Posts Tagged ‘Australian contemporary photography

24
Oct
21

Photographs: Marcus Bunyan. ‘Resonance’ 2021

October 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Resonance noun: the power to bring images, feelings, etc. into the mind of the person reading or listening; the images, etc. produced in this way…

 

 

A body of work for 2021. Very proud of this sequence…

Taken in heavy overcast conditions with slight rain after a thunderstorm had passed through on my Mamiya RZ67 medium format film camera, at Eagle’s Nest, Bunurong Marine and Coastal Park, Victoria, Australia.

A period of intense seeing and previsualisation.

No cropping, all full frame photographs. The colours are as the camera saw them.

See the layout of the series on my website.

Dr Marcus Bunyan

48 images
© Marcus Bunyan

 

Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Marcus Bunyan website

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15
Aug
21

Review: ‘William Yang: Seeing and Being Seen’ at the Queensland Art Gallery | Gallery of Modern Art (GOMA), Brisbane

Exhibition dates: 27th March – 22nd August 2021

Curator: Rosie Hays, Associate Curator, Australian Cinémathèque, QAGOMA

 

 

William Yang (Australia b. 1943) 'Golden Summer' 1987/2016

 

William Yang (Australia b. 1943)
Golden Summer
1987/2016
Inkjet print, gold leaf on Innova Softex paper
40 x 30cm
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) ''Allan' from the monologue 'Sadness'' 1992

 

William Yang (Australia b. 1943)
‘Allan’ from the monologue ‘Sadness’
1992
© William Yang
Courtesy: The artist

 

 

The Family of Yang

Let me tell you a story… a story made up of many smaller tales, told to me by a chronicler, diarist, writer, performance artist and filmmaker; socio-documentary photographer and historian; master of oral history and storytelling – Chinese-Australian artist William Yang.

Voluminous amounts of text have been written about Yang’s art practice and for this reason I only offer here a brief precis of his fifty year career as an artist. Indeed, it is impossible to cover such an expansive career in performance, film, text and photographs in one posting. After the precis I offer some thoughts and insights into Yang’s work.

Yang was born in 1943 into a family of Chinese immigrants in Far North Queensland. After moving to Brisbane in the mid-1960s to study architecture, he journeyed to Sydney in 1969 where he helped produce plays. Yang picked up a camera and started taking photographs of his friends, celebrities, parties and the gay scene in Sydney, Australia in the early-mid 1970s. His first exhibition Sydneyphiles at the Australian Centre for Contemporary Photography in 1977 set him on his way. Personal reflections were written directly on the mounts around his photographs something that he was to adapt further, inscribing his stories directly on the photographs in later bodies of work (“an oral tradition of storytelling transferred to the physical medium of the photograph”). In 1989, Yang began performing monologues with slide projections in theatres, integrating his skills as a writer and a visual artist.

As can be heard in the exhibition curator Rosie Hays’ video talk below, Yang’s first period was as a social life photographer / commercial photographer, earning a living selling his photographs to gay newspapers; his second period encompassed investigations into marginalised communities: queer community, Australian-Chinese community, Indigenous communities and telling alternative histories of Australia including the history of his Chinese-Australian heritage; and in the third period, Yang’s work has become more reflective, interested in ordinary things, interested in the life of the human embodied in the landscape.

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As a documentary photographer and performance artist, Yang’s work has examined numerous linked themes. The artist investigates the intimate connections between dystopian and utopian worlds – for example, between the body racked by AIDS and the body beautiful (see above), or between the racism of his childhood and the acceptance of his Chinese heritage – as he probes the paradoxes of existence, those parallels streams of life and death, where one person looks death in the eye and the other doesn’t even know it exists… in that moment. And then proposes a reconciliation between past and present, personal and private, between the margins and the centre. Through his personal stories he exposes himself in the act of making his art, transcending his life in art. Ego drops away and he becomes entirely his own person, entirely himself, when he performs in his inimitable, self-deprecating style.

I have a suspicion, and I could be entirely wrong here, that at heart the young Yang was a very shy and insecure person. From personal experience I know that many introverts hide their shyness through extrovert behaviour, wanting to belong, wanting to be in with the in crowd, to be the life of the party. Yang was always there at any event opening or party, never without a camera, always ready to capture what life put before him because he wanted to belong. Then, to his great credit, instead of getting caught in a rut as many artists do repeating the same thing over and over again, he had the intelligence, will and creativity to push himself further, to take those next steps in his development as an artist and human being… to take those steps that descend, in metaphor, to the centre of the earth, to the centre of his existence. He was on that golden path of self discovery, another step in the evolution of himself. He wanted to know how he, and others, fitted into the great scheme of life. As a chronicler of moments, a chronicler of history, he speaks aloud the thoughts of his own becoming.

While photography is about capturing a moment and being a vehicle for storytelling, it is so much more than that. It can be about the relationship between the photographer and the subject and how that relationship evolves from a personal engagement to a universal engagement. It is the artist’s view of the world through the camera lens turned from a personal story into a universal story to which any human being can relate. Here we have empathy and humanity, diversity and racism, voyeurism and performance, public and private, bigotry and poofdom, decadence and death. The artist tells those stories, where personal is universal.

Yang is an national treasure, a living legend. People relate to William Yang. They reveal themselves to him because they feel comfortable in his presence, comfortable in his spirit and energy. He draws people to him, he is a sage – from the Latin sapere ‘be wise’ – who loves documenting people and their interactions with each other and with himself. He draws people into his orbit… and creates magical stories and intimate photographs about human existence. There is an undeniable virtu to the person and his work. All the subjects of his art are his family. Whether a celebration of life, an investigation into community, in joy and in sadness, we are all, always, part of the Family of Yang.

Dr Marcus Bunyan

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Many thankx to the Queensland Art Gallery | Gallery of Modern Art (GOMA) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Queensland-born, Sydney-based photographer William Yang’s significant contribution to Australian photography spans five decades. Known for his reflective and joyous depictions of Australia’s LGBTIQ+ scene in the late 70s and 80s through to the present. Yang’s photography is informed by the cultural and political pressures of growing up as a gay man from a Chinese immigrant family in north Queensland.

This exhibition is a major survey of Yang’s work, which traces his career from documentary photography through to explorations of cultural and sexual identities and his depictions of landscape. Yang integrates a photographic practice with writing, video and performance. The exhibition includes Yang’s prolific social portraiture which features prominent creative identities from theatre, film, art and literature such as Patrick White, Brett Whiteley and Cate Blanchett, his revelatory insights into the LGBTIQ+ community, and insightful images of the Australian landscape.

Seeing and Being Seen also includes early social photographs of Sydney’s arts scene as well as the artist’s long exploration of his family and childhood experience in North Queensland which interrogate and celebrate his Chinese-Australian identity, Yang’s identity as a Chinese-Australian, a gay man and artist informs his marginalised experience.

While the stories and images included in the exhibition are quite specific to Yang’s life, the emotions underpinning them are instantly recognisable and acutely relatable. There is confession and courage in his storytelling – his most well-known works are often deeply personal and represent the means by which he reckons with his past, his relationships, and his experience outside the mainstream.

Text from the QAGOMA website

 

 

“Yang’s generation is not life as reported in the newspapers but ‘as I saw it’: a personal account summed up as a litany of parties, of innocence lost and worldliness gained, a continuum of his search for contact and meaning. Like his contemporaries Rennie Ellis or Michael Rosen, William Yang is a social photographer, a recorder of life. His strength lies in creating a living testament, and his medium’s strength is that it is necessarily shared. He offers no moral tale, nor any notion of karma to underscore the events: just the three basic but vital stories – birth, love and death.”

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Michael Desmond, Senior Curator, National Portrait Gallery, Canberra

 

“For me, seeing William’s images of men, swaddled in their desire, affection and easy love for one another, continues to disentangle something that’s been knotted up inside me for as long as I can remember. Asian men occupy a very specific idea in the Australian imagination – of being non-sexual, and therefore, undesirable – that we all inevitably internalise. The raw, unashamed sensuality of William’s imagery – of his unabashed desire for the men he captures, and the framing of Asian male beauty itself – is such a potent corrective. His images remind us that desire isn’t anything to be ashamed of, and that Asian men are desirable too.”

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Benjamin Law. ‘Bearing witness in the church of William Yang’ 2021

 

“I was a photographer, which means that I was a voyeur.”

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William Yang

 

“It was difficult to make ends meet as a playwright, so I became a photographer as a way of making money. I was attracted to the glamorous world. I wanted to be a part of it. One way of doing this, I thought, was to be a fashion photographer but i was terrible at it – I couldn’t cover up the flaws. I was better at covering parties and events.”

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William Yang, 1993

 

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation view of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing at left, Stand Palm Beach (1981); at middle, The Pool at Bondi #3 (1987); and at right, Golden Summer (1987/2016, above)

 

William Yang (Australia b. 1943) 'Tamarama Lifesavers' 1981

 

William Yang (Australia b. 1943)
Tamarama Lifesavers
1981
Inkjet print on Hahnemühle Fine Art Pearl
39 x 70cm
© William Yang
Courtesy: The artist

 

 

William Yang: Seeing and Being Seen / Exhibition walk-through

 

William Yang (Australia b. 1943) 'Life Lines #3 – Self portrait #2 (1947)' 1947/2008

 

William Yang (Australia b. 1943)
Life Lines #3 – Self portrait #2 (1947)
1947/2008
Photographer: Unknown
Inkjet print on Innova Softex paper, ed. 2/30
100 x 70cm
Collection of The University of Queensland, purchased 2010
Photo: Carl Warner Reproduced courtesy of the artist and Andrew Baker Art Dealer, Brisbane

 

William Yang (Australia b. 1943) 'Alter ego' 2001

 

William Yang (Australia b. 1943)
Alter ego
2001
Digital inkjet print on rag paper
68 x 88cm
© William Yang
Courtesy: The artist

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation view of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing the artist standing in front of his photograph Life Lines #11 – William in scholar’s costume (1984) (1984/2009, below)

 

William Yang (Australia b. 1943) 'Life Lines #11 – William in scholar's costume (1984)' 1984/2009

 

William Yang (Australia b. 1943)
Life Lines #11 – William in scholar’s costume (1984)
1984/2009
Inkjet print on Innova Softex paper, ed. 1/20
94.6 x 61.6cm
Collection of The University of Queensland, purchased 2010
Photo: Carl Warner Reproduced courtesy of the artist and Andrew Baker Art Dealer, Brisbane

 

William Yang (Australia b. 1943) 'Self Portrait #5' 2008

 

William Yang (Australia b. 1943)
Self Portrait #5
2008
Inkjet print on Innova Softex paper
42 x 65cm
© William Yang
Courtesy: The artist

 

 

An exhibition of more than 250 works by Australian photographer and performance artist William Yang opens at the Queensland Art Gallery from tomorrow until 22 August, 2021. William Yang: Seeing and Being Seen spans the artist’s five-decade career and is the first major survey of his work to be presented by an Australian state gallery.

Queensland Art Gallery | Gallery of Modern Art Director Chris Saines said Seeing and Being Seen referred to the artist’s view of the world through the camera lens. ‘Yang captures people across all walks of life, including celebrity artists, alongside photographic explorations that throw light onto subcultures and marginalised groups, and he does not turn away from unsettling narratives or uncomfortable truths,’ Mr Saines said. ‘We are thrilled to be presenting this major exhibition encompassing every aspect of Yang’s practice and highlighting his life-long fascination with people and storytelling. We are also premiering his major new performance ‘In Search of Home’ at GOMA.’

Minister for the Arts Leeanne Enoch said QAGOMA continued to take a leading role in showcasing Queensland-born artists, such as William Yang.

‘William Yang is a noted writer, performer and visual artist with an international profile and this exhibition is an important survey of his work, celebrating inclusivity and diversity,’ Minister Enoch said. ‘The Queensland Government’s support for QAGOMA helps ensure the Gallery will continue its legacy of celebrating Queensland artists and sharing works that tell our stories.’

The exhibition includes Yang’s prolific social portraiture which features prominent creative identities from theatre, film, art and literature such as Patrick White, Brett Whiteley and Cate Blanchett, his revelatory insights into the LGBTIQ+ community, and insightful images of the Australian landscape. Seeing and Being Seen also includes early social photographs of Sydney’s arts scene as well as the artist’s long exploration of his family and childhood experience in North Queensland which interrogate and celebrate his Chinese-Australian identity.

Rosie Hays, Associate Curator, Australian Cinémathèque, QAGOMA and curator of Seeing and Being Seen said Yang’s identity as a Chinese-Australian, a gay man and artist informs his marginalised experience.

‘While the stories and images included in the exhibition are quite specific to William’s life, the emotions underpinning them are instantly recognisable and acutely relatable,’ Ms Hays said. ‘There is confession and courage in William’s storytelling. His most well-known works are often deeply personal and represent the means by which he reckons with his past, his relationships, and his experience outside the mainstream.’

Born in North Queensland in 1943, Yang grew up with little knowledge of his Chinese heritage. Even though his parents were second-generation Chinese-Australian, Cantonese was not spoken at home. After coming to Brisbane in the mid-1960s to study architecture at the University of Queensland, he moved to Sydney in 1969, and has lived and worked there ever since.

A major hard-cover publication accompanying the exhibition features essays by William Yang, curator Rosie Hays, Professor Susan Best and Benjamin Law.

Press release from the GOMA website

 

 

 

William Yang: Seeing and Being Seen / Illustrated Curator’s Talk

Exhibition curator Rosie Hays (Associate Curator, Australian Cinémathèque, QAGOMA) traces William Yang’s reflective and joyous career, delving deeper into the artworks and themes addressed in Seeing and Being Seen.

 

 

 

Artist William Yang’s slideshow performance with stories and eyewitness images from Sydney’s thrilling and turbulent gay scene from the 1970s until now.

Yang is one of Australia’s greatest storytellers, a prolific photographer and a performer of monologues with slide projections. His stories describe the experience of coming to terms with his identity as a gay Chinese Australian. Yang’s work presents a rich and celebratory visual record of this journey, from Gay Liberation in the seventies, to the emergence of the Mardi Gras and a gay subculture in the eighties, to AIDS in the nineties.

 

 

William Yang. Families and Fictions: Contemporary Photography from the Collection: Artist Talk, Queensland Art Gallery, 2005

 

William Yang (Australia b. 1943) '"Mother Standing" Brisbane' 1981

 

William Yang (Australia b. 1943)
“Mother Standing” Brisbane
1981
Gelatin silver photographs, ed. 2/10
51.3 x 61.1cm
Queensland Art Gallery Foundation Grant purchased 2004
Collection: Queensland Art Gallery | Gallery of Modern Art
© William Yang

 

William Yang (Australia b. 1943) '"Mother Standing" Brisbane' 1981

 

William Yang (Australia b. 1943)
“Mother Standing” Brisbane (detail)
1981
Gelatin silver photographs, ed. 2/10
51.3 x 61.1cm
Queensland Art Gallery Foundation Grant purchased 2004
Collection: Queensland Art Gallery | Gallery of Modern Art
© William Yang

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation view of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing photographs for Yang’s ‘About my mother’ portfolio

 

William Yang (Australia b. 1943) 'Mother. Graceville. 1989' 1989

 

William Yang (Australia b. 1943)
Mother. Graceville. 1989
1989
From ‘About my mother’ portfolio 2003
Gelatin silver photograph ed. 2/10
51.3 x 61.1cm
Queensland Art Gallery Foundation Grant purchased 2004
Collection: Queensland Art Gallery│Gallery of Modern Art
© William Yang

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation views of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing in the top image, Dawn, Central Australia #3; and in the bottom image at centre top, Doris Fish (1988, below)

 

William Yang. 'Doris Fish' 1988

 

William Yang (Australia b. 1943)
Doris Fish
1988
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'The morning after' 1976

 

William Yang (Australia b. 1943)
The morning after
1976
Gelatin silver print
© William Yang
Courtesy: The artist

 

 

Morning sun raking through a window gently lights William Yang’s photograph of sleeping bodies and cast-off clothing, portraying ‘the morning after’ with the intimacy of the dawn. Yang photographed Sydney’s social scene of the 1970s and 80s, capturing wild times at discos, nightclubs and parties. Yang also captured the revellers at rest, photographing the supine forms of his naked lovers, night-clubbers passed out on city pavements and benches, and friends sharing makeshift beds on lounge-room floors.

Yang’s first solo exhibition in 1977, Sydneyphiles, was a frank depiction of the Sydney party scene and the emerging gay community. In their unposed realism, his photographs avoid any air of glamour, focusing instead on the unguarded moment and the spontaneous interactions between friends. The scrupulous honesty of his black-and-white documentary style is offset by his poignant and affectionate portrayals of those people and places familiar to him. His photographs are taken from the position of a participant in the worlds they depict, collectively describing the experience of coming to terms with his identity as a gay Chinese Australian. Yang’s visual stories are infused with a gently wry tone, mixing self-deprecating humour with insightful reflections on cultural identity. Here Yang has created images of the aftermath of intimate encounters, apparent in crumpled sheets and the shapes of sleeping bodies.

Text from the Museum of Contemporary Art, Sydney website

 

William Yang. 'Synthetic Diamonds at Paddington Town Hall' 1977

 

William Yang (Australia b. 1943)
Synthetic Diamonds at Paddington Town Hall
1977
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Alpha' late 1960s

 

William Yang (Australia b. 1943)
Alpha
late 1960s
Gelatin silver photograph with fibre-tipped pen on fibre-based paper, ed. 6/10
26.7 x 40.2cm
Collection: The University of Queensland purchased 2001
© William Yang

 

William Yang (Australia b. 1943) 'Ben Law. Arncliffe' 2016/2020

 

William Yang (Australia b. 1943)
Ben Law. Arncliffe
2016/2020
Inkjet print on Ilford Galerie Smooth Cotton Rag
30 x 50cm
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'The Story of Joe' 1979/2020

 

William Yang (Australia b. 1943)
The Story of Joe
1979/2020
Inkjet print on Ilford Galerie Smooth Cotton Rag; single-channel video
Print: 40 x 60cm; video: 16:9, 3:50 minutes, colour, sound; installed dimensions variable
Writer/Performer: William Yang; Director/Producer: Ben Latham Jones
Co-Director/ Co-Producer: Sophie Georgiou
Camera Operator/Editor: Dean Lever; Auslan
Consultant: Sue Jo Wright
Technical Assistant: Jack Okeby
© William Yang
Courtesy: The artist

 

William Yang. 'Bondi Beach' 1970s

 

William Yang (Australia b. 1943)
Bondi Beach
1970s
© William Yang
Courtesy: The artist

 

William Yang. 'Splashproof #1' 1994

 

William Yang (Australia b. 1943)
Splashproof #1
1994
© William Yang
Courtesy: The artist

 

 

William Yang, like many of his fellow Australian photographers, cannot help but be fascinated with the beach. In 1969, Yang left Brisbane for the bright lights of Sydney, and he fell in love with the city. At a distance from his family and Queensland’s conservatism, Sydney provided an opportunity for reinvention.

It was here that he combined his two photographic passions – landscape and people. Yang embraced the bleached allure of the city’s eastern beaches and took many iconic photographs of Bondi, Tamarama and Clovelly. …

Yang’s beach images present a refreshingly different framing of the typical Australian beach scene. The usual shots of bronzed female bodies or recreational pursuits take a backseat. Instead, Yang takes immense joy in the male figure, and his works represent a desirous male gaze on desirable male bodies.

The beach captured Yang’s eye from early in his career. At the time he started exploring the beach in his new Sydney home, Yang was also a jobbing social photographer, capturing celebrities and the ‘beautiful people’ behind the scenes at A-list parties for magazines. His approach to this work was in the photo-journalist style of capturing the unguarded moment.

Of his passion for taking images of the beach, Yang is a romantic at heart and has said:

“There”s an impulse in me that makes me go for the runny make-up, the unguarded moment, the Freudian slip. I mean I could photograph the plastic bags in the water, the rolls of fat, but the beach brings out the romantic in me. I’m overwhelmed by the beauty of it – the space, the surf, the sand and all that flesh. I’ve never gotten beyond the obvious.”

Rosie Hays. “William Yang: The Beach,” on the QAGOMA website 17 June, 2021 [Online] Cited 10/08/2021

 

William Yang (Australia b. 1943) 'Great Wave off Clovelly' 2005/2016

 

William Yang (Australia b. 1943)
Great Wave off Clovelly
2005/2016
Inkjet print on Hahnemühle Fine Art Pearl
40 x 40cm
© William Yang
Courtesy: The artist

 

William Yang. 'Lifesaver Double' 1987/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Lifesaver Double
1987/2017
Digital print
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Lifesavers #3' 1987

 

William Yang (Australia b. 1943)
Lifesavers #3
1987
Inkjet print on Hahnemühle Fie Art Metallic Pearl
32 x 49.5cm
© William Yang
Courtesy: The artist

 

 

“A prolific documentary photographer, storyteller and performer, William Yang creates works that tell an intimate, autobiographical story. Yang draws on his extensive archive of images, memories and sensual experiences, showing the unique atmosphere of freedom that prevailed on Sydney beaches in the 70s, 80s and 90s. Taken around Bondi and Tamarama, Yang has captured the joy of an era and the beauty of the elements with humour and generosity. More than reminiscence or exposé, Yang’s images reveal sensitive connections and insightful reflections about cultural identity.”

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Text from the ‘Under The Sun’ exhibition 2017

 

 

William Yang 'Checking Out Bondi' 1981/2017

 

William Yang (Australia b. 1943)
Checking Out Bondi
1981/2017
Digital print
© William Yang
Courtesy: The artist

 

 

The Power of Being Seen

William Yang’s work, intimate and considered, draws on the artist’s own lived experience. Yang’s personal stories inform his spoken-word performances and photography, and he often scribes these stories directly onto his photographic prints. Drawn to people, Yang’s work reveals unsettling narratives in his own life, in the lives of his subjects, and in society. Adept at uncovering the unvarnished beauty and hidden foibles of our lives, storytelling is intrinsic to his practice. The artist spoke with exhibition curator Rosie Hays.

Rosie Hays: Are there stories you feel must be told? What draws you to the stories you tell from your own life?

William Yang: I [was] brought up as an assimilated Australian. Neither my brother, Alan, or my sister, Frances, or I learned to speak Chinese. Partly because my father’s clan was the Hakka, so he spoke Hakka, whereas my mother’s clan was the See Yap, and she spoke Cantonese, so English was their common language and that was what we spoke at home. My mother could have taught us Cantonese as it was generally left up to her to do that sort of thing, but she never did. She thought being Chinese was a complete liability and wanted us to be more Australian than the Australians. So, the Chinese part of me was completely denied and unacknowledged until I was in my mid-30s and I became Taoist. It was through my engagement with Chinese philosophy that I embraced my Chinese heritage. People at the time called me Born Again Chinese, and that’s not a bad description as there was a certain zealousness to the process, but now I see it as a liberation from racial suppression, and I prefer to say I came out as a Chinese.

 

William Yang (Australia b. 1943) 'Chinese New Year Party Year of the Rabbit' 1999

 

William Yang (Australia b. 1943)
Chinese New Year Party Year of the Rabbit
1999
Gelatin silver print
51 x 61.5cm
© William Yang
Courtesy: The artist

 

 

My first big success was my show ‘Sydneyphiles’ at the Australian Centre for Photography in 1977. It was mainly about my social life in Sydney, with portraits of people I had met. Besides my own set of artistic types (I knew Brett Whiteley, Martin Sharp, Jenny Kee and Linda Jackson), I brushed with celebrities on the social rounds working for magazines. The exhibition caused a sensation. I knew then that people were my subject. I found that they wanted to see themselves on the gallery walls, they wanted representation. A compromising photo might cause annoyance, but it was better than being left out. There has always been an appetite for celebrities, well, that was to be expected. A vicarious interest in celebrity life still fuels the media. But I showed many photos of the emerging gay community as well. Australian photos of this type had not been shown in institutions before and it got a mixed reaction. Some said that these works shouldn’t be shown at a public institution, but mostly the pictures were accepted, especially by the gay community. A few were angry with me for outing them, but mostly I was hailed as a hero and was metaphorically given the keys to Oxford Street. I sensed that the mood of the gay community at the time was this: throughout history our community has been invisible. These photos may not be pretty, but we recognise them, and we accept them. We want our stories told.

 

William Yang (Australia b. 1943) 'Four film directors' 1981

 

William Yang (Australia b. 1943)
Four film directors
1981
Inkjet print on solid substrate Kapaplast
53 x 80cm
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Brett Whiteley, Martin Sharp, Wirian' 1982

 

William Yang (Australia b. 1943)
Brett Whiteley, Martin Sharp, Wirian
1982
Inkjet print on solid substrate Kapaplast
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Party at the Whiteleys', Lavender Bay' 1982

 

William Yang (Australia b. 1943)
Party at the Whiteleys’, Lavender Bay
1982
Inkjet print on solid substrate Kapaplast
65 x 110cm
© William Yang
Courtesy: The artist

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation view of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing at centre right, Brett Whiteley, Lavander Bay, Sydney (1975, below); and directly below this, Cate Blanchett: The star in her dressing room. After “Hedda Gabler.” Wharf Theatre. Sydney (2004, below)

 

William Yang (Australia b. 1943) 'Brett Whiteley, Lavender Bay, Sydney' 1975

 

William Yang (Australia b. 1943)
Brett Whiteley, Lavender Bay, Sydney
1975
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Cate Blanchett: The star in her dressing room. After "Hedda Gabler." Wharf Theatre. Sydney' 2004

 

William Yang (Australia b. 1943)
Cate Blanchett: The star in her dressing room. After “Hedda Gabler.” Wharf Theatre. Sydney
2004
Inkjet print on solid substrate Kapaplast
54 x 80cm
© William Yang
Courtesy: The artist

 

 

These days I don’t take as many photographs. I’m sorting through my collection, trying to get it into some sort of order, and trying to digitise the negatives and the colour transparencies […]. I don’t want to be a photographer who dies leaving a pile of mouldy negatives for someone else to sort out […]. Every time I look through my collection, I am surprised because I have largely forgotten what happened in the past. Photography is a major aid to memory and the photographer a witness to the past. A photograph captures a moment in time. You don’t have to do anything special for this to happen, just press the shutter. There is something in the nature of the camera to freeze these moments in time, and there is something in the nature of the world to change and move on, so these moments never occur again.

In the early 1980s I started to do slide projection. It started off as a way to show my colour photography. At the time the colour printing process, Cibachrome, was expensive, and projection was a cheaper way showing my colour images. In 1980 in Adelaide, I met Ian de Gruchy, who did slide projection as his main art form. I was interested in his dissolve unit – a device using two projectors where the projected images dissolved into each other. Music was used, usually minimal music, and the result was known as an audio-visual. When one projects slides, as in a living room slide show, there is a tendency to talk with the slides, explaining them, and I started to do that. I worked with audio-visuals for seven years during the 80s until I had nine photographic essays, or short stories, to string together into a one man show. It was called ‘The Face of Buddha’ and I presented it at the Downstairs Belvoir Street Theatre in 1989. I lost money on that show, but still consider it a success. Everyone liked the form, story-telling with images and music.

 

William Yang (Australia b. 1943) "William Yang performing Sadness" Sydney 1992

 

William Yang (Australia b. 1943)
“William Yang performing Sadness”
Sydney 1992
Photo: Peter Elfes (from ‘About my mother’ portfolio 2003)
Gelatin silver photograph, ed. 2/10 / 51.3 x 61.1cm
Purchased 2004
Queensland Art Gallery Foundation Grant
Collection: Queensland Art Gallery | Gallery of Modern Art
© William Yang

 

William Yang (Australia b. 1943) 'Production still from Sadness' 1999

 

William Yang (Australia b. 1943)
Production still from Sadness
1999
Director: Tony Ayres
Image courtesy: National Film and Sound Archive, Australia and William Yang

 

William Yang (Australia b. 1943) ''Allan' from the monologue 'Sadness'' 1992

 

William Yang (Australia b. 1943)
‘Allan’ from the monologue ‘Sadness’
1992
© William Yang
Courtesy: The artist

 

 

“Allan was a landmark for Yang and for Australian documentary photography. The combination of simple, unadorned portrait photos and diaristic, handwritten commentary made each viewer feel intimately acquainted with the subject. The step-by-step progress towards death puts us on the alert for every passing emotion in Allan’s face – he is sad, stoical, cheerful, grim, frivolous and heroic by turns. At the end of his life he has become an empty husk. It’s a devastating slice of reality smuggled into an art gallery, a piece that stops viewers in their tracks every time it’s shown.”

.
Extract from John McDonald. “Devastating and intimate: the landmark photos that stop viewers in their tracks,” on the Sydney Morning Herald website April 1, 2021 [Online] Cited 09/08/2021

 

 

William Yang (Australia b. 1943) ''Allan' from the monologue 'Sadness'' 1992

 

William Yang (Australia b. 1943)
‘Allan’ from the monologue ‘Sadness’
1992
© William Yang
Courtesy: The artist

 

 

The most popular story was called ‘About My Mother’. I told the story about my mother’s family, how they came to Australia in the 1880s from Guang Dong province in China. My mother’s sister, my Aunt Bessie, married a rich landowner, William Fang Yuen, who was murdered by the white manager on his cane farm at Marilyan in north Queensland in 1922. I got an Australia Council grant to do my third performance piece, ‘Sadness’, in 1992. There were two themes: the first involved the AIDS pandemic in Sydney where many gay men, some of them my friends, were dying; and the second was a trip I took to north Queensland to talk to my relatives about William Fang Yuen’s murder. The two themes formed a powerful story about death and legacy. It was an immediate hit and toured Australia and the world. International entrepreneurs wanted my performance pieces, which they considered unique, not my exhibitions, so I kept doing more performance pieces and they became my main artistic expression.

 

William Yang (Australia b. 1943) 'William in Cane Fields' 2008

 

William Yang (Australia b. 1943)
William in Cane Fields
2008
From ‘My uncle’s murder’ portfolio 2008
Inkjet print on Innova Softex paper
59 x 91cm
© William Yang
Photograph: Jenni Carter
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Self Portrait, Listening' 2017

 

William Yang (Australia b. 1943)
Self Portrait, Listening
2017
Inkjet print on Ilford Galerie Smooth Cotton Rag
38 x 60cm
© William Yang
Courtesy: The artist

 

 

The performance pieces changed my photographic practice. Before the 1990s, I made my living from freelance work. I would do whatever jobs people would pay me money to do. Then I found I could make a living doing my performance pieces, so I didn’t have to work for other people. I was able to channel all my energy into my own work and I became more productive. My performance pieces were about stories and I realised that many of my photos had stories behind them. I started writing the text directly onto the photo with a pen. My first series was about men with whom I had had encounters. All those photos had good stories. I have continued to do written works, as I call them, and the pictures with my handwriting have become the signifier of my work. Now I often choose images because they have a story.

Rosie Hays: Do you ever feel you’re telling other people’s stories, or are they your stories that happen to intersect with other people?

William Yang: When I ran out of my own stories, I wanted to tell an Aboriginal story because I felt the Chinese and the Aboriginal people had something in common: both had suffered under British colonialism. In my commissioned piece ‘Shadows’, I tried to tell an Aboriginal story about a community in Enngonia in north-western New South Wales, and it was successful in that I made myself part of the story, but I felt a little uncomfortable telling their story. Later I found someone, Noeline Briggs-Smith, who could tell her own story, and we did a story-telling duet on stage [called] ‘Meeting at Moree’, where we told alternating chapters of our stories on stage. She […] had a much stronger story than me. She had suffered more and worse injustices than I had, but there were interesting intersections in our stories.

Rosie Hays: Something we highlight in the exhibition is your connection to landscape. How would you describe your relationship to nature / the landscape, and has it changed over time?

William Yang: Most photographers have a go at nature. Everyone has photographed a sunset. I had my first serious encounter with photographing nature when I was recovering from a bad case of hepatitis at Frogs Hollow, Maleny, in 1979. I felt fragile from the illness and taking photos made me feel I could still do things. Looking at the photos now, the pictures are a beginner’s view. That’s the thing about nature: it’s been done a billion times before, and it’s difficult [to] escape cliché, but I had to start somewhere and I got a few good ones.

When I became Taoist, I took on a whole new philosophy. I came to appreciate nature, in the form of landscape, as a source and a driving force behind everything that exists. It was constantly changing and renewing itself. Everything about nature was beautiful because it was essentially always itself. I found I could apply a concept of beauty to nature, at least compared to the human nature I was photographing at the time. Later I began to see nature as a titanic struggle for survival […].

I came to realise that the landscape which moved me the most was the country around Dimbulah in north Queensland (on the Atherton Tableland), where I had grown up. It was part of my identity, part of my idea of home. I had absorbed it, it had imprinted itself upon me, and, although I did not realise it at the time – this was before I had articulated an artistic consciousness – it was there in my consciousness and I could draw upon it. So, in the early 90s, I made several trips up to Dimbulah, checking out the country that I remembered from my childhood. Nothing quite fitted my memories, but perhaps that’s a thing about childhood and memory. Nevertheless, I photographed a series on a medium format camera, trying to recapture memories. Now I enjoy returning to Dimbulah and seeing the landscape. It still triggers off emotions, but I feel they have become more distant. This text is from my print William at Thornborough, 2006:

“I have left these places and I have changed. These places still hold me but I move around these hills like a ghost. It is the motherland which formed and nourished me, from where I came, but to which I can never return.”

 

William Yang (Australia b. 1943) 'Climbing Huang Shan' 2005

 

William Yang (Australia b. 1943)
Climbing Huang Shan
2005
Inkjet print on Innova Softex paper
41 x 48cm
© William Yang
Courtesy: The artist

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation view of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing Return to the place of childhood. Dimbulah (2016, below)

 

William Yang (Australia b. 1943) 'Boranup Karri Forest #1' 2018

 

William Yang (Australia b. 1943)
Boranup Karri Forest #1
2018
Inkjet print on Ilford Galerie Smooth Cotton Rag
50 x 150cm
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Return to the place of childhood. Dimbulah' 2016

 

William Yang (Australia b. 1943)
Return to the place of childhood. Dimbulah
2016
Inkjet print on Ilford Galerie Smooth Cotton Rag
50 x 150cm
© William Yang
Courtesy: The artist

 

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

Installation view of the exhibition 'William Yang: Seeing and Being Seen' at the Queensland Art Gallery | Gallery of Modern Art (GOMA)

 

Installation views of the exhibition William Yang: Seeing and Being Seen at the Queensland Art Gallery | Gallery of Modern Art (GOMA) showing at lower left, Boranup Karri Forest #1 (2018, above)

 

William Yang (Australia b. 1943) 'Earth Below, Heaven Above' 2020 (still)

 

William Yang (Australia b. 1943)
Earth Below, Heaven Above (still)
2020
Two-channel video, 16:9, 5:36 minutes, colour, sound
Editor: Jack Okeby
© William Yang
Courtesy: The artist

 

 

Rosie Hays: What are your aspirations as an artist? What is the aim for your work in the larger sense?

William Yang: Two of my most important realisations were, firstly, that I was not white but Chinese, and secondly, that I was not straight, but gay. I probably realised these at an early age, but it took me a long time to articulate the condition and to come to terms with it. Personally, I suffered more pain being a closeted gay than being Chinese. These are both big themes in my work. When I started including gay work in my exhibitions, some photographers told me it [was] a phase I was going through and I’d be better off dealing with universal issues. They were right, in a way, because by continuing to deal with marginalised issues, my audience base is much smaller. I would probably have made more money sticking with celebrity lives and continuing the status quo, but it is important for me to talk about being gay and to talk about racial difference, even if they are commercially unpopular subjects. Nowadays, there is more acceptance of being gay here in Australia, and likewise, there is more awareness of racial difference, but in the wider world this is not always the case. It is a cause worth pursuing, and documentary photography with a personal story thrown in is a good way of doing it. I want to acknowledge the activists around the world that have made social change happen.

I want my work to embrace my life. I’ve managed to live to a mature age – I was fortunate not to die young as many of my colleagues did during the AIDS pandemic. One lives a life, and I am not the same person as I was when I was younger. Then I had more energy, had more opinions, some of them obnoxious – in short, I had many of the traits of a young person that old people like to complain about. But one learns from life, and I have lived to this age and can see there is a shape to one’s life. It has to do with the things you believe in and the choices you make (I always knew being an artist would be a hard road), it is shaped by external forces beyond your control, and it is also shaped by luck. Still, I consider my life a fortunate one.

I think I like stories because they are about people and the world. They somehow embrace humanity. I would like my art to convey feelings, emotions, what it is like to be a sentient human: experiencing joy, laughter and sadness, to realise we are vulnerable, that we have our failings, we do bad things, but we are capable of forgiveness, kindness and love.

Rosie Hays is Associate Curator, Australian Cinémathèque, QAGOMA She spoke with the artist in 2020.

This is an edited excerpt of the original interview, which appears in the exhibition publication William Yang: Seeing and Being Seen, available at the QAGOMA Store

 

William Yang. 'Deposition. Innisfail Court House. 1922' 1990

 

William Yang (Australia b. 1943)
Deposition. Innisfail Court House. 1922
1990
From ‘About my mother’ portfolio 2003
Gelatin silver photograph on paper
51.3 x 61.1cm (comp.)
Queensland Art Gallery Foundation Grant
Collection: Queensland Art Gallery | Gallery of Modern Art purchased 2004
© William Yang

 

William Yang (Australia b. 1943) 'Self portrait #1' 1992, printed 2013

 

William Yang (Australia b. 1943)
Self portrait #1
1992, printed 2013
Inkjet print on paper
87 x 119cm (comp.)
Gallery of Modern Art Foundation Grant
Collection: Queensland Art Gallery | Gallery of Modern Art purchase 2013
© William Yang

 

 

William Yang Self portrait #1 / A Director’s Perspective

Join QAGOMA Director Chris Saines CNZM as he discusses William Yang’s Self portrait #1 1992 (printed 2013)

 

 

William Yang’s work, intimate and considered, draws on the artist’s own lived experience. Yang’s personal stories inform his spoken-word performances and photography, and he often scribes these stories directly onto his photographic prints. Drawn to people, Yang’s work reveals unsettling narratives in his own life, in the lives of his subjects, and in society. Adept at uncovering the unvarnished beauty and hidden foibles of our lives, storytelling is intrinsic to his practice.

 

Self Portrait #1

Yang’s unflinching photographic gaze draws from the documentary tradition. Since the 1980s, Yang has displayed an unyielding persistence in unearthing stories that society, or even his subjects, might prefer to remain hidden. His instinct and passion is to present the whole, flawed story, not just the glossy surface.

With stories such as his uncle’s murder, Yang courts his family’s disapproval by airing hidden family stories, balancing potential indiscretions with the importance of telling real stories that reveal experiences or communities often left out of public discourse.

In the mid 1980s, Yang met Yensoon Tsai, a young Taiwanese woman who would become a close friend. Tsai taught Yang the tenets of the Chinese philosophy of Taoism, which led him to explore his Chinese-Australian identity.

Throughout the late 1980s and 90s in Australia, multicultural stories emerged across various art forms. Yang was part of this wave of artists rejecting a suppression of their cultural histories, and who instead wanted to highlight and celebrate diversity. Yang travelled throughout regional and urban Australia documenting the lives of Chinese-Australians, and the landscapes reflecting the legacy of the Chinese in Australia, such as religious shrines and mining sites.

Self Portrait #1 is a landscape work (in the way Yang talks about landscape which is often rooted in people and place and memory) as much as it a portrait work. Capturing the landscape is part of Yang’s somewhat diaristic approach to processing his social and physical environment.

When Yang returns to the Queensland landscape from his childhood, he characterises it as a site to escape from. He needed to escape from racist school bullying, constrictive family expectations, and the dread that his sexuality may be met with disapproval. Yang revisits his childhood home regularly, and some of his most potent performances and photographs come from connecting family and place. The series ‘My Uncle’s Murder’ – and its recounting of an injustice borne of racism dating from 1922 – resulted from such a trip. In his later works, he makes an uneasy peace with these past experiences that are embedded in the landscape of his youth.

Rosie Hays. “William Yang’s work reveals unsettling narratives in his own life,” on the QAGOMA website 4 October, 2020 [Online] Cited 10/08/2021

 

William Yang (Australia b. 1943) 'Waiting for the Parade to Start' 2019

 

William Yang (Australia b. 1943)
Waiting for the Parade to Start
2019
Inkjet print on solid substrate Kapaplast
56.5 x 85cm
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Jac Vidgen and Akira Isogawa, Sweatbox Party' 1989

 

William Yang (Australia b. 1943)
Jac Vidgen and Akira Isogawa, Sweatbox Party
1989
Inkjet print on solid substrate Kapaplast
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Patrick White #1, living room, Martin Road' 1988

 

William Yang (Australia b. 1943)
Patrick White #1, living room, Martin Road
1988
Gelatin silver photograph, ed. 2/10
45.6 x 36.4cm
Queensland Art Gallery Foundation Grant purchased 1998
Collection: Queensland Art Gallery | Gallery of Modern Art

 

William Yang (Australia b. 1943) 'My Generation (Brett Whiteley)' 1975 (detail)

 

William Yang (Australia b. 1943)
My Generation (Brett Whiteley) (detail)
1975
© William Yang
Courtesy: The artist

 

 

My Generation

Queensland-born, Sydney-based artist William Yang describes a moment in Sydney when a number of creative groups came together to generate an artistic wave that swept across Australian society.

The intersections of the tight literary circle of Nobel award winner Patrick White and his partner, Manoly Lascaris, with the theatrical circle, their friends Jim Sharman and actress Kate Fitzpatrick. Fitzpatrick, in turn, models frocks in the exuberant fashion parades organised by designers Linda Jackson and Jenny Kee, while artists Peter Tully and David McDiarmid extend the tongue-in-cheek Australiana of the two fashionistas’ outfits with witty accessories. Their parades and parties at retail outlet Flamingo Park, a magnet for influential people in business, politics and the arts, determined the look of the 1970s and early 1980s. Tully and McDiarmid used their bravura visuals to jump start the Gay and Lesbian Mardi Gras, giving the event its unique and unforgettable style. The pair lived out a parallel lifestyle that might epitomise the Australian story of gay liberation, with its heady rush unfolding into aching tragedy.

Golden couple Brett and Wendy Whiteley enjoyed the creative atmosphere of the swinging ’60s and the plunge into a riotous world of sex, drugs and rock’n’roll. Yang shows Brett painting, smoking and partying with the beautiful people, and his eventual deterioration as heroin took a fearful hold. The early death of their beautiful daughter, Arkie, was another aspect of this fated family history. Linda Jackson and Jenny Kee eventually split; Kee takes Danton Hughes, the son of Robert Hughes, as a lover; Danton suicides; Kee takes up Buddhism. Yang portrays lives that unfold, flower or wither: lives lived.

Yang’s generation is not life as reported in the newspapers but ‘as I saw it’: a personal account summed up as a litany of parties, of innocence lost and worldliness gained, a continuum of his search for contact and meaning. Like his contemporaries Rennie Ellis or Michael Rosen, William Yang is a social photographer, a recorder of life. His strength lies in creating a living testament, and his medium’s strength is that it is necessarily shared. He offers no moral tale, nor any notion of karma to underscore the events: just the three basic but vital stories – birth, love and death.

Extract from Michael Desmond. “William Yang: My Generation,” in Artlines 1-2009 in “William Yang: Portraits,” on the QAGOMA website 22 September, 2017 [Online] Cited 10/08/2021.

 

William Yang (Australia b. 1943) 'David Gulpilil' 1978

 

William Yang (Australia b. 1943)
David Gulpilil
1978
Inkjet print on solid substrate Kapaplast
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Linda Jackson and Jenny Kee' 1979

 

William Yang (Australia b. 1943)
Linda Jackson and Jenny Kee
1979
Inkjet print on solid substrate Kapaplast
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Richard Neville and Bob Geldof at Wirian' 1980

 

William Yang (Australia b. 1943)
Richard Neville and Bob Geldof at Wirian
1980
Inkjet print on solid substrate Kapaplast
© William Yang
Courtesy: The artist

 

 

In order to make a living as a photographer, Yang began his career taking candid shots of ‘beautiful people’ at parties and events for the social pages of newspapers and magazines. Yang rubbed shoulders with celebrities, artists and performers, and discovered that the camera was an entry pass to an exclusive backstage world populated by kindred spirits, with whom he formed close bonds.

Yang’s prolific social portraiture includes some of the most prominent people in Australian theatre, film, art and literature, with more than a few international cameos. A much-loved and trusted figure who is embedded into Sydney’s social fabric, Yang’s images are taken with the razzle-dazzle of celebrity, but little of its conceit.

Within the show is a salon hang ‘social wall’ which long predates Instagram. The selection of faces is reflective of Yang’s friendships and his abiding passion for the arts – they embody both the glamour of celebrity and provide behind-the-scenes insights into the lives of artists from a range of backgrounds. With a camera around his neck, Yang came to understand that he could ask his subjects a series of personal questions, and they would reveal more of themselves than they would during the course of casual conversation.

Representing only a fraction of Yang’s social photography, these images capture the almost compulsive nature of his passion for recording people and places. His gift for eliciting the essence of his subjects through portraiture – whether candid or posed – has been apparent his entire career.

Rosie Hays. “William Yang: Celebrity and Portraiture,” on the QAGOMA website 7 May, 2021 [Online] Cited 10/08/2021.

 

William Yang (Australia b. 1943) 'Rainbow Angel Wings' 2003

 

William Yang (Australia b. 1943)
Rainbow Angel Wings
2003
Inkjet print on solid substrate Kapaplast
27 x 40cm
© William Yang
Courtesy: The artist

 

William Yang (Australia b. 1943) 'Marriage Equality, Mardi Gras' 2013

 

William Yang (Australia b. 1943)
Marriage Equality, Mardi Gras
2013
© William Yang
Courtesy: The artist

 

 

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Queensland 4101, Australia
Phone: +61 (0)7 3840 7303

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07
Feb
21

Photographs: Marcus Bunyan. ‘Stones, Vaults, Flowers: Père Lachaise’ 2017-2020

February 2021

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2017-2020
From the series Stones, Vaults, Flowers: Père Lachaise
Digital photograph

 

 

les jeunes ñ’oublient pas
souvenir et jeunesse

young people don’t forget
memory and youth

 

 

Stones, Vaults, Flowers: Père Lachaise

A body of work from Père Lachaise cemetery, Paris. Unfortunately, I can’t display the series how I would like them laid out on Art Blart due to the limited page width… please see the layout on desktop (not mobile, again problems) at https://marcusbunyan.com/stones-vaults-flowers-pere-lachaise/

There are some beautiful individual images here – closing in on details, low depth of field, over saturated colours, out of focus, blurred – but in bringing them together I compose with the camera … a feeling, an homage to this place.

Conceptual: Instead of the axis ‘xyz’ being ‘space time context’ I roll the matrix through 90 degrees so the axis is now context (x), space (y) and time (z) – time being the floating variable (not just the variable time of the camera’s shutter): a photograph of the memorial to the victims of the Paris Commune; photographs of the tomb of Victor Noir who became a symbol of opposition to the imperial regime after he was assassinated; photographs of stones laid in respect to the victims of the Nazi death camps; the life of flowers (mostly artificial); the light streaming through stained glass windows at the back of vaults. Light, bending, light bending – illuminating the Stygian darkness, revealing hidden relations, small revelations.

I am the unmoved mover contemplating the perfectly beautiful, indivisible connection between life and death.

Dr Marcus Bunyan

.
65 mages in the series © Marcus Bunyan. Please click on the photographs for a larger version of the image. These are straight digital photographs, all full frame, no cropping.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

Marcus Bunyan website

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03
Jul
20

Photographs: Marcus Bunyan. ‘A day in the Tiergarten’ 2019-2020

June 2020

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019-2020
From the series A day in the Tiergarten
Digital photograph

 

 

A day in the Tiergarten

I hope people like this series.

In late 2019, I took a photographic research trip through Europe by train, visiting nine countries and seeing many exhibitions and photographs by master photographers (Güler, Capa, Lartigue, Katz, Frank, Sudek, Sander, Brassaï, Abbott, Kertesz). I also took over 8,000 photographs on three digital cameras. This series, this stream of consciousness – the images shown in the exact order that I took them, no sequencing – reflects my state of mind during the trip. It was a kind of an ascetic experience for me, embedded as I was in the spaces and architectures of the cities and landscapes of Europe, hardly talking to anyone for the duration of the journey.

A day in the Tiergarten reflects this focus and clear seeing. Using camera and tripod the series, like a piece of music, moves from classical into surreal (the reflections of trees and water displacing the image plane), back to classical and on through Abstract Expressionism, ending in a peaceful coda of 4, 3, 2.

The series is an engagement with spirit – of wandering through a space of intimate desire and love. Love of trees, of being alone, of engaging with the self and nature. It was a magical day.

Please view the images on a larger screen. The whole series can be see with larger images on the A day in the Tiergarten web page or you can enlarge the images below by clicking on them.

Dr Marcus Bunyan

.
88 images in the series © Marcus Bunyan. Please click on the photographs for a larger version of the image. Remember these are just straight digital photographs, all full frame, no cropping.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Marcus Bunyan (Australian, b. 1958)
A Day in the Tiergarten
2019-2020

 

 

Marcus Bunyan website

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25
Jul
19

Photographs: Marcus Bunyan. ‘The Night Journey’ 2019

July 2019

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

 

The Night Journey

The only reason to make art is for yourself… but I hope you enjoy the images and the sequence as much as I enjoyed making it!

The images picture interstitial spaces, un/realities that hover at a median point, a tipping point between the real and the unreal. Which is which is open to question…

Please click on the photographs to see a larger version of the image. They are best viewed on a desktop computer to see the details of the image.

Marcus

38 images in the series in two sets
© Marcus Bunyan

SEE THE FULL SERIES ON MY WEBSITE

 

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.

 

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey
Digital photograph on cotton rag

 

 

Marcus Bunyan website

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16
Mar
19

Photographs: Marcus Bunyan. ‘Oblique’ 2019

March 2019

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
2019
From the series Oblique
Digital colour photograph

 

 

Here is a body of work shot mainly from moving taxi windows in Bangkok and surrounds, interspersed with still, Zen-like images.

With the moving images, you have to anticipate by a couple of seconds the movement of the taxi and the release of the shutter so you have no idea what the image will actually be. Your sense of previsualisation is completed on feel and instinct. You trust the world to provide the image which you are looking for. I enjoy them, they give me pleasure and contentment in their creation.

 

Oblique

In terms of defining the concept of the oblique we can say that: “The oblique is fundamentally interested in how a body physically experiences a space.”

In this case, both physically and spiritually.

The series investigates the concept through images of movement and stillness, fleeting glimpses of urban life intertwined with Zen-like images. The series is constructed not as a sequence, but as a “volume” where there is no beginning, no middle and no end. It is like a jewel that can be turned around and looked at from different perspectives, where no one perspective is the correct interpretation. Each volume has its own validity, its own uniqueness.

The images can also be read as a protest against death – no beginning, no middle, no end – where everything is connected to everything else. As Goethe observes in his Conversations with Eckermarm (5 June 1825):

“In nature we never see anything isolated, but everything in connection with something else which is before it, beside it, under it, and over it.”

Dr Marcus Bunyan

.
66 images
© Marcus Bunyan

Please note: the series is best viewed on a desktop computer with a large screen.

PLEASE VIEW THE WHOLE SERIES ON MY WEBSITE

PLEASE CLICK ON THE PHOTOGRAPH BELOW TO SEE A LARGER VERSION OF THE IMAGES

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.

 

 

Marcus Bunyan (Australian, born England 1958) 'Oblique' series 2019

 

The 66 images of Oblique (2019). Please click on the photograph to see a larger version of the work

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
2019
From the series Oblique
Digital colour photograph

 

 

Marcus Bunyan website

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22
Jul
18

Photographs: Marcus Bunyan. ‘Paris in film’ 2018 Part 2

July 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

 

Paris in film

These photographs were taken on a trip to Paris in 2017 using my Mamiya twin-lens C220 medium format camera shot on Kodak Ektra 100 colour negative film.

It was strange taking these photographs over numerous, adventurous, energised days in Paris. Different from the yet to be sorted 4,000+ digital photographs I took, the act of taking these photographs allowed me to fully concentrate, to immerse myself in the environment, to loose myself in the process – with a commensurate dropping away of ego. I just was in the moment, “in the zone” as athletes would say.

They are reasonable scans of the negatives, full frame, no cropping, and I have colour corrected as best I can, noting that all digital images look different from computer monitor to monitor – one of the perennial hazards of looking at work online. They have not been sequenced at the moment.

The photographs seem to hang well together as a body of work.

Through their clear visualisation, the photographs speak directly to the viewer.

Marcus

.
68 images
© Marcus Bunyan

Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.

 

 

“The great goal that we must all pursue is to kill off the great evil that eats away at us: egotism.”

.
“Sometimes I think I love nature just as much, if not more, for not being capable of translation into words… No words can describe some things. The more one says the less one sees. You see… nature is like love, it’s in the heart and you must not talk about it too much. You diminish what you try to describe. As for myself, I have no idea of my own nature when I act unselfconsciously. I only see what there is between the sky and myself. I have no part in it all. If I think of you, in my odd way I am you and I cease to exist.”

.
George Sand

 

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Animaux Nuisibles' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Animaux Nuisibles
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Animaux Nuisibles' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Animaux Nuisibles
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Animaux Nuisibles' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Animaux Nuisibles
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Rats Surmulots Captures aux Halles vers 1925' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Rats Surmulots Captures aux Halles vers 1925
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Dying light, KH in Saint-Eustache Church' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Dying light, KH in Saint-Eustache Church
2018
From the series Paris in film
Digital photograph

 

 

Marcus Bunyan website

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18
Jul
18

Photographs: Marcus Bunyan. ‘Paris in film’ 2018 Part 1

July 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

 

Paris in film

These photographs were taken on a trip to Paris in 2017 using my Mamiya twin-lens C220 medium format camera shot on Kodak Ektra 100 colour negative film.

They are reasonable scans of the negatives, full frame, no cropping, and I have colour corrected as best I can, noting that all digital images look different from computer monitor to monitor – one of the perennial hazards of looking at work online. They have not been sequenced at the moment.

The photographs seem to hang well together as a body of work.

Through their clear visualisation, the photographs speak directly to the viewer.

Marcus

.
68 images
© Marcus Bunyan

Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.

 

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Cimetière du Père Lachaise
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Fontainebleau
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film
Digital photograph

 

 

Marcus Bunyan website

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13
Jul
18

Exhibition: ‘Jacqui Stockdale: Ghost Hoovanah’ at This Is No Fantasy, Melbourne

Exhibition dates: 30th June – 21st July 2018

 

Jacqui Stockdale. 'The New Pilgrim' 2018

 

Jacqui Stockdale
The New Pilgrim
2018
C Type Print
130 x 100 cm

 

Jacqui Stockdale. 'The Migrant' 2018

 

Jacqui Stockdale
The Migrant
2018
C Type Print
130 x 100 cm

 

 

It’s time…

As I said to Jacqui recently in an email, her images are magnificent – as always. She has knocked the Debil right out of the park.

We are so lucky to have such a talented group of female artist photographers in Australia at the moment.

You would think one of the big galleries, such as the National Gallery of Victoria or the National Gallery of Australia, would curate a large exhibition on the emergence of these artists, whose work mainly revolves around issues of gender, sexuality, identity, and place.

Here is a list of prospective artists that I can already think of: Hoda Afshar, Jane Burton, Pat Brassington, Rosemary Laing, Anne Ferran, Destiny Deacon, Simryn Gill, Katrin Koenning, Jane Brown, Carolyn Lewens, Clare Rae, Claudia Terstappen, Bindi Cole, Elizabeth Gertsakis, Janina Green, Siri Hayes, Joan Ross, Nicola Loder, Tracey Moffatt, Petrina Hicks, Robyn Stacey, Patricia Piccinini, Jacqui Stockdale and the late Polixeni Papapetrou – to name but a few.

What an illuminating exhibition and research it would be, digging around in the backstories of these amazing artists. Never, ever, in Australia have we had such creative talent amassed in one place at one time.

Someone, anyone, now is the time!

Marcus

.
Many thankx to Jacqui Stockdale and This Is No Fantasy for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Installation view of the exhibition 'Jacqui Stockdale: Ghost Hoovanah' at This Is No Fantasy, Melbourne

Installation view of the exhibition 'Jacqui Stockdale: Ghost Hoovanah' at This Is No Fantasy, Melbourne

 

Installation views of the exhibition Jacqui Stockdale: Ghost Hoovanah at This Is No Fantasy, Melbourne

 

Jacqui Stockdale. 'The Donkey Debil' 2018

 

Jacqui Stockdale
The Donkey Debil
2018
C Type Print
130 x 100 cm

 

Jacqui Stockdale. 'The Hoo' 2018

 

Jacqui Stockdale
The Hoo
2018
C Type Print
130 x 100 cm

 

Jacqui Stockdale. 'The L'hybride' 2018

 

Jacqui Stockdale
The L’hybride
2018
C Type Print
130 x 100 cm

 

 

Hoovanah in the highest: Jacqui Stockdale and the post-colonial lens

Ghost Hoovanah is the title of Jacqui Stockdale’s new exhibition; but neither conventional geography nor modern linguistics will help in its decipherment. Instead, if we are to unpick her cryptic patois, an imaginative leap is required. Hoovanah? The word behooves its sassy Caribbean sister, Havana, that sweaty town of utopias where desires both real and imagined are woven into the fabric of its streets. And what of those spirits that inhabit this Ghost Hoovanah? The articulation of its name conjures a city of the dead; one that slumbers, but where those shouts of fervent praise, hosanna, might awaken the citizen spirits, who in turn come out to play for just one day of the year.

Stockdale is a contemporary Australian artist but her project is the production of a colonial history, albeit one that is conceived and written by all but the colonisers themselves. A classical historian might baulk at the site of a Mexican wrestler at large in the Australian landscape, displaced in time and space even as his status as ‘other’ is entirely suited to the job. This disruption of historical realities has a magical realist quality, but one also that unseats the authority of official histories. After all, how can one know if scenarios such as these were not a part of the local story? And why after all, would their narratives not be important as well?

Stockdale’s take on history – conflated, dark and elliptical – and which already has our attention, is further energised by a palpable sexuality. It pervades much of her imagery. Stockdale’s compositions beckon with sassy visual come-ons and haughty gestures of defiance, rolled together into tightly packed tableaus. This libidinous assertion of figures who are otherwise passively observed, is declarative in its liberating intent. In Stockdale’s photographic piece The Migrant 2018, the upright sitter gazes directly at the viewer, who surveys in turn, the curvaceous female form. The inference: Shove off, for the game is on. But the prerogative, dear viewer, is now mine and not yours, as once you might have thought. This is the crux of the artist’s revisionist position, the reanimation of voices that paternal histories repress. The awakening brings forth mothers, monsters, lovers and the wild folk, known to haunt the colonial scene. Even the tooth fairy is a fiend, as Stockdale reveals in The Donkey Debil 2018, a composition that captures a strange bunyip-like creature that suggests multiple mythic forms.

The question of who speaks for our past depends largely on who is asking the question. In Stockdale’s work that inquiry is the clarion call of the other. Yet in speaking for the past, Stockdale is accounting also for the present, and with it, the presence of those who are new to the local scene. This politicised stance draws strength from the artist’s historical awareness, wherein those who do not fit are simply expunged from the record. In Stockdale’s photograph The New Pilgrim 2018, the first impression is of a Georgian aristocrat set in the saddle, as one might see in a painting by George Stubbs (1724-1806), yet this is eclipsed as our eyes alight on a traditional Burmese skirt. The figure is revealed as a Karen Thai refugee, a friend of the Stockdale family, who arrived most recently on Australia’s distant shores and has now settled in Bendigo, in Northern Victoria.

In Ghost Hoovanah each of Stockdale’s figures is set before a backdrop painted by the artist for the project. The staging is not new to Stockdale, and indeed it is a trope of early studio photography. It enabled that exciting yet gimmicky invention to look like posh old painting. But in Stockdale’s work, the link to painting recalls both her own immersion in the medium and also a self-conscious lineage. It is anchored in the Baroque canvases of Diego Velazquez (1599-1660) and the Romanticised vistas of colonial interloper John Glover (1767-1849). Velazquez confronted his viewers with the unnerving stares of spoilt Spanish Infantas and bilious courtier dwarfs, while Glover, enthralled by his arrival in Tasmania, evoked an idyll where the natives were at one with nature, even as the slaughter was upon them. Flickers of these antecedents emerge in Stockdale’s images and it is not surprising to discover that the scene she chose to paint is a disused gold-mine slag-heap abandoned by Chinese hopefuls who named their promised land as ‘Big Gold Mountain’.

The spectre of failure, as befell those Asian migrants and which dogged almost every colonial adventure, from Captain Cook to Burke and Wills, and our favourite outlaw Ned, is expunged in their unique apotheosis. Raised up as mythic spirits, their inability to triumph is transformed in the telling of their tales. Yet in Stockdale’s work, a subterranean undercurrent, of sub-cultures and those unnamed others who the white-man’s hall of fame passed by, emerge as entirely more enticing as they call us out to play. These are Dionysian dancers, and their haughty disinterest is catnip to our imagination. Even the mule, who appears in L’hybride 2018 seems fresh from Francisco de Goya’s nightmare Los Caprichos etchings. But on an upbeat note, the Sudanese Australian figure who appears in The Rider 2018, sets her eyes on the sky as clouds billow from her mind, as she, like all of Stockdale’s figures take possession of their imaginative space, and refuse in the face of all that surrounds them to be defined in the eyes of another. The promise of Stockdale’s work is the enfoldment of the world and its double, of all that is known and all that is dreamt of, and in that consummation of difference, the emergence of her vision is revealed. For the timid, such scenes may be affronting, but this bestiary is the artist’s presentiment, and in many respects, it is already the world.

Damian Smith, 2018

Dr Damian Smith is a freelance curator, arts writer and academic working in Australia at the University of Melbourne and RMIT, in Asia and Latin America. He is the Director of Words For Art, a member of the International Association of Art Critics and an art historian. He is currently curating Australian participation in the 2019 Bienal de la Habana, Cuba.

 

Installation view of the exhibition 'Jacqui Stockdale: Ghost Hoovanah' at This Is No Fantasy, Melbourne

Installation view of the exhibition 'Jacqui Stockdale: Ghost Hoovanah' at This Is No Fantasy, Melbourne

 

Installation views of the exhibition Jacqui Stockdale: Ghost Hoovanah at This Is No Fantasy, Melbourne

 

Jacqui Stockdale. 'The Rider' 2018

 

Jacqui Stockdale
The Rider
2018
C Type Print
130 x 100 cm

 

Jacqui Stockdale. 'Duel of the Mount' 2018 (installation view)

 

Jacqui Stockdale
Duel of the Mount (installation view)
2018
Diptych
Dimensions variable

 

Jacqui Stockdale. 'Duel of the Mount 1' 2018

 

Jacqui Stockdale
Duel of the Mount 1
2018
C Type Print
130 x 100 cm

 

Jacqui Stockdale. 'Duel of the Mount 2' 2018

 

Jacqui Stockdale
Duel of the Mount 2
2018
C Type Print
130 x 100 cm

 

 

This Is No Fantasy
108-110 Gertrude St
Fitzroy VIC 3065
Australia
Phone: +61 3 9417 7172

Opening hours:
Tues – Fri 10am – 5pm
Sat 12 – 5pm

This Is No Fantasy website

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08
Dec
17

In conversation: Marcus Bunyan and Elizabeth Gertsakis discuss his new work, ‘The Shape of Dreams’ 2013-2017

December 2017

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series The Shape of Dreams 
2013-2017
Silver gelatin print
© Marcus Bunyan

 

 

In conversation

EG: Just saw your most recent Art Blart and your work. It’s very beautiful. Congratulations. At first I didn’t know whose they were. Then I went through them one by one, and only after responding to them ‘unknown’ I saw it was your work. SO BEAUTIFUL, so potent and yet, within the ambivalence and questioning there was space for great stillness and contemplation. Powerful and so poetic. The one of the children, close up is dazzling, but so are the open fields, mountains, roadways and minute images of flight.

MB: Thank you so much Elizabeth. Yes, my work would you believe. I can now believe after 4 years hard work. A poem to the uncertainty of human dreams. It’s a conceptual series in the vein of my hero Minor White – contemplative, poetic as always with me, but with an edge under the poetry as you so correctly observe EG – you are caught in the dream in the end image, suspended in time and space, in your imagination. You are always so spot on with your observations.

EG: Your own tendency is also closely linked to language and ideas?

MB: This is very true. The basis for all my work is body, time, space, environment and their link to language and ideas… and how conceptual work can be spiritual as well.

EG: I’m with you on that one, and political as well.

MB: Indeed – all my work, including this series, is very anti-war.

EG: What is unseen, invisible in these images is definitely the dark quiet hole of hell that war is. Or at least those that invest in it.

MB: The key image in this regard is the one of the explosion.

EG: But the ones of the distant and misdirected aerial machines also…

MB: Indeed, and the second one, where all the men are looking away while the cloud expands in the background.

EG: Yes, the casual indifference and banality of it.

MB: You have it perfectly Elizabeth!

EG: But the children, oh those children, and the innocent implacability of the natural world.

MB: To find these images on Ebay and then spend four years of my life cleaning and saving them was an incredible experience. It was almost like I was breathing these images as I was saving them, looking into each one and being immersed in them. Thus, the art demands contemplation from the viewer in order to begin to understand its resonances.

.
Many thankx to Elizabeth Gertsakis for her wisdom, knowledge, friendship and advice throughout the year. These observations of my work mean a great deal to me.

SEE THE FULL SEQUENCE INCLUDING SIZE AND SPACING OF IMAGES (ENLARGE AND USE SCROLL BAR)

SEE THE FULL IMAGES

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.

 

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series The Shape of Dreams
2013-2017
Silver gelatin print
© Marcus Bunyan

 

 

Marcus Bunyan 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, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor 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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Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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