Posts Tagged ‘American Dreams


melbourne’s magnificent nine 2011

December 2011


Here’s my pick of the nine best exhibitions in Melbourne (with excursions to Bendigo and Hobart thrown in) that appeared on the Art Blart art and cultural archive in 2011. Enjoy!

Dr Marcus Bunyan



1/ Sidney Nolan: Drought Photographs at Australian Galleries, Melbourne, March 2011


Sidney Nolan. 'Untitled (calf carcass in tree)' 1952


Sidney Nolan (Australian, 1917-1992)
Untitled (calf carcass in tree)
archival inkjet print
23.0 cm x 23.0 cm



This was a superb exhibition of 61 black and white photographs by Sidney Nolan. The photographs were shot using a medium format camera and are printed in square format from the original 1952 negatives.

The work itself was a joy to behold. The photographs hung together like a symphony, rising and falling, with shape emphasising aspects of form. The images flowed from one to another. The formal composition of the mummified carcasses was exemplary, the resurrected animals (a horse, for example, propped up on a fifth leg) and emaciated corpses like contemporary sculpture. The handling of the tenuous aspects of human existence in this uniquely Australian landscape was also a joy to behold. Through an intimate understanding of how to tension the space between objects within the frame Nolan’s seemingly simple but complex photographs of the landscape are previsualised by the artist in the mind’s eye before he even puts the camera to his face.


2/ Bill Henson at Tolarno Galleries, Melbourne, March – April 2011

This was an exquisite exhibition by one of Australia’s preeminent artists. Like Glenn Gould playing a Bach fugue, Bill Henson is grand master in the performance of narrative, structure, composition, light and atmosphere. The exhibition featured thirteen large colour photographs printed on lustre paper (twelve horizontal and one vertical) – nine figurative of adolescent females, two of crowd scenes in front of Rembrandt paintings in The Hermitage, St. Petersburg (including the stunning photograph that features The return of the prodigal son c. 1662 in the background, see below) and two landscapes taken off the coast of Italy. What a journey this exhibition took you on!

Henson’s photographs have been said by many to be haunting but his images are more haunted than haunting. There is an indescribable element to them (be it the pain of personal suffering, the longing for release, the yearning for lost youth or an understanding of the deprecations of age), a mesmeric quality that is not easily forgotten. The photographs form a kind of afterimage that burns into your consciousness long after the exposure to the original image has ceased. Haunted or haunting they are unforgettable.


Bill Henson. 'Untitled' 2009/10


Bill Henson (Australian, b. 1955)
CL SH767 N17B
Archival inkjet pigment print
127 x 180 cm
Edition of 5


3/ Networks (cells & silos) at Monash University Museum of Art (MUMA), Caulfield, February – April 2011

This was a vibrant and eclectic exhibition at MUMA, one of the best this year in Melbourne. The curator Geraldine Barlow gathered together some impressive, engaging works that were set off to good effect in the new gallery spaces. I spent a long and happy time wandering around the exhibition and came away visually satiated and intellectually stimulated. The exhibition explored “the connections between artistic representation of networks; patterns and structures found in nature; and the rapidly evolving field of network science, communications and human relations.”


Installation photograph of one of the galleries in the exhibition 'NETWORKS (cells & silos)' at the newly opened Monash University Museum of Art (MUMA)


Installation photograph of one of the galleries in the exhibition NETWORKS (cells & silos) at the newly opened Monash University Museum of Art (MUMA) with Nick Mangan’s Colony (2005) in the foreground


4/ Monika Tichacek, To all my relations at Karen Woodbury Gallery, Richmond, May 2011

This was a stupendous exhibition by Monika Tichacek, at Karen Woodbury Gallery. One of the highlights of the year, this was a definite must see!

The work was glorious in it’s detail, a sensual and visual delight (make sure you click on the photographs to see the close up of the work!). The riotous, bacchanalian density of the work was balanced by a lyrical intimacy, the work exploring the life cycle and our relationship to the world in gouache, pencil & watercolour. Tichacek’s vibrant pink birds, small bugs, flowers and leaves have absolutely delicious colours. The layered and overlaid compositions show complete control by the artist: mottled, blotted, bark-like wings of butterflies meld into trees in a delicate metamorphosis; insects are blurred becoming one with the structure of flowers in a controlled effusion of life.


Monika Tichacek. 'To all my relations' 2011 (detail)


Monika Tichacek (Australian, born Switzerland 1975)
To all my relations (detail)


5/ American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery, Victoria, April – July 2011


Diane Arbus. 'Untitled (6)' 1971


Diane Arbus (American, 1923-1971)
Untitled (6)
Gelatin silver print



This was a fabulous survey exhibition of the great artists of 20th century American photography, a rare chance in Australia to see such a large selection of vintage prints from some of the masters of photography. If you had a real interest in the history of photography then you hopefully saw this exhibition, showing as it is just a short hour and a half drive (or train ride) from Melbourne at Bendigo Art Gallery.


6/ Time Machine: Sue Ford at Monash Gallery of Art, Wheelers Hill, Victoria, April – June 2011


Sue Ford. 'Self-portrait' 1976


Sue Ford (Australian, 1943-2009)
Self-portrait 1976
From the series Self-portrait with camera (1960-2006)
Selenium toned gelatin silver print, printed 2011
24 x 18 cm
courtesy Sue Ford Archive



This beautifully hung exhibition flowed like music, interweaving up and down, the photographs framed in thin, black wood frames. It featured examples of Ford’s black and white fashion and street photography; a selection of work from the famous black and white Time series (being bought for their collection by the Art Gallery of New South Wales); a selection of Photographs of Women – modern prints from the Sue Ford archive that are wonderfully composed photographs with deep blacks that portray strong, independent, vulnerable, joyous women (see last four photographs below); and the most interesting work in the exhibition, the posthumous new series Self-portrait with camera (1960-2006) that evidence, through a 47 part investigation using colour prints from Polaroids, silver gelatin prints printed by the artist, prints made from original negatives and prints from scanned images where there was no negative available, a self-portrait of the artist in the process of ageing.

Whether looking down, looking toward or looking inward these fantastic photographs show a strong, independent women with a vital mind, an élan vital, a critical self-organisation and an understanding of the morphogenesis of things that will engage us for years to come. Essential looking.


7/ The Museum of Old and New Art (MONA), Hobart, August 2011

My analogy: you are standing in the half-dark, your chest open, squeezing the beating heart with blood coursing between your fingers while the other hand is up your backside playing with your prostrate gland. I think ringmeister David Walsh would approve. My best friends analogy: a cross between a car park, night club, sex sauna and art gallery.

Weeks later I am still thinking about the wonderful immersive, sensory experience that is MONA. Peter Timms in an insightful article in Meanjin calls it a post-Google Wunderkammer, or wonder chest. It can be seen as a mirabilia – a non-historic installation designed primarily to delight, surprise and in this case shock. The body, sex, death and mortality are hot topics in the cultural arena and Walsh’s collection covers all bases. The collection and its display are variously hedonistic, voyeuristic, narcissistic, fetishistic pieces of theatre subsumed within the body of the spectacular museum architecture …

Spectatorship and their attendant erotics has MONA as a form of fetishistic cinema. It is as if what Barthes calls “the eroticism of place” were a modern equivalent of the eighteenth century genius loci, the “genius of the place.” The place is spectacular, the private collection writ large as public institution, the symbolic power of the institution masked through its edifice. The art become autonomous, cut free from its cultural associations, transnational, globalised, experienced through kinaesthetic means; the viewer meandering through the galleries, the anti-museum, as an international flaneur. Go. Experience!


Corten Stairwell & Surrounding Artworks February 2011 Museum of Old and New Art – interior


Corten Stairwell & Surrounding Artworks
February 2011
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art


8/ John Bodin: Rite of Passage at Anita Traverso Gallery, Richmond, August – September 2011


John Bodin. 'I Was Far Away From Home' 2009


John Bodin (Australian)
I Was Far Away From Home
Type C print on metallic paper
80 x 110cm



The photographs become the surface of the body, stitched together with lines, markers pointing the way – they are encounters with the things that we see before us but also the things that we carry inside of us. It is the interchange between these two things, how one modulates and informs the other. It is this engagement that holds our attention: the dappled light, ambiguity, unevenness, the winding path that floats and bobs before our eyes looking back at us, as we observe and are observed by the body of these landscapes.

One of the fundamental qualities of the photographs is that they escape our attempts to rationalise them and make them part of our understanding of the world, to quantify our existence in terms of materiality. I have an intimate feeling with regard to these sites of engagement. They are both once familiar and unfamiliar to us; they possess a sense of nowhereness. A sense of groundlessness and groundedness. A collapsing of near and far, looking down, looking along, a collapsing of the constructed world.

Like the road in these photographs there is no self just an infinite time that has no beginning and no end. The time before my birth, the time after my death. We are just in the world, just being somewhere. Life is just a temporary structure on the road from order to disorder. “The road is life,” writes Jack Kerouac in On the Road.


9/ Juan Davila: The Moral Meaning of Wilderness at the Monash University Museum of Art (MUMA), Caulfield, August – October 2011

Simply put, this was one of the best exhibitions I saw in Melbourne this year.

I had a spiritual experience with this work for the paintings promote in the human a state of grace. The non-material, the unconceptualisable, things which are outside all possibility of time and space are made visible. This happens very rarely but when it does you remember, eternally, the time and space of occurrence. I hope you had the same experience.


Juan Davila. 'Wilderness' 2010


Juan Davila (Chilean b. 1946, emigrated Australia 1974)
© Juan Davila, Courtesy Kalli Rolfe Contemporary Art


10/ In camera and in public at the Centre for Contemporary Photography, Melbourne, September – October 2011


Kohei Yoshiyuki. 'Untitled' 1971


Kohei Yoshiyuki (Japanese, b. 1946)
From the series The Park
Gelatin Silver Print
© Kohei Yoshiyuki, Courtesy Yossi Milo Gallery, New York


Curated by Naomi Cass as part of the Melbourne Festival, this was a brilliant exhibition at the Centre for Contemporary Photography, Melbourne. The exhibition explored, “the fraught relationship between the camera and the subject: where the image is stolen, candid or where the unspoken contract between photographer and subject is broken in some way – sometimes to make art, sometimes to do something malevolent.” It examined the promiscuity of gazes in public / private space specifically looking at surveillance, voyeurism, desire, scopophilia, secret photography and self-reflexivity. It investigated the camera and its moral and physical relationship to the unsuspecting subject.


11/ The Mad Square: Modernity in German Art 1910 – 37 at The National Gallery of Victoria, Melbourne, November 2011 – March 2012

This is one of the best exhibitions this year in Melbourne bar none. Edgy and eclectic the work resonates with the viewer in these days of uncertainty: THIS should have been the Winter Masterpieces exhibition!

The title of the exhibition, The mad square (Der tolle Platz) is taken from Felix Nussbaum’s 1931 painting of the same name where “the ‘mad square’ is both a physical place – the city, represented in so many works in the exhibition, and a reference to the state of turbulence and tension that characterises the period.”The exhibition showcases how artists responded to modern life in Germany in the interwar years, years that were full of murder and mayhem, putsch, revolution, rampant inflation, starvation, the Great Depression and the rise of National Socialism. Portrayed is the dystopian, dark side of modernity (where people are the victims of a morally bankrupt society) as opposed to the utopian avant-garde (the prosperous, the wealthy), where new alliances emerge between art and politics, technology and the mass media. Featuring furniture, decorative arts, painting, sculpture, collage and photography in the sections World War 1 and the Revolution, Dada, Bauhaus, Constructivism and the Machine Aesthetic, Metropolis, New Objectivity and Power and Degenerate Art, it is the collages and photographs that are the strongest elements of the exhibition, particularly the photographs. What a joy they are to see.


Albert Renger-Patzsch (American, born Hungary, 1895-1946) 'Harbour with crane' c. 1927


Albert Renger-Patzsch (American, born Hungary, 1895-1946)
Harbour with crane
c. 1927
Gelatin silver photograph
Printed image 22.7 h x 16.8 w cm
Purchased 1983
National Gallery of Australia, Canberra




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Review: ‘American Dreams: 20th century photography from George Eastman House’ at Bendigo Art Gallery, Victoria

Exhibition dates: 16th April – 10th July 2011


Gertrude Käsebier. 'The Sketch (Beatrice Baxter)' 1903


Gertrude Käsebier (American, 1852-1934)
The Sketch (Beatrice Baxter)
Platinum print
Gift of Hermine Turner
Collection of George Eastman House, International Museum of Photography and Film



This is a fabulous survey exhibition of the great artists of 20th century American photography, a rare chance in Australia to see such a large selection of vintage prints from some of the masters of photography. If you have a real interest in the history of photography you must see this exhibition, showing as it is just a short hour and a half drive (or train ride) from Melbourne at Bendigo Art Gallery.

I talked with the curator, Tansy Curtin, and asked her about the exhibition’s gestation. This is the first time an exhibition from the George Eastman House has come to Australia and the exhibition was 3-4 years in the making. Tansy went to George Eastman House in March last year to select the prints; this was achieved by going through solander box after solander box of vintage prints and seeing what was there, what was available and then making work sheets for the exhibition – what a glorious experience this would have been, undoing box after box to reveal these magical prints!

The themes for the exhibition were already in the history of photography and Tansy has chosen almost exclusively vintage prints that tell a narrative story, that make that story accessible to people who know little of the history of photography. With that information in mind the exhibition is divided into the following sections:

Photography becomes art; The photograph as social document; Photographing America’s monuments; Abstraction and experimentation; Photojournalism and war photography; Fashion and celebrity portraiture; Capturing the everyday; Photography in colour; Social and environmental conscience; and The contemporary narrative.

There are some impressive, jewel-like contact prints in the exhibition. One must remember that, for most of the photographers working after 1940, exposure, developing and printing using Ansel Adams Zone System (where the tonal range of the negative and print can be divided into 11 different ‘zones’ from 0 for absolute black and to 10 for absolute white) was the height of technical sophistication and aesthetic choice, equal to the best gaming graphics from today’s age. It was a system that I used in my black and white film development and printing. Film development using a Pyrogallol staining developer (the infamous ‘pyro’, a developer I tried to master without success in a few trial batches of film) was also technically difficult but the ability of this developer to obtain a greater dynamic range of zones in the film itself was outstanding.

“The Zone System provides photographers with a systematic method of precisely defining the relationship between the way they visualise the photographic subject and the final results… An expressive image involves the arrangement and rendering of various scene elements according to photographer’s desire. Achieving the desired image involves image management (placement of the camera, choice of lens, and possibly the use of camera movements) and control of image values. The Zone System is concerned with control of image values, ensuring that light and dark values are rendered as desired. Anticipation of the final result before making the exposure is known as visualisation.”1

Previsualisation, the ability of the photographer to see ‘in the mind’s eye’ the outcome of the photograph (the final print) before even looking through the camera lens to take the photograph, was an important skill for most of these photographers. This skill has important implications for today’s photographers, should they choose to develop this aspect of looking: not as a mechanistic system but as a meditation on the possibilities of each part of the process, the outcome being an expressive print.

A selection of the best photographs in the exhibition could include,

1. An original 1923 Alfred Steiglitz Equivalent contact print – small (approx. 9cm x 12cm, see below), intense, the opaque brown blacks really strong, the sun shining brightly through the velvety clouds. In the Equivalents series the photograph was purely abstract, standing as a metaphor for another state of being, in this case music. A wonderful melding of the technical and the aesthetic the Equivalents “are generally recognised as the first photographs intended to free the subject matter from literal interpretation, and, as such, are some of the first completely abstract photographic works of art.”2

2. Paul Strand Blind (1915, printed 1945) – printed so dark that you cannot see the creases in the coat of the blind woman with a Zone 3 dark skin tone.

3. Lewis Hine [Powerhouse mechanic] see below, vintage 1920 print full of subtle tones. Usually when viewing reproductions of this image it is either cropped or the emphasis is on the body of the mechanic; in this print his skin tones are translucent, silvery and the emphasis is on the man in unison with the machine. The light is from the top right of the print and falls not on him directly, but on the machinery at upper right = this is the emotional heart of this image!

4. Three tiny vintage Tina Modotti prints from c. 1929 – so small, such intense visions. I have never seen one original Modotti before so to see three was just sensational.

5. Walker Evans View of Morgantown, West Virginia vintage 1935 print – a cubist dissection of space and the image plane with two-point perspective of telegraph pole with lines.

6. An Edward S. Curtis photogravure Washo Baskets (1924, from the portfolio The North American Indian) – such a sumptuous composition and the tones…

7. Ansel Adams 8″ x 10″ contact print of Winter Storm (1944, printed 1959, see above) where the blackness of the mountain on the left hand side of the print was almost impenetrable and, because of the large format negative, the snow on the rock in mid-distance was like a sprinkling of icing sugar on a cake it was that sharp.

8. A most splendid print of the Chrysler Building (vintage 1930 print, approx. 48 x 34  cm) by Margaret Bourke-White – tonally rich browns, smoky, hazy city at top; almost like a platinum print rather than a silver gelatin photograph. The bottom left of the print was SO dark but you could still see into the shadows just to see the buildings.

9. An original Robert Capa 1944 photograph from the Omaha Beach D Day landings!

10. Frontline soldier with canteen, Saipan (1944, vintage print) by W Eugene Smith where the faces of the soldiers were almost Zone 2-3 and there was nothing in the print above zone 5 (mid-grey) – no physical and metaphoric light.

11. One of the absolute highlights: two vintage Edward Weston side by side, the form of one echoing the form of the other; Nude from the 50th Anniversary Portfolio 1902 – 1952 (1936, printed 1951), an 8″ x 10″ contact print side by side with an 8″ x 10″ contact print of Pepper No. 30 (vintage 1930 print). Nothing over zone 7 in the skin tones of the nude, no specular highlights; the sensuality in the pepper just stunning – one of my favourite prints of the day – look at the tones, look at the light!

12. Three vintage Aaron Siskind (one of my favourite photographers) including two early prints from 1938 – wow. Absolutely stunning.

13. Harry Callahan. That oh so famous image of Eleanor and Barbara, Chicago (vintage 1953 print) that reminds me of the work of Jeffrey Smart (or is it the other way around). The wonderful space around the figures, the beautiful composition, the cobblestones and the light – just ravishing.

14. The absolute highlight: Three vintage Diane Arbus prints in a row – including a 15″ square image from the last series of work Untitled (6) (vintage 1971 print, see above) – the year in which she committed suicide. This had to be the moment of the day for me. This has always been one of my favourite photographs ever and it did not disappoint; there was a darkness to the trees behind the three figures and much darker grass (zone 3-4) than I had ever imagined with a luminous central figure. The joyousness of the figures was incredible. The present on the ground at the right hand side was a revelation – usually lost in reproductions this stood out from the grass like you wouldn’t believe in the print. Being an emotional person I am not afraid to admit it, I burst into tears…

15. And finally another special… Two vintage Stephen Shore chromogenic colour prints from 1976 where the colours are still true and have not faded. This was incredible – seeing vintage prints from one of the early masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues. For a contemporary colour photographer the trip to Bendigo just to see these two prints would be worth the time and the car trip/rail ticket alone!

Not everything is sweetness and light. The print by Dorothea Lange Migrant Mother, Nipomo, California is a contemporary print from 2003, the vintage print having just been out on loan; the contemporary section, ‘The contemporary narrative’, is very light on, due mainly to the nature of the holdings of George Eastman House; and there are some major photographers missing from the line up including Minor White, Fredrick Sommer, Paul Caponigro, Wynn Bullock and William Clift to name just a few.

Of more concern are the reproductions in the catalogue, the images for reproduction supplied by George Eastman House and the catalogue signed off by them. The reproduction of Margaret Bourke-White’s Chrysler Building (1930, see below) bears no relationship to the print in the exhibition and really is a denigration to the work of that wonderful photographer. Other reproductions are massively oversized, including the Alfred Stieglitz Equivalent, Lewis Hine’s Powerhouse mechanic (see below) and Tina Modotti’s Woman Carrying Child (c. 1929). In Walter Benjamin’s terms (The Work of Art in the Age of Mechanical Reproduction) the aura of the original has been lost and these reproductions further erode the authenticity of the original in their infinite reproducability. Conversely, it could be argued that the reproduction auraticizes the original:

“The original artwork has become a device to sell its multiply-reproduced derivatives; reproductability turned into a ploy to auraticize the original after the decay of aura…”3

In other words, after having seen so many reproductions when you actually see the original –  it is like a bolt of lightning, the aura that emanates from the original. This is so true of this exhibition but it still begs the question: why reproduce in the catalogue at a totally inappropriate size? Personally, I believe that the signification of the reproduction (in terms of size and intensity of visualisation) is so widely at variance with the original one must question the decision to reproduce at this size knowing that this variance is a misrepresentation of the artistic interpretation of the author.

In conclusion, this is a sublime exhibition well worthy of the time and energy to journey up to Bendigo to see it. A true lover of classical American black and white and colour photography would be a fool to miss it!

Dr Marcus Bunyan


  1. Anon. “Zone System,” on Wikipedia [Online] Cited 13/06/2011
  2. Anon. “Equivalents,” on Wikipedia [Online] Cited 13/06/2011
  3. Huyssen, Andreas. Twilight Memories: Marking Time in a Culture of Amnesia. London: Routledge, 1995, pp. 23-24

Many thankx to Tansy Curtin, Senior Curator, Programs and Access at Bendigo Art Gallery for her time and knowledge when I visited the gallery; and to Bendigo Art Gallery for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image.


Alfred Stieglitz. 'Equivalent' 1923


Actual size of print: 9.2 x 11.8 cm
Size of print in catalogue: 18.5 x 13.9 cm

These two photographs represent a proportionate relation between the two sizes as they appear in print and catalogue but because of monitor resolutions are not the actual size of the two prints.


Alfred Stieglitz. 'Equivalent' 1923


Alfred Stieglitz (American, 1864-1946)
Gelatin silver print
Collection of George Eastman House, International Museum of Photography and Film 


Lewis Hine [Powerhouse mechanic] 1920 catalogue size


Actual size of print: 16.9 x 11.8 cm
Size of print in catalogue: 23.2 x 15.8 cm

These two photographs represent a proportionate relation between the two sizes as they appear in print and catalogue but because of monitor resolutions are not the actual size of the two prints.


Lewis Hine. [Powerhouse mechanic] 1920 catalogue size


Lewis Hine
[Powerhouse mechanic]
Gelatin silver print
Transfer from the Photo League Lewis Hine Memorial Committee, ex-collection Corydon Hine
Collection of George Eastman House, International Museum of Photography and Film


Margaret Bourke-White. 'Chrysler Building' New York City, 1930


As it approximately appears in the exhibition (above, from my notes, memory and comparing the print in the exhibition with the catalogue reproduction)

Below, as the reproduction appears in the catalogue (scanned)


Margaret Bourke-White. 'Chrysler Building' New York City, 1930


Margaret Bourke-White (American, 1904-1971)
Chrysler Building
New York City
Silver gelatin photograph



An exhibition of treasures from arguably the world’s most important photographic museum, George Eastman House, has been developed by Bendigo Art Gallery. The exhibition American Dreams will bring, for the first time, eighty of some of the most iconic photographic images from the 20th Century to Australia.

The choice of works highlights the trailblazing role these American artists had on the world stage in developing and shaping the medium, and the impact these widely published images had on the greater community.

Curator Tansy Curtin, who worked closely with George Eastman House developing the exhibition commented, “Through these images we can recognise the extraordinary ability of these artists, and their pivotal role influencing the evolution of photography. Their far-reaching images helped shape American culture, and impacted on the fundamental role photography has in communications today. Even more than this we can see through these artists the burgeoning love of photography that engaged a nation.”

Through these images we can see not only the development of photography, but also as some of the most powerful social documentary photography of last century, we see extraordinary moments captured in the lives of a wide range of Americans. The works distil the dramatic transformation that affected people during the 20th century – the affluence, degradation, loss, hope and change – both personally and throughout society.

The role of photography in nation building is exemplified in Ansel Adams’ majestic portraits of Yosemite national park, Bourke-White’s Chrysler building and images of migrants and farm workers during the Depression. Tansy Curtin added, “We see the United States ‘growing up’ through photography. We see hopes raised and crushed and the inevitable striving for the American Dream.” Director of Bendigo Art Gallery Karen Quinlan said, “We are thrilled to have been given this unprecedented opportunity to work with this unrivalled photographic archive. The resulting exhibition American Dreams, represents one of the most important and comprehensive collections of American 20th Century photography to come to Australia.”

George Eastman House holds over 400,000 images from the invention of photography to the present day. George Eastman, one time owner of the home in which the archives are housed, founded Kodak and revolutionised and democratised photography around the world. Eastman is considered the grandfather of snapshot photography.

American Dreams is one of the first exhibitions from this important collection to have been curated by an outside institution. It will be the first time Australian audiences have been given the opportunity to engage with this vast archive.

Press release from the Bendigo Art Gallery


Alfred Steiglitz. [Georgia O'Keefe hand on back tire of Ford V8] 1933


Alfred Steiglitz (American, 1864-1946)
[Georgia O’Keefe hand on back tire of Ford V8]
gelatin silver print
Part purchase and part gift from Georgia O’Keefe
Collection of George Eastman House, International Museum of Photography and Film


Walker Evans. 'Torn Poster, Truro, Massachusetts' 1930


Walker Evans (American, 1903-1975)
Torn Poster, Truro, Massachusetts
gelatin silver contact print
Purchased with funds from National Endowment for the Arts
Collection of George Eastman House, International Museum of Photography and Film


Dorothea Lange. 'Migrant Mother, Nipomo, California' 1936, printed c. 2003


Dorothea Lange (American, 1895-1965)
Migrant Mother, Nipomo, California
1936, printed c. 2003
Photogravure print
Gift of Sean Corcoran
Collection of George Eastman House, International Museum of Photography and Film


Dorothea Lange. 'Kern County California' 1938


Dorothea Lange (American, 1895-1965)
Kern County California
Gelatin silver print
Exchange with Roy Stryker
Collection of George Eastman House, International Museum of Photography and Film


Ansel Adams. 'Winter Storm' 1942


Ansel Adams (American, 1902-1984)
Winter Storm
Gelatin silver print


Diane Arbus. 'Untitled (6)' 1971


Diane Arbus (American, 1923-1971)
Untitled (6)
Gelatin silver print



Bendigo Art Gallery
42 View Street Bendigo
Victoria Australia 3550
Phone: 03 5434 6088

Opening hours:
Bendigo Art Gallery is open daily 10 am – 5 pm

Bendigo Art Gallery website


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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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