Exhibition dates: 1st March – 25th May, 2025

Curators: Angela Connor, MAPh Senior Curator, and Stella Loftus-Hills, MAPh Curator

Exhibiting artists: Colin Abbott, Robert Ashton, Con Aslanis, Polly Borland, Peter Bowes, John Brash, Peter Burgess, Nanette Carter, John Cato, Andrew Chapman, Lyn Cheong, Jon Conte, Kim Corbel, Paul Cox, Mimmo Cozzolino, Christina de Water, Duncan Frost, Rob Gale, Sandra Graham, Bill Henson, Julie Higginbotham, Graham Howe, Carol Jerrems, Moira Joseph, Peter Kelly, Christopher Köller, Johann Krix, Paul Lambeth, Derrick Lee, Peter Leiss, Carolyn Lewens, Steven Lojewski, Ian Macrae, James McArdle, Jim McFarlane, Rod McNicol, Julie Millowick, Peter Milne, Jacqueline Mitelman, Richard Muggleton, Martin Munz, Nicholas Nedelkopoulos, Greg Neville, Glen O’Malley, Viki Petherbridge, Ross Powell, Philip Quirk, Leonie Reisberg, Susan Russell, Stella Sallman, Athol Shmith, Geoff Strong, Ian Tippett, George Volakos, Stephen Wickham, Andrew Wittner, Ken Wright, Lynette Zeeng

 

 

Andrew Chapman (Australian, b. 1954)
Lest we forget
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024

 

 

Nurture

A world of creativity and transformation

This is a magnificent exhibition at the Museum of Australian Photography which showcases the work of students and teachers at Prahran College between 1958-1981.

People more eminent than myself have commented on the exhibition.

Gael Newton AM – formerly curator of photography at the Art Gallery of New South Wales, and the Senior Curator of Australian and International Photography at the National Gallery of Australia (NGA) in Canberra – “highlights the diverse and passionate nature of the Prahran College community, where an unstructured curriculum and open debates encouraged multiple approaches – from documentary and still life to collage and staged tableau – while the influence of European cinematic sensibilities and the local film and music scenes added depth to the artistic expression.”1

Daniel Palmer – Professor in the School of Art at RMIT University, his research and professional practice focuses on contemporary art and cultural theory, with a particular emphasis on photography and digital media – commenting on the era “frames the 1970s as a transformative era for Australian society and photography, characterised by social activism.”1

Helen Ennis – formerly Curator of Photography at the National Gallery of Australia and outstanding writer on Australian photography and photographers – emphasises “productive intergenerational exchanges between students and their older educators Prahran represented a space of creative possibility and hope” while acknowledging Prahran’s limitations including gender imbalance, “noting examination records from 1974 showing only five of twenty students were female, with the first woman (Julie Millowick) not appointed to teach until 1983.”1

“Ennis’s address brings to light from The Basement a critical reassessment of how we understand and present 1970s Australian photography. She advocated for approaches that preserve the complexity, contradictions, and energy of this formative period rather than imposing retrospective order that might simplify or misrepresent it. Her reflections bridge historical understanding with contemporary curatorial practice, suggesting ways to engage more authentically with photography’s rich past.”2

Bill Henson AO – former student and internationally acclaimed photographer – acknowledges that “that political movements such as feminism were present among Prahran’s students in the 1970s – “there were the feminists; there were little groups doing their social diligence” – he noted that these stances did not overshadow the college’s overarching emphasis on beauty and creative exploration. “There wasn’t this righteousness, this indignation, this kind of territorial thing about issues,” he said. In contrast there was an openness and enthusiasm that defined Prahran during his time there – a place where beauty and creativity were paramount.”3

On reflection

What struck me most about this exhibition was the creative strength of the STUDENT work … and that is something nobody mentions. This was student work.

These were artists finding their personal voice, exploring the world, being creative, learning how to envision the world in their photographs – through social documentary or conceptual, experimental photographs that challenged how Australian viewed itself. As Assoc. Professor James McArdle, a former student and one of the many driving forces behind this exhibition, insightfully observes:

“Prahran, at this time, was a nexus for the ‘New Photography’ movement in Australia, bringing to our country international developments from the 1960s, the candid, loosely structured photographic language that contrasted sharply with the rigid narratives of photojournalism and the increasingly commercial aesthetics of colour photography.

Prahran College itself played a critical role in the legitimisation of photography as an art form within Australia. It spearheaded the integration of art photography into tertiary education curricula, fostering an environment where young artists … could experiment formally and conceptually.”4

Indeed, Melbourne in the late 1960s and early 1970s could be seen as the nurturing centre of photography in Australia.

As my friend Ian Lobb said to me before he died, “In 1970 where did you go to see a fine art photograph on exhibition in a non-institutional gallery in Melbourne? The only place was the doorway to the John Cato / Athol Shmith / Peter Barr studio in Collins Street. You would never know which of the three photographers would have a print placed in that doorway.”5

But then things changed.

Variously, Melbourne had Jenny Boddington appointed curator of photography in 1972 at the National Gallery of Victoria, becoming the first such curator in Australia and perhaps only the third in the world.

Melbourne also had three commercial art photography galleries that supported local and international exhibitions, exposing major international photographers to local artists. These included Brummels Gallery of Photography reopened in the early 1970s by that wonderful photographer Rennie Ellis and deputy director Robert Ashton (Prahran), the first privately run art gallery in the country to be devoted specifically to photography; The Photographers’ Gallery and Workshop founded in 1973 by Paul Cox (Prahran), Ingeborg Tyssen, John F. Williams and Rod McNicol (Prahran), taken over by Ian Lobb in 1974 and joined by co-director Bill Heimerman in 1976 showcasing mostly American and some European original fine prints from major artists which were influential on Australian audiences and practitioners; and Church Street Photographic Centre opened by Joyce Evans OAM in 1976, the third commercial photographic gallery in 1970s Melbourne which exhibited international 19th and 20th Century photography

Prahran College was closely followed by Phillip Institute of Technology (PIT) which was a tertiary college in Bundoora which had an art photography course run by Ian Lobb and Les Walkling, from 6 January 1982 to 30 June 1992 at which time the school integrated as part of RMIT University. I attended PIT in 1991 and then RMIT University where I completed by doctorate, after having undertaken two years at Brighton Technical College completing two years on the basics of photography, a grounding for many budding photographers in those years under the direction of Peter Barker.

I remember at RMIT fine art photography course we would have reviews of student work every 4 weeks, where over 2 days students put up new work and we all sat together with the lecturers and discussed the ideas contained in the work. The atmosphere was electric, the disparate work, the in-depth conversations, the passion. Look at Greg Neville’s photograph Tutorial: lecturers and students [back row L–R Derrick Lee, Bryan Gracey, Athol Shmith, Paul Cox, Elizabeth Tainsh] (c. 1971, below) and you can feel a similar energy…

So Melbourne has been particularly blessed – I dislike that word but there is no other that really conveys what I mean – by this confluence of events, people and places that supported the rigorous investigation of photography and life that Prahran College was a part of. At Prahran there was optimism, social conscience, and an engagement with the street and with life, there was “creative rebellion and intellectual engagement”. I asked James McArdle at an artist’s talk about this: how exciting this would have been, the bouncing of ideas one off another, the sense of community and camaraderie, and yes they were all there … encouraging an “atmosphere” of creativity which has produced a generation of outstanding photographers who will leave a lasting legacy in the history of Australian photography.

As an artist who arrived as a “second generation” photographer after Prahran College I have a great affection for the people and the work produced in the exhibition.

I knew John Cato and his delightful wife Dawn Cato well and went down to their house for afternoon tea to discuss photography and life; together with Bill Heimerman I co-curated his retrospective at The Photographers’ Galley and Workshop in 2002, the text ‘and his forms were without number’ used in the book accompanying the exhibition John Cato Retrospective at the Ballarat International Foto Biennale in 2013 where Paul Cox and I made opening speeches. Both were good friends.

Joyce Evans was my substitute mother in Australia. What a wonderful, bohemian, creative, intelligent woman she was. I wrote “Nothing emerges from nothing,” foreword to her book We Had Such High Hopes: Student Activism and the Peace Movement 1949-1952, A Photographic Memoir by Joyce Evans 2019 published before she died, a book that instils the social conscience ethos emerging in postwar Australia which leads into the work of the Prahran College photographers. I still her miss greatly.

As I do both Ian Lobb and Bill Heimerman (pictured below in Peter Leiss’ Untitled [Bill Heimerman (right) and Ian Lobb (left) at the rear of The Photographers’ Gallery] c. 1975-1980), both good friends. Ian Lobb was my first photography lecturer at PIT and became my mentor and friend for over 30 years; Bill gave me three solo exhibitions at The Photographer’s Gallery and Workshop in my early days as an artist, and much excellent advice, for which I am forever grateful.

James McArdle and Gael Newton remain valued friends, both amazing fonts of knowledge in all aspects of photography and photographic research.

In conclusion, congratulations to all who have been involved in bringing this exhibition to fruition: artists, writers and curators. It is a magnificent achievement and a testament to the creativity and passion of the times, both theatre and document reflecting an era that sadly can no longer be repeated.

Prahran College photographers followed their heart and their eye, they possessed a curiosity which “evokes the care one takes for what exists or could exist; an acute sense of the real which, however, never becomes fixed; a readiness to find our surroundings strange and singular; a certain restlessness in ridding ourselves of our familiarities and looking at things otherwise; a passion for seizing what is happening now and what is passing away; a lack of respect for traditional hierarchies of the important and the essential.”6

However long I live, it has always been a privilege to be part of this community, to be part of the Melbourne photographic community.

Dr Marcus Bunyan

 

1/ James McArdle. “Launched!,” on the On This Date in Photography website, 6th April 2025 [Online] Cited 06/04/2025

2/ Helen Ennis quoted in James McArdle. “Unfixing,” on the On This Date in Photography website, 29th March 2025 [Online] Cited 06/04/2025

3/ Bill Henson opening speech summarised in James McArdle. “Opening!” on the On This Date in Photography website, 1st March, 2025 [Online] Cited 18/04/2025

4/ James McArdle. “Epoch,” on the On This Date in Photography website, 25th April, 2025 [Online] Cited 28/04/2025

5/ “Steve Lojewski [in the year ahead of me at PCAE] and I job shared at Shmith / Cato / Barr. A fantastic opportunity to work mainly in the darkroom, occasionally assisting in the studio and as they gained confidence in me sent out on [mickey mouse] jobs when they were double booked. A HUGE break and when Peter Barr bought out John and Athol and established Peter Barr & Associates he invited me to freelance out of his new studio. That offer would not have happened without the prior experience of the darkroom & studio work. My first job on the Monday morning of my 2 week trial for Athol, John and Peter was 250 prints [on fibre paper] of Malcom Fraser by 11.00 am [ie the wet deadline was 11.00. Dry and out the door was, from memory, 12.noon].”

Julie Millowick in conversation with Marcus Bunyan via Facebook, 20th May 2025

6/ Michel Foucault, “The Masked Philosopher” in Politics, philosophy, culture: interviews and other writings, 1977-1984. London: Routledge, 1988, p. 328

All installation photographs © Marcus Bunyan. Please click on the photographs for a larger version of the image.

Apologies if a couple of the photographs are slightly out of focus, these were digital RAW files shot on a Sony rx100 handheld at 1000ASA with low depth of field.

For more information please see The Prahran Photography website which upholds the legacy of Prahran College 1970s photography through posts on profiles of the alumni and lecturers (an ongoing project).

 

 

“Curiosity is a vice that has been stigmatized in turn by Christianity, by philosophy and even by a certain conception of science. Curiosity, futility. I like the word however. To me it suggests something all together different: it evokes concern; it evokes the care one takes for what exists or could exist; an acute sense of the real which, however, never becomes fixed; a readiness to find our surroundings strange and singular; a certain restlessness in ridding ourselves of our familiarities and looking at things otherwise; a passion for seizing what is happening now and what is passing away; a lack of respect for traditional hierarchies of the important and the essential.”

Michel Foucault, “The Masked Philosopher” in Politics, philosophy, culture: interviews and other writings, 1977-1984. London: Routledge, 1988, p. 328

 

 

Gallery One (clockwise)

 

 

Installation views of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photos: Marcus Bunyan

 

 

In May 1968 the newly formed photography department of Prahran Technical School (known as Prahran College of Advanced Education (PCAE) from 1973) moved into the basement of a freshly completed art and design building on the corner of High Street and Thomas Street in Melbourne’s inner southeastern suburb of Prahran. Here, for the first time in Australia, photography was taught as an artform.

Featuring the work of approximately 60 artists, The basement brings to light rare vintage prints from the 1960s through to the early 1980s, key archival ephemera and folio work – from students and teachers of the College’s Diploma of Art & Design (Photography). It was a period where new discussions developed quickly around the possibilities of what photography could be. These students and teachers were part of a progressive, edgy wave of image-makers excited about the medium’s potential.

Under the vanguard of influential photographers such as John Cato, Paul Cox and Athol Shmith, the school became a breeding ground for some of this country’s most important art photographers: Carol Jerrems, Bill Henson, Nanette Carter, Rod McNicol, Polly Borland, Peter Milne, Robert Ashton, Philip Quirk, Peter Leiss, Jacqueline Mitelman, Mimmo Cozzolino, Graham Howe and Julie Millowick, among many others.

The exhibition’s accompanying publication elucidates the experience from several perspectives. As we hear from the curators, students, colleagues and academics, it’s clear that this course, in this time, was of great consequence to our photographic ecosystem and its development.

Curated by Angela Connor, MAPh Senior Curator, and Stella Loftus-Hills, MAPh Curator, The basement gathers works from close to 60 artists, traversing over 13 years of image-making and adjacent subcultures in music, protest, fashion and art criticism. This landmark exhibition will deliver new research into the canon of Australia’s cultural history through its assembled works and attendant publication.

Text from the Museum of Australian Photography website

 

 

Installation view of the reverse of the opening wall of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Moira Joseph (Australian, b. 1955)
Jack with a cigarette sitting in the church garden, St Kilda (installation view)
1974
Gelatin silver print
Museum of Australian Photography, City of Monash Collection
Acquired 2024
Photo: Marcus Bunyan

 

 

Moira Joseph (Australian, b. 1955)
Herald boys, Fitzroy Street, St Kilda (installation view)
1975
Gelatin silver print
Museum of Australian Photography, City of Monash Collection
Acquired 2024
Photo: Marcus Bunyan

 

Moira Joseph is a Melbourne-based professional photographer, filmmaker and teacher. She studied photography at Prahran College from 1974 to 1977. Joseph created the works on display here while she was a student. Armed with her Mamiya 220 medium-format camera, Joesph often walked between the College and her home in St Kilda, affectionately documenting the characters she regularly encountered. Jack with a cigarette sitting in the church garden, St Kilda (1974), for example, shows an elderly gentleman from a nearby men’s refuge sitting alone in Acland Street’s church square. Children regularly feature in Joseph’s student work, and she spent time photographing at luna park, as well as Prahran Primary School.

Wall text from the exhibition

Moira Joseph alumni profile on the Prahran Legacy website

 

 

Moira Joseph (Australian, b. 1955)
Three Herald boys, Acland Street, St Kilda (installation view)
1975
Gelatin silver print
Museum of Australian Photography, City of Monash Collection
Acquired 2024
Photo: Marcus Bunyan

 

 

Installation view of the first gallery of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Julie Millowick ‘s photographs from clockwise: ANZAC woman alone, draped in leopard skin coat, 1975; Carlisle Street shopping, 1975; Luna Park, St Kilda, 1975; Mother and child from 46 Blanche Street, St Kilda, 1977 from the series Portraits of women
Photo: Marcus Bunyan

 

Julie Millowick studied photography at Prahran College from 1974 to 1976 and gained early experience working in the darkroom of Athol Shmith, John Cato and Peter Bart. She is widely known for her work as a commercial photographer and photojournalist as well as her personal documentary projects.

1975 was Millowick’s second year at Prahran College, and also International Women’s Year, as designated by the United Nations. With the spotlight set firmly on women’s rights, Millowick made an extensive series of photographs entitled Portraits of women, which she continued in subsequent years. This human-centred series with feminist undertones, sympathetically captured women in a variety of locations and depicted moments of motherhood, friendship, loneliness, old-age and youth.

Wall text from the exhibition

Read my review “Down with Earth,” on the exhibition Julie Millowick: Surrounding at the Castlemaine Art Museum, June 2024

Julie Millowick Alumni profile on the Prahran Legacy website

 

 

Julie Millowick (Australian, b. 1948)
Mother and child from 46 Blanche Street, St Kilda
1977
Gelatin silver print
15.9 x 23.7cm
Museum of Australian Photography, City of Monash Collection donated by Julie Millowick 2024

 

 

Wall text from the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Installation views of the first gallery of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photos: Marcus Bunyan

 

 

Installation view of the first gallery of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at left, George Volakos’ photograph Vietnam moratorium 1 1970; at top centre, Graham Howe’s photograph Protester, moratorium to end the war in Vietnam 1970 followed by two photographs Moratorium to end the war in Vietnam 1970 (below)
Photo: Marcus Bunyan

 

As a student at Prahran College in the early 1970s, Graham Howe embraced photography’s ability to document social change. For Howe, photography was the perfect medium for observing the world around him and expressing a point of view. This is evident in his images of a Vietnam War moratorium in Melbourne in September 1970. Immersed in a sea of people, placards and peace signs, Howe made a series of tightly framed and often close-up views of the protesters, showing the event from his perspective as an impassioned participant rather than an objective observer. Other Prahran College students, such as Johann Kris and George Volvos, also took photographs at these demonstrations, documenting the intensity of the activist movement

Wall text from the exhibition

Graham Howe alumni profile on the Prahran Legacy website

 

 

Graham Howe (Australian, b. 1950)
Moratorium to end the war in Vietnam (installation view)
1970, printed 2024
Pigment inkjet print
Collection of the artist
Photo: Marcus Bunyan

 

 

Graham Howe (Australian, b. 1950)
Moratorium to end the war in Vietnam (installation view)
1970, printed 2024
Pigment inkjet print
Collection of the artist
Photo: Marcus Bunyan

 

 

Installation view of the first gallery of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left clockwise, Ken Wright’s Rally for Gough 1975; Andrew Chapman’s Street protest, November 11th 1975; Richard Muggleton’s Untitled (F19 protest) c. 1977; and Andrew Chapman’s Lest we forget 1980
Photo: Marcus Bunyan

 

 

Ken Wright (Australian/New Zealand, 1948-1998)
Rally for Gough (installation view)
1975
Gelatin silver print
Private collection
Photo: Marcus Bunyan

 

 

Andrew Chapman (Australian, b. 1954)
Lest we forget (installation view)
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024
Photo: Marcus Bunyan

 

Andrew Chapman studied photography at Prahran College from 1974 to 1976 and then again in 1980. His Street protest, November 11th (1975) documents a politically motivated rally. It was taken on the corner of Albert Street and moray Street in South Melbourne. Chapman was in his second year at Prahran College and had been listening to parliament on the radio in the office of the then photography technician Murray White. When the news broke of the Whitlam Government’s dismissal, Chapman was quick to join the rallies that broke out in the streets. Later, in 1980, the streets were still politically charged when Chapman returned to Prahran to complete his course. His image, Lest we forget (1980) was made in City Square on Swanston Street at an anti-Fraser demonstration in the lead-up to the 1980 federal election. Described by Julie Millowick as the student who never stopped photographing, even during class, Chapman always has his Leica camera ready. Throughout his career Chapman has photographed much of Australia’s social and political landscape, working both personally and for clients, including as a photojournalist for major Australian newspapers and magazines.

Wall text from the exhibition

Andrew Chapman alumni profile on the Prahran Legacy website

 

 

Wall text from the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Installation view of the first gallery of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from top left clockwise photographs by Julie Higginbotham: Greville Street Market, 1975; Catching butterflies, Prahran Park, 1974; and Greville Street, 1976
Photo: Marcus Bunyan

 

Julie Higginbotham practiced a style of unobtrusive street photography in the mid-1970s, making candid expressive images such as ‘Catching butterflies, Prahran Park’ (1974), which records a moment of human interaction with a keen eye for composition and synchronicity. Higginbotham recalls being offered a bohemian, European-inspired style of education at Prahran College while she was there from 1971 to 1974, particularly by Cox whose emphasis on freedom of expression and personal choice resonated. Through her street photography, Higginbotham was interested in recording the cultural changes that were taking place in Melbourne at the time. Living above a shop in the heart of Greville Street in 1975, she was part of a lively hippie community in Prahran. While living conditions were squalid, the cheap rents attracted artists, musicians and alternative thinkers to the area. Greville Street at this time was one of Melbourne’s key counterculture locations, known for live music, organic food and second-hand clothes shops. Higginbotham produced several images that document the vibrancy of this movement, including a series of street photographs she made at the Greville Street Market on Saturday in 1975.

Wall text from the exhibition

Julie Higginbotham alumni profile on the Prahran Legacy website

 

 

Julie Higginbotham interview Prahran CAE 1971 – 74 Photography

 

 

Installation view of the first gallery of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left, Andrew Chapman’s photographs Anti Fraser demonstrator, Collins Street Melbourne 1979; Tribune newspaper seller, Melbourne 1980; Party supporter, Liberal Party campaign launch, Moorabbin Town Hall 1980
Photo: Marcus Bunyan

 

 

Andrew Chapman (Australian, b. 1954)
Tribune newspaper seller, Melbourne (installation view)
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024
Photo: Marcus Bunyan

 

 

Andrew Chapman (Australian, b. 1954)
Tribune newspaper seller, Melbourne (installation view)
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024

 

 

Andrew Chapman (Australian, b. 1954)
Party supporter, Liberal Party campaign launch, Moorabbin Town Hall (installation view)
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at left, George Volakos’ Flinders Street Station 1972; and at right, Graham Howe’s Man on tram, Melbourne 1970
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Rob Gale from his Dogs and their humans (1978) and Swanston Street 5pm (1978) series
Photo: Marcus Bunyan

 

 

Rob Gale (Australian, b. 1953)
Untitled 01 (installation view)
1978
From the series Swanston Street 5pm
Pigment ink-jet print, printed 2024
Collection of the artist
Photo: Marcus Bunyan

 

Rob Gale studied photography at Prahran Collect from 1976 to 1978. For his series, Swanston Street, 5pm (1978), Gale took inspiration from an iconic painting by the Australian artist John Brack, Collins Street, 5pm (1955). Gale’s photographic exploration of Brack’s stylised view of Melbourne’s office workers was made during peak hour at a busy tram stop near Flinders Street Station. Influenced by American street photographers such as Bruce Golden and Weegee, Gale used a hand-held flash to illuminate his subjects. In a nod to Brack’s painting, this technique allowed Gale to create harsh, stylised views of impatient commuters. The flash also seems to have induced grimaces and sideways stares which, along with the harsh lighting, shadows and unusual camera angles, served to accentuate the strange and surreal atmosphere in the photographs.

Wall text from the exhibition

Rob Gale alumni profile on the Prahran Legacy website

 

 

Rob Gale (Australian, b. 1953)
Untitled 12
1978
From the series Swanston Street 5pm
Pigment ink-jet print, printed 2024
Collection of the artist

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs from left clockwise, Steven Lojewsi’s Man with umbrella near curb, Melbourne 1975; Johann Krix’s Proud moment, Moomba c. 1971; and Andrew Wittner’s Where’s my car, Melbourne 1973
Photo: Marcus Bunyan

 

 

Andrew Wittner (Australian, b. 1955)
Where’s My Car?
1973, printed 2024
Gelatin silver print
Collection of the artist

Andrew Wittner alumni profile on the Prahran Legacy website

 

 

Steven Lojewsi (Australian born England, b. 1952)
Man with umbrella near curb, Melbourne (installation view)
1975
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2025
Photo: Marcus Bunyan

 

Steven Lojewski was born in London and grea up in Canada before arriving in Australian in 1969. He studied photography at Prahran College from 1974 to 1976 and later at Sydney College of the Arts. While studying at Prahran, Lojewski made a number of photographs on the streets of Melbourne. Sparsely populated, these early-career vintage prints demonstrate Lojewski’s highly defined, formal approach to documenting the urban landscape and illustrate his ability to produce a subtle range of silvery mid-tones and carefully styled compositions.

Wall text from the exhibition

Steven Lojewski alumni profile on the Prahran Legacy website

 

 

Steven Lojewsi (Australian born England, b. 1952)
Man with umbrella near curb, Melbourne
1975
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2025

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at left, John Conte’s Telephone, Prahran 1971; at centre top, Philip Quirk’s Lone ranger (Prahran resident with Royal Show souvenirs) 1973; at centre bottom, Philip Quirk’s The headmistress, sports day, Como Park 1975; and at right, Johann Krix’s Toorak Road, South Yarra 1972
Photo: Marcus Bunyan

 

 

Philip Quirk (Australian, b. 1948)
Lone ranger (Prahran resident with Royal Show souvenirs) (installation view)
1973
Gelatin silver print
15.9 x 23.8cm
Museum of Australian Photography, City of Monash Collection acquired 2024
Photo: Marcus Bunyan

 

Based in Sydney, Philip Quirk has been a practising documentary photographer since the 1970s. He studied photography at Prahran College from 1971 to 1973 and has frequently used his camera to capture endearing images of humanity. Influenced by international photographers such as Henri Cartier-Bresson and Diane Arbus, Quirk’s images feature unusual characters and situations, often incorporating humour and incongruity. His work, Lone ranger (Prahran resident with Royal Show souvenirs) (1973) formed part of his final portfolio assessment at Prahran College. Walking through the streets of Prahran, Quirk stopped to talk to this elderly resident and photographed him in the afternoon sunlight. With its emphasis on light and composition combined with an interest in Australian culture, this photograph is a precursor to the street and social documentary work Quirk produced in the years immediately following his time at Prahran College.

Wall text from the exhibition

Phil Quirk alumni profile on the Prahran Legacy website

 

 

Johann Krix (Australian born Austria, b. 1948)
Toorak Road, South Yarra (installation view)
1972
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Robert Ashton’s photographs, Champion Jackpot 1974; Builders Arms Hotel 1974; Family 1974 from the series Fitzroy
Photo: Marcus Bunyan

 

 

Robert Ashton (Australian, b. 1950)
Champion Jackpot (installation view)
1974, printed 2008
Pigment inkjet print
Museum of Australian Photography, City of Monash Collection acquired 2010
Photo: Marcus Bunyan

 

Robert Ashton studied photography at Prahran college from 1968 to 1970 and first exhibited his work at Brummels Gallery of Photography in 1973. As a student at Prahran, Ashton recalls being taught to follow his heart and his eye in a way that was free of constraints, developing a visual language influenced by the style of European black-and-white photography that he was introduced to by Paul Cox. His early documentary work concentrated on inner-city subjects, and he is widely known for his acclaimed series Fitzroy, which warmly documents the people of Fitzroy, focusing on human life and community connection. This series was originally published as a photobook, Into the hollow mountains a portrait of Fitzroy, in 1974.

Wall text from the exhibition

Robert Ashton alumni profile on the Prahran Legacy website

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left clockwise, Geoff Strong’s Bald man enjoying the sun, St Kilda 1975; Steven Lojewski’s Man with hat and lighthouse, St Kilda 1975; Glen O’Malley’s St Kilda 1973; and Steven Lojewski’s Man on bench, Stardust St Kilda 1975
Photo: Marcus Bunyan

 

 

Geoff Strong (Australian, b. 1950)
Bald man enjoying the sun, St Kilda
1975
Gelatin silver print
19.1 x 26.3cm
Museum of Australian Photography, City of Monash Collection donated 2025

 

Geoff Strong moved to Melbourne from Brisbane for the photography course at Prahran College, which he began in 1975 after already having established himself as a political journalist. Strong’s image, Bald man enjoying the sun, St Kilda (1975) showcases his acute interest in the qualities of Melbourne’s sunlight. The human element, a man’s bald head, becomes a formal, compositional device, which appears more like a bronze ball than a human form. Strong’s depiction of harsh light in this sparse composition accentuates the photograph’s formal elements and calls to mind the surreal paintings of Georgio de Chirico.

Text from the Museum of Australian Photography website

Geoff Strong alumni profile on the Prahran Legacy website

 

 

Steven Lojewsi (Australian born England, b. 1952)
Man with hat and lighthouse, St Kilda (installation view)
1975
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2025
Photo: Marcus Bunyan

 

 

James McArdle (Australian, b. 1950)
Couple, Luna Park (installation view)
1976
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2025
Photo: Marcus Bunyan

 

 

James McArdle (Australian, b. 1950)
Conscript, Luna Park (installation view)
1976
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2025
Photo: Marcus Bunyan

 

James McArdle is a photographic artist, curator, writer and educator based in Castlemaine, Victoria. While studying photography at Prahran College from 1974 to 1976, McArdle took his camera out onto the streets of Melbourne. He made several social documentary images as well as more playful, abstract compositions, which highlight his interest in shadow and form. The vintage silver gelatin prints on display here come mostly from McArdle’s first-and second-year street photography folios. They were made during long walks around St Kilda and Elwood. Conscript, Luna Park (1976) formed part of McArdle’s third-year major project on Luna Park, which included portraits taken in the Penny Arcade. Created using a Linhof 4 x 5 inch press camera and flash, this folio was assessed by Wolfgang Sievers.

Wall text from the exhibition

Dr James McArdle profile on the Academia website

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left clockwise, James McArdle’s Hungry puddle, Elwood 1975 and St Kilda Courthouse 1974; Martin Munz’s Man at crossing, Lower Esplanade St Kilda 1979; and Greg Neville’s Man and shadow 1971
Photo: Marcus Bunyan

 

 

James McArdle (Australian, b. 1950)
Hungry puddle, Elwood
1975
Gelatin silver print
27.0 x 18.5cm
Museum of Australian Photography, City of Monash Collection donated by James McArdle in honour of John Cato 2025

 

 

Greg Neville (Australian, b. 1950)
Man and shadow (installation view)
1971
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Sandra Graham’s photographs Walls 3 (Joseph) and Walls 2 (cloak 1) 1976 from the series Walls (left); and Backstage, Chapel street bridge, Prahran 1976 (right)
Photo: Marcus Bunyan

 

 

Sandra Graham (Australian, b. 1947)
Walls 3 (Joseph) (installation view)
1976
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

 

Formal concerns permeate the street portraits by Sandra Graham who studied photography at Prahran college fromollege from 1974-1975. In her series Walls, Graham relates the human forms of her subjects to the textured walls behind them. For instance, in Walls 3 (Joseph) (1976), the weathered face and stained clothes of a painter are shown in front of a mottled wall that he is about to paint white. Graham blends figure and ground in this image, playing with tonal relationships in black and white. She creates a painterly style of flatness through this series, which was made on streets around St Kilda and Albert Park.

Wall text from the exhibition

Sandra Graham alumni profile on the Prahran Legacy website

 

 

Sandra Graham (Australian, b. 1947)
Walls 3 (Joseph)
1976
Gelatin silver print
Collection of the artist

 

Gallery two section one (clockwise)

 

 

Installation views of the second gallery part A of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photos: Marcus Bunyan

 

 

Wall text from the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Lyn Cheong (Australian, b. 1954)
Self-portrait (installation view)
1977
Self-portrait (installation view)
1977
Dye diffusion transfer prints
Collection of the artist
Photo: Marcus Bunyan

 

 

Nicholas Nedelkopoulos (Australian, b. 1955)
Shrunken head (installation view)
1978-1991
Dark wedding (installation view)
1978-1990
Chromogenic prints
Museum of Australian Photography, City of Monash Collection acquired 1992
Photo: Marcus Bunyan

 

 

Nicholas Nedelkopoulos (Australian, b. 1955)
Shrunken head (installation view)
1978-1991
Chromogenic print
Museum of Australian Photography, City of Monash Collection acquired 1992
Photo: Marcus Bunyan

 

 

Leonie Reisberg (Australian, b. 1955)
Portrait of Peggy Silinski, Merimbula, NSW (installation view)
1974
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2023
Photo: Marcus Bunyan

 

Leonie Reisberg attended Prahran College between 1974 and 1975, where she developed her photographic practice. Her work from this period is often associated with a growing interest in experimental and documentary photography that emerged in Melbourne during the 1970s.

Reisberg’s approach blends real-life moments with a more composed and conceptual style, often exploring themes of intimacy, femininity and social dynamics. She is part of a cohort of photographers that helped shape the trajectory of contemporary Australian photography, particularly within the context feminist and documentary practices.

Wall text from the exhibition

Leonie Reisberg alumni profile on the Prahran Legacy website

 

 

Leonie Reisberg (Australian, b. 1955)
Portrait of Peggy Silinski, Merimbula, NSW
1974
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2023

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at centre, Andrew Chapman’s Self-portrait in bath 1975; and at right, Viki Petherbridge’s Frames 10-18 1975 from the series Frames
Photo: Marcus Bunyan

 

 

Viki Petherbridge (Australian, b. 1954)
Frames 10-18 (installation view)
1975
from the series Frames
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

 

 

Wall text from the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Peter Milne’s photographs from top clockwise, Rowland S Howard 1977; Polly Borland 1979; and Rowland S Howard, Nick Cave, Ollie Olsen, Megan Bannister, Anita Lane, Bronwyn Adams 1977
Photo: Marcus Bunyan

 

 

Peter Milne (Australian, b. 1960)
Rowland S Howard (installation view)
1977
Pigment inkjet print
Museum of Australian Photography, City of Monash Collection donated by Helen Frajman 2023
Photo: Marcus Bunyan

 

Peter Milne began his studies at Prahran College in 1980. Prior to this, he had already begun photographing his friends, family, and the Melbourne punk scene in the mid-to late 1970s. Over the following decades, Milne captured a range of cultural icons, including Nick Cave, Rowland S Howard and Polly Borland. Known for his intimate and warm portraiture, Milne uses dramatic lighting to create strong compositions. His images of Rowland S Howard, in particular, highlight these techniques, with some photographs featuring Howard in striking light or set against brutalist architecture.

Wall text from the exhibition

See the exhibition Juvenilia: Peter Milne at Strange Neighbour, Fitzroy, Melbourne February – March 2015

 

 

Peter Milne (Australian, b. 1960)
Polly Borland
1979
Pigment ink-jet print
48 x 32cm
Museum of Australian Photography, City of Monash Collection donated by Helen Frajman 2021

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing portraits by Polly Borland from 1983
Photo: Marcus Bunyan

 

 

Polly Borland (Australian, b. 1959)
Dave (installation view)
1983, printed 2025
Silver dye bleach print
Collection of the artist
Photo: Marcus Bunyan

 

Polly Borland attended Prahran College between 1980 and 1983. Borland shot most of her student work, featured here, on Kodachrome. She shot the works in her Camberwell apartment with direct sunlight pouring through the window. Pieces of carefully placed cellophane on the window created coloured shadows across the subjects’ faces. …

Borland and Cave first began working together in the early 1980s after they met at a party in St Kilda in 1979. The image of Borland at the St Kilda party is documented by fellow friend Peter Milne. Borland’s formative photographs in the early 1980s were part of a new wave of experimental images that departed from renderings of ordinary life.

Wall text from the exhibition

 

 

Polly Borland (Australian, b. 1959)
Nick (installation view)
1983, printed 2025
Silver dye bleach print
Museum of Australian Photography, City of Monash Collection acquired 2025
Photo: Marcus Bunyan

 

 

Polly Borland (Australian, b. 1959)
Nick
1983, printed 2025
Silver dye bleach print
Museum of Australian Photography, City of Monash Collection acquired 2025

 

Polly Borland made this work during her student days at Prahran College where she studied between 1980 and 1983. Borland shot most of her student work on Kodachrome. Shot on Kodachrome, this work forms part of a series of portraits Borland made in her Camberwell apartment with direct sunlight pouring through the window. Pieces of carefully placed cellophane on the window created coloured shadows across the subjects’ faces. 

Borland’s images of Nick Cave from the 1980s and 1990s have become legendary. Often described as raw and intense, these images highlight the tension between the public persona of the famous musician and the more vulnerable, human side of the singer and artist. Borland and Cave first began working together in the early 1980s after they met at a party in St Kilda in 1979.

Text from the Museum of Australian Photography website

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from top left clockwise, Christopher Köller’s photographs Past self portrait 1980; Philip and Maria 1981; Joe as a Russian soldier 1980; and Bauhausler (homage to Oscar Schlemmer and August Sander) 1980
Photo: Marcus Bunyan

 

 

Christopher Köller (Australian born England, b. 1943)
Past self-portrait
1980
Gelatin silver print
23.0 x 24.0cm
Museum of Australian Photography, City of Monash Collection acquired 2024

 

Christopher Köller trained as a silk-screen printer before travelling extensively throughout the late 1960s and 1970s. Upon his return to Australia, Köller studied photography at Prahran college fromollege, graduating in 1980. Köller enrolled in Prahran with the intention of doing an expose on the conditions experienced by the miners of Bolivia as he had learnt about their plight while travelling in South America.

In his second year Köller stopped looking at photography books and started poring over the pages of art book, influenced by his now partner and historian Nanette Carter and lecturer Norbert Loeffler. Inspired by these teachings, Köller started to set up his images. His first self-portrait titled Past self portrait (1980) is an image of a young artist arriving at Station Pier, Melbourne with his passport in hand. It was part of a series of self-portraits that were shown at The Photographers’ Gallery and Workshop. Other works in this period were influenced by Russian Constructivism – particularly Vladimir Mayakovsky – and 1930s German avant-garde art. In another image, Köller’s subject, dressed in a shirt and tie, stand in front of an Oskar Schlemmer drawing, made by the artist.

Wall text from the exhibition

Christopher Köller alumni profile on the Prahran Legacy website

 

 

Christopher Köller (Australian born England, b. 1943)
Joe as a Russian soldier (installation view)
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection acquired 2024
Photo: Marcus Bunyan

 

 

Christopher Köller (Australian born England, b. 1943)
Joe as a Russian soldier
1980
Gelatin silver print
Museum of Australian Photography, City of Monash Collection acquired 2024

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Nanette Carter’s photographs Proof 1979 and Newspaper 1980
Photo: Marcus Bunyan

 

 

Nanette Carter (Australian, b. 1954)
Proof (installation view)
1979
Gelatin silver print
Museum of Australian Photography, City of Monash Collection acquired 1981
Photo: Marcus Bunyan

 

Nanette Carter studied first-year photography at Prahran College in 1974 and then completed a diploma (1977) and post graduate diploma (1980) in fine art at the Phillip Institute of Technology, majoring in photography. Her practice explored feminist issues with autobiographical overtones, and she exhibited her work widely between 1981 and 1995. She ceased practising as a Photographer in the early 1990s to pursue her career as a lecturer in design history.

Carter’s image Proof (1979) is a striking self-portrait that reflects on the concept of identity and addresses the idea of photographic ‘proof’ in a multifaceted way. The word written across her face explores the proof of identity and the assertion of existence that photography claims. Newspaper (1980) utilities her partner Christopher Köller as subject. From early on in their relationship, Carter and Köller used each other as models.

Wall text from the exhibition

Nanette Carter alumni profile on the Prahran Legacy website

 

 

Nanette Carter (Australian, b. 1954)
Proof
1979
Gelatin silver print
Museum of Australian Photography, City of Monash Collection acquired 1981

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left clockwise, Rod McNicol’s photographs Nanette 1978; Stewart 1978; and Kent 1978 from the series Permanent mirrors
Photo: Marcus Bunyan

 

 

Rod McNicol (Australian, b. 1946)
Nanette (installation view)
1978
From the series Permanent mirrors
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024
Photo: Marcus Bunyan

 

 

Rod McNicol (Australian, b. 1946)
Nanette
1978
From the series Permanent mirrors
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024

 

Rod McNicol has been drawn to portraiture ever since he attended Prahran College in 1974. His fellow classmates included Nanette Carter and Bill Henson, and he formed a close connection with Athol Shmith, who would become, in McNicol’s words, ‘a lifelong mentor and friend’. McNicol held his first exhibition and Brummels Gallery of Photography with Carol Jerrems, where he exhibited works from his Permanent mirrors series. This exhibition marked a transition to what McNicol would call his structured approach to portraiture. In the image Nanette, McNicol made a makeshift studio on Paul Cox’s front veranda and placed Carter against a neutral backdrop.

In late 1978, McNicol moved into his warehouse apartment on Smith Street, Fitzroy. Since this move, he has incorporated this space into his work and it has become an important component, both as a location and as an aesthetic context.

Wall text from the exhibition

Rod McNicol alumni profile on the Prahran Legacy website

 

 

Rod McNicol (Australian, b. 1946)
Kent (installation view)
1978
From the series Permanent mirrors
Gelatin silver print
Museum of Australian Photography, City of Monash Collection acquired 2013
Photo: Marcus Bunyan

 

Rod McNicol’s series of portraits Permanent mirrors grew out of his interest in nineteenth-century photographic portraiture, whereby the slow exposure times necessitated what he calls a ‘gauche, self-conscious, fatalist stare’. For McNicol, these portraits carried the ‘spectre of mortality itself’. The environmental portraits that make up his Permanent mirrors series embody many of the formal attributes of nineteenth-century portraiture that appealed to him, insofar as the sitters are seated in highly static poses, staring directly and blankly at the camera. Soon after, McNicol introduced a range of highly significant formal changes to his portraits, whereby sitters were photographed on a kitchen chair against a plain, neutral background in the artist’s Fitzroy studio. McNicol continues to photograph people from his neighbourhood in this way.

Text from the Museum of Australian Photography website

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left top to bottom, Stella Sallman’s photographs Sue at the mirror 1977; Sue on the bed 1977; Sue and Carmen 1978; Sue, Simon and Carmen 1977; Beautiful transvestite 1975
Photo: Marcus Bunyan

 

 

Stella Sallman (Australian, b. 1956)
Sue and Carmen (installation view)
1978
Chromogenic print
Museum of Australian Photography, City of Monash Collection acquired 2025
Photo: Marcus Bunyan

 

Stella Sallman attended Prahran College from 1976 to 1978. She had originally planned to study fashion design at RMIT, but she was unable pursue the course because she didn’t have a folio. Instead, after completing the preliminary year in Art and Design at Prahran College, she discovered a deep fascination with photography.

Sallman was invited by Rennie Ellis to exhibit her series of glam punks, which she started in her second year, at Brummels Gallery of Photography in 1978, as a support for fellow photographer Jon Rhodes. She said, ‘Rennie came and did some lectures at Prahran. I found him very inspiring because he wasn’t about things looking technically correct.’ He was also brimming with ‘exuberant enthusiastic positive energy.’ The 13 works exhibited at Brummels were portraits of people that Sallman had encountered. Sallman had seen Sue whilst travelling on a train and asked if she could take her portrait. ‘I was very curious about people that didn’t conform.’ In Sallman’s images, she uses colour to emphasise the personality and mood of her subjects, challenging the more traditional, formal portraiture that had prevailed at the time.

Wall text from the exhibition

Stella Sallman alumni profile on the Prahran Legacy website

 

Gallery two section two (clockwise)

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at left, Carol Jerrems Alphabet folio 1968 dated 1969
Photos: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Letters from the Alphabet folio (installation views)
1968 dated 1969
Gelatin silver print
National Gallery of Victoria, Melbourne
Purchased 1971
Photos: Marcus Bunyan

 

Carol Jerrem’s Alphabet folio is one of her most celebrated and iconic works, and it holds an important place in the history of Australian photography, Created as an assignment during her time as a student at Prahran College, the Alphabet folio consists of 25 letters, with the letter ‘S’ deliberately omitted by Jerrems. The assignment left a lasting impression on Jerrems, as she regularly set this assignment for her own students when she was teaching at the Heidelberg Technical School and the Tasmania School of Art.

Wall text from the exhibition

Carol Jerrems studied at Prahran College between 1967-1969 and graduated in 1970, studying under lecturers McKenzie, Cox, and Lee.

Carol Jerrems alumni profile on the Prahran Legacy website

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Carol Jerrems’ No title photographs 1968/1969
Photos: Marcus Bunyan

 

These photographs of the model Lynn Allen and her then boyfriend are part of a set of assignment images from the late 1960s, when Jerrems was studying at Prahran College. Jerrems and Allen met at High School (Jerrems was one year ahead) and they lived one street apart from each other when these images were taken. Allen modelled for Jerrems for two years.

Wall text from the exhibition

 

 

Carol Jerrems (Australian, 1949-1980)
No title (installation view)
1969
No title (installation view)
1969
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
No title (installation view)
1969
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated 2024
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Carol Jerrems
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Carol Jerrems’ photographs at left top, Kath Walker 1974; at bottom left, Thancouple (Gloria Fletcher) and Carole Johnson 1974; and at right, Ron Johnson 1974
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Thancouple (Gloria Fletcher) and Carole Johnson (installation view)
1974
Gelatin silver print
National Gallery of Australia, Canberra
Gift of Mrs Joy Jerrems 1981
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Ron Johnson
1974
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated through the Australian Government’s Cultural Gifts Program 2015
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Carol Jerrem’s photographs at left, Esoteric personal (mini) recent exhibition 1976; at top right, Vale Street 1975; at bottom right, Juliet holding ‘Vale Street’ at Murray Road 1976
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Esoteric personal (mini) recent exhibition (installation view)
1976
Gelatin silver prints
Private collection
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Vale Street (installation view)
1975
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated through the Australian Government’s Cultural Gifts Program by Susan Hesse 2012
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Vale Street
1975
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated through the Australian Government’s Cultural Gifts Program by Susan Hesse 2012

 

In 1975, Carol Jerrems made what would become her most famous photograph. Vale Street shows Jerrem’s friend Catriona Brown standing in front of Mark Lean and Jon Bourke, teenage boys from Heidelberg Technical School where Jerrems was teaching at the time. The photograph, taken in the back yard of a house at 52 Vale Street, St Kilda, comes from a series of pictures that show the three subjects socialising, smoking and, under the direction of Jerrems, gradually disrobing. Jerrems carefully set up and managed this no-iconic image, which quickly came to personify the optimism and ambitions of countercultural and feminist politics at the time

Wall text from the exhibition

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Carol Jerrems (left) and Paul Cox (centre)
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing Paul Cox’s photographs with at left, Age of Aquarius (Carol Jerrems, Jan Hurrell) 1970; at centre top, Elizabeth 1 1972; at centre bottom, Fantasy of divine illusion 1972; and at right, Prahran 2 1974
Photo: Marcus Bunyan

 

 

Paul Cox (Australian born Netherlands, 1940-2016)
Age of Aquarius (Carol Jerrems, Jan Hurrell)
1970
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated by the artist through the Australian Government’s Cultural Gifts Program
Photo: Marcus Bunyan

 

Paul Cox played a pivotal role in the Photography Department at Prharan College, initially appointed part-time in February 1968, he transitioned to full-time position in 1970 and continued teaching photography and filmmaking until his departure in 1982. Younger than colleagues such as Cato and Shmith, Cox’s age helped him forge strong, personal connections with his students. Many alumni attribute their exposure to international photography luminaries to Cox’s influence. However, it was Cox’s own distinctive approach to photography that left a lasting impact on his students. Cox moved to Australia from the Netherlands in 1965 and although he was not formally trained as a teacher, he brought with him a European sensibility.

In 1973, Cox founded The Photographers’ Gallery and Workshop, alongside Ingeborg Tyssen, John F William and Rod McNicol, a groundbreaking space that played a crucial role in establishing photography as a respected art form in Australia and provided a vital platform for contemporary photographers.

Wall text from the exhibition

Paul Cox on the Prahran Legacy website

 

 

Paul Cox (Australian born Netherlands, 1940-2016)
Age of Aquarius (Carol Jerrems, Jan Hurrell)
1970
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated by the artist through the Australian Government’s Cultural Gifts Program

 

 

Paul Cox (Australian born Netherlands, 1940-2016)
Fantasy of divine illusion (installation view)
1972
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated by the artist through the Australian Government’s Cultural Gifts Program
Photo: Marcus Bunyan

 

 

Paul Cox (Australian born Netherlands, 1940-2016)
Prahran 2 (installation view)
1974
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated by the artist through the Australian Government’s Cultural Gifts Program
Photo: Marcus Bunyan

 

 

Wall text from the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Installation views of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne with artefacts in a vitrine, showing a poster for an exhibition by Tod McNicol and Carol Jerrems at Brummels Gallery of Photography, August – September 1978; two letters from Carol Jerrems including at bottom a letter to William (Bill) Heimerman (1950-2017) co-director at the time of The Photographers’ Gallery and Workshop; and two gelatin silver prints by Carol Jerrems
Photos: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at far left a photograph by Paul Cox, at second and third left photographs by Athol Shmith and at centre, photographs by John Cato
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at left, Paul Cox’s Portrait of Athol Shmith 2 1983; and at right, Athol Shmith’s Anamorphic image No. 17 and Anamorphic image No. 1 both 1973
Photo: Marcus Bunyan

 

Athol Shmith is widely known for his commercial portraiture and fashion photography. His style became emblematic of an era that was transitioning from the more formal rigid photographic style of the early 20th century to something more dramatic. His portraits are highly polished, sophisticated and capture the essence of the post-war era’s glamour.

Shmith’s sale was characterised by a strong focus on lighting and composition, often using dramatic lighting setups to create bold, striking images. As Head of the Photography Department from 1972 to 1979 Art Prahran College, Shmith brought a high level of technical expertise.

Shmith created his Anamorphic series while teaching at Prahran College, and exhibited the series at Realities Gallery in 1973. Student Suzanne Budds recalls being a model for one of the images in this series.

Wall text from the exhibition

Athol Shmith Lecturer profile on the Prahran Legacy website

 

 

Paul Cox (Australian born Netherlands, 1940-2016)
Portrait of Athol Shmith 2 (installation view)
1983
Gelatin silver print
Museum of Australia Photography, City of Monash Collection donated by the artist through the Australian Government’s Cultural Gifts Program 2000
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing from left, John Cato’s photographs Seawind 1871-1975; Tree – a journey 1971-1973; and Tree – a journey #13 1971-1973 from the series Essay I: landscape in a figure 1971-1979
Photo: Marcus Bunyan

 

 

John Cato (Australian, 1926-2011)
Tree – a journey (installation views)
1971-1973
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by the Cato Estate 2021

 

 

John Cato (Australian, 1926-2011)
Tree – a journey
1971-1973
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by the Cato Estate 2021

 

John Cato began his informal studies in photography with his father, the photographer Jack Cato, in 1938. He worked as a commercial photographer from 1947 to 1974, including a notable stint as a press photographer for The Argus from 1947 to 1950. Over the course of his career, Cato collaborated with Athol Shmith for more than two decades, before shifting away from commercial photography in 1974 to focus on his own fine art practice. That same year, Cato also embarked on his career as a photography educator, taking a teaching position at Prahran College, eventually succeeding Shmith as Head of the Photography Department in 1980.

Cato was known for his mystical and spiritual approach to photography, a philosophy that deeply influenced both his teaching style and his own photographic work. His method was unconventional, emphasising not just technical skill, but the creation of images with a deeper, almost transcendent resonance. Many of Cato’s works are minimalist, capturing quiet, still moments in nature, where form and texture take precedence over literal representation. These images often have an abstract quality, inviting the viewer to engage with the landscape on a more introspective, emotional level. Cato’s photography was not just about capturing a scene, it was about evoking a deeper connection to the transformative power of the natural world.

Wall text from the exhibition

Read my Vale to Dr John Cato (1926-2011)

John Cato on the Prahran Legacy website

 

 

John Cato (Australian, 1926-2011)
Tree – a journey #13 (installation views)
1971-1973
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by the artist
Acquired 1981

 

 

John Cato (Australian, 1926-2011)
Tree – a journey #13
1971-1973
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by the artist
Acquired 1981

 

 

“Thanks are due to…. Phil Quirk, Peter Leiss, and the now deceased Jon Conte, who started finding alumni (starting with those of 1968-1972) in 2012; Colin Abbott who encouraged Photonet gallery (now MAGNET) in 2014 to put on a show of 1 sample each of student-era and contemporary work of most of the 1974-1976 cohort; Colin has generously part-funded the book that MAPh has produced; designer and archivist Mimmo Cozzolino has contributed beautifully preserved ephemera from his College years, as well as donating his design skills to the ongoing project. Peter Leiss, assisted by Nicholas Nedelkopoulos, produced fine video interviews with alumni… a labour of love!

James McArdle joined the project in 2017. Merle Hathaway, who accepted an invitation to work with the team in 2021, has been an invaluable and key driver of the project in getting this exhibition (and future showings). Merle has secured upcoming shows of contemporary work by 1968-1991 alumni for MAGNET (through May 2025),  the BIFB (August 2025) and elsewhere…

Above all, MAPh curators, Angela Connor and Stella-Loftus-Hills, have been extraordinary in their enthusiasm for the concept, and their realisation of it through their expertise and hard work and is beyond our wildest expectations.  To have contributing writers of the calibre of Gael Newton, Helen Ennis, Daniel Palmer, Adrian Danks et al. is an honour and a further tribute to MAPh organisation and thoroughness.”

Associate Professor James McArdle

For more information please see The Prahran Photography website which upholds the legacy of Prahran College 1970s photography through posts on profiles of the alumni (an ongoing project). The site was initiated by James McArdle, who graduated in 1977 with a Diploma of Art and Design from Prahran College and Merle Hathaway, who coined the title, and who joins James in writing some of the posts.

 

Making film

Required to collaborate on a class film or create one of their own, photography students often took on multiple roles in each other’s projects. Paul Cox frequently cast his students as actors in his films, forging relationships that continued long after they graduated from college. In Cox’s productions, students also filled essential technical roles such as stills photographer and cinematographer. As well as developing their skills, this collaborative environment fostered a sense of community among aspiring filmmakers.

Paul Cox is known for his distinctive, often introspective films that explore human relationships, emotions, and existential themes. His work, while not always mainstream, is highly regarded in the Australian film industry and internationally for its emotional depth and unique storytelling style.

Mirka is a short film that features French-Australian visual artist Mirka Mora, a key figure in the Melbourne art scene. Mora gained recognition for her distinctive and colourful works, and her blend of surrealism, fantasy and personal experiences. The film explores her journey as an artist and her personal life, showcasing her experiences and her unique approach to art. The film offers a personal perspective into her world and is a rare glimpse into the life of one of Australia’s most beloved and influential artists.

Mirka was a collaborative project, directed by Paul Cox with the assistance of several Prahran students.

Student life

The students at Prahran College were part of a vibrant and dynamic environment that nurtured creativity, experimentation and community. Many drew inspiration from their immediate circles – friends and acquaintances – for their class assignments. They actively participated in exhibitions, showcasing their work to the public and their peers. Students presented their works in critique sessions that played a vital role in the learning process, providing a forum for discussion, debate and critical feedback.

Assignments often revolved around chosen topics such as fashion, portraiture or family, and sometimes involved field trips out into the landscape or excursions to places like hospitals, factories and the beach. Taking advantage of a ‘free assignment’ in 1976 a group of rebellious students got together to produce images of themselves dressed as revolutionaries, wearing clothes sourced from local opportunity shops and carrying real guns.

The images of students from Prahran College in the 1970s serve as visual documents of the bohemian spirit and encapsulate the idealism of the time. The way students were photographed, often in unposed and relaxed settings, captures the free-spirited nature of the College, with the camera becoming a tool for exploring vulnerability and personal expression, rather than just recording events or situations.

The legacy of the bohemian spirit that was cultivated at Prahran College during the 1970s is still evident in the work of contemporary Australian artists today, many of whom continue to embrace self-expression, individuality and alternative narratives.

Text from the Museum of Australian Photography website

 

Gallery three

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing at left, Andrew Wittner’s photograph John Cato leading a group on a photographic expedition, Steve Lojewski using a film camera 1975; and at right, George Volakos’ Rye back beach 1 1972
Photo: Marcus Bunyan

 

 

Andrew Wittner (Australian, b. 1955)
John Cato leading a group on a photographic expedition, Steve Lojewski using a film camera (installation view)
1975, printed 2024
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

 

 

George Volakos (Australian born Greece, b. 1948)
Rye back beach 1 (installation view)
1972, printed 2024
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Richard Muggleton, George Volakos, Colin Abbott, Graham Howe, Philip Quirk, Jim McFarlane, Greg Neville, Andrew Wittner, Peter Bowes, and an unknown photographer
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Philip Quirk, Jim McFarlane, Peter Bowes, and Peter Leiss
Photo: Marcus Bunyan

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Julie Higginbotham, Andrew Wittner, and Colin Abbott
Photo: Marcus Bunyan

 

 

Julie Higginbotham (Australian, b. 1953)
Mirka film
1973
Pigment ink-jet print
Courtesy of the artist

 

 

Installation view of the exhibition The basement: photography from Prahran College (1968-1981) at the Museum of Australian Photography, Wheelers Hill, Melbourne showing photographs by Philip Quirk, Peter Leiss, and Peter Bowes including at centre left, Peter Leiss’ Untitled [Bill Heimerman (right) and Ian Lobb (left) at the rear of The Photographers’ Gallery] c. 1975-1980 (below); and at centre Peter Leiss’ Jean-Marc Le Pechoux 1976
Photo: Marcus Bunyan

 

Ian Lobb was co-director of The Photographers’ Gallery and Workshop with Bill Heimerman. Jean-Marc Le Pechoux was editor of the important Light Vision: Australia’s international photography magazine launched in September 1977.

Read my Vale Ian Lobb (1948-2023), photographer
Read my Vale William Heimerman (1950-2017)

 

 

Peter Leiss (Australian born England, b. 1951)
Untitled [Bill Heimerman and Ian Lobb at the rear of the Photographers’ Gallery]
c. 1975-1980
Silver gelatin print

 

 

Greg Neville (Australian, b. 1950)
Tutorial: lecturers and students [back row L–R Derrick Lee, Bryan Gracey, Athol Shmith, Paul Cox, Elizabeth Tainsh] (installation view)
c. 1971
Pigment ink-jet print
Collection of the artist
Photo: Marcus Bunyan

Greg Neville alumni profile on the Prahran Legacy website

 

 

Greg Neville (Australian, b. 1950)
Tutorial: lecturers and students [back row L–R Derrick Lee, Bryan Gracey, Athol Shmith, Paul Cox, Elizabeth Tainsh]
c. 1971
Pigment ink-jet print
Collection of the artist

Unidentified students with lecturers editing 35mm transparencies on a light box.

 

Summary of Bill Henson’s opening speech for The basement exhibition, 1st March, 2025

Internationally acclaimed photographer Bill Henson delivered a characteristically personal, challenging and reflective speech to mark the opening of The Basement.

He began his address by reminiscing about his time at Prahran in the mid-1970s – a period he remembered as unconventional and formative, despite his own intermittent attendance. “The only catch in my experience there is that I never went,” he quipped to rising laughter from the audience. Henson recalled how his interactions with lecturers such as John Cato and Athol Shmith shaped his artistic philosophy more than technical instruction ever could. “They were setting a moral example, an ethical example, an example of empathy,” he said, emphasising the profound impact their mentorship had on him.

Henson fondly and colourfully described Shmith, a glamorous portraitist who photographed Hollywood stars, and Cato, a figure of quiet wisdom, conjuring their style as an “imperious insouciance” – a blend of grandeur and carefree independence. He emphasised that, unlike today’s art educators who have to navigate academic formalities, these lecturers were practicing artists who brought hard-won experience into the classroom.

“They hadn’t gone through a professional teaching career,” Henson explained. “They weren’t like the kind of lecturer that I seem to see in art schools now, who have to go and get a ‘doctorate of painting’ to keep their job,” but were decidedly “outlandish” and unorthodox.

Their focus was not on rigid curricula but on fostering creativity and curiosity. “They were very generous with their comments,” Henson noted, recalling how they encouraged him to pursue his own path. He would disappear for months at a time, working on his own projects before returning with a bundle of photographs to share with his lecturers; “John would turn around and say, ‘Fuck, we thought you’d left!'” Despite his absences, they were formative in shaping his artistic independence, Shmith advised him to “just piss off and do your own work.”

Henson also shared anecdotes that highlighted the camaraderie and spontaneity of those years. One memorable moment was when Shmith surprised Henson by arranging for his work to be shown at the National Gallery of Victoria – a gesture that underscored his pride in his students’ potential. “That was as big a shock for me as anyone else,” Henson admitted.

Henson advised aspiring young artists to “try to be true to yourself, and don’t… stop… working!” Also important was intergenerational dialogue in art; he urged young people to seek wisdom from older artists before their insights are lost. Drawing on his own friendships with figures like Barry Humphries, Leo Schofield and Marc Newson, he highlighted how such exchanges enrich both parties through shared experiences and perspectives.

Beyond personal anecdotes, Henson used his speech to reflect on broader themes in art education and practice. He lamented what he sees as the increasing politicisation of contemporary art, which he believes has shifted focus away from aesthetics toward “box-ticking exercises” driven by ideology. While acknowledging that political movements such as feminism were present among Prahran’s students in the 1970s – “there were the feminists; there were little groups doing their social diligence” – he noted that these stances did not overshadow the college’s overarching emphasis on beauty and creative exploration. “There wasn’t this righteousness, this indignation, this kind of territorial thing about issues,” he said. In contrast was an openness and enthusiasm that defined Prahran during his time there – a place where beauty and creativity were paramount. Quoting Plato, he remarked, “Beauty is the splendour of truth,” positioning this ideal as central to artistic endeavour.

In opening The Basement exhibition Henson’s speech served not only as a tribute to Prahran College’s legacy – the enduring influence of its educators and alumni on Australia’s photographic landscape – but also as a call to preserve the values of curiosity, independence, and beauty in art.

Bill Henson opening speech summarised in James McArdle. “Opening!” on the On This Date in Photography website, 1st March, 2025 [Online] Cited 18/04/2025

Many thankx to James McArdle for allowing me to reproduce this text.

 

 

Julie Millowick (Australian, b. 1948)
John Cato, PCAE basement, Prahran (installation view)
1976
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by Julie Millowick 2024
Photo: Marcus Bunyan

 

 

Julie Millowick (Australian, b. 1948)
John Cato, PCAE basement, Prahran
1976
Gelatin silver print
Museum of Australian Photography, City of Monash Collection donated by Julie Millowick 2024
Photo: Marcus Bunyan

 

 

Peter Leiss (Australian born United Kingdom, b. 1951)
Robert Besanko and Nanette Carter at The Photographers’ Gallery, Punt Road (installation view)
1976
Gelatin silver print
Collection of the artist
Photo: Marcus Bunyan

Peter Leiss alumni profile on the Prahran Legacy website

 

 

Stella Sallman (Australian, b. 1956)
Peter Leiss (installation view)
1976
Gelatin silver print
Private collection
Photo: Marcus Bunyan

 

 

Carol Jerrems (Australian, 1949-1980)
Rennie Ellis and Robert Ashton (installation view)
1976
Gelatin silver print
Private collection
Photo: Marcus Bunyan

 

In the early 1970s, advertising photographer and photojournalist Rennie Ellis with deputy director Robert Ashton reopened the space as Brummels Gallery of Photography. Assisted with two Arts Council grants, it was non-profit, and the first privately run art gallery in the country to be devoted specifically to photography…

The gallery closed in January 1980, the month before the premature death of its inaugural exhibitor, Carol Jerrems. Having run for eight years, the gallery had advanced the standing of photography as art and the careers of many Australian photographers including Warren Breninger, Godwin Bradbeer, Ponch Hawkes, David Moore, Gerard Groeneveld, Peter Leiss, Steven Lojewski, Rod McNicol, Wesley Stacey, Robert Ashton, Ian Dodd, Sue Ford, George Gittoes, Ashe Venn, John Williams, Jon Rhodes, Geoff Strong, Jean-Marc Le Pechoux and Henry Talbot.

“Brummels Gallery,” on the Wikipedia website

 

 

Carol Jerrems (Australian, 1949-1980)
Paul Cox (installation view)
1977
Gelatin silver print
Private collection
Photo: Marcus Bunyan

 

 

Museum of Australian Photography
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
Phone: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 10pm – 5pm
Mon/public holidays: closed

Museum of Australian Photography website

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