Archive for the 'Australian artist' Category

09
May
21

Review: ‘Do Brumbies Dream in Red? – Tom Goldner’ at the Meat Market Stables, Melbourne

Exhibition dates: 5th February – 27th February 2021

Photography & Curation/Art Direction – Tom Goldner
Moving Image – Angus Scott
Sound – Sean Kenihan
Poetry – Dr Judith Crispin (publication)
Colourist – CJ Dobson (moving image)
Audio Visual – Toto Creative
Cover Art – Katherina Rodrigues (publication)

 

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

 

Strange Beauty

Bloated prostrate tentacles

wither into our idea of dying

overlapping human, shit

feeding foulest vegetables,

regenerating sourly

Kingdoms of foulest water

regorging sourly

Bloated brumbies, winged coal

rejigs

Strange Beauty

Floating in our mind

In grey greasy horror water

Full of surprises –

like a holocaust holding pond

At your peril

 

Skull twisted,

Served on corrugated soot

Land, once precious

disguised, drained

black, gold – split

burnt to reburn

charred brumbies, flying coal

rem/embers,

Millions of worst worst

Strange Beauty

lost as sources

Boiling, bubbling – like a holocaust

At your peril

 

Belching wishes to reassemble

Hexing new forms

Bottom of our nightmare

Bottom of our innings

Animals worst worst

Plants unredeemable

Satan not lucifer

Sky a trap

Wings a trap

Escape a trap

Strange Beauty

beside the dead and ugly

like a holocaust

Do you want to …

(At your peril)

… Remember ?

.
Marcus Bunyan and Ian Lobb, May 2021

 

 

Contested Ground

I saw this darkly mysterious, immersive exhibition by the artist Tom Goldner just after Melbourne suffered its mini-five day COVID lock down in February 2021, but I have been awaiting the installation photographs and video of the event to publish this posting.

This stimulating exhibition, with its wonderfully atmospheric sound track, was an overlapping animation of conceptual, documentary photographs that appear in Goldner’s book Do Brumbies Dream in Red? – and placed “the audience within the Snowy Mountains and Victorian Alpine regions during the period of 2019-2020 referred to as the Black Summer“, the project (both multimedia exhibition and book) considering “the systems which position the Snowy Mountain brumby and the catastrophic 2019-2020 Australian bushfires within a time of ecological uncertainty.” The starting point into Goldner’s investigation was that of the Snowy Mountain brumby, an Australian feral wild-roaming horse, an invasive, non-native species introduced during colonisation. The brumbies cannot see in red, and the artist wondered how the world must have appeared to them illuminated by the strange light of the raging bushfires. He uses this idea as a metonym throughout the project which acts as an entry point into both the human and nonhuman world, to begin to understand the human perception of this catastrophic event and the anthropogenic changes that are happening in the Australian landscape.

The research which underpins Goldner’s project is guided “by the work of English professor Timothy Morton and his theories on ‘ecological awareness’ in Dark Ecology (2016), which examine the intersection of places, scales and nonhuman interrelations. Running parallel to these ideas are those of American professor Donna Haraway’s most recent book, Staying with the Trouble (2016). Particularly her concept of the ‘Chthulucene’ that strives to capture a future in which all things in the world are connected, coexist and, in many cases, ‘collaborate’, and through this, we learn to ‘live and die well together’ and achieve a kind of ‘ongoingness’.” The artist seeks to flatten the hierarchy between human and nonhuman life by allowing us to recognise ourselves within the violence we inflict on the natural world during this human-assisted ecological disaster.

.
While the project professes to challenge the notion of clear and tidy boundaries in a time of ecological uncertainty, in reality it offers a particularly one-eyed perspective on the subject of anthropogenic changes to the landscape. I don’t mind this perspective at all, in fact I applaud it, for the ultimate goal of the photographs is to open our eyes to the destruction that human actions are inflicting on our environment. Through beautifully modulated photographs of great sensitivity Goldner pictures these spaces of destruction and re/generation. But is there ever an “original” landscape to which we must return?

In humans, a reduced sensitivity to red light due to missing or defective L-cones (or long wave cones) is known as protanopia or protanomaly. The derivation of the word protanopia is from the early 20th century: from proto- ‘original’ (red being regarded as the first component of colour vision) + an- ‘lacking’ + ‘opia’- (denoting a visual disorder). Protanomaly makes red look more green and less bright while protanopia makes you unable to tell the difference between red and green at all. People with protanopia are more likely to confuse black with many shades of red; dark brown with dark green, dark orange and dark red; some blues with some reds, purples and dark pinks; and mid-greens with some oranges (see image below).

When the first component of colour vision (red) is lacking we have a visual disorder. How, then, can we see the intersection of the human and non-human world clearly if we have a visual disorder? To what are we to return, to an untouched paradisiacal landscape pre-colonisation, pre-human inhabitation – to an “original” we can no longer see – or do we acknowledge the paradoxical “nature” of our contemporary existence on this earth in a more balanced way. Nothing is ever black and white, or in this case colour(–).1

For many generations humans have lived in the Snowy Mountains and Victorian Alpine regions, singing pastorals to the gods, seeking guidance to live on the land: the mountain ranges are thought to have had Aboriginal occupation for 20,000 years and after the areas were first explored by Europeans from the 1830s-1850s, high country stockmen followed using the mountains for grazing during the summer months (Wikipedia). Over the last few years, people of Victoria’s high country and animal lovers have rallied against the proposed culling of feral brumbies in the state’s national parks. They cite that brumbies hold “heritage value, they are part of our cultural and social history. Brumbies have lived in our Heritage National Parks for two centuries; are descendants of remounts that were sent to War with our soldiers… Brumbies were immortalised by Banjo Patterson, feature in paintings by Sydney Nolan and written about in the Silvery Brumby novels by Ellyne Mitchell. Brumbies are part of the fabric of our Australian society. It is undeniable that extremist elements must not be allowed to dictate on cultural and social values.”2 Goldner states that, “Brumbies are a symbol of national consciousness. While they may be labelled as a ‘feral species’ and a threat to native ecosystems by environmentalists, they are also valued as an important part of Australia’s history as a symbol of national spirit.”

Contested ground indeed, and perhaps one that needed to be more fully investigated in Goldner’s project.

While the second sentence in the above paragraph is true I would argue that the opposite of the first sentence is at least possible – that brumbies are an anti-symbol of national consciousness, for the animals hardly ever impinge on the collective consciousness of most Australians when they think about the Australian landscape. How often would the vast bulk of the city-dwelling Australian population think about the brumby as a symbol of national consciousness? Hardly ever would be my answer. It is not an original thought about the landscape that they would have.

.
Walking through the darkened spaces of the exhibition, I let the phenomena of superb images and sounds wash over me. The experience was particularly moving given the strange beauty of the limited colour palette images and the atmospheric vibrations of the music. For me, the key image of the exhibition was not that of the bloated brumby lying prostrate on the blackened earth, but that of an isolated grave standing erect in the scorched landscape. With no context to allow the viewer to anchor this grave to a historical past, all we are left with are questions and metaphors. What is this grave doing seemingly in the middle of nowhere? Who is the person buried there? The metaphors are rich indeed: the erect whiteness of the white man’s grave stone isolated against the black ness of the landscape, a landscape not their own, and perhaps not of their own making. The anonymous writing on the grave stone standing as a metaphor for any human who has ever lived. The iron fence that segregates the human from the land even as they buried in it… as though they are a part of this earth but apart from it. A masterful image if ever I saw one.

In the overlapping, interstitial, spatio-temporal dimensions of the gallery I placed myself into the existence of these works, into their networks of existence. As the artist wanted, I recognised “the violence we inflict on the natural world during this human-assisted ecological disaster” but not, I insist, through the flattening of the hierarchy between human and nonhuman life but through it’s very opposite – through an acknowledgement of the multiple, fragmented, lexias of existence,2 networks that live in multiple levels of intersectionality, like a spiders web created in the dimensions of extended space. Into this geometry of space, into the spatio-temporal ‘nature’ of photography – death, power, transcendence, timelines, delay, exposure, territorialisations, assemblage, bricolage, rhizomic structures and the author – “seeing is no longer framed or presupposed through relations of distance or perspective. Rather, the eye and the visible are embodied as they struggle with positionality, in the physical, mental, and emotional conflicts that result when you have to take responsibility for what you see, instead of conferring that responsibility on an-other.”4

Goldner’s vision embodies this ongoing thickness, this ongoing responsibility.

Dr Marcus Bunyan

 

Footnotes

  1. “Conceptually, wholes are divided up or taken apart, dis-integrated into component pieces. They may be reintegrated, but in a way that reflects the understanding of those pieces at the time of their disassembly; the way the functions of individual parts of a whole are seen depends on the way the whole is divided into parts. Different visions result in different views of the whole.”
    Wolf, Mark. Abstracting Reality: Art, Communication, and Cognition in the Digital Age. Lanham: University Press of America, 2000, p. 196.
  2. Anonymous author. “Melbourne rally “Stop the bullets”,” media release on the Australian Brumby Alliance website May 1, 2021 [Online] Cited 09/05/2021.
  3. Lexia is perhaps the most widely applicable term for describing the linked pieces of information within a hypertext, referred to in various contexts as nodes, pages, frames and workspaces.
  4. Burnett, Ron. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, pp. 137-138.

.
Many thankx to Tom Goldner for allowing me to publish the photographs and video in the posting. Please click on the photographs for a larger version of the image. The Do Brumbies Dream in Red? – Photo Book is available from Tom Goldner’s website.

 

 

protanopia vision

 

Protanopia vision

 

 

Photography & Curation/Art Direction – Tom Goldner
Moving Image – Angus Scott

 

 

Photography & Curation/Art Direction – Tom Goldner
Moving Image – Angus Scott

 

 

“A large portion of the project was made in the Snowy Mountain region of New South Wales.

During the first tip to the fire grounds in early January 2020 we came across a wild horse… It had died of a lung bleed while trying to escape the bushfires. I used the brumby as an entry point into Australia’s colonial history, proposing that the brumby is a manifestation of our collective actions.

I later learn that horses only see in blues and greens, and I wondered how the world must have appeared to them illuminated by that strange red light.

The project asks, can we too see the world differently?”

.
Tom Goldner on the Blackriver website [Online] Cited 05/04/2021

 

 

Do Brumbies Dream in Red? is a research-driven project which explores anthropogenic changes in the Australian landscape through the use of conceptual documentary photography. Presented as an immersive experience this collaborative project utilises large-scale projection to place the audience within the Snowy Mountains and Victorian Alpine regions during the period of 2019-2020 referred to as the Black Summer.

Do Brumbies Dream in Red? negotiates the human perception of this catastrophic event. This exhibition and publication reveals the bushfires and resulting damage through the eyes of another human-assisted ecological disaster, one of an invasive species: the Snowy Mountain Brumby.

The project considers the systems which position the Snowy Mountain brumby and the catastrophic 2019-2020 Australian bushfires within a time of ecological uncertainty. The Snowy Mountain brumby, an Australian feral wild-roaming horse, appears as a metonym throughout the project and acts as an entry point into both the human and nonhuman world.

 

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

Installation view of the exhibition 'Do Brumbies Dream In Red? – Tom Goldner' 2021

 

Installation views of the exhibition Do Brumbies Dream In Red? – Tom Goldner 2021 at the Meat Market Stables, Melbourne

 

 

“Mixed-up times are overflowing with both pain and joy – with vastly unjust patterns of pain and joy, with unnecessary killing of ongoingness but also with necessary resurgence. The task is to make kin in lines of inventive connection as a practice of learning to live and die well with each other in a thick present. Our task is to make trouble, to stir up potent response to devastating events, as well as to settle troubled waters and rebuild quiet places.”

.
Donna Haraway, 2016

 

 

Do Brumbies Dream in Red? is a project driven by research which explores anthropogenic changes in the Australian landscape through the use of conceptual documentary photography, video and audio recordings.

The project considers the systems which position the Snowy Mountain brumby and the catastrophic 2019-2020 Australian bushfires within a time of ecological uncertainty. The Snowy Mountain brumby, an Australian feral wild-roaming horse, appears as a metonym throughout the project and acts as an entry point into both the human and nonhuman world.

Brumbies are a symbol of national consciousness. While they may be labelled as a ‘feral species’ and a threat to native ecosystems by environmentalists, they are also valued as an important part of Australia’s history as a symbol of national spirit. Brumbies represent wildness and the way we relate to, and attempt to control, nature.

The project challenges the notion of clear and tidy boundaries in a time of ecological uncertainty. The research is underpinned by the work of English professor Timothy Morton and his theories on ‘ecological awareness’ in Dark Ecology (2016), which examine the intersection of places, scales and nonhuman interrelations. Running parallel to these ideas are those of American professor Donna Haraway’s most recent book, Staying with the Trouble (2016). Particularly her concept of the ‘Chthulucene’ that strives to capture a future in which all things in the world are connected, coexist and, in many cases, ‘collaborate’, and through this, we learn to ‘live and die well together’ and achieve a kind of ‘ongoingness’.

Do Brumbies Dream in Red? seeks to flatten the hierarchy between human and nonhuman life by allowing us to recognise ourselves within the violence we inflict on the natural world. The visual outcomes that navigate these ideas are intertwined and are driven by a series of photographs, moving images and audio recordings. The project culminates in a photobook with an accompanying poem by Australian artist and academic Dr Judith Nangala Crispin. The publication was produced to be presented alongside a mixed-media exhibition, comprising of large-format projected still and moving imagery and a soundscape.

Text from the Tom Goldner website [Online] Cited 05/04/2021

 

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

Tom Goldner. 'Untitled' from the series 'Do Brumbies Dream In Red?' 2020

 

Tom Goldner (Australian, b. 1984)
Untitled from the series Do Brumbies Dream In Red?
2020

 

'Do Brumbies Dream in Red? – Photo Book'

 

Do Brumbies Dream in Red? – Photo Book

 

 

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Meat Market Stables website

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09
Apr
21

Review: ‘Ruth Maddison: It was the best of times, it was the worst of times’ at the Centre for Contemporary Photography, Melbourne

Exhibition dates: 26th February  –  18th April 2021

 

Ruth Maddison (Australian, b. 1945) 'Equal pay demo, Bourke Street Melbourne' 1985

 

Ruth Maddison (Australian, b. 1945)
Equal pay demo, Bourke Street Melbourne
1985
Pigment print from scanned negative
39 x 58cm (image size)
Courtesy of the artist and the Centre for Contemporary Photography

 

 

“One can also pursue politics with art.
Everything that intervenes in the processes of life, and transforms them, is politics.”

.
Hans Richter

 

“I always wanted to document people’s lives – their work, their family, their relationships, their leisure – their pain and pleasure.

“To me, every individual’s life is more wondrous than any fantasy could ever be.”

.
Ruth Maddison

 

 

The Art of a Fellow Traveller

Since the 1970s Australia has been blessed with many talented women photographers… Sue Ford, Carol Jerrems, Joyce Evans, Ponch Hawkes, Micky Allan, Ruth Maddison, Rosemary Laing, Hoda Afshar, Anne Ferran, Katrin Koenning, Robyn Stacey, Janina Green, Bindi Cole, Tracey Moffatt, Polixeni Papapetrou, Pat Brassington, Claire Rae, Claudia Terstappen, Jacqui Stockdale, Siri Hayes, Petrina Hicks, Kim Lawler, Carolyn Lewens, Nicola Loder, Jill Orr, Kim Percy, Patricia Piccinini, Elizabeth Gertsakis, Jane Brown, to name just a few…

 ** Thinking. Australia. For such a small (in population) and isolated (geographically) country, rarely in the history of photography can there have been such an accumulated wealth of talent within the space of 60 years or so. I have suggested to a major public gallery in Melbourne a group exhibition of these artists but it went nowhere. Why? This is world class talent! **

.
Which brings me to the exhibition Ruth Maddison: It was the best of times, it was the worst of times which occupies all galleries at the Centre for Contemporary Photography, Melbourne.

What a delight it is to see this artist in full flight in this exceptionally strong exhibition. As pictured in the flow of images, Maddison has carved her name as a social documentary and feminist photographer, her holistic body of work providing a “significant contribution to the documentation of Australian life and society from the 1970s to the present – from her earliest iconic hand-coloured works, the working life of women, Melbourne’s social and cultural life of the 1980s, and Maddison’s documentation of the people and industries of her adopted home of Eden.”

Through direct, frontal mainly black and white / hand coloured photographs, Maddison builds compelling stories in her work, stories which explore the cultures and sub-cultures of Australia: the political upheavals, alternative lifestyles and counter culture, the women’s movement, gay liberation, Vietnam, union, nuclear, anti-fascist and other protests; the fight for equality and equal pay, the fight against discrimination and other actions that fight for fairness, acceptance and respect for all, within Australian society. With compassion and understanding Maddison pictures youth and exuberance, old age and protest, life on the land and sea, and life leaving it for the cities. Her photographs serve a testificatory function – related to BOTH a person who has witnessed these events (the artist) AND an object used as evidence (the photograph).

Maddison’s testimony to such events creates a polyperspectivity – not so much in terms of what the camera sees in individual images, but in what it sees directed by the artist over an entire career, comprising more than 40 years. Of looking, of being present, of being ethical. In her work, “the shadows already become immortal while still alive.”1

This is the crux of the matter. Since the very day that Maddison picked up a camera being ethical when representing the world around her has been a gut reaction. “Ethics is concerned with what is good for individuals and society and is also described as moral philosophy. The term is derived from the Greek word ethos which can mean custom, habit, character or disposition.” Her presentation of the world reflects her character and disposition. Her ethos is embedded in her being and psyche – the human soul, mind AND spirit. You can’t make this stuff up, you either have it or you don’t.

Maddison has this generosity of spirit in spades. The belief in balance, fairness, and equality for all. Yes, her photographs document people’s pleasure and pain, their lives, their existence but only through her own presence and vision. Her photographs are a reflection of her inner being, her spirit. What she believes the world can be, should be. It is this force of nature, her own being, that propels the investigation forwards. Never more so than now, in the midst of a pandemic, the world needs such ethical artists. To remind us for what we fight for.

For example, Netflix have recently announced a new “docu-soap” series “Byron Baes” (babes) to be filmed in the northern NSW beachside town of Byron Bay, which will reveal “hot Instagrammers, living their best lives, being their best selves,” with a cast of “celebrity-adjacent-adjacent influencers.” Who cares about these egotistical non-entities, when in the town drug use is rampant, housing is unaffordable and people cannot get a job! That is the real story, one which an artist such as Maddison would recognise and document with empathy and insight.

Maddison is a fellow traveller2 and I travel with her. She doesn’t follow “the running dog of capitalism” – or as people used to call them, “running dogs”3 – nipping at your heels, constantly harassing you, but these days not even that… just lackadaisical multinational corporations who don’t even care to hide their disdain for the working class, or their ecological disdain for the health of the world. All that matters is money and keeping the shareholders happy. She follows her own path and long may that continue. Looking and documenting is always both personal and political and this is Maddison’s story: “Everything that intervenes in the processes of life, and transforms them, is politics.” Blessings to her.

Dr Marcus Bunyan

 

  1. Joseph Roth, quoted, in translation, from Ulrich Raulff. “Umbrische Figuren,” in Floris M. Neusüss. Fotogramme – die lichtreichen Schatten. Kassel 1983, p. 16.
  2. A person who travels with another; a person who is not a member of a particular group or political party … but who sympathises with the group’s aims and policies.
  3. A servile follower, especially of a political system.

.
Many thankx to the Centre for Contemporary Photography for allowing me to publish the installation photographs at the bottom of the posting. All other iPhone photographs by Marcus Bunyan. Please click on the photographs to view a larger version of the image.

 

 

Gallery One

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Ruth Maddison (Australian, b. 1945) 'First roll of film' 1976 (installation view)

 

Ruth Maddison (Australian, b. 1945)
From First roll of film (installation view)
1976
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'First roll of film' 1976 (installation view)

 

Ruth Maddison (Australian, b. 1945)
From First roll of film (installation view)
1976
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'First roll of film' 1976

 

Ruth Maddison (Australian, b. 1945)
From First roll of film (installation view)
1976
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing at left the series Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979)
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing the series Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979)
Photos: Marcus Bunyan

 

Ruth Maddison (born Australia 1945) 'No title (Woman collecting a Christmas present from the car)' 1977-78

 

Ruth Maddison (Australia, b. 1945)
No title (Woman collecting a Christmas present from the car)
1977-78
From the series Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland 1979

 

Ruth Maddison. 'Christmas holiday with Bob's family, Mermaid Beach, Queensland' 1977/78

 

Ruth Maddison (Australia, b. 1945)
From Christmas Holidays with Bob’s family, Mermaid Beach, Queensland
1979

 

Ruth Maddison (Australia, b. 1945) 'Christmas Holidays with Bob's family, Mermaid Beach, Queensland' 1979

 

Ruth Maddison (Australia, b. 1945)
From Christmas Holidays with Bob’s family, Mermaid Beach, Queensland
1979

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the series Christmas Holidays with Bob’s family, Mermaid Beach, Queensland (1979) from the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Untitled #18' 1979

 

Ruth Maddison (Australian, b. 1945)
Untitled #18
1979
From the series Christmas holidays with Bob’s family. Mermaid Beach, Queensland 1979
Pigment print from scan, edition 1/1
10.5 x 16.2cm
Courtesy of the artist and the Centre for Contemporary Photography

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing photographs of women workers and single mothers (various dates and series, see above)
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing images from the series And so we joined the Union (1985)
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Prison Officers, Pentridge' 1985

 

Ruth Maddison (Australian, b. 1945)
Prison Officers, Pentridge
1985
Pigment print from scanned negative (Print by Les Walkling)
50 x 50cm (image size)
Courtesy of the artist and the Centre for Contemporary Photography

 

Ruth Maddison (Australian, b. 1945) From the series 'Let's Dance' 1979

Ruth Maddison (Australian, b. 1945) From the series 'Let's Dance' 1979

 

Ruth Maddison (Australian, b. 1945)
From the series Let’s Dance (installation views)
1979
Photos: Marcus Bunyan

 

 

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 photograph 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.

Text from the Monash Gallery of Art website

 

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

 

Ruth Maddison (Australian, b. 1945)
Vehicle Builders’ Union Ball, Collingwood Town Hall, Melbourne
1979
Gelatin silver print

 

Ruth Maddison (Australian, b. 1945) 'Single Mothers and their Children' 1994

 

Installation view of a work from Ruth Maddison’s series Single Mothers and their Children 1994
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Mmaskepe Sejoe and her daughter Nthabelong. Botswana - Melbourne' 1997 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Mmaskepe Sejoe and her daughter Nthabelong. Botswana – Melbourne (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Mary Marcoftsis. Macedonia - Melbourne' 1997 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Mary Marcoftsis. Macedonia – Melbourne (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Nada Jankovic. Serbia - Buli, NSW' 1997 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Nada Jankovic. Serbia – Buli, NSW (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Lia Tata Ruga, Devi Hamid, Anna Dartania and Ita Sulis. Indonesia – Sydney' (installation view) 1997

 

Ruth Maddison (Australian, b. 1945)
Lia Tata Ruga, Devi Hamid, Anna Dartania and Ita Sulis. Indonesia – Sydney (installation view)
1997
From the series Australian Women
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Trade workshop for girls, Preston TAFE' 1984 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Trade workshop for girls, Preston TAFE (installation view)
1984, printed 2020
Pigment print from scanned negative
18.6 x 28cm
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Trade workshop for girls, Preston TAFE 1984' (installation view)

 

Ruth Maddison (Australian, b. 1945)
Trade workshop for girls, Preston TAFE (installation view)
1984, printed 2020
Pigment print from scanned negative
18.6 x 28cm
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Women's Dance, St Kilda Hall' 1985, printed 2014 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Women’s Dance, St Kilda Hall (installation view)
1985, printed 2014
Gelatin silver prints

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Ponch Hawkes, Helen and Alice Garner' 1978-2018

 

Ruth Maddison (Australian, b. 1945)
Ponch Hawkes, Helen and Alice Garner
1978-2018
Pigment print from scanned negative
Image: 22.6 x 15cm
Courtesy of the artist and the Centre for Contemporary Photography

 

Ruth Maddison (Australian, b. 1945) 'Jane Clifton and Helen Garner' 1976-2013 (installation view)

Ruth Maddison (Australian, b. 1945) 'Jane Clifton and Helen Garner' 1976-2013 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Jane Clifton and Helen Garner (installation views)
1976-2013
Photos: Marcus Bunyan

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view in gallery one of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing at second top left, Keith Haring (1985-2014)
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Keith Haring' 1985-2014

 

Ruth Maddison (Australian, b. 1945)
Keith Haring
1985-2014
Pigment print from scanned negative, hand-coloured and digitally enhanced
40 x 40cm
Courtesy of the artist and the Centre for Contemporary Photography

 

Ruth Maddison (Australian, b. 1945) 'Monika Behrem, Rochelle Haley and their baby Indigo' 2017 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Monika Behrem, Rochelle Haley and their baby Indigo (installation view)
2017
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Equal pay demo, Bourke Street Melbourne' 1985 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Equal pay demo, Bourke Street Melbourne (installation view)
1985
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

 

Gallery two

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery two of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Ruth Maddison (Australian, b. 1945) 'Highway 23' 2009 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Highway 23 (installation view)
2009
Type C print from digital file
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views showing work from the series Crossing the Monaro (2009) in the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

 

In Ruth Maddison’s regular trips across the Monaro she stopped frequently to take photographs. She is drawn to the expansiveness of this unencumbered landscape, the way it opens up and seems to encourage something similar in ourselves.

“I drive across the Monaro and look at the sweep of the land and think about what was there and what has gone – time and time again. Stopping at small cemeteries scattered across the Monaro, passing through the dying towns, collecting bird and animal bones scattered all along the way, watching grass seeds blowing across the road. I am conscious of layers of history held beneath the surface of the land. …

History is writ large on this route. Small towns attest to times of brief plenty: the promise of gold, the economy of fleece. They are established at distances determined in an era when horses paced the daily work. Where rail provided a short-lived reprise. They are now towns that compete for use to “Stop Revive Survive” or to which some retire…

This new body of work is a departure from the people-focused documentary / portrait based work that has informed my public practice for 30 years. This departure is the outcome of my social and professional isolation [in Eden], which I sought and have embraced. Yet I consider this work a documentary piece – I am documenting the passage of my life through a place and a time via photography and the problem solving processes it presents to me. I am documenting what it is that makes me want to go on and on with the work.”

Ruth Maddison artist statements 2008-09 quoted in Merryn Gates. “There is a time,” (catalogue essay) from the exhibition There is a time at the Huw Davies Gallery, September 2009 [Online] Cited 05/04/2021

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view in gallery two of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Millsy (Jason Mills)' 2000-2002 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Millsy (Jason Mills) (installation view)
2000-2002
From the series Now a river went out of Eden
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Bounge (Gregory Curtis) and Apple (John McCrory)' 2000-2002 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Bounge (Gregory Curtis) and Apple (John McCrory) (installation view)
2000-2002
From the series Now a river went out of Eden
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Norm Joiner' 2000-2002 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Norm Joiner (installation view)
2000-2002
From the series Now a river went out of Eden
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Imlay Street, Eden 1.44 pm 31 December 2019' and 'Walking towards Aslings Beach 7.14 am 31 December 2019' 2019 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Imlay Street, Eden 1.44 pm 31 December 2019 (installation view)
Walking towards Aslings Beach 7.14 am 31 December 2019
2019
From the series When No Birds Sing 2020
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Volunteers sorting. At the Fishermen's Co-op, Eden. 3.06 pm 18 January 2020' 2020 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Volunteers sorting. At the Fishermen’s Co-op, Eden. 3.06 pm 18 January 2020 (installation view)
2020
From the series When No Birds Sing 2020
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Julie Ristanovic, canteen supervisor. Chip mill' Nd (installation view)

 

Ruth Maddison (Australian, b. 1945)
Julie Ristanovic, canteen supervisor. Chip mill (installation view)
Nd
Photo: Marcus Bunyan

 

 

Gallery three

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints

 

Fifty-one selected posters, from the Samuel Goldbloom Collection, Melbourne University Archives, pigment prints
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing on the television The Dustbins of History (1950s / 2020), edited from ASIO footage sourced from the National Archives of Australia
Photos: Marcus Bunyan

 

The Dustbins of History (1950s), edited from Asio footage sourced from the National Archives of Australia.

 

Still from The Dustbins of History (1950s / 2020), edited from ASIO footage sourced from the National Archives of Australia

 

 

She [Maddison] also discovered reels of surveillance film documenting suspected members of the Communist party as they arrived at a secret meeting in one of Melbourne’s laneways in the 50s. This footage appears in the exhibition as The Dustbins of History, a short film that is comedic in its ambiguity and monotony. All that’s missing is the Keystone Cops.

Alison Stieven-Taylor. “The communist who raised me: photographer Ruth Maddison interrogates her father’s Asio file,” on the Guardian website Thurs 25 February 2021 [Online] Cited 05/04/2021

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne showing works from the series My father’s footsteps (1942-2020)
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'To everything there is a turn, turn, turn' 2020

 

Ruth Maddison (Australian, b. 1945)
To everything there is a turn, turn, turn
2020
From the series My father’s footsteps (1942-2020)
Diptych
Pigment print from ASIO files

 

 

After decades of being denigrated in the press and parliament, in 1990 Goldbloom was awarded an OAM for his service as an activist for peace. Later, a street was named after him in Canberra. Maddison has paired an ASIO image of her father at a peace rally in 1965 with the Goldbloom street sign, evidence she says of “history doing the wheel again”.

Alison Stieven-Taylor. “The communist who raised me: photographer Ruth Maddison interrogates her father’s Asio file,” on the Guardian website Thurs 25 February 2021 [Online] Cited 05/04/2021

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Hiroshima Day, Melbourne' 1981/2020 (installation view)

Ruth Maddison (Australian, b. 1945) 'Hiroshima Day, Melbourne' 1981/2020 (installation view detail)

Ruth Maddison (Australian, b. 1945) 'Hiroshima Day, Melbourne' 1981/2020 (installation view detail)

 

Ruth Maddison (Australian, b. 1945)
Hiroshima Day, Melbourne (installation views)
1981/2020
Pigment print from scanned black and white negative. Hand coloured and digitally enhanced
Photos: Marcus Bunyan

 

Herta and Jill Koppel

 

 

I just met the most wonderful lady at the Ruth Maddison exhibition at the Centre for Contemporary Photography, Melbourne.

100 year old Herta Koppel (pictured with her daughter Jill) was as bright as a button. She escaped the Nazis from Vienna with her two sisters in 1939, a few weeks before the war, leaving behind her parents who did not make it.

In the gallery the family were reminiscing on the people they knew in Ruth’s photographs while ‘The Internationale’ played in the background. How fitting.

Marcus

Photo: Marcus Bunyan

 

Samuel Goldbloom. Four photographs by ASIO 1957/1965/1968/1970 archival pigments prints 2020 (installation view)

Samuel Goldbloom. Four photographs by ASIO 1957/1965/1968/1970 archival pigments prints 2020 (installation view)

 

Samuel Goldbloom. Four photographs by ASIO 1957/1965/1968/1970 archival pigments prints 2020 (installation view)
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) Sam self-portrait, self-redacted Nd (installation view)

 

Ruth Maddison (Australian, b. 1945)
Sam self-portrait, self-redacted (installation view)
Nd
Pigment print from scanned negative
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) Sam self-portrait, self-redacted Nd (installation view detail)

 

Ruth Maddison (Australian, b. 1945)
Sam self-portrait, self-redacted (installation view detail)
Nd
Pigment print from scanned negative
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery three of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Maddison's parents' Nd (installation view)

 

Ruth Maddison (Australian, b. 1945)
Maddison’s parents (installation view)
Nd
Pigment print from scanned black and white negative
Photo: Marcus Bunyan

 

Ruth Maddison (Australian, b. 1945) 'Last night I had the strangest dream (#1)' 2020 (installation view)

 

Ruth Maddison (Australian, b. 1945)
Last night I had the strangest dream (#1) (installation view)
2020
Pigment print, hand coloured and digitally enhanced
64 x 70cm
Photo: Marcus Bunyan

 

 

From an early age, Ruth Maddison knew her father, Sam Goldbloom, was being watched. “He used to tell us not to worry about the men sitting in the car in front of the house … we were aware the clicks on the phone meant ‘they’ were listening too,” the award-winning Melbourne-born photographer says.

“They” were the Australian Security Intelligence Organisation. In the 1940s, Goldbloom’s anti-fascist ideals drew ASIO’s attention. He later joined the Communist party before becoming a major player in the World Peace Council. These associations made him a person of interest for more than 30 years. …

While the spy agency’s prolonged surveillance of her father was not news, Maddison says that when her mother, Rosa, died in 2008, she discovered a much more layered history. As she and her two sisters packed up the family home, Maddison was tasked with clearing out her father’s shed. He had died in 1999 but until then no one had gone through “Sam’s stuff”.

There she found packs of slides, video footage from Goldbloom’s numerous peace missions to communist regimes including the USSR, East Germany and Cuba, as well as home movies, correspondence and other paraphernalia related to his activist work. This discovery became the entry point to The Fellow Traveller, the centrepiece for the first major survey of Maddison’s work, “It was the best of times, it was the worst of times”.

She [Maddison] uses her camera to explore the influence of politics on everyday life, often focusing on the personal. In The Fellow Traveller she exposes the social and political climate of the postwar years through a very intimate and at times painful lens.

“For my father, politics was number one,” she says. “To see it all laid out in the ASIO files, you know, night after night after night Sam was at meetings, and then this year he’s overseas for one month, and then another year for two months, then three. While I was looking at all of that I realised family wasn’t number one for him.”

While Maddison was not witness to her father’s interactions with world leaders, she imagined him meeting men like Mao and Khrushchev. In a series, “Last night I had the strangest dream” Maddison has inserted Goldbloom into pictures with his political heroes [see Last night I had the strangest dream (#1) below].

“It’s not about reinterpreting history, I am playing with him and his life, and wondering if he ever daydreamed these images like I am now.” These hand-coloured photographs are also visual evidence of the fiction ASIO pursued.

Maddison describes her treatment of the archival materials as “part real, part desire and part imaginary”, which parallels the narrative in the ASIO files. In the endless reams of observational notes, innocuous photographs and informers’ statements lies the hope that Goldbloom was up to something.

After decades of being denigrated in the press and parliament, in 1990 Goldbloom was awarded an OAM for his service as an activist for peace. Later, a street was named after him in Canberra. Maddison has paired an ASIO image of her father at a peace rally in 1965 with the Goldbloom street sign, evidence she says of “history doing the wheel again”. [See the diptych To everything there is a turn, turn, turn 2020 above]

Alison Stieven-Taylor. “The communist who raised me: photographer Ruth Maddison interrogates her father’s Asio file,” on the Guardian website Thurs 25 February 2021 [Online] Cited 05/04/2021

 

Ruth Maddison (Australian, b. 1945) 'Last night I had the strangest dream (#1)' 2020

 

Ruth Maddison (Australian, b. 1945)
Last night I had the strangest dream (#1)
2020
Pigment print, hand coloured and digitally enhanced
64 x 70cm
Courtesy of the artist and the Centre for Contemporary Photography

 

 

 

Gallery four

 

Text from the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Ruth Maddison It was the best of times, it was the worst of times' at the Centre for Contemporary Photography, Melbourne

 

Installation views in gallery four of the exhibition Ruth Maddison It was the best of times, it was the worst of times at the Centre for Contemporary Photography, Melbourne
Photos: Marcus Bunyan

 

 

Ruth Maddison: It was the best of times, it was the worst of times is a significant survey exhibition focusing on Maddison’s social documentary practice from 1976 to the current day. Bringing together key historical works with a major new commission, this exhibition is a timely and focused look at one of Australia’s leading feminist photographers.

The exhibition features several key series, from Maddison’s earliest hand-coloured works Miss Universe (1979); her iconic Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979); a selection of series focusing on women in the workforce (from 1979); The Beginning of Absence (1996) documenting her father’s mortality; photojournalistic works documenting political rallies and activism in Australia (1975-2015); to Maddison’s more recent projects documenting the people and industries of Eden, NSW (2002-2014).

These works are presented alongside Maddison’s documentation of the cultural milieu of Melbourne with a focus on the late 1970s and 1980s. Her portraits of Melbourne’s leading writers, artists, theatre makers and musicians include Helen Garner, Tracey Moffatt, Steven Cummings, Jenny Watson, Mickey Allen, Ponch Hawkes and the founders of Melbourne’s Circus Oz amongst others.

Maddison’s more recent projects documenting Eden’s people and industries illustrate the changing face of regional Australia and the societal pressures that have come to bear. The Eden teens captured in Maddison’s 2002 series have now splintered, with half leaving town for new opportunities and the other remaining. The two industries – fishing and timber – that have underpinned Eden’s economy for decades have been dramatically reduced. While the 2019 bushfires, followed by the COVID-19 pandemic have further economically ravaged a community trying to rebuild itself.

The newly commissioned work The Fellow Traveller (2020) is an immersive photographic installation exploring Maddison’s father’s radical political activities in Australia and overseas from the 1950s-1980s, which were under ASIO scrutiny. Combining archival material, footage and hand-coloured photographs among a sea of revealing and curious images, The Fellow Traveller presents the shifting nature of long held personal and historical truths at a time of increasing social and political urgency.

Delivered through the collaboration of Adam Harding CCP Director, Jack Willet CCP Curator, Ruth Maddison and independent Curator Olivia Poloni, with inceptive curatorial work from Linsey Gosper and Madé Spencer-Castle.

 

Biography

Ruth Maddison (b. Melbourne, 1945, lives and works in Eden) is one of Australia’s foremost senior feminist photographers. Best known for her hand-coloured series, Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1977-78), for over 40 years Maddison has been exploring ideas surrounding relationships, working lives, and communities through portraiture and social documentary photography.

An entirely self-taught practitioner, Maddison shot her first roll of film in 1976 under the encouragement of longtime friend Ponch Hawkes, and has hardly put down a camera since. Maddison’s work is represented in major public collections, including the National Gallery of Australia, National Gallery of Victoria, the Museum of Contemporary Art, the National Library and the State Libraries of Victoria and New South Wales.

Text from the CCP website [Online] Cited 28/03/2021

 

Gallery one

Documentation photography J Forsyth

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Gallery two

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Gallery three

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Gallery four

 

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

’Ruth Maddison: It was the best of times, it was the worst of times’, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.

 

Ruth Maddison: It was the best of times, it was the worst of times, installation views Centre for Contemporary Photography, 2021.
Documentation photography J Forsyth

 

 

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
Phone: + 61 3 9417 1549

Opening hours:
Wednesday – Sunday 11am – 5pm

Centre for Contemporary Photography website

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04
Apr
21

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

April 2021

 

Marcus Bunyan. 'Ma mère' 1994

 

Marcus Bunyan (Australian, b. 1958)
Ma mère
1994
Gelatin silver print

 

 

Earlier in my life I believed that identity was always fluid, always in flux. These photographs reflect that belief.

Now as I get older, this belief has changed.

Identity is always steady – at a certain level – and that the old adage to know ones-self is still the greatest challenge. And that this knowledge brings a core that is consistent.

The fluidity of self-knowledge disappears when attention is sharpened.

.
Marcus Bunyan 2021

 

 

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. Please click the photographs for a larger version of the image. Please remember these are straight scans of the prints, all full frame, no cropping !

Marcus

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

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan. 'Untitled (Rembrandt thinking)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Rembrandt thinking)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'The conversation' 1996

 

Marcus Bunyan (Australian, b. 1958)
The conversation
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (Pope folded)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Pope folded)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (Pope unfolded)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Pope unfolded)
1996
Gelatin silver print

 

Marcus Bunyan. 'The Angelus, New R, 1892' 1996

 

Marcus Bunyan (Australian, b. 1958)
The Angelus, New R, 1892
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Thy Kingdom Come' 1996

 

Marcus Bunyan (Australian, b. 1958)
Thy Kingdom Come
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Purity' 1996

 

Marcus Bunyan (Australian, b. 1958)
Purity
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Whistler's mother (looking out to sea)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Whistler’s mother (looking out to sea)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Holbein's Happiness' 1996

 

Marcus Bunyan (Australian, b. 1958)
Holbein’s Happiness
1996
Gelatin silver print

 

Marcus Bunyan. 'Untitled (Sweet heart with leaves)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Sweet heart with leaves)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Windows at 63aa' 1995

 

Marcus Bunyan (Australian, b. 1958)
Windows at 63aa
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Urban abstraction (for Max)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Urban abstraction (for Max)
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Between the breath and the silence' 1995

 

Marcus Bunyan (Australian, b. 1958)
Between the breath and the silence
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Shame Fraser' 1995

 

Marcus Bunyan (Australian, b. 1958)
Shame Fraser
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Port Melbourne to Port of Melbourne' 1995

 

Marcus Bunyan (Australian, b. 1958)
Port Melbourne to Port of Melbourne
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Out back' 1995

 

Marcus Bunyan (Australian, b. 1958)
Out back
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (pear on black)' 1994

 

Marcus Bunyan (Australian, b. 1958)
Untitled (pear on black)
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Pear I' 1994

 

Marcus Bunyan (Australian, b. 1958)
Pear I
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Pear II' 1994

 

Marcus Bunyan (Australian, b. 1958)
Pear II
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract I' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract I
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract II' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract II
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Nude in sunlight' 1995

 

Marcus Bunyan (Australian, b. 1958)
Nude in sunlight
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract III' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract III
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract IIII' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract IIII
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract V' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract V
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract VI' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract VI
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Question  mark' 1995

 

Marcus Bunyan (Australian, b. 1958)
Question    mark
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Four lines and two trestles' 1995

 

Marcus Bunyan (Australian, b. 1958)
Four lines and two trestles
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Four tyres' 1995

 

Marcus Bunyan (Australian, b. 1958)
Four tyres
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (two cracks)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled (two cracks)
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (plank)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled (plank)
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creatures)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creatures)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creatures)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creatures)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel I' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel I
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel II' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel II
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel III' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel III
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel IIII' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel IIII
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'The structure and fabric of existence 1' 1995

 

Marcus Bunyan (Australian, b. 1958)
The structure and fabric of existence 1
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Passionfruit²' 1995

 

Marcus Bunyan (Australian, b. 1958)
Passionfruit²
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Passionfruit²' 1995

 

Marcus Bunyan (Australian, b. 1958)
Passionfruit²
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'The structure and fabric of existence 2' 1995

 

Marcus Bunyan (Australian, b. 1958)
The structure and fabric of existence 2
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 1995

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Williamstown 1' 1995

 

Marcus Bunyan (Australian, b. 1958)
Williamstown 1
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Williamstown 2' 1995

 

Marcus Bunyan (Australian, b. 1958)
Williamstown 2
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Williamstown 3' 1995

 

Marcus Bunyan (Australian, b. 1958)
Williamstown 3
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Case Tractor – 1925 –' 1996

 

Marcus Bunyan (Australian, b. 1958)
Case Tractor – 1925 –
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Fordson Tractor 1922' 1995

 

Marcus Bunyan (Australian, b. 1958)
Fordson Tractor 1922
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hart Parr' 1995

 

Marcus Bunyan (Australian, b. 1958)
Hart Parr
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'John Deere Tractor c. 1925' 1995

 

Marcus Bunyan (Australian, b. 1958)
John Deere Tractor c. 1925
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Lanz Bulldog Tractor 1930' 1995

 

Marcus Bunyan (Australian, b. 1958)
Lanz Bulldog Tractor 1930
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'McCormick Deering Tractor c. 1928' 1995

 

Marcus Bunyan (Australian, b. 1958)
McCormick Deering Tractor c. 1928
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Fighter 1' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Fighter 1
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Fighter 2' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Fighter 2
1994-96
Gelatin silver print

Marcus Bunyan (Australian, b. 1958) '"Boomerang Way" Tocumwal Wishing Well' 1995

 

Marcus Bunyan (Australian, b. 1958)
“Boomerang Way” Tocumwal Wishing Well
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) '"Boomerang Way" Tocumwal Wishing Well' 1995

 

Marcus Bunyan (Australian, b. 1958)
“Boomerang Way” Tocumwal Wishing Well
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) '"Boomerang Way" Tocumwal Wishing Well' 1995

 

Marcus Bunyan (Australian, b. 1958)
“Boomerang Way” Tocumwal Wishing Well
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'A twist of the mind' 1995

 

Marcus Bunyan (Australian, b. 1958)
A twist of the mind
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'A twist of the mind' 1995

 

Marcus Bunyan (Australian, b. 1958)
A twist of the mind
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'A twist of the mind' 1995

 

Marcus Bunyan (Australian, b. 1958)
A twist of the mind
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Australian landscape' 1995

 

Marcus Bunyan (Australian, b. 1958)
Australian landscape
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Two men and a ute' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Two men and a ute
1994-95
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Plume (X marks the spot)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Plume (X marks the spot)
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Lumbe, Blacksmith, Undertaker' 1995

 

Marcus Bunyan (Australian, b. 1958)
Lumbe, Blacksmith, Undertaker
1995
Gelatin silver print

 

 

Marcus Bunyan website

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27
Mar
21

Text / Exhibition: ‘Clarice Beckett: The present moment’ at the Art Gallery of South Australia, Adelaide

Exhibition dates: 27th February – 16th May 2021

 

Clarice Beckett (Australia, 1887-1935) 'Solitude' c. 1932

 

Clarice Beckett (Australia, 1887-1935)
Solitude
c. 1932
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

 

Realist structuralist illusionist

The only four words that you really need to know are this: I bought the catalogue.

Beckett’s story of tragedy and redemption is briefly told. Trained as a painter under Max Meldrum in the modernist Australian tonalist school (which she far surpassed). Painted the hazy, misty suburbs of Melbourne en plein air in all weather conditions, usually in the early morning or at dusk. Worked incredibly hard at her art but, as with a lot of artists, had little recognition during her brief career despite numerous solo exhibitions. Died at a young age of double pneumonia after an outdoor painting session. Work lost to the mists of time until the art historian Rosalind Hollinrake salvaged a mere 369 paintings – 1,600 were beyond repair – from an open sided barn in country Victoria. Sadness at the loss of a young life cut short, of so many paintings lost to the elements and possums, but a deep gratitude that we still have what remains of her reality, as seen through her paintings. Now become, in my humble opinion, one of the greatest Australian painters of all time.

In her review of the exhibition Catherine Speck observes that Beckett’s works are a “study in transience”; another commentary has her as the “master of the half-light”; curator Tracey Lock has said her work is “luminous, ethereal, and very gentle… producing some of the most radically minimalist landscapes of the period … atmospheric abstractions of the commonplace.” All true.

Beckett had studied theosophy – a belief in divine wisdom via mysticism – and had read Madame Blavatsky’s book The Voice of Silence. Blavatsky urged her followers to seek spiritual knowledge beyond sensory experience – a sense of “limitless” and expanse. As John MacDonald observes, Beckett “explored the spiritual dimension of modernism” but only in so far “as a function of the open-minded, open-hearted way she approached the subject of a painting.” Again, all true.

But I find there is something more grounded in Beckett’s work than just smoke and mirrors.

While Beckett’s work can be seen as both radically minimalist landscapes and “atmospheric abstractions”, if you really look at these paintings – seemingly just daubs of paint over layers of thin background washes – there is an incredible draughtsmanship and structure to all of her paintings. The underpinning of these transient paintings are anything but random tones applied to the canvas. A foundation built on sand cannot last, cannot sustain such a penetrating inquiry.

In many ways I see Beckett as much a structuralist as a modernist or tonalist. Following Meldrum’s ideas about the rational analytic observation of subtle visual patterns of tones and accents, we can say that Beckett worked to uncover the structures that underlie all the things that humans do, think, perceive, and feel in the immediacy of her painting, in her painting outdoors, in her inner vision of a reality that she felt and saw. In the phenomena of her life she envisaged, intimately, her interrelations with the world, and understood that below the surface phenomena there are constant laws of abstract structure.

How she evinces that structure in the solitude of a man in a boat, or passing trams, the warmth of the setting sun, or motor car lights in rain shows her “characteristic ability to catch the spontaneity of a lived moment.” As with a legion of great artists – van Gogh’s bedroom, Cezanne’s still life, Hooper’s diner at night – it is her ability to make the ordinary extraordinary that sets her apart from the rest. “She found a distinctive beauty in the ordinary objects such as telegraph poles, strips of road, trams, cars, buses and the daily activity taking place in the street.”

In paintings such as The Red Bus (Nd), Morning Ride (Nd), Out Walking (c. 1928-29), The Bus Stop (1930), Evening light, Beaumaris (c. 1925), Beach Road after the rain (Street scene) (c. 1927), Walking home (1931) and Dusk (Nd) it is the spatial distance between objects, not just physically but mentally – that leap of faith that the viewer must make into the space of the painting – that draws you in, that immerses you into that time and space that Beckett observed so truthfully. Poetic and lyrical yes, but also grounded and spatial, opening out this vista in front of you … humans as colourful accretions of paint (in)distinct in their existence, placed in fleeting moments, caught on the wind.

MacDonald notes, “If this show were being staged at Tate Modern or the Museum of Modern Art, Beckett would be hailed as a figure of world renown.” I heartily concur. Much as the Swedish artist Hilma af Klint (1862-1944) – whose lyrical abstract canvases were hidden for 20 years after her death – has recently had blockbuster exhibitions at Moderna Museet Malmö, Solomon R. Guggenheim Museum, New York and coming to the Art Gallery of New South Wales Sydney later in 2021, so I believe that Clarice Beckett will be recognised as an important world artist.

You really can’t pick out a bad painting by Beckett. Each has its own personality and seduction. I am ravished by them all.

Dr Marcus Bunyan

.
Many thankx to the Art Gallery 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.

 

 

“To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to give forth in correct tones so as to give as nearly as possible an exact illusion of reality.”

.
Clarice Beckett

 

“It sometimes sounds as though [Max] Meldrum actually invented the idea of tone, but artists had understood this quality since the days of Leonardo da Vinci and Velasquez. In brief, it refers to the lightness or darkness of colours and the way they relate to each other in a composition. Meldrum’s innovation was to make tone the defining feature of painting – the inflexible standard to which every other aspect of a work must conform.”

.
John MacDonald. “Misty Moderns,” on the Sydney Morning Herald website, November 21, 2009 [Online] Cited 19/03/2021

 

“The facts of Beckett’s life may be told in short order. She was born in 1887 into a well-heeled, middle-class family. She had a passion for art and literature and would go on to study drawing under Fred McCubbin at the National Gallery School, then spend nine months attending the independent art school run by the outspoken Max Meldrum. It was an experience that would help mould her technique and views on art, although not so much as many have presumed. Although Beckett had admirers, she turned down several offers of marriage and would end her life living at home in the bayside suburb of Beaumaris, having spent years looking after her invalid mother.

In 1935, shortly after her mother’s death, Beckett caught double pneumonia and passed away at the age of 48. What happened next is just as tragic, as her father burnt paintings that he didn’t consider finished or good enough. Her sister, Hilda, would store the remaining 2000 canvases in an open-sided shed in the countryside near Benalla. When Hollinrake tracked them down in 1970, only 369 were salvageable. The weather and the possums had laid waste to the rest.

The loss of so many works ranks as one of the great disasters of Australian art history. We may all be thankful that Hollinrake saved what she could.”

.
John MacDonald. “This exhibition is so phenomenal I saw it three days in row,” on the Sydney Morning Herald website, March 25, 2021 [Online] Cited 29/03/2021

 

“Modern science maintains that all colours in the universe are founded in three elements: hue (colour), saturation (chroma) and tone (value). Hue refers to the spectral colours such as red, green, blue, and so on, that are visibly distinct from each other…

Saturation represents the intensity, or quantity, of colour… The best way to understand this is if you take a can of blue paint and gradually stir in some white, rather than getting a new colour, the result is a lighter blue. An exception to this rule is that by adding white to red, we make pink. Red is a highly saturated pink; they are of the same hue but the quantity of red colour is less in pink.

Tone refers to how light or dark a colour is. On a scale of 0 to 10, 0 is colourless (or white), 5 is a medium grey [think Zone V in the black and white zone system] and 10 is black. So, as the tone increases, it intensifies the darkness [of the colour]. Tone begins to impact the saturation … once it reaches a percentage high enough to overpower it. This percentage varies with each colour, just as the saturation range varies with hues. For example, saturation in a yellow … may reach as high as ninety percent, whilst in a blue … it may only reach three percent, with the result that a small percentage increase in tone on a blue … would have a far greater impact on the blue, resulting in the grey becoming more noticeable. [Colours] with a higher saturation, such as yellow, would require correspondingly higher levels of tone for the brown to be observed. When the percentage of tone exceeds the saturation, the brown or grey will actually become the body (primary) colour and the hue the modifier, for example bluish-grey.”

.
Hamish Sharma. “Colour: How we see diamonds and gemstones,” in the Leonard magazine, Issue 90, February – March 2021 Cited 19/03/2021.

 

 

 

 

 

 

Featuring the artist’s luscious and distinctive soft focus, the Art Gallery of South Australia’s newly opened Clarice Beckett exhibition, curated by Tracey Lock, presents her paintings as a sensorium – with colour, music and video to enhance the experience.

Each room in the gallery’s exhibition space is dedicated to her paintings of specific times of the day, from sunrise, to early morning, then midday and sunset, concluding with the nocturnes. She was fascinated with temporal change. The exhibition is very much an experiential journey. Viewers enter through an elliptical portal to an immersive rounded space filled with magnified projections of her paintings, and music from Simone Slattery’s specially commissioned soundscape.

Beckett was musical too. The transcendence to another realm has begun. The mood changes with each room in the exhibition.

 

A sad loss but precious works remain

The poignant Clarice Beckett story is known by many. She died from pneumonia in 1935 at 48 years of age, and left behind a large cache of work. It was stored for a number of years in an open-side shed in rural Victoria, only to be discovered in the late 1960s, in a poor state of repair, by art historian Rosalind Hollinrake. She salvaged a mere 369 paintings – 1,600 were beyond repair.

Hollinrake guided the artist’s rediscovery at a time when numerous women artists were reinserted into the canon. The impetus for this exhibition is the generous donation by Alastair Hunter of a large collection of Beckett’s work previously held by Hollinrake.

 

Mysticism meets science

Theosophy – a belief in divine wisdom via mysticism – was a major influence on her approach to painting. Like others around the world, Beckett came under the popular esoteric movement’s spell in the early years of the 20th century. She owned a well-thumbed copy of Madame Blavatsky’s seminal occult text The Voice of Silence, attended spiritualist meetings and moved in artistic circles where post-dinner seances were often held.

But Beckett also took on board painter Max Meldrum’s quasi-scientific ideas about rational analytic observation of subtle visual patterns of tones and accents. She studied with him for nine months, although it is widely accepted she surpassed him with her brilliant tonal landscapes. This is the hybrid intellectual and artistic milieu she moved in, supplemented by an interest in Eastern philosophy and Freud.

For Beckett, painting was as much about performing her spiritual beliefs as it was about portraying that which was observable. Her friends in the Melbourne Society of Women Painters and Sculptors, to which she belonged, recall she loved talking about theories behind her work.

What emerges in the exhibition is her finely honed and daring visual language.

 

Artist without a studio

A curatorial coup is achieved with the installation of a domestic kitchen in the exhibition space. Her father had declined her request for a studio to work in. He suggested she use the kitchen table instead.

While most of her paintings were completed outdoors, she did paint still life and portraits, and finish off larger en plein air works at home. This work was indeed done on the kitchen table, which is so tellingly included in the exhibition, surrounded by her still life paintings including Marigolds (1925).

Catherine Speck. “Clarice Beckett exhibition is a sensory appreciation of her magical moments in time,” on The Conversation website March 1, 2021 [Online] Cited 06/03/2021.

 

Clarice Beckett (Australia, 1887-1935) 'Passing trams' c. 1931

 

Clarice Beckett (Australia, 1887-1935)
Passing trams
c. 1931
Oil on board
48.60 mm (1.91 in); Width: 44.20 mm (1.74 in)
Art Gallery of South Australia
Public domain, Google Art Project

 

Clarice Beckett (Australia, 1887-1935) 'Summer fields' 1926

 

Clarice Beckett (Australia, 1887-1935)
Summer fields
1926
Naringal, Western District, Victoria
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'The plains' 1926

 

Clarice Beckett (Australia, 1887-1935)
The plains
1926
Naringal, Western District, Victoria
Oil on board; Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Wet sand, Anglesea' 1929

 

Clarice Beckett (Australia, 1887-1935)
Wet sand, Anglesea
1929
Victoria
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'The boatshed' 1929

 

Clarice Beckett (Australia, 1887-1935)
The boatshed
1929
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'October morning' c. 1927

 

Clarice Beckett (Australia, 1887-1935)
October morning
c. 1927
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Walking home' c. 1931

 

Clarice Beckett (Australia, 1887-1935)
Walking home
c. 1931
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

 

The Art Gallery of South Australia is presenting the most comprehensive retrospective ever staged of Clarice Beckett, one of Australia’s most enigmatic and admired modernist painters. Clarice Beckett: The present moment, sees nearly 130 works by the artist on display as part of the 2021 Adelaide Festival in February 2021.

Associated with a legendary story of rediscovery, Clarice Beckett is today celebrated for her ethereal, atmospheric landscape paintings that capture the commonplace. In 1935 Clarice Beckett died at the age of forty-eight, and for the next thirty-five years her work vanished from art history before being rescued by Dr Rosalind Hollinrake. Hollinrake salvaged 369 of the artist’s neglected canvases from a remote, open-sided shed in rural Victoria. Hollinrake’s extensive research and promotion led to Beckett’s recognition as a major force in Australian modernism.

The present moment includes many of the salvaged paintings, as well as her master works drawn from national public collections as well as private collections including Russell Crowe and Ben Quilty. Misunderstood in her lifetime, The present moment presents Beckett as a visionary mystic who saw nature as all powerful and as an artist driven by spiritual impulses rather than worldly success.

Her timeless and incidental everyday scenes have been curated to chart the chronology of one single day. The present moment exhibition will take visitors on a sensory journey from the first breath of sunrise, through to the hush of sunset and finally a return into the enveloping mists of nightfall.

AGSA Curator of Australian Art and Exhibition Curator Tracey Lock says, ‘Audiences experience an affinity with the art of Clarice Beckett. On one level Beckett represents the triumph of the spirit over adversity and certainly the ideal of an artist driven by something beyond worldly success. On a deeper level they sense a profound humanity, something that has united the world in such adversity over the past year.

‘There is a certain magnetism to her paintings: an experiential quality of sound, sight or feeling that transcends language. Enveloped in diffused light and exuding peacefulness, her paintings invite a sense of stillness that points to a healing, spiritual quality.’

AGSA Director Rhana Devenport ONZM says, ‘The Art Gallery of South Australia is thrilled to stage this important exhibition which was initiated following the significant acquisition of 21 paintings by Clarice Beckett early in 2020, made possible thanks to the extraordinary generosity of Alastair Hunter OAM.’

Press release from the Art Gallery of South Australia

 

Clarice Beckett (Australia, 1887-1935) 'Sandringham Beach' c. 1933

 

Clarice Beckett (Australia, 1887-1935)
Sandringham Beach
c. 1933
Oil on canvas
55.8 h x 50.9 w cm
National Gallery of Australia

 

Centre painting in the second installation image below.

 

 

Clarice Beckett’s Sandringham Beach is a dynamic and modern composition of sand, bathing boxes and beach walkers. Beckett depicted the scene from an unusual perspective – from a cliff looking down onto the beach. Captured in the glare of a summer day, the smooth body of sand appears to shimmer with ‘white heat’. Backing onto scruffy vegetation, the brightly coloured striped roofs of the bathing boxes are the most solid aspects of the composition.

The ocean occupies a small portion of Beckett’s view, with beachgoers strolling along the water’s edge and a game of beach cricket taking place. The bright modern swimsuits and exposed skin of the walkers have been brushed onto the canvas with soft dabs of colour. The playful atmosphere of Sandringham Beach encapsulates Australian’s love of the beach as a key site of recreation and relaxation.

Beckett first studied in Ballarat, and then from 1914 to 1916 with Frederick McCubbin at the National Gallery School. In 1917 she attended Max Meldrum’s public lecture on tonal painting at Melbourne’s Athenaeum Theatre and, impressed by his theories, enrolled in his classes. While Beckett was considered a ‘Meldrumite’ – a devotee of her teacher’s theories of tonal values as the best means of depicting nature – she adapted his ideas to create her own lyrical vision of the Australian landscape.

Text © National Gallery of Australia, Canberra 2014
From: Collection highlights: National Gallery of Australia, National Gallery of Australia, Canberra, 2014.

 

Clarice Beckett (Australia, 1887-1935) 'Beach Scene' 1932

 

Clarice Beckett (Australia, 1887-1935)
Beach Scene
1932
Oil on canvas
52.1 x 62.0cm
Cbus art collection

 

Second left painting in the second installation image below.

 

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

 

Installation view of the exhibition Clarice Beckett: The present moment, Art Gallery of South Australia, Adelaide, 2021
Photos: Saul Steed

 

 

It may be that a dash of Meldrum had a beneficial effect on artists who took only what they wanted and never became followers. By contrast, those who bought the full package seem to belong to a single family, sharing the same DNA. The true Meldrumites in this show are Colin Colahan, Clarice Beckett, Percy Leason, A.D.Colquhoun, Hayward Veal, Justus Jorgensen, A.E.Newbury, John Farmer and Polly Hurry. Most took part in the first group exhibitions of the Meldrum School held in 1919, 1920 and 1921, in which paintings were exhibited in uniform black frames and identified only by numbers. A photograph in the catalogue shows pictures crammed together like items on a supermarket shelf.

This was not simply a way of submerging the ego of the student into that of the great God, Meldrum, it was intended to demonstrate the futility of any personal, subjective approach. For Meldrum, learning to paint was largely synonymous with learning to look. In his first major public lecture, given in 1917, he argued:  “The art of painting is a pure science – the science of optical analysis.”

Needless to say there were numerous techniques to master, all of them expounded at great length in an anthology of 1950, titled The Science of Appearances – which has been freshly issued in a new (but expensive) paperback edition. The Meldrumite palette was restricted to only five tones, with outlines being strictly forbidden. This was one of the master’s articles of faith from his earliest days. …

Meldrum’s famous method required a lot of squinting and stepping back from the canvas to compare one’s impression with the true tones of the motif. Some students wore sunglasses to get the appropriate frisson, some put their palettes on trolleys that could be wheeled back and forth. They cared so little for the subject that detractors thought the School motto should be: “Anything’ll do.”

The paintings that resulted were remarkably similar in their blurred edges and smudgy, atmospheric surfaces. Looking at a large number of these works side by side one begins to see the world as a dim, misty, melancholy place. Even though Meldrum despised the word, this penchant for gloom seems to have been a temperamental preference among his students. They liked to paint on rainy, overcast days, which may explain why Melbourne remained the heartland of the movement.

Despite the self-imposed bondage of Meldrum’s method many of these artists were exceptionally talented. Painting in a doctrinaire style that eschewed individuality, squinting at the most ordinary scenery in the rain, they still managed to produce beautiful and poetic pictures.

Following her rediscovery in recent decades, Clarice Beckett is firmly established as a significant figure in Australian modern art. By almost universal assent she is now considered the greatest of the Meldrumites; her previous obscurity being caused by her early death at the age of forty-eight in 1935 and the misfortune of having many of her works in storage eaten by possums.

John MacDonald. “Misty Moderns,” on the Sydney Morning Herald website, November 21, 2009 [Online] Cited 19/03/2021.

 

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

 

Installation view of the exhibition Clarice Beckett: The present moment featuring Tea Gardens by Clarice Beckett, c. 1933, Gift of Sir Edward Hayward 1980, Art Gallery of South Australia, Adelaide, 2021
Photos: Saul Steed

 

Clarice Beckett (Australia, 1887-1935) 'Hawthorn Tea Gardens' 1933

 

Clarice Beckett (Australia, 1887-1935)
Hawthorn Tea Gardens
1933
Oil on canvas laid on pulpboard
51.0 x 43.7cm
Gift of Sir Edward Hayward 1980
Art Gallery of South Australia

 

Installation view of the exhibition 'Clarice Beckett: The present moment', Art Gallery of South Australia, Adelaide, 2021

 

Installation view of the exhibition Clarice Beckett: The present moment featuring Zinnias (Flower piece) by Clarice Beckett, 1927, Private collection, Art Gallery of South Australia, Adelaide, 2021
Photos: Saul Steed

 

 

Australian tonalism

Australian tonalism was an art movement that emerged in Melbourne during the 1910s. Known at the time as tonal realism or Meldrumism, the movement was founded by artist and art teacher Max Meldrum, who developed a unique theory of painting, the “Scientific Order of Impressions”. He argued that painting was a pure science of optical analysis, and believed that a painter should aim to create an exact illusion of spatial depth by carefully observing in nature tone and tonal relationships (shades of light and dark) and spontaneously recording them in the order that they had been received by the eye.

Meldrum’s followers – among the most notable being Clarice BeckettColin Colahan and William Frater – began staging group exhibitions at the Melbourne Athenaeum in 1919. They favoured painting in adverse weather conditions, and often went out together in the morning or towards evening in search of fog and wintry wet surfaces, which provided increased spatial effects. Their subtle, “misty” depictions of Melbourne’s beaches and parks, as well as its everyday, unadorned suburbia, show an interest in the interplay between softness and structure, nature and modernity.

The movement peaked during the interwar period, and its lingering influence can be seen in experimental works by other Australian artists, such as Lloyd Rees and Roland Wakelin. Although dismissed by many of their art world contemporaries, today the Australian tonalists are well-represented in Australia’s major public art galleries. The minimum of means they used to distil the essence of their subjects has drawn comparisons to the haiku form of poetry, and the movement has been described as prefiguring the late modernist style minimalism. [Tonalism opposed Post-Impressionism and Modernism and is now regarded as a precursor to Minimalism and Conceptualism.]

Text from the Wikipedia website

 

Clarice Beckett (Australia, 1887-1935) 'Evening, after Whistler' c. 1931

 

Clarice Beckett (Australia, 1887-1935)
Evening, after Whistler
c. 1931
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Motor lights' 1929

 

Clarice Beckett (Australia, 1887-1935)
Motor lights
1929
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Tranquility' c. 1933

 

Clarice Beckett (Australia, 1887-1935)
Tranquility
c. 1933
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Sea Drift' c. 1930

 

Clarice Beckett (Australia, 1887-1935)
Sea Drift
c. 1930
Melbourne
Oil on canvas on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

 

Clarice Beckett

Clarice Marjoribanks Beckett (21 March 1887 – 7 July 1935) was an Australian artist and a key member of the Australian tonalist movement. Her works are featured in the collections of Australia’s major public galleries, including the National Gallery of Australia, National Gallery of Victoria and the Art Gallery of South Australia. …

 

Work

Beckett is recognised as one of Australia’s most important modernist artists, though some have classified her as a ‘daughter of Monet’. In his review of the first of two exhibitions held at the Rosalind Humphrey Gallery in 1971 and 1972, Patrick McCaughey described Beckett as a remarkable Modernist, because of the ‘flatness of the surface in her painting’. Despite a talent for portraiture and a keen public appreciation for her still lifes, the subject matter favoured by her teacher Meldrum, Beckett preferred the solo, outdoor process of painting landscapes. She persistently and diligently painted sea and beachscapes, rural and suburban scenes, often enveloped in the atmospheric effects of early mornings or evening. Candice Bruce describes “a sense of an ever-present melancholy: a vulnerability mixed with a calm that, even if one were in total ignorance of the details of the artist’s life, would still be felt.” Her subjects were often drawn from the Beaumaris area, where she lived for the latter part of her life. She was one of the first of her group to use a painting trolley, or mobile easel to make it easier to paint outdoors in different locations.

 

Formal qualities and reception

In her mid-thirties, Beckett elucidated her artistic aims in the catalogue accompanying the sixth annual exhibition of the Twenty Melbourne Painters in 1924:

To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to give forth in correct tones so as to give as nearly as possible an exact illusion of reality.

By 1931, however, Percy Leason, writing a long review in Table Talk, draws comparison with Rembrandt, Whistler and Corot to say;

Miss Beckett’s work has so much in common with them: there is a like success in achieving the first essential, a convincing illusion of actual space and air and light; the same refinement and delicacy of true colour; the same regard for true form and character; and the same complete indifference to conventions and the mere clever handling of paint for the sake of it. (Leason in the next issue of Table Talk reiterated his praise, calling the show “one of the best exhibitions of the year.”)

However, like her female contemporaries, Beckett faced considerable prejudice from conservative male artists. Meldrum, commenting as late as 1939 on Nora Heyson’s receiving the Archibald Prize, expressed his opinion on women’s capacity to be great artists; “Men and women are differently constituted. Women are more closely attached to the physical things of life, and to expect them to do some things equally as well as men is sheer lunacy […] A great artist has to tread a lonely road. He becomes great only by exerting himself to the limit of his strength the whole time. I believe that such a life is unnatural and impossible for a women,” an attitude he qualified in relation to his favourite pupil Beckett, announcing in the event of her death that “Beckett had done work of which any nation should be proud.”

During her lifetime no Beckett work was purchased for a public collection, though now almost every major Australian gallery holds examples. By 2001 her paintings had achieved six figures at auction.

 

Australian Tonalism

Tonalism opposed Post-Impressionism and Modernism, but is now regarded as a precursor to Minimalism. The whole movement had been under fierce controversy and they were unpopular amongst other artists and derided as “Meldrumites”. Influential Melbourne artist and teacher George Bell described Australian Tonalism as a “cult which muffles everything in a pall of opaque density”.

Meldrum blamed social decadence for artists’ exaggerated interest in colour over tone and proportion. Beckett’s painting however represents a departure from Meldrum’s strict principles which dictated that tone should take precedence over colour, as commented upon in a newspaper critique of her 1931 solo exhibition. A reviewer of her 1932 Atheneum show expressed her particular version of this as “an adaptation of art to nature, which belongs neither to the realm of the orthodox normalist or the avowed modern, but is a purely individual expression of certain sensations in light, form and colour…” Rosalind Hollinrake, who was largely responsible for Beckett’s revival, notes a use colour to reinforce form, and more daring design, in the later years of the artist’s short life.

Text from the Wikipedia website

 

Clarice Beckett (Australia, 1887-1935) 'Luna Park' 1919

 

Clarice Beckett (Australia, 1887-1935)
Luna Park
1919
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Bathing boxes, Brighton' 1933

 

Clarice Beckett (Australia, 1887-1935)
Bathing boxes, Brighton
1933
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'The red sunshade' 1932

 

Clarice Beckett (Australia, 1887-1935)
The red sunshade
1932
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Wet day, Brighton' c. 1928

 

Clarice Beckett (Australia, 1887-1935)
Wet day, Brighton
c. 1928
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Bathing boxes in the storm' 1934

 

Clarice Beckett (Australia, 1887-1935)
Bathing boxes in the storm
1934
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Bathing boxes after the storm' 1934

 

Clarice Beckett (Australia, 1887-1935)
Bathing boxes after the storm
1934
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

 

During the 1920s and 1930s Clarice Beckett surrendered to the sensory impressions of her everyday world with such intensity that the force of her painted observations created an entirely new visual language. The extreme economy of her painting tested her Australian audiences, and yet distinguished her as working at the avant-garde of international modernism. Drawn from national public and private collections, highlights include the artist’s famed ethereal images of commonplace motifs such as lone figures, waves, trams and cars.

Driven by spiritual impulses beyond worldly success, she was a visionary mystic that saw nature as all powerful. Through veils of natural light she captured the eternal in the temporal. Accordingly, the 130 paintings in The present moment will be thematically displayed around shifts in time that chart the chronology of one single day. The exhibition will take visitors on a sensory journey from the first breath of sunrise, through to the hush of sunset and finally a return into the enveloping mists of nightfall.

The Art Gallery of South Australia is renowned for collecting, displaying and publishing the work of modern Australian women artists. Clarice Beckett: The present moment showcases Alastair Hunter OAM’s recent support of the acquisition of 21 Clarice Beckett paintings and proudly announces the AGSA’s ongoing commitment to the promotion and celebration of the work of great Australian women artists.

Text from the Art Gallery of South Australia website [Online] Cited 19/03/2021

 

Clarice Beckett (Australia, 1887-1935) 'Pavlova, the dying swan' 1929

 

Clarice Beckett (Australia, 1887-1935)
Pavlova, the dying swan
1929
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Pavlova, the dying swan' 1929

 

Clarice Beckett (Australia, 1887-1935)
Pavlova, the dying swan
1929
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'The cottage San Remo' c. 1931

 

Clarice Beckett (Australia, 1887-1935)
The cottage San Remo
c. 1931
Melbourne
Oil on board
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Sunset' Nd

 

Clarice Beckett (Australia, 1887-1935)
Sunset
Nd
Melbourne
Oil on card
Gift of Alastair Hunter OAM and the late Tom Hunter in memory of Elizabeth through the Art Gallery of South Australia Foundation 2019
Art Gallery of South Australia, Adelaide

 

Clarice Beckett (Australia, 1887-1935) 'Across the Yarra' c. 1931

 

Clarice Beckett (Australia, 1887-1935)
Across the Yarra
c. 1931
Oil on cardboard
32.5 × 45.9cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the Marjorie Webster Memorial, Governor, 1985

 

Clarice Beckett (Australia, 1887-1935) 'Marigolds' c. 1925

 

Clarice Beckett (Australia, 1887-1935)
Marigolds
c. 1925
Oil on board
40.5 x 30.5cm

 

Unknown photographer. 'Portrait of Clarice Beckett' Nd

 

Unknown photographer
Portrait of Clarice Beckett
Nd
Art Gallery of South Australia

 

Further works by Clarice Beckett

 

Clarice Beckett (Australia, 1887-1935) '(Phillip Island from San Remo)' c. 1930-1933

 

Clarice Beckett (Australia, 1887-1935)
(Phillip Island from San Remo)
c. 1930-1933
Oil on cardboard
18.6 × 23.7cm
National Gallery of Victoria, Melbourne
Gift of Jennifer Rogers in memory of her father, Ron Lilburne, 2008

 

Clarice Beckett (Australia 1887-1935) 'Taxi rank' c. 1931

 

Clarice Beckett (Australia, 1887-1935)
Taxi rank
c. 1931
Oil on canvas on board
58.5 x 51.0cm
National Gallery of Australia

 

Clarice Beckett. 'The Red Bus' Nd

 

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

 

 

The Red Bus is an excellent example of one of Clarice Beckett’s outer Melbourne suburban street scenes. It expresses her characteristic ability to catch the spontaneity of a lived moment, in an intensely lyrical and poetic manner. She found a distinctive beauty in the ordinary objects such as telegraph poles, strips of road, trams, cars, buses and the daily activity taking place in the street.

In this painting the everyday scene is made extraordinary by an atmospheric dreamlike slice of landscape which in turn is contrasted with the subtle feeling of action. This comes from the sensation of the motion of the bus travelling uphill in opposition to the gently felt abstract figures moving away downhill. Beckett’s use of the enveloping haze does not detract from the effect of the fresh atmosphere of a bright sunny morning in this painting, but serves to unify the scene and evoke a sense of quiet calm.

Beckett achieves this with her famed use of soft dissolving edges, a difficult technical feat employed to create an atmospheric reality of emotional content, a characteristic of her modernist style. The lumbering red bus moves towards the viewer and alerts our attention with its bright colour and dark windows which eerily suggest no visible driver. This creates an eerie feeling of uncertainty and mystery which is reminiscent of the paintings of Edward Hopper who worked at a similar time to Beckett although half a world away. Beckett’s modernism lies in her minimalist aesthetic and her ability to arouse an emotional response with her images.

She was hailed for making the tarred road artistically acceptable and as the critic Mervyn Skipper wrote in The Bulletin 29 October 1930: “She has become the most original painter. She has merely abandoned conventions which earlier artists brought from Europe, has in fact done quite quietly and as if by accident what Australian poets and writers are only just beginning to do.”

Beckett was an innovative and extremely important figure in Australia’s art history during the 1920’s and early 30’s. Her work is seldom found in auction rooms or galleries, and The Red Bus is a part of the first private collection to have ever come up for sale. Her influence and inspiration has been wide in contemporary Australian art beginning fifty years after her death. Her original label of artist’s artist continues to be vindicated, although a more receptive public now are beginning to appreciate the beauty and allure of her ability to capture transient moments of life and the calming effect of her beautiful meditative images.

 

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

 

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

 

 

Beckett was renowned for her innovative compositions, her remarkable poetic lyricism and the dramatic intensity she was able to create. This work shows the essence of the atmospheric moment as well as creating an illusion of the actual temperature and a sense of atmospheric space all characteristic traits of the artist.

Winter Morning Beaumaris has a typically Melbourne winter mood and is a very strong image due to the compositional choice where the image is dramatically strengthened by a stark tree trunk which contrasts with Zen-like meditative softness of shifting fog shrouding the headland and flora. Subtle in its poetic style, it holds the wonderful sense of the mysterious unknown that sea fog brings to the landscape. Another characteristic of Beckett’s work was her ability to create a sense of place and a sense of the actual temperature of the subject. This was due to her ability to mix the finest degrees of tonal range that the landscape before her held and her ability to run her soft edges into each other to form a unified and genuine sense of airy atmosphere. This is even difficult to achieve in a studio environment.

This large size work is a rare example of a limited number (approx. 10) paintings on canvas and stretcher that survived the destruction of at least 60 works of this size and even larger which were burnt straight after her death. The challenge of painting an impression of nature en plein air on this size canvas is immense. Fleeting sunsets, sunrises and gathering dusk and moving sea fogs last for only minutes and the image and tones in a landscape changes constantly. The painter must work with enormous speed and a great knowledge of tones, being able to know what colours to mix to achieve the perfect reflection of what is being painted. Incredible skill with handling the paint and keeping a freedom of the impression is evident in this image. Beckett was greatly admired for achieving all those requirements of painting to achieve a sense of living breathing elusive reality.

This work was painted from Beckett’s favourite haunts on the cliff tops along the foreshore looking out to Port Phillip Bay. It shows her classic poetic lyricism and a contemporary daring with her sparing use of paint and her paring back of form.

Rosalind Hollinrake on the Lauraine Diggins Fine Art website [Online] Cited 08/03/2021.

 

Clarice Beckett (Australia, 1887-1935) 'Out Walking' c. 1928-29

 

Clarice Beckett (Australia, 1887-1935)
Out Walking
c. 1928-29
Oil on canvas on board
29 x 34.5cm

 

 

Out Walking, c. 1928-29, depicts a view close to Clarice Beckett’s home in the Melbourne bay-side suburb of Beaumaris. Beckett moved there from Casterton, near Bendigo, in 1919 with her parents whose health was failing; and the suburb is aptly named, being a truncation of the French ‘beau marais’, meaning ‘beautiful marsh’. Following Melbourne’s European settlement, Beaumaris became a popular holiday destination noted for its winding coastal trails, atmospheric tangles of ti-tree and capacious views over Port Phillip Bay. At the base of the weathered sandstone cliffs lie secluded beaches and rock ledges full of fossils. Beckett would return to these familiar sites many times throughout her career – and in all weathers – to such an extent that it is impossible to walk the same territory today and not see it through her eyes.

The family lived at ‘St. Enoch’s’ in Dalgetty Road, and Out Walking shows that street’s intersection with Beach Road, with the shimmering blue of the bay beyond. Beckett would already have been a familiar sight to locals, as she walked the paths with her hand-built painting trolley. Her painting technique was aligned to the group of artists called the ‘tonalists’ who gathered around Max Meldrum; and the trolley, in fact, had a particular use beyond mere transport. ‘Tonalist works were created to be viewed, when complete, from a distance of about six metres (approximately twenty feet). The painting process required much to-ing and fro-ing between the subject and the observation point by both the painter and the painting … Consequently to assist with this process, many of the artists constructed custom-built wheeled easels or painting trolleys. Clarice Beckett was one of the first to adopt a trolley.’1 This description of the dedicated process involved in constructing such images belies the spontaneous sensation given by Out Walking, that of a snapshot briefly glimpsed before being captured in a hurried application of paint. As noted by the curator Ted Gott, ‘Beckett’s compositions have an elusive, phantasmic mystique. [By comparison] everything in our world today is sharp, crystal clear, hard and fast.’2 Not surprisingly, critics often attached the term ‘Whistler-ian’ to her work.

Judging by the long coats, Out Walking was painted on an early Spring morning, with the overcast sky punctured at points by sunshine which illuminates patches of the sandy road and grassed verge. To the left, a carer in a blue coat watches a red-caped girl as she rushes towards the intersection. Two older ladies in grey hats and coats walk the other way, deep in conversation; and, crunching the unsealed road between them, the hand-propelled cart in the middle-centre. The rows of telegraph poles create a frame within the frame, anchored horizontally by the white fence line indicating the cliff path. To the left, a flash of muted red indicates an emergency box, a tiny detail of colour which links visually to the girl’s cape and the man’s cart. Like the companion work with the same title,3 Beckett’s paintings of pedestrians are predominantly solo studies, making this version of Out Walking one of the rarer compositions to include small groups of people.

We are grateful to Rosalind Hollinrake for her assistance with this catalogue entry.

Andrew Gaynor. “Clarice Beckett, Out Walking, c. 1928-29,” on the Invaluable website [Online] Cited 08/03/2021.

  1. Lock-Weir, T. Misty Moderns: Australian tonalists 1915-1950, Art Gallery of South Australia, Adelaide, 2008, p. 46
  2. Gott, T. ‘Foreword’, Clarice Beckett: 1887-1935, Niagara Galleries, Melbourne, 29 February – 1 April 2000, p. 5
  3. Rosalind Hollinrake describes this alternate version as being of Beckett’s young niece Patricia walking along the cliff top path

 

Clarice Beckett (Australia, 1887-1935) 'Silent Approach' c. 1924

 

Clarice Beckett (Australia, 1887-1935)
Silent Approach
c. 1924
Oil on board
48.0 h x 58.0 w cm
National Gallery of Australia

 

 

Clarice Beckett, like the visual arts equivalent of a haiku master, was able to distil the essence of her subjects with a minimum of means. Silent approach is a particularly fine example of the strength and delicacy of Beckett’s approach in which no mark is wasted. While the painting exudes a pervasive stillness, the green vegetation in the foreground appears to have a vitality of its own, extending out to the shadowy figure. This fluid organic form is balanced by the vertical power pole (with echoes of the form receding into the distance), a classic Beckett subject indicating modernity. The interplay between structure and softness gives way on the left to the foggy atmosphere in which space itself is the dominant aspect.

A magical aspect of Silent approach is that, for all the restraint of Beckett’s palette, subtle tonalities and subject matter, it is full of presence and imbued with an inner life. In 1919, Beckett moved with her parents to the bayside suburb of Beaumaris, an environment that provided her with evocative inspiration. Despite many challenges, she was driven to paint every day and in all weathers. She also exhibited regularly. While each work is self-sufficient, she felt considerable pleasure in seeing the cumulative effects of her paintings shown together – each illuminating the other.

Beckett’s interest in a tonal approach was informed by Max Meldrum, an influential teacher in Melbourne who espoused a theory of Tonalism. Meldrum considered her his star pupil and, before long, her independent vision shone through – a fact that he acknowledged in a tribute to her at a memorial exhibition at the Athenaeum Gallery in 1936. Tragically, she died far too early, at the age of forty-seven, from pneumonia after catching a chill while painting in inclement weather.

After Beckett’s death, a large number of her paintings were left to deteriorate in a barn and were unsalvageable. Thanks to the great generosity of a number of donors, the Gallery has been able to add Silent approach, one of her most accomplished remaining works, to the national collection.

Deborah Hart, Senior Curator of Australian Painting and Sculpture post 1920 in artonview, issue 80, Summer 2014.

 

Clarice Beckett (Australia, 1887-1935) 'Princes Bridge Station' c. 1928

 

Clarice Beckett (Australia, 1887-1935)
Princes Bridge Station
c. 1928
Oil on board
25.0 x 35.0cm
Private collection

 

Clarice Beckett (Australia, 1887-1935) 'Chestnut Avenue, Ballarat Gardens' c. 1927

 

Clarice Beckett (Australia, 1887-1935)
Chestnut Avenue, Ballarat Gardens
c. 1927
Oil on canvas board
30.5 x 40.5cm
Private collection

 

 

Clarice Beckett’s connection with Ballarat was more than that of a happy visit to its beautiful lakeside gardens in 1927. Born in Casterton, she attended school in Ballarat at Queen’s College and also studied charcoal drawing under a Miss Eva Hopkins, before her family moved to Melbourne in 1904. Some years later, in 1914 she returned to art, studying drawing under Frederick McCubbin at the National Gallery School, and then painting with Max Meldrum from 1917. While she became Meldrum’s ‘star’ pupil, the poetic and philosophical inclination of her art was, no doubt, encouraged by McCubbin, whose philosophising had led to him being dubbed ‘The Proff’ by his friends. From 1919, when her parents retired to the Melbourne suburb of Beaumaris, its beach sides and surrounds became a major inspiration for her paintings. Captured early and late in the day, in different seasons, and focused on the everyday of unglamorous roads and telegraph poles, or bathing boxes, through her art the ordinary was metamorphosed into paintings of profound beauty. Evening Light, Beaumaris, c.1925, in the collection of the National Gallery of Victoria, Melbourne, and Sandringham Beach, c. 1933, in the National Gallery of Australia, Canberra are captivating examples of the prosaic transformed into the poetic. In Melbourne city she painted light-filled streets on wet nights and tranquil views across the Yarra River, often embraced by the spans of its most handsome bridges. One such major work, Princes Bridge, 1930, was sold by Deutscher and Hackett in Melbourne on 29 April 2009, lot 100.

Paintings of foggy mornings, dreamy sunsets, Collins Street, the Dandenongs and Olinda were among the sixty works that made up Beckett’s 1927 exhibition, which included Chestnut Walk, Avenue Gardens, c. 1927. There were only two other Ballarat subjects in the show – Ballarat Gardens and Ash Tree, Ballarat Gardens, clearly rare examples in her oeuvre. Ballarat Botanical Gardens would have appealed to Beckett both through recollections from childhood and in their own right as highly significant cool climate gardens. Established in 1858, they are noted for their many mature trees, the avenue of Horse Chestnuts being one of the four main axes running north south through the gardens.1 Beckett captures the quiet, natural grandeur of the avenue in Chestnut Walk, Avenue Gardens, greens contrasted with terracottas, verticals with horizontals, classic in balance. The shadows are as substantial as the trees that cast them, adding a sense of drama within the harmony of forms and colours wrapped in stillness. According to Beckett scholar and curator, Rosalind Hollinrake, one of the most striking features of Beckett’s art is her sense of place, which ‘… became heightened by the growing intimacy she developed for certain locations’.2 While this has been noted in her Beaumaris works, Chestnut Walk, Avenue Gardens captures perfectly the stately feel and calm of the place. Its sense of time past is touched by the universal through a seemingly disarming simplicity that invites contemplation of its profundity. Of art, Beckett said her aim was: ‘To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to set forth in correct tones so as to give as nearly as possible an exact illusion of reality’.3

David Thomas on the Invaluable website [Online] Cited 13/03/2021

  1. Since 1940 this avenue has also accommodated the avenue of Prime Ministers’ bronze busts. The Botanical Gardens are rich in earlier sculptures, especially Italian marble figures donated by Thomas Stoddart in 1884 and the later Flight from Pompeii and others in the Statuary Pavilion of 1887
  2. Hollinrake, R., Clarice Beckett: Politically Incorrect, The Ian Potter Museum of Art, The University of Melbourne, Melbourne, 1999, p. 21
  3. Clarice Beckett, Twenty Melbourne Painters, 6th Annual Exhibition Catalogue, Melbourne, 1924

 

Clarice Beckett (Australia, 1887-1935) 'Beaumaris Foreshore' Nd

 

Clarice Beckett (Australia, 1887-1935)
Beaumaris Foreshore
Nd
Oil on board
37 x 29 cm

 

Clarice Beckett (Australia, 1887-1935) 'Evening landscape' c. 1925

 

Clarice Beckett (Australia, 1887-1935)
Evening landscape
c. 1925
Oil on cardboard
35.5 h x 40.7 w cm
Purchased 1974
National Gallery of Australia

 

Clarice Beckett (Australia, 1887-1935) 'From the Boatshed Roof' Nd

 

Clarice Beckett (Australia, 1887-1935)
From the Boatshed Roof
Nd

 

Clarice Beckett (Australia, 1887-1935) 'The Bus Stop' 1930

 

Clarice Beckett (Australia, 1887-1935)
The Bus Stop
1930
Oil on canvas
41 x 34cm

 

Clarice Beckett (Australia, 1887-1935) 'Early Morning (The Fishermen)' c. 1930

 

Clarice Beckett (Australia, 1887-1935)
Early Morning (The Fishermen)
c. 1930
Oil on canvas on board
45.5 x 38cm

 

Clarice Beckett (Australia, 1887-1935) 'Evening light, Beaumaris' c. 1925

 

Clarice Beckett (Australia, 1887-1935)
Evening light, Beaumaris
c. 1925
Oil on canvas on cardboard
0.3 × 40.2cm
National Gallery of Victoria, Melbourne
Presented by the National Gallery Society of Victoria to mark the retirement of Paton Forster, General Secretary of the Society (1968-1989), 1989

 

 

‘For an artist of her time, and especially a woman artist, it must have been a leap of faith on her part to paint four ‘ordinary’ poles as revered and exalted lyrical subject matter. This was not only innovative, it was nothing short of daring.’

Painting ordinary elements of modern suburban life which included wet roads, telegraph poles, motor vehicles, bathing boxes and petrol bowsers was unique for its time. In contrast to the popular idealised views of rural landscapes often painted in panoramic scale, Beckett showed a sensitivity to beauty in the everyday in her modestly scaled paintings. In Evening light Beaumaris (c. 1925), seen above, she has taken a humble telegraph pole and turned it into something worthy of contemplation.

Hollinrake, Rosalind. ‘Clarice Beckett’, The Ordinary Instant, The Gallery at Bayside Arts and Cultural Centre: Melbourne, 2016, p. 11 quoted in Anonymous. “Her Own Path: Clarice Beckett,” in the Bayside City Council website [Online] Cited 08/03/2021.

 

Clarice Beckett (Australia, 1887-1935) 'Evening on the Yarra from Alexandra Avenue' Nd

 

Clarice Beckett (Australia, 1887-1935)
Evening on the Yarra from Alexandra Avenue
Nd
Oil on pulpboard
29 x 39.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Dusk' Nd

 

Clarice Beckett (Australia, 1887-1935)
Dusk
Nd
Oil on canvas on pulpboard
24.5 x 34.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Anglesea' 1929

 

Clarice Beckett (Australia, 1887-1935)
Anglesea
1929
Oil on pulpboard
24.5 x 34.5cm

 

 

An uncharacteristically sun-drenched work, this scene depicts Beckett’s companions on the foreshore in front of what is now the Anglesea Caravan Park. A land of rich resources for the Wathaurong people, the area had been popular with campers from Geelong since the 1860s. Like all of Beckett’s outdoor images, it was painted in one plein air session, capturing her friends on a perfect summer’s day without a cloud in the sky, and only a single distant yacht sharing the experience. Beckett has utilised broad, simplified bands of colour – caramel and blue highlighted by white – with the only pronounced brush stokes representing the waves rolling to the shore and the casual poses of the figures. Anglesea, is also an environmental record of the time for the foreshore has been much changed by ninety years of storms and erosion. The beach remains but the ochre-coloured limestone cliffs have crumbled leaving the shore strewn with large boulders. Beckett included a group of Anglesea paintings in her solo exhibition at the Athenaeum Gallery in October 1930.

Andrew Gaynor. “Anglesea, 1929,” on the Invaluable website [Online] Cited 08/03/2021

 

Clarice Beckett (Australia, 1887-1935) 'Beach Road after the rain (Street scene)' c. 1927

 

Clarice Beckett (Australia, 1887-1935)
Beach Road after the rain (Street scene)
c. 1927
Oil on cardboard
35.7 × 25.5cm
National Gallery of Victoria, Melbourne
Bequest of Harriet Minnie Rosebud Salier, 1984

 

Clarice Beckett (Australia, 1887-1935) 'Sunset across Beaumaris Bay' c. 1930-31

 

Clarice Beckett (Australia, 1887-1935)
Sunset across Beaumaris Bay
c. 1930-31
Oil on composition board
Bayside City Council Art and Heritage Collection
Purchased 2014

 

 

In 1919, her father retired due to ill health and the Beckett family moved to the Bayside suburb of Beaumaris, living in a newly built weatherboard house on the corner of Beach Road and Tramway Parade. Built without any consideration for Clarice’s painting practice, the new house had no space for an art studio, however she cleverly constructed a small cart which would hold her easel and painting equipment which she could transport to the sites she was to paint around the area. She had a relentless work ethic, painting most days of her life and became a known character in Beaumaris, wearing her dowdy art clothes as she painted the foreshore and suburban streets, occasionally selling a work to a local passer-by.

Aside from a brief stint teaching art at a girl’s school in Mount Macedon in 1927 and yearly painting trips to San Remo with fellow Meldrumites, Beckett was to remain in Beaumaris for the rest of her life and many of her paintings are synonymous with the area.

Anonymous. “Her Own Path: Clarice Beckett,” in the Bayside City Council website [Online] Cited 08/03/2021.

 

Clarice Beckett (Australia, 1887-1935) 'Cliff path' c. 1929

 

Clarice Beckett (Australia, 1887-1935)
Cliff path
c. 1929
Oil on composition board
Bayside City Council Art and Heritage Collection
Purchased 2000

 

Clarice Beckett (Australia, 1887-1935) 'Ship at sea or Warship on the Bay' c. 1925

 

Clarice Beckett (Australia, 1887-1935)
Ship at sea or Warship on the Bay
c. 1925
Oil on canvas on board
30 x 41.2cm
Courtesy Cruthers Collection of Women’s Art, The University of Western Australia

 

Clarice Beckett (Australia, 1887-1935) 'Reflected Lights, Beaumaris Bay' c. 1930-31

 

Clarice Beckett (Australia, 1887-1935)
Reflected Lights, Beaumaris Bay
c. 1930-31
Oil on composition board
Bayside City Council Art and Heritage Collection
Purchased 2014

 

 

Max Meldrum believed that the tonal values (areas of dark and light) of a subject were of utmost importance and privileged them over detailed draughtsmanship or the use of colour. Despite being criticised for it, Beckett embraced Meldrum’s theories and her work shows his influence in their limited colour and handling of tone.

In Reflected lights, Beaumaris Bay (c. 1930-31), seen above, through an economy of brushstrokes and paint, Beckett has captured the hazy quality of her nocturnal coastal scene. Here Beckett records the atmosphere and unique evocation of the reflected lights rather than focusing on details.

Anonymous. “Her Own Path: Clarice Beckett,” in the Bayside City Council website [Online] Cited 08/03/2021.

 

Clarice Beckett (Australia, 1887-1935) '(Summer Day, Beaumaris)' c. 1933

 

Clarice Beckett (Australia, 1887-1935)
(Summer Day, Beaumaris)
c. 1933
Oil on canvas on board
55 x 45cm

 

 

Writing in the catalogue of the sixth annual exhibition of the Twenty Melbourne Painters in 1924, Clarice Beckett defined her artistic aim as being ‘To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to give forth in correct tones so as to give as nearly as possible an exact illusion of reality’.1 A student of the Melbourne tonal realist painter Max Meldrum, whose theory and teaching of art as a science based on optical analysis upset conservative art circles and presented a direct challenge to the strict academic approach of the National Gallery School, Beckett absorbed his methods but developed a personal style and distinctive range of subject matter that made her work unique within early twentieth century Australian art. As curator Rosalind Hollinrake has noted, ‘She saw in soft focus and there were no edges in her work. She was concerned with achieving an harmonic atmospheric unity … While many paintings were completed in situ, many others were worked upon indoors, taken from colour notations, sketches and memory with later imaginative touches.’2

Beckett and her family moved to Beaumaris in 1919, the Melbourne bayside suburb where they had previously spent many summer holidays. The streets and surrounding coastal landscape of this and other nearby areas including Black Rock, Sandringham and Brighton soon became favourite subjects for her painting. In a vivid expression of her determination to succeed as a professional artist, Beckett responded to her father’s refusal to build a dedicated studio by constructing a small cart to house her painting materials which she wheeled around as she worked, using the lid of her painting box as a mobile easel.3 Her first solo exhibition was held at the Athenaeum Gallery, Melbourne in 1923 and in another measure of her drive and commitment, Beckett continued to exhibit there annually throughout the next decade before her premature death from pneumonia in 1935. During these years she reportedly painted almost every day, six hours in the morning and another six in the evening when, like so many other female artists, she worked at the kitchen table.

A gift from the artist to a friend which is still housed in its original Thallon frame, (Summer Day, Beaumaris), c.1933 is classic Clarice Beckett. Tall gnarled trees shaped by their coastal environment and a row of bathing boxes – a familiar feature of Melbourne’s bayside beaches that appears frequently in her work – provide the backdrop for a trio of figures walking along the beach. The heat is palpable, glimpses of the pale bleached blue sky appear as part of a scene that has been recorded quickly and viewed through the haze of a hot summer afternoon. Her mature colour sense comes to the fore in this work, the muted tones of the trees enlivened by the subtle play of the pinks, brown and ochres of the bathing boxes and the brilliant flashes of blue and yellow that attract the eye to the movement of the foreground figures. Beckett found a seemingly endless array of inspiration in her immediate surrounds and when asked why she didn’t travel overseas replied, ‘Why would I wish to go somewhere else … I’ve only just got the hang of painting Beaumaris.’4

Kirsty Grant on the Invaluable website [Online] Cited 13/03/2021

  1. Beckett, C., Twenty Melbourne Painters 6th Annual Exhibition Catalogue, 1924 quoted in Hollinrake, R., Clarice Beckett: Politically Incorrect, exhibition catalogue, The Ian Potter Museum of Art, Melbourne, 1999, p. 19
  2. Hollinrake, R., ibid., p. 17
  3. op. cit., pp. 14-15
  4. Mundy, A., quoted in interview with Hollinrake, R., op. cit., p. 24.

 

Clarice Beckett (Australia, 1887-1935) '(At Rickett's Point, Beaumaris)' Nd

 

Clarice Beckett (Australia, 1887-1935)
(At Rickett’s Point, Beaumaris)
Nd
Oil on canvas on composition board
35.5 x 45.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Rose and Grey' c. 1928-29

 

Clarice Beckett (Australia, 1887-1935)
Rose and Grey
c. 1928-29
Oil on pulpboard
27.5 x 37.5cm

 

Clarice Beckett (Australia, 1887-1935) 'After Sunset' c. 1929

 

Clarice Beckett (Australia, 1887-1935)
After Sunset
c. 1929
Oil on canvas on board
26 x 29cm

 

Clarice Beckett (Australia, 1887-1935) 'Evening on the Yarra' Nd

 

Clarice Beckett (Australia, 1887-1935)
Evening on the Yarra
Nd
Oil on board
35 x 39.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Evening Calm' c. 1928

 

Clarice Beckett (Australia, 1887-1935)
Evening Calm
c. 1928
Oil on board
40.5 x 30.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Saturday' Nd

 

Clarice Beckett (Australia, 1887-1935)
Saturday
Nd
Oil on pulpboard
30.5 x 23.7cm

 

Clarice Beckett (Australia, 1887-1935) 'Collins Street' Nd

 

Clarice Beckett (Australia, 1887-1935)
Collins Street
Nd
Oil on board
39.5 x 29.5cm

 

 

Time has been Clarice Beckett’s friend both in terms of her art and her reputation. Largely overlooked during her lifetime, her posthumous recognition as one of Australia’s leading modernists has now far surpassed her initial cool reception at the hands of critics. Beckett’s interest in the everyday features of modern life were long captured through the poetic and ephemeral half-light of dusk and dawn or the soft darkness of the evening light.

To great effect, Beckett employs a rose-gold ambient light in City Street, Melbourne c. 1925 to reveal the dual realities of her hometown where cars share the road with a horse-led delivery cart and a pedestrian in transit – not an uncommon sight, but perhaps also the artist’s subtle signifier of transition as Melbourne transforms itself into the metropolis we know it as today.

 

Clarice Beckett (Australia, 1887-1935) 'The Yarra, Sunset' c. 1930

 

Clarice Beckett (Australia, 1887-1935)
The Yarra, Sunset
c. 1930
Oil on board
30.5 x 35.5cm

 

 

‘When we look back at the 20th century from a vantage point in the next, certain Australian artists stand out, not just for the aesthetic quality of their work, but also for their significant contribution to our understanding of what constitutes the Australian identity. Clarice Beckett is one such artist. Her works capture the essence of Australian city life, in particular that of Melbourne and more specifically that of the bayside suburbs, at a time between the World Wars when the advent of the modern age was signified by the motor car and the ubiquitous telegraph pole’.1

Although enjoying universal admiration and acclaim today, Clarice Beckett’s highly evocative works that celebrated modernity and the quiet beauty of suburbia were nevertheless challenging for her time. Not only was the momentous task of expressing Australian values in landscape painting a distinctly male prerogative, with flower pieces and indoor scenes the only subject matter deemed suitable for women artists. Moreover, the ridicule and critical denigration she frequently encountered in reviews of her paintings was the direct result of her association with her teacher, tonal realist painter Max Meldrum a ferociously argumentative man whose theory and teaching of art as a science based upon exact optical analysis upset conservative art circles and undermined the strict academic approach endorsed by the National Gallery School. Indeed, that Beckett never compromised her unique vision, continuing to paint ‘against all odds’ and that today her legacy endures despite near obscurity at the time of her death in 1935 and the vast destruction of her works subsequently poignantly highlights the compelling and inspirational nature of her achievements.

Recalling Whistler’s lyrical nocturnes, The Yarra, Sunset, c. 1930 offers one of the most exquisite elaborations of the artist’s signature motif the city enveloped in a rosy toned, transparent veil of luminosity evoking the last moments of twilight. Painted on the Richmond side of the Yarra River, from a position near the Chapel Street bridge, the composition features the railway bridge still present today (although altered in appearance) that carries busy suburban trains to and from the city, with the tall gothic spires of the city churches, Scots and the Independent, just perceptible in the palest silhouette of the background. Although conveying a very definite sense of time and place Melbourne of the 1930s paradoxically the work also bears an unmistakable sense of the universal, of silence within its stillness. Rich in lyricism and beauty, it encapsulates the artist’s preference for early evening subjects which, importantly, was not simply to enhance poetic effect. Rather, Beckett delighted in the technical challenge of capturing the essence of her subject within the fleeting moment of observing the transient, atmospheric effects of light to develop delicate tonal nuances that blurred the boundaries between reality and illusion. As the artist herself aptly elucidated in the catalogue accompanying the sixth annual exhibition of the Twenty Melbourne painters in 1924, her artistic aim was always ‘To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to give forth in correct tones so as to give as nearly as possible an exact illusion’.

No author. Text from the Invaluable website [Online] Cited 13/03/2021

 

Clarice Beckett (Australia, 1887-1935) 'Yacht at Sunset' c. 1928

 

Clarice Beckett (Australia, 1887-1935)
Yacht at Sunset
c. 1928
Oil on board
38 x 32cm

 

Clarice Beckett (Australia, 1887-1935) 'The Old Model T Ford' Nd

 

Clarice Beckett (Australia, 1887-1935)
The Old Model T Ford
Nd
Oil on board
43 x 52cm

 

Clarice Beckett (Australia, 1887-1935) 'Sunset Glow' 1928

 

Clarice Beckett (Australia, 1887-1935)
Sunset Glow
1928
Oil on pulpboard
24.5 x 34.5 cm

 

Clarice Beckett (Australia, 1887-1935) 'Path to the Beach' Nd

 

Clarice Beckett (Australia, 1887-1935)
Path to the Beach
Nd
Oil on board
49 x 43.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Morning Ride' Nd

 

Clarice Beckett (Australia, 1887-1935)
Morning Ride
Nd
Oil on canvas on composition board
31 x 36cm

 

Clarice Beckett (Australia, 1887-1935) 'Dusk' Nd

 

Clarice Beckett (Australia, 1887-1935)
Dusk
Nd
Oil on board
28 x 41cm

 

Clarice Beckett (Australia, 1887-1935) 'Evening, St Kilda Road' c. 1930

 

Clarice Beckett (Australia, 1887-1935)
Evening, St Kilda Road
c. 1930
Oil on board
35.5 x 40.5cm

 

 

Times of transience and soft-focus realism unite in the art of Clarice Beckett, suited ideally to sunrises and sunsets, foggy days and heat haze. Evening, St Kilda Road, c. 1930 provides the perfect moment as Beckett cloaks the city scene in a diaphanous veil, highlighted by lights and anchored in the darker forms of cars and trams. Its aesthetic appeal is enormous. But there is twofold pleasure in the reminiscence of a scene well known to Melburnians from a time less crowded than today. The absence of narrative allows for the better presentation of beauty, like music, free from the demands of verisimilitude. As Beckett once said, ‘My pictures like music should speak for themselves.’1 The likeness was appreciated in her own time, as witness The Bulletin art critic, who said, when reviewing her solo exhibition at the Athenaeum Hall in 1930, ‘Her counterpoint is so simple in its elements that the intrusion of the slightest false accent would destroy the harmony.’2 Therein lies a happy paradox. The stillness which envelops her paintings, allies itself to silence, leitmotifs wherein comes so much of the magic of her art. In painting, as in music, there is harmony, rhythm, and colour. Painting gives you its pleasures in a moment, its realms of silence are unique. The seeming simplicity with which Beckett creates profoundly moving visual statements is disarming. While her subjects are the everyday, her creativity transforms the pedestrian into poetic vision.

While Beckett painted many scenes of Melbourne’s bayside beaches – Silver Morning (Near Beaumaris), c. 1931 or Sandringham Beach, c. 1933 (National Gallery of Australia, Canberra) – she found the city of Melbourne rich in subject matter, especially the River Yarra and its bridges. City street scenes include Collins Street, Evening, 1931 (National Gallery of Australia) and Taxi Rank, c. 1931. The latter, with its lights reflecting on wet roads, is so free and painterly that it might pass for a work of lyric abstraction. As in Evening, St Kilda Road, the illusion of depth is halted either by reflection or string of lights, with paint thin, and sky and ground similar in tone to maintain a flatness of the picture plane. Beckett seeks no illusion of reality, preferring the beauty of creativity and its inner harmonies. St Kilda Road and the suburb of St Kilda itself featured often as a sources of inspiration, as in St Kilda Road, Wet Night, and from her 1923 exhibition Sand Pump, Foreshore, St Kilda and Grey Morning, St Kilda. The mellifluous luminosity and handling of tone in Evening, St Kilda Road recalls the lyricism of Whistler in a nocturne, mellow of poesy, and dreamily romantic.

David Thomas on the Invaluable website [Online] Cited 13/03/2021

  1. Beckett, quoted in R. Hollinrake, Clarice Beckett: Politically Incorrect, Ian Potter Museum of Art, University of Melbourne, 1999, p. 19
  2. The Bulletin, Sydney, 29 October 1930, p. 33

 

Clarice Beckett (Australia, 1887-1935) 'Warm Shallows' c. 1930

 

Clarice Beckett (Australia, 1887-1935)
Warm Shallows
c. 1930
Oil on card
21 x 25cm

 

Clarice Beckett (Australia, 1887-1935) 'Summer Morning, Beaumaris' Nd

 

Clarice Beckett (Australia, 1887-1935)
Summer Morning, Beaumaris
Nd
Oil on pulpboard
22 x 31cm

 

Clarice Beckett (Australia, 1887-1935) 'Moonrise Beaumaris, Sunset and Trees' Nd

 

Clarice Beckett (Australia, 1887-1935)
Moonrise Beaumaris, Sunset and Trees
Nd
Oil on pulpboard
17.5 x 19.5cm

 

Clarice Beckett (Australia, 1887-1935) 'Wet Evening' c. 1927

 

Clarice Beckett (Australia, 1887-1935)
Wet Evening
c. 1927
25.7 x 30.4cm
Oil on cardboard
Castlemaine Art Museum, Maud Rowe Bequest, acq. 1937

 

Clarice Beckett (Australia, 1887-1935) 'Boatshed, Beaumaris' c. 1928

 

Clarice Beckett (Australia, 1887-1935)
Boatshed, Beaumaris
c. 1928
Oil on cardboard
30.5 x 36.0cm
Castlemaine Art Museum, Maud Rowe Bequest, acq. 1937

 

 

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26
Feb
21

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 1

February 2021

 

Marcus Bunyan. 'Bamboo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Tall Bamboo
1994-1996
Gelatin silver print

 

 

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. 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 !

Marcus

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Barrows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Barrows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Barrows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Barrows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Bellows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bellows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Bonsai' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bonsai
1994-96
Gelatin silver print

 

Marcus Bunyan. 'Bricks and cups' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bricks and cups
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Cabbage' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Cabbage
1994-96
Gelatin silver print

 

 

Children and flowers

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers IIII' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers IIII
1994-96
Gelatin silver print

 

Corrugations

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations IIII' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations IIII
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Crazy paving' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Crazy paving
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marguerite Daisy I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marguerite Daisy I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marguerite Daisy II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marguerite Daisy II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Doll face I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Doll face I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Doll face II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Doll face II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Drainpipe I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Drainpipe I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Drainpipe II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Drainpipe II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Face I (William Klein)' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Face I (William Klein)
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Face II (William Klein)' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Face II (William Klein)
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gate I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gate I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gate II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gate II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Cracked' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Cracked
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gumnuts' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gumnuts
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hat I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Hat I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hat II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Hat II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Helicopter, flag pole and sun' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Helicopter, flag pole and sun
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'If?' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
If?
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Jubilee Street, Melbourne' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Jubilee Street, Melbourne
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Kids horse I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Kids horse I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Kids horse II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Kids horse II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Monster' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Monster
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marquetry' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marquetry
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory I
1994-96
Gelatin silver print