Archive for the 'Indigenous Australians' Category

25
Feb
18

Review: ‘All the better to see you with: Fairy tales transformed’ at The Ian Potter Museum of Art, The University of Melbourne

Exhibition dates: 13th January – 3rd March 2018

Curator: Samantha Comte

Artists: Broersen and Lukács, Kate Daw, Peter Ellis, Dina Goldstein, Mirando Haz, Vivienne Shark Le Witt, Amanda Marburg, Tracey Moffatt, Polixeni Papapetrou, Patricia Piccinini, Paula Rego, Lotte Reiniger, Allison Schulnik, Sally Smart, Kiki Smith, Kylie Stillman, Tale of Tales, Janaina Tschäpe, Miwa Yanagi, Kara Walker and Zilverster (Goodwin and Hanenbergh).

Review synposis: Simply put, this is the best local exhibition I have seen this year. A must see before it closes.

 

 

Polixeni Papapetrou. 'Hanging Rock 1900 #3' 2006

 

Polixeni Papapetrou
Hanging Rock 1900 #3
2006
Pigment ink print
105 x 105 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin

 

 

Oh my, what big teeth you have! Wait just a minute, they need a good clean and they’re all crooked and subverted (or a: how well-known stories are turned on their head and b: how real histories become fantasies, and how fantasies are reimagined)

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This is going to be the shortest review in the known universe. Just one word:
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SUPERLATIVE

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.

Every piece of artwork in this extraordinary, quirky, spellbinding exhibition (spread over the three floors of the The Ian Potter Museum of Art at The University of Melbourne) is strong and valuable to the investigation of the overall concept, that of fairy tales transformed.

The hang, the catalogue, and the mix of a: international and local artists; b: historical and contemporary works; and c: animation, video, gaming, sculpture, photography, painting, drawing and other art forms – is dead set, spot on.

There are too many highlights, but briefly my favourites were the historical animations of Lotte Reiniger; the painting Born by Kiki Smith which adorns the catalogue cover; the theatrical tableaux of Polixeni Papapetrou; the mesmerising video art of Allison Schulnik; and the subversive etchings of both Peter Ellis and Mirando Haz. But really, every single artwork had something interesting and challenging to say about the fabled construction of fairy tales and their place in the mythic imagination, a deviation from the normative, patriarchal telling of tales.

My only regret, that a: there hadn’t been another three floors of the exhibition; b: that there was only one work by Kiki Smith; and c: that there were not another set of disparate voices other than the feminine and black i.e. transgender, gay, disabled – other artists (if they exist?) that were working with this concept.

Simply put, this is the best local exhibition I have seen this year. A must see before it closes.

Marcus

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

 

All the better to see you with: Fairy tales transformed, the Ian Potter Museum of Art’s 2017 summer show, traces the genre of the fairy tale, exploring its function in contemporary society. The exhibition presents contemporary art work alongside a selection of key historical fairy tale books that provide re-interpretations of the classic fairy tales for a 21st-century context, including Little Red Riding HoodHansel and Gretel and The Little Mermaid.

 

Ground floor

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Lotte Reiniger with Cinderella/Aschenputtel (1922) at left

 

 

Lotte Reiniger (born 1899, Berlin-Charlottenburg, Germany; died 1981, Dettenhausen, West Germany)
Cinderella/Aschenputtel
1922
Silhouette animation film
Primrose Productions
Directed and animated by Lotte Reiniger
Production team: Carl Coch, Louis Hagen, Vivian Milroy Music: Freddie Phillips
12.35 minutes
Footage courtesy of BFI National Archive, London

 

 

Lotte Reiniger began making her ground-breaking animations in Berlin during the 1920s. Influenced by early fairy tale illustrations, in particular, Andrew Lang’s The Blue Fairy (1887), Reiniger was attracted to the graphic nature of the imagery but also the compelling complexities of fairy tale narratives. Adapting the art of shadow puppetry, she created more than forty intricately crafted fairy tale films.

In 1935, she left Berlin for England, in response to the unjust treatment of the Jewish people. World War II had an enduring impact on Reiniger’s work and life. For example, when she made Hansel and Gretel, in 1953-54, she changed the ending of the narrative from the Brothers Grimm original, in which the witch is burnt in the over after being tricked by the children, because the taboo nature of this imagery was understandably too close to the horrors of the Holocaust. From her first film, Reiniger was attracted to the timelessness of fairy tale stories for her animations. Aschenputtel (Cinderella) (1922) was among her first filmic subjects and is amongst the words presented here. While Reiniger belonged to the cinematic avant-garde, working in independent production and experimental film making, her spirit harked back to an earlier age of innocence. (Wall text)

 

 

Lotte Reiniger
Hansel and Gretel/Hänsel und Gretel
1953/1954
Silhouette animation film
Primrose Productions
Directed and animated by Lotte Reiniger
Production team: Carl Coch, Louis Hagen, Vivian Milroy Music: Freddie Phillips
10:19 minutes
Footage/Image courtesy of BFI National Archive, London

 

 

Lotte Reiniger
The Sleeping Beauty/Dornrӧschen
1953-1954
Silhouette animation film
Primrose Productions
Directed and animated by Lotte Reiniger
Production team: Carl Coch, Louis Hagen, Vivian Milroy
Music: Freddie Phillips
10:03 minutes
Footage/Image courtesy of BFI National Archive, London

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Lotte Reiniger (left) and Sally Smart (right)

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Sally Smart’s work Blaubart (The Choreography of Cutting) 2017

 

 

Sally Smart‘s Blaubart (The Choreography of Cutting) is a complex assemblage of elements and ideas that relate to Smart’s recent work on the Russian Fairy tale, Chout (1921) where she found connections to Perrault’s murderous tale of Blue Beard, a lurid story about a noble man who marries numerous women killing each of them and storing their bodies in an underground bloody chamber.

Smart’s work explores this narrative by combining the blue and black silhouetted forms from Lotte Reiniger’s animation of The Adventures of Prince Achmed (1926) with the black and white photographs of a modern dance performance of Blue Beard devised by Pina Bausch, a noted German dance choreographer. In Smart’s dramatic work a series of hanging dresses and wigs stand in for blue beards wives, whose bodies, in the story, were gruesomely hung from hooks. Blue Beard is a story of violence and betrayal that contains one of the most powerful fairy tale symbols, that of the forbidden room and the quest for knowledge. While we often try to make sense of the world through chronological narrative, Smart’s work suggests that it is the disconnected layers of experiences, stories, images and sensations that lead to a rich life of possibility. (Wall text)

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Sally Smart (born 1960, Quorn, South Australia; lives and works Melbourne, Victoria)
Blaubart (The Choreography of Cutting) (detail)
2017
Mixed media installation
Dimensions variable
Courtesy of the artist and Sarah Scout Presents, Melbourne

 

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Miwa Yanagi (left to right, Little Match Girl 2004; Gretel 2004; Untitled IV 2004; and Erendira 2004)

 

 

Japanese photographer, Miwa Yanagi constructs elaborate and complex images that examine the representation of women in contemporary Japanese society. Her third major series of works, Fairy tales focuses on a key theme, that of the young girl moving into womanhood and her relationship to the older woman.

Recasting the familiar tales of Grimm and Hans Christian Andersen, Yanagi explores the complex relationship between old women and young girls, often presented as the witch and the innocent princess. In this series, Yanagi returns to traditional methods of photography, creating complex backdrops, lighting and costumes. She dresses some of the young girls in wigs, make up and masks to look old and witch-like, creating a strangely unresolved image of an old woman with a young body, playing with the idea of binaries – innocence and heartlessness, maturity and youth. (Wall text)

 

Miwa Yangi. 'Gretel' 2004

 

Miwa Yanagi (born in born in 1967 in Kobe, Japan; lives and works in Kyoto, Japan)
Gretel
2004
Gelatin silver print
116 x 116 cm (framed)
Collection of the Hara Museum of Contemporary Art

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Amanda Marburg (right) and Miwa Yanagi (left)

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Amanda Marburg (Juniper Tree 2016; Hansel and Gretel 2016; Maiden without hands 2016; Death and the Goose boy 2015; The Golden Ass 2016; Hans My Hedgehog 2016; Briar Rose 2016; and All Fur 2016)

 

 

Amanda Marburg has an enduring fascination with the macabre, referencing dark tales from film, literature and art history to create distinctive paintings that often picture sinister and menacing subjects within brightly rendered, plasticine environments. In this body of work, Marburg looks to the famous Brothers Grimm tales, particularly the first edition of Grimm’s Fairy Tales, published in 1812. The brothers were dedicated to collecting largely oral folk tales from their German heritage, and among the first hey collected were narratives that told of the brutal living conditions of the time. In the better known 1857 edition of their Grimm’s Fairy Tales, more than thirty of the original stories have been removed from the earlier publication including ‘Death and the Goose Boy’ and ‘Juniper Tree’. These stories were often cautionary tales that encompassed gritty themes such as cannibalism, murder and child abuse and while they were popular when first published, they were deemed unsuitable for the later edition. (Wall text)

 

Amanda Marburg (born 1976, Melbourne Australia; lives and works in Melbourne, Australia) 'Maiden without hands' 2016

 

Amanda Marburg (born 1976, Melbourne Australia; lives and works in Melbourne, Australia)
Maiden without hands
2016
Oil on linen
122 x 92 cm
Courtesy the artist and Sutton Gallery, Melbourne

 

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Lotte Reiniger (left), Sally Smart (middle), and Miwa Yanagi (right)

 

Broersen and Lukács. 'Mastering Bambi' (video still) 2011

 

Mastering Bambi Preview, 2010 – Persijn Broersen & Margit Lukács from AKINCI Gallery on Vimeo.

 

 

Walt Disney’s 1942 classic animation film Bambi is well known for its distinct main characters – a variety of cute, anthropomorphic animals. However, an important but often overlooked protagonist in the movie is nature itself: the pristine wilderness as the main grid on which Disney structured his ‘Bambi’. One of the first virtual worlds was created here: a world of deceptive realism and harmony, in which man is the only enemy. Disney strived to be true to nature, but he also used nature as a metaphor for human society. In his view, deeply rooted in European romanticism, the wilderness is threatened by civilisation and technology. The forest, therefore, is depicted as a ‘magic well’, the ultimate purifying ‘frontier’, where the inhabitants peacefully coexist. Interestingly, the original 1924 Austrian novel Bambi, A Life in the Woods by Felix Salten (banned in 1936 by Hitler) shows nature (and human society) more as a bleak, Darwinist reality of competition, violence and death.

Broersen and Lukács recreate the model of Disney’s pristine vision, but they strip the forest of its harmonious inhabitants, the animals. What remains is another reality, a constructed and lacking wilderness, where nature becomes the mirror of our own imagination. The soundtrack is made by Berend Dubbe and Gwendolyn Thomas. They’ve reconstructed Bambi’s music, in which they twist and fold the sound in such a way that it reveals the dissonances in the movie. (Text from AKINCI Gallery)

 

Broersen and Lukács. 'Mastering Bambi' (video still) 2011

 

Broersen and Lukács (Persijn Broersen born in Delft, The Netherlands in 1974 and Margit Lukács, in Amsterdam, The Netherlands in 1973; both live and work in Amsterdam, The Netherlands and Paris, France)
Mastering Bambi (video still)
2011
HD video
12:30 minutes
Courtesy of the artists and Akinci, Amsterdam

 

 

All the better to see you with: Fairy tales transformed, the Ian Potter Museum of Art’s 2017 summer show, traces the genre of the fairy tale, exploring its function in contemporary society. The exhibition presents contemporary art work alongside a selection of key historical fairy tale books that provide re-interpretations of the classic fairy tales for a 21st-century context, including Little Red Riding HoodHansel and Gretel and The Little Mermaid.

Featuring international and Australian contemporary artists including Kiki Smith, Patricia Piccinini, Amanda Marburg, Miwa Yanagi, Kara Walker, Allison Schulnik, Tracey Moffatt, Paula Rego, Broersen and Lukacs and Peter Ellis, All the better to see you with explores artists’ use of the fairy tale to express social concerns and anxieties surrounding issues such as the abuse of power, injustice and exploitation.

Curator, Samantha Comte said: “Fairy tales help us to articulate the way we might see and challenge such issues and, through transformation, triumph in the end. This exhibition looks at why fairy tales still have the power to attract us, to seduce us, to lure us and stir our imagination.”

A major exhibition across all three levels of the museum, the exhibition will be accompanied by a raft of public and education programs. American artist Kiki Smith uses fairy tales like Little Red Riding Hood as a metaphor to express her feelings about the feminist experience in patriarchal culture. The Portuguese-British artist Paula Rego has constructed the same tale as a feminist farce, with Red Riding Hood’s mother flaunting the wolf ‘s pelt as a stole. Japanese photographer Miwa Yanagi, in her “Fairy Tale” series has created large scale images enacted by children and adolescents in which playfulness and cruelty, fantasy and realism, merge.

The theme of the lost child in the forest is played out through tales such as Snow White and Hansel and Gretel. Tracey Moffatt’s Invocations series of 13 images is composed of three disjointed narratives about a little girl in a forest, a woman and man in the desert and a foreboding horde of spirits. The little girl lost in the forest is familiar from childhood fairy tales, and the style of these images is reminiscent of Disney movies.

Broersen and Lukacs’ powerful video work, Mastering Bambi depicts the forest as a mysterious, alluring and sinister place. Often the setting of a fairy tale, the forest is used as a metaphor for human psychology. Australian artist Amanda Marburg, in her series How Some Children Played at Slaughtering looks to the stories that both excited and haunted generations of children and adults the infamous Grimm’s fairy tales. The melancholy of Marburg’s subjects is counteracted by her use of bewitching bright colour, which creates fairy tale-like landscapes with deceptive charm.

Fairy tales can comfort and entertain us; they can divert, educate and help shape our sense of the world; they articulate desires and dilemmas, nurture imagination and encapsulate good and evil. All the Better to See You With invites us to delve into this shadowy world of ancient stories through the eyes of a diverse range of artists and art works.

Press release from the Ian Potter Museum of Art

 

Second floor

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Paula Rego at left; Kylie Stillman’s Scape (2017) middle; and Kiki Smith’s Born (2002) at right

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Paula Rego (from left to right, Happy Family – Mother, Red Riding Hood and Grandmother, 2003; Red Riding Hood on the Edge, 2003; The Wolf, 2003; The wolf chats up Red Riding Hood, 2003; Mother Takes Her Revenge, 2003; and Mother Wears the Wolf’s Pelt, 2003)

 

 

Portuguese born, British based artist Paula Rego subverts traditional folk stories and fairy tales, adapting these narratives to reflect and challenge the values of contemporary society, playing with feminine roles in culturally determined contexts and turning male dominance on its head.

In Little Red Riding Hood (2003), Rego presents an alternative telling of this well-known story. Her suite of paintings is based on Charles Perrault’s version of this fairy tale Le Petit Chaperon Rouge, 1695 in which the girl and the grandmother are eaten by the wolf, rather than the more famous Grimm version in which the girl and the grandmother survive after being rescued by a male protagonist. Rego reshapes the story for a contemporary context, reflecting on current ideas around gender roles in society and casting the mother as a sharply dressed avenger who overcomes the man-wolf without the aid of a male rescuer. (Wall text)

 

Paula Rego. 'The wolf chats up Red Riding Hood' 2003

 

Paula Rego
The wolf chats up Red Riding Hood
2003
Pastel on paper
104 x 79 cm
Collection of Gracie Smart, London
Courtesy Malborough Fine Art, London
© Paula Rego

 

Paula Rego. 'Mother Wears the Wolf's Pelt' 2003

 

Paula Rego
Mother Wears the Wolf’s Pelt
2003
Pastel on paper
75 x 4 x 92cm
Collection of Gracie Smart, London
Courtesy Malborough Fine Art, London
© Paula Rego
Photo: Marcus Bunyan

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kylie Stillman’s Scape (2017) at left and Kiki Smith’s Born (2002) at right

 

Kylie Stillman. 'Scape' 2017

 

Kylie Stillman (born in Mordialloc, Victoria, Australia in 1975 lives and works in Melbourne Australia)
Scape
2017
Hand cut plywood
200 x 240 x 30 cm
Courtesy of the artist and Utopian Art, Sydney

 

 

Kiki Smith (born Nuremberg, Germany 1954; lives and works in USA)
Born
2002
Lithograph in 12 colours
172.72 cm x 142.24 cm
Edition 28
Published by Universal Limited Art Editions
© Kiki Smith / Universal Limited Art Editions Courtesy of the Artist and PACE Gallery, NY

 

 

Kiki Smith‘s practice has been shaped by her enduring interest in the human condition and the natural world. She evocatively reworks representations and imagery found in religion, mythology and folklore. Exploring themes recurrent to her practice such as birth, death and regeneration, in Born (2002) Smith alludes to an idea that has fascinated her for many years, the relationship of animals, particularly wolves and human beings. This illustration of Red Riding Hood and her grandmother emerging from the wolf’s stomach, subverts the story line of this well-known fairy tale, depicting the couple rising from the body of he wolf rather than being consumed by him. The image is simultaneously savage and tender. Significantly the illustrations of the child and the grandmother are, in fact, both portraits of the artist, the depiction of the child’s face is derived from a drawing of Smith as a child. In this work, the two female figures are no longer victims and the wolf is no longer the aggressor. Instead there is a complicity between characters. Smith’s ongoing use of surprising narrative associations allows her to interrogate ideas around gender and identity, providing a disconcerting view of traditional fairy tale narratives. (Wall text)

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kylie Stillman’s Scape (2017) at left, Kiki Smith’s Born (2002) middle and Polixeni Papapetrou’s work at right

 

Polixeni Papapetrou. 'The Encounter' 2003

 

Polixeni Papapetrou (born 1960, Melbourne Australia; lives and works in Melbourne Australia)
The Encounter
2003
Type C print
100 x 100 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

 

Polixeni Papapetrou has been fascinated with costume and disguise throughout her more than thirty years of photographic practice. In her Fairy Tales series (2004-14), she restages well-known stories in highly theatrical environments, combining recognisable motifs, such as the snowy-white owl in The Encounter (2006) and the brightly coloured candy house in her work The Witch’s House (2003). Papapetrou places her child actors in fantastical landscapes, capturing them performing in front of vividly painted trompe l’oeil backdrops; that evocatively suggest the rich interior world of the child’s imagination.

In her work, Papapetrou also explores the narrative of the lost child, which in the European tradition has a parallel in the tale ‘Hansel and Gretel’. In Australia, the most famous story of children lost in the bush is Joan Lindsay’s Picnic at Hanging Rock (1967), a tale embedded in our cultural imagination through both the novel and subsequent movie (1975). Set on St Valentine’s Day 1900, it is the story of three young girls on the cusp of womanhood disappearing without a trace. Papapetrou’s Hanging Rock 1900 #3 (2006), from the Haunted Country series (2006), captures the eerie quality of the Australian landscape and the hopelessness of the lost girls. (Wall text)

 

Polixeni Papapetrou. 'The Witch's House' 2003

 

Polixeni Papapetrou (born 1960, Melbourne Australia; lives and works in Melbourne Australia)
The Witch’s House
2003
Type C print
100 x 100 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

Polixeni Papapetrou. 'By the Yarra 1857 #1' 2006

 

Polixeni Papapetrou (born 1960, Melbourne Australia; lives and works in Melbourne Australia)
By the Yarra 1857 #1
2006
Pigment ink print
105 x 105 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

Polixeni Papapetrou. 'By the Yarra 1857 #2' 2006

 

Polixeni Papapetrou (born 1960, Melbourne Australia; lives and works in Melbourne Australia)
By the Yarra 1857 #2
2006
Pigment ink print
105 x 105 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

Polixeni Papapetrou. 'Lost' 2005

 

Polixeni Papapetrou (born 1960, Melbourne Australia; lives and works in Melbourne Australia)
Lost
2005
Type C print
100 x 100 cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Polixeni Papapetrou’s work at left and Kate Daw’s work at centre right

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kate Daw’s work Lights No Eyes Can See (2) (2017) at left; the work of Paula Rego middle; and Kylie Stillman’s Scape (2017) right

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Kate Daw’s work Lights No Eyes Can See (2) (2017) at left, and her paintings Arietta’s House (2016), Lenci dolls (Lenu and Lila) (2016), and Lenci doll (back to the before) (2016) left to right

 

Kate Daw. 'Lights No Eyes Can See (2)' 2017

 

Kate Daw
Lights No Eyes Can See (2)
2017
Fired and painted clay dimensions variable
Courtesy the artist and Sarah Scout Presents, Melbourne

 

 

Kate Daw‘s practice has been shaped by her ongoing interest in authorship, narrative and creative process. Daw’s new work for this exhibition Lights No Eyes Can See (2) (2017, above), is one of many iterations that the artist has made: its original lyric form was written as the song ‘Attics of my Life’, in 1970 by Jerry Garcia and Robert Hunter for the rock band The Grateful Dead. In its first iteration Daw reshapes the lyrics into a typed canvas work scaled up to a giant print and a performative iteration in which she asked art students to sing this song at set times of the day.

For this exhibition, Daw has transformed an exceprt of the song into a wall piece made in clay. The text describes the dreamy, subconscious space that fairy tales occupy, while the colour and form of the work suggests domestic decoration. Continuously moving between the domestic and the social, the everyday and the imagined, this work reflects Daw’s ongoing interest in how we constantly reshape and remake objects, texts and narratives to make sense of the world. (Wall text)

 

Kate Daw. 'Lenci dolls (Lenu and Lila)' 2016

 

Installation view of Kate Daw’s work Lenci dolls (Lenu and Lila) 2016
Photo: Marcus Bunyan

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne with a still from the video work Mound (2011) by Allison Schulnik at left,  and the work of Dina Goldstein from her Fallen Princess series at right

 

 

Allison Schulnik (born in 1978, San Diego; lives and works in Los Angeles, USA)
Mound
2011
Clay-animated stop motion video
4.24 minutes
Courtesy the artist and Mark Moore Gallery, California

 

Allison Schulnik (born in 1978, San Diego; lives and works in Los Angeles, USA) 'Mound' (video still) 2011

 

Allison Schulnik (born in 1978, San Diego; lives and works in Los Angeles, USA)
Mound (video still)
2011
Clay-animated stop motion video
4.24 minutes
Courtesy the artist and Mark Moore Gallery, California

 

Dina Goldstein. 'Cinder' 2007

 

Dina Goldstein (born 1969 in Tel Aviv, Israel; lives and works Vancouver, Canada)
Cinder
2007
From the Fallen Princess series
Digital photograph
76.2 x 106.7 cm
Courtesy of the artist

 

Dina Goldstein. 'Princess Pea' 2009

 

Dina Goldstein (born 1969 in Tel Aviv, Israel; lives and works Vancouver, Canada)
Princess Pea
2009
From the Fallen Princess series
Digital photograph
76.2 x 106.7 cm
Courtesy of the artist

 

Dina Goldstein. 'Snowy' 2007

 

Dina Goldstein (born 1969 in Tel Aviv, Israel; lives and works Vancouver, Canada)
Snowy
2008
From the Fallen Princess series
Digital photograph
76.2 x 106.7 cm
Courtesy of the artist

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Dina Goldstein at left, and the video Untitled (scream) by Janaina Tschäpe at right

 

Untitled (Scream) from Janaina Tschape Studio on Vimeo

 

Janaina Tschäpe (born in Munich, Germany, in 1973; lives and works in New York, USA)
Untitled (Scream) (extract)
2004
HD video, no sound
5.34 minutes
Courtesy the artist

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Vivienne Shark LeWitt (born Sale, Victoria, Australia in 1956; lives and works in Melbourne, Victoria) with The Bloody Chamber (1983) left and Charles Meryon the voyeur 1827-1868. La belle et la bête (1983) right

 

Vivienne Shark LeWitt. 'The Bloody Chamber' 1983

 

Installation view of Vivienne Shark LeWitt’s The Bloody Chamber 1983
Photo: Marcus Bunyan

 

Shark LeWitt. 'Charles Meryon the voyeur 1827-1868. La belle et la bête' 1983

 

Installation view of Vivienne Shark LeWitt’s Charles Meryon the voyeur 1827-1868. La belle et la bête [The Beauty and the Beast] 1983
Photo: Marcus Bunyan

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Kara Walker centre and Peter Ellis right

 

Kara Walker (born in 1969, Stockton, California; lives and works in New York, USA) 'Burning African Village Play Set with Big House and Lynching' 2006

 

Kara Walker (born in 1969, Stockton, California; lives and works in New York, USA)
Burning African Village Play Set with Big House and Lynching
2006
Painted laser cut steel – 22 parts
Dimensions variable (61 x 97.2 x 228.6 cm)
Collection of Naomi Milgrom AO, Melbourne

 

 

Kara Walker is well known for her investigation of race, gender, sexuality, and violence through her elaborate silhouetted works. Since the early 1990s, Walker has been creating works that present disturbing and often taboo narratives using the disarming iconography of historical fiction.

Through the form of a child’s play set Walker reveals the brutal racism and inequality in American history. Burning African Village Play Set with Big House and Lynching (2006) uses simple cut-out silhouettes to create a series of characters and motifs that occupy a chilling, nightmarish world. Drawing from Civil War imagery of the American south, Walker creates parts for the play set – a plantation mansion, small huts, weeping willows, shackled slaves, Confederate soldiers and southern belles – then arranges these into a narrative. In the artists words, she questions how ‘real histories become fantasies and fairy tales’ and how it is, perversely, that ‘fairy tales sometimes pass for history, for truth’. In this work, Walker suggests histories can be played with – manipulated and parts removed – but also that storytelling can be adapted and reshaped to remember and reimagine the past. (Wall text)

 

Kara Walker (born in 1969, Stockton, California; lives and works in New York, USA) 'Burning African Village Play Set with Big House and Lynching' 2006 (detail)

 

Kara Walker (born in 1969, Stockton, California; lives and works in New York, USA)
Burning African Village Play Set with Big House and Lynching (detail)
2006
Painted laser cut steel – 22 parts
Dimensions variable (61 x 97.2 x 228.6 cm)
Collection of Naomi Milgrom AO, Melbourne

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Kara Walker left and Peter Ellis right

 

 

The prince and the bee mistress portfolio 1986

Melbourne based artist, Peter Ellis is a prolific image maker who creates hallucinatory scenes of make-believe animals and human-like creatures. His work takes its inspiration from diverse historical sources including children’s art and literature, detective novels, the legacies of Dada and Surrealism and the transformative qualities of fairy tales.

In this narrative etching The Prince and the Bee Mistress (1986), the artist illustrates a contemporary adult fairy tale by writer Tobsha Learner. It’s a surreal Gothic horror tale about the seduction of a young prince who succumbs to the disastrous ‘charms’ of the Bee Mistress. The Bee Mistress is capable of altering and morphing her body, which is comprised of a swarm of bees. Using his encyclopaedic knowledge of animals, objects and images, Ellis creates densely layered configurations of surprising and unsettling forms. This disturbing and perplexing imagery also references traditional fairy tales, with the puppet prince (plate 3) wearing the same costume as Heinrich Hoffmann’s little boy from the 1845 German children’s book Der Struwwelpeter (Shock Haired Peter). (Wall text)

 

Peter Ellis. 'The Princess Dream' 1986

 

Peter Ellis (born 1956 in Sydney, Australia, New South Wales; lives and works in Melbourne Australia)
The Princes Dream
1986
Etching, soft-ground, drypoint, sugar-lift, photo-etching, plate-tone and relief printing
35.2 × 50.6 cm (plate) 50.4 × 65.9 cm (sheet)
Courtesy of the artist

 

Peter Ellis. 'Dog Screaming' 1986

 

Peter Ellis (born 1956 in Sydney, Australia, New South Wales; lives and works in Melbourne Australia)
Dog Screaming
1986
Etching, soft-ground, drypoint, sugar-lift, photo-etching, plate-tone and relief printing
35.2 × 50.6 cm (plate) 50.4 × 65.9 cm (sheet)
Courtesy of the artist

 

Peter Ellis. 'Examining the Bee Sting' 1986

 

Peter Ellis (born 1956 in Sydney, Australia, New South Wales; lives and works in Melbourne Australia)
Examining the Bee Sting
1986
Etching, soft-ground, drypoint, sugar-lift, photo-etching, plate-tone and relief printing
35.2 × 50.6 cm (plate) 50.4 × 65.9 cm (sheet)
Courtesy of the artist

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Peter Ellis left and Mirando Haz (Amedeo Pieragostini) right

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Mirando Haz (Amedeo Pieragostini), left to right The Little Mermaid (La Sirenetta), The Needle (L’Ago), The Emperor’s New Clothes (Gli Abiti Nuovi Dell’Imperatore), The Old Street Lamp (Il Vecchio Fanale), The Old House (La Vecchia Casa) all 1977

 

Mirando Haz (Amedeo Pieragostini) 'The Needle (L'Ago)' 1977

 

Installation view of Mirando Haz’s (Amedeo Pieragostini) work The Needle (L’Ago) 1977
Photo: Marcus Bunyan

 

Mirando Haz. 'The Little Mermaid' 1977

 

Mirando Haz (Amedeo Pieragostini) (born 1937, in Bergamo, Italy; lives and works in Bergamo, Italy)
The Little Mermaid (La Sirenetta)
1977
Etching Plate
15.5 x 11.5; sheet 19.0 x 15.3
The University of Melbourne Art Collection
Gift of the Italian Cultural Institute 1985
Courtesy of the artist

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing the work of Zilverster (Sharon Goodwin born in Dandenong, Australia in 1973 and Irene Hanenbergh born in Erica, The Netherlands in 1966 formed the collaborative art practice Zilverster in 2010. They live and work in Melbourne, Australia) including The Table of Moresnet (2016) at centre

 

Third floor

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation views of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing Tracey Moffat’s Invocations series (2000) (13 framed photo silkscreen works, dimensions variable, Museum of Contemporary Art Australia Collection)

 

 

Tracey Moffat‘s practice deals with the human condition in all its complexities, drawing on the history of cinema, art, photographs as well as popular culture and her own childhood memories to create works that explore themes around power, identity, passion, resistance and survival.

In her Invocations series, Moffatt explores a bizarre fairy tale world, inhabited by witches and spirits, a lost girl in a forest, and a man and woman in the desert battling their nightmares. It is a journey through landscape and scenes found in a rich array of different sources, from early Disney animations, Hitchcock movies such as The Birds, Goya paintings and the disturbing folkloric tales of the Brothers Grimm.

Using her skills as a filmmaker, Moffatt spent a year constructing the sets an directing actors to create each dramatic scene. She then worked with a printer for another year building the richly textured surfaces that give a powerful sense of illusion and otherworldliness to these works. Drawing on archetypal anxieties and fears, the lost child, the teenager yearning for escape and adult passions Moffatt’s Invocations series reveals the struggle for survival and the quest for power in a harsh and threatening environment. (Wall text)

 

Tracey Moffatt. 'Invocations # 5' 2000

 

Tracey Moffatt
Invocations #5
2000
Photo silkscreen
156 x 131.5 cm (framed)
Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013
Courtesy of the artist and and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt. 'Invocations # 7' 2000

 

Tracey Moffatt
Invocations #7
2000
Photo silkscreen
156 x 131.5 cm (framed)
Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013
Courtesy of the artist and and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt. 'Invocations #11' 2000

 

Tracey Moffatt
Invocations #11
2000
Photo silkscreen
119 x 105 cm (framed)
Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013
Courtesy of the artist and and Roslyn Oxley9 Gallery, Sydney

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing a still from Allison Schulnik’s video Eager (2013-2014) at left, and Patricia Piccinini’s Still Life with Stem Cells (2002) at right

 

 

Allison Schulnik
Eager
2013-2014
Clay-animated stop motion video
8.25 minutes
Courtesy the artist and Mark Moore Gallery, California

 

Allison Schulnik. 'Eager' (video still) 2013-2014

 

Allison Schulnik
Eager (video still)
2013-2014
Clay-animated stop motion video
8.25 minutes
Courtesy the artist and Mark Moore Gallery, California

 

Installation view of the exhibition 'All the better to see you with: Fairy tales transformed' at The Ian Potter Museum of Art, Melbourne

 

Installation view of the exhibition All the better to see you with: Fairy tales transformed at The Ian Potter Museum of Art, Melbourne showing at left, Patricia Piccinini’s Still Life with Stem Cells (2002, silicone, polyurethane, human hair, clothing, carpet dimensions variable Monash University Collection), and at right a still from her DVD The Gathering (2007)

 

 

These two works by Patricia Piccinini focus on one of the artists enduring interests, that of children and their ambiguous relationship with the imaginary creates that populate her work.

The child is the central character of most fairy tales, often at the point of transition to adulthood. Many of the tales reflect adult anxieties around this stage of childhood. But children, as both readers and central characters, often welcome fairy tales, as the stories nurture their desire for change and independence, and provide hope in a world that can be harsh and brutal. Children are also more willing to take on the strange and the magical, which we see in Piccinini’s sculptural work Still Life with Stem Cells (2002) in which a young girl is seated on the floor playing with her toys. These are not toys we are familiar with however, they are stem cells scaled up from their microscopic size, and each is different, as stem cell have the unique ability to change into other types of cells. The child is relaxed and happy, willing to take on this unfamiliar new environment. Piccinini re-enchants the world of the child, presenting an alternative narrative of the world we know. Creating possibility and wonder, she uses the fairy tale narrative to suggest new ways to look at issues facing contemporary culture.

In Piccinini’s video work The Gathering (2009) a young girl is lying on the floor of a dark house, asleep or unconscious. We watch with trepidation as furry blobs crawl towards her. Piccinini often depicts children in her work to evoke a sense of vulnerability and innocence, but it is often ambiguous as to who is more vulnerable, the creatures or the child. She confronts us with the strange and sometimes monstrous, just as fairy tales do. (Wall text)

 

Patricia Piccinini. 'Still Life with Stem Cells' 2002

 


Patricia Piccinini
(born in Freetown, Sierra Leone in 1965; lives and works in Melbourne, Australia)
Still Life with Stem Cells (photo detail)
2002
Silicone, polyurethane, human hair, clothing, carpet dimensions variable
Monash University Collection Purchased 2002
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; Hosfelt Gallery, San Francisco

 

The Gathering by Patricia Piccinini from MMAFT on Vimeo

 

Patricia Piccinini (born in Freetown, Sierra Leone in 1965; lives and works in Melbourne, Australia)
The Gathering
2009
DVD, 16:9 PAL, stereo
3.30 mins
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; Hosfelt Gallery, San Francisco

 

Auriea Harvey and Michaël Samyn. 'The Path' (screen capture) 2009

 

Auriea Harvey and Michaël Samyn (game designers and co-directors of tale of tales) Auriea Harvey was born in Indianapolis, USA in 1971 and Michaël Samyn was born in 1968 in Poperinge, Belgium; they live and work in Ghent, Belgium
The Path (screen capture)
2009
Computer game developed by TALE OF TALES
Music by Jarboe and Kris Force
Courtesy of tale of tales, Belgium

 

 

The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria
Tel: +61 3 8344 5148

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

The Ian Potter Museum of Art website

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16
Feb
18

Review: ‘John Gollings: The history of the built world’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 2nd December 2017 – 4th March 2018

 

John Gollings. 'Berman House (Harry Seidler), Joadja, New South Wales' 2007

 

John Gollings
Berman House (Harry Seidler), Joadja, New South Wales
2007

 

 

From ancient to modern; different but same

This is a solid exhibition of the work of architectural photographer John Gollings, which features highly colour saturated photographs of the built environment, from ancient to modern.

The formal, classical images are well seen and photographed, mainly for commercial clients who, at the end of the project, want to document their construction in the most flattering light. And that’s what you get with a Gollings architectural photograph – a known “style” used again and again to document an object devoid of human presence, usually photographed at the bewitching hour for photographers (dawn or dusk) or illuminated, to give the building that special glow. Sounds easy, but it isn’t!

For some people the intention of the photographer is primary… later on comes the  successful manifestation of that intention. And of course, there is the public intention stated in the brief directed to a photographer who has accepted that brief. As well, there are the photographer’s private intentions and for these we have to refer to the image(s). I then ask, what happens when the photographer’s private intentions becomes his commercial practice, when his style becomes his trademark?

In these photographs which are about multiplicity / difference (in the sense of a different set of objects) / series and the pursuit of spirit (as compared to the pursuit of ego), Gollings evidences something inherent in man that has shown itself from the start – inhabitation – that has now has become something else. He has put these series together to make sense / no sense / nonsense and through this juxtaposition, he hopes that something transcendent happens when these environments are seen together. The contemporary structures are made by extraordinary people who keep pushing to make an ultimate ideal of their belief, and so they are extraordinary, yet different from each other. Gollings captures this difference.

“What is it that asks a question that cannot be answered” is a question that I believe that Gollings is interested in, and it manifests itself in people and some of their works, e.g. poetry, cinema, photography, music… and this is the scope of that question in architecture. I think that Gollings has just tried to be clear about this question in his work, in the images straightforward yet dramatic way.

In their usually monolithic grounding, the building is always front and centre, even in his views of ancient structures or the landscape. “Gollings will use dramatic lighting and acute points of view to create a moody effect, and draw people into the ambience of the architect’s creation.” (Wall text) That is the key word, effect. While Gollings has stripped everything back to the bare minimum, removed ego, has it got him any closer to that place of magic and noumenality – that place that we can know but never experience (e.g. death). SOME of the images work towards an exploration of this subliminal state of being, the unconscious raised to the surface (images such as Habitat filter (Matt Drysdale, Matt Myers and Tim Dow), Southbank, Victoria, 2017 and The Lotus Building (Studio 505), Changzhou, China, 2013), yet others just sit there, the camera angles too regulated, the monolithic structure too central. How I longed for a more unusual positioning of the camera – something Atget might have done for example – to capture the personality of the building, for I never really “get” the personality of the building in Gollings representational photographs.

Personally, what I love about photography is the magical space of exploration in the image, and that is something that I don’t really get in these photographs, from one image to the next. The same feeling emanates from them time after time. They have little human warmth despite their high colour sheen. But I think that a lot of the absence of the magical that I regret is probably quite intentional. That is not Gollings’ project or his projection, his “effect” if you like, for he is a very intelligent artist, and a very well informed photographer. He has considered all of this, and his photographs come out exactly the way he wants them to come out. They might not be my cup of tea but I can appreciate and understand them on an intellectual and aesthetic, if not a spiritual, level. Gollings’ holistic vision over more than 40 years has stood the test of time, proving that he is, indeed, a damn good photographer.

Dr Marcus Bunyan for Art Blart

.
Many thankx to Monash Gallery of Art for allowing me to publish the media photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan, the artist and the Monash Gallery of Art.

 

Installation photographs

First gallery

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Rear of opening wall featuring at right, Kay Street housing (Edmond &Corrigan), Carlton, Victoria 1983

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Left, Melbourne CBD, Melbourne, Victoria 2009; middle, Federation Square, Melbourne, Victoria 2010; and right, Melbourne CBD, Melbourne, Victoria 2010

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Melbourne CBD, Melbourne, Victoria 2010

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Vineyard House (Denton Corker Marshall), Yarra Valley, Victoria 2013

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Somers House (Kai Chen), Somers, Victoria 1997

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Main gallery

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Sabratha Theatre, Sabratha, Libya 2005

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Underground temple, Kep, Cambodia 2007

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Jiaohe Old City, Turfan, China 2005

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Right, Sidney Myer Music Bowl refurbishment (Yuncken Freeman/Greg Burgess), Melbourne, Victoria 2001

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Second left, The Lotus Building (Studio 505), Changzhou, China 2013; third left, Croft House (James Stockwell), Inverloch, Victoria 2013; second right, Australian Centre for Contemporary Art (Wood Marsh), Southbank, Victoria 2002; and right, Habitat filter (Matt Drysdale, Matt Myers and Tim Dow), Southbank, Victoria 2017

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Croft House (James Stockwell), Inverloch, Victoria 2013

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Nawarla Gabarnmang, Arnhem Land, Northern Territory 2015

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Third gallery

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Left, El Dorado Motel, Surfers Paradise, Queensland 1973; second left, Golden Sun Motel, Surfers Paradise, Queensland 1973; second right, Biscayne Apartments, Surfers Paradise, Queensland 1973; and right, Cuba Flats, Surfers Paradise, Queensland 1973

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Left, Mid-century house, Surfers Paradise, Queensland 2017; middle, Mid-century house, Surfers Paradise, Queensland 2017; and right, Mid-century house, Surfers Paradise, Queensland 2017

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Every building on Surfers Paradise Boulevard west 1973 (detail)

Installation view of the exhibition 'John Gollings' at the Monash Gallery of Art, Melbourne

Every building on Surfers Paradise Boulevard west 1973 (detail)

 

 

John Gollings is Australia’s most pre-eminent and prolific photographer of the built environment. For the past 50 years he has been synthesising his parallel interests in photography and architecture to explore the cultural construction of social spaces. From sacred rock art sites and ancient temples to suburban dream homes and the monuments of corporate architecture, Gollings’s catalogue of images provides a remarkable visual history of human habitats. The history of the built world is the first major survey of Gollings photographic practice, and offers a much anticipated opportunity to appreciate the full breadth of his unique photographic vision.

 

John Gollings. 'Monash Gallery of Art (Harry Seidler), Wheelers Hill, Victoria' 1990

 

John Gollings
Monash Gallery of Art (Harry Seidler), Wheelers Hill, Victoria
1990

 

 

Waverley City Gallery

Gollings photographed Harry Seidler’s Waverley City Gallery before it was extended and renamed as Monash Gallery of Art. Gollings worked under Seidler’s direction to document the building, and the photographs clearly reflect Seidler’s architectural philosophy of organic geometric forms and interlocking planes.

Gollings’s interior view shows a Josef Albers tapestry hanging in the original foyer; an artwork that Seidler donated to the gallery with the intention of it remaining a permanent feature. Seidler once stated that he learnt more about design from Albers than any architectural school, and two of Albers’s design principles are clearly articulated in the architecture of MGA. The first of these is the notion that a high centre of gravity makes visual forms more dynamic, as evidenced in MGA’s top-heavy roofline. And the second – that irregular forms are more interesting to the eye than symmetrical grids – is apparent in the complex geometry of the building. (Wall text)

 

John Gollings. 'Webb Bridge (Robert Owen with Denton Corker Marshall), Docklands, Victoria' 2003

 

John Gollings
Webb Bridge (Robert Owen with Denton Corker Marshall), Docklands, Victoria
2003

 

 

Melbourne architecture

Gollings’s photographs of Melbourne offer a compelling portrait of the city he knows best. His aerial photographs draw out different features of Melbourne’s character, from the flatness of its suburban sprawl to the resplendent jewel box quality of its central business district. The sequence of images along this wall emphasises Gollings’s ability to metaphorically crawl inside the skin of his home town. Whether he’s photographing temporary architectural interventions or monumental entertainment stadiums, he finds ways to render them as skeletal structures or translucent surfaces. Gollings’s ability to embed the viewer in a scene is apparent across his work, but this is particularly evident in his images of Melbourne, where it seems he wears the built environment like a second skin. Even in his photograph of the Eureka Tower, Gollings uses the reflected light of a sunset to subdue this monolithic form and embed a reflected image of himself in the glass facade. (Wall text)

 

John Gollings. 'Federation Square, Melbourne, Victoria' 2010

 

John Gollings
Federation Square, Melbourne, Victoria
2010

 

John Gollings. 'Hotel Hotel foyer (March Studio), New Acton, Australian Capital Territory' 2013

 

John Gollings
Hotel Hotel foyer (March Studio), New Acton, Australian Capital Territory
2013

 

John Gollings. 'Karijini Visitor Centre (Woodhead International BDH), West Pilbara, Western Australia' 2001

 

John Gollings
Karijini Visitor Centre (Woodhead International BDH), West Pilbara, Western Australia
2001

 

 

Modern and contemporary architecture

Gollings’s professional practice has always included fashion and advertising projects, and one could argue that his treatment of architecture is invested with a certain dramatic fl air that owes something to these other genres of photography. Rather than using a sequence of photographs to systematically document different aspects of an architect’s design, Gollings often composes a single shot that captures the personality of a building. These are like portrait photographs, which use props and the surrounding backdrop to accentuate a sitter’s identity. A domestic house might be photographed through foliage in order to give it a bucolic character. Or a photograph might include more sky than building in order to evoke the vista that can be enjoyed by the inhabitants. In a similar vein, Gollings will use dramatic lighting and acute points of view to create a moody effect, and draw people into the ambience of the architect’s creation. (Wall text)

 

John Gollings. 'Penleigh and Essendon Grammar School (McBride Charles Ryan), Essendon, Victoria' 2011

 

John Gollings
Penleigh and Essendon Grammar School (McBride Charles Ryan), Essendon, Victoria
2011

 

John Gollings. 'Featherston House (Robin Boyd), Ivanhoe, Victoria' 2011

 

John Gollings
Featherston House (Robin Boyd), Ivanhoe, Victoria
2011

 

 

“Gollings’s photographic practice is driven by a deep enthusiasm and interest in the built environment,” explains MGA Senior Curator, Stephen Zagala. “He loves architecture and he uses photography to share his passion, bringing constructed spaces to life and drawing viewers into sensual encounters with architectural form.”

John Gollings is Australia’s pre-eminent, and most prolific, photographer of the built environment. For the past 50 years he has been synthesising his parallel interests in photography and architecture to explore the cultural construction of social spaces. While Gollings is well known for his documentation of new buildings and cityscapes, this survey exhibition situates these images within the broader context of his photographic practice. Alongside his commercial work, Gollings has always engaged in projects concerned with architectural history and heritage. This includes photographs of iconic modernist buildings, ancient sites of spiritual significance and the ruins of abandoned cities. Gollings’s interest in architectural heritage is also apparent in his documentation of places such as Melbourne and Surfers Paradise, where he has recorded the evolution of the built environment over extended periods of time.

From sacred rock art sites and ancient temples, to suburban dream homes, iconic monuments and architectural interventions, Gollings’s catalogue of images provides a remarkable visual history of how humans have chosen to inhabit their world. Constantly innovating with photographic technologies, and investigating new architectural subjects with a restless enthusiasm, Gollings has developed a distinctive visual style. This style typically conveys a personal or physical connection with the structure being photographed. Rather than documenting buildings in a way that reproduces the impersonal elevation plans of an architectural diagram, Gollings embeds the viewer in face-to-face encounters with built environments. Using a range of compositional techniques and visual effects to invest architecture with personality, he portrays buildings as lively habitats rather than static monuments.

The history of the built world is the first major survey of Gollings’s photographic practice and offers a much anticipated opportunity to appreciate the full breadth of his unique vision. With academic training in the history of architecture, and a professional grounding in photographic practice, Gollings documents and dramatises architecture with an informed artistic flair. Constantly innovating with photographic technologies, and investigating new architectural subjects with a restless enthusiasm, Gollings’s connoisseurship of the built world is unparalleled.

Press release from the Monash Gallery of Art

 

John Gollings. 'Uluru Visitor Centre (Gregory Burgess), Uluru, Northern Territory' 1999

 

John Gollings
Uluru Visitor Centre (Gregory Burgess), Uluru, Northern Territory
1999

 

John Gollings. 'Kabaw Berber Granary, Kabaw, Libya' 2005

 

John Gollings
Kabaw Berber Granary, Kabaw, Libya
2005

 

John Gollings. 'Bayon, Angkor Thom, Cambodia' 2012

 

John Gollings
Bayon, Angkor Thom, Cambodia
2012

 

John Gollings. 'North face, south gate, Angkor Thom, Cambodia' 2007

 

John Gollings
North face, south gate, Angkor Thom, Cambodia
2007

 

John Gollings. 'Buddha detail, Borobudur, Java, Indonesia' 2011

 

John Gollings
Buddha detail, Borobudur, Java, Indonesia
2011

 

John Gollings. 'Mori Tim Stupa, Silk Road, China' 2005

 

John Gollings
Mori Tim Stupa, Silk Road, China
2005

 

John Gollings. 'Jiaohe Old City, Turfan, China' 2005

 

John Gollings
Jiaohe Old City, Turfan, China
2005

 

John Gollings. 'Pushkarani Kund (King’s Bath), Hampi, India' 1988

 

John Gollings
Pushkarani Kund (King’s Bath), Hampi, India
1988

 

John Gollings. 'Ta Prohm Temple, Angkor Thom, Cambodia' 2007

 

John Gollings
Ta Prohm Temple, Angkor Thom, Cambodia
2007

 

John Gollings 'Hanuman Temple, Hampi, India' 2006

 

John Gollings
Hanuman Temple, Hampi, India
2006

 

John Gollings. 'Small Ganesh, Hampi, India' 2006

 

John Gollings
Small Ganesh, Hampi, India
2006

 

John Gollings. 'Vittala Dance Mandapa interior, Hampi, India' 2005

 

John Gollings
Vittala Dance Mandapa interior, Hampi, India
2005

 

 

Ancient architecture

Gollings has embarked on a number of heritage projects that document the evolution of architectural history under various religious and political regimes across Asia. This includes the Chinese city of Jiaohe, which was carved out of the earth 2 000 years ago and then abandoned after Genghis Khan invaded the area in the 13th century; the Khmer temples of the Angkor Empire that once extended across much of mainland south-east Asia; and the architecture of the Hindu Vijayanagara Empire that ruled over southern India for 200 years before being conquered by Muslim sultanates in the 16th century. Further a fi eld, Gollings has documented the grain stores of the nomadic Berbers in Lybia, and the marble theatres that supplanted them when the Roman Empire occupied northern Africa at the dawn of the Common Era. Gollings brings his characteristic style to bear on all these subjects, drawing the viewer into the built environment with embedded perspectives and dramatic lighting. (Wall text)

 

John Gollings. 'Nawarla Gabarnmang, Arnhem Land, Northern Territory' 2015

 

John Gollings
Nawarla Gabarnmang, Arnhem Land, Northern Territory
2015

 

 

The Nawarla Gabarnmang rock shelter is the oldest human construction that Gollings has photographed. Located in southwestern Arnhem Land, on the traditional lands of the Jawoyn people, the architecture of this site was created by tunnelling into a naturally eroding cliff face. The roof is supported by 36 pillars, formed by the natural erosion of fissure lines in the bedrock. Archaeologists have shown that some pre-existing pillars were removed, some were reshaped and others were moved to new positions in order to modify the interior space. The ceiling, walls and pillars feature paintings of fi sh, wallabies, crocodiles, people and spiritual figures. Radiocarbon dating of floor deposits indicates that humans have used the shelter for over 45 000 years, and the rock art itself has been firmly dated back 28 000 years, making it some of the oldest surviving artwork in the world. Gollings’s photographs, with their accentuated perspectives and saturated colours, celebrate Nawarla Gabarnmang as a site of imagination and awe.

 

John Gollings. 'Australian Centre for Contemporary Art (Wood Marsh), Southbank, Victoria' 2002

 

John Gollings
Australian Centre for Contemporary Art (Wood Marsh), Southbank, Victoria
2002

 

John Gollings. 'Habitat filter (Matt Drysdale, Matt Myers and Tim Dow), Southbank, Victoria' 2017

 

John Gollings
Habitat filter (Matt Drysdale, Matt Myers and Tim Dow), Southbank, Victoria
2017

 

John Gollings. 'Jean-Marie Tjibaou Cultural Centre (Renzo Piano), Nouméa, New Caledonia.' 1997

 

John Gollings
Jean-Marie Tjibaou Cultural Centre (Renzo Piano), Nouméa, New Caledonia
1997

 

John Gollings. 'The Lotus Building (Studio 505), Changzhou, China' 2013

 

John Gollings
The Lotus Building (Studio 505), Changzhou, China
2013

 

 

Illuminated architecture

Photographing an inanimate object in the half light of dusk or dawn tends to invest it with a sense of life. A house with its interior lights on as night falls can seem enlivened with nocturnal possibilities. A building emerging from the shadows at daybreak might appear to be stirring from sleep. Gollings often takes advantage of the half light to give architecture a quiet vitality. He sometimes describes these photographs as ‘efficient images’, when the balance of sunlight and internal lighting allows him to make the interior and exterior of a building simultaneously visible. In effect, these images draw attention to the skin of architecture, rendering buildings as shells or envelopes rather than solid volumes. This approach is a particularly effective way of giving a sense of spiritual lightness to ancient stone temples. (Wall text)

 

John Gollings. 'Surfers Paradise aerial, Surfers Paradise, Queensland' 2012

 

 

John Gollings
Surfers Paradise aerial, Surfers Paradise, Queensland
2012

 

 

Surfers Paradise

Gollings’s relationship with the Gold Coast stretches back to childhood road trips that he made to Queensland with his parents in the late 1950s and 1960s. While he was still a teenager, Gollings took photographs that testify to an early fascination with the fanciful architecture of roadside motels. And in recent years he has continued to record the quaint postwar architecture of Surfers Paradise, along with the high rise developments that now overshadow them.

During 1973 and 1974 Gollings embarked on a major survey of architecture in Surfers Paradise. This project was specifically inspired by a seminal book on postmodern architecture, Learning from Las Vegas, authored by Robert Venturi, Denise Scott Brown and Steven Izenour in 1972. This book turned its back on the formal purism of modernist architecture and argued for an approach to urban design that embraced popular culture, personal narratives and humour. Gollings, along with Mal Horner (urban planner), Julie James (graphic designer) and Tony Styant-Browne (architect), set out to produce a complimentary publication, Learning from Surfers Paradise. The publication was abandoned in 1975, but Gollings’s photographs remain an important record of Surfers Paradise and the postmodern condition in Australian culture.

The ideas associated with postmodern architecture have had a lasting influence on Gollings’s approach to photography. Throughout his work, Gollings subverts pure formalism with humorous juxtapositions and personal affectations. (Wall text)

 

John Gollings. 'Every high rise on the Gold Coast' 2012

 

John Gollings
Every high rise on the Gold Coast, Surfers Paradise, Queensland
2012

 

John Gollings. 'Every high rise on the Gold Coast' 2012 (detail)

 

John Gollings
Every high rise on the Gold Coast, Surfers Paradise, Queensland (detail)
2012

 

 

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16
Jan
18

Book review: ‘The Lumen Seed’ by Judith Crispin (2016)

January 2018

Publisher: Daylight Books

Warning: Aboriginal and Torres Strait Islander readers should be aware that the posting on this book contains images and names of people who may have since passed away.

 

 

Judith Crispin. 'Sonya Napaljarri Cook Painting' 2015

 

Judith Crispin
Sonya Napaljarri Cook Painting
Warnayaka Arts Centre, Lajamanu Community NT, December 2015

 

Judith Crispin. 'Tabra Nakamarra's Puppy' 2015

 

Judith Crispin
Tabra Nakamarra’s Puppy
Lajamanu Community NT, June 2015

 

 

Truth and consequence in red dirt country

Australia has a long tradition of social documentary photography, dating back to the late nineteenth century. From Fred Kruger’s photographs of the Aboriginal community at Coranderrk in the 1870-80s through, variously but not exclusively:

Frank Hurley‘s photographs of the First World War, Antarctic exploration, Aboriginal communities and Australian industry

F. Oswald Barnett and his photographs of the slums of Melbourne in the 1930s

Charles P. Mountford (1890-1976) was an ethnographer and photographer, working from the 1930s-1960s who “showed a keen interest in and respect for Aboriginal culture, a fact that is evident in his archive. Although peppered with the vernacular and attitudes of the times, Mountford’s writing, and more tellingly his photographs, are indicative of his belief that Aboriginal life was richer and more complex than most white Australians conceded.” (State Library of South Australia)

Mervyn Bishop (born 1945), followed in 1974, an Australian news and documentary photographer whose work combines journalistic and art photography. Joining The Sydney Morning Herald as a cadet in 1962 or 1963, he was the first Aboriginal Australian to work on a metropolitan daily newspaper and one of the first Aboriginal Australians to become a professional photographer. Focusing on Indigenous self-determination, Bishop’s work “covered the major developments in Aboriginal communities throughout Australia, including the historical moment in 1975 when the (then) Prime Minister, Gough Whitlam, poured a handful of earth back into the hand of Vincent Lingiari, Gurindji elder and traditional land owner. This image – representing the Australian government’s recognition of Aboriginal land rights – became an icon of the land rights movement and Australian photography.” (Art Gallery of New South Wales)

Harold Cazneaux and Max Dupain‘s photographs of Australian life from the 1920-1980s

Jim Fitzpatrick and his Drouin series from WW2

Rennie Ellis‘ photographs of celebrity and Melbourne life

William Yang‘s photographs exploring issues of cultural and sexual identity

Female photographers of the 1960s-90s, such as Micky Allan, Sue Ford and Carol Jerrems who all crossed over into art photography

Robert McFarlane (1960s onwards) who specialises in social issues

John F. Williams who photographed Sydney in the 1970s

Jeff Carter who photographed all around Australia from the 1950s onwards

Ian North and Gerrit Fokkema who photographed Canberra in the 1980s

Joyce Evans (1980s onwards) who took important portraits of a diverse cross-section of Australian intelligentsia and personalities and documented Australian country towns and events for the National Library of Australia

Glenn Sloggett who photographed Australian suburbia with a startling mix of warmth and melancholy from the 1990s onwards

More recently, the war photographs of °SOUTH members such as Tim Page, Stephen Dupont, David Dare Parker, Jack Picone and Michael Coyne

Trent Parke who is the only Australian member of the Magnum Photo Agency, whose work moves beyond the strictly documentary to sit between fiction and reality, offering an emotional and psychological portrait of family life and Australia that is poetic and often darkly humorous

And Juno Gemes Indigenous social documentary photography, who documents the changing social landscape of Australia

.
Unlike America, where social documentary photographers are well known, hardly a name from the above list (save perhaps Max Dupain and possibly Frank Hurley) would be recognised by a wider Australian public and there is little evidence or acknowledgement of their work in Australia. I believe that this is because social documentary photography has never been heavily promoted in this country and that this type of photography is a slice of many people’s work without becoming the driving force behind their oeuvre.

As my friend and curator Nick Henderson observes, “Perhaps the lack of visibility is in part due to many of the social documentary photographers undertaking work for the various state libraries, who regularly commission work documenting place – sometimes external, but also staff photographers – whose work is then not exhibited: many of the institutional galleries haven’t devoted much time to displaying and promoting that work.” While there may have been social documentary photographers in each country town and embedded within federal and state institutions, their work never seems to reach the audience it deserves.

 

And that is the true

Into this amorphous arena comes a brilliant book Sydney based poet, photographer and composer Judith Crispin titled The Lumen Seed (Daylight Books 2016), a book of that addresses the stories of the Warlpiri people of Lajamanu through conversation, poetry, drawings and photographs, a book that should be compulsory reading for all Australians.

This smallish book (in size, 23.5cm wide by 15cm high) of 120 pages has good strong boards, excellent typography, nicely weighted paper and feels solid in the hand. The book is well printed, although some of the highlights of the photographs have gone missing in action. The layout of the images and text is engaging, challenging the reader to comprehend, contemplate and consider what is being shown and spoken to them. Use of negative space, as can be seen in the example pages below, is excellent. The reader does not feel overwhelmed by comatose verbiage, but empowered when listening to the stories, proposed: “This book is about magic. Not the magic of Kabbalists, Theosophists, or conjurers, not Crowley’s magick with a k, not the magic of the New Age or Western religion – but magic that describes the world hidden inside this world, a world seen only by Aboriginal elders and the dying.” (Judith Crispin, Introduction, p. 12)

As Crispin states, this book is not a book of photojournalism and is the most subjective it can be, the photographs growing out of her love for this community. The multi-dimensional photo essay, for that is what it is in more traditional terms, represents some of the views and customs of the Warlpiri people and for Crispin, her journey started in the centre of Australia’s Anglophile government, Canberra, and ended at Wolfe Creek Crater, birthplace of the rainbow snakes, the Warnayarra, which underpin all Australian Aboriginal cultures. The peoples of this ancient culture speak to the earth, they tend it and understand it; they believe in the deep magic of the landscape, and strengthen the land through gardening and the trees through song. They speak to the spirits of the waterholes and have a deep respect for the spirit of the animals that inhabit the land. “The deep love that Warlpiri people have for the landscape, its mountains and waterholes, is almost incomprehensible for white people.” (Juno Gemes, Foreword, p. 9)

I’m British and I have been here in Australia since 1986 and I have never understood the non-relationship Australia has with its Indigenous people. Growing up on a farm for the first twelve years of my life in England gives me some understanding of a life lived well on the land. We were working class poor, my mother having to boil water on a stove so us kids could have a bath in a copper on the kitchen room floor; and we lived on what we could shoot from the land – pigeons, pheasants, rabbits and hares – and we were acutely aware of the providence and blessings of nature for our sustenance. A totally different connection to land than an Aboriginal one, but a connection none the less, as I found out when I visited the old farm on a recent visit to the UK in August. Walking up the cart path where I had played as a kid brought all the magic rushing back… the flowers, the forest, the trees, the animals and the earth.

Therefore, when I read of the white man’s abuse of the traditional lands of the Aboriginal people I am appalled. If you read the extract from Five Threnodies for Maralinga printed below, you begin to understand the pain and anguish of these people, killed by the atomic cloud of over 7 major tests and 700 minor trials involving plutonium, uranium, and beryllium at the Maralinga site which occurred between 1956 and 1963, part of the Woomera Prohibited Area in South Australia and about 800 kilometres north-west of Adelaide. “In 1948, Warlpiri people were forcibly relocated almost 600 kilometers from their spiritual homeland to Hooker Creek, now Lajamanu, in Gurindji country. Old people, afraid to live among Gurindji ancestors and spirits, tried to walk back to Yuendumu but were rounded up and returned.” (p. 45)

This beautiful, powerful and deeply personal book tells some of their stories. It saddens me beyond belief that these wonderful people have been estranged and displaced from their traditional lands; decimated, killed, and abused; have been exposed to nuclear radiation, poverty, and untold harm and deprivation, both physical and mental. That they endure is a testament to their courage and culture. Juno Gemes observes that, “Crispin’s images are filled with compassion and tenderness. This is not an easy work… The Lumen Seed is a tough and powerful work in photographs, narrative texts, drawings, and poems it sings stories off the Warlpiri at Lajamuna at five minutes to midnight.” (p. 9)

The book needs to be tough to tell the true. But through poetry, love and light a new cosmology emerges that brings hope for a better future. Truth and consequence in red dirt country.

Dr Marcus Bunyan for Art Blart

.
Many thankx to Myrtille Beauvert, Daylight Books and the artist for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

The Lumen Seed by Judith Crispin (Daylight Books), a cultural dialogue that is taking place before a backdrop of offences against the Australian continent, as well as a history of systematic discrimination against Indigenous peoples on the part of the country’s white population.

 

 

“Yeah, it make me real sad and cry for my country. Because God bin put me there, God put my people there. Why someone could move us, because of his power, because of his idea? Cutting off God’s power, God’s idea here. God’s word, God’s light… and that is the true. Cut off like this electric wire, if you cut him off, like that.”

.
Jerry Jangala, senior Warlpiri elder and Law man from Lajamanu in the Tanami Desert

 

“The Lumen Seed is a tough and powerful work. In photographs, narrative texts, drawings, and poems it sings stories of the Warlpiri at Lajamanu at five minutes to midnight. Who will hear, who will see, who will act?

Judith Crispin’s experience echoes mine 40 years earlier, although I could not always get back to the same teachers. We belong to a long photographic tradition. It is the tradition of Tina Modotti and Josef Koudelka – a generation of documentary photographers who believe fervently that if you show people what is actually happening in the world, they will understand and be moved to demand change. Activist social documentary photography has always been defined by this passionate subjective belief in democracy and action.”

.
Juno Gemes, Introduction to The Lumen Seed, 2016

 

 

 

Judith Crispin. 'The Lumen Seed' cover

Judith Crispin. The Lumen Seed book cover

Judith Crispin. 'The Lumen Seed' p. 29

Judith Crispin. The Lumen Seed p. 29

Judith Crispin. 'The Lumen Seed' p. 32

Judith Crispin. The Lumen Seed p. 32

Judith Crispin. 'The Lumen Seed' p. 46

Judith Crispin. The Lumen Seed p. 46

Judith Crispin. 'The Lumen Seed' p. 55

Judith Crispin. The Lumen Seed p. 55

Judith Crispin. 'The Lumen Seed' p. 74

Judith Crispin. The Lumen Seed p. 74

 

 

 

 

Foreword: Five Minutes to Midnight

There is nothing like twilight in red dirt country – the soft crackling of fire warming your billycan as the Seven Sisters begin their dance across the night sky. Or the camaraderie around a campfire as people speak in their indigenous languages – the women making jokes about the day’s goings-on or about mistakes made in the intricate protocols of a Law you are learning, day by day. Everything that lives has meaning here. Upholding knowledge is a lifelong obligation for First Nation Custodians – not only in the present but into the future. How can we Australians know this land or our place in it, if not through relationship with our hosts, the Aboriginal people?

When inviting me to write this foreword, Judith Crispin explained her choice, saying, “You are uniquely positioned, as Australia’s premier and longest-serving photographer who has worked collaboratively with Aboriginal people in communities around the country making their culture and struggle for justice visible.” Truly, in both a professional and a practical way, I know the difficulties and the deep satisfactions of working in community. I understand the privileges of learning about the Law, the reciprocity of gratitude, and the obligation to stay true to the received teaching over a lifetime.

As a photographer of long experience, with friendships in Aboriginal communities, I know how everything depends on one’s openness to experience, on the give and take inside relationships that informs how one sees and feels. Photographers in this tradition work in slow time. You learn to move with the people, move within the rhythm of their days, within their country, their wind and sky. What is learned through these relationships can change how one sees forever. By invitation, we become messengers from the frontier of interpersonal experience, conveying urgent messages from our teachers and hosts.

Into this collaborative tradition of relational interpersonal documentary photography – which began with the work of committed photographers in Australia during the 1970s – now steps Judith Crispin with her important book about magic, knowledge, and history. She relates teachings of the Law men who adopted her, who gave her the skin name Nangala, a name that defines her relationship to everyone in the community. In this way, she is being “growed up,” learning how to see the universe according to Warlpiri Law.

“There is a particularly miraculous vision of the world that comes only with the diagnosis of serious illness. . . . Something is different now – because I know there is a secret world nested inside this one. I’ve seen it.”

.
The Lumen Seed
opens onto an apocalyptic scene. A hardwood mulga tree, reaching for the sky, holds a placard: “The Lord’s Return is Near.” In Coober Pedy, a curved handmade house rendered in warm mid-tones is edged with the sign “Welcome to Nowhere.” Dusty desert roadscapes unfold into the giant sacred stones of Karlu Karlu. An emu wanders nonchalantly into a gas station. We’re in Emu Dreaming Country now, meeting Crispin’s traveling friends.

A UFO mural at the gas station resonates later in the book with stories of Wolfe Creek Crater, where the meteorite landed. In the Jukurrpa we are told two rainbow snakes created that country, way back at the beginning. UFOs “zipping around the trees” form part of our desert lore. Funky and surreal, these images are imbued with humour. The images that follow lead us onward into a country of visual narratives – foretelling beginnings and endings. Intuitions manifest unpredictably. We enter a thousand kilometres of “bull dust and bone-jarring track, into the Tanami Desert,” which is as nothing compared with the howling grief of Crispin’s first poem…

Foreword extract by Juno Gemes, Hawkesbury River, April 11, 2016, pp. 6-7.

 

Introduction

In late 2015 I was diagnosed with cancer. Before then, I’d not understood how five words could change everything. “I’m sorry, Judith,” my doctor told me, “it’s cancer.” It’s a cliché that you only learn to value life when death is walking beside you, but it was absolutely true for me. I remember driving over Clyde Mountain to bring the word cancer to my parents’ home. Every tree on the range seemed invested with vital force. Every leaf was vibrant, iridescent. Gray mountain gums, in headlights, seemed to manifest ancient intelligence – bearing witness to the fleeting existence of human beings. The threat of death reminds you how precious people are – your oldest friends, children, lovers, parents – you wonder how you’ll bear to leave them. There is a particularly miraculous vision of the world that comes only with the diagnosis of serious illness.

The interval between diagnosis and surgery is an eternity. The surgeon showed me a chart – “If the cancer falls into this range,” he said, “you’ll live; this range and you’ll die.” I felt like Schrödinger’s cat, neither living nor dying. People who see their own death live in two worlds, one mundane and one miraculous. Later, when the cancer had been removed and my death sentence lifted, I watched that other world diminish day by day. No matter how I clung to that miraculous vision, it faded – just as the certain knowledge of my death faded. But something remained. Something is different now – because I know there is a secret world nested inside this one. I’ve seen it. …

The earliest photographs in this book were taken in 2013, when I still believed the Warlpiri needed my help – to promote literacy and health, to outline positive pathways toward reconciliation, and so on. The later photographs were taken in December 2015, when I knew, without a shadow of doubt, that I was the drowning woman and the Warlpiri were the lifeboat. Lajamanu’s elders, especially Wanta Jampijinpa, Henry Jackamarra, and Jerry Jangala, were kind to me. They gave me a skin name1 and showed me how to be a “policewoman” for Jdbrille Waterhole. They seemed genuinely delighted by my interest in Warlpiri cosmology, which they illustrated with stories and drawings – some of which are reproduced in this book. The older women took me “hunting” for wattle seed and bush potato. They told me stories of covenants entered into with ancient star-beings and showed me places along the Tanami Track where min-min lights had chased travellers. Fairy tales and mysteries take on new importance when your life feels precarious.

Lajamanu in 2016 is a meeting of two universes. Elders check their Facebook status on iPhones while explaining, in matter-of-fact tones, about a landscape that will hold you or kill you, depending on your scent – where spirit snakes live in the waterways and the dead walk side by side with the living. In Lajamanu I lost my fear of dying, and more importantly, I lost my fear of living. This is a book about magic. Not the magic of Kabbalists, Theosophists, or conjurers, not Crowley’s magick with a k, nor the magic of the New Age or Western religion – but magic that describes the world hidden inside this world, a world seen only by Aboriginal elders and the dying.

This is not a book of photojournalism and makes no attempt to be objective. Quite the contrary, in fact, I wanted this book to be as subjective as possible. These photographs, especially the portraits, have grown out of my love for this community – the poetry of these often physically fragile people, whose unshakable belief in the deep magic of the landscape gives them a strength rarely evident in the city. Warlpiri culture is gentle; it leaves no tracks on the earth. The history of Aboriginal Australia is largely a record of gardening – “cleaning up country” with firestick farming and ceremonies to strengthen trees through song. When Warlpiri people move through the landscape, they introduce themselves. They apologise to that country for breaking twigs. They ask permission to take water from the creeks. If humanity ever transcends its selfish and murderous nature, it will be because of people like the Warlpiri.

Introduction extract by Judith Crispin pp. 11-13.

 

 

You shall not trap me in this fish-trap of yours in which you trap the dead,

because I know it, and I know its name,

I know the name in which it came into being.

.
(Coffin Texts)

 

 

Judith Crispin. 'The Lord's Return is Near' 2014

 

Judith Crispin
The Lord’s Return is Near
Coober Pedy SA, November 2014

 

 

The Stuart Highway is a bisecting line in a thousand kilometres of nothing. The sheer scale of the landscape is overwhelming. I’d driven for two days with only Leonard Cohen and David Bowie for company, and had never felt more isolated. I don’t know why I stopped, leaving the Land Rover idling in the middle of the highway, and walked over to the tree. Perhaps its tallness startled me – its length so exposed above the desert floor. I wanted to lay my palm against its bark. At first I didn’t notice the sign nailed high on its trunk: “The Lord’s Return is Near.”

This stretch of highway lies south of the rocket range at Woomera. There are oceans of blood on this land. The Woomera immigration detention centre continued a legacy of suffering that began years earlier, in the 1950s, when Maralinga’s radioactive clouds blew over Woomera, a military township, and killed all the children.

Between 1952 and 1963, British forces dropped nine nuclear weapons and nine thermonuclear weapons between Woomera and the Western Australian border, within contamination distance of urban centres. The Menzies-led Australian government of that time was wholly complicit and lied about the known dangers of nuclear tests. Between these bombings, Britain conducted continuous “minor trials,” which, according to the Royal Commission into British Nuclear Tests in Australia, additionally detonated 99.35 kg of beryllium, 23.979 kg of plutonium, and 7968.88 kg of depleted uranium. By contrast, Little Boy, dropped on Hiroshima in 1945 by the United States, contained only 64 kg of uranium-235, and Fat Man, dropped on Nagasaki in 1945 by the United States, contained only 6.4 kg of plutonium. Anyone who wishes to immediately lose faith in the human race should read the short transcript of the Royal Commission, which is freely available online. (pp. 16-18)

 

Judith Crispin. 'Welcome to Nowhere' 2014

 

Judith Crispin
Welcome to Nowhere
Coober Pedy SA, November 2014

 

 

I arrived in Coober Pedy the same week that dust storms tore the roof off the pub. This dugout, borrowed from friends in Alice Springs, was built from a disused shaft. I slept near the door separating their home from the remaining length of shaft, extending far into the rock. Strange sounds echoed behind that door – sounds of wind, or dogs howling. The door was nailed closed. When I first visited Coober Pedy, it was the farthest into the desert that I had ever ventured. Beyond it stretched the expanse of the Great Victoria Desert, Simpson Desert, Strzelecki Desert, Pedirka Desert, Tirari Desert, and Sturt Stony Desert. I was at the start of a journey that would follow Stuart Highway into nothingness and emerge in the huge Tanami Desert of the Northern Territory and Western Australia. Leaving the dugout, I stopped to photograph the words painted on its roof: “Welcome to Nowhere.” (pp. 22-23)

 

Judith Crispin. 'Karlu Karlu I' 2014

 

Judith Crispin
Karlu Karlu I
Near Ayleparrarntenhe NT, November 2014

 

 

Karlu Karlu, nicknamed “The Devil’s Marbles” by white people, was long considered too spiritually dangerous for anyone but Warumungu elders conducting ceremony. Between these giant stones, on a 48-degree day, the radiant heat is almost unimaginable. Near the skeleton of a burned office chair, I found patches of black glass. A Warumungu friend explained that the heat has, in recent years, become so intense at Karlu Karlu that the air itself ignites, fusing desert sand to glass. In Australia’s deserts the evidence of climate change is irrefutable. (p. 24)

 

Judith Crispin. 'Eemie at the UFO Roadhouse' 2015

 

Judith Crispin
Eemie at the UFO Roadhouse
Wycliffe Well Roadhouse and Van-park NT, December 2015

 

 

UFO enthusiast Arc Vanderzalm moved to the desert in 2004 to establish a UFO-themed van park. In the van park’s early years, Arc rescued an abandoned emu chick and raised him by hand. He named him Eemie. Travellers stopping for fuel at Wycliffe Well roadhouse are sometimes surprised by an adult emu staring in at them through the window. While a guest of the van park, I once startled Eemie by walking into the ladies’ shower block. He peered out at me through the shower curtain with an air of embarrassment, as though I’d intruded at a delicate moment. Later, as I drove toward Tennant Creek, I spotted Eemie chasing a farm dog down the highway, legs akimbo. (p. 29)

 

Judith Crispin. 'Sexy John' 2014

 

Judith Crispin
Sexy John
Alice Springs NT, November 2014

 

 

Sexy John was rescued as a small calf after his mother was culled as part of a government program to reduce feral camels. He was raised by artists in a collective on the outskirts of Alice Springs and befriended a wild blond-haired boy. More than 160 thousand camels were culled between 2009 and 2013, approximately one-fifth of the camel population of the central deserts. (p. 35)

 

Extract from Five Threnodies for Maralinga

V

At Woomera,
seventy-five identical graves
remember babies lost to the predation
of atomic clouds.

.
Their epitaphs are brief-

Michael Clarke Jones
died 24 August 1952,
aged eight and a half hours.

.
No one has been here for a long time.

.
Weeds struggle.
A military vehicle passes,
heading east toward the rocket range.

.
In the west, Woomera township
is a grid of air force housing.
Land Cruisers fill neat driveways,
lawns are trimmed,
blinds closed.

.
And no one ever steps out for milk,
no one walks a dog.

.
I photograph each headstone,
stooping sometimes to straighten a plastic posy,
a tilted ceramic bear.

.
Wind presses a faded greeting card
to the metal fence.
A matchbox car beside a small boy’s grave
is blue.

.
There are nineteen stones without toys or flowers,
for stillborns named only “baby”-

Baby Spencer,
Baby Dowling,
Baby Stone.

.
Don’t look at me

Baby Gower
Baby Roads

from a soldier’s gunny bag
with your eyes too white, too open
like the eyes of poisoned fish
tumbling
in the Pilbara’s poisoned surf.

 

Judith Crispin. 'Warlpiri Family' 2015

 

Judith Crispin
Warlpiri Family
Lajamanu Community NT, December 2015

 

 

In 1948, Warlpiri people were forcibly relocated almost 600 kilometers from their spiritual homeland to Hooker Creek, now Lajamanu, in Gurindji country. Old people, afraid to live among Gurindji ancestors and spirits, tried to walk back to Yuendumu but were rounded up and returned. In the 1970s, Gurindji people held a series of unique ceremonies to hand over the area and its Wampana and Spectacled Hare Wallaby Dreaming stories to the residents of Lajamanu. While this gesture brought some relief to Warlpiri people, who viewed their involuntary occupation of Gurindji land as a breach of traditional Law, they continue to struggle with their relationship to the country. (p. 45)

 

Judith Crispin. 'Four Kurdu-kurdu [Kids] with Trampoline' 2015

 

Judith Crispin
Four Kurdu-kurdu [Kids] with Trampoline
Lajamanu Community NT, December 2015

 

 

Country [Gurindji country], hills… well, I put country first… hills, tree, don’t like you – even that water – and that is true. If you drink water from that, or if you not talking to that country because you don’t know, you got no songs with that area… and in the night, or during the day too, you got no language for to try to talk to that country.

When God bin put you there, in your country, that’s it. You got a right to live on there. You can get sick alright, but not too much. Yuwayi [yes], you know God? He say, “Yeah you get sick but you’ll be alright,” you know? “I’m with you there,” that God talking. And same thing for our ceremony too. You’re right to use your ceremony. You’re right to sing your own Dreaming song and talking to your country . . . and tell it true – real true.

Jerry Jangala (pp. 50-51)

 

Judith Crispin. 'Emu Roadkill and Portrait by Shemaiah Matthews' 2015

 

Judith Crispin
Emu Roadkill and Portrait by Shemaiah Matthews
Lajamanu Community NT, December 2015

 

Judith Crispin. 'Lily Nungarrayi Yirringali Jurrah-Hargraves Painting' 2015

 

Judith Crispin
Lily Nungarrayi Yirringali Jurrah-Hargraves Painting
Warnayaka Arts Centre, Lajamanu Community NT, December 2015

 

 

Without the connection between the land and the person, the individual is lost, empty inside, not connected to anyone or anything or the land. If the connection is lost, they won’t survive and their identity no longer exists. Jukurrpa is our life first. Jukurrpa connects us to our country. It is Law that makes it our right to our country. We can’t be sent away.

This art center [Warnayaka Arts Center] is for the young people to learn their culture and Law. It is important for our youth to learn the knowledge held by the Ngaliya and Warnayaka peoples. The art center is for the survival of culture from the grandfathers’ and grandmothers’ country. The children are getting lost, and there are not many old men left, some women but few men. Some of our important Dreaming sites are hundreds of kilometers from Lajamanu. The grandchildren and great-grandchildren who live in Lajamanu need to know their Jukurrpa; otherwise they will lose their inheritance to this really important country. They need to know the Warlpiri Ngalia Laws so they can go onto their great-grandfathers’ and ancestors’ land, especially where these important Dreaming sites are, like at Mina Mina, belonging to the Kana-kurlangu clan. This is why the art center is so important to the people of Lajamanu. At any time, children can see the works of the elders telling them the Kurdiji, the Law, and all that is tied into the Jukurrpa paintings.

Warnayaka Art elders, recorded by Arts Center manager Louisa Erglis (p. 55)

 

Judith Crispin. 'Sacred Object #1' Nd

 

Judith Crispin
Sacred Object #1
Nd
Muffler painted by Warlpiri artists

 

Judith Crispin. 'Sacred Object #2' Nd

 

Judith Crispin
Sacred Object #2
Nd
Abandoned doll found in Lajamanu Park

 

Judith Crispin. 'Beth Nungarrayi at Jdbrille Waterhole' 2015

 

Judith Crispin
Beth Nungarrayi at Jdbrille Waterhole
Jdbrille Waterhole, Tanami Desert NT, June 2015

 

 

This area here, no river. It’s the same deal in this country, and so – what do you call it? Soak? [A soakage, or soak, also called a native well, is a source of water in the Australian desert.] You know . . . I’m trying to get that word there. Soak, yeah, you take all right down to find that water, that water make. Sometimes no water, like this time when it’s dry. Look for the water tree. That’s what my father, my grandpa, my great-grandpa, grandmother, they all look for that water tree. Rock holes down. That’s in our country. We can say it today in a Kardiya way, you know? We can say “Lajamanu is my country.” But that not true. It’s not true . . . yuwayi, Nangala. My country is back there . . . my area is back there.

Jerry Jangala (pp. 68-69)

 

Judith Crispin. 'Wirntali-Jarra [Friends]' 2015

 

Judith Crispin
Wirntali-Jarra [Friends]
near Emu waterhole, Tanami Desert NT, December 2015

 

Henry Jackamarra and Jerry Jangala have known each other since they were small children. More than a decade his senior, Henry treats Jerry like a little brother – still lecturing him on what he eats and wears, although both men are now respected elders. (p. 72)

 

Judith Crispin. 'Jerry Jangala Oversees Kangaroo Ceremony' 2014

 

Judith Crispin
Jerry Jangala Oversees Kangaroo Ceremony
Tanami Desert Outpost NT, November 2014

 

 

The animal is honoured by sprinkling handfuls of dirt over its fur before it is prepared for cooking in the traditional way. Jerry explains that in the old days the punishment for getting this ceremony wrong was death. In modern times, the penalty for making mistakes in this ceremony is exile. Wanta Jampijinpa, Jerry’s son, reassured me that exile did not necessarily mean death in the Tanami desert. A person could earn his or her place back in the community by accomplishing a special task. The exile must find the way to catch a wedge-tailed eagle and bring its soft underbelly feathers back to Lajamanu as proof. Wanta explained to me how such a seemingly impossible task could be accomplished, but I do not have permission to reproduce that here. (p. 78)

 

Judith Crispin. 'Henry Jackamarra Cook, Last Kangaroo Dancer' 2015

 

Judith Crispin
Henry Jackamarra Cook, Last Kangaroo Dancer
Lajamanu Community NT, December 2015

 

 

Light Trails of Henry Jackamarra Cook

Law is a gray kangaroo dancing
the thin landscape of Henry Cook into being,
somewhere in the Tanami,
where knucklebone winds scrape bare rock
and Henry stands marsupial
in firelight’s weird.

In Lajamanu, tin houses edge the street.
No one is outside,
no one.

In the arts center, old ladies paint seed-dreaming.
Breeze lifts the hem of a curtain,
then stillness.
It is still.

Henry doesn’t paint anymore. He sits alone,
watching ceremony from the 1970s.
Everyone in the videos is dead now, except him.
And the dead are in the desert,
faceless as the desert is,
and as remote.

Ten years ago it seemed nothing to walk
three days to his sacred country,
granite country,
where great salt lakes exhale their thirst
over spinifex and sand,
the rattling sun.

But arthritis and cataracts have caged him.
Inside the arts center,
the lights are switched off.

We drag chairs across a concrete porch
to watch the Tanami darken, shelf clouds
seal the crater at Wolfe Creek.

Rain wakens on his tongue
the angular syllables of displacement.

And home is the desert breathing over itself by night,
erasing tracks of all who walk there –
night’s emu rising savage in the Milky Way,
and eyes, eyes in the granite mines.

One day, he tells me, I’ll walk out
to my country and never come back.

At town’s edge, a kangaroo left by poachers.
Red dust thickens its pelt, as the red dust lies thick
on Henry’s Ray-Bans, stiffening his white hair to wires.

I photograph him disemboweling the buck,
its intestines knotted to ritual marks –
Henry and his flayed brother, backlit
against chained ridges,
and the last sun rearing.

Law is an old man dancing
the gray kangaroo into being,
sewing him back into the desert’s body,
into his own body, ochre and growl,
a hunting boomerang beaten on the ground.

Night erases this landscape –
slow trees, sand,
the saltbush has gone.

Just Henry’s heels rising and falling
along a wind-scored track,
utterances of a language which belongs to him
and to which he belongs.

Tomorrow, the Catfish Waterhole
will stretch his white hair out elastic,
as telephone wires vanishing into the Tanami.

Mud returns to him,
the cool slow memories of country
before the missions, before diabetes and grog
shrank his ancestors down so small
he holds them in a single cupped hand
like fireflies, tiny comets
crossing in the black.

Tomorrow he’ll thread gumleaves
through the hole in his nose,
and say, photo me like this Nangala
I am a beautiful man.

.
Judith Crispin (pp. 81-83)

 

Judith Crispin. 'Lily Nungarrayi Yirringali' 2014

 

Judith Crispin
Lily Nungarrayi Yirringali
Tanami Desert NT, November 2014

 

 

I was told Lily, when she was young, was in love with a Karadji man but couldn’t be with him because she didn’t want to leave her community. Her arms reveal the parallel ritual marks of someone on a “sacred path.” Now, despite caring relationships with her family, friends, and fourteen adopted dogs, somehow Lily is always alone. When, together with Molly and Rosie, Lily took me to see Catfish Waterhole, she explained that we were going to see her “mother.” I carried Lily, too frail to descend the bank, to the edge of the water. There she turned water over her palms, the traditional way of greeting the waterhole and avoiding surprising any Warnayarra who might be there. The deep love that Warlpiri people have for the landscape, its mountains and waterholes, is almost incomprehensible for white people. Here Lily sings quietly to Catfish Waterhole – not for any ceremonial or traditional reason, I’m told, but just because it makes the waterhole feel loved. (p. 95)

 

Judith Crispin. 'Molly's Flame-Tree Seed-pods' 2014

 

Judith Crispin
Molly’s Flame-Tree Seed-pods
Tanami Desert NT, November 2014

 

Judith Crispin. 'Molly Napurrula Sifts Wattleseed' 2014

 

Judith Crispin
Molly Napurrula Sifts Wattleseed
Tanami Desert NT, November 2014

 

 

Warlpiri people still supplement their diet with bush food. Ground wattleseed is mixed with oil and baked into a kind of flat bread. The older ladies took me out “hunting” for wattleseed and kurrajong seedpods. In a township with only one shop, where a head of broccoli costs more than a takeaway meal for a family, it is vitally important to supplement the community’s diet with “bush food.” White Australians have almost no idea of the variety of native fruits and vegetables that grow in the apparent desert – bush potatoes, bush tomatoes, bush bananas, honey ants, land crabs, wattleseeds, etc., can be gathered throughout the Tanami. (p. 104)

 

 

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21
Dec
17

Photographs: Historical Australia Part 1

December 2017

WARNING: Aboriginal and Torres Strait Islander readers are warned that the following posting may contain images of deceased persons.

 

The last posting of the year, because I am feeling rather exhausted!

 

Unknown photographer. 'George St. from King St., Sydney' Nd

 

Unknown photographer
George St. from King St., Sydney
Nd

 

 

Down the rabbit hole we go… into the world of Australian historical photography.

In photographs that were taken around the same time, the contrast could not be more evident: horse and trap travelling down fashionable George Street, Sydney while donkey and cart in Outback Australia fetch water; Nicholas Caire’s King Billy’s camp in McCree’s Paddock, Maloga, Victoria – King Billy ‘The Last of His Tribe’, the final remnant of a dying race and J. W. Lindt’s Untitled [Two men in rural Victoria], old men with beards and hats, swag and billy, possibly itinerant travelling workers.

And so I have sequenced these images as best I could.

The white men stand implacably outside the courthouses while the Indigenous feet touch the earth. They fight for their country, win the Military Medal and can’t even vote. The courthouses of the colonial white, those massive edifices of the law, jurisdiction and punishment tied with Australian Aborigines in chains and Aboriginal youth Dylan Voller, 17, shackled to a metal chair by his hands, feet and neck and wearing a spithood at Don Dale Youth Detention Centre in 2015. And so it goes…

Although there can be many contexts and interpretations within the photographic labyrinthine abyss, and even though these photographs were taken by colonial masters, the materiality of photography (as act of creation and as final printed product) and its relationship to the real is what is important here. These are beautiful photographs of peoples from the First Nations, peoples that all have their own specific names, and in many instances, speak/spoke their own specific language.

You only have to look at the boy standing at the back of the photograph Aboriginal family group to recognise how his direct looking transcends the fixed gaze of the camera, the male gaze, the white gaze and the colonial gaze. His gaze, his return of serve if you like, speaks to us through time – of an individual, valuable and empowered human being assured in his own self. No colour, jurisdiction nor race is necessary for us recognise him as such.

Marcus

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

 

 

“Think carefully: there can be no redundancy in photography, for a photograph, whatever it is, already speaks twice of time, once to seize it and another to say that it has passed; And there can be no trompe-l’oeil in it either; it is and will always be the mise en abyme par excellence; It is the mind that looks at the abyss, it is a piece of the abyss cut clear, with four right angles cut terribly sharp.”

.
Denis Roche

 

 

Trompe-l’oeil

Trompe-l’œil (French for “deceive the eye”) is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. It refers to perspectival illusionism.

Mise en abyme

Mise en abyme is a French term derived from heraldry, and literally means “placed into abyss”. A common sense of the phrase is the visual experience of standing between two mirrors, then seeing as a result an infinite reproduction of one’s image. Another is the Droste effect, in which a picture appears within itself, in a place where a similar picture would realistically be expected to appear… In Western art history, “mise en abyme” is a formal technique in which an image contains a smaller copy of itself, in a sequence appearing to recur infinitely; “recursive” is another term for this.

 

Unknown artist. 'Richmond Courthouse, Courthouses of New South Wales' c. 1870-80s

 

Unknown photographer
Richmond Courthouse, Courthouses of New South Wales
c. 1870-80s
Date built: 1877

 

 

Richmond is a town in New South Wales, in the local government area of the City of Hawkesbury. It is located on the alluvial Hawkesbury River flats, at the foot of the Blue Mountains. It is about 65 km by road from Sydney.

Richmond Court House and Police Station is located at 288 Windsor Street, Richmond NSW. The present building was designed by Colonial Architect, James Barnet in 1877 as a court house with associated police station. The front entrance is via an attractive arched colonnade with feature brickwork and the roof is supported by bracketed eaves. The raised roof of the court room may be seen in the centre of the structure. Note the similarity in style with the adjacent former post office, also the work of James Barnet. It replaced the watch-house built by William Cox in 1827. The watch-house was a four roomed structure with a detached kitchen. One of the rooms was barred and secure for the custody of prisoners. The other rooms were for the policeman on duty. The rear of the site was set aside for the first stock pound in the town. The court house is still in use but the Police Local Area Command is located in the nearby town of Windsor.

Text from the Hawkesbury.org website

 

Alphonse Chargois (1860-1936) 'Cumjam Murdered Ferguson at Mentana March 1894' 1894

 

Alphonse Chargois (1860-1936)
Cumjam Murdered Ferguson at Mentana March 1894
1894
Albumen print
16 x 10

 

Chargois, Alphonse. (father of Herbert Chargois. died Nov 1936)
Townsville, Qld 1879
Croydon, Qld 1892 – 96
Normanton, Qld 1896 – 97
Townsville, Qld 1897
McArthur St, Croydon Qld (base) 1898 – 1913
Georgetown, Qld (trav) 1900
Torres Strait Islands, Qld (trav) Oct 1913
“Touring the South” 1913 – 15
(owned Bicycle Business, Warwick, Qld, 1915, advertised for sale Feb 1915)
“Royal Studio”
“late Lyne Brown, McTaggart and Dobson”
Lake St, Cairns, Qld July 1915 – 36
(bought McTaggart & Dobson’s studio, July 1915)
Mareeba, Qld (trav) Oct 1915
(estate publicly Auctioned up Oct 1947)

 

 

Cumjam standing in front of a government issue tent. Cumjam was arrested for the murder of Mr Ferguson (aged 60) who worked for Donald Mclntyre at Mentana Station. Ferguson’s murder and the capture of Cumjam were reported widely in the Norman Chronicle, The North Queensland Register and The Brisbane Courier between 1894-1895. Records detailing the outcome of his arrest have not been located.

 

“An Aboriginal Desperado”

The “Norman Chronicle” says: “By the last mail we received from Mr. Chargois, who is at present at Delta, two photos of the blackboy “Cumjam.” who is supposed to have murdered Ferguson at Mentana in March, 1894. The details of the capture as given by Mr. Chargois are as follows: ‘Mr Jack Adford, who has been managing Loch-na-gar for Mr. McInytre, had received instructions to move cattle to Daigonally, and wishing to bring over with him some of the native curios, he told the blacks, ‘Me go away by-and-by take away altogether bullock, you fetch ’em up spear, shell, boomerang, me give you tumbac. Me come back one moon.’ One moon goes by and the blacks were there to the number of about 50, eager to exchange their native gear for tobacco. All were up at the station except one, who stayed at the camp, and Jack Alford, wishing to know why he do so, asked the others, ‘What name boy sit down longa camp?’ ‘That fellow name ‘Cumjam’; he sick long a cobra.’ Alford at once recognised the murdered of Ferguson, although he gave no sign of his discovery, but said to the other, ‘Poor fellow, you go fetch em up, me give him medicine make him alright.’ ‘Cumjam’ was accordingly conducted up. ‘What name belongs you?’ said Alford. ‘Cumjam,’ replied the black. Alford decided at once upon his plan of action, told the other blacks to step back and site down, then taking Cumjam aside he seized him and with the help of his own boys bound him up. The other blacks, not liking the look of things, began to get uneasy, and slipped away one by one down to the creek, leaving Cumjam captured. It was no easy task to bring him along. He ate through one strap, and when that was replaced by a chain and padlock he managed somehow to pick the latter to pieces.’ The photo which we have on view shows the prisoner to be securely bound.”

The North Queensland Register 16 October 1895

Text from the Thagaalbi: History of Australia’s Indigenous people Facebook page

 

The presence of Europeans along the gulf coast and south-western areas of the Peninsula was met with Aboriginal resistance. When J.T. Embley surveyed the Mitchell River in 1886-7 he counted “skirmishes with the blacks” to have been the cause of delays in the completion of his work.136 The death of Ferguson, an elderly white stockman, in March 1894 followed his spearing on Mentana station by the Aboriginal, Cumjam.137 Only a few months before Ferguson’s death one party of survivors of the steamship, Kanahooka, after its capsize off the Mitchell River in January 1894, were able to make their way through the Kokobera country through to safety at Mentana station.138 This was despite popular fears that they would be exposed to the “hostility of the blacks”.139

Philip L. Freier. Living with the ‘Munpitch’: The history of Mitchell River Mission, 1905 – 1967. James Cook University, Dr of Philosophy Thesis, 1999, pp. 86-87.

 

Unknown artist. 'Windsor Courthouse, Courthouses of New South Wales' c. 1870-80s

 

Unknown photographer
Windsor Courthouse, Courthouses of New South Wales
c. 1870-80s
Date built: 1821

 

 

Windsor is a town lying North-West of Sydney, New South Wales, Australia. Windsor is located in the local government area of the City of Hawkesbury. It sits on the Hawkesbury River, on the north-western outskirts of the Sydney metropolitan area.

Windsor Courthouse is a rare surviving Colonial Georgian public building that originally dates from the early nineteenth century. The building has a fine and impressive form which uses an adapted Palladian plan to suit the Australian climate. It is of considerable historical, social and aesthetic significance as one of the earliest surviving courthouse buildings in Australia. The courthouse now [1967] ranks as Greenway’s best preserved building. The Building and Maintenance Branch of the NSW Department of Public Works carried out restoration work in 1961 to remove unsympathetic rendering of the external brickwork which was an attempt to reduce the problem of damp. The building now stands in its original and unspoiled form in Windsor, the most prosperous and successful of the towns then founded by Governor Macquarie. The courthouse was insisted upon by Governor Macquarie, designed by Greenway (himself originally a convict) and built for A₤1,800 by William Cox, using convict labour. It is a combination and the result of all the forces directly at play during the Australia’s early development. The oldest existing local court in New South Wales. Cox later served at Windsor as a magistrate.

Text from the Wikipedia website

 

Unknown photographer. 'Pitt St. looking S. from Bridge St., Sydney' 1895

 

Unknown photographer
Pitt St. looking S. from Bridge St., Sydney
1895
Albumen print

 

Unknown photographer. 'Getting Water' 1892

 

Unknown photographer
Getting Water
1892
Albumen prints

 

Unknown photographer. '"At the well" Station Hands' 1892

 

Unknown photographer
“At the well” Station Hands
1892
Albumen print

 

Unknown photographer. 'Untitled [Aboriginal ceremony]' c. 1892

 

Unknown photographer
Untitled [Aboriginal ceremony]
c. 1892
Albumen print

 

Unknown photographer. 'Court House Bathurst N S Wales, Courthouses of New South Wales' c. 1870-80s

 

Unknown photographer
Court House Bathurst N S Wales, Courthouses of New South Wales
c. 1870-80s
Date built: 1880

 

 

Bathurst is a regional city in the Central Tablelands of New South Wales, Australia. It is about 200 kilometres north-west of Sydney.

Bathurst Courthouse is one of the finest Victorian Court House buildings in New South Wales. Built as part of a precinct of Victorian public buildings, it is a landmark building prominently sited in the town centre of Bathurst. The building has a lengthy association with the provision of justice in the district. The wings, built as the postal and telegraph offices, were opened in 1877. The entire structure is 81 metres (266 ft) long and 45 metres (148 ft) wide. The west wing is now occupied by the Central Western Music Centre. The east wing is now the Historical Society Museum.

Text from the Wikipedia website

 

Unknown photographer. 'King Billy Maloga' Nd

 

Nicholas Caire (1837-1918, photographer)
King Billy Maloga (King Billy’s camp in McCree’s Paddock, Maloga, Victoria)
1891

 

 

Photograph of four Aboriginal Australians, two men and two women, seated on ground in front of a shelter. Older man on left holds wooden sticks or spears, and a dog sits next to him. The three main local tribes were named after their “country” (or district), being “Burrumbeet” from Lakes Burrumbeet and Learmonth, “Keyeet” from Mt Buninyong and “Tooloora” from Mt Warrenheip and Lal Lal Creek. The last well recognised leader of the district, was “King Billy” from Burrumbeet, whose death surprisingly made the newspapers in mining areas and big cities right round the country.

Ballarat’s Mullawallah (also known as King Billy or Frank Wilson), was buried in 1896 to considerable civic interest as a result of being nominated as ‘The Last of His Tribe’.

 

J. W. Lindt. 'Untitled [Two men in rural Victoria]' c. 1880s

 

J. W. Lindt (John William 1845-1926, Melbourne, photographer)
Untitled [Two men in rural Victoria]
c. 1880s
Cabinet card
Albumen print

 

 

John William Lindt (1845-1926), photographer, was born at Frankfurt on Main, Germany, son of Peter Joseph Lindt, excise officer, and his wife Justine, née Rambach. At 17 he ran away to sea and joined a Dutch sailing ship. He deserted at Brisbane; by 1863 he was at Grafton as a piano-tuner and then worked in a photographic studio. He visited Germany in 1867 and on his return bought the business. Using the wet-plate process he photographed the Clarence River district and its Aboriginals, producing albums in 1875 and 1876. He then sold out and went to Melbourne where he opened a studio in Collins Street. He soon won repute for his society, theatre and landscape photographs. In 1880 he photographed the capture of the Kelly gang at Glenrowan. When the first commercial dry plates arrived in Melbourne he went to Europe to seek agencies for the latest photographic equipment. On his return he worked in the studio and the Victorian countryside; many of his photographs were used in the railways. He also designed and modified cameras as well as ‘advising in matters photographic’.

Read the full biography on the Australian Dictionary of Biography website

 

Unknown photographer. 'Darlinghurst Gaol & Court House, Sydney Oct. 1870' 1870

 

Unknown photographer
Darlinghurst Gaol & Court House, Sydney Oct. 1870
1870
Date built: 1844

 

 

The Darlinghurst Court House and residence is the finest, and only erudite Old Colonial Grecian public building complex surviving in Australia. Commenced in the 1830s, it has a long and continual association with the provision of law and order along with the neighbouring Darlinghurst Gaol complex. The imposing sandstone building is prominently sited at Taylor Square. The Court House, designed by Lewis and built between 1837 and 1844, is the first purpose designed court house to be built in NSW. The pavilions on either side were designed by Barnet around 1886. The extension facing Victoria Street was designed by the Government Architect’s Office and completed c. 1963. The central block was adapted from an 1823 design in Peter Nicholson’s ‘The New Practical Builder’.

Text from the Wikipedia website

 

Unknown photographer. 'Untitled [Australian Aborigines in chains]' Nd

 

Unknown photographer
Untitled [Australian Aborigines in chains]
Nd
Albumen print

 

Dylan Voller

 

Aboriginal youth Dylan Voller, 17, shackled to a metal chair by his hands, feet and neck and wearing a spithood at Don Dale Youth Detention Centre in 2015

 

Unknown artist. 'Unknown Courthouse, Courthouses of New South Wales' c. 1870s

 

Unknown photographer
Unknown Courthouse, Courthouses of New South Wales
c. 1870-80s

 

Unknown photographer. 'Untitled [Aboriginal man smoking a pipe]' Nd

 

Unknown photographer
Untitled [Aboriginal man smoking a pipe]
Nd

 

Unknown photographer. 'Untitled [Aboriginal making fire]' Nd

 

Unknown photographer
Untitled [Aboriginal making fire]
Nd

 

Anonymous photographer. 'Untitled [Aboriginal with spear]' Nd

 

Anonymous photographer
Untitled [Aboriginal with spear]
Nd

 

Edwards & Errington (Adelaide, South Australia) 'Studio portrait of 2597 Private (Pte) Frederick Prentice, 12th Battalion, and later 1st Australian Pioneer Battalion' (detail) c. 1914 - 1918

 

Edwards & Errington (Adelaide, South Australia)
Studio portrait of 2597 Private (Pte) Frederick Prentice, 12th Battalion, and later 1st Australian Pioneer Battalion (detail)
c. 1914 – 1918
Gelatin silver print on postcard

 

 

Northern Territory born WWI veteran Frederick Prentice, an Indigenous serviceman who won the Military Medal. On the verso of the photograph is an original message “Just a little card to remember the good times at Paratoo.” This postcard was sent to a friend, Gertrude Fitzgerald, who he knew at Paratoo, SA. Born in Powells Creek, Northern, NT, on 18 January 1894, Frederick Prentice was educated at Kyre College (later part of Scotch College), Adelaide, from 1905 to 1908. Following schooling, Prentice worked as a station hand and was employed at Manunda Station, South Australia at the time of his enlistment on 7 May 1915 in Keswick. Pte Prentice won a Military Medal for his actions on 19 July 1916 at Pozieres, France, where he showed great courage, resource and ability in bringing machine guns and ammunition through the enemy barrage in the dark and across broken ground. Frederick Prentice returned to Australia as a Corporal on 12 May 1919.

Text from the Australian War Memorial website

 

Anonymous photographer. 'Untitled [Aboriginal with scars]' Nd

 

Anonymous photographer
Untitled [Aboriginal with scars]
Nd

 

Kerry & Co., (Sydney) 'Aboriginal chief' c. 1900-1917

 

Kerry & Co., (Sydney)
Aboriginal chief
c. 1900-1917
Collotype
13.7 × 8.5 cm (image and sheet)

 

Portrait of Aboriginal chief, Barron River, Queensland, with body paint and head decorations, in ceremonial dress.

 

Unknown photographer. 'Court House Orange N.S.W., Courthouses of New South Wales' c. 1870-80s

 

Unknown photographer
Court House Orange N.S.W., Courthouses of New South Wales
c. 1870-80s
Date built: 1883

 

 

“On a site where local Wiradjuri people are said to have once held corroborees stands the Orange court House. A slab and bark watch-house was erected in 1849 and used as a court house from 1851. Early church services and the first council meetings were held. A larger sandstone Court House was erected in 1860-62 by Kennard and Snow. Bushranger Ben Hall was tried here in the early 1860s. This building made way for the present Neo-classical building designed by James Barnet in 1883. A new wing was constructed a the rear of the site in 2001.” Orange Heritage Trail, a pamphlet produced by Ross Maroney in conjunction with the Orange City Council, the Orange Visitor Information Centre.

The current Orange Courthouse building was designed by the Colonial Government Architect James Barnet. Construction was completed in 1883. Previous buildings existed on the site, the first being erected in 1847, around the time of the town’s settlement, and operated as a Court of Petty Sessions, being the usual arrangements in those times. Orange was proclaimed a municipality in 1860, the first meeting being held in the Courthouse, located on the same site as today, but a different structure.

Text from the Willshub website 2 Jan 2015 [Online] Cited 20 November 2017

 

Anonymous photographer. 'Untitled [Aboriginal group]' Nd

 

Anonymous photographer
Untitled [Aboriginal group]
Nd

 

Anonymous photographer. 'Untitled [Aboriginal family group]' Nd

 

Anonymous photographer
Untitled [Aboriginal family group]
Nd

 

Alphonse Chargois (1860-1936) 'Daisy Belle, Jack Kinmont Moir and Rose-Marie, Delta Downs' Nd

 

Alphonse Chargois (1860-1936)
Daisy Belle, Jack Kinmont Moir and Rose-Marie, Delta Downs
Nd
14 x 10.5 cm

 

 

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05
Nov
17

Review: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 2

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

 

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880

 

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

 

 

Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

 

 

Double take

I was a curatorial interlocutor for this exhibition so it was very interesting to see this exhibition in the flesh.

An unorthodox flow of images is a strong exhibition, splendidly brought to fruition by curators Naomi Cass and Pippa Milne at the Centre for Contemporary Photography (CCP), Melbourne. To be able to bring so many themes, images, ideas and people together through a network of enabling, and a network of images, is an impressive achievement.

The exhibition explores the notion of connectivity between images in our media saturated world – across context, time and space. “With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.” While the viewer makes their own flows through the works on view, they must interpret the interpolation of images (much like a remark interjected in a conversation) in order to understand their underlying patterns of connection. Like Deleuze and Guattari’s horizontal rhizome theory1 – where the viewer is offered a new way of seeing: that of infinite plateaus, nomadic thought and multiple choices – here the relationship between the photograph and its beholder as a confrontation between self and other, and the dynamic relation between time, subjectivity, memory and loss is investigated … with the viewer becoming an intermediary in an endless flow of non-hierarchical images/consciousness.

In this throng of dialects, the exhibition meanders through different “sections” which are undefined in terms of their beginning and end. The starting point for this flow is the public demonstration of trauma for the edification of society (the photographs of the aftermath of the siege of Ned Kelly and his gang at Glenrowan), notably what is thought to be the first press photograph in Australia, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above), and the flow then gathers its associations through concepts such as studio work, the gaze, disruption, truth, performance and traces, to name just a few. The exhibition ceaselessly establishes connections between semiotic chains, organisations of power and contextual circumstances, moving forward and backwards in time and space, jumping across the gallery walls, linking any point to any point if the beholder so desires. In this sense (that of an expanded way of thinking laterally to create a democracy of sight and understanding), the exhibition succeeds in fostering connections, offering multiple entryways into the flow of images that proposes a new cultural norm.

For Deleuze and Guattari these assemblages (of images in this case), “… are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2 Now here’s the rub (or the trade-off if you like) of this exhibition, for everything in life is a trade-off: the accumulation of new meaning that such a flow of images creates is balanced by what has been lost. Both an accumulation and disinvestment of meaning.

I have a feeling that in such a flow of images the emotion and presence of the subject has been lost, subsumed into a networked, hypermedia flow where, “images become more and more layered until they are architectural in design, until their relationship to the context from which they have grown cannot be talked about through the simple models offered by referentiality, or by attributions of cause and effect.”3 The linear perspective developed during the Renaissance and its attendant evidence of truth/objective reality (the logic of immediacy) is disrupted. It is no longer about being there, about the desire for presence, but about a logic of hypermediacy that privileges fragmentation, process, and performance. Of course, immediacy / hypermediacy are part of a whole and are not exclusionary to each other. But here contemporary art, and in particular contemporary photography, keeps coming back to the surface, redefining conceptual and aesthetic spaces.

This is where I was plainly unmoved by the whole exhibition. Conceptually and intellectually the exhibition is very strong but sequentially and, more importantly, emotionally – the flow of images failed to engage me. The dissociative association proposed – like a dissociative identity disorder – ultimately becomes a form of ill/literation, in which the images seem drained of their passion, a degenerative illness in which all images loose their presence and power. In a media saturated world what does it mean to pluck these images from a variable spatio-temporal dimensionality and sequence them together and hope they give meaning to each other? Ultimately, it’s a mental exercise of identity organisation that is pure construct.

Further, this (re)iteration is a repetition that is supposed to bring you successively closer to the solution of a problem: what is the relevance of the stream of image consciousness in contemporary society? What happens to the referentiality and presence of the individual image?

With this in mind, let us return to the first image in the flow of images, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above). Here Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Amongst other things, the image is by a photographer taking a photograph of another photographer taking a photograph of the body of Joe Byrne. Immediately, the triangular relationship of camera / subject / viewer (cause and effect) is disrupted with the addition of the second photographer. There is a doubling of space and time within this one image, as we imagine the image the photographer in the photograph would have taken. And then we can see two variations of that internal photograph: Photographer unknown Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (below) and William J. Burman’s Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (1880, below) which 1/ appears to solve who the “photographer unknown” is (unless Burman purchase the rights to use another’s photographers’ negatives); and 2/ is a more tightly framed image than the first iteration. If you look at the top of the head in the second image the hair goes over the metal hinge of the door behind… so the photographer (the same one) has moved closer and dropped the height of the camera, so that the camera looks up more, at the body.

Other details fascinate. The ring on the left finger of Joe Byrne; his stripped shirt; the rope under his arms used to help support his weight; the rope disappearing out of picture to help string him up; and questions such as, how did they get his left hand to stay in that position? This is also, “an image of an audience as much as a portrait of the deceased … Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.” To the left we have what is presumably the photographers’ coat hung on a tree; a man wiping his nose with his thumb; and Aboriginal man; and a boy looking at the camera. Through his silhouette the Aboriginal man can probably be identified as Tracker Johnny, one of five trackers who helped track Ned Kelly, and we can see a portrait of him in an albumen photograph held by the Queensland Police Museum (1880, below). A picture of the ‘Other’, both outsiders, the outlaw and the Aboriginal, detailing the social order. The blurred image of the boy looking at the camera shows the length of the time exposure for the glass plate, but it is his “Janus-faced” visage that I am fascinated with… as he both looks forwards and backwards in time. Whilst most images within An unorthodox flow of images are conceptually grounded, they also evidence only one direct meaning in relationship to themselves within that network, “each one connected to those on either side,” – from point to point to point. Conversely, in this image the interpretation is open-ended, WITHIN THE ONE IMAGE. It is a network all of its own. I also remember, emotionally, the other images of the burnt out Glenrowan Inn, the place where the rails were taken up (I was there!), the bodies in the coffins, the preparation for the photograph of the Kelly Gang Armour laid out in a muddy field for documentation, and the burnt to a cinder, charred remains rescued from the ashes of the Glenrowan Inn laid out on a piece of wood. There is a physicality to these photographs, and an emotional charge, that no other photograph in this exhibition matches. I think, then, not of Joe Bryne’s lifeless body and its/the photographs morbidity, but of him as a younger man – standing legs crossed, one hand on hip, the other resting on the surface of a table, imagining his touch on that table in reality – a son, an outlaw, a living being.

I wish the curators had been braver. I wish that they had given these images more chance to breathe. I wish they had cut the number of images and sequenced them so that the space between them (what Minor White calls ice/fire, that frisson of space between two images that adds to their juxtaposed meaning) provided opportunity for a more emotional engagement with what was being presented. Yes, this is a strong exhibition but it could have been so much more powerful if the flow had not just meandered through the sentence, but cried out, and declaimed, and was quiet. Where was the punctum? Where was the life blood of the party, if only disappearing in a contiguous flow of images.

Dr Marcus Bunyan for Art Blart

 

Word count: 1,642

  1. Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis and London: University of Minneapolis Press, 1987
  2. Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166
  3. Burnett, Ron. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, pp. 137-138.

.
Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition.

 

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

 

J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (details)
1880
Courtesy State Library Victoria, Pictures Collection

 

photographer unknown. 'Joe Byrne's Body, Benalla Gaol, 29 June' 1880

 

(2) Photographer unknown
Joe Byrne’s Body, Benalla Gaol, 29 June
1880
Photographic print from glass plate
12 × 19.5 cm
© Collection of Joyce Evans

 

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880 (above)

 

William J. Burman (1814-1890) 'Joe Byrne's Body, Benalla Gaol, 29 June 1880' 1880

 

William J. Burman (1814-1890)
Joe Byrne’s Body, Benalla Gaol, 29 June 1880
1880
At 209 Bourke Street, East Melbourne 1878 – 1888
Albumen carte de visite
6.5 × 10.5 cm

 

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880.

 

Unknown photographer. 'Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly]' c. 1880

 

Unknown photographer
Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly] (detail, not in exhibition)
c. 1880
Albumen photograph
Queensland Police Museum
Non-commercial – Share Alike (cc)

 

J. E. Bray (1832-1891) 'Kelly Gang Armour' 1880

 

(3) J. E. Bray (1832-1891)
Kelly Gang Armour
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

 

“As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.”  ~ Susan Sontag, Regarding the Pain of Others (2003)

 

Unknown photographer. 'Place where rails were taken up by Kelly gang' 1880

 

(4) Unknown photographer
Place where rails were taken up by Kelly gang
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

J. E. Bray (1832-1891) 'The Glenrowan Inn after the Kelly Siege' 1880

 

(5) J. E. Bray (1832-1891)
The Glenrowan Inn after the Kelly Siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

J. E. Bray (1832-1891) 'Charred remains from Kelly gang siege' 1880

 

(6) J. E. Bray (1832-1891)
Charred remains from Kelly gang siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

 

In her comments on a related photograph by Bray, Helen Ennis writes, “What you see pictured, presumably as part of the official documentation are the thoroughly blackened remains of either Dan Kelly or Steve Hart… Relatives raked what remained of the bodies… from the ashes of the Glenrowan Inn. These were then photographed before family members took them home on horseback and buried them. … [These photographs] also underscore the brutality and barbarism of the post-mortem photographs – the violence physically enacted on the body in the first instance and then visually in terms of the photographic representation.”

Helen Ennis. “Portraiture in extremis” in Photogenic Essays/Photography/CCP 2000-2004, Daniel Palmer (ed.), 2005, CCP, pp. 23-39, p 34.

 

J. E. Bray (1832-1891) 'Untitled ["McDonnell's Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins"]' 1880

 

(7) J. E. Bray (1832-1891)
Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”]
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

 

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

 

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (front and verso, not in exhibition)
c. 1878
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

 

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (not in exhibition)
c. 1878
Albumen carte de visite
State Library of Victoria

 

Piero della Francesca (1415-1492) 'Flagellation of Christ' 1455-1460

 

(9) Piero della Francesca (1415-1492)
Flagellation of Christ
1455-1460
Oil and tempera on wood, reproduced as digital print on wallpaper
58.4 × 81.5 cm, reproduced at 20 × 30 cm

 

 

The meaning of della Francesca’s Flagellation and exact identity of the three foreground figures in fifteenth century dress, is widely contested. In the context of this flow of images, the painting represents the pubic display of suffering as punishment, for the edification of society. In both J.W. Lindt’s documentary photograph and the possibly allegorical Flagellation, the broken body of Joe Byrne and that of Christ are isolated from other figures and subject of conversation and debate by gathered figures. Other formal similarities include framing of the tableau into shallow and deep space the organising role of architecture in signifying the key subject.

 

Joosep Martinson. 'Police Hostage Situation Developing at the Lindt Café in Sydney' 2014

 

(10) Joosep Martinson
Police Hostage Situation Developing at the Lindt Café in Sydney
2014
Digital print on wallpaper
20 × 30 cm

 

The scene outside the Lindt Cafe siege, caught by the photojournalist in a moment of public trauma. This bears formal resemblance to J.W. Lindt’s photograph of Joe Byrne, and even further back to Piero della Francesca.

 

Tracey Moffatt. 'I made a camera' 2003

 

(13) Tracey Moffatt
I made a camera
2003
photolithograph
38 × 43 cm, edition 201 of 750
Private collection

 

Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

 

Siri Hayes. 'In the far reaches of the familiar' 2011

 

(14) Siri Hayes
In the far reaches of the familiar
2011
C-type print
88 × 70 cm, exhibition print
Courtesy the artist

 

The photographer’s hood is the photographer.

 

Janina Green. 'Self Portrait' 1996

 

(15) Janina Green
Self Portrait
1996
Digital version of a hand-coloured work in early Photoshop
44 × 60 cm
Courtesy the artist and M.33, Melbourne

 

Georgie Mattingly. 'Portrait IV' 2016

 

(16) Georgie Mattingly
Portrait IV (After Arthroplasty)
2016
Hand-tinted silver gelatin print
36 × 26 cm
Unique hand print
Courtesy the artist

 

The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured. [And spattered with blood ~ Marcus]

 

Lisa Hilli. 'In a Bind' 2015

 

(17) Lisa Hilli (Makurategete Vunatarai (clan) Gunantuna / Tolai People, Papua New Guinea)
In a Bind
2015
Pigment print on cotton rag
76 × 51.5 cm
Courtesy the artist

 

 

‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’  ~ Lisa Hilli 2017, in an email to the curator

 

 

In an era of ‘tumbling’ images, An unorthodox flow of images presents visual culture in a novel way: commencing with Australia’s first press photograph, 150 images unfurl in flowing, a-historical sequences throughout the gallery. Each work is connected to the one before through formal, conceptual or material links.

An unorthodox flow of images draws upon the photographic image in its many forms, from significant historical photographs by major Australian artists, such as J.W. Lindt, Olive Cotton and Max Dupain, through to contemporary international and Australian artists, such as Tracey Moffatt, Michael Parekowhai, Christian Boltanski and Daido Moriyama. This exhibition brings early career artists into the flow, including Georgie Mattingley, Jack Mannix and James Tylor.

Celebrating the breadth of photographic technologies from analogue through to digital, including hand made prints, a hand-held stereoscope, early use of Photoshop, iPhone videos and holography, An unorthodox flow of images propels the viewer through a novel encounter with technology, art, and the act of looking. Rather than a definitive narrative, this exhibition is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. Contemporary culture necessitates quick, networked visual literacy. So viewers are invited to make their own readings of this unorthodox flow.

Akin to how images are experienced in our personal lives and perhaps to how artists are influenced by the multiverse of photography, this extraordinary gathering also includes spirited incursions from other kinds of images – rare prints of grizzly 19th century photojournalism abuts contemporary video first shared on Instagram, and surrealist French cinema nestles in with Australian image-makers.

This exhibition aims to bring new contexts to existing artworks to highlight networked image-viewing behaviour, whilst honouring the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. An unorthodox flow of images is presented as part of the 2017 Melbourne Festival.

Press release from the CCP

 

Siri Hayes. 'Plein air explorers' 2008

 

(30) Siri Hayes
Plein air explorers
2008
C-type print
108 × 135 cm, edition 4 of 6
Collection of Jason Smith

 

An artist’s studio in the landscape.

 

Robyn Stacey. 'Wendy and Brett Whiteley's Library' 2016

 

(31) Robyn Stacey
Wendy and Brett Whiteley’s Library
2016
From the series Dark Wonder
C-type print
110 × 159 cm, edition of 5 + 3 artist proofs
Courtesy the artist and Jan Manton Gallery, Brisbane

 

The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

 

Pat Brassington. 'Vedette' 2015

 

(37) Pat Brassington
Vedette
2015
Pigment print
75 × 60 cm, edition of 8,
Courtesy the artist and ARC ONE Gallery, Melbourne and Bett Gallery, Hobart

 

Two orbs, a positive and a negative space.

 

Anne Noble. 'Rubys Room 10' 1998-2004

 

(38) Anne Noble
Ruby’s Room 10
1998-2004
Courtesy the artist and Two Rooms Gallery Auckland

 

Daido Moriyama. 'DOCUMENTARY '78' 1986

 

(42) Daido Moriyama
DOCUMENTARY ’78
1986
Silver gelatin print
61 × 50.8 cm
Private collection

 

Leah King-Smith. 'Untitled #3' 1991

 

(43) Leah King-Smith
Untitled #3
1991
From the series Patterns of connection
C-type print
102 × 102 cm, edition 6 of 25
Private collection

 

 

‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the other. I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ ~ L King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7. In this series, the artist superimposes the colonial portrait onto images of the subject’s own landscape, returning the dispossessed to country.

 

 

Unorthodox: a field guide

We could have started anywhere. Perhaps every image ever made connects with another image in some way. But, we have begun with what is known as the first press photograph in Australia – a grisly depiction of Kelly Gang member Joe Byrne, strung up some days after his execution, for a group of onlookers, including a group of documentarians who came in by train to record the event: a painter and several photographers. This is an image of an audience as much as a portrait of the deceased. A hooded photographer bends to his tripod, and a
painter waits in line. Perhaps a seminal moment between competing technologies of record, magnificently captured by colonial photographer, J. W. Lindt (1845-1926): this is as decisive a moment as current technology permitted. Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.

From here, Unorthodox draws a thread of images together, each one connected to those on either side, whether through visual, conceptual, temporal, material or circumstantial ties, or by something even more diffuse and smoky – some images just conjure others, without a concrete reason for their bond. Spanning the entire gallery space, nearly 150 images unfurl with links that move through historic, press, portraiture, popular and art photography.

You are invited to wander through CCPs nautilus galleries, and make what you will of this flow because unlike a chain of custody, there is no singular narrative or forensic link: you are invited to explore not just connections between works but to see individual works in a new light.

At the core of this exhibition is an attempt to lay bare the way that images inform and seep into everyday life, underpinning the way that we see, interpret and understand the world. With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.

The act of looking. Looking is a process, informed by context – where and when we see something, and what surrounds it. Here, images are unbuckled from their original context, indeed there are no museum labels on the wall. But this is often the way when viewing images on the internet, or reproduced in books, referenced in ads, reenacted in fashion shoots, or reinterpreted by artists. The notion of reproductions within photography is slippery, made more so by the rapid circulation of images whereby we sometimes only know certain originals through their reproductions. In this exhibition, sometimes we have the original images, at others we proffer ‘reproductions’, setting out a swathe of contemporary and historical approaches to the craft of photography and video, unhampered by traditional constraints of what we can or cannot show within a non-collecting contemporary art space.

This exhibition moves through a number of notional chapters, for example visual connections can be made between orbs made by soap bubbles (no. 32, 34) and moons (no. 33); eyes (no. 40, 41, 42), gaping mouths (no. 37), the balletic body in space (no. 45); and light from orbs (no. 44, 46) and then moonlight on the ocean (no. 47), which tumbles into salty connections, with photographs exposed by the light of the moon through seawater (no. 48) connecting to an image of salt mines (no. 50), and on to salt prints (no. 51).

We have been influenced by observing how audiences view exhibitions, traversing the space, seemingly drawing connections, making their own flows through works on view. In spite of its indexicality to the world, photography is particularly open to multiple readings due to its reproducibility and its vulnerability to manipulation. A key to this permeability is the intention of the photographer, which can become opaque over time. For example, installation artist Christian Boltanski’s found photograph (no. 137) has been taken out of its time and context
so as to mean something quite different from what the photographer intended.

Importantly, due to their multiple readings, many works could be equally effective if placed in other sections of the exhibition. For example, of the many places to position Leah King-Smith’s Untitled #3 (no. 43), we have elected to locate it amongst compositions that include orbs. However, it is also a staged work; a constructed or collaged photograph; it embodies an Indigenous artist returning the colonial gaze and, due to the age of her source photograph, it represents a deceased person. And, in her own words King-Smith is responding to the trauma of settlement. ‘I was thus wrestling with anger, resentment, powerlessness… while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’

A curious process indeed, we have been open to many repositories of images while gathering this flow – from our work with artists at CCP; to childhood memories of images and personal encounters with photography and video; to our trawling of the Internet and books; as well as conversations with writers, artists and collectors. From these stores, we have also considered which works were available in their material form, as opposed to reproductions on wallpaper, postcards and record covers. While we exhibit a broad timespan and multiple technologies, our primary desire as a contemporary art space is to create new contexts for the exhibition of contemporary photography and video.

Unorthodox is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. It brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.

Naomi Cass and Pippa Milne

 

Brook Andrew. 'I Split Your Gaze' 1997

 

(62) Brook Andrew
I Split Your Gaze
1997, printed 2005
Silver gelatin print
160 × 127 cm
Private collection
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

 

Brassaï. 'Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve' 1931

 

(63) Brassaï
Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve
c. 1931
Gelatin silver print
Reproduced as digital print on wallpaper
23.2 × 15.9 cm, reproduced at 24.5 × 19 cm

 

William Yang. 'Alter Ego' 2000

 

(64) William Yang
Alter Ego
2000
from the series Self Portraits
Inkjet print, edition 2 of 30
68 × 88 cm
Courtesy the artist

 

Sue FORD (1943-2009) 'St Kilda' 1963

 

(65) Sue Ford (1943-2009)
Lyn and Carol
1961
Silver gelatin print, edition 3 of 5
44 × 38 cm
Courtesy Sue Ford Archive

 

Harold Cazneaux. 'Spirit of endurance' 1937

 

(76) Harold Cazneaux (1878-1953)
Spirit of Endurance
1937
Silver gelatin print
16.8 × 20.4 cm
Private collection

 

 

In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

 

Jeff Carter (1928-2010) 'The Eunuch, Marree, South Australia' 1964

 

(77) Jeff Carter (1928-2010)
The Eunuch, Marree, South Australia
1964
Silver gelatin print
37.5 × 27.2 cm
Private collection

 

 

Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

 

 

Persons Of Interest - ASIO surveillance 1949 -1980. 'Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955'

 

(82) Photographer undisclosed
Persons Of Interest – ASIO surveillance images
1949 -1980
‘Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955’
C-type prints
22 × 29 cm each
Private collection

 

The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

 

Luc Delahaye. 'L'Autre' 1999 (detail)

 

(85) Luc Delahaye
L’Autre (detail)
1999
Book published by Phaidon Press, London
17 × 22 cm
Private collection

 

In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956

 

David Moore (Australia 1927-2003) 'Migrants arriving in Sydney' 1966

 

(94) David Moore (1927-2003)
Migrants arriving in Sydney
1966
Silver gelatin print
35.7 × 47 cm
Private collection

 

In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

 

Joe Rosenthal (1911-2006) 'Raising the Flag on Iwo Jima' 1945

 

(95) Joe Rosenthal (1911-2006)
Raising the Flag on Iwo Jima
1945
Digital print on wallpaper, reproduced at 20 × 25 cm

 

While not present at the the raising of the first flag over Iwo Jima, Rosenthal witnessed the raising of the replacement flag. Some maintain that this Pulitzer Prize winning photograph was staged, while others hold that it depicts the replacement of the first flag with a larger one.

 

Charles Kerry (1857-1928) 'Aboriginal Chief' c. 1901-1907

 

(103) Charles Kerry (1857-1928)
Aboriginal Chief
c. 1901-1907
Carte de visite
13.7 × 8.5 cm
Private collection

 

No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

 

Brook Andrew. 'Sexy and Dangerous' 1996

 

(104) Brook Andrew
Sexy and Dangerous
1996
Computer-generated colour transparency on transparent synthetic polymer resin, included here as postcard of artwork
original 146.0 × 95.6 cm, included here at 15.3 × 10.5 cm
The artist is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

 

William Eggleston. 'Untitled (glass on plane)' 1965-1974

 

(116) William Eggleston
Untitled (glass on plane)
1965-1974
C-type print
41 × 56 cm
Private collection

 

Bill Culbert. 'Small glass pouring Light, France' 1997

 

(117) Bill Culbert
Small glass pouring Light, France
1997
Silver gelatin print, edition of 25
40.5 × 40.5 cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Hopkinson Mossman Gallery, Auckland

 

Olive Cotton (Australia 1911-2003) 'Teacup ballet' 1935, printed 1992

 

(118) Olive Cotton
Teacup Ballet
1935
Silver gelatin print
35.5 × 28 cm
Courtesy Tony Lee

 

David Moore (1927–2003) 'Sisters of Charity' 1956

 

(119) David Moore (1927-2003)
Sisters of Charity
1956
Silver gelatin print
40.5 × 27.1 cm
Private collection

 

Bernd and Hilla Becher. 'Kies-und Schotterwerke (Gravel Plants)' 2006

 

(120) Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015)
Kies-und Schotterwerke (Gravel Plants)
2006
Silver gelatin print
99 × 121 cm
Private collection

 

Max Dupain (Australian, 1911 - 1992) 'Backyard, Forster, New South Wales' 1940

 

(123) Max Dupain (Australian, 1911-1992)
Backyard, Forster, New South Wales
1940
Silver gelatin print
44 × 39 cm
Private collection

 

Joyce Evans. 'Budapest Festival' 1949

 

(138) Joyce Evans
Budapest Festival
1949
Inkjet print
7.6 × 7.6 cm
Courtesy the artist

 

Jeff Wall Canadian (1946- ) 'A sudden gust of wind (after Hokusai)' 1993

 

(145) Jeff Wall
A sudden gust of wind (after Hokusai)
1993
Transparency on lightbox, included here as postcard of artwork
250 × 397 × 34 cm, included here at 15.3 × 10.5 cm
Artist is represented by Marian Goodman Gallery; Gagosian; and White Cube Gallery

 

Masayoshi Sukita. 'David Bowie - Heroes' 1977

 

(147) Masayoshi Sukita
David Bowie – Heroes
1977
Record cover
31 × 31 cm

 

Sukita: In gesture and gaze, Sukita’s photograph for David Bowie’s 1977 cover harks back 60 years to Weimar Republic artist, Erich Heckel’s 1917 painting, Roquairol, which is in Bowie’s art collection.

 

 

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

 

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

 

 

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

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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03
Nov
17

Exhibition: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 1

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

 

 

Installation photographs of the exhibition

The installation photographs (some of the 148 images in the exhibition) proceed in spatial order, in the flow that they appear in the gallery spaces. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition. Review to follow in the next posting.

Marcus

.
Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan, the artists and the CCP.

 

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

 

Anunorthodoxflowofimages

#unorthodoxflow

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne with at right, wallpaper of J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880, to open the exhibition

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880

 

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

 

 

J W Lindt: Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (3) J. E. Bray’s Kelly Gang Armour 1880 cabinet card © Collection of Joyce Evans

 

J. E. Bray: “As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.” ~ Susan Sontag, Regarding the Pain of Others (2003)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (7) J. E. Bray’s Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”] 1880 cabinet card (right) and (8) a photograph by an unknown photographer Hunters of Ned Kelly 1880 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (13) Tracey Moffatt’s I Made a Camera 2003

 

Moffatt: Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (14) Siri Hayes’ In the far reaches of the familiar 2011 (right) and (15) Janina Green’s Self Portrait 1996 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (15) Janina Green’s Self Portrait 1996

 

Green: Although celebrated for her hand coloured prints, this is in fact made with the second version of Photoshop.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (16) Georgie Mattingley’s Portrait IV (After Arthroplasty) 2016 (right) and (17) Lisa Hilli’s In a Bind 2015 (middle)

 

Mattingley: The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured.

Hilli: ‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’  ~ Lisa Hilli 2017, in an email to the curator

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (18) Fiona Pardington’s Saul 1986 (right), (19) Fiona MacDonald’s 12 Artists 1987 (postcard, middle), and (20) Jack Mannix’s Still Life, Footscray 2013 (left)

 

Pardington: A portrait of Joe Makea in his beekeeper’s helmet.

MacDonald: A vintage Victorian Centre for Photography (VCP) postcard, prior to its change of name to CCP.

Mannix: A vanitas is a still life artwork which includes various symbolic objects designed to remind the viewer of their mortality and of the worthlessness of worldly goods and pleasures.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (27) Wolfgang Sievers’ The writer Jean Campbell, in her flat in East Melbourne 1950 (right); (26) André Kertész’s Chez Mondrian, Paris 1926 (middle top); (28) Gisèle Freund’s Vita Sackville-West 1938 (middle bottom); and (29) Anne Zahalka’s Home #3 (mirror) 1998 (left)

 

Sievers: Wolfgang’s inscription on the back of this particular print reads: The writer Jean Campbell in her near-eastern flat with her portrait by Lina Bryans.

Kertész: A studio is site for the artist’s gathering of images.

Freund: Vita Sackville-West’s writing studio was in an Elizabethan tower at Sissinghurst in Kent, overlooking her famous white garden. It remains, exactly as she left it.

Zahalka: The boundary between home and studio is often blurred when an artist has a small child.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (30) Siri Hayes’ Plein air explorers 2008

 

Hayes: An artist’s studio in the landscape.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (31) Robyn Stacey’s Wendy and Brett Whiteley’s Library from the series Dark Wonder 2016

 

Stacey: The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (33) NASA Images’ A lunar disc as seen from the Apollo 15 spacecraft 1971 (top); (34) Steve Carr’s Smoke Bubble No. 30 2010 (right); and (35) National Geographic Vol. 174, No.6, December 1988 (left)

 

Carr: Smoke filled soap orb, reminiscent of a planet.

National Geographic: The subtitle to this special 1988 issue of National Geographic, which has a holographic front and back cover is: “As We Begin Our Second Century, the Geographic Asks: Can Man Save this Fragile Earth?”

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (39) Jesse Marlow’s Santa 2002

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (44) Susan Fereday’s Köln 2016

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (49) W. H. Moffitt’s Beach Scene, Collard #3 c. 1944

 

W. H. Moffitt: The bromoil process was invented in 1907 by Englishman C. Wellbourne Piper. A bromoil print is simply a black and white photograph printed on a suitable photographic paper from which the silver image is removed and lithography inks applied.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (51) Sarah Brown’s Quietly 2017 (right); (52) Robert Billington’s Narrabeen Baths 1994 (middle bottom); and (53) Trent Parke’s Untitled #92 1999-2000 (middle top)

 

Brown: The salted paper technique was created in the mid-1830s by Henry Fox Talbot. He made what he called “sensitive paper for “photogenic drawing” by wetting a sheet of writing paper with a weak solution of ordinary table salt, blotting and drying it, then brushing one side with a strong solution of silver nitrate.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (55) Charles Bayliss’ Ngarrindjeri people, Chowilla Station, Lower Murray River, South Australia 1886 (right) and (56) Anne Noble’s Antarctic diorama, Polaria Centre, Tromso, Norway 2005 (left)

 

Bayliss: Water looks like glass in this colonial photograph where the subjects perform for Bayliss. “Bayliss here re-creates a ‘native fishing scene’ tableau, reminiscent of a museum diorama.”

Noble: Water is glass in this diorama; photographed as if it were from nature.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (55) Charles Bayliss’ Ngarrindjeri people, Chowilla Station, Lower Murray River, South Australia 1886

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (58) Andrew Hazewinkel’s Staring together at the stars, #1 2013 (right); (59) Ian Dodd’s Wet Hair 1974 (second right); (60) Juno Gemes’ One with the Land 1978 (middle); (61) David Rosetzky’s Milo 2017 (upper left); and (62) Brook Andrew’s I Split Your Gaze 1997 (left)

 

Gemes: The subtitle to this photograph in some collections reads: ‘waiting for the sacred fish the Dunya and Wanra to come in, Mornington Island, Queensland’.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (64) William Yang’s Alter Ego 2000 (centre right)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (65) Sue Ford’s Lyn and Carol 1961 (right)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (67) a stereoscope by an unknown photographer titled Affection c. 1882

 

Kilburn Brothers, Littleton, N. H. (publisher): In the stereoscope, the double image combines to create the illusion of three-dimensional space. Compelled to make meaning from disrupted information, the brain merges two slightly different images into a seemingly single three-dimensional image.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (68) a photograph by an unknown photographer (Courret Hermanos Fotografía – Eugenio Courret 1841 – c. 1900) titled Lima Tapadas c. 1887

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (76) Harold Cazneaux’s Spirit of Endurance 1937

 

Cazneaux: In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (77) Jeff Carter’s The Eunuch, Marree, South Australia 1964 (NB. note reflections in the image from the gallery)

 

Carter: Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (78) Lisa Bellear’s The Black GST Protest at Camp Sovereignty 2006

 

Bellear (Minjungbul/Goernpil/Noonuccal/Kanak): Is the demonstrator leading the policeman? Is the policeman arresting this demonstrator? Or is this tenderness between two men? This is a photograph of a photograph. As was her practice, Lisa Bellear always gave the original to her subject.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (82) photographer undisclosed ASIO surveillance images 1949-1980

 

ASIO: The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (83) O. Philip Korczynski’s Unwanted Witness and Run 1980s

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (85) pages from Luc Delahaye’s book L’Autre 1999

 

Delahaye: In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (88) Tracey Lamb’s Surveillance Image #3 2015

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (89) Walker Evans’ Family Snapshots on Farmhouse Wall 1936 (right) with (91) Photographer unknown Lee family portrait before the funeral c. 1920 (top left); and (92) Photographer unknown Lee family portrait with portrait of dead father added c. 1920 (bottom left)

 

Evans: During his celebrated work for the Farm Security Administration documenting the effects of the Great Depression, Walker Evans secretly removed these photographs from the home of his subject, and seemingly hurriedly pinned them to the exterior wall of the house, and photographed them without permission.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (90) photographer unknown In memoriam album 1991

 

Memoriam: Double exposure enables the impossible in this personal memorial album.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (91) Photographer unknown Lee family portrait before the funeral c. 1920 (top) and (92) photographer unknown Lee family portrait with portrait of dead father added c. 1920 (bottom)

 

Funeral: When the family photographer arrived at the Lee home – the day of grandfather’s funeral – he asked them to pose with smiles so that, in the absence of a family portrait, he could create a composite portrait, which was given to the family some days later.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (93) Kate Gollings’ Lee family portrait 1986 (right) and (94) David Moore’s Migrants arriving in Sydney 1966 (left)

 

Gollings: A studio portrait of the Lee family, some 60 years following the previous two photographs. The young man is now grandfather. Still the photographer continues to craft the family, in this case through positioning the subjects, in ways which may or may not reflect actual family relationships.

Moore: In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (98) Hippolyte Bayard’s Self-portrait as a Drowned Man 1840 (right); (99) J. W. Lindt’s Untitled (Seated Aboriginal man holding Boomerangs) c. 1874 (top middle); (100) J. W. Lindt’s Untitled (Aboriginal man with Snake) c. 1875 (bottom middle); and (101) Charles Woolley’s Truccanini, last female Aborigine of Tasmania with shell necklace 1886 (left)

 

Bayard: With its telling title, this staged image is the first instance of intentional photographic fakery, made in protest by Bayard because he felt aggrieved that his role in the invention of photography was unrecognised.

Lindt: For white colonialists, photography became “a vehicle for recording new and exotic lands and informing the ‘unexotic’ Europe of the strange landscape, flora, fauna, and people. In the case of the postcard print fashion from around 1900; to entice tourists to cruise to [exotic] places … Ultimately and blatantly however, photography became another tool of colonialism, to label, control, dehumanise and disempower their subjects who could only reply in defiant gaze at the lens controlled by someone else.” ~ Djon Mundine from Fiona Foley: River of Corn, exh. cat. University of South Florida Contemporary Art Museum, Tampa, USA, 2001

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (101) Charles Woolley’s Truccanini, last female Aborigine of Tasmania with shell necklace 1886 (right); (102) Christian Thompson’s (Bidjara) Untitled (self portrait) Image No 1 from Emotional Striptease 2003 (middle); (103) Charles Kerry’s Aboriginal Chief c. 1901-1907 (top left); and (104) Brook Andrew’s Sexy and Dangerous 1996 (bottom left)

 

Thompson: Contemporary Indigenous artists return the colonial photographer’s gaze. “For Indigenous people the camera’s central role has been in transforming but really stereotyping our cultures.” In more recent times, “Indigenous people have moved behind the camera, firstly replacing the documenter, then creatively reinterpreting their photographic history.” ~ Djon Mundine from Fiona Foley: River of Corn, exh. cat. University of South Florida Contemporary Art Museum, Tampa, USA, 2001

Kerry: No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (105) Fiona Foley’s (Badtjala) Wild Times Call 2 2001 (right); (106) Murray Cammick’s Bob Marley p owhiri, White Heron Hotel, April 1979 1979 (second right); and (107) Kirsten Lyttle’s (Waikato, Tainui A Whiro, Ngāti Tahinga) Twilled Work 2013 (middle left)

 

Foley: Referencing Hollywood’s representation of the Wild West, Fiona Foley stands with Seminole Indians.

Lyttle: This is woven using the Maori raranga (plaiting) technique for making kete whakario (decorated baskets). According to Mick Pendergrast, the pattern is not named, but attributed to Te Hikapuhi, (Ngati Pikiao), late 19th Century. ~ Pendergrast, M (1984), Raranga Whakairo, Coromandel Press, NZ, pattern 19.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (107) Kirsten Lyttle’s (Waikato, Tainui A Whiro, Ngāti Tahinga) Twilled Work 2013 (right) and (108) Michael Riley’s (Wiradjuri/Kamilaroi) Maria 1985 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (109) Maree Clarke’s (Mutti Mutti, Yorta Yorta, BoonWurrung) Nan’s House (detail of installation) 2017 (right); (110) photographer unknown Writer, Andre Malraux poses in his house of the Boulogne near Paris working at his book Le Musee Imaginaire or Imaginary Museum 2nd volume 1953 (middle top); and (111) Clare Rae’s Law Library 2016 (bottom left)

 

Clarke: This work is currently on display at the National Gallery of Australia, Canberra, as a hologram of the artist’s grandmother’s house, as remembered by the artist.

Unknown: ‘The imaginary museum’ or ‘the museum without walls’ (as it is often translated) is a collection reflecting Andre Malraux’s eurocentric conception of art history.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (117) Bill Culbert’s Small glass pouring Light, France 1997 (right) and (119) David Moore’s Sisters of Charity 1956 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (119) David Moore’s Sisters of Charity 1956 (bottom right); (118) Olive Cotton’s Teacup Ballet c. 1935 (top right); and (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006 (right) and (121) Robert Rooney’s Garments: 3 December – 19 March 1973 1973 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (122) Helen Grace’s Time and motion study #1 ‘Women seem to adapt to repetitive-type tasks…’ 1980, printed 2011 (detail)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (122) Helen Grace’s Time and motion study #1 ‘Women seem to adapt to repetitive-type tasks…’ 1980, printed 2011 (detail, right) and (123) Max Dupain’s Backyard Forster 1940 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (123) Max Dupain’s Backyard Forster 1940 (right) and (124) Marie Shannon’s Pussy 2016 (left)

 

Shannon: Also a trace of the cat.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (127) Mac Lawrence’s Five raised fingers 2016

 

Lawrence: Watery trace.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (136) Simon Terrill’s Arsenal vs Fenerbahce 2009

 

Terrill: The long exposure leaves only a trace of the football crowd, that has disappeared for the day.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (137) Christian Boltanski’s L’ecole de la Große Hamburger Straße, Berlin 1938 1993

 

Boltanski: Photography records the passing or death of a particular moment. This is a photograph of a Jewish School in Berlin in 1938.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (138) Joyce Evans’ Budapest Festival 1949 (top) and (139) photographer unknown Nina Dumbadze, Honoured Master of Sports of the USSR, world champion in discus throwing from the series Women of the Soviet Georgia c. 1953 (bottom)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (139) photographer unknown Nina Dumbadze, Honoured Master of Sports of the USSR, world champion in discus throwing from the series Women of the Soviet Georgia c. 1953

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (141) Harry Burrell’s Thylacine or Tasmanian Tiger, cover image for The Australian Magazine 1958, September, Vol 12, No 11 1958

 

Burrell: Published in this museum journal, there is now some contention as to whether Burrell’s series of photographs of the extinct thylacine were made from life, or staged using a taxidermied animal.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (148) Francis Alÿs’ Fitzroy Square 2004 (video stills)

 

 

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

 

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

 

 

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

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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