Posts Tagged ‘Adelaide

24
Jul
14

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

Exhibition dates: 21st May – 31st July 2014

 

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

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

 

 

B46371_WEB

 

G.B. Goodman (English, ? – 1851)
Daguerreotype of a group of actors
c. 1850
Daguerreotype of a group of men, possibly actors associated with the Adelaide stage
135mm x 185mm (image); 23cm x 18cm x 2.5cm (case)
B 46371

 

 

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

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

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

 

B4638-WEB

 

Captain Samuel White Sweet (Australian, born England 1825-1886)
Planting the first pole of the Overland telegraph at Darwin on the 15th September, 1870
1870
From glass plate negative
B 4638

 

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

 

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

 

 

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

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

The Register, reporting on the investigation into the cause of the fire wrote:

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

South Australian Register April 1875, p. 5.

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

 

Photographer unknown. 'Henry Ayers' c. 1848

 

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

 

 

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

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

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

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

 

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

 

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

 

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

 

Saul Solomon (Australian, born England 1836-1929)
Published by the Adelaide School of Photography
Man dressed as Robinson Crusoe
1888
Albumen photograph, cabinet card
99mm x 146mm
B 32878

 

 

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

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

 

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

 

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

 

 

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

 

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

 

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

 

Unknown photographer. 'Tom Thumb' c. 1880

 

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

 

 

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

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

Michael Pynn died  in Sydney on 22 June 1929.

 

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

 

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

 

 

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

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

 

 

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

State Library of South Australia website

Opening hours

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04
Dec
11

Exhibition: ‘Bill Henson: early work from the MGA collection’ at the Anne & Gordon Samstag Museum of Art, Adelaide

Exhibition dates: 14th October – 16th December 2011

 

Many thankx to the Anne & Gordon Samstag 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.

 

 

Bill Henson. 'Untitled 57' 1985

 

Bill Henson (Australian, b. 1955)
Untitled 57
1985-86
Chromogenic print
106.0 x 86.0 cm
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Monash Gallery of Art, City of Monash Collection

 

Bill Henson. 'Untitled 61' 1985

 

Bill Henson (Australian, b. 1955)
Untitled 61
1985/86
Type C colour photograph
128 × 100cm
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Monash Gallery of Art, City of Monash Collection

 

 

Monash Gallery of Art (MGA) holds one of the largest collections of photographs by Bill Henson. With its concentration on work made between 1977 and 1992, the MGA collection represents a significant survey of Henson’s early career, from which twenty-nine works have been selected for the Bill Henson: early work from the MGA collection exhibition.

Henson has been described as a ‘passionate and visionary explorer’, and has been exhibited extensively nationally and internationally for over three decades, yet this is the first exhibition dedicated to this major artist’s work to be presented in Adelaide.

Passionate discussion about Henson’s work in the Australian media in recent times, has served to illuminate an important debate about the nature of art. But while many of us may be familiar with Henson’s images through reproduction, to view a museum exhibition of the artist’s photographs offers a much deeper appreciation of his art, and is a rare opportunity for audiences to themselves experience his work first hand.

The ‘in conversation’ event is a highlight to accompany a very special exhibition at the Samstag Museum from one of Australia’s most distinguished artists. Bill Henson: early work from the MGA Collection, with selected recent landscapes offers South Australians a unique opportunity to experience the power and beauty of the work of Bill Henson, Australia’s best-known contemporary photographer. This is the first exhibition dedicated to this major artist’s work ever to be presented in Adelaide.

The exhibition features twenty-nine iconic images from many of Henson’s major series from the 1970s through to the early 1990s, all drawn from the Monash Gallery of Art, who hold one of the largest collections of Henson’s work in the country.

For many, the experience of Henson’s extraordinary work has been through its reproduction in the media. However, it is important to view the actual photographs as this offers a much richer visual experience. All of the early work in the exhibition was printed by hand in the darkroom, and consequently the uneven surfaces of the black and white photographs have a mysterious, alchemic quality not present in reproductions of Henson’s images.

Alongside the MGA Collection exhibition, the Samstag Museum is presenting a selection of recent landscape photographs by Henson. These are works of compelling power and continue the artist’s fascination with a diverse range of subject matter. Through them we explore an island of rocky outcrops, monoliths rising dramatically from the ocean and waterfalls captured in a blaze of light.”

Text and press release from the Anne and Gordon Samstag Museum of Art website

 

Bill Henson (Australian, b. 1955) 'Untitled 63' 1985-86

 

Bill Henson (Australian, b. 1955)
Untitled 63
1985-86
From the series Untitled 1985-86
Chromogenic print
106.0 x 86.0 cm
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Monash Gallery of Art, City of Monash Collection acquired 1991

 

Bill Henson (Australian, b. 1955) 'Untitled 72' 1985-86

 

Bill Henson (Australian, b. 1955)
Untitled 72
1985-86
From the series Untitled 1985-86
Chromogenic print
106.0 x 86.0 cm
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Monash Gallery of Art, City of Monash Collection acquired 1991

 

Bill Henson. 'Untitled' 1990-91

 

Bill Henson (Australian, b. 1955)
Untitled
1990-91
55/100 from the series Paris Opera Project
Type C photograph
130 × 130cm
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Monash Gallery of Art, City of Monash Collection

 

 

In 1990 Bill Henson was commissioned to produce a body of work that responded to the world-renown Opéra de Paris. He decided to focus on the audience, and while at the Opéra photographed the faces of people while they sat enveloped in darkness, their features softly illuminated by the reflected glow of stage lighting. The photographs shot in Paris subsequently became Henson’s source material, as he restaged the portraits in his Melbourne studio to accentuate the mood and atmosphere of an evening at the opera.

When the subsequent series of fifty photographs was first exhibited in Melbourne during 1991, they were hung floor-to-ceiling as if to suggest an auditorium of spectators. With their far-away eyes, gazing off toward something that is not revealed in the photographs, these faces express the sublime sensuality of a musical experience. And the atmospheric cloudscapes that punctuate the series allude to the rich horizons being opened up in the imaginations of the audience.

 

 

Anne & Gordon Samstag Museum of Art
Hawke Building, City West campus
University of South Australia
55 North Terrace, Adelaide
Phone: (08) 8302 0870

Opening hours:
Tuesday – Saturday 10am – 5pm

Anne & Gordon Samstag Museum of Art website

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19
Jun
11

Exhibition: ‘HIJACKED 2: Australia/Germany’ at the Anne & Gordon Samstag Museum of Art, Adelaide

Exhibition dates: 13th May – 1st July 2011

 

Many thankx to the Anne & Gordon Samstag 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.

 

 

Olaf Unverzart. 'Untitled' (from the Series ‘Fallen Kann Ich Auch Alleine’) 1999

 

Olaf Unverzart (German, b. 1972)
Untitled (from the series Fallen Kann Ich Auch Alleine)
1999
Pigment print
56 x 38cm/125 x 85 cm
Courtesy of Oechsner Galerie

 

Narelle Autio. 'Untitled 8' (from the series ‘Not of This Earth’) 2001

 

Narelle Autio (Australian, b. 1969)
Untitled 8 (from the series Not of This Earth)
2001
Courtesy of the artist

 

Jörg Brüggemann. 'Nam Song River, Vang Vieng, Laos, December 2007' 2007

 

Jörg Brüggemann (German, b. 1979)
Nam Song River, Vang Vieng, Laos, December 2007
2007
C-type print
69 x 57 cm
Courtesy of the artist and Ostkreuz

 

Ingvar Kenne. 'Nick Cave' 2001

 

Ingvar Kenne (Australian, born Sweden 1965)
Nick Cave
2001
C-type print
100 x 100cm
Courtesy of the artist

 

 

Hijacked 2: Australia/Germany builds on the very considerable success of the inaugural exhibition, Hijacked 1 – Australia and America, and its internationally celebrated and hugely successful book. This new exhibition effectively considers two socially disparate nations, Germany and Australia, through an expansive photographic anthology of fascinating works, juxtaposed to suggest connections.

Hijacked 2 has been curated by Mark McPherson and Ute Noll and showcases the diverse talents and perspectives of thirty contemporary German and Australian photographers. With a focus on the depiction of the young, the boundary-riding, and the fringe-dwelling, Hijacked 2 is evocative, confronting, dreamlike and rousing.

Featured artists from Australia are: Narelle Autio, James Brickwood, Michael Corridore, Andrew Cowen, Tamara Dean, Suzie Fox, Lee Grant, Derek Henderson, Rebecca Ann Hobbs, Ingvar Kenne, Bronek Kózka, Georgia Metaxas, Polixeni Papapetrou and Louis Porter.

From Germany the artists are: Johanna Ahlert, Natalie Bothur, Jörg Brüggemann, Thekla Ehling, Albrecht Fuchs, Jan von Holleben, Karsten Kronas, Anne Lass, Jens Liebchen, Myriam Lutz, Julian Röder, Josef Schulz, Oliver Sieber, Ivonne Thein, Olaf Unverzart and Sascha Weidner.

Hijacked 2: Australia/Germany is toured by the Australian Centre for Photography. A substantial 412-page publication accompanies the exhibition with texts by Uta Daur, Bec Dean, Alasdair Foster, Bill Kouwenhoven, Katja Melzer, Daniel Palmer and Katrina Schwarz.

Text from the Anne & Gordon Samstag Museum of Art website

 

Oliver Sieber. 'Reita, Köln' 2007

 

Oliver Sieber (German, b. 1966)
Reita, Köln, 2007
2007
Pigment print
34 x 27 cm
Courtesy Galerie Priska Pasquer, Germany

 

Ivon Thein. 'Untitled 07' (from the series ‘Thirty-Two Kilos) 2006

 

Ivon Thein (German, b. 1979)
Untitled 07 (from the series Thirty-Two Kilos)
2006
C-type print
55 x 80 cm
Courtesy of Galerie Voss

 

 

Anne & Gordon Samstag Museum of Art
Hawke Building, City West campus
University of South Australia
55 North Terrace, Adelaide
Phone: (08) 8302 0870

Opening hours:
Tuesday – Saturday 10 am – 5 pm

Anne & Gordon Samstag Museum of Art website

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13
Mar
11

Exhibition: ‘TRACEY MOFFATT: narratives’ at Art Gallery of South Australia, Adelaide

Exhibition dates: 26th February – 20th March 2011

 

Apologies, no text with these photographs, not that they really need any but it would have been nice!

Marcus

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

 

 

Tracey Moffatt. 'Something More (no. 3)' 
from the series of 9 photographs ‘Something More’ 1989

 

Tracey Moffatt (Australia, b. 1960)
Something More (no. 3)
From the series of 9 photographs Something More
1989
Direct positive colour photograph
98.0 × 127.0 cm (image)
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt. 'Something More (no. 5)' from the series of 9 photographs 'Something More' 1989

 

Tracey Moffatt (Australia, b. 1960)
Something More (no. 5)
From the series of 9 photographs Something More
1989
Direct positive colour photograph
98.0 × 127.0 cm (image)
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. '
Job hunt, 1976' 1994

 

Tracey Moffatt (Australia, b. 1960)
Job hunt, 1976
From the series of 10 prints Scarred for life I
1994
Colour photolithograph on paper
80.0 x 60.0 cm (image)
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Useless, 1974' 1994

 

Tracey Moffatt (Australia, b. 1960)
Useless, 1974
From the series of 10 prints Scarred for life I
1994
Colour photolithograph on paper
80.0 x 60.0 cm (image)
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Up in the sky (no. 1)' 1997

 

Tracey Moffatt (Australia, b. 1960)
Up in the sky (no. 1)
From the series of 25 prints Up in the sky
1997
colour photolithograph on paper
61.0 x 76.0 cm (image)
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Laudanum (no. 1)' 1998

 

Tracey Moffatt (Australia, b. 1960)
Laudanum (no. 1)
From the series of 19 prints Laudanum
1998
Photogravure on paper
76.0 × 57.0 cm (plate)
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Invocations (no. 2)' 2000

 

Tracey Moffatt (Australia, b. 1960)
Invocations (no. 2)
From the series of 13 prints Invocations
2000
Colour silkscreen on paper
146.0 x 122.0 cm (image)
Monash Gallery of Art, City of Monash
Collection 
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Invocations (no. 5)' 2000

 

Tracey Moffatt (Australia, b. 1960)
Invocations (no. 5)
From the series of 13 prints Invocations
2000
Colour silkscreen on paper
146.0 x 122.0 cm (image)
Monash Gallery of Art, City of Monash
Collection 
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Adventure Series (no. 1)' 2004

 

Tracey Moffatt (Australia, b. 1960)
Adventure Series (no. 1)
from the series of 10 prints Adventure Series
2004
Inkjet print on paper
132.0 × 114.0 cm (image)
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

Tracey Moffatt 
Australia, 1960. 'Adventure Series (no. 2)' 2004

 

Tracey Moffatt (Australia, b. 1960)
Adventure Series (no. 2)
From the series of 10 prints Adventure Series
2004
Inkjet print on paper
132.0 × 114.0 cm (image)
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

 

Art Gallery of South Australia
North Terrace Adelaide
Public information: 08 8207 7000

Opening hours:
Daily 10 am – 5 pm (last admissions 4.30pm)

Art Gallery of New South Wales website

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