Posts Tagged ‘Australian artist

12
Jan
15

New Fredrick White Sculpture website

 

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

Visit his new website.

Marcus

 

 

Fredrick White Sculpture website

 

Fredrick White Sculpture website
2015

 

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

Fredrick White 'Transference' 2014

 

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

Photographed at Pipemakers Park, Maribyrnong

 

 

Fredrick White Sculpture website

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30
Nov
14

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

Exhibition dates: 17th October – 7th December 2014

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

Curator: Shaune Lakin

 

 

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

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

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

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

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

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

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

Dr Marcus Bunyan for the Art Blart blog

 

Footnotes

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

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

 

 

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

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

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

.
Robert Nelson The Age Wednesday November 5, 2014

 

 

Pat Brassington. 'Untitled' 1984 (1)

 

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

 

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

 

Helen Grace. 'Women at work, Newcastle' 1976

 

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

 

Helen Grace. 'Women at work, Newcastle' 1976

 

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

Christine Godden. 'Joanie pregnant' 1972

 

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

 

Christine Godden. 'Untitled' c. 1976

 

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

 

Christine Godden. 'Untitled' c. 1976

 

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

 

Christine Godden. 'Untitled' c. 1976

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

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

 

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

 

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

 

Carol Jerrems. 'Vale Street' 1975

 

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

 

Carol Jerrems. 'Lynn' 1976

 

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

 

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

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

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

 

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

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

 

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

 

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

 

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

 

Ponch Hawkes. 'Ponch and Ida' 1976

 

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

 

Ponch Hawkes. 'Lorna and Mary' 1976

 

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

 

Ponch Hawkes. 'Mimi and Dany' 1976

 

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

 

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

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

 

installation-i

installation-j

installation-k

installation-l

installation-h

 

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

 

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

 

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

 

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

 

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

 

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

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

 

Virginia Coventry. 'Miss World televised' 1974

 

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

 

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

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

 

 

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

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

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

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

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

Press release from the Monash Gallery of Art

 

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

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

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

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

Text from the Monash Gallery of Art website

 

Sue Ford. 'Untitled' 1969-71

 

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

 

Sue Ford. 'Untitled' 1969-71

 

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

 

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

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

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

 

Robyn Stacey. 'Queensland out west' 1982

 

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

 

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

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

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

 

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

 

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

 

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

 

Robyn Stacey. 'Untitled (Picnic)' 1981

 

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

 

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

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

 

Robyn Stacey. 'Ice' 1989

 

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

 

Robyn Stacey. 'Jet' 1989

 

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

 

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

 

Julie Rrap. 'Persona and shadow: Madonna' 1984

 

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

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

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

 

Micky Allan. 'Old age' 1978

 

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

 

Micky Allan. 'Old age' 1978

 

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

 

Micky Allan. 'Old age' 1978

 

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

 

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

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

 

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

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

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

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

 

 

Exhibiting artist’s biographies

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

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Sat – Sun: 12pm – 5pm
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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.

.
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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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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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

 

 

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

 

 

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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10
Jul
14

Marcus Bunyan black and white archive: The Songs of Eternity, 1994

 

 

NOW friends. These are really important photographs for me.

.
As Minor White’s artist book The Temptation of St. Anthony is Mirrors (1948) is a visual love poem to Tom Murphy, so my artist book The Songs of Eternity (1994) is a visual love poem to my then long-time partner Paul. Both are exceedingly rare books: there are two copies of White’s book and there is one copy of mine.

And yes, the prints are even more beautiful in the flesh (so to speak).

Marcus

 

I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image. Please remember these are just straight scans of the prints, all full frame, no cropping !

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

The Songs of Eternity

Images and poetry by M. Bunyan 1994

 

I stood at the edge of the precipice / and peered in as William Blake would say

The timepiece of eternity / swung hands through all the hours

so how naive I’ve been / not to see its powers

Did I deceive / or was I led

What a rude awakening / throughout my head

Many fabulous things were said /

many a doubt was in silence bled …

Nothing is certainty but the change – I was must be strong to attain

Depth, spirit, integrity and the rest

This affirmation I will confirm – not in conformity but in my own special way

Not this way nor that but my own path / that one day will whisper gently in my ear

Be strong, for we have much to say / when the sea becomes the sky.

Strong in your arms I become your scent

Lying in my bed the sheets of flowers enfold me

Trusting in my heart I know

Today    Yesterday    Tomorrow

 

 

Marcus Bunyan. 'Shroud' 1994

 

Marcus Bunyan
Shroud
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
The Songs of Eternity

 

Marcus Bunyan. 'Paul, shadows' 1994

 

Marcus Bunyan
Paul, shadows
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
I stood at the edge of the precipice / and peered in as William Blake would say

 

Marcus Bunyan. 'Eternal timepiece' 1994

 

Marcus Bunyan
Eternal timepiece
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
The timepiece of eternity / swung hands through all the hours

 

Marcus Bunyan. 'Paul, head covered' 1994

 

Marcus Bunyan
Paul, head covered
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
so how naive I’ve been / not to see its powers

 

Marcus Bunyan. 'Pendent #1' 1994

 

Marcus Bunyan
Pendent #1
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Did I deceive / or was I led

 

Marcus Bunyan. 'Untitled' 1994

 

Marcus Bunyan
Untitled
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
What a rude awakening / throughout my head

 

Marcus Bunyan. 'Untitled' 1994

 

Marcus Bunyan
Untitled
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Many fabulous things were said /

 

Marcus Bunyan. 'Suspension #1' 1994

 

Marcus Bunyan
Suspension #1
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
many a doubt was in silence bled …

 

Marcus Bunyan. 'Chyralis' 1994

 

Marcus Bunyan
Chrysalis
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Nothing is certainty but the change – I was must be strong to attain

 

Marcus Bunyan. 'Décolleté' 1994

 

Marcus Bunyan
Décolleté
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Depth, spirit, integrity and the rest

 

Marcus Bunyan. 'Paul, doorway (for Georgia O'Keeffe)' 1994

 

Marcus Bunyan
Paul, doorway (for Georgia O’Keeffe)
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
This affirmation I will confirm – not in conformity but in my own special way

 

Marcus Bunyan. 'Pendent #2' 1994

 

Marcus Bunyan
Pendent #2
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Not this way nor that but my own path / that one day will whisper gently in my ear

 

Marcus Bunyan. 'Shadow, wreath' 1994

 

Marcus Bunyan
Shadow, wreath
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Be strong, for we have much to say / when the sea becomes the sky.

 

Marcus Bunyan. 'Madonna, male' 1994

 

Marcus Bunyan
Madonna, male
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Strong in your arms I become your scent

 

Marcus Bunyan. 'Suspension #2' 1994

 

Marcus Bunyan
Suspension #2
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Lying in my bed the sheets of flowers enfold me

 

Marcus Bunyan. 'Paul, wreath and hands' 1994

 

Marcus Bunyan
Paul, wreath and hands
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Trusting in my heart I know

 

Marcus Bunyan. 'Untitled' 1994

 

Marcus Bunyan
Untitled
1994
From the series The Songs of Eternity
Silver gelatin photograph

.
Today    Yesterday    Tomorrow

 

 

Marcus Bunyan black and white archive page

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Marcus Bunyan black and white archive: ‘The Songs of Eternity’ 1994

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Dr Marcus Bunyan

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

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