Posts Tagged ‘Australian black and white photography

01
Mar
20

Photographs: ‘Australia 1946-1947’ Part 1 March 2020

March 2020

 

Unknown photographer (Australian) 'Untitled (girl on porch)' 1946-47

 

Unknown photographer (Australian)
Untitled (girl on porch)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

One of the great joys about compiling this archive is the ability to rescue unloved and unknown images. To give them a voice in the contemporary world.

These 2 1/4″ square (6 x 6 cm) medium format black and white negatives come from the collection of my friend Nick Henderson. There is no marking on any of the negatives, leading me to believe that the film numbers were on the backing paper of the 120 film roll. The negatives are housed in paper packets adorned with a logo and words ‘APS Developing and Printing Service’ – perhaps Australian Photographic Services? Each packet contains basic title information for some of the photographs. Looking at the photographs and their perspective on the world, it would seem that the camera is a waist view camera, in other words the photographer was looking down into the viewfinder, the camera not held at eye level. The camera could possibly have been a Voigtländer or similar camera (see below). The quality of the negatives is reasonable, with some fall off in terms of sharpness occurring at the edge of the image. The photographs can be dated to 1946-1947 due to the February 1947 expiry Victorian registration label on the Chevrolet (thank you Simon Barnfield for spotting this!), are taken by an unknown photographer (probably male)… photographs of life in Sydney, his family and their travels around Australia. This is the first tranche of photographs with roughly the same number to come in the second part of the posting.

What makes these photographs particularly interesting is:

  1. the breadth of subject matter taken just after the Second World War and the fact that they are medium format
  2. the relaxed nature and beauty of the photographs of the children, and the light!
  3. the unknown images of places such as Bondi Beach and historical monuments, such as that of the forlorn The Dog on the Tuckerbox
  4. the photographs of the motor sport activity of hillclimbing, unfortunately no place known but its has been suggested it could be the 90-years-old Maldon hill climb at Mt Tarrengower because of the box-ironbark (and the fact that there are photographs of Maldon in the collection).

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Variously we have country towns, theatrical groups, sailing, boating, churches, Sydney ferries, a trip to Maldon in Victoria for the Maldon Show, family picnics, cars and caravans, houses and horse riding, churches and children, and the oh so cute dogs in their own car boxes. So Australian. The photographs really give an extensive insight into suburban life in Australia just after the privations of the Second World War… and the photographer had a good eye. That is what is most important – that they knew how to take a good photograph.

Talking to my friend James McArdle who writes the oh so excellent On this Date in Photography website (essential reading!), he was unaware of the time it takes to prepare images for these postings. It has literally taken me hours and hours of hard work to scan these negatives and then digitally clean and balance them. All to give them a new lease of life in the world, to preserve their captured memories and histories. I hope you can appreciate all the hard work and admire the images I have revealed.

Dr Marcus Bunyan

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Many thankx to Nick Henderson for allowing me to publish the photographs in the posting. All photographs collection of Nick Henderson. Please click on the photographs for a larger version of the image.

 

 

APS (Australian Photographic Services?) Developing and Printing Service 'Film packets and negatives' 1946-47

APS (Australian Photographic Services?) Developing and Printing Service 'Film packets and negatives' 1946-47

 

APS (Australian Photographic Services?) Developing and Printing Service
Film packets and negatives
1946-47
Negatives: 2 1/4″ square (6 x 6 cm)
Packet (closed): 3 7/8 x 3 1/4″ (10 cm x 8 cm)
Collection of Nicholas Henderson

 

Voigtländer Brillant 1930s

 

Voigtländer Billiant
1930s
Photograph by Rama, Wikimedia Commons, Cc-by-sa-2.0-fr

 

 

The Voigtländer Brillant is a range of pseudo-TLR cameras, and later true TLR cameras, taking 6 × 6 cm exposures on 120 film, made by Voigtländer from 1932. Famed Hungarian-Dutch photographer Eva Besnyö used a Brillant for her early work.

 

Unknown photographer (Australian) 'Untitled (Circular Quay, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Circular Quay, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Karrabee ferry, Sydney, leaving High St Wharf, Kurraba in the background)' 1946-47

 

Unknown photographer (Australian)
Untitled (Karrabee ferry, Sydney, leaving High St Wharf, Kurraba in the background)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Karingal and Karrabee ferry

Karingal and Karrabee were built by Morrison & Sinclair, Balmain for Sydney Ferries Limited, being launched in 1913. They were the smallest of the round-ended K-class Sydney ferries, and could carry 608 and 653 passengers respectively.

They were near identical sister ferries operated by Sydney Ferries Limited and its NSW State Government operated successors on Sydney Harbour from 1913 until 1984. Wooden ferries built at the time of Sydney Ferries’ rapid early twentieth century, they were the smallest of the round-end “K-class ferries”.

The ferries were built as coal-fired steamer and were converted to diesel in the 1930s – the first Sydney Harbour ferries to be so converted. Unlike many early twentieth century Sydney Ferries, they survived the opening of the Sydney Harbour Bridge in the 1930s, and the State Government takeover in 1951.

Karrabee sank at Circular Quay after taking on water during the Great Ferry Race in 1984 – an incident that received extensive media coverage – and did not return to service. Karingal, and the other three remaining old wooden ferries, were taken out of service shortly after Karrabee’s sinking. In service for 71 years, they were among the longest-serving ferries on Sydney Harbour.

“Karingal” and “Karrabee” are Australian Aboriginal words meaning ‘happy home’ and ‘cockatoo’ respectively.

Text from the Wikipedia website [Online] Cited 12/12/2019

 

Unknown photographer (Australian) 'Untitled (Bondi Beach, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bondi Beach, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bondi Beach, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bondi Beach, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bondi Beach, Sydney)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bondi Beach, Sydney)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (The Dog on the Tuckerbox)' 1946-47

 

Unknown photographer (Australian)
Untitled (The Dog on the Tuckerbox)
Gundagai, 1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (The Dog on the Tuckerbox)' 1946-47

 

Unknown photographer (Australian)
Untitled (The Dog on the Tuckerbox)
Gundagai, 1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

The Dog on the Tuckerbox

The Dog on the Tuckerbox is an Australian historical monument and tourist attraction, located at Snake Gully, approximately five miles (eight kilometres) from Gundagai, New South Wales as described in the song of the same name.

The inspiration for the statue has been traced to a doggerel poem, “Bullocky Bill”, published anonymously by “Bowyang Yorke” in 1857 (other references have 1880 in the Gundagai Times, however confirmation of either is hard to find), which humorously describes a series of misfortunes faced by a bullock driver, culminating in his dog either sitting on or spoiling the food in his tucker-box (an Australian colloquialism for a box that holds food, similar to a lunchbox, but larger). …

A dog monument was first erected at a site nine miles from Gundagai in 1926. Gundagai stonemason Frank Rusconi suggested a memorial using the legend of the Dog on the Tuckerbox in 1928; and in 1932 the proposal was taken up by the community…

The Back to Gundagai Committee chose the Five Mile camping site rather than the Nine Mile Peg as a location for the monument on the basis that it was more convenient to the Hume Highway and closer to the town, thereby more beneficial to tourism.

A nationwide competition was held to obtain the most suitable inscription for the monument. The chosen inscription on the base of the monument was written by Brian Fitzpatrick of Sydney. The inscription says:

“Earth’s self upholds this monument
To conquerors who won her when
Wooing was dangerous, and now
Are gathered unto her again.”

The dog section of the monument was modelled by Rusconi and cast at ‘Oliver’s Foundry’ in Sydney. Rusconi also sculpted its base.

The Dog on the Tuckerbox monument was erected in 1932 as part of ‘Back to Gundagai’ week, and a large crowd “gathered to her again” to witness the unveiling by Prime Minister Joseph Lyons on 28 November 1932. It was planned to donate money placed in the wishing well at the base of the monument to the Gundagai District Hospital. A souvenir shop was also opened nearby. Copyright on the monument was vested in the Gundagai Hospital, who for many years received a useful income from receipt of royalties from firms using the iconic image.

Text from the Wikipedia website [Online] Cited 12/12/2019

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' (detail) 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria) (detail)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

Unknown location, possibly the 90-years-old Maldon hill climb at Mt Tarrengower because of the box-ironbark (and the fact that there are photographs of Maldon in the collection).

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' (detail) 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria) (detail)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (hillclimb, possibly at Maldon, Victoria)' (detail) 1946-47

 

Unknown photographer (Australian)
Untitled (hillclimb, possibly at Maldon, Victoria) (detail)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boat)' 1946-47

 

Unknown photographer (Australian)
Untitled (boat)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boat at sea)' 1946-47

 

Unknown photographer (Australian)
Untitled (boat at sea)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (child on porch)' 1946-47

 

Unknown photographer (Australian)
Untitled (child on porch)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boy outside house)' 1946-47

 

Unknown photographer (Australian)
Untitled (boy outside house)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boy smiling)' 1946-47

 

Unknown photographer (Australian)
Untitled (boy smiling)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boy and girl smiling)' 1946-47

 

Unknown photographer (Australian)
Untitled (boy and girl smiling)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (child on lawn)' 1946-47

 

Unknown photographer (Australian)
Untitled (child on lawn)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (child and chairs)' 1946-47

 

Unknown photographer (Australian)
Untitled (child and chairs)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (man and woman)' 1946-47

 

Unknown photographer (Australian)
Untitled (man and woman)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (house)' 1946-47

 

Unknown photographer (Australian)
Untitled (house)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (boy on horse)' 1946-47

 

Unknown photographer (Australian)
Untitled (boy on horse)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (dog and saucepan)' 1946-47

 

Unknown photographer (Australian)
Untitled (dog and saucepan)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (1932 Chevrolet)' 1946-47

 

Unknown photographer (Australian)
Untitled (1932 Chevrolet)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (1932 Chevrolet and caravan)' 1946-47

 

Unknown photographer (Australian)
Untitled (Chevrolet and caravan)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (1932 Chevrolet and dogs)' 1946-47

 

Unknown photographer (Australian)
Untitled (1932 Chevrolet and dogs)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

The photographs can be dated to 1946-47 due to the February 1947 expiry Victorian registration label on the Chevrolet. Thank you to Simon Barnfield for spotting this.

 

Unknown photographer (Australian) 'Untitled (1932 Chevrolet and caravan)' 1946-47

 

Unknown photographer (Australian)
Untitled (Chevrolet and caravan)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Man and car)' 1946-47

 

Unknown photographer (Australian)
Untitled (man and car)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (family picnic)' 1946-47

 

Unknown photographer (Australian)
Untitled (family picnic)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Man and car)' 1946-47

 

Unknown photographer (Australian)
Untitled (man and car)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (house on hill)' 1946-47

 

Unknown photographer (Australian)
Untitled (house on hill)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (room interior)' 1946-47

 

Unknown photographer (Australian)
Untitled (room interior)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Future Miss Maldons, Maldon Show, Maldon, Victoria, with Maldon Timber & Hardware at 28 Main Street in the background)' 1946-47

 

Unknown photographer (Australian)
Untitled (Future Miss Maldons, Maldon Show, Maldon, Victoria, with Maldon Timber & Hardware at 28 Main Street in the background)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Where are they now, so many ghosts with flowers in their hair.

 

Unknown photographer (Australian) 'Untitled (Scottish band, Maldon Show, Maldon, Victoria)' 1946-47

 

Unknown photographer (Australian)
Untitled (Scottish band, Maldon Show, Maldon, Victoria)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (church)' 1946-47

 

Unknown photographer (Australian)
Untitled (church)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (church)' 1946-47

 

Unknown photographer (Australian)
Untitled (church)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (group of actors)' 1946-47

 

Unknown photographer (Australian)
Untitled (group of actors)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (actor and ballerina)' 1946-47

 

Unknown photographer (Australian)
Untitled (actor and ballerina)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (actor)' 1946-47

 

Unknown photographer (Australian)
Untitled (actor)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (band performances)' 1946-47

 

Unknown photographer (Australian)
Untitled (band performances)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bilsons, country town)' 1946-47

 

Unknown photographer (Australian)
Untitled (Bilsons, country town)
1946-47
Medium format negative
Collection of Nicholas Henderson

 

 

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04
Aug
19

Exhibition: ‘Shea Kirk: Vantages’ at the Centre for Contemporary Photography, Fitzroy, Melbourne

Exhibition dates: 15 June - 11 August 2019

 

Shea Kirk. 'Dale Robertson (left and right view)' 2019

 

Shea Kirk
Dale Robertson (left and right view)
2019
Courtesy the artist

 

 

Another impressive exhibition at the Centre for Contemporary Photography, this time by artist Shea Kirk in their first solo exhibition.

Photographed in a home-studio with plain backdrops (which remind me of photo-booth images and the white backgrounds of Richard Avedon) on dual large format cameras, I love the split screen vision of these stereoscopic portraits. The schism between left and right, as when you close and open your left and right eye to see something from a different point of view. I couldn’t get the stereoscopic viewer provided to work for me when looking through it… which is probably a good thing because I like the split between the images, those different vantage points, instead of the image being combined into a statuesque edifice.

(The definition of “vantage” is a point of view or position that is more superior or advantageous than another. Personally I don’t think any point of view, in terms of identity construction, should be superior to another.)

Where I think the exhibition is less successful is in the pose of some of the subjects. The press release states that the subjects “stare at us with a disarming self-awareness … presenting as though conscious of their own vulnerabilities – they are aware of what it means to represent themselves”, but all to often I get no sense of who these people really are, what their personality is, in their stillness and statuesqueness, in the time freeze snap of the camera shutter.

I am no great fan of dead pan photography, and here the subjects too often stare off into the distance, supposedly immersed in their own reverie, allowing the viewers eye to rove over their outer appearance, as though the edifice tells us all about who they are. This works well in the image of the nude women covered in tattoos, a magnificent image of strength and beauty but the technique falls flat in the image of Christiane D’Arc (2018, below) for example. I just don’t buy this vacant stare, or to put it another way, photography as mere representation.

The sitter might be aware of their own vulnerabilities and aware of what it means to represent themselves, but it’s not they who are engaged in deciphering the enigma. The best images give you more, for example the photographs of Dale Robertson (2019, above). Here, in the right hand side image, the subject stares straight at the camera engaging me directly, while the mystery of this human being is enhanced by the left hand portrait where he is staring away. What is he thinking, feeling? I get it, it works.

This is a fantastic exhibition for a first solo effort. What is going to be really interesting is to see how Kirk develops this work further. What direction will the work take, which pathways will the artist uncover on their journey of discovery. I would suggest reading the Robert Johnson books He, She and We if not already read. For any artist, these are exciting times!

Dr Marcus Bunyan

.
Many thankx to the Centre for Contemporary Photography for allowing me to publish the photographs in the posting. Please click on the photographs to view a larger version of the image.

 

 

Installation view of the exhibition 'Shea Kirk: Vantages' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Shea Kirk: Vantages' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Shea Kirk: Vantages' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Shea Kirk: Vantages' at the Centre for Contemporary Photography, Melbourne

Installation view of the exhibition 'Shea Kirk: Vantages' at the Centre for Contemporary Photography, Melbourne

 

Installation views of the exhibition Shea Kirk: Vantages at the Centre for Contemporary Photography, Melbourne
Photographs: J. Forsyth

 

 

Vantages is an ongoing series of stereoscopic portraits by Melbourne-based artist Shea Kirk. Working with dual large-format cameras to simultaneously capture two images from different perspectives, Kirk invites subjects to be photographed in his humble home-studio. Each portrait is exposed onto black and white sheet film through a slow and methodical process, enabling an intimate exchange that highlights the agency between photographer and subject. When viewed through a stereoscope, these dual-portraits can be seen three-dimensionally, rendering the subject hauntingly statuesque.

Often in states of undress and portrayed standing or sitting in front of simple backdrops, the subjects in Vantages stare at us with a disarming self-awareness, perhaps only possible in the selfie-obsessed, smart-phone age. Subjects present as though conscious of their own vulnerabilities – they are aware of what it means to represent themselves – and through the very nature of this dual imaging process, they resist being reduced to a single vantage point.

Vantages references a rich history of photographic portraiture, with a freshness that is distinctly contemporary. Vantages considers the significance of portraiture now, through Kirk’s powerfully contemplative, and beautifully realised dual images.

 

Biography

Shea Kirk is a Melbourne-based visual artist working with traditional photographic methods and techniques. Shea Kirk has been a finalist in the Olive Cotton Award (2019); National Photographic Portrait Prize (2019) and the Head On Portrait Prize (2018), and has participated in a number of group exhibitions across Victoria.

Press release from the Centre for Contemporary Photography 21/09/2019

 

Shea Kirk. 'Mohini Hillyer (left and right view)' 2017

 

Shea Kirk
Mohini Hillyer (left and right view)
2017
Courtesy the artist

 

Shea Kirk. 'Christiane D'Arc (left and right view)' 2018

 

Shea Kirk
Christiane D’Arc (left and right view)
2018
Courtesy the artist

 

Shea Kirk. 'Jacob Coppedge (left and right view)' 2019

 

Shea Kirk
Jacob Coppedge (left and right view)
2019
Courtesy the artist

 

Shea Kirk. 'Paul Stillen (left and right view)' 2019

 

Shea Kirk
Paul Stillen (left and right view)
2019
Courtesy the artist

 

Shea Kirk. 'Joao Quintao Marcolla (left and right view)' 2019

 

Shea Kirk
Joao Quintao Marcolla (left and right view)
2019
Courtesy the artist

 

 

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

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

Centre for Contemporary Photography website

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05
Apr
19

Marcus Bunyan black and white archive: Mask, 1994

April 2019

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

 

 

Marcus Bunyan. 'Paul (Dildo I)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo I)
1994
From the series Mask
Gelatin silver print

 

 

This series of photographs is of my partner, my lover, my best friend and my muse for twelve and a half years. We had such fun with life, pushing the boundaries at every opportunity. It was a privilege to be able to photograph Paul in every situation that we thought about, to capture the creativity of spirit and being, of existence.

There are many photographs of this handsome, intelligent man that I took – a deep collaboration that I will never have again in my lifetime. The photographs that emerged from our relationship remind me of those that Alfred Stieglitz took of Georgia O’Keeffe – strong images based on trust and intimacy.

To Paul, I am proud of the photographs we took together and I am eternally grateful for our love, relationship and exploration of body, mind and spirit. Thank you.

Marcus

 

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

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

 

Marcus Bunyan. 'Mask' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask I
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask II
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Horse bit)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Horse bit)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Boots)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Boots)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance I' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance I
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask III
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Dildo II)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo II)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Blind)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Blind)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance II' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance II
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance III' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance III
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance IV' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance IV
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Dildo III)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo III)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands on hips)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands on hips)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Blind)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Blind)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands on hips)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands on hips)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Saliva I' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Saliva I
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Saliva II' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Saliva II
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands behind back)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands behind back)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask IV' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask IV
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Boots and mask)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Boots and mask)
1994
From the series Mask
Gelatin silver print

 

 

Marcus Bunyan website

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30
Dec
18

Photographs: ‘Australia’ Part 1

December 2018

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

 

 

Anonymous photographer. 'Parlour, Broken Hill, New South Wales' 1895

 

Anonymous photographer
Parlour, Broken Hill, New South Wales
1895
Gelatin silver print

 

A German Rönisch piano with a copy of “A Country Girl” above the keyboard (I can’t find any reference online to this song?). To the right, a two-panel screen with Christmas cards, one with the words “Hearty Greetings” and another with the date “1895”.

 

 

The last posting for 2018 features a selection of Australian black and white photographs that belong to a friend of mine, who has kindly allowed me to scan and publish them. The images have been digitally cleaned after scanning. The titles of the photographs are annotated on the back of the images.

The photographs are mainly of pastoral, colonial, outback, station, homestead and mining life, and picture the remoteness of these properties and towns c. 1910s-1950s. They also evidence the nature of white, colonial, patriarchal society much in evidence on pastoral stations during this time period. Hardly a women appears in these photographs, and Indigenous Australians usually only appear as stockmen or trackers.

Of most interest to me are the photographs of Poolamacca Station, c. 1910.

In the first photograph, Christmas Day, Poolamacca Station, north of Broken Hill, New South Wales (below) what is going on in the photograph remains a bit of a mystery. A man lies, apparently comatose, on a mattress outside, on the ground, in the strong midday sun (note the short length of the shadows). The man to the right reaches forward to clasp his hand, while other men around clasp each other’s hands to form a circle around the body. Some men look down at the body on the mattress, others stare straight at the camera, smoking cigars. A handsome man with a moustache, on bended knee and wearing a waistcoat, third from left, smiles broadly at the camera. A man at the back of the group rests his head against the stone of the building, eyes closed, as though he is drunk. The length of the exposure can be judged by the several blurred figures, particularly of the man standing and the head of the man at right rear.

Several scenarios are possible: is the man lying on the mattress really ill? Is it some kind of religious play being performed on Christmas Day? Are they all drunk and mucking about? And/or is it some kind of game, a charade? The circle of hands suggests to me it is a type of friendship game for the person lying on the mattress, a bond between them all, a supposition reinforced by the handsome man smiling at the camera. If the situation were serious, he would not be smiling. The second photograph, taken at the same time (before or afterwards?), features the men now accompanied by women, piled high on a cart pulled by four horses. At left behind the front horses can be seen what I believe is the same corrugated iron and building that appears at left in the first image. We can only guess the narrative in the first photograph because we do not have enough clues. Nevertheless, the photograph and its story remain a fascinating mystery.

The third and fourth photographs also tell an enigmatic story. Again, they have both been taken at the same time, as can be seen by the same riveted water tank behind each group in the photographs. The same fair-haired child also appears at right in the first photograph and sitting in his mother’s lap in the second photograph. From the length of his white apron, the white man in the photograph is possibly a cook or butcher at Poolamacca Station. The photographs also put lie to George Dutton’s claim that “in 1910 there was only two boys left” at Poolamacca Station (see extract from The Mutawintji research project report below).

What we have here is, possibly, an interracial marriage or partnership, a frontier marriage? whose Australian

“… boundary-crossing lovers are still omitted from the historical memory of the nation. Despite their long-term, cross-generational legacies, these unions virtually became a secret of state. …

These lovers generated families at the core of the cultural and historical interface that became the Australian nation. However, the young coloniser state did not like it.

From the coming of Federation until the 1960s, love affairs between Aboriginal people and others were severely restricted across all of northern Australia. Queensland moved rapidly to curb courtship and marriage between white Australian men and Aboriginal women. Western Australia and the Northern Territory followed. That didn’t mean that relationships stopped. Love often prevailed. …

Police and missionary enforcers placed white working class men living with Aboriginal women under sexual surveillance, forcing them to either apply for permits or be arrested. Many were fined or jailed. The Chief Protectors, who had the power to decide who could marry whom, regularly refused their written requests to marry.

Although largely untouched by the new laws, magistrates, pastoralists, police and missionaries also fell in love with Aboriginal women. It was not uncommon for cattle station owners and managers to practice a form of cross-frontier polygamy, sustaining relationships with both a white wife and an Aboriginal woman. …

Australian lovers who were willing to cross these punitive marriage bars showed an uncommon courage. Out of this “illicit love” came new generations who carry on the battles for their ancestors and their communities. Some are the very same people who are required today to justify their Aboriginality because of mixed descent. They have to keep explaining who they are and why they are speaking out.1

.
What these rare photographs speak of is a love, an intimacy, and affection within a family unit. Just look at the gentleness as the man holds the child’s hands and the smile on the mother’s face. It is just a gorgeous photograph of love and happiness between white and black, of a smiling women with her children. Passed down through time, it is a privilege to be able to look, to understand, to feel the power of this relationship all of these years later.

Dr Marcus Bunyan

.
All of these photographs have been digitally cleaned. Many thankx to my friend Daniel for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

  1. Professor Ann McGrath. “Celebrating white men and their black lovers,” on The Sydney Morning Herald website [Online] Cited 30/12/2018

 

 

1910s Australia

Anonymous photographer. 'Christmas Day, Poolamacca Station, north of Broken Hill, New South Wales' c. 1910

 

Anonymous photographer
Christmas Day, Poolamacca Station, north of Broken Hill, New South Wales
c. 1910
Gelatin silver print

 

Anonymous photographer. 'Christmas Day, Poolamacca Station, north of Broken Hill, New South Wales' c. 1910 (detail)

 

Anonymous photographer
Christmas Day, Poolamacca Station, north of Broken Hill, New South Wales (detail)
c. 1910
Gelatin silver print

 

Anonymous photographer. 'Christmas guests, Poolamacca Station, north of Broken Hill, New South Wales' c. 1910

 

Anonymous photographer
Christmas guests, Poolamacca Station, north of Broken Hill, New South Wales
c. 1910
Gelatin silver print

 

 

Poolamacca Station

It is situated about 50 kilometres (31 mi) north of Broken Hill and 174 kilometres (108 mi) north east of Mannahill at the eastern end of the Barrier Range adjoining Sturts Meadows. The station currently occupies an area of 40,000 acres (16,187 ha). The abandoned township of Tarrawingee is situated within the boundaries of the station.

The property was established in the 1860s with the first owners of the run being Messrs Jones and Goode. In 1867 a shepherd staged a hoax with a white quartz gold find that lead to an aborted gold rush to the area. The first property in the area was Mount Gipps Station In 1865 with Corona, Mundi Mundi and Poolamacca being established shortly afterward. Sidney Kidman worked at Poolamacca during the 1870s as a boundary rider and stockman.

In 1877 the property was put up for auction by the trustees of the estate of Messrs E. M. Bagot and G. Bennett. At this stage the property was approximately 900 square miles (2,331 km2) in size along with a flock of 34,906 sheep. The property comprised ten separate runs including the 64,000 acre Bijerkerno run to the 25,000 acre Torrowangee run.

John Brougham acquired a half share in Poolamacca in 1889 and later secured the lease outright. Brougham remained at Poolamacca until 1915 when he moved to Adelaide. In 1892 approximately 50 Aboriginal people, were moved to Poolamacca station which under the regime of the late owner, Mr J. Brougham, constituted a sanctuary for the last remaining Aboriginal inhabitants of the Barrier Ranges and adjacent areas.

The lease was later split into two properties: Poolamacca and Wilangee in the 1920s. Moss Smith sold the property in 1927 to the Pastoral company of Adelaide following the death of his daughter whose body was found buried in a warren in Poolamacca late the year before after she had gone missing for four months.

In 2002 the property was acquired by the Indigenous Land Corporation with the title holders being the Wilyakali Aboriginal Corporation when the property occupied an area of 507 square kilometres (196 sq mi).

Text from the Wikipedia website

 

Sydney Poolamacca map

 

Sydney to Poolamacca map, New South Wales, Australia

 

Anonymous photographer. Poolamacca Station, north of Broken Hill, New South Wales' c. 1910

 

Anonymous photographer
Poolamacca Station, north of Broken Hill, New South Wales
c. 1910
Gelatin silver print

 

Anonymous photographer. Poolamacca Station, north of Broken Hill, New South Wales' c. 1910 (detail)

 

Anonymous photographer
Poolamacca Station, north of Broken Hill, New South Wales (detail)
c. 1910
Gelatin silver print

 

Anonymous photographer. Poolamacca Station, north of Broken Hill, New South Wales' c. 1910

 

Anonymous photographer
Poolamacca Station, north of Broken Hill, New South Wales
c. 1910
Gelatin silver print

 

Anonymous photographer. Poolamacca Station, north of Broken Hill, New South Wales' c. 1910 (detail)

 

Anonymous photographer
Poolamacca Station, north of Broken Hill, New South Wales (detail)
c. 1910
Gelatin silver print

 

 

Extracts from The Mutawintji research project

Keith Brougham, the son of John Brougham, the owner of Poolamacca (and brother of John Brougham Jnr of Gnalta station, now part of Mutawintji National Park), describes how the first pastoralists mapped out their original station boundaries by including the best waterholes:

The wild aborigines were a help by following their tracks, as they knew of any existing water away from the river… One old aborigine who claims to be from one of the wild tribes told me the walkabout was a good sign to watch for – at that time a mob were having a hunt for a new hunting ground and had camped about midday. While they were stopped a pregnant woman had a baby there. Next day they were off again, mother and child and went straight to a waterhole, which the white people found by following their tracks (Brougham, K.W.C. 1920, West of the Darling, MS, State Library of South Australia, p. 14)

.
… In 1862, the area north-west of Mt Murchison on the Darling River near present day Wilcannia was still frontier country. Mt Gipps station7, set up in 1865 (Kearns 1982), was the first station in the Broken Hill area. It included the country to the north of Broken Hill and the hill that was to become the Broken Hill mine and city. Mt Gipps was followed soon after by Poolamacca, Corona and Mundi Mundi.

No actual descriptions of the annexation of Mutawintji by pastoralists have been found so far, but as permanent waterholes are few to the north-west of the Darling River, descriptions of the annexure of other important water sources such as Yancannia in the mid 1860s suggest that there was likely to have been conflict. Yancannia station, to the north of Mutawintji, had been established by 1865 and contemporary accounts describe conflict with the local Aboriginal people. By 1872 the Aboriginal people of Yancannia gave the owners “very little trouble” and “a few of them [were] very useful” (Reid in Shaw, M.T. 1987, Yancannia Creek, Melbourne University Press, Melbourne, p. 104).

.
Dr Jeremy Beckett, Dr Luise Hercus, Dr Sarah Martin (edited by Claire Colyer). The Mutawintji research project report. MUTAWINTJI: Aboriginal Cultural Association with Mutawintji National Park. Published in 2008 by the Office of the Registrar, Aboriginal Land Rights Act 1983 (NSW), pp. 9-10.

 

It is clear from the Bonney records that people moved backwards and forwards between Yancannia, Momba, Tarella, Wonnaminta, Poolamacca and Gnalta/Mootwingee stations from the 1860s and through the 1880s. Bonney lists about 44 people as living at Momba and Tarella around 1881; some of the people from Momba have been traced and the descendents of some of the people Bonney described are Aboriginal owners of Mutawintji National Park. …

In 1892 about 50 Aboriginal people, including Outalpa George, were camped near Olary. At about this time they moved to Poolamacca station which “under the regime of the late owner, Mr J. Brougham, constituted a sanctuary for the last remaining Aboriginal inhabitants of the Barrier Ranges and adjacent areas” (Mawson, D. and Hossfeld, P.S. 1926, ‘Relics of Aboriginal Occupation in the Olary District’, Transactions of the Royal Society of South Australia, 50, pp. 17-25).

Keith Brougham, the son of John Brougham, writes about the 1890s:

[in] 1892 [at] Poolamacca … we were amazed by the number of Aboriginals that were there…. I had a boy mate staying with me and about two hundred blacks were camped in a sort of inlet in the hills of Silverton Hill, as it was called west of the homestead … The Aboriginals were practically in their wild state and did not speak our language (Brougham MS n.d, p.1)

… cotton dresses, high coloured and a great favourite of the [women] went as soon as they were landed, and olive oil for the [women’s] hair, always in demand (Brougham MS n.d, p.2).

[the Aboriginal people] were very handy in the woolshed at shearing time. The [women] did all the piece picking and men on the tables and picking up. The pickers were excellent at their job and all had a good eye, male and female (Brougham MS n.d, p.3)

… At Poolamacca my mother … employed a … girl who was neat and tidy, an extra good worker, and in 1896 she was really good (Brougham MS n.d, p.12)

… [at] Euriowie we had a lot of aboriginals working in the creeks surrounding this country picking up slugs of pure tin and bagging it (Brougham MS n.d, p.23).

.
The APB [Aboriginal Protection Board] minutes recorded between 1890 and 1901 seldom mention the Mutawintji area. The only stations in the far north-west that received help from the APB were Poolamacca, occasionally Sturts Meadows, and the fringe camps at Milparinka, Tibooburra, Wanaaring and Wilcannia. The only station that consistently received rations throughout 1890-1901 was Poolamacca. Sturts Meadows (just to the west of Mutawintji) received rations in 1893, 1897 and 1898. Most stations either managed to fully employ the Aboriginal people living there or provided food and clothing of some sort without asking for compensation. …

During John Brougham’s time at Poolamacca during the 1890s and early 1900s, the station was something of a sanctuary for Aboriginal people but many had moved on by the time the Brougham family left. Some followed the Broughams to Gnalta station (now part of Mutawintji National Park) while others went to stations like Yancannia, where a large number of Aboriginal people lived and worked (Shaw, M.T. 1987, Yancannia Creek, Melbourne University Press, Melbourne). …

According to George Dutton, who was born on Yancannia station, there was a sizeable Aboriginal population at Poolamacca until about 1910, but almost none thereafter. George Dutton told Jeremy Beckett:

“At Poolamacca in 1901 there was a big mob of blackfellas, two hundred men without the women and kids. When I went back in 1910 there was only two boys left and graves all round” (Beckett, J. 1978, ‘George Dutton’s Country: Portrait of an Aboriginal Drover’, Aboriginal History, vol. 2 (1), pp. 19).

.
Dr Jeremy Beckett, Dr Luise Hercus, Dr Sarah Martin (edited by Claire Colyer). The Mutawintji research project report. MUTAWINTJI: Aboriginal Cultural Association with Mutawintji National Park. Published in 2008 by the Office of the Registrar, Aboriginal Land Rights Act 1983 (NSW), pp. 14-16.

 

Anonymous photographer. 'Banjo playing in the garden, Broken Hill, far west of outback New South Wales' c. 1910-20

 

Anonymous photographer
Banjo playing in the garden, Broken Hill, far west of outback New South Wales
c. 1910-20
Gelatin silver print

 

Anonymous photographer. 'Banjo playing in the garden, Broken Hill, far west of outback New South Wales' c. 1910-20 (detail)

 

Anonymous photographer
Banjo playing in the garden, Broken Hill, far west of outback New South Wales (detail)
c. 1910-20
Gelatin silver print

 

Anonymous photographer. 'Banjo playing in the garden, Broken Hill, far west of outback New South Wales' c. 1910-20 (detail)

 

Anonymous photographer
Banjo playing in the garden, Broken Hill, far west of outback New South Wales (detail)
c. 1910-20
Gelatin silver print

 

Anonymous photographer. 'Dr Tham?, Wagga Wagga, New South Wales' c. 1900-1910

 

Anonymous photographer
Dr Tham?, Wagga Wagga, New South Wales
c. 1900-1910
Gelatin silver print

 

Anonymous photographer. 'Dr Tham?, Wagga Wagga, New South Wales' c. 1900-1910 (detail)

 

Anonymous photographer
Dr Tham?, Wagga Wagga, New South Wales (detail)
c. 1900-1910
Gelatin silver print

 

 

Anonymous photographer. 'Horse and trap, Wagga Wagga, New South Wales' c. 1910

 

Anonymous photographer
Horse and trap, Wagga Wagga, New South Wales
c. 1910
Gelatin silver print

 

Anonymous photographer. 'Largs Pier Hotel, North-western suburb of Adelaide, South Australia' c. 1910

 

Anonymous photographer
Largs Pier Hotel, North-western suburb of Adelaide, South Australia
c. 1910
Gelatin silver print

 

 

Largs Pier Hotel

Largs Pier Hotel is located on the corner of The Esplanade and Jetty Road in Largs Bay, South Australia.

The Largs Pier Hotel opened in 1882 on the same day as the Largs Bay Railway and Pier. Believed to be 23rd of December according to The Port Adelaide Historical Society. From 1882 till around 1892 the Largs Pier was the primary port of call for New Australians travelling from Europe. Many of these immigrants spent their first nights in Australia at the hotel. (Wikipedia)

 

Largs Pier Hotel, South Australia

 

Largs Pier Hotel, South Australia today

 

 

1930s Australia

Anonymous photographer. 'Alice Springs' c. 1930

 

Anonymous photographer
Alice Springs
c. 1930
Gelatin silver print

 

Anonymous photographer. 'Alice Springs' c. 1930 (detail)

 

Anonymous photographer
Alice Springs (detail)
c. 1930
Gelatin silver print

 

Anonymous photographer. 'Police camels' c. 1930

 

Anonymous photographer
Police camels
c. 1930
Gelatin silver print

 

Anonymous photographer. 'Police camels' c. 1930 (detail)

 

Anonymous photographer
Police camels (detail)
c. 1930
Gelatin silver print

 

Note the Aboriginal police tracker second from left. This could be in the Northern Territory.

 

Anonymous photographer. 'At the Granites' c. 1930

 

Anonymous photographer
At the Granites
c. 1930
Gelatin silver print

 

 

This photograph is possibly from around the Granites gold mine in the Tanami Desert of the Northern Territory of Australia. You can make out the word “gold” on the truck behind the men.

Gold was discovered in the Tanami Desert by Alan Davidson. He arrived in the area in 1898 prospecting until 1901. He took the name Tanami for the region from local Aboriginal people who visited his camp. “On inquiry [he] learned that the native name of the rockholes (from [which the party obtained water] was Tanami, and that they “never died,” he said. Davidson showed the gold specimens to these Aboriginal people, who recognised it and described “mobs of similar stone to the east, together with a large creek containing plenty of water and fish. This they said was “two days’ sleep to the south of east”. (Wikipedia)

 

Anonymous photographer. 'At the Granites' c. 1930 (detail)

 

Anonymous photographer
At the Granites (detail)
c. 1930
Gelatin silver print

 

Note the man crouching at left holding a Kodak box camera, and the folding camera (most probably a Kodak as well) at the feet of the man third from right.

 

Anonymous photographer. 'At the Granites' c. 1930 (detail)

 

Anonymous photographer
At the Granites (detail)
c. 1930
Gelatin silver print

 

 

1950s Australia

Anonymous photographer. 'Roy Hill Homestead, Pilbara region of Western Australia' c. 1950

 

Anonymous photographer
Roy Hill Homestead, Pilbara region of Western Australia
c. 1950
Gelatin silver print

 

Anonymous photographer. 'Roy Hill Homestead, Pilbara region of Western Australia' c. 1950 (detail)

 

Anonymous photographer
Roy Hill Homestead, Pilbara region of Western Australia (detail)
c. 1950
Gelatin silver print

 

 

Roy Hill Homestead

Statement of significance

Roy Hill Station has strong heritage significance as it has aesthetic, historical, scientific, and social values. It represents more than a hundred years of life on a Pilbara station, and its buildings and structures, reflect an evolutionary pattern of development. Roy Hill Station was the home of Alexander Langdon (Alex) Spring who made an enormous contribution to local government in the region between 1940-70. He was a Councillor for 31 years, and was the first President of the East Pilbara Shire in 1972. He was made a Freeman of the Shire of East Pilbara in 1973. becoming the 13th Freeman in Western Australia.
Roy Hill continues to have significance as a large pastoral station, representing some of the other stations which owners did not want included in the Shire of East Pilbara Heritage Inventory.

 

History

Physical description

Roy Hill Homestead is situated 1km off the main road halfway between Newman and Nullagine. Roy Hill Station consists of a large number of buildings which demonstrate the dynamic process of running a pastoral station over a period of more than a century. There are a number of corrugated iron sheds built at different times for mechanical work and storage of station equipment. Close by is the aircraft directional beacon available for the nearby airstrip if a plane was lost. The original airstrip was approx. 6 miles from the homestead. Part of the very old cattle stockyards still stand next to a disused cattle killing hoist, reflecting a time when pastoralists regularly butchered cattle for their home consumption. The yards were the main trucking yards and general handling yards.

The large main house is one of a number of buildings that have been erected on the station since the turn of the century. It has cement block walls with a corrugated iron roof. Surrounding the large and once gracious home is a wide verandah. The house originally consisted of three bedrooms, a living room, guest room, dining room and school room. Nearby the house is a cluster of older buildings including a ‘Nissan hut’ shaped kitchen and dining room for workers and the old Post Office. Office and General Store.

The Post Office, Office and General Store has corrugated iron walls and a gabled tin roof. Inside the Post Office are the pigeon holes and other associated post office fittings. The service hatch for the Post Office is still visible from the outside. The General Store (to the rear of the Post Office) still has its shelves in place and much of the old equipment that has been collected there over the years gives a feeling of stepping back into another time. In the immediate vicinity of the homestead property are other remnants from the past.

Concrete pads found amongst the grass are the remains of Aboriginal stockmens quarters and the many rainwater tanks are reminders of the need to collect and store all water needed for consumption. A light aircraft parked near the airstrip is an important vehicle for transport and for mustering.
Today the house stands unoccupied and the owner and any employees live in transportable homes near the old house.

Text from the State Heritage Office, Government of Western Australia website

 

Anonymous photographer. 'Mundiwindi Station, Pilbara region of Western Australia' c. 1950

 

Anonymous photographer
Mundiwindi Station, Pilbara region of Western Australia
c. 1950
Gelatin silver print

 

 

Mundiwindi

Mundiwindi just off the Jigalong Mission Road in Western Australia is a locality about 1000km north-northeast of Perth. Mundiwindi is at an altitude of about 575m above sea level. The nearest ocean is the Indian Ocean about 410km north-northwest of Mundiwindi. The nearest more populous place is the town of Newman which is 71km away with a population of around 3,500.

Mundiwindi is a ghost town in the Pilbara region of Western Australia. The town is around 1,150 kilometres (710 mi) north east of Perth and 124 kilometres (77 mi) south east of Newman, along the Jigalong Mission road. The town was established in 1914 as a telegraph station. The station was closed in 1977. The telegraph station was a link on the Australian Overland Telegraph Line linking the settled regions of Australia to the submarine cable at Broome. A weather station operated at the site between 1915 and 1981. (Wikipedia)

 

Anonymous photographer. 'Mundiwindi Station, Pilbara region of Western Australia' c. 1950 (detail)

 

Anonymous photographer
Mundiwindi Station, Pilbara region of Western Australia (detail)
c. 1950
Gelatin silver print

 

Anonymous photographer. 'Cardawan Station, central Western Australia' c. 1950

 

Anonymous photographer
Cardawan Station, central Western Australia
c. 1950
Gelatin silver print

 

 

Stockman (Australia)

In Australia a stockman (plural stockmen) is a person who looks after the livestock on a large property known as a station, which is owned by a grazier or a grazing company. A stockman may also be employed at an abattoir, feedlot, on a livestock export ship, or with a stock and station agency. …

 

History

The role of the mounted stockmen came into being early in the 19th century, when in 1813 the Blue Mountains separating the coastal plain of the Sydney region from the interior of the continent was crossed. The town of Bathurst was founded shortly after, and potential farmers moved westward, and settled on the land, many of them as squatters. The rolling country, ideal for sheep and the large, often unfenced, properties necessitated the role of the shepherd to tend the flocks.

Early stockmen were specially selected, highly regarded men owing to the high value and importance of early livestock. All stockmen need to be interested in animals, able to handle them with confidence and patience, able to make accurate observations about them and enjoy working outdoors.

Australian Aborigines were good stockmen who played a large part in the successful running of many stations. With their intimate bonds to their tribal places, and local knowledge they also took considerable pride in their work. After the gold rushes white labour was expensive and difficult to retain. Aboriginal women also worked with cattle on the northern stations after this practice developed in northern Queensland during the 1880s. A Native administration Act later stopped the employment of women in the cattle camps. Aborigines and their families received the regular provision of food and clothing to retain their labour, but were paid only a small wage.

Text from the Wikipedia website

 

For more information on the role and conditions of Aboriginal stockmen, please see the book Aborigines in the Northern Territory Cattle Industry by Dr Frank Stevens, Australian National University Press, 1974.

“Perhaps nowhere in Australia have working and living conditions for Aborigines been so bad as on Northern Territory cattle stations. Though the Aborigines’ skill in handling cattle is acknowledged by their white employers, rarely have they gained recognition in any material way. None were paid full wages, many were fortunate if they received any cash wages at all, almost all lived in appalling conditions, and many were subjected to physical violence.

These facts emerge clearly from Dr Stevens’s thorough research into the conditions obtaining on Territory pastoral properties in the 1960s. During surveys in 1965 followed up in 1967, Dr Stevens questioned employers and both black and white workers in the industry, eliciting some revealing replies. It was apparent that the Aboriginal workers were fully aware of their degraded position and the way in which they were exploited.

Where possible Dr Stevens visited the Aboriginal station ‘camps’, though he met with opposition from some station owners, reluctant to allow him free access. In almost all of them the living conditions were primitive, the best of accommodation being little more than a corrugated iron hut. Few camps had running water or cooking facilities.

In the growing awareness of the Aborigines’ plight in Australia, this book is an important testimony of the conditions in which many lived and worked, conditions that must no longer be allowed to exist.” (Book jacket)

 

Anonymous photographer. 'Cardawan Station, central Western Australia' c. 1950 (detail)

 

Anonymous photographer
Cardawan Station, central Western Australia (detail)
c. 1950
Gelatin silver print

 

Anonymous photographer. 'Railway Hotel, Lake Austin township, Murchison region of Western Australia' c. 1950

 

Anonymous photographer
Railway Hotel, Lake Austin township, Murchison region of Western Australia
c. 1950
Gelatin silver print

 

 

Austin, Western Australia

Austin is an abandoned town in the Murchison region of Western Australia. The town is located south of Cue on an island in Lake Austin and for this reason was also known as Lake Austin and The Island Lake Austin.

The lake and the town are both named after surveyor Robert Austin, who was the first European to explore and chart the area. Austin initially named the lake the Great Inland Marsh but the name was later changed to Lake Austin. The townsite was gazetted in 1895. When Austin travelled through the area he described it as very indifferent but also added the geological features indicate rich goldfields. (Wikipedia)

 

Anonymous photographer. 'Railway Hotel, Lake Austin township, Murchison region of Western Australia' c. 1950 (detail)

 

Anonymous photographer
Railway Hotel, Lake Austin township, Murchison region of Western Australia (detail)
c. 1950
Gelatin silver print

 

 

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Oct
11

Marcus Bunyan black and white archive: portraits 1991/2

October 2010

 

Marcus Bunyan. 'Andrea with long hair' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Andrea with long hair
1991/2
Gelatin silver print

 

 

Portraits, South Yarra, Melbourne

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

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

 

Marcus Bunyan. 'Andy in the flat, Punt Road, South Yarra' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Andy in the flat, Punt Road, South Yarra
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Fredrick White, Weapon-Maker' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Fredrick White, Weapon-Maker
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Fred my brother' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Fred my brother
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Fred smiling in the flat, Punt Road, South Yarra' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Fred smiling in the flat, Punt Road, South Yarra
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Fred's hands' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Fred’s hands
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Jerry, Bent Metal, Punt Road, South Yarra' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Jerry, Bent Metal, Punt Road, South Yarra
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Jerry, Bent Metal, Punt Road, South Yarra' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Jerry, Bent Metal, Punt Road, South Yarra
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Brent in the backyard' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Brent in the backyard
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Lawrence in the kitchen, Punt Road, South Yarra' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Lawrence in the kitchen, Punt Road, South Yarra
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Lawrence with strainer' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Lawrence with strainer
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Portrait of Lawrence' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Portrait of Lawrence
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Fredrick White' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Fredrick White
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Yvonne Kendall' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Yvonne Kendall
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Lawrence sleeping' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Lawrence sleeping
1991/2
Gelatin silver print

 

Marcus Bunyan. 'Untitled (Lawrence clasping his arms to his back)' 1991/2

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Lawrence clasping his arms to his back)
1991/2
Gelatin silver print

 

 

Marcus Bunyan black and white archive page

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23
Feb
11

Vale Dr John Cato (1926-2011)

February 2011

 

It is with much sadness that I note the death of respected Australian photographer and teacher Dr John Cato (1926-2011). Son of Australian photographer Jack Cato, who wrote one of the first histories of Australian photography (The Story of the Camera in Australia (1955)), John was apprentice to his father before setting up a commercial studio with Athol Shmith that ran from 1950-1971. Dr Cato then joined Shmith at the fledgling Prahran College of Advanced Education photography course in 1974, becoming head of the course when Shmith retired in 1979, a position he held until John retired in 1991.

I was fortunate enough to get to know John and his vivacious wife Dawn. I worked with him and co-curatored his retrospective with William Heimerman, ‘…and his forms were without number’ at The Photographers’ Gallery, South Yarra, in 2002. My catalogue essay from this exhibition is reproduced below.

John was always generous with his time and advice. His photographs are sensitive, lyrical renditions of the Australian landscape. He had a wonderful ear for the land and for the word, a musical lyricism that was unusual in Australian photographers of the early 1970s. He understood how a person from European background could have connection to this land, this Australia, without being afraid to express this sense of belonging; he also imaged an Aboriginal philosophy (that all spirits have a physical presence and everything physical has a spiritual presence) tapping into one of the major themes of his personal work: the mirror held up to reveal an’other’ world – the language of ambiguity and ambivalence (the dichotomy of opposites e.g. black / white, masculine / feminine) speaking through the photographic print.

His contribution to the art of photography in Australia is outstanding. What are the precedents for a visual essay in Australian photography before John Cato? I ask the reader to consider this question.

It would be fantastic if the National Gallery of Victoria could organise a large exhibition and publication of his work, gathering photographs from collections across the land, much like the successful retrospective of the work of John Davis held in 2010. Cato’s work needs a greater appreciation throughout Australia because of it’s seminal nature, containing as it does the seeds of later development for Australian photographers. His educational contribution to the development of photography as an art form within Australia should also be acknowledged in separate essays for his influence was immense. His life, his teaching and his work deserves nothing less.

Dr Marcus Bunyan

 

‘… and his forms were without number’

John Cato: A Retrospective of the Photographic Work 1971-1991

This writing on the photographic work of Dr John Cato from 1971-1991 is the catalogue essay to a retrospective of his work held at The Photographers’ Gallery in Prahran, Melbourne in 2002. Dr Cato forged his voice as a photographic artist in the early 1970s when photography was just starting to be taken seriously as an art form in Australia. He was a pioneer in the field, and became an educator in art photography. He is respected as one of Australia’s preeminent photographers of the last century.

 

With the arrival of ‘The New Photography’1 from Europe in the early 1930’s, the formalist style of Modernism was increasingly adopted by photographers who sought to express through photography the new spirit of the age. In the formal construction of the images, the abstract geometry, the unusual camera angles and the use of strong lighting, the representation ‘of the thing in itself’2 was of prime importance. Subject matter often emphasised the monumentality of the factory, machine or body/landscape. The connection of the photographer with the object photographed was usually one of sensitivity and awareness to an external relationship that resulted in a formalist beauty.

Following the upheaval and devastation of the Second World War, photography in Australia was influenced by the ‘Documentary’ style. This “came to be understood as involved chiefly with creating aesthetic experiences … associated with investigation of the social and political environment.”3 This new movement of social realism, “… a human record intimately bound with a moment of perception,”4 was not dissimilar to Henri Cartier-Bresson’s ‘decisive moment’ (images a la sauvette) where existence and essence are in balance.5

The culmination of the ‘Documentary’ style of photography was The Family of Man exhibition curated by Edward Steichen that toured Australia in 1959.6 This exhibition, seen many times by John Cato,7 had a theme of optimism in the unity and dignity of man. The structure of the images in ‘Documentary’ photography echoed those of the earlier ‘New Photography’.

Max Dupain “stressed the objective, impersonal and scientific character of the camera; the photographer could reveal truth by his prerogative of selection.”8 This may have been an objective truth, an external vocalising of a vision that concerned itself more with exterior influences rather than an internal meditation upon the subject matter.

 

John Cato. 'Untitled' from the series 'Essay I, Landscapes in a Figure' 1971-1979

 

John Cato (Australian, 1926-2011)
Untitled from the series Essay I, Landscapes in a Figure
1971-1979
Silver gelatin photograph

 

 

In 1971, John Cato’s personal photographic work was exhibited for the first time as part of the group show Frontiers at the National Gallery of Victoria, Melbourne.9 Earth Song emerged into an environment of social upheaval inflamed by Australian involvement in the Vietnam War. It provided a group of enthusiastic people who were beginning to be interested in photography as art, an opportunity to see the world, and photography, through a different lens. The 52 colour photographic prints in Earth Song, were shown in a sequence that used melodic line and symphonic form as its metaphoric basis, standing both as individual photographs and as part of a total concept.10

In the intensity of the holistic vision, in the connection to the subconscious, the images elucidate the photographers’ search for a perception of the world. This involved an attainment of a receptive state that allowed the cracks, creases and angles inherent in the blank slate of creation to become meaningful. The sequence contained images that can be seen as ‘acts of revelation’,11confirmed and expanded by supporting photographs, and they unearthed a new vocabulary for the discussion of spiritual and political issues by the viewer. They may be seen as a metaphor for life.

The use of sequence, internal meditation and ‘revelation’, although not revolutionary in world terms,12 were perhaps unique in the history of Australian photography at that time. During the production of Earth Song, John Cato was still running a commercial studio in partnership with the photographer Athol Shmith and much of his early personal work was undertaken during holidays and spare time away from the studio. Eventually he abandoned being a commercial photographer in favour of a new career as an educator, but found this left him with even less time to pursue his personal work.13

Earth Song (1970-1971) was followed by the black and white sequences:

 

Tree – A Journey 18 images 1971-1973
Petroglyphs 14 images 1971-1973
Seawind 14 images 1971-1975
Proteus 18 images 1974-1977
Waterway 16 images 1974-1979

 

Together they form the extensive series Essay I, Landscapes in a Figure, parts of which are held in the permanent photography collection of the National Gallery of Victoria.14

 

John Cato. 'Untitled' from the series 'Essay I, Landscapes in a Figure' 1971-1979

 

John Cato (Australian, 1926-2011)
Untitled from the series Essay I, Landscapes in a Figure
1971-1979
Silver gelatin photograph

 

 

The inspiration for Essay I and later personal work came from many sources. An indebtedness to his father, the photographer Jack Cato, is gratefully acknowledged. Cato also acknowledges the influence of literature: William Shakespeare (especially the Sonnets, and As You Like It), William Blake, Walt Whitman (Leaves of Grass), Lewis Carroll (Through the Looking Glass), the Bible; and of music (symphonic form), the mythology of the Dreamtime and Aboriginal rock paintings.15 Each body of work in Essay I was based on an expression of nature, the elements and the Creation. They can be seen as Equivalents16 of his most profound life experiences, his life philosophy illuminated in physical form.

John Cato was able to develop the vocabulary of his own inner landscape while leaving the interpretation of this landscape open to the imagination of the viewer. Seeing himself as a photographer rather than an artist, he used the camera as a tool to mediate between what he saw in his mind’s eye, the subjects he photographed and the surface of the photographic negative.17 Photographing ‘in attention’, much as recommended by the teacher and philosopher Krishnamurti,18 he hoped for a circular connection between the photographer and the subject photographed. He then looked for verification of this connection in the negative and, eventually, in the final print.

Essay II, Figures in a Landscape, had already been started before the completion of Essay I and it consists of three black and white sequences:

 

Alcheringa 11 images 1978-1981
Broken Spears 11 images 1978-1983
Mantracks 22 images in pairs 1978-1983

 

The photographs in Essay II seem to express “the sublimation of Aboriginal culture by Europeans”19 and, as such, are of a more political nature. Although this is not obvious in the photographs of Alcheringa, the images in this sequence celebrating the duality of reality and reflection, substance and shadow, it is more insistent in the symbology of Broken Spears and Mantracks. Using the metaphor of the fence post (white man / black man in Broken Spears) and contrasting Aboriginal and European ‘sacred’ sites (in pairs of images in Mantracks), John Cato comments on the destruction of a culture and spirit that had existed for thousands of years living in harmony with the land.

In his imaging of an Aboriginal philosophy (that all spirits have a physical presence and everything physical has a spiritual presence) he again tapped one of the major themes of his personal work: the mirror held up to reveal an’other’ world. Cato saw that even as they are part of the whole, the duality of positive / negative, black / white, masculine / feminine are always in conflict.20 In the exploration of the conceptual richness buried within the dichotomy of opposites, Cato sought to enunciate the language of ambiguity and ambivalence,21 speaking through the photographic print.

The theme of duality was further expanded in his last main body of work, Double Concerto: An Essay in Fiction:

 

Double Concerto (Pat Noone) 30 images 1984-1990
Double Concerto (Chris Noone) 19 images 1985-1991

 

Double Concerto may be seen as a critique of the power of witness and John Cato created two ‘other’ personas, Pat Noone and Chris Noone, to visualise alternative conditions within himself. The Essay explored the idea that if you send two people to the same location they will take photographs that are completely different from each other, that tell a distinct story about the location and their self:

“For the truth of the matter is that people have mixed feelings and confused opinions and are subject to contradictory expectations and outcomes, in every sphere of experience.”22

This slightly schizophrenic confusion between the two witnesses is further highlighted by Pat Noone using single black and white images in sequence. Chris Noone, on the other hand, uses multiple colour images joined together to form panoramic landscapes that feature two opposing horizons. The use of colour imagery in Double Concerto, with its link to the colour work of Earth Song, can be seen to mark the closing of the circle in terms of John Cato’s personal work. In Another Way of Telling, John Berger states that …

“Photography, unlike drawing, does not possess a language. The photographic image is produced instantaneously by the reflection of light; its figuration is not impregnated by experience or consciousness.”23

.
But in the personal work of John Cato it is a reflection of the psyche, not of light, that allows a consciousness to be present in the figuration of the photographic prints. The personal work is an expression of his self, his experience, his story and t(his) language, is our language, if we allow our imagination to speak.

Dr Marcus Bunyan 2002

 

Footnotes

1 @ Newton, Gael. Shades of Light: Photography and Australia 1839-1988. Sydney: Australian National Gallery, William Collins, 1988, p. 109.
2 @ Newton, Gael. Max Dupain. Sydney: David Ell Press,1980, p. 34.
3 @ Ibid., p. 32.
4 @ Greenough, Sarah (et al). On the Art of Fixing a Shadow: 150 Years of Photography. Boston: National Gallery of Art, Bullfinch Press, 1989, p. 256.
5 @ Ibid., p. 256.
6 @ Newton, Gael. Shades of Light: Photography and Australia 1839-1988. Sydney: Australian National Gallery, William Collins, 1988, p. 131.
7 @ Ibid., p. 131.
8 @ Newton, Gael. Max Dupain. Sydney: David Ell Press, 1980, p. 32.
9 @ Only the second exhibition by Australian photographers at the National Gallery of Victoria, Melbourne.
10 @ Shmith, Athol. Light Vision No.1. Melbourne: Jean-Marc Le Pechoux (editor and publisher), Sept 1977, p. 21.
11 @ Berger, John and Mohr, Jean. Another Way of Telling. New York: Pantheon Books, 1982, p. 118.
12 @ Hall, James Baker. Minor White: Rites and Passages. New York: Aperture, 1978.
13 @ Conversation with the photographer 29/01/1997, Melbourne, Victoria.
14 @ Newton, Gael. Shades of Light: Photography and Australia 1839-1988. Sydney: Australian National Gallery, William Collins, 1988, p. 135, Footnote 7; p. 149.
15 @ Conversation with the photographer 22/01/1997, Melbourne, Victoria.
16 @ Norman, Dorothy. Alfred Stieglitz. New York: Aperture, 1976, p. 5.
17 @ Ibid.,
18 @ Krishnamurti. Beginnings of Learning. London: Penguin, 1975, p. 131.
19 @ Strong, Geoff. Review. The Age. Melbourne, 28/04/1982.
20 @ Conversation with the photographer 22/01/1997, Melbourne, Victoria.
21 @ The principal definition for ambiguity in Websters Third New International Dictionary is:

“admitting of two or more meanings … referring to two or more things at the same time.” That for ambivalence is “contradictory and oscillating subjective states.”

Quoted in Davis, Fred. Fashion, Culture and Identity. Chicago: University of Chicago Press, 1992, p. 21.

22 @ Levine, Donald. The Flight From Ambiguity. Chicago: University of Chicago Press, 1985.
23 @ Berger, John and Mohr, Jean. Another Way of Telling. New York: Pantheon Books, 1982, p. 95.

 

 

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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.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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