – whether it be baking cakes, knitting scarves, making a video, documenting the self or creating, as I did in my childhood and still do in my art, imaginative worlds to express inner self. Through the lived practice of social transformation we, as social actors, have to rethink our hybrid identities and the function of our imagination as a world-making process.12 This process is about the exposure of the hidden; it is about social transparency; and it is about the emergence of something new.13

Finally, we can say it is neither about the roles we play nor the destination that many seek, but it is about the journey that we take and about rejoicing in that journey. It’s about the moment before ecstasy, the anticipation: of company, of environment, of friends, places, being human, that joy of being human. It’s an inquiring instability that leads, as in Beethoven, to the resolution of stability, a love of the human being and our existence. It’s about understanding the personality and possibility of being.
Instead of the byte sized tweet (in which we understand everything, in an instant), we understand our hybrid being only by moving mentally and physically through heterogenous spaces via flows, nodes and lexias, accessing different perspectives and viewpoints. If we are attentive and aware of these viewpoints, we can open up lines of inquiry and access spaces of plurality which may allow us to be better informed as to the value of self and others. Through an understanding of difference. Through an understanding of the obligation of all human beings to each other.

This challenge to established rhythms, institutions and boundaries – the polity of the state, the indifference of the masses, and the speed of informational flows – can be accomplished by both stepping back and contemplating but also by moving forward and engaging in acts of informed choice, thinking, believing, and relating to other people. This is where I disagree with Josephine Skinner’s quote at the beginning of this aspect of myself: performances of self should never become just so, status quo – for we must not be afraid to reveal aspects of our self and expose the hidden to light. In the day-to-day world, the roles we play and the masks we wear must never come to define who we really are. As Lou Benson observes, “If people begin to see their roles as their true selves and deny thoughts and feelings that are really present, they become estranged from themselves.”14

By not being secret but secreting wisdom and seeking creation we may ultimately find better paths through life. This journey is about being extra/ordinary, however that may be. It is about the ‘making present’ of our imagination in the moment we are in, being consciously aware of that moment, being happy in that moment without ego. It’s about what you do and who you are, not cowering behind the bulkheads.

.
“O God, how the world and heaven shrink together when our heart cowers in its barriers.”

.
Johann Wolfgang von Goethe

 

 

© Dr Marcus Bunyan
August 2014

Word count: 2,164

 

first-experiments-b

 

Marcus Bunyan
Brighton Pier (horizontal)
1984 From the series First experiments
Silver gelatin print
© Marcus Bunyan

 

Marcus Bunyan. 'Craig in his Docs' 1984

 

Marcus Bunyan
Craig in his Docs
1984
From the series First experiments
Silver gelatin print
© Marcus Bunyan

 

 

Endnotes

1. Skinner, Josephine. “Totally Looks Like.” Exhibition catalogue. Stills Gallery, Sydney, June 2014.

2. as·pect [as-pekt]
noun

  • Appearance to the eye or mind; look: the physical aspect of the country.
  • Nature; quality; character: the superficial aspect of the situation.
  • A way in which a thing may be viewed or regarded; interpretation; view: both aspects of a decision.
  • Part; feature; phase: That is the aspect of the problem that interests me most.
  • Facial expression; countenance: He wore an aspect of gloom. Hers was an aspect of happy optimism.

Aspect as defined on the Dictionary.com website [Online] Cited 22/06/2014 http://dictionary.reference.com/browse/aspect

3. “The ubiquity of images and the constant enhancement of the modes for public participation have not only disrupted the conventional division between the agency of the artist and collective authorship but also underscore the necessity to rethink the function of the imagination as world-making process. Arjun Appadurai stated it most succinctly: ‘the imagination is today a staging ground for action, and not only escape’.”

Appadurai, Arjun. Modernity at Large. Minneapolis: University of Minnesota Press, 1996, p. 7 quoted in Papastergiadis, Nikos. Cosmopolitanism and Culture. Cambridge: Polity Press, 2012, p. 95.

4. “A natural extension of social comparison theory is the development of the self-concept. Self-concept is a person’s perceptions and perceptual organization of his/her own characteristics, roles, abilities and appearance. One’s self-concept is based in part on how one compares to other individuals with regards to traits, opinions and abilities … Self concept can have a number of dimensions which evolve from social comparisons and evaluations. The self-concept consists of:

  • the actual self (how a person perceives him/herself),
  • the ideal self (how a person would like to perceive him/herself), and
  • the social self (how a person presents him/herself to others).

Sproles, George and Burns, Leslie Davis. Changing Appearances: Understanding Dress in Contemporary Society. New York: Fairchild Publications, 1994, pp. 208-209.

5. Shaw, Sally quoted in Beesley, Ruby. “Challenging Normality,” in Aesthetica, Issue 59, June/July 2014, p. 52.

6. Ibid.,

7. “Essence man approaches life from the standpoint of being who he is without concern for the way he is perceived by others. Image man, on the other hand, focuses on what he wishes to appear to be. In reality, Buber admits, we are all a combination of both. But the tendency is to develop a life-style that is dominated by one pole of this duality.”

Benson, Lou. Images, Heroes and Self-Perceptions. New Jersey: Prentice-Hall, 1974, pp. 26-29.

8. Henson, Bill. “Unfinished Symphony,” in the Weekend Australian Review, June 14-15, 2014, p. 5.

9. “The more moderate [cosmopolitan] alternative “is to say that, in addition one to one’s relationships and affiliations with particular individuals and groups, one also stands in an ethically significant relation to other human beings in general” … This second approach starts with rights rather than obligations, and holds that wherever people are joined in significant social relations they have a collective right to share in control of these.”

Calhoun, Craig. “‘Belonging’ in the cosmopolitan imaginary,” in Ethnicities, 3 (4), 2003, pp. 531-553.

10. “At the first level, hybridity refers to the visible effects of difference within identity as a consequence of the incorporation of foreign elements… Recognition of the second level refers to the process by which cultural differences are either naturalized or neutralized within the body of the host culture… The third level of hybridity is linked to aesthetic processes and can be thematized through the early modernist techniques of juxtaposition, collage, montage and bricolage.”

Papastergiadis, Op. cit., p. 117.

11. For these ideas I am indebted to the “Introduction: The Uncanny Home,” in McQuire, Scott. The Media City: Media, Architecture and Urban Space. London: Sage Publications, 2008, pp. 22-24.

12. Papastergiadis, Op. cit., p. 95.

13. “Hybridity refers not only to the ambivalent consequences of mixture but also to the shift in the mode of consciousness. By mixing thing that were previously kept apart there is both a stimulus for the emergence of something new and a shift in position that can offer a perspective for seeing newness as it emerges.”

Papastergiadis, Op. cit., p. 131.

14. “This is not to say that it is possible or even desirable to try to live in the day-to-day world without playing certain roles and wearing certain masks. Societies function through the role play of their inhabitants. But if people begin to see their roles as their true selves and deny thoughts and feelings that are really present, they become estranged from themselves.”

Benson, Lou. Images, Heroes and Self-Perceptions. New Jersey: Prentice-Hall, 1974, pp. 26-29.

 

Marcus Bunyan. 'Craig with halo' 1984

 

Marcus Bunyan
Craig with halo
1984
From the series First experiments
Silver gelatin print
© Marcus Bunyan

 

first-experiments-a1

 

Marcus Bunyan
Brighton Pier (vertical)
1984 From the series First experiments
Silver gelatin print
© Marcus Bunyan

 

 

Hidden Talents website

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25
Jul
14

Exhibition: ‘Out of the closets, into the streets: gay liberation photography 1971-73′ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis
Curated by Dr Marcus Bunyan and Nicholas Henderson

 

 

LAST DAY TOMORROW = MAKE SURE YOU DON’T MISS IT IF YOU ARE IN MELBOURNE!

Dr Marcus Bunyan

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

 

 

 

Curator Dr Marcus Bunyan talks about the exhibition Out of the closets, into the streets: Gay Liberation photography 1971-73 at Edmund Pearce Gallery, Melbourne July 2014

 

Phillip Potter. 'Gay is Good' 1971, printed 2014

 

Phillip Potter
Gay is Good
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

Phillip Potter. 'Queens' 1971, printed 2014

 

Phillip Potter
Queens
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

John Storey. 'Homosexual Law Reform' 1971, printed 2014

 

John Storey
Homosexual Law Reform
1971, printed 2014
Digital C type print on Kodak Endura Matte
© John Storey

 

Phillip Potter. 'I am a Lesbian and Beautiful' 1971, printed 2014

 

Phillip Potter
I am a Lesbian and Beautiful
1971, printed 2014
Digital C type print on Kodak Endura Matte
© Phillip Potter

 

Ponch Hawkes. 'Gay Liberation march, Russell Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Russell Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

Ponch Hawkes. 'Gay Liberation march, Elizabeth Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Elizabeth Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

.
Photographer Rennie Ellis front and centre as always…

 

Rennie Ellis The Kiss, Gay Pride Week, Melbourne 1973

 

Rennie Ellis
The Kiss, Gay Pride Week, Melbourne 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

.
Gays held a picnic in the Botannical Gardens, Melbourne during Gay Pride Week. They decided to play spin the bottle after forming a circle – the bottle can be seen at bottom left – and much kissing ensued. Lots of straights stopped to watch and laugh. Someone called the cops and the confrontation occurred that can be seen in the photograph below. Apparently, they were breaking some council by law about not playing games in the gardens, even though families were kicking footballs right next to them on the lawn.

 

Rennie Ellis Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973

 

Rennie Ellis
Confrontation, Gay Pride Week Picnic, Botanical Gardens 1973
1973, printed 2014
Silver gelatin photograph
© Rennie Ellis

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

 

Barbara Creed
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014
Still from a Super 8mm film
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

Anonymous. 'Photographs from Gay Pride Week, Adelaide, 1973'

 

Anonymous
Photographs from Gay Pride Week, Adelaide, 1973
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

John Englart. 'Sit down protest in Martin Place in protest at Council Officers preventing us handing out material' Sydney, 1973

 

John Englart
Sit down protest in Martin Place in protest at Council Officers preventing us handing out material
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

John Englart. 'Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall' Sydney, 1973

 

John Englart
Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

John Englart. 'Dancing with the Hare Krishnas in the Sydney Domain' Sydney, 1973

 

John Englart
Dancing with the Hare Krishnas in the Sydney Domain
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

Anonymous. 'Graffiti on Melbourne streets' 1971-73

Anonymous. 'Graffiti on Melbourne streets' 1971-73

Anonymous. 'Graffiti on Melbourne streets' 1971-73

 

Anonymous
Graffiti on Melbourne streets
1971-73

 

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

Phillip Potter. 'Portraits for CAMP Ink magazine' 1973

 

Phillip Potter
Portraits for CAMP Ink magazine
1973

.
Gay activist Lex Watson is the person in the bottom photograph. Lex sadly died very recently.

 

 

Installation photographs

Around the room, surrounded by colour and movement with elements of stillness

 

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

 

Title of the exhibition and opening images

 

Title of the exhibition with Barbara Creed's three 35mm black and white photographs

 

Title of the exhibition with Barbara Creed’s three 35mm black and white photographs

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971 to the right; then Ponch Hawkes four photographs followed by three photographs by Rennie Ellis

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971 to the right; then Ponch Hawkes four photographs followed by three photographs by Rennie Ellis

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971

 

Phillip Potter and John Storey photographs of the first ever Gay Liberation protest in Sydney in 1971.

From a series of photographs of the very first gay rights demonstration which attracts 70 people outside NSW Liberal Party headquarters in support of the pre-selection of Tom Hughes against a right wing challenge following his support for homosexual law reform.

 

Installation photograph of the exhibition 'Out of the closets, onto the streets: Gay Liberation photography 1971-73' at Edmund Pearce Gallery, Melbourne, July 2014

John Englart's five photographs of Sydney Gay Pride Week march 1973 in the centre with Rennie Ellis at right of these

 

John Englart’s five photographs of Sydney Gay Pride Week march 1973 in the centre with Rennie Ellis at right of these

 

Phillip Potter portraits for CAMP Ink magazine 1973 at left with Graffiti in Melbourne 1971-73 at right

 

Phillip Potter portraits for CAMP Ink magazine 1973 at left with Graffiti in Melbourne 1971-73 at right

 

Graffiti in Melbourne 1971-73

 

Graffiti in Melbourne 1971-73

 

Stills from a super 8mm Women's Liberation march by Barbara Creed, 1973, at left with Phillip Potter portraits for CAMP Ink magazine 1973 at right

 

Stills from a super 8mm Women’s Liberation march by Barbara Creed, 1973, at left with Phillip Potter portraits for CAMP Ink magazine 1973 at right

 

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

Barbara Creed. 'Stills from a Super 8mm film of a Women’s Liberation march' Melbourne, 1973, printed 2014

 

Barbara Creed
Stills from a Super 8mm film of a Women’s Liberation march
Melbourne, 1973, printed 2014

 

Sponsored by

CPL Digital logo.
For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au

 

Art Blart logo.
Dr Marcus Bunyan and the best photography blog in Australia sponsor this event artblart.com

 

ALGA logo.
The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

Edmund Peace logo.
EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

Rennie Ellis logo.
Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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24
Jul
14

Exhibition: ‘Moriendo renascor: 19th century photography’ at the State Library of South Australia, Adelaide

Exhibition dates: 21st May – 31st July 2014

 

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

 

South Australian photography in the 19th century – daguerreotypes, ambrotypes, tintypes, glass plates and photographic equipment. A fascinating look at our visual past. Moriendo renascor is a latin phrase meaning In death I am reborn. The exhibition runs at the State Library of South Australia till the end of July.

 

 

B46371_WEB

 

G.B. Goodman
Daguerreotype of a group of actors
c. 1850
Daguerreotype of a group of men, possibly actors associated with the Adelaide stage
135 mm x 185 mm (image); 23 cm x 18 cm x 2.5 cm (case)
B 46371

 

In January 1846, travelling daguerreotype photographer, G.B. Goodman took up a 40 day residency at the rear of Adelaide auctioneer, Emanuel Solomon’s home. Here he created 50 daguerreotype images for Adelaide patrons (Register 21 January 1846). At this time, it had become increasingly common to set up temporary studios at the rear of a building.

According to Jane Messenger in A century in focus: South Australian photography, 1840s-1940s, this daguerreotype differs from others of the period due to its informal nature and the way it flaunts contemporary social and pictorial conventions. Portraits of multiple figues were unusual at the time and usually reserved for family groups. This was due to technical complications related to focal distance, plate sizes and exposure times. Messenger suggests that this image is largely experimental in its composition, and is designed to reveal the phototographer’s sophisticated image creation skills (p.30). It is also suggested that the man second from right is George Selth Coppin – the father of Australian theatre who lived in Adelaide from 1846 to the end of 1851.

Developed in 1839 by Louis-Jacques-Mande Daguerre and given to the world by the French government, the Daguerreotype was the first photographic method of capturing a scene or a likeness. Despite the difficulty and expense of the Daguerreotype, the process spread rapidly around the world, being first demonstrated in Sydney in 1842 and Adelaide in 1845.

 

B4638-WEB

 

Captain Samuel White Sweet, photographer
Planting the first pole of the Overland telegraph at Darwin on the 15th September, 1870
1870
From glass plate negative
B 4638

 

John W. Butler (publisher) 'Advertisement for Townsend Duryea's studios' Photographic Gallery of Townsend Duryea, south-east corner of Grenfell Street and King William Street National directory of South Australia for 1867-68 1867

 

John W. Butler (publisher)
Advertisement for Townsend Duryea’s studios
Photographic Gallery of Townsend Duryea, south-east corner of Grenfell Street and King William Street National directory of South Australia for 1867-68
1867
Created in Melbourne
Object Source: The national directory of South Australia for 1867-68 : including a squatters’ directory also a new and correct map of the Colony

 

In 1867 Townsend Duryea had his photographic gallery on the south-east corner of Grenfell Street and King William Street.

Born in 1823, New Yorker, Townsend Duryea, arrived in South Australia in 1855 and set up a studio on the corner of Grenfell Street and King William Street. He and his brother Sanford were the first photographers known to have worked outside of Adelaide. In a disaster for both the photographer and South Australia his studio caught fire in the early hours of 18 April 1875. Duryea’s entire collection of 60,000 negatives was destroyed.

The Register, reporting on the investigation into the cause of the fire wrote:
Mr. J. M. Solomon, J.P., on Monday, April 19, held an investigation into the cause of the fire. As the Coroner remarked in summing up, the matter is involved in mystery, and it is just possible that the fire might have resulted from the spontaneous combustion of chemicals used by Mr. Duryea in the prosecution of his business. During the course of the proceedings the Coroner several times checked spectators eager to put questions to witnesses, and stated his view of their position. The Jury returned the following verdict:- “That the premises of Townsend Duryea were destroyed by fire, but that there is not sufficient evidence to show what was its origin.”

South Australian Register April 1875, p. 5.

After the fire he moved to New South Wales where he died in 1888.

 

Photographer unknown. 'Henry Ayers' c. 1848

 

Photographer unknown
Henry Ayers
c. 1848
Daguerreotype
PRG 67/48

 

The oldest known photograph in the State Library’s collection.

This example shows former South Australian Premier Henry Ayers, approximately ten years before he entered parliament. Born in England in 1821, he arrived in South Australia in 1840. He was elected to the first Legislative Council in 1857 and held several positions including chief secretary, premier, and president of the council during his 36 years as a member of parliament. Ayers died on 11 June 1897. Sir Henry Ayers was Premier of South Australia five times between the years 1863 and 1873.

This portrait was accompanied by a note signed by Ayers. It explained that the photo was taken a few years after his appointment as Secretary of the Burra Burra mines in 1845: This was taken by a travelling Artist at the Burra sometime in 1847 or 1848 when I was 26 or 27 years old. It was greatly esteemed by my Dear Wife as a capital likeness of H.A.

The daguerreotype is part of a collection of papers of Sir Henry Ayers, former Premier of South Australia, and of his granddaughter, Lucy Lockett Ayers.

 

Hammer and Co. 'Bust of a young woman' Rundle Street, c. 1895

 

Hammer and Co.
Bust of a young woman
Rundle Street, c. 1895
Albumen photograph, cabinet card
B58331/26

 

Saul Solomon, photographer. 'Man dressed as Robinson Crusoe' 1888

 

Saul Solomon, photographer
Published by the Adelaide School of Photography
Man dressed as Robinson Crusoe
1888
Albumen photograph, cabinet card
99 mm x 146 mm
B 32878

 

On Monday 30 July 1888 a carnival was held at the Columbia Roller Skating Rink in the Jubilee Exhibition Building, North Terrace, Adelaide. The South Australia Weekly Chronicle, 4 August 1888, reported that over 2,000 persons attended and the floor was reserved for ladies and gentlemen in fancy costume or evening dress and that among the most successful gentlemen’s costumes was a “Robinson Crusoe with a gun and umbrella”.

Cabinet cards were a popular form of family photograph. They often featured the photographer’s details on the front and further description of their services on the reverse.

 

 

Photographer unknown. 'Leslie Quinn and W. Dunk' c. 1890

 

Photographer unknown
Leslie Quinn and W. Dunk
c. 1890
Tintype
B 47091

 

I just love how the jacket of the lad on the right is about two sizes too small for him. As though he is growing so fast into adulthood, his arms elongating so quickly, that he has outrun the life of his jacket.

 

Photographer unknown. 'Leslie Quinn and W. Dunk' (detail) c. 1890

 

Photographer unknown
Leslie Quinn and W. Dunk (detail)
c. 1890
Tintype
B 47091

 

Unknown photographer. 'Tom Thumb' c. 1880

 

Unknown photographer
Tom Thumb
c. 1880
From a glass plate negative

 

Michael Pynn was born at Baker’s Flat in 1860. In his obituary, the Kapunda Herald (July 5 1929, p. 2), reported that Mickey was known from the late 1870s as the Australian Tom Thumb.

It was toward the late seventies that General Tom Thumb, of England, visited Australia, and the tour of his little company included Kapunda. It was this circumstance that brought Micky Pynn into prominence, and later into almost world-wide notoriety. He made a career as a circus clown and travelled the world.

Michael Pynn died  in Sydney on 22 June 1929.

 

Frederick Charles Krichauff, 1861-1954, photographer. 'From the Adelaide Town Hall' c. 1880

 

Frederick Charles Krichauff, 1861-1954, photographer
From the Adelaide Town Hall
c. 1880
Photograph

 

View of the General Post Office (GPO) from the Albert Tower of the Adelaide Town Hall, showing Victoria Square with horse drawn cabs, and the GPO clock showing 1.23 pm.

The State Library holds many thousands of glass plate negatives including a number by amateur photographer Frederick Krichauff (1861-1954). We also hold three of his photograph albums and these may be viewed online via the Library’s catalogue. Krichauff was an architect and a keen member of the Royal Philatelic Society. He lived at Portrush Road, Toorak Gardens.

 

 

State Library of South Australia
Kintore Ave, Adelaide SA 5000
Tel: (08) 8207 7250

Opening hours

State Library of South Australia website

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23
Jul
14

Catalogue essay: ‘Being (t)here: Gay liberation photography in Australia 1971-73′ from the exhibition ‘Out of the closets, onto the streets’

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis
Curated by Dr Marcus Bunyan and Nicholas Henderson

 

This is my catalogue essay that accompanies the exhibition Out of the closets, into the streets: gay liberation photography 1971-73 at Edmund Pearce Gallery, Melbourne. It’s a bit of a read (3,000 words) but stick with it. I hope you like the insights into the background of the images and the people in the exhibition.

Marcus

 

Many thankx to all the artists for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Download the Being (t)here catalogue essay (2.2Mb pdf)

 

 

Being (t)here: Gay liberation photography in Australia 1971-73

.
“For the colour and the soundtrack to be part of the politics, even a central part of the politics… meant something new by way of embodiment. Much of the political action was about being there, about putting one’s body on the line. A demonstration, sit-in or blockade is centrally about occupying space. A nonviolent movement tried to occupy space with bodies, not bullets.

It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

 

I came out as a gay man in 1975, six years after Stonewall and only a few short years after the photographs in this exhibition were taken. The first open acknowledgement of my nascent sexuality was to walk into a newsagent in Notting Hill Gate, London, head down, red as a beetroot and pick up a copy of Gay Times. I literally flung the money at the person behind the counter and ran out. I was so embarrassed. I was seventeen.

From the gay rag I found the name of the local convenor of the Campaign for Homosexual Equality (CHE) and went to meet him at his home. John was the very first openly gay man that I had ever met. We became lifelong friends. He used to hold coffee evenings a couple of times a week in his flat so that the local gay men had somewhere safe and secure to meet – to chat and laugh, to talk about love and life. Once a month there was a pub that we all went to in the country for a bit of a dance night, but that was it unless you went up to London to a nightclub.

None of us were very active politically, although we kept an eye on the papers and we all understood the discrimination and persecution we faced. But by the very act of being openly gay, as most of us were, we were making a political statement. I was openly gay at college in London and stopped “passing” as something I was not (a straight man) by coming out to my family and friends. I placed my being – there, there and there, in different contexts, so that my family, friends and the community could not ignore my sexuality. I never lived in fear but there was a great deal of self-loathing going on behind the scenes. In those days you were always thought of as “abnormal” and defective if you were a poofter. And there was the guilt of that association. As James Nichols observes, “To be gay or lesbian meant belonging to a genealogy of suffering, to have a dramatic, if not a tragic, destiny. Despite the many battles and certain victories that ensued, the homosexual remained a victim in the collective consciousness; a hidden man.”2  William Leonard continues the theme: “If concealment is a psychic wounding that divides each gay man against himself, it is also a collective division that precludes the forms of public association and political affiliation on which gay liberation depends. As gay men confront their own internalised feelings of self-recrimination, if not disgust, they begin to rattle the closet door and seek out, in public, others of their own kind.”3 And rattle the closet door I did. I flaunted my hi-vis identity for all to see. If the liberation movement meant putting your body on the line – not so much by consciously protesting on the streets but by being visible in whatever setting as a gay man – then I certainly did that.

 

Photography documented this Gay Liberation thing, the emergence in public and private of gay people. It not only documented this visibility but also represented it in very aesthetic and artistic ways that up until now have not really been recognised as such. This is where the photographs in this exhibition make their presence known. As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The photographer as artist was not just a witness to these events but actively participated in these actions, which they envisioned in a subjective way. Unlike earlier images of protest marches where there is an observational distance between the photographer/event which allowed for the depiction of environment and numbers (for example in the 8 hour day marches, see figures 1-4) – from the mid-1960s onwards there is a seismic shift in how photographs represent social change and observed history. Now the photographer marches with the inmates and becomes an intimate participant in the proceedings (see figures 5-6).

In this revolutionary era, the artist evidences an empathy with the events being photographed, an up close and personal point of view. Whatever meeting or protest they were there to record was important to them, be it anti-Vietnam war, anti-Apartheid, pro abortion, nuclear disarmament, Gay Liberation, Women’s Liberation, Aboriginal rights, anti-fascist marches and student protests from around the world. And it didn’t matter whether the photographers were gay, straight or whatever. People appropriated public and private space as a form of collective activism, using social movement cultures to re-make the world. The ways of imagining life and transformation, of imaging life and transformation were enabled by the photographer actively participating in these events. The photographer’s “second sight” did not consist in “seeing” but in being there.

As Professor Barbara Creed states of her interest in artistically documenting these actions, “I was very keen on the slogan – ‘The personal is political’. I was in favour of political action of all kinds – direct action, demonstrations, marches, meetings, consciousness raising groups, media publicity, television appearances, coming out at work, talks to schools etc. I was also very interested in the possibility of using artistic practices (film, photography, poetry, fiction, art) to build solidarity among gay people and to help change public opinion.”4

 

Photographer unknown. 'The original eight hour day banner' 1856

 

Figure 1
Photographer unknown
The original eight hour day banner
1856

 

John F. Shale. 'Mounted police assembled in the square during the General Strike, Brisbane' 1912

 

Figure 2
John F. Shale
Mounted police assembled in the square during the General Strike, Brisbane
1912

 

 

While “the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues,”5 for gay men pictured in the photographs these meetings and marches could be seen as a form of “coming out”, or a place to find solidarity, friendship or sex.6 Gay Pride Week in 1973, for example, was seen as a chance to target, “all the institutions of our oppression: the police courts, job discrimination, the bigoted churchmen and politicians, the media, the psychiatrists, the aversion therapists, the military, the schools, the universities, the work-places … It will also seek to change the mind of the prejudiced, the fearful, the conditioned, the sexually repressed, all those who in oppressing us, oppress themselves.”7 It was also intended to say to gay and straight alike, “gay is good, gay is proud, gay is aggressively fighting for liberation. It will say to gays: come out and stand up. Only you can win your own liberation. Come out of the ghettos, the bars and beats, from your closets in suburbia and in your own minds and join the struggle for your own liberation.”8

For photographers it was a chance to picture a changing world. As Sydney photographer Roger Scott has observed, “I knew I could make a point with my camera. It was exciting. The old conservative world was ending and a new Australia was beginning.”9 With the birth of a new Australia came the end of the White Australia policy when the Whitlam Government passed laws to ensure that race would be totally disregarded as a component for immigration to Australia in 1973; with it came the presence of gay people on the streets shouting ‘come out, come out, wherever you are’ – but certainly not in the newspapers or on television for there was, essentially, the suppression of any reference to, or reportage of ‘homosexuals’ in the mainstream press in Australia.10 If they were pictured, gay people still usually turned away from the camera or had their faces blacked out for fear of discrimination and abuse. As artist John Storey notes, “Conservatism flooded the media, government and all the rest. Homophobia was everywhere but was not a term used in public.”11

As for what prompted artists to document organizations and events, Professor Creed remarks, “I loved to film life around me. I had access to good equipment. I thought it was important to have a visual record of the emergence of Gay Liberation. I believed that films and photos would help to create a sense of community for everyone involved in Gay Liberation. Many members of Gay Lib had been ‘closeted’ all of their lives and so it was a new experience for them to join what is best described as an alternative family. In those days, the Gay Lib group was relatively small – perhaps 30-40 members, so we all knew each other. We held regular meetings, joined CR groups, took part in demonstrations, went away for weekend group events, held dances etc. I also wanted to capture the way we looked, couples together, friends, what we wore, our fashions and styles. Some of the guys had a fantastic sense of style – much more than many of the women who were in revolt against ‘feminine’ fashion. I hoped my films and photos would give support to the gay community and to our emerging sense of forming a new identity.”12

By their very embodiment, the art and politics of these photographs awakens what Roland Barthes calls the “intractable reality” of the image 13 – that prick of consciousness (the punctum), that madness that documents activism and freedom from persecution as both aesthetic and ethical, performative and political. Here, the idea of “being there” – being fully present, in mind and body; being there at the marches; being in the images; being in front of the image looking at it; coupled with the physical presence of the photograph, manifests itself most strongly. Even today, the photographs shock the viewer with their intractable reality. You can just feel the passion of these people, the police presence, the fear, and the authenticity of the photographers’ voice – raw, in your face, people really standing up to be counted.

 

Photographer unknown. 'Eight Hour Day parade in Brisbane' 1912

 

Figure 3
Photographer unknown
Eight Hour Day parade in Brisbane
1912

 

Photographer unknown. 'Women evening students' float on Park Street in the 1940s' Photo, Mitchell Library, State Library of NSW

 

Figure 4
Photographer unknown
Women evening students’ float on Park Street in the 1940s
Photo, Mitchell Library, State Library of NSW

 

 

There is also another side to these photographs – the documentation of the more private moments (meetings, consciousness raising groups, friends in the car etc) and the portrayal of gays one on one, close up and personal with the camera in mugshots used in a grid for the cover of CAMP Ink magazine in 1972. Only today can we truly appreciate the intimacy and beauty of these photographs: the photographs of two young gay men in the back of a VW Kombi van that exists only as a 35mm contact print, now scanned and rescued from oblivion; or the presence of gays posing for the camera against a neutral backdrop, every pore of their skin able to be seen (a precursor to the large colour portraits of Thomas Ruff). As Professor Creed states of her desire to capture these intimate moments, “In the 70s film, media and television rarely if ever depicted us at all – let alone our public or private lives. I have always been drawn to the aesthetic power of film and photography to represent the inner world and inner lives of people. The visual image is a great leveller – it reveals the commonality of living things, the need for affection, companionship, community. Contrary to popular myths of the time, gays and lesbians also have a need for intimacy, as does everyone else. When I made my documentary, Homosexuality A Film For Discussion, I included a segment of intimate moments between couples before the commencement of the documentary street interviews, to link the two (private and public together) and to show that many of the negative comments from the general public about loneliness did not match the actual lives of gay people.”14

So where did the photographs that were taken by these artists end up? Often they were collectively passed from hand to hand and used in newsletters, pamphlets and magazines such as CAMP Ink. As Jill Matthews, who compiled the album of Adelaide photographs observes, “The groups and events were very collective enterprises. In those days anyone who had a camera took photos. If people took photos of you, you asked for copies or they gave you prints. There were many prints made and various people had copies. At the time the use of the photos was personal and collective. The newsletters were collective enterprises with everyone chipping in, using whatever was to hand. There was no editor, although some efforts were made to achieve a sense of continuity. Making the newsletters were always fun group events, with a lot of different things you could do, they were basically parties really.”15

Eventually the photographs settled in personal archives and were largely forgotten or were donated to institutions such as the Australian Lesbian and Gay Archives. And then they all but disappeared from view.

 

A second (but different) “coming out”

With this exhibition these eclectic photographs re-emerge in a kind of second “coming out.” Having been put away for so many years they appear in the clear light of day, in the clear light of new thinking about their artistic merit and how they act as memory aids to feelings and relationships, events and politics.

While analogue photographic images carry Roland Barthes imprint ‘this has been’ – in other words, a photograph is a depiction of something that has already happened, that is already dead – images do not have fixed or settled meanings. As Scott McQuire insightfully observes, meaning in images “is always transactive: it is the result of complex and dynamic processes of interpretation, contestation and translation. Evidence and testimony is always to be actively produced in the complex present… the photograph’s combination of unprecedented visual detail, which seems to anchor the image in a particular time and place, [is] coupled to the endless capacity for images to travel into new times and places.”16 He goes on to say that photographic history is littered with images that have their meaning altered by entry into a new setting. The images in this exhibition are a case in point for I am examining them as artworks as much as they can be seen as documentary evidence of things that have been.

We should not be afraid of this new interpretation for, as McQuire notes, “Too often when we talk about ‘context’ in relation to a photograph, it is as if there is a finite set of connections that might be fully reproduced, if only we had the time or resources. In other words, the polysemy of the image is given a cursory and limited acknowledgement, in the hope that it can be thereby tamed. Rather than this partial, rather defensive acknowledgement of the fragility of meaning, I am arguing that we need to begin with acceptance of the irreducible openness of technological images. This quality is integrally related to the capacity of any image to circulate and appear in new situations.”17 In other words there is no definitive context for any image and we should not be afraid to approach new interpretations of the work or the coexistence of many possible meanings within that work. This process can be seen as analogous in a contextual sense to the construction of what the French philosopher Henri Bergson (1859-1941) called the ‘composite’ in the physical sense, which he defined as, “construction/model where things different in kind are reconciled through our experience over time. Differences are reconciled not unified. The composite embraces ideas of complexity and multiplicity, allowing different conventions, materials and contents to coexist in an artwork. It therefore permits complexities and relationships of readings to coexist. The viewer becomes aware of new and shifting layers of content revealed over the time of viewing, and of our role in constructing, interpreting and experiencing content(s). This is not just theoretical, it is the way we experience and negotiate the world everyday, as complexity in the continuum of time and space.”18 The viewer thus creates a composite view of these images in the here and now.

The images importance, then, lies in the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. Their residence in the Australian Lesbian and Gay Archives (ALGA) archive, which undoubtedly preserves them, marks this institutional passage, this transition of marginalised histories from private to public, “which does not always mean from the secret to the non-secret.” Under the privileged topology of ALGA they are classified and ordered and made available for study and research, but we must also acknowledge that archives give shape to and regulate cultural memory. They influence our perception of the past and present. As Jacques Derrida writes in Archive Fever: “”There is no political power without control of the archive, if not of memory.” He indicates that the stakes are high over the memorialisation and excavation of sites and people’s histories.”19 This does not mean that ALGA does not promote an active engagement with the works it holds in safe keeping, far from it. They encourage the use of the archive by artists and the recontextualisation and renarrativisation of the images in this exhibition, from documentary objects to visual art works and back again, could not have occurred without their forthright help. But as Mathias Danbolt notes in his excellent article Not Not Now: Archival Engagements in Queer Feminist Art, archives will always be sites of contestation: “The conversations on archives in queer and feminist contexts tend to center on ways to break with the strictures and structures of archival logics, in order to give room for alternative forms of historical (and herstorical) transmissions. But even though archival logics tend to be a continual object of critique in feminist and queer work, the desire for archives is still present… If the process of archivization is fundamentally about conferring historical status upon material, how to avoid that the status as archival disconnect the queer feminist “past” from the “present” – the “then” from the “now”?”20 Danbolt goes on to suggest that this process is a balancing act, “between the desire for having a history, and the anxiety for being historicized, in the sense of being cut off – metaphorically, practically, systemically – from the present.”21

For me, then, this exhibition is as much about freeing these images from the guardianship of the archive, if ever so briefly, to let them live again in the real world, to let them speak for themselves, as those first gay protesters did all those years ago. To free them of the shackles of being seen as “historical” documentary photographs, the official history of gay liberation in Australia and for them to be seen works of art in their own right. It is about the representation of queer identity through the evidence of photography – from that place, in that time, now breathing in a different era, these people fighting for their liberty. It is about these images and the people in them being (t)here.

In contemporary society, where we are flooded with a maelstrom of images, I believe it is important to contemplate these images for more than just a few seconds in order to understand their history and importance not just for the past, but also for the present and the future. Today, we compose our stories and our histories out of fragments and alterations of spaces. We gather together our sources (in archives, for example) and try and make sense of the past in the present for the future. This process of understanding is about an acknowledgement of the past in the present for the future. Again I say, it is about being (t)here.

In an era of ubiquitous media images, the photographs in this exhibition deserve our attention and contemplation for they are survivors – images that perceptively visualise the initial stages of Gay Liberation in Australia, images that are still alive in the present. Their contemporary re-emergence may lead the community to finally have some iconographic images of the early stages of gay resistance and visibility – intimate representations of protests, meetings and events that ultimately changed the lives of many GLBTI people. They may also have some damn good art upon which to feast their eyes.

.
Dr Marcus Bunyan
July 2014

Word count: 3,423

 

Ponch Hawkes. 'Poofters!' 1973, printed 2014

 

Figure 5
Ponch Hawkes
Poofters!
1973, printed 2014
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John Englart. 'Gay Pride Week poster, Gay Pride march outside the Town Hall Hotel, Sydney Town Hall' Sydney, 1973

 

Figure 6
John Englart
Gay Pride Week poster, Gay Pride march outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Endnotes

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 43.

2. Nichols, James. “Sébastien Lifshitz Releasing ‘The Invisibles: Vintage Portraits of Love and Pride’,” on The Huffington Post website 05/01/2014 [Online] cited 02/05/2014.

3. Leonard, William. “Altman on Halperin: politics versus aesthetics in the constitution of the male homosexual,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p. 197.

4. Email text in response to the question ‘What were your politics during your involvement with Gay Liberation/events (Gay Pride Week etc)’ to co-curator Nicholas Henderson 01/06/2014.

5. Altman, Dennis. “Out of the closets, into the streets.” Catalogue essay. Melbourne, 2014, p. 2.

6. Ibid.,

7. Anon. “Gay Pride Week,” in Melbourne Gay Liberation Newsletter, 1973 quoted in Ritale, Jo and Willett, Graham. “Rennie Ellis at Gay Pride Week, September 1973,” in The La Trobe Journal No. 87, May 2011, pp. 87-88 [Online] Cited 11/07/2014.

8. Ibid., p. 88.

9. Scott, Roger quoted in Scott, Roger; McFarlane, Robert and Hock, Peter. Roger Scott: from the street. Neutral Bay, N.S.W.: Chapter & Verse, 2001, p. 13.

10. Email text from co-curator Nicholas Henderson 12/03/2014.

11. Email text from John Storey to co-curator Nicholas Henderson 17/05/2014.

12. Email text in response to the question ‘What prompted you to document the organisations/events?’ to co-curator Nicholas Henderson 01/06/2014.

13. Barthes, Roland. Camera lucida: Reflections on photography. Hill and Wang, 1st American edition, 1981.

14. Email text in response to the question ‘One of the aspects of your photographs that I am quite intrigued by is the documentation of the more private moments (meetings, consciousness raising groups, friends in the car etc), what brought you to photograph these subjects?’ to co-curator Nicholas Henderson 01/06/2014.

15. Jill Matthews notes from telephone conversation to Nicholas Henderson, Tuesday 22 April 2014.

16. McQuire, Scott. “Photography’s afterlife: Documentary images and the operational archive,” in Journal of Material Culture 18(3) 2013, p. 227.

17. Ibid.,

18. Thomas, David. “Composite Realities Amid Time and Space: Recent Art and Photograph,” on the Centre for Contemporary Photography website [Online] Cited 12/07/2014.

19. Derrida, Jacques. Archive Fever. Chicago: University of Chicago Press, 1996, 4, note 1 quoted in Eckersall, Peter. “The Site is a Stage/The Stage is a Site,” on the Archaeology and Narration blog, Saturday, April 9, 2011 [Online] Cited 05/07/2014.

20. Danbolt, Mathias. “Not Not Now: Archival Engagements in Queer Feminist Art,” in Imhoff, Aliocha and Quiros, Kantuta (eds.,). Make an effort to remember. Or, failing that, invent. Bétonsalon No. 14, 2013, p. 4. ISSN: 2114-155X.

21. Ibid., p. 5.

 

 

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16
Jul
14

Exhibition: ‘Out of the closets, into the streets: gay liberation photography 1971-73′ at Edmund Pearce Gallery, Melbourne

Exhibition dates: Tuesday 22nd July – Saturday 26th July, 2014

Opening: Tuesday 22nd July 6-8pm

Nite Art: Wednesday 23rd July until 11pm
Artists represented: Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes, Rennie Ellis

Curated by Dr Marcus Bunyan and Nicholas Henderson
Catalogue essay by Professor Dennis Altman (below)

 

 

Five days, that’s all you’ve got! Just five days to see this fabulous exhibition. COME ALONG TO THE OPENING (Tuesday 22nd July 6-8pm) or NITE ART, the following night!

The exhibition Out of the closets, into the streets: gay liberation photography 1971-73 pictures the very beginning of the gay liberation movement in Australia through the work of Philip Potter, John Storey, John Englart, Barbara Creed, Ponch Hawkes and Rennie Ellis. The exhibition examines for the first time images from the period as works of art as much as social documents. The title of the exhibition is a slogan from the period.

As gay people found their voice in the early 1970s artists, often at the very beginning of their careers, were there to capture meetings in lounge rooms, consciousness raising groups and street protests. The liberation movement meant ‘being there’, putting your body on the line. “It was a key feature of the new left that this embodied politics couldn’t stop in the streets: that is, the public arena as conventionally understood. ‘Being there’ politically also applied to households, classrooms, sexual relations, workplaces and the natural environment.”1

Curated by Dr Marcus Bunyan and Nicholas Henderson and with a catalogue essay by Professor Dennis Altman (see below), the show is a stimulating experience for those who want to be inspired by the history and art of the early gay liberation movement in Australia.

The exhibition coincides with AIDS 2014: 20th International AIDS Conference (20-25 July 2014) and Nite Art which occurs on the Wednesday night (23rd July 2014). The exhibition will travel to Sydney to coincide with the 14th Australia’s Homosexual Histories Conference in November at a venue yet to be confirmed.

Dr Marcus Bunyan

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

 

 

Barbara Creed. 'Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne' Melbourne, c. 1971-73

 

Barbara Creed
Julian Desaily and Peter McEwan in the back of a VW Combi van, Melbourne
Melbourne, c. 1971-73
Digital C type print on Kodak Endura Matte
© Barbara Creed

 

Ponch Hawkes. 'Gay Liberation march, Russell Street, Melbourne' Melbourne, 1973

 

Ponch Hawkes
Gay Liberation march, Russell Street, Melbourne
Melbourne, 1973
Digital C type print on Kodak Endura Matte
© Ponch Hawkes

 

John-Englart-Gay-Pride-Week-Sydney-1973-c

 

John Englart
Gay Pride Week poster, outside the Town Hall Hotel, Sydney Town Hall
Sydney, 1973
Digital C type print on Kodak Endura Matte
© John Englart

 

 

Out of the closets, onto the streets

Professor Dennis Altman

.
This exhibition chronicles a very specific time in several Australian cities, the period when lesbians and gay men first started demonstrating publicly in a demand to be accorded the basic rights of recognition and citizenship. Forty years ago to be homosexual was almost invariably to lead a double life; the great achievement of gay liberation was that a generation – although only a tiny proportion of us were ever Gay Liberationists – discovered that was no longer necessary.

The Archives have collected an extraordinary range of materials illustrating the richness of earlier lesbian and gay life in Australia, but this does not deny the reality that most people regarded homosexuality as an illness, a perversion, or a sin, and one for which people should be either punished or cured. It is revealing to read the first avowedly gay Australian novel, Neville Jackson’s No End to the Way [published in 1965 - in Britain - and under a pseudonym] to be reminded of how much has changed in the past half century.

Gay Liberation had both local and imported roots; the Stonewall riots in New York City, which sparked off a new phase of radical gay politics – when ‘gay’ was a term understood to embrace women, men and possibly transgender – took place in June 1969. They were barely noticed at the time in Australia, where a few people in the civil liberties world, most of them not homosexual, had started discussing the need to repeal anti-sodomy laws.

Small law reform and lesbian groups had already existed, but the real foundation of an Australian gay movement came in September 1970 when Christabel Pol and John Ware announced publicly the formation of CAMP, an acronym that stood for the Campaign Against Moral Persecution but also picked up on the most used Australian term for ‘homosexual’. Within two years there were both CAMP branches in most Australian capital cities, as well as small gay liberation groups that organised most of the demonstrations illustrated in this exhibition.

The differences between gay liberation and CAMP were in practice small, but those of us in Gay Liberation prided ourselves on our radical critique, and our commitment to radical social change. CAMP, with its rather daggy social events and its stress on law reform – at a time in history when homosexual conduct between men was illegal across the country – seemed to us too bourgeois, though ironically it was CAMP which organised the first open gay political protest in Australia [immediately identified by the balloons in the Exhibition photos].

It is now a cliché to say “the sixties” came to Australia in the early 1970s, but a number of forces came together in the few years between the federal election of 1969, when Gough Whitlam positioned the Labor Party as a serious contender for power, and 1972, the “It’s Time” election, when the ALP took office for the first time in 23 years. We cannot understand how a gay movement developed in Australia without understanding the larger social and cultural changes of the time, which saw fundamental shifts in the nature of Australian society and politics.

The decision of the Menzies government in 1965 to commit Australian troops to the long, and ultimately futile war in Vietnam, led to the emergence of a large anti-war movement, capable of mobilising several hundred thousand people to demonstrate by the end of the decade. Already under the last few years of Liberal government the traditional White Australia Policy was beginning to crumble, as it became increasingly indefensible, and awareness of the brutal realities of dispossession and discrimination against indigenous Australians was developing. Perhaps most significant for a movement based on sexuality, the second wave feminist movement, already active in the United States and Britain, began challenging the deeply entrenched sexist structures of society.

To quote myself, this at least reduces charges of plagiarism: “Anyone over fifty in Australia has lived through extraordinary changes in how we imagine the basic rules of sex and gender. We remember the first time we saw women bank tellers, heard a woman’s voice announce that she was our pilot for a flight, watched the first woman read the news on television. Women are now a majority of the paid workforce; in 1966 they made up twenty-nine per cent. When I was growing up in Hobart it was vaguely shocking to hear of an unmarried heterosexual couple living together and women in hats and gloves rode in the back of the trams (now long since disappeared). As I look back, it seems to me that some of the unmarried female teachers at my school were almost certainly lesbians, although even they would have been shocked had the word been uttered.”

In Australia Germaine Greer’s book The Female Eunuch became a major best seller, and Germaine appeared [together with Liz Fell, Gillian Leahy and myself] at the initial Gay Liberation forum at Sydney University in early 1972; looking back it is ironic that a woman who has been somewhat ambivalent in her attitudes to homosexuality was part of the public establishment of the gay movement.

But the early demonstrations illustrated in this exhibition did often include sympathetic “straights” – a term that seems to have disappeared from the language – for whom gay liberation was part of a wider set of cultural issues. It is essential to recognise that while political demonstrations may seem to assert certain claims they play widely different roles for those who participate. For some of us a public protest is a form of “coming out”; indeed many people had never been public about their sexuality before they attended their first demonstration. For others a demonstration is primarily a place to find solidarity, friendship, and, if lucky, sex.

For the gay movement more than any other just to declare oneself as gay was to take an enormous step, a step that some found remarkably easy while others had to wait until late in life to discover that actually almost everyone knew anyway. I remember the now dead Sydney playwright, Nick Enright, who was one of the first people to be open about his homosexuality, and was so without any sense of difficulty; at the same time there are still people who go to great lengths to hide their sexuality even while acknowledging they would face little risk of discrimination were they not to do so

Maybe there is a parallel for people who now declare their lost Aboriginal heritage, unsure how they will be regarded but aware that this is crucial to their sense of self. Every generation has its own version of coming out stories, this exhibition hones in on that time in our national history when everything seemed in flux, and gay liberation seemed a small part of creating a brave new world in which old hierarchies and restraints would disappear.

Looking back at the photos creates a certain nostalgia – we all look so young, so sure that we were changing the world, though in reality most of us were putting on a brave front. The oddest thing is that in some ways we did change the world. Forty years ago we looked at the police as threatening, symbolised in the photograph from Melbourne Gay Pride 1973 where the policeman is clearly telling people to move on. Today openly lesbian and gay cops march with us in the streets, and the very idea that homosexuality could be criminalised, as it still is in many parts of the world, has largely disappeared from historical memory. Indeed to many people attending this exhibition that may be the first time they confront the reality that being gay in Australia in the early 1970s was to live in a world of silence, evasion and fear.

.
Professor Dennis Altman
July 2014

© Dennis Altman
Reproduced with permission

 

Anonymous. 'I am a Lesbian, Gay Pride Week' Adelaide, 1973

 

Anonymous
I am a Lesbian, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

Anonymous. 'Man in black hat and red shirt, Gay Pride Week' Adelaide, 1973

 

Anonymous
Man in black hat and red shirt, Gay Pride Week
Adelaide, 1973
Digital C type print on Kodak Endura Matte
© Australian Lesbian and Gay Archives

 

 

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The Archives actively collects and preserves lesbian and gay material from across Australia alga.org.au

 

Supported by

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EP is a contemporary Melbourne art space dedicated to the appreciation of photography (03) 9023 5775 edmundpearce.com.au

 

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Rennie Ellis is an award winning photographer and writer (03) 9525 3862 www.rennieellis.com.au

 

 

1. Connell, Raewyn. “Ours is in colour: the new left of the 1960s,” in Carolyn D’Cruz and Mark Pendleton (eds.,). After Homosexual: The Legacies of Gay Liberation. Perth: UWA Publishing, 2013, p.43.

 

AIDS 2014: 20th International AIDS Conference
20 July – 25 July 2014
Melbourne, Australia

AIDS 2014 website

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000
T: (03) 9023 5775

Opening hours:
Tues – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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14
Jul
14

Exhibition: ‘View from the Window’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 2nd – 19th July 2014

Artists include: Sean Barrett, Danica Chappell, Kim Demuth, Jackson Eaton, Mike Gray, Megan Jenkinson, Benjamin Lichtenstein, Phuong Ngo, Izabela Pluta, Kate Robertson, Jo Scicluna, Vivian Cooper Smith, Melanie Jayne Taylor and Justine Varga.

Curated by: Vivian Cooper Smith and Jason McQuoid.

 

 

Photography can be anything your heart desires (or so they say)…

Another stimulating exhibition at Edmund Pearce Gallery, Melbourne.

My personal favourites are the works of Jo Scicluna and the two large “sculptural” photographs by Kim Demuth, but every artist in the exhibition had something interesting to offer.

Marcus

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

 

 

Installation view of the exhibition 'View from the Window' at Edmund Pearce Gallery, Melbourne, July 2014

 

 

Installation view of the exhibition View from the Window at Edmund Pearce Gallery, Melbourne, July 2014

 

Justine Varga. 'Morning' from the series 'Sounding Silence' 2014

 

Justine Varga
Morning from the series Sounding Silence
2014
Type C print
77 x 61 cm
Edition of 6 + 1AP
Images courtesy of the artist, Stills Gallery, Sydney and Hugo Michell Gallery, Adelaide

 

Justine Varga. 'Evening' from the series 'Sounding Silence' 2014

 

Justine Varga
Evening
from the series Sounding Silence
2014
Type C print
47 x 38.5 cm
Edition of 6 + 1AP
Images courtesy of the artist, Stills Gallery, Sydney and Hugo Michell Gallery, Adelaide

 

Izabela Pluta. Study for a sham ruin #7 and #8 2012

 

Izabela Pluta
Left: Study for a sham ruin #7, pigment print, 50 x 50cm, 2012 (installation view)
Right: Study for a sham ruin #8, acrylic on pigment print, 50 x 50cm, 2012 (installation view)
Images courtesy of the artist, Dianne Tanzer Gallery + Projects, Melbourne and Galerie pompom, Sydney

 

Izabela Pluta. Study for a sham ruin #7 and #8 2012

 

Izabela Pluta
Left: Study for a sham ruin #7, pigment print, 50 x 50cm, 2012
Right: Study for a sham ruin #8, acrylic on pigment print, 50 x 50cm, 2012
Images courtesy of the artist, Dianne Tanzer Gallery + Projects, Melbourne and Galerie pompom, Sydney

 

Megan Jenkinson. 'Promise - Morrell’s Islands' 2009

 

Megan Jenkinson
Promise – Morrell’s Islands
2009
Type lenticular
22.6 x 38cm
Edition of 5
Image courtesy the artist and Stills Gallery, Sydney

 

Megan Jenkinson. 'Solace - Morrell's Islands' 2009

 

Megan Jenkinson
Solace – Morrell’s Islands
2009
Type lenticular
21.7 x 38cm
Edition of 5
Image courtesy the artist and Stills Gallery, Sydney

 

 

“View from the Window presents current thinking around photography (if we can even talk of something called photography any more).

The exhibition adapts its name from the oldest existing camera photograph, View from the Window at Le Gras by Nicéphore Niépce. Created with a cumbersome process using Bitumen of Judeah, it remains a trace of a day nearly two hundred years ago and a fragile, enigmatic object today. Since that time, photography has undergone continual seismic shifts in its short history. Given its technological foundations it was inevitable that as new processes and techniques were discovered they would influence current photographic practice. From daguerreotypes, cyanotypes through to Kodachrome, C-41, digital negatives and Photoshop just about everything has changed how we engage with the medium.

With the ubiquity of the modern photographic image View from the Window attempts to highlight the need for considered reflection upon the place and value of current photographic practices. The artists respond to this by considering what ‘photography’ is, and in doing so re-shape, re-imagine, expand and break it down. They explore new thinking with traditional techniques and invent new methods of image making. The work is digital and analogue, flat and sculptural, conceptual and experiential, whole and fragmented. Despite all this, the photographic ‘idea’ remains – reshaping the way we see the world.”

Press release from the Edmund Pearce Gallery website

 

Installation view of the exhibition 'View from the Window' at Edmund Pearce Gallery, Melbourne, July 2014

 

Installation view of the exhibition View from the Window at Edmund Pearce Gallery, Melbourne, July 2014

 

Jo Scicluna. 'Where A Circle Meets A Line (#4)' 2014

 

Jo Scicluna
Where A Circle Meets A Line (#4)
2014
Archival pigment ink on cotton rag, victorian ash timber, tinted acrylic
37.5 x 37.5 cm
Edition of 5
Image courtesy of the artist

 

Jo Scicluna. 'Where I Have Always Been (An Island)' (detail) 2014

 

 

Jo Scicluna
Where I Have Always Been (An Island) (detail)
2014
Archival pigment ink on cotton rag, Victorian Ash timber, acrylic
45 x 45 cm
Edition of 5
Image courtesy of the artist

 

 

Extracts from the catalogue essay View from the Window

“Over 180 years ago, the French inventor Nicéphore Niépce produced View from the Window at Le Gras. Depicting the view over a series of buildings and the countryside surrounding a French estate, this fragile work was produced in a camera obscura by focusing light onto a pewter plate coated with Bitumen of Judea. Its archaic form and production seem far removed from the digitally-augmented, large-scale work of many contemporary artists, yet it still haunts photography. As well as recalling the origins of photography, it indicates a number of enduring polarities: analogue and digital; image and object; physical darkroom practices and digital post-production; personal and institutional or collective experiences; and duration and snapshot…

As these artists’ works demonstrate, the field of contemporary photography is fundamentally multifarious, constantly eluding attempts to delimit and define it. Despite the diversity of these practices, they share a sense of critical inquiry. Whether working with analogue photographs in darkrooms or digital images in post-production, building physical objects or emphasising the immaterial, these artists all foreground the capacity for photography to interrogate our understanding of the world. Consequently these practices recall art historian Bernd Stiegler’s vision of photography as a ‘reflective medium’.5 By this term Stiegler refers to the inextricable link between photography and realism, but importantly not a form of realism understood as naïve mimesis. Rather, for Stiegler, photography reflects upon the structures and assumptions through which we perceive the world, it ‘plumbs the conditions and limits of our understanding of reality’.6 More than a veridical document or hollow simulacrum, photography thus exists as image, object and process, potentially all simultaneously.

The complexity of these works signals a second common element: the investment of time. All these artists expend considerable time and effort in producing their work, as do any dedicated artists. However, the relevance of this observation is that this temporal investment differentiates such work from the overwhelming glut of photographic images that circulate through the electronic networks of globalised society. Although it would be disingenuous and insensitive to claim that tourist snaps of well-travelled monuments are only meaningless ephemera or signs of globalised homogeneity,7 the near ubiquity of photographic images highlights the need for considered reflection upon the place and value of photographic practices. Committed to extended periods of observation and experimentation, these artists display the patience and persistence to interrogate the problems and possibilities of photography. At their gentle request we repay this dedication through our own extended viewing, for without the time to look we might lose the time to think.

Christopher Williams-Wynn
2014

Christopher Williams-Wynn is an art history honours graduate of The University of Melbourne, and co-founder and co-editor of Dissect Journal.

 

5. Bernd Stiegler, ‘Photography as the Medium of Reflection’ in Robin Kelsey and Blake Stimson (eds), The Meaning of Photography. Williamstown, MA: Sterling and Francine Clark Art Institute, 2008, pp. 194-197.
6. Ibid., p. 197.
7. John Urry and Jonas Larsen, The Tourist Gaze 3.0, London: SAGE Publications, 2011, pp. 155-187.

 

Kim Demuth. '12.16am 18.02.2009' 2012

 

Kim Demuth
12.16am 18.02.2009
2012
Sculptural photography
110 x 92 x 6.5 cm
Edition of 3
Image courtesy of the artist

 

Kim Demuth. '9.55am 11.06.2008' 2012

 

Kim Demuth
9.55am 11.06.2008
2012
Sculptural photography
110 x 88 x 6.5cm
Edition of 3
Image courtesy of the artist

 

Sean Barrett. 'Cool Aether' 2014

 

Sean Barrett
Cool Aether
2014
Duratrans on blackwood lightbox
80 x 60 cm
Edition of 3
Image courtesy of the artist

 

Sean Barrett. 'Bright Swarm' 2014

 

Sean Barrett
Bright Swarm
2014
Duratrans on blackwood lightbox
80 x 60 cm
Edition of 3
Image courtesy of the artist

 

Sean Barrett. 'Dual Aurora' 2014

 

Sean Barrett
Dual Aurora
2014
Duratrans on blackwood lightbox
80 x 60 cm
Edition of 3
Image courtesy of the artist

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000

Opening hours:
Wed – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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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.

August 2014
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