Posts Tagged ‘Centre for Contemporary Photography

05
Nov
17

Review: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 2

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

 

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880

 

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

 

 

Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

 

 

Double take

I was a curatorial interlocutor for this exhibition so it was very interesting to see this exhibition in the flesh.

An unorthodox flow of images is a strong exhibition, splendidly brought to fruition by curators Naomi Cass and Pippa Milne at the Centre for Contemporary Photography (CCP), Melbourne. To be able to bring so many themes, images, ideas and people together through a network of enabling, and a network of images, is an impressive achievement.

The exhibition explores the notion of connectivity between images in our media saturated world – across context, time and space. “With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.” While the viewer makes their own flows through the works on view, they must interpret the interpolation of images (much like a remark interjected in a conversation) in order to understand their underlying patterns of connection. Like Deleuze and Guattari’s horizontal rhizome theory1 – where the viewer is offered a new way of seeing: that of infinite plateaus, nomadic thought and multiple choices – here the relationship between the photograph and its beholder as a confrontation between self and other, and the dynamic relation between time, subjectivity, memory and loss is investigated … with the viewer becoming an intermediary in an endless flow of non-hierarchical images/consciousness.

In this throng of dialects, the exhibition meanders through different “sections” which are undefined in terms of their beginning and end. The starting point for this flow is the public demonstration of trauma for the edification of society (the photographs of the aftermath of the siege of Ned Kelly and his gang at Glenrowan), notably what is thought to be the first press photograph in Australia, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above), and the flow then gathers its associations through concepts such as studio work, the gaze, disruption, truth, performance and traces, to name just a few. The exhibition ceaselessly establishes connections between semiotic chains, organisations of power and contextual circumstances, moving forward and backwards in time and space, jumping across the gallery walls, linking any point to any point if the beholder so desires. In this sense (that of an expanded way of thinking laterally to create a democracy of sight and understanding), the exhibition succeeds in fostering connections, offering multiple entryways into the flow of images that proposes a new cultural norm.

For Deleuze and Guattari these assemblages (of images in this case), “… are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2 Now here’s the rub (or the trade-off if you like) of this exhibition, for everything in life is a trade-off: the accumulation of new meaning that such a flow of images creates is balanced by what has been lost. Both an accumulation and disinvestment of meaning.

I have a feeling that in such a flow of images the emotion and presence of the subject has been lost, subsumed into a networked, hypermedia flow where, “images become more and more layered until they are architectural in design, until their relationship to the context from which they have grown cannot be talked about through the simple models offered by referentiality, or by attributions of cause and effect.”3 The linear perspective developed during the Renaissance and its attendant evidence of truth/objective reality (the logic of immediacy) is disrupted. It is no longer about being there, about the desire for presence, but about a logic of hypermediacy that privileges fragmentation, process, and performance. Of course, immediacy / hypermediacy are part of a whole and are not exclusionary to each other. But here contemporary art, and in particular contemporary photography, keeps coming back to the surface, redefining conceptual and aesthetic spaces.

This is where I was plainly unmoved by the whole exhibition. Conceptually and intellectually the exhibition is very strong but sequentially and, more importantly, emotionally – the flow of images failed to engage me. The dissociative association proposed – like a dissociative identity disorder – ultimately becomes a form of ill/literation, in which the images seem drained of their passion, a degenerative illness in which all images loose their presence and power. In a media saturated world what does it mean to pluck these images from a variable spatio-temporal dimensionality and sequence them together and hope they give meaning to each other? Ultimately, it’s a mental exercise of identity organisation that is pure construct.

Further, this (re)iteration is a repetition that is supposed to bring you successively closer to the solution of a problem: what is the relevance of the stream of image consciousness in contemporary society? What happens to the referentiality and presence of the individual image?

With this in mind, let us return to the first image in the flow of images, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above). Here Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Amongst other things, the image is by an photographer taking a photograph of another photographer taking a photograph of the body of Joe Byrne. Immediately, the triangular relationship of camera / subject / viewer (cause and effect) is disrupted with the addition of the second photographer. There is a doubling of space and time within this one image, as we imagine the image the photographer in the photograph would have taken. And then we can see two variations of that internal photograph: Photographer unknown Joe Byrne’s Body, Benalla Gaol, 29 June
1880 (below) and William J. Burman’s Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (1880, below) which 1/ appears to solve who the “photographer unknown” is (unless Burman purchase the rights to use another’s photographers’ negatives); and 2/ is a more tightly framed image than the first iteration. If you look at the top of the head in the second image the hair goes over the metal hinge of the door behind… so the photographer (the same one) has moved closer and dropped the height of the camera, so that the camera looks up more, at the body.

Other details fascinate. The ring on the left finger of Joe Byrne; his stripped shirt; the rope under his arms used to help support his weight; the rope disappearing out of picture to help string him up; and questions such as, how did they get his left hand to stay in that position? This is also, “an image of an audience as much as a portrait of the deceased … Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.” To the left we have what is presumably the photographers’ coat hung on a tree; a man wiping his nose with his thumb; and Aboriginal man; and a boy looking at the camera. Through his silhouette the Aboriginal man can probably be identified as Tracker Johnny, one of five trackers who helped track Ned Kelly, and we can see a portrait of him in an albumen photograph held by the Queensland Police Museum (1880, below). A picture of the ‘Other’, both outsiders, the outlaw and the Aboriginal, detailing the social order. The blurred image of the boy looking at the camera shows the length of the time exposure for the glass plate, but it is his “Janus-faced” visage that I am fascinated with… as he both looks forwards and backwards in time. Whilst most images within An unorthodox flow of images are conceptually grounded, they also evidence only one direct meaning in relationship to themselves with that network, “each one connected to those on either side,” – from point to point to point. Conversely, in this image the interpretation is open-ended, WITHIN THE ONE IMAGE. It is a network all of its own. I also remember, emotionally, the other images of the burnt out Glenrowan Inn, the place where the rails were taken up (I was there!), the bodies in the coffins, the preparation for the photograph of the Kelly Gang Armour laid out in a muddy field for documentation, and the burnt to a cinder, charred remains rescued from the ashes of the Glenrowan Inn laid out on a piece of wood. There is a physicality to these photographs, and an emotional charge, that no other photograph in this exhibition matches. I think, then, not of Joe Bryne’s lifeless body and its/the photographs morbidity, but of him as a younger man – standing legs crossed, one hand on hip, the other resting on the surface of a table, imagining his touch on that table in reality – a son, an outlaw, a living being.

I wish the curators had been braver. I wish that they had given these images more chance to breathe. I wish they had cut the number of images and sequenced them so that the space between them (what Minor White calls ice/fire, that frisson of space between two images that adds to their juxtaposed meaning) provided opportunity for a more emotional engagement with what was being presented. Yes, this is a strong exhibition but it could have been so much more powerful if the flow had not just meandered through the sentence, but cried out, and declaimed, and was quiet. Where was the punctum? Where was the life blood of the party, if only disappearing in a contiguous flow of images.

Dr Marcus Bunyan for Art Blart

 

Word count: 1,642

  1. Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis and London: University of Minneapolis Press, 1987
  2. Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166
  3. Burnett, Ron. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, pp. 137-138.

.
Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition.

 

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880 (detail)

 

J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (details)
1880
Courtesy State Library Victoria, Pictures Collection

 

photographer unknown. 'Joe Byrne's Body, Benalla Gaol, 29 June' 1880

 

(2) Photographer unknown
Joe Byrne’s Body, Benalla Gaol, 29 June
1880
Photographic print from glass plate
12 × 19.5 cm
© Collection of Joyce Evans

 

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880 (above)

 

William J. Burman (1814-1890) 'Joe Byrne's Body, Benalla Gaol, 29 June 1880' 1880

 

William J. Burman (1814-1890)
Joe Byrne’s Body, Benalla Gaol, 29 June 1880
1880
At 209 Bourke Street, East Melbourne 1878 – 1888
Albumen carte de visite
6.5 × 10.5 cm

 

This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880.

 

Unknown photographer. 'Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly]' c. 1880

 

Unknown photographer
Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly] (detail, not in exhibition)
c. 1880
Albumen photograph
Queensland Police Museum
Non-commercial – Share Alike (cc)

 

J. E. Bray (1832-1891) 'Kelly Gang Armour' 1880

 

(3) J. E. Bray (1832-1891)
Kelly Gang Armour
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

 

“As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.”  ~ Susan Sontag, Regarding the Pain of Others (2003)

 

Unknown photographer. 'Place where rails were taken up by Kelly gang' 1880

 

(4) Unknown photographer
Place where rails were taken up by Kelly gang
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

J. E. Bray (1832-1891) 'The Glenrowan Inn after the Kelly Siege' 1880

 

(5) J. E. Bray (1832-1891)
The Glenrowan Inn after the Kelly Siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

J. E. Bray (1832-1891) 'Charred remains from Kelly gang siege' 1880

 

(6) J. E. Bray (1832-1891)
Charred remains from Kelly gang siege
1880
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

 

In her comments on a related photograph by Bray, Helen Ennis writes, “What you see pictured, presumably as part of the official documentation are the thoroughly blackened remains of either Dan Kelly or Steve Hart… Relatives raked what remained of the bodies… from the ashes of the Glenrowan Inn. These were then photographed before family members took them home on horseback and buried them. … [These photographs] also underscore the brutality and barbarism of the post-mortem photographs – the violence physically enacted on the body in the first instance and then visually in terms of the photographic representation.”

Helen Ennis. “Portraiture in extremis” in Photogenic Essays/Photography/CCP 2000-2004, Daniel Palmer (ed.), 2005, CCP, pp. 23-39, p 34.

 

J. E. Bray (1832-1891) 'Untitled ["McDonnell's Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins"]' 1880

 

(7) J. E. Bray (1832-1891)
Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”]
1880
Albumen cabinet portrait
16.5 × 10.5 cm
© Collection of Joyce Evans

 

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

 

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (front and verso, not in exhibition)
c. 1878
Albumen carte de visite
6.5 × 10.5 cm
© Collection of Joyce Evans

 

W. E. (William Edward) Barnes (1841-1916) 'Steve Hart' (1859-1880) c. 1878

 

W. E. (William Edward) Barnes (1841-1916)
Steve Hart (1859-1880) (not in exhibition)
c. 1878
Albumen carte de visite
State Library of Victoria

 

Piero della Francesca (1415-1492) 'Flagellation of Christ' 1455-1460

 

(9) Piero della Francesca (1415-1492)
Flagellation of Christ
1455-1460
Oil and tempera on wood, reproduced as digital print on wallpaper
58.4 × 81.5 cm, reproduced at 20 × 30 cm

 

 

The meaning of della Francesca’s Flagellation and exact identity of the three foreground figures in fifteenth century dress, is widely contested. In the context of this flow of images, the painting represents the pubic display of suffering as punishment, for the edification of society. In both J.W. Lindt’s documentary photograph and the possibly allegorical Flagellation, the broken body of Joe Byrne and that of Christ are isolated from other figures and subject of conversation and debate by gathered figures. Other formal similarities include framing of the tableau into shallow and deep space the organising role of architecture in signifying the key subject.

 

Joosep Martinson. 'Police Hostage Situation Developing at the Lindt Café in Sydney' 2014

 

(10) Joosep Martinson
Police Hostage Situation Developing at the Lindt Café in Sydney
2014
Digital print on wallpaper
20 × 30 cm

 

The scene outside the Lindt Cafe siege, caught by the photojournalist in a moment of public trauma. This bears formal resemblance to J.W. Lindt’s photograph of Joe Byrne, and even further back to Piero della Francesca.

 

Tracey Moffatt. 'I made a camera' 2003

 

(13) Tracey Moffatt
I made a camera
2003
photolithograph
38 × 43 cm, edition 201 of 750
Private collection

 

Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

 

Siri Hayes. 'In the far reaches of the familiar' 2011

 

(14) Siri Hayes
In the far reaches of the familiar
2011
C-type print
88 × 70 cm, exhibition print
Courtesy the artist

 

The photographer’s hood is the photographer.

 

Janina Green. 'Self Portrait' 1996

 

(15) Janina Green
Self Portrait
1996
Digital version of a hand-coloured work in early Photoshop
44 × 60 cm
Courtesy the artist and M.33, Melbourne

 

Georgie Mattingly. 'Portrait IV' 2016

 

(16) Georgie Mattingly
Portrait IV (After Arthroplasty)
2016
Hand-tinted silver gelatin print
36 × 26 cm
Unique hand print
Courtesy the artist

 

The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured. [And spattered with blood ~ Marcus]

 

Lisa Hilli. 'In a Bind' 2015

 

(17) Lisa Hilli (Makurategete Vunatarai (clan) Gunantuna / Tolai People, Papua New Guinea)
In a Bind
2015
Pigment print on cotton rag
76 × 51.5 cm
Courtesy the artist

 

 

‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’  ~ Lisa Hilli 2017, in an email to the curator

 

 

In an era of ‘tumbling’ images, An unorthodox flow of images presents visual culture in a novel way: commencing with Australia’s first press photograph, 150 images unfurl in flowing, a-historical sequences throughout the gallery. Each work is connected to the one before through formal, conceptual or material links.

An unorthodox flow of images draws upon the photographic image in its many forms, from significant historical photographs by major Australian artists, such as J.W. Lindt, Olive Cotton and Max Dupain, through to contemporary international and Australian artists, such as Tracey Moffatt, Michael Parekowhai, Christian Boltanski and Daido Moriyama. This exhibition brings early career artists into the flow, including Georgie Mattingley, Jack Mannix and James Tylor.

Celebrating the breadth of photographic technologies from analogue through to digital, including hand made prints, a hand-held stereoscope, early use of Photoshop, iPhone videos and holography, An unorthodox flow of images propels the viewer through a novel encounter with technology, art, and the act of looking. Rather than a definitive narrative, this exhibition is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. Contemporary culture necessitates quick, networked visual literacy. So viewers are invited to make their own readings of this unorthodox flow.

Akin to how images are experienced in our personal lives and perhaps to how artists are influenced by the multiverse of photography, this extraordinary gathering also includes spirited incursions from other kinds of images – rare prints of grizzly 19th century photojournalism abuts contemporary video first shared on Instagram, and surrealist French cinema nestles in with Australian image-makers.

This exhibition aims to bring new contexts to existing artworks to highlight networked image-viewing behaviour, whilst honouring the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. An unorthodox flow of images is presented as part of the 2017 Melbourne Festival.

Press release from the CCP

 

Siri Hayes. 'Plein air explorers' 2008

 

(30) Siri Hayes
Plein air explorers
2008
C-type print
108 × 135 cm, edition 4 of 6
Collection of Jason Smith

 

An artist’s studio in the landscape.

 

Robyn Stacey. 'Wendy and Brett Whiteley's Library' 2016

 

(31) Robyn Stacey
Wendy and Brett Whiteley’s Library
2016
From the series Dark Wonder
C-type print
110 × 159 cm, edition of 5 + 3 artist proofs
Courtesy the artist and Jan Manton Gallery, Brisbane

 

The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

 

Pat Brassington. 'Vedette' 2015

 

(37) Pat Brassington
Vedette
2015
Pigment print
75 × 60 cm, edition of 8,
Courtesy the artist and ARC ONE Gallery, Melbourne and Bett Gallery, Hobart

 

Two orbs, a positive and a negative space.

 

Anne Noble. 'Rubys Room 10' 1998-2004

 

(38) Anne Noble
Ruby’s Room 10
1998-2004
Courtesy the artist and Two Rooms Gallery Auckland

 

Daido Moriyama. 'DOCUMENTARY '78' 1986

 

(42) Daido Moriyama
DOCUMENTARY ’78
1986
Silver gelatin print
61 × 50.8 cm
Private collection

 

Leah King-Smith. 'Untitled #3' 1991

 

(43) Leah King-Smith
Untitled #3
1991
From the series Patterns of connection
C-type print
102 × 102 cm, edition 6 of 25
Private collection

 

 

‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the other. I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ ~ L King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7. In this series, the artist superimposes the colonial portrait onto images of the subject’s own landscape, returning the dispossessed to country.

 

 

Unorthodox: a field guide

We could have started anywhere. Perhaps every image ever made connects with another image in some way. But, we have begun with what is known as the first press photograph in Australia – a grisly depiction of Kelly Gang member Joe Byrne, strung up some days after his execution, for a group of onlookers, including a group of documentarians who came in by train to record the event: a painter and several photographers. This is an image of an audience as much as a portrait of the deceased. A hooded photographer bends to his tripod, and a
painter waits in line. Perhaps a seminal moment between competing technologies of record, magnificently captured by colonial photographer, J. W. Lindt (1845-1926): this is as decisive a moment as current technology permitted. Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.

From here, Unorthodox draws a thread of images together, each one connected to those on either side, whether through visual, conceptual, temporal, material or circumstantial ties, or by something even more diffuse and smoky – some images just conjure others, without a concrete reason for their bond. Spanning the entire gallery space, nearly 150 images unfurl with links that move through historic, press, portraiture, popular and art photography.

You are invited to wander through CCPs nautilus galleries, and make what you will of this flow because unlike a chain of custody, there is no singular narrative or forensic link: you are invited to explore not just connections between works but to see individual works in a new light.

At the core of this exhibition is an attempt to lay bare the way that images inform and seep into everyday life, underpinning the way that we see, interpret and understand the world. With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.

The act of looking. Looking is a process, informed by context – where and when we see something, and what surrounds it. Here, images are unbuckled from their original context, indeed there are no museum labels on the wall. But this is often the way when viewing images on the internet, or reproduced in books, referenced in ads, reenacted in fashion shoots, or reinterpreted by artists. The notion of reproductions within photography is slippery, made more so by the rapid circulation of images whereby we sometimes only know certain originals through their reproductions. In this exhibition, sometimes we have the original images, at others we proffer ‘reproductions’, setting out a swathe of contemporary and historical approaches to the craft of photography and video, unhampered by traditional constraints of what we can or cannot show within a non-collecting contemporary art space.

This exhibition moves through a number of notional chapters, for example visual connections can be made between orbs made by soap bubbles (no. 32, 34) and moons (no. 33); eyes (no. 40, 41, 42), gaping mouths (no. 37), the balletic body in space (no. 45); and light from orbs (no. 44, 46) and then moonlight on the ocean (no. 47), which tumbles into salty connections, with photographs exposed by the light of the moon through seawater (no. 48) connecting to an image of salt mines (no. 50), and on to salt prints (no. 51).

We have been influenced by observing how audiences view exhibitions, traversing the space, seemingly drawing connections, making their own flows through works on view. In spite of its indexicality to the world, photography is particularly open to multiple readings due to its reproducibility and its vulnerability to manipulation. A key to this permeability is the intention of the photographer, which can become opaque over time. For example, installation artist Christian Boltanski’s found photograph (no. 137) has been taken out of its time and context
so as to mean something quite different from what the photographer intended.

Importantly, due to their multiple readings, many works could be equally effective if placed in other sections of the exhibition. For example, of the many places to position Leah King-Smith’s Untitled #3 (no. 43), we have elected to locate it amongst compositions that include orbs. However, it is also a staged work; a constructed or collaged photograph; it embodies an Indigenous artist returning the colonial gaze and, due to the age of her source photograph, it represents a deceased person. And, in her own words King-Smith is responding to the trauma of settlement. ‘I was thus wrestling with anger, resentment, powerlessness… while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’

A curious process indeed, we have been open to many repositories of images while gathering this flow – from our work with artists at CCP; to childhood memories of images and personal encounters with photography and video; to our trawling of the Internet and books; as well as conversations with writers, artists and collectors. From these stores, we have also considered which works were available in their material form, as opposed to reproductions on wallpaper, postcards and record covers. While we exhibit a broad timespan and multiple technologies, our primary desire as a contemporary art space is to create new contexts for the exhibition of contemporary photography and video.

Unorthodox is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. It brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.

Naomi Cass and Pippa Milne

 

Brook Andrew. 'I Split Your Gaze' 1997

 

(62) Brook Andrew
I Split Your Gaze
1997, printed 2005
Silver gelatin print
160 × 127 cm
Private collection
Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

 

Brassaï. 'Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve' 1931

 

(63) Brassaï
Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve
c. 1931
Gelatin silver print
Reproduced as digital print on wallpaper
23.2 × 15.9 cm, reproduced at 24.5 × 19 cm

 

William Yang. 'Alter Ego' 2000

 

(64) William Yang
Alter Ego
2000
from the series Self Portraits
Inkjet print, edition 2 of 30
68 × 88 cm
Courtesy the artist

 

Sue FORD (1943-2009) 'St Kilda' 1963

 

(65) Sue Ford (1943-2009)
Lyn and Carol
1961
Silver gelatin print, edition 3 of 5
44 × 38 cm
Courtesy Sue Ford Archive

 

Harold Cazneaux. 'Spirit of endurance' 1937

 

(76) Harold Cazneaux (1878-1953)
Spirit of Endurance
1937
Silver gelatin print
16.8 × 20.4 cm
Private collection

 

 

In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

 

Jeff Carter (1928-2010) 'The Eunuch, Marree, South Australia' 1964

 

(77) Jeff Carter (1928-2010)
The Eunuch, Marree, South Australia
1964
Silver gelatin print
37.5 × 27.2 cm
Private collection

 

 

Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

 

 

Persons Of Interest - ASIO surveillance 1949 -1980. 'Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955'

 

(82) Photographer undisclosed
Persons Of Interest – ASIO surveillance images
1949 -1980
‘Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955’
C-type prints
22 × 29 cm each
Private collection

 

The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

 

Luc Delahaye. 'L'Autre' 1999 (detail)

 

(85) Luc Delahaye
L’Autre (detail)
1999
Book published by Phaidon Press, London
17 × 22 cm
Private collection

 

In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956

 

David Moore (Australia 1927-2003) 'Migrants arriving in Sydney' 1966

 

(94) David Moore (1927-2003)
Migrants arriving in Sydney
1966
Silver gelatin print
35.7 × 47 cm
Private collection

 

In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

 

Joe Rosenthal (1911-2006) 'Raising the Flag on Iwo Jima' 1945

 

(95) Joe Rosenthal (1911-2006)
Raising the Flag on Iwo Jima
1945
Digital print on wallpaper, reproduced at 20 × 25 cm

 

While not present at the the raising of the first flag over Iwo Jima, Rosenthal witnessed the raising of the replacement flag. Some maintain that this Pulitzer Prize winning photograph was staged, while others hold that it depicts the replacement of the first flag with a larger one.

 

Charles Kerry (1857-1928) 'Aboriginal Chief' c. 1901-1907

 

(103) Charles Kerry (1857-1928)
Aboriginal Chief
c. 1901-1907
Carte de visite
13.7 × 8.5 cm
Private collection

 

No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

 

Brook Andrew. 'Sexy and Dangerous' 1996

 

(104) Brook Andrew
Sexy and Dangerous
1996
Computer-generated colour transparency on transparent synthetic polymer resin, included here as postcard of artwork
original 146.0 × 95.6 cm, included here at 15.3 × 10.5 cm
The artist is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels

 

William Eggleston. 'Untitled (glass on plane)' 1965-1974

 

(116) William Eggleston
Untitled (glass on plane)
1965-1974
C-type print
41 × 56 cm
Private collection

 

Bill Culbert. 'Small glass pouring Light, France' 1997

 

(117) Bill Culbert
Small glass pouring Light, France
1997
Silver gelatin print, edition of 25
40.5 × 40.5 cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Hopkinson Mossman Gallery, Auckland

 

Olive Cotton (Australia 1911-2003) 'Teacup ballet' 1935, printed 1992

 

(118) Olive Cotton
Teacup Ballet
1935
Silver gelatin print
35.5 × 28 cm
Courtesy Tony Lee

 

David Moore (1927–2003) 'Sisters of Charity' 1956

 

(119) David Moore (1927-2003)
Sisters of Charity
1956
Silver gelatin print
40.5 × 27.1 cm
Private collection

 

Bernd and Hilla Becher. 'Kies-und Schotterwerke (Gravel Plants)' 2006

 

(120) Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015)
Kies-und Schotterwerke (Gravel Plants)
2006
Silver gelatin print
99 × 121 cm
Private collection

 

Max Dupain (Australian, 1911 - 1992) 'Backyard, Forster, New South Wales' 1940

 

(123) Max Dupain (Australian, 1911-1992)
Backyard, Forster, New South Wales
1940
Silver gelatin print
44 × 39 cm
Private collection

 

Joyce Evans. 'Budapest Festival' 1949

 

(138) Joyce Evans
Budapest Festival
1949
Inkjet print
7.6 × 7.6 cm
Courtesy the artist

 

Jeff Wall Canadian (1946- ) 'A sudden gust of wind (after Hokusai)' 1993

 

(145) Jeff Wall
A sudden gust of wind (after Hokusai)
1993
Transparency on lightbox, included here as postcard of artwork
250 × 397 × 34 cm, included here at 15.3 × 10.5 cm
Artist is represented by Marian Goodman Gallery; Gagosian; and White Cube Gallery

 

Masayoshi Sukita. 'David Bowie - Heroes' 1977

 

(147) Masayoshi Sukita
David Bowie – Heroes
1977
Record cover
31 × 31 cm

 

Sukita: In gesture and gaze, Sukita’s photograph for David Bowie’s 1977 cover harks back 60 years to Weimar Republic artist, Erich Heckel’s 1917 painting, Roquairol, which is in Bowie’s art collection.

 

 

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

 

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

 

 

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

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

Centre for Contemporary Photography website

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03
Nov
17

Exhibition: ‘An unorthodox flow of images’ at the Centre for Contemporary Photography (CCP), Melbourne Part 1

Exhibition dates: 30th September – 12th November 2017

Curators: Naomi Cass and Pippa Milne

Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.

Historic photographers: Hippolyte Bayard (180-1887), Charles Bayliss (1850-1897), Bernd and Hilla Becher (Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (1962-2006), James E. Bray (1832-1891), Jeff Carter (1928-2010), Harold Cazneaux (1878-1953), Olive Cotton (1911-2003), Peter Dombrovskis (1995-1996), Max Dupain (1911-1992), Walker Evans (1903-1975), Sue Ford (1943-2009), Marti Friedlander (1928-2016), Kate Gollings (1943-2017), André Kertész (1894-1985), J. W. Lindt (1845-1926), W. H. Moffitt (1888-1948), David Moore (1927-2003), Michael Riley (1960-2004), Robert Rooney (1937-2017), Joe Rosenthal (1911-2006), Mark Strizic (1928 -2012), Ingeborg Tyssen (1945-2002), Aby Warburg (1866-1929), Charles Woolley (1834-1922).

 

 

Installation photographs of the exhibition

The installation photographs (some of the 148 images in the exhibition) proceed in spatial order, in the flow that they appear in the gallery spaces. The numbers in brackets refer to the number of the image in the field guide. The text is also taken from the field guide to the exhibition. Review to follow in the next posting.

Marcus

.
Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan, the artists and the CCP.

 

An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.

This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. (Text from the CCP website)

 

Anunorthodoxflowofimages

#unorthodoxflow

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne with at right, wallpaper of J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880, to open the exhibition

 

J W Lindt. 'Body of Joe Byrne, member of the Kelly Gang, hung up for photography Benalla' 1880

 

(1) J W Lindt (1845-1926)
Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla
1880
Courtesy State Library Victoria, Pictures Collection

 

 

J W Lindt: Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (3) J. E. Bray’s Kelly Gang Armour 1880 cabinet card © Collection of Joyce Evans

 

J. E. Bray: “As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.” ~ Susan Sontag, Regarding the Pain of Others (2003)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (7) J. E. Bray’s Untitled [“McDonnell’s Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins”] 1880 cabinet card (right) and (8) a photograph by an unknown photographer Hunters of Ned Kelly 1880 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (13) Tracey Moffatt’s I Made a Camera 2003

 

Moffatt: Returning to J.W. Lindt’s photograph – in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (14) Siri Hayes’ In the far reaches of the familiar 2011 (right) and (15) Janina Green’s Self Portrait 1996 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (15) Janina Green’s Self Portrait 1996

 

Green: Although celebrated for her hand coloured prints, this is in fact made with the second version of Photoshop.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (16) Georgie Mattingley’s Portrait IV (After Arthroplasty) 2016 (right) and (17) Lisa Hilli’s In a Bind 2015 (middle)

 

Mattingley: The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured.

Hilli: ‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’  ~ Lisa Hilli 2017, in an email to the curator

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (18) Fiona Pardington’s Saul 1986 (right), (19) Fiona MacDonald’s 12 Artists 1987 (postcard, middle), and (20) Jack Mannix’s Still Life, Footscray 2013 (left)

 

Pardington: A portrait of Joe Makea in his beekeeper’s helmet.

MacDonald: A vintage Victorian Centre for Photography (VCP) postcard, prior to its change of name to CCP.

Mannix: A vanitas is a still life artwork which includes various symbolic objects designed to remind the viewer of their mortality and of the worthlessness of worldly goods and pleasures.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (27) Wolfgang Sievers’ The writer Jean Campbell, in her flat in East Melbourne 1950 (right); (26) André Kertész’s Chez Mondrian, Paris 1926 (middle top); (28) Gisèle Freund’s Vita Sackville-West 1938 (middle bottom); and (29) Anne Zahalka’s Home #3 (mirror) 1998 (left)

 

Sievers: Wolfgang’s inscription on the back of this particular print reads: The writer Jean Campbell in her near-eastern flat with her portrait by Lina Bryans.

Kertész: A studio is site for the artist’s gathering of images.

Freund: Vita Sackville-West’s writing studio was in an Elizabethan tower at Sissinghurst in Kent, overlooking her famous white garden. It remains, exactly as she left it.

Zahalka: The boundary between home and studio is often blurred when an artist has a small child.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (30) Siri Hayes’ Plein air explorers 2008

 

Hayes: An artist’s studio in the landscape.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (31) Robyn Stacey’s Wendy and Brett Whiteley’s Library from the series Dark Wonder 2016

 

Stacey: The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (33) NASA Images’ A lunar disc as seen from the Apollo 15 spacecraft 1971 (top); (34) Steve Carr’s Smoke Bubble No. 30 2010 (right); and (35) National Geographic Vol. 174, No.6, December 1988 (left)

 

Carr: Smoke filled soap orb, reminiscent of a planet.

National Geographic: The subtitle to this special 1988 issue of National Geographic, which has a holographic front and back cover is: “As We Begin Our Second Century, the Geographic Asks: Can Man Save this Fragile Earth?”

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (39) Jesse Marlow’s Santa 2002

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (44) Susan Fereday’s Köln 2016

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (49) W. H. Moffitt’s Beach Scene, Collard #3 c. 1944

 

W. H. Moffitt: The bromoil process was invented in 1907 by Englishman C. Wellbourne Piper. A bromoil print is simply a black and white photograph printed on a suitable photographic paper from which the silver image is removed and lithography inks applied.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (51) Sarah Brown’s Quietly 2017 (right); (52) Robert Billington’s Narrabeen Baths 1994 (middle bottom); and (53) Trent Parke’s Untitled #92 1999-2000 (middle top)

 

Brown: The salted paper technique was created in the mid-1830s by Henry Fox Talbot. He made what he called “sensitive paper for “photogenic drawing” by wetting a sheet of writing paper with a weak solution of ordinary table salt, blotting and drying it, then brushing one side with a strong solution of silver nitrate.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (55) Charles Bayliss’ Ngarrindjeri people, Chowilla Station, Lower Murray River, South Australia 1886 (right) and (56) Anne Noble’s Antarctic diorama, Polaria Centre, Tromso, Norway 2005 (left)

 

Bayliss: Water looks like glass in this colonial photograph where the subjects perform for Bayliss. “Bayliss here re-creates a ‘native fishing scene’ tableau, reminiscent of a museum diorama.”

Noble: Water is glass in this diorama; photographed as if it were from nature.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (55) Charles Bayliss’ Ngarrindjeri people, Chowilla Station, Lower Murray River, South Australia 1886

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (58) Andrew Hazewinkel’s Staring together at the stars, #1 2013 (right); (59) Ian Dodd’s Wet Hair 1974 (second right); (60) Juno Gemes’ One with the Land 1978 (middle); (61) David Rosetzky’s Milo 2017 (upper left); and (62) Brook Andrew’s I Split Your Gaze 1997 (left)

 

Gemes: The subtitle to this photograph in some collections reads: ‘waiting for the sacred fish the Dunya and Wanra to come in, Mornington Island, Queensland’.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (64) William Yang’s Alter Ego 2000 (centre right)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (65) Sue Ford’s Lyn and Carol 1961 (right)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (67) a stereoscope by an unknown photographer titled Affection c. 1882

 

Kilburn Brothers, Littleton, N. H. (publisher): In the stereoscope, the double image combines to create the illusion of three-dimensional space. Compelled to make meaning from disrupted information, the brain merges two slightly different images into a seemingly single three-dimensional image.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (68) a photograph by an unknown photographer (Courret Hermanos Fotografía – Eugenio Courret 1841 – c. 1900) titled Lima Tapadas c. 1887

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (76) Harold Cazneaux’s Spirit of Endurance 1937

 

Cazneaux: In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (77) Jeff Carter’s The Eunuch, Marree, South Australia 1964 (NB. note reflections in the image from the gallery)

 

Carter: Changing a title can dramatically alter the meaning of an image. This work has had several titles:

Morning Break 1964;
Dreaming in the sun at Marree, outside the towns single store 1966;
At times there is not too much to do except just sit in the sun… 1968;
‘Pompey’ a well known resident of Marree;
and finally The Eunuch, Marree, South Australia 2000

Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (78) Lisa Bellear’s The Black GST Protest at Camp Sovereignty 2006

 

Bellear (Minjungbul/Goernpil/Noonuccal/Kanak): Is the demonstrator leading the policeman? Is the policeman arresting this demonstrator? Or is this tenderness between two men? This is a photograph of a photograph. As was her practice, Lisa Bellear always gave the original to her subject.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (82) photographer undisclosed ASIO surveillance images 1949-1980

 

ASIO: The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (83) O. Philip Korczynski’s Unwanted Witness and Run 1980s

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (85) pages from Luc Delahaye’s book L’Autre 1999

 

Delahaye: In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (88) Tracey Lamb’s Surveillance Image #3 2015

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (89) Walker Evans’ Family Snapshots on Farmhouse Wall 1936 (right) with (91) Photographer unknown Lee family portrait before the funeral c. 1920 (top left); and (92) Photographer unknown Lee family portrait with portrait of dead father added c. 1920 (bottom left)

 

Evans: During his celebrated work for the Farm Security Administration documenting the effects of the Great Depression, Walker Evans secretly removed these photographs from the home of his subject, and seemingly hurriedly pinned them to the exterior wall of the house, and photographed them without permission.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (90) photographer unknown In memoriam album 1991

 

Memoriam: Double exposure enables the impossible in this personal memorial album.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (91) Photographer unknown Lee family portrait before the funeral c. 1920 (top) and (92) photographer unknown Lee family portrait with portrait of dead father added c. 1920 (bottom)

 

Funeral: When the family photographer arrived at the Lee home – the day of grandfather’s funeral – he asked them to pose with smiles so that, in the absence of a family portrait, he could create a composite portrait, which was given to the family some days later.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (93) Kate Gollings’ Lee family portrait 1986 (right) and (94) David Moore’s Migrants arriving in Sydney 1966 (left)

 

Gollings: A studio portrait of the Lee family, some 60 years following the previous two photographs. The young man is now grandfather. Still the photographer continues to craft the family, in this case through positioning the subjects, in ways which may or may not reflect actual family relationships.

Moore: In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (98) Hippolyte Bayard’s Self-portrait as a Drowned Man 1840 (right); (99) J. W. Lindt’s Untitled (Seated Aboriginal man holding Boomerangs) c. 1874 (top middle); (100) J. W. Lindt’s Untitled (Aboriginal man with Snake) c. 1875 (bottom middle); and (101) Charles Woolley’s Truccanini, last female Aborigine of Tasmania with shell necklace 1886 (left)

 

Bayard: With its telling title, this staged image is the first instance of intentional photographic fakery, made in protest by Bayard because he felt aggrieved that his role in the invention of photography was unrecognised.

Lindt: For white colonialists, photography became “a vehicle for recording new and exotic lands and informing the ‘unexotic’ Europe of the strange landscape, flora, fauna, and people. In the case of the postcard print fashion from around 1900; to entice tourists to cruise to [exotic] places … Ultimately and blatantly however, photography became another tool of colonialism, to label, control, dehumanise and disempower their subjects who could only reply in defiant gaze at the lens controlled by someone else.” ~ Djon Mundine from Fiona Foley: River of Corn, exh. cat. University of South Florida Contemporary Art Museum, Tampa, USA, 2001

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (101) Charles Woolley’s Truccanini, last female Aborigine of Tasmania with shell necklace 1886 (right); (102) Christian Thompson’s (Bidjara) Untitled (self portrait) Image No 1 from Emotional Striptease 2003 (middle); (103) Charles Kerry’s Aboriginal Chief c. 1901-1907 (top left); and (104) Brook Andrew’s Sexy and Dangerous 1996 (bottom left)

 

Thompson: Contemporary Indigenous artists return the colonial photographer’s gaze. “For Indigenous people the camera’s central role has been in transforming but really stereotyping our cultures.” In more recent times, “Indigenous people have moved behind the camera, firstly replacing the documenter, then creatively reinterpreting their photographic history.” ~ Djon Mundine from Fiona Foley: River of Corn, exh. cat. University of South Florida Contemporary Art Museum, Tampa, USA, 2001

Kerry: No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (105) Fiona Foley’s (Badtjala) Wild Times Call 2 2001 (right); (106) Murray Cammick’s Bob Marley p owhiri, White Heron Hotel, April 1979 1979 (second right); and (107) Kirsten Lyttle’s (Waikato, Tainui A Whiro, Ngāti Tahinga) Twilled Work 2013 (middle left)

 

Foley: Referencing Hollywood’s representation of the Wild West, Fiona Foley stands with Seminole Indians.

Lyttle: This is woven using the Maori raranga (plaiting) technique for making kete whakario (decorated baskets). According to Mick Pendergrast, the pattern is not named, but attributed to Te Hikapuhi, (Ngati Pikiao), late 19th Century. ~ Pendergrast, M (1984), Raranga Whakairo, Coromandel Press, NZ, pattern 19.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (107) Kirsten Lyttle’s (Waikato, Tainui A Whiro, Ngāti Tahinga) Twilled Work 2013 (right) and (108) Michael Riley’s (Wiradjuri/Kamilaroi) Maria 1985 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (109) Maree Clarke’s (Mutti Mutti, Yorta Yorta, BoonWurrung) Nan’s House (detail of installation) 2017 (right); (110) photographer unknown Writer, Andre Malraux poses in his house of the Boulogne near Paris working at his book Le Musee Imaginaire or Imaginary Museum 2nd volume 1953 (middle top); and (111) Clare Rae’s Law Library 2016 (bottom left)

 

Clarke: This work is currently on display at the National Gallery of Australia, Canberra, as a hologram of the artist’s grandmother’s house, as remembered by the artist.

Unknown: ‘The imaginary museum’ or ‘the museum without walls’ (as it is often translated) is a collection reflecting Andre Malraux’s eurocentric conception of art history.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (117) Bill Culbert’s Small glass pouring Light, France 1997 (right) and (119) David Moore’s Sisters of Charity 1956 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (119) David Moore’s Sisters of Charity 1956 (bottom right); (118) Olive Cotton’s Teacup Ballet c. 1935 (top right); and (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (120) Bernd and Hilla Becher’s Kies-und Schotterwerke (Gravel Plants) 2006 (right) and (121) Robert Rooney’s Garments: 3 December – 19 March 1973 1973 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (122) Helen Grace’s Time and motion study #1 ‘Women seem to adapt to repetitive-type tasks…’ 1980, printed 2011 (detail)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (122) Helen Grace’s Time and motion study #1 ‘Women seem to adapt to repetitive-type tasks…’ 1980, printed 2011 (detail, right) and (123) Max Dupain’s Backyard Forster 1940 (left)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (123) Max Dupain’s Backyard Forster 1940 (right) and (124) Marie Shannon’s Pussy 2016 (left)

 

Shannon: Also a trace of the cat.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (127) Mac Lawrence’s Five raised fingers 2016

 

Lawrence: Watery trace.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (136) Simon Terrill’s Arsenal vs Fenerbahce 2009

 

Terrill: The long exposure leaves only a trace of the football crowd, that has disappeared for the day.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (137) Christian Boltanski’s L’ecole de la Große Hamburger Straße, Berlin 1938 1993

 

Boltanski: Photography records the passing or death of a particular moment. This is a photograph of a Jewish School in Berlin in 1938.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (138) Joyce Evans’ Budapest Festival 1949 (top) and (139) photographer unknown Nina Dumbadze, Honoured Master of Sports of the USSR, world champion in discus throwing from the series Women of the Soviet Georgia c. 1953 (bottom)

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (139) photographer unknown Nina Dumbadze, Honoured Master of Sports of the USSR, world champion in discus throwing from the series Women of the Soviet Georgia c. 1953

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (141) Harry Burrell’s Thylacine or Tasmanian Tiger, cover image for The Australian Magazine 1958, September, Vol 12, No 11 1958

 

Burrell: Published in this museum journal, there is now some contention as to whether Burrell’s series of photographs of the extinct thylacine were made from life, or staged using a taxidermied animal.

 

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

Installation view of the exhibition 'An Unorthodox Flow of Images' at the Centre for Contemporary Photography (CCP), Melbourne, September - November 2017

 

Installation view of the exhibition An Unorthodox Flow of Images at the CCP, Melbourne showing (148) Francis Alÿs’ Fitzroy Square 2004 (video stills)

 

 

(148) Francis Alÿs
Railings (Fitzroy square)
London, 2004
4.03 min.
Francis Alÿs website

 

We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.

 

 

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

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

Centre for Contemporary Photography website

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27
Sep
16

Review: ‘Polixeni Papapetrou: Eden’ at Stills Gallery, Sydney

Exhibition dates: 3rd September – 1st October 2016

 

This end of (life) cycle is the last body of work that Polixeni Papapetrou will make. It is the completion of an imaginative, bold and strong body of work that stretches from the late 1980s through to this series, Eden. Papapetrou has remained true to her vision as an artist, one that documents performative identities within constructed landscapes.

In this series Papapetrou again cleverly stitches together space and time: flowers stitched together in wreaths; prints of period dresses; and further prints in the backdrop made from postwar backcloth. This “fabrication” of the picture plane has been a constant throughout the artistic life of Papapetrou. If we look at the formal construction of an early work, Drag queen wearing cut out dress (1993, below), we can still see the same concerns for flattened perspective in this new series. The wrapping up of space (fabric, dress, flowers, body) in an intricately overlapping, planar field of view with no vanishing point.

The work desires to celebrate the beauty of nature and honour its transience through the symbology of beauty and death associated with flowers. But for me, the use of facsimiles or simulacra – prints of flowers on dresses and repeated patterns of flowers on cloth – diminishes the relationship between the sitters and the flowers, thus undermining the conceptualisation of the series. The sitter is no longer embedded in the cycles of life and, on this level, the work fails to engage with how we are nature. The sitters exist in a masked reality (like the wreaths in front of the girls faces), which is a masquerade or act, a disguise which takes us away from our true being. As in much of Papapetrou’s work, camouflage – to hide or disguise the presence of (a person, animal, or object) – is to the fore, but this time these photographs fail to transcend their origins as studio set pieces.

Further, I have never been a great fan of “dead pan” photography and what I find curious here is the closed nature of the girls. They are stiff, focused inwards, looking off into nowhere. They don’t feel that they are in a state of reflection. For a series that seeks to show “the condition of becoming from childhood to adolescence to adulthood”, the photographs seem to lack the energy vital for such a journey. The exuberance of nature doesn’t seem to extend beyond the prints and flowers. As I said of her work in an earlier posting, “what springs to mind, with the use of masks to disguise youth positioned within the decorous landscape, is the notion of “passing”. Passing on (as in dying), passing through (as in travelling), in passing (as in an aside) and just “passing” (passing yourself off as someone or something else) to hide your true character or feelings.” Like a bower bird collecting colourful things for its nest, there are bits of all of that and more in this new series.

This is not my favourite body of Papapetrou’s work. No matter. What we should do is honour this talented and determined artist for creating memorable images over the years, for following her passion and her heart with courage and conviction. For the rest of my life I will always remember the spaces, the ambiguous vistas, the fantastical archetypes, the fables of her work. Images of drag queens and Dreamkeepers, Ghillies and goblins are etched in my memory. I will always remember them. You can’t ask much more from the work of an artist than that.

Dr Marcus Bunyan for Art Blart

.
Many thankx to Poli and Stills Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“If I do live again I would like it to be as a flower – no soul but perfectly beautiful. Perhaps for my sins I shall be made a red geranium!”

.
Oscar Wilde

 

The loss of Eden is
personally experienced by
every one of us as we leave
the wonder and magic and
also the pain and terrors
of childhood.

.
Dennis Potter

 

 

Polixeni Papapetrou. 'Drag queen wearing cut out dress' 1993

 

Polixeni Papapetrou
Drag queen wearing cut out dress
1993
Gelatin silver photograph
28.5 x 28.5 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

 

 

Polixeni stitches space together in the same way that flowers are stitched together in a wreath – the one wand entwined within the space of the other – or vines or branches are woven on a trellis. The very word bower derives from a knot, a bow (as Shakespeare acknowledges with his ‘pleached bower’),[1] a tying together around an armature, where strands are interwoven, locked in, both strengthened and encumbered with their unity. They are ‘Together intertwin’d and trammel’d fresh’,[2] as the romantic poet Keats expressed it in his Endymion, a heady poem itself enmeshed with flowers and vine. In Polixeni’s photographs, however, the trammelled armature is the human herself…

In Eden, Polixeni weaves together much more than space but metaphor, metaphors of growth, nature, life-cycles, the sacred, the ideal; and even the all-over aesthetic field constitutes a kind of metaphor, the rhapsodic, the imaginary, the connected. The space that she has created is almost nothing but a metaphor, ‘her close and consecrated bower’;[13]…

Polixeni’s bower is fantastic in old and new ways: old, because it has forms of painting and sculpture within it where blooms and other plant-matter are brought together; and new because they gesture to a place so far beyond the studio…

This exclusivity along gender lines, like the image of the unicorn in the garden of a virgin, is also metaphoric: it stands for the preserve of the individual, the quintessentially safe place that is the interior, the inner realm of thought, the preserve of an unaffected psyche, an emotional haven, a bower of immanence. It has love in it, but deferred, otherworldly, imaginary and eternal.

Extract from Robert Nelson “Rhapsodies from the bower: Polixeni Papapetrou’s ‘Eden'” 2016

 

Polixeni Papapetrou. 'Blinded' from 'Eden', 2016

 

Polixeni Papapetrou
Blinded
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Delphi' 2016

 

Polixeni Papapetrou
Delphi
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

The name Delphoi comes from the same root as δελφύς delphys, “womb” and may indicate archaic veneration of Gaia… In Greek mythology, Gaia (/ˈɡ.ə/ or /ˈɡ.ə/ from Ancient Greek Γαῖα, a poetical form of Γῆ , “land” or “earth”) also spelled Gaea, is the personification of the Earth and one of the Greek primordial deities. Gaia is the ancestral mother of all life: the primal Mother Earthgoddess.

 

Polixeni Papapetrou. 'Heart' 2016

 

Polixeni Papapetrou
Heart
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Flora' 2016

 

Polixeni Papapetrou
Flora
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

In Roman mythology, Flora (Latin: Flōra) was a Sabine-derived goddess of flowers and of the season of spring – a symbol for nature and flowers (especially the may-flower). While she was otherwise a relatively minor figure in Roman mythology, being one among several fertility goddesses, her association with the spring gave her particular importance at the coming of springtime, as did her role as goddess of youth. Her name is derived from the Latin word “flos” which means “flower”. In modern English, “Flora” also means the plants of a particular region or period.

 

Polixeni Papapetrou. 'Psyche' 2016

 

Polixeni Papapetrou
Psyche
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Psyche (/ˈsk/, Greek: Ψυχή, “Soul” or “Breath of Life”). The basic meaning of the Greek word ψυχή (psūkhē) was “life” in the sense of “breath”, formed from the verb ψύχω (psukhō, “to blow”). Derived meanings included “spirit”, “soul”, “ghost”, and ultimately “self” in the sense of “conscious personality” or “psyche”… Portrayals of Psyche alone are often not confined to illustrating a scene from Apuleius, but may draw on the broader Platonic tradition in which Love was a force that shaped the self.

 

 

Colourful, abundant and compelling, Polixeni Papapetrou’s new series Eden arose out of a commission by the Centre for Contemporary Photography (CCP) in Melbourne to create works in response to the Melbourne General Cemetery. Papapetrou, photographed flowers obtained from the cemetery against a black backdrop to invoke ideas about mourning and remembrance. For Papapetrou, whose own plot is in the cemetery, and who, through illness, has faced her own mortality, it was a challenging and thought provoking assignment.

The commission led Papapetrou to delve into the language of flowers. The history of art is replete with images of flowers and they have a rich metaphorical resonance. In true Papapetrou spirit, what she has created in Eden, following on from the CCP work, is positive, philosophical and beautiful. Eden invites us to celebrate the beauty of nature and honour its transience. We, like flowers, are subject to seasons of growth, blossoming, and wilting. The young women in the photographs, in the Springtime of their lives, are surrounded by flowers; on backdrops, on dresses; held or worn, they adorn and overrun them. The lush colours and patterns are interrupted only by the faces and arms of the sitters, their expressions solemn and thoughtful, in contrast to the extravagance of the blooms.

Papapetrou has returned to photograph these subjects, including her daughter Olympia, at different stages of their lives. Eden uses the language of flowers to explore life itself, reflecting on the young womens’ metamorphosis from child to adolescent and adolescent to adult, and a oneness with the world, fertility and the cycles of life. They are enclosed in a floral embrace that symbolises their unity and acceptance of this miraculous thing we call life.

In addition to Eden, we will also exhibit a small selection of Papapetrou’s early Phantomwise works. These large-scale black and white photographs feature her young daughter Olympia between the ages of four and six wearing Victorian masks and performing various identities. As with Eden, these early works consider the potential for metamorphosis and the ambiguity between the ‘real’ and the ‘imaginary’, an ambiguity inherent in photography itself.

Press release from Stills Gallery

 

Polixeni Papapetrou. 'Amaranthine' 2016

 

Polixeni Papapetrou
Amaranthine
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

The word is taken from ancient Greek and means everlasting or immortal (the same as the amaranth flower)

 

Polixeni Papapetrou. 'Amaryllus' 2016

 

Polixeni Papapetrou
Amaryllus
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Polixeni Papapetrou. 'Eden' 2016

 

Polixeni Papapetrou
Eden
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Traditionally, the favored derivation of the name “Eden” was from the Akkadian edinnu, derived from a Sumerian word meaning “plain” or “steppe”. Eden is now believed to be more closely related to an Aramaic root word meaning “fruitful, well-watered.” The Hebrew term is translated as “pleasure” in Sarah’s secret saying in Genesis 18:12

 

Polixeni Papapetrou. 'Rhodora' 2016

 

Polixeni Papapetrou
Rhodora
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

Ralph Waldo Emerson (1803-1882) "The Rhodora" from 'Poems' 1847

 

Ralph Waldo Emerson (1803-1882)
“The Rhodora” from Poems
1847

 

Polixeni Papapetrou. 'Spring' 2016

 

Polixeni Papapetrou
Spring
2016
From the series Eden
Pigment print
127.3 x 85 cm
Courtesy of the artist and STILLS Gallery, Sydney

 

 

Stills Gallery
36 Gosbell Street
Paddington NSW 2021
Australia
Phone: +61 2 9331 7775

Opening hours:
Wed to Sat 11am – 5pm

Stills Gallery website

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21
Oct
14

Review: ‘Crossing Paths with Vivian Maier’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 3rd October – 26th October 2014

Artists: Cherine Fahd, Vivian Maier, Gabriella Mangano and Silvana Mangano, Debra Phillips, Patrick Pound, Clare Rae, Simone Slee, David Wadelton And Kellie Wells and Vivian Maier.

Curators: Naomi Cass, Louise Neri and Karra Rees

 

Over rated and over here…

Apologies to the wonderful and hard working Director of the CCP Naomi Cass for what I am about to say, but this is one of the most disappointing photographic exhibitions in Melbourne this year.

Let’s start with the Australian work. There is nothing at all wrong with any of the Australian work. Some of it is very strong, such as the found images of Patrick Pound and the social documentary work of David Wadelton. The problem comes with the lack of connection to the photographs of Vivian Maier. For work that is supposed to be “crossing paths” conceptually with the images of Maier many of the connections are so esoteric as to be almost indistinguishable, so obtuse (as Tim Robbins would say in the Shawshank Redemption) as to be almost unintelligible to the uninitiated. Where the work is conceptualised around the performative context of identity and the occupation of space(s), such as in Claire Rae’s digital colour lightbox images of people jumping in the air stopped in suspended animation or the beautiful reinscription of the body in the almost dance like video work of Gabriella Mangano and Silvana Mangano, then the juxtaposition simply does not work. The ties that bind one to another simply are not strong enough to sustain the inquiry of the viewer. More interesting would have been the investigation of the concept of an artist taking photographs in her own time, hidden, secretive, and then being discovered later after she had died – which brings up issues of visibility (the cameras and her gendered own), celebrity, posthumous recreation of identity, the fame of the artist after death, and how the self-portraits fit into this theme etc…

.
The photographs by Vivian Maier printed by ? are far more disappointing.

Touted as the NEXT BIG THING by curators who are always looking for the next big thing and people out to make a healthy buck or two, VM is a person who has been “posthumously invented” and her work, which was largely unprinted during her lifetime, has been brought to market in a commercial process. As Abigail Solomon-Godeau notes at the end of her excellent essay “Inventing Vivian Maier” on the Jeu de Paume website:

“Here one can see how the terms of an “aesthetic” discourse within the world of contemporary photography, turning on the individual author and her work, and the far less lofty realities of market and marketing, property relations, public relations, media relations and all the other apparatuses, illuminate one another, or even collide. “Her big project,” remarks Michael Williams, “was her life,” but perhaps the even larger project is her posthumous invention.”

.
With this invention in mind (and the product that you want to sell being paramount), you would have thought that the people who now control her archive would have got a damn good black and white printer to print the work. But no. Some of the prints are appalling, so flat that there is little if any true black in them at all. As for the content of the images, they look better in reproduction than they do in real life. Maier, as I have said elsewhere, is a competent photographer – but she will never be a great photographer. Periodically (and I use the word my female friend supplied) she is very good, but too often she lapses into cliche. There are lots of low depth of field photographs but the construction of the images is cold and stilted, there is little engagement it would seem but for the snap of the shutter as she wanders around city after city, keeping the resulting negatives securely hidden.

There is also little mystery in her photographs which is probably why they don’t rise to that next level: look at the photograph of the two men staring at a length of hose on the ground on a rainy street in NY. The hose just sits there, the men are caught mid-gesture… and that’s it. Lots of her photographs are like this. And there also seem to be some anger towards the world as well. If you compare the photograph of the two boys, Undated, Canada (below) with that of the twins by Diane Arbus, there seems to be a darkness and maelevolence to VM’s photograph that contrasts with the mystery and joy in that of Arbus – not so much in the subject matter but in the feeling that the photographer projects towards what she is photographing.

There is a coldness when you see the prints in the flesh (like the wind whistling off Lake Michigan onto the Chicago streets), an ice chill, a lack of humour, something that is a little creepy and screwy (if you will pardon the colloquialism) about the work. She wants us to know she is there in the photograph, even when she is not physically present, as in the image September 18, 1962 (below) where the viewer understands that the photographer is down on one knee to get the shot. There is also a healthy dose of narcissism in the photographs: the self-portraits with this serious woman peering back at us, one who’s eyes hardly ever smile (you can tell a lot from a person’s eyes!) are not psychological investigations like the self-portraits of Rembrandt as he ages throughout the years – portraits in which Rembrandt explores what it is to be him – they are something more obsessive which VM then hides under a bushel. The use of fragmentation and shadows in the two self-portraits that I have put together (New York City, September 10, 1955 and Self-Portrait; October 18, 1953, New York, NY, below) speak of a schism inside the person, one who exposes herself through photography and then possesses but disclaims the results.

People have been flocking to see the film with sold out sessions all over the city, and they were flocking into the CCP to see the exhibition last Saturday when we were there. People love the back story as it has been sold to them by “marketing, property relations, public relations, media relations and all the other apparatuses” and there has been a veritable feeding frenzy about this work: THE DISCOVERY OF KING TUT’S TOMB WITH 100,000 NEGATIVES AND ASSORTED ARTEFACTS!

.
Kudos to the CCP for getting these images to Australia and exhibiting them and its great to see so many people in the gallery but please, let’s understand the hype and then really look at the work. The ART in FACT is that these are not well printed images, and most of them are pretty prosaic in composition and feeling. There are maybe four really good images, but that is about it. As always, go and see for yourself and keep my words in mind.

Dr Marcus Bunyan for the Art Blart blog

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

 

 

“I don’t believe in reincarnation but in a previous life I did!”

.
Frederick White

 

 

Vivian Maier. 'East 108th Street. September 28, 1959, New York, NY'

 

Vivian Maier
East 108th Street. September 28, 1959, New York, NY
1959
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'August 1960. Chicago, IL' 1960

 

Vivian Maier
August 1960. Chicago, IL
1960
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, Canada'

 

Vivian Maier
Undated, Canada
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Diane Arbus. 'Identical twins, Roselle, N.J. 1967' 1967

 

Diane Arbus
Identical twins, Roselle, N.J. 1967
1967
© The Estate of Diane Arbus

 

Vivian Maier. 'Self-Portrait, 1950ies'

 

Vivian Maier
Self-Portrait, 1950ies
c. 1950s
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Armenian woman fighting on East 86th Street, September, 1956, New York, NY'

 

Vivian Maier
Armenian woman fighting on East 86th Street, September, 1956, New York, NY
1956
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'April 7, 1960. Florida'

 

Vivian Maier
April 7, 1960. Florida
1960
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'January 1956'

 

Vivian Maier
January 1956
1956
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'January, 1953, New York, NY'

 

Vivian Maier
January, 1953, New York, NY
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, 1953'

 

Vivian Maier
Self-Portrait, 1953
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, 1953'

 

Vivian Maier
Self-Portrait, 1953
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, Canada'

 

Vivian Maier
Undated, Canada
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'July 1957. Chicago Suburb, IL'

 

Vivian Maier
July 1957. Chicago Suburb, I
1957
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'January 9, 1957, Florida'

 

Vivian Maier
January 9, 1957, Florida
1957
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, New York, February 3, 1955'

 

Vivian Maier
Self-Portrait, New York, February 3, 1955
1955
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'March 1954, New York, NY'

 

Vivian Maier
March 1954, New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'May 16, 1957. Chicago, IL'

 

Vivian Maier
May 16, 1957. Chicago, IL
1957
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'June 1963. Chicago, IL'

 

Vivian Maier
June 1963. Chicago, IL
1963
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

 

“During her lifetime, Vivian Maier (1926-2009) produced more than 100,000 photographic images, which remained largely undiscovered until after her death. CCP celebrates this reluctant artist’s timely relevance, juxtaposing her work with contemporary Australian photography, performance and video.

Maier’s prolific body of work recording both herself and the world around her – predominately with a distinctive medium format Rolleiflex twin-lens reflex camera – is a precursor to our age of compulsive photographic documentation via smart phones and digital media. The posthumous construction of her identity is almost as compelling as her images and her ability to determine and frame a gripping moment with poignancy and beauty. Time has been Maier’s collaborator, where nostalgia plays a significant role in the popularity of her archive.

In Crossing Paths with Vivian Maier, Maier’s photography – printed well after her death – is presented with contemporary Australian artists working in still, moving and found photography and who also document the street and themselves in an equally obsessive manner.

Against the gritty street life captured by her probing lens, Patrick Pound responds with second-hand images gleaned from junk shops and the Internet, while Debra Phillips and David Wadelton make an inventory of the city and its quirky features. Maier’s self-portraits reverberate with Australian women artists who turn the camera on themselves in performative ways, in the work of Cherine Fahd, Gabriella Mangano and Silvana Mangano, Clare Rae, Simone Slee and Kellie Wells.”

Text from the CCP website

 

Vivian Maier. 'May 27, 1970. Chicago, IL'

 

Vivian Maier
May 27, 1970. Chicago, IL
1970
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'May 28, 1954, New York, NY'

 

Vivian Maier
May 28, 1954, New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'New York City, September 10, 1955'

 

Vivian Maier
New York City, September 10, 1955
1955
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait; October 18, 1953, New York, NY'

 

Vivian Maier
Self-Portrait; October 18, 1953, New York, NY
1953
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'New York, NY' 1954

 

Vivian Maier
New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Self-Portrait, 1959'

 

Vivian Maier
Self-Portrait, 1959
1959
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, New York, NY'

 

Vivian Maier
Undated, New York, NY
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'October 31, 1954. New York, NY'

 

Vivian Maier
October 31, 1954. New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'July 27, 1954. New York, NY' 1954

 

Vivian Maier
July 27, 1954. New York, NY
1954
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'September 18, 1962'

 

Vivian Maier
September 18, 1962
1962
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'September 1956, New York, NY'

 

Vivian Maier
September 1956, New York, NY
1956
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Undated, Vancouver, Canada'

 

Vivian Maier
Undated, Vancouver, Canada
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

Vivian Maier. 'Untitled, Undated'

 

Vivian Maier
Untitled, Undated
Nd
Gelatin silver print
30.5 x 30.5 cm
Vivian Maier/Maloof Collection, courtesy of Howard Greenberg Gallery

 

 

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

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

Centre for Contemporary Photography website

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26
Aug
14

Exhibition: ‘The Sievers Project’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 13th June – 31st August 2014

Artists: Jane Brown, Cameron Clarke, Zoë Croggon, Therese Keogh, Phuong Ngo, Meredith Turnbull, Wolfgang Sievers
Curated by Naomi Cass and Kyla McFarlane

 

 

Curated by CCP Director Naomi Cass and Kyla McFarlane, this intelligent exhibition features the work of six early career artists who respond in diverse ways to renowned Australian photographer Wolfgang Sievers (1913-2007). It was a joy to see again the large vintage silver gelatin, almost clinically composed photographs by Sievers. The light, tonality and stillness of the images make them seem mythic, modern and monumental.

Each artist offers a unique “take” on Sievers influence on Australian photography and design, including his interest in refugees and human rights issues and the representation of the dignity of labour (although the machine is more often represented in Sievers work with a distinct lack of human presence and the act of work itself).

My personal favourites were Phuong Ngo’s intimate silver gelatin photographs in four groups of sweat shop workers in Vietnam, people on boats coming to Australia, photographs of textile workers in Australia and photographs of his mother. Phuong Ngo’s shared stories of young Vietnamese refugees and the journeys taken by their mothers told through photographs is very moving, but only after you are told what the four bodies of images are about. Positioned in the small Gallery Four it was also difficult to associate this installation with the rest of the exhibition. Initially I thought it was a separate exhibition until the linkages were told, the light dawned, and the connections were made.

While Cameron Clarke’s photographs of Ford factory workers and machinery are meticulously lit and digitally observed, producing a strong body of work, it is Jane Brown’s gridded analogue triptych which steals the show (see photographs below). These are superbly rich and textured photographs, beautifully seen and resolved within the shifting mise-en-scène. Brown’s images kinetically flow from one image to another even as they are self contained within a modernist grid. In some instances the artist has used the same photograph within the triptych but cropped in a different manner, which pushes and pulls the viewer into a different perspective on the subject matter. This is highly intelligent art making that observes the self contained nature and monumentality of Sievers work and reworks it, lucidly commenting on the dis/integration of these spaces and industries in the present day.

This series of work is the best sequence of photographs I have seen this year and any institution worthy of their salt should snap up these works for their collection.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to the Director Naomi Cass and the CCP for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Marcus Bunyan 2014

 

 

Jane Brown. 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014

 

Jane Brown
Triptych. The Paper Mill (former Amcor and APM site), Fairfield
2014
3 panels of 9, 6 and 6 selenium toned, fibre-based, gelatin silver prints

 

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photographs of Jane Brown Triptych. The Paper Mill (former Amcor and APM site), Fairfield 2014 (details) at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Jane Brown. 'Staircase. The Paper Mill (former Amcor and APM site), Fairfield, 2014' 2014

 

Jane Brown
Staircase. The Paper Mill (former Amcor and APM site), Fairfield, 2014
2014
Fibre-based, gelatin silver print

 

Jane Brown. 'Mining machinery, Line of Lode Miners Memorial Complex, Broken Hill 2014-06-10' 2014

 

Jane Brown
Mining machinery, Line of Lode Miners Memorial Complex, Broken Hill 2014-06-10
2014
Brown toned, fibre-based, gelatin silver print
Courtesy the artist

 

installation-m

 

Installation photograph of Jane Brown’s work at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Wolfgang Sievers. 'Gears for the Mining Industry, Vickers Ruwolt, Burnley, Victoria, 1967' 1967

 

Wolfgang Sievers
Gears for the Mining Industry, Vickers Ruwolt, Burnley, Victoria, 1967
1967
Gelatin silver photograph
49.6 x 39.3 cm
National Library of Australia, Wolfgang Sievers Photographic Archive

 

Wolfgang Sievers. 'Sulphuric Acid Plant Electrolytic Zinc, Risoon, Tasmania, 1959' 1959

 

Wolfgang Sievers
Sulphuric Acid Plant Electrolytic Zinc, Risoon, Tasmania, 1959
1959
Gelatin silver photograph

 

nstallation photograph of the work of Meredith Turnbull (foreground) and Zoë Croggon (rear wall) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (foreground) and Zoë Croggon (rear wall) at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Zoë Croggon. 'John Holland Constructions, Ginninderra Bridge (after Wolfgang Sievers)' 2014

 

Zoë Croggon
John Holland Constructions, Ginninderra Bridge (after Wolfgang Sievers)
2014
Photocollage
70 cm x 86 cm
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Comalco Aluminium Used in the Construction of the National Gallery of Victoria [7] (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Comalco Aluminium Used in the Construction of the National Gallery of Victoria [7] (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Comalco Aluminium Used in the Construction of the National Gallery of Victoria [18] (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Comalco Aluminium Used in the Construction of the National Gallery of Victoria [18] (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Westgate Bridge (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Westgate Bridge (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

 

“Six early career artists, working in photography through to installation, have responded in diverse ways to renowned Australian photographer Wolfgang Sievers (1913-2007), icon of 20th century Australian photography. Sievers’ commercial practice exemplifies mid-century positivism and modernity, and the mythmaking role of photography. As a German Jewish immigrant, he had a strong interest in refugees and human rights issues as well as an expressed commitment to representing the dignity of labour. The Sievers Project presents key historical works as a context for engaging the past through the present.

Photographers Jane Brown and Cameron Clarke have followed in his footsteps to industrial clients Sievers photographed and valorised, finding sites that are visually dynamic within industries now in decline. Through her intrepid, research-based practice, Therese Keogh has developed a materially-rich work from the starting point of a single, anomalous photograph Sievers took at the Roman Forum in 1953. Meredith Turnbull draws on his connections with Melbourne’s design community in the 1950s and 60s, including Gerard Herbst and Frederick Romberg. In Sievers’ photographs of industrial sewing machines and their machinists, Phuong Ngo finds shared stories of young Vietnamese refugees and the journeys taken by their mothers. Zoë Croggon positions fragments of Sievers’ iconic architectural photographs against found photographs of the human body in movement.”

Text from the CCP website

 

Foreword to the catalogue

The Sievers Project follows a number of exhibitions over the last five years where CCP has opened up a vista on contemporary practice by exhibiting early work by living artists such as Bill Henson, Kohei Yoshiyuki and Robert Rooney, as well as historical photography, alongside contemporary work. As a commissioning exhibition we have titled this a ‘project’ to point towards the year-long research period integral to the exhibition, capturing the curatorial gesture of inviting early career artists to engage with the past.

The Sievers Project represents a significant curatorial endeavour for CCP, the tale of which is recounted in the Introduction. It would simply not have taken place were it not for the willingness and generosity of Julian Burnside AO QC to participate, through allowing the artists research access to his Wolfgang Sievers collection and lending work from it for the exhibition, as well as contributing an essay for this catalogue.

I acknowledge the artists for setting out on this project and for returning with thoughtful and excellent work. It has been a pleasure to both engage with and exhibit the work of Jane Brown, Cameron Clarke, Zoë Croggon, Therese Keogh, Phuong Ngo and Meredith Turnbull.

The Sievers Project has been dignifi ed by contributions by a number of experts and I wish to acknowledge Professor Helen Ennis, Australian National University School of Art who has also contributed a catalogue essay; Madeleine Say, Picture Librarian, Eve Sainsbury, Exhibitions Curator and Clare Williamson, Senior Exhibitions Curator, State Library of Victoria; Maggie Finch, Curator of Photography, National Gallery of Victoria and Professor Harriet Edquist and Kaye Ashton, Senior Coordinator, RMIT Design Archives, who all took time to speak about Sievers and share his work with the artists.

Opportunities to commission artists are relatively rare and funding through the inaugural Early Career Artist Commissions Grant from the Australia Council has enabled the project. CCP is pleased to acknowledge this recognition and support. We are delighted that Lovell Chen Architects & Heritage Consultants have provided further critical support to realise the project, for which we are grateful. We see a germane link between Lovell Chen and the premise of The Sievers Project.

The Besen Family Foundation are champions for enabling CCP to produce catalogues for selected exhibitions. I acknowledge the Foundation for their long-standing and generous engagement with CCP. We thank the National Library of Australia for providing permission to reproduce Sievers’ work in this catalogue.

The Sievers Project has provided a welcome opportunity for CCP to engage with colleagues in the fi eld of architecture and we are delighted to acknowledge a partnership with the Robin Boyd Foundation to present public programs. We are grateful to Tony Lee from the Foundation for his interest in the project.

Without doubt CCP’s ability to both present contemporary art well and look after artists is greatly enhanced through the longstanding and generous support of Tint Design and Sofi tel Melbourne on Collins. CCP is pleased to present a parallel exhibition of The Sievers Project at the 2014 Melbourne Art Fair and we thank the Melbourne Art Foundation for enabling CCP to bring the exhibition to broad new audiences. For the Art Fair exhibition we are also indebted to Christine Downer, previous CCP Board member and current supporter, for the loan of a major Sievers work.

The Sievers Project has been ably assisted by Philippa Brumby, curatorial intern. Co-curator Dr Kyla McFarlane and I thank Philippa for her wide-ranging skills over a substantial period of time. Lastly, I acknowledge Kyla for her excellent curatorial work and for the pleasure of collaborating with such a playful, dedicated and steely intellect.

.
Naomi Cass, Director, CCP

 

And what about his Legacy?

A response to this necessarily combines elements of certitude and speculation. Sievers himself was totally committed to ensuring his legacy as a photographer. He spent years meticulously cataloguing and documenting his work and was assiduous in placing as much of it as he could in major photography collections around the country – art galleries and libraries. The bulk of his archive, a staggering 65,000 negatives and prints, was acquired by the National Library where it has been digitised and is available online to users in perpetuity. But there is another aspect to his preoccupation with legacy that has troubled me over the years – his desire to control the readings of his work, to ensure that he ‘owned’ the contextualisation and interpretation of it. As I see it, some of the framing narratives he constructed were retrospective and are misleading because they are not borne out by the evidence, that is, by the photographs themselves. This is especially apparent in his insistence that the relationship between ‘man and machine’ was central to his industrial photography. In my assessment of his enormous archive, images that extol this interaction are actually relatively few in number. They are outweighed by thousands and thousands of other industrial scenes in which the worker is locked into the dreary, repetitive tasks associated with mass production, or is not present at all having been displaced by machines that are far more efficient than humans will ever be. In other words, the bulk of Sievers’ own photographs contradict his central tenet of the dignity of labour in the modern machine era. The most important aspect of his legacy is undoubtedly his photographs and the astonishingly vast, high quality body of architectural and industrial work he produced between 1938 and the early 1970s. My view is that his black and white photography is the best although he did not agree with me, arguing that his colour photography, with its expressive and dramatic qualities, was equally fine. For me, it is his black and white images that are visionary, their precision, clarity and drama embodying the belief in progress that underpinned modernity. I would also suggest Sievers’ legacy isn’t confined to his photography. As a man he cared deeply about the world and wanted it to be better. He was closely involved in the restoration of Karl Friedrich Schinkel’s buildings in Berlin in the 1990s and in the re-evaluation of his own father’s reputation (Professor Johannes Sievers was an expert on Schinkel and had used his young son’s photographs in his books on the architect in the 1930s). Wolfgang donated his photographs to fund-raising campaigns for human rights and remained a passionate antiwar activist until his death.

 

What would he have thought about this project?

I suspect that he would have been thrilled to know that his contribution to Australian life and photography is the touchstone for the six photographers involved in the project and that his work continues to be appreciated.

.
Professor Helen Ennis is Director of the Centre for Art History and Art Theory at ANU School of Art, Canberra.

 

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photographs of the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

nstallation photograph of the work of Therese Keogh (detail) in the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Therese Keogh (detail) in the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (detail) in the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (detail) in the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Therese Keogh. 'In the Forum Romanum (after Sievers)' 2013

 

Therese Keogh
In the Forum Romanum (after Sievers)
2013
Graphite on paper
Courtesy the artist

 

Cameron Clarke. 'Loui Nedeski, Ford Motor Company, Geelong' 2014

 

Cameron Clarke
Loui Nedeski, Ford Motor Company, Geelong
2014
Archival inkjet print
50 x 63 cm
Courtesy the artist

 

Cameron Clarke. 'Küsters Washer, Bruck Textiles, Wangaratta' 2014

 

Cameron Clarke
Küsters Washer, Bruck Textiles, Wangaratta (detail)
2014
Archival inkjet print

 

Cameron Clarke. 'Theis Dye Jets, Bruck Textiles, Wangaratta' 2014

 

Cameron Clarke
Theis Dye Jets, Bruck Textiles, Wangaratta (detail)
2014
Archival inkjet print

 

Phuong Ngo. 'Untitled' 2014

 

Phuong Ngo
Untitled
2014
from the Mother Vietnam series
Inkjet print
Courtesy the artist

 

 

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

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

Centre for Contemporary Photography website

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13
Apr
14

Review: ‘Hoda Afshar / Under Western Eyes’ at Edmund Pearce Gallery, Melbourne

Exhibition dates: 2nd April – 3rd May 2014

 

Dear readers, my apologies for the lack of local reviews and postings since the beginning of the year. It’s not that I haven’t been out and about looking at exhibitions, far from it, simply that there has been little stimulating enough to do a posting on. Photographically, it has been a very slow start to 2014 in Melbourne.

There have been disappointing exhibitions from Jacqui Stockdale at Helen Gory Galerie (Super Naturale 15 Mar – 5 Apr 2014) where the artist removed her fabulous painted backgrounds and isolated the carnivalesque figure in Victorian album ovals against non-descript, beige colours, hence robbing them of the wonderful interplay between figure and context; Jane Burton at Karen Woodbury Gallery (In Other Bodies 2 April – 3 May 2014) where her intimate, sightless, pinhole portrait photographs are overlaid with “bruised candy colours,” in reality a sickly tri-colour overlay that ruins any presence some of the more powerful images ever had; Pat Brassington at Arc One Gallery (Pat Brassington 8 April – 15 May 2014) where, despite three interesting images (Blush, Major Tom and Night Shade), the rest of the exhibition feels like the photographs are a caricature of themselves, repeating earlier statements, with the work going nowhere (success breeds complacency?); and Polly Borland at the Centre for Contemporary Photography (Wonky 28 Mar – 25 May 2014) where the staged photographs of sculptural forms are insipid to say the least and the prints have pixellation the size of golf balls. You would have thought that a person of her supposed standing in the art world would have at least got the prints right.

It is a great pleasure then to finally discover some strong exhibitions around Melbourne town that are worthy of a posting: Hoda Afshar / Under Western Eyes and Stephen Dupont / The White Sheet Series No. 1, both at Edmund Pearce; the group exhibition Khem at Strange Neighbour; The Rennie Ellis Show at Monash Gallery of Art; and the magnificent Rosemary Laing / The Paper at Tolarno Galleries. Other postings to follow in the next week or so.

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I love Hoda Afshar’s work. It’s big, bold, brash, beautiful, and it has something important to say and does so, eloquently. I only wish I could read the text written on nipple and background to further understand the intricacies and references of the work. The photographs pull back the veil on how Westerners commodify the representation of Islamic women in the form of decodable stereotypes. This reductive interpretation of the identity of Muslim women is bound up with aspects of exoticism, which has links to the influential book Orientalism (1978), by Edward W. Saïd, “a foundational text for the academic field of Post-colonial Studies, wherein the denotations and connotations of the term “orientalism” are expanded to describe what Saïd sees as the false cultural assumptions of the “Western world”, facilitating the cultural misrepresentation of the “The Orient”, in general, and of the Middle East, in particular.” (Wikipedia)

For Western society, “oriental” art emanated from a type of primitive fantasy, reflecting the increasingly exotic tastes of Europe from the late 19th-century following European colonialism. In her work Afshar interrogates aspects of a visual neo-colonialism. Here the voices of the marginalised are acknowledged but only so far as the language of acknowledgement is controlled by neo-colonialism (another form of imperialism which is an out a growth of classical colonialism) – in which the image and literature of the oppressed is controlled by societal structures that seek to delimit the nature of their independence.

As Bhabha notes, “Postcolonial perspectives emerge from the colonial testimony of Third World countries and the discourses of “minorities” within the geopolitical divisions of East and West, North and South. They intervene in those ideological discourses of modernity that attempt to give a hegemonic “normality” to the uneven development and the differential, often disadvantaged, histories of nations, race, communities, peoples.” (Bhabha, H. K. The location of culture. London: Routledge, 1994, p. 71)

Postcolonial theory formulates its critique around the social histories, cultural differences and political discrimination that are practised and normalised by colonial and imperial machineries. What Afshar does is poke a great big stick at these (visual) machineries, phenomenologies that continue to operate within the operating “theatres”, the mass-produced and parcelled consumer identities of the Western world.

Dr Marcus Bunyan for the Art Blart blog

 

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

 

 

Hoda Afshar. 'Westoxicated #1' 2013

 

Hoda Afshar
Westoxicated #1
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #2' 2013

 

Hoda Afshar
Westoxicated #2
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #3' 2013

 

Hoda Afshar
Westoxicated #3
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

 

Edmund Pearce is pleased to present Under Western Eyes, a solo exhibition by Hoda Afshar. The exhibition comprises a series of digitally manipulated photographs, criticising the continual representation of Islamic women in the contemporary art world as veiled, subjugated and suppressed. This new project explores how the veil – seen as a sort of forced enclosure – has become the dominant mode of representing Islamic women in the West.

In speaking of the series Hoda states, “veiled women are often portrayed as a homogeneous group; powerless subjects whose veil serves either as a symbol and tool of oppression, or is celebrated as an exotic commodity. As such, the images of Muslim women have been reduced to easily decodable stereotypes; mass-produced and parcelled for Western audiences as a consumer item. In this series, I intend to emphasise the reductive interpretation of the identity of Muslim women in the West and praising of such imagery as an attitude bound up with aspects of exoticism.”

Hoda Afshar is a visual artist and Photographer. She is currently a PhD candidate at the Department of Art at Curtin University. After finishing a BFA, majoring in Photography, at Azad University of Art and Architecture in Tehran, she began her career as a documentary photographer. In 2006 she was selected by World Press Photo as one of the top ten young documentary photographers of Iran to attend their Educational training program. Additionally, Hoda is currently a lecturer at the Photography Studies College in Melbourne. She has also been exhibiting locally and internationally since 2007 and was short listed for prestigious photography awards such as the Moran Contemporary Photographic Prizes (2012) and the Josephine Ulrick and Win Schubert Photography Prize (2013). She lives and works in Melbourne, Australia.

 

Hoda Afshar. 'Westoxicated #5' 2013

 

Hoda Afshar
Westoxicated #5
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #6' 2013

 

Hoda Afshar
Westoxicated #6
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #7' 2013

 

Hoda Afshar
Westoxicated #7
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

Hoda Afshar. 'Westoxicated #9' 2013

 

Hoda Afshar
Westoxicated #9
2013
Archival Pigment Print
104 x 90 cm / edition of 5

 

 

Edmund Pearce Gallery
Level 2, Nicholas Building
37 Swanston Street (corner Flinders Lane)
Melbourne Victoria 3000

Opening hours:
Wed – Sat 11 am – 5 pm

Edmund Pearce Gallery website

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02
Jul
13

Review: Polixeni Papapetrou ‘A Performative Paradox’ and Daniel von Sturmer 
’After Images’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 24th May – 14th July 2013

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Two solid if not overly memorable exhibitions are presented at the Centre for Contemporary Photography.

Polixeni Papapetrou A Performative Paradox is a bit of a dog’s breakfast. While it is wonderful to see early work by this artist – work that features Marilyn and Elvis impersonators, circus people, body builders and drag queens – too many bodies of work are crammed into too small a space with too few images. Some of the later series are represented by just one image giving a hotch potch feel to the whole exhibition ensemble. Perhaps it would have been better to concentrate solely on the early black-and-white images and colour images, work that is rarely seen and informs the staged work that followed. Having said that the black-and-white photographs are a joy to behold, documenting as they do performative identities. The photographs have an intangible presence. There are strong elements of the frontality of Diane Arbus in the photographs of circus performers and drag queens, coupled with a intrinsic understanding of light and texture. The photographs of drag queens are the highlight of both exhibitions and Drag queen wearing cut out dress (1993, below) reminded me of an early black-and-white photograph by Fiona Hall (Leura, New South Wales1974) in its use of patterned wallpaper. Let us hope there is a large retrospective of Polixeni’s work (at NGV or Heide for example) in the future, one that can do justice to the depth and complexity of her vision as an artist.

Daniel von Sturmer 
After Images is an interesting conceptual experiment, one that investigates the splitting of the image (shadow) from its referent (object). “The images propose a kind of transference; the object itself may be insignificant but its subjective meaning carries weight, and its shadow leaves a space the viewer fills with their own reading.” In their black-and-white fuzziness the work looks impressive when viewed in the gallery space (see installation views below) but upon close inspection the individual photographs fail to hold the viewers attention. Personally, I found it difficult to impart any great meaning to any of these works and the investigation certainly does not produce memorable images, ones that will stay with the viewer months and years later. For me the exhibition became an exercise in guessing what shadows were which objects, a game that grew quickly tiresome. The work then became an exercise in the importance of captioning an image, as I constantly looked around the room trying to match the titles of the works with the images themselves. As abstract images they imparted little metaphysical poetry as ghost images (an afterimage or ghost image is an optical illusion that refers to an image continuing to appear in one’s vision after the exposure to the original image has ceased). As images that investigate the link between text, object, shadow and language they started to become what the artist sought to enunciate: shadow objects bound to the realm of signification in some amorphous play, shadows that have the potential to become ‘Other’.

PS. As an analogy you could see these images as the equivalent of Jung’s human “shadow aspect” where, according to Jung, the shadow, in being instinctive and irrational, is prone to projection (as these shadows are projected by their objects). The shadow represents the entirety of the unconscious, ie. everything of which a person is not fully conscious, and is the seat of creativity. “Everyone carries a shadow,” Jung wrote, “and the less it is embodied in the individual’s conscious life, the blacker and denser it is.” (Jung, C.G. (1938). “Psychology and Religion.” In CW 11: Psychology and Religion: West and East. P.131). Hence the potential halo/cination of these images.

Dr Marcus Bunyan for the Art Blart blog

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

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Miss-Alternative-World-Ball-1993-WEB

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Polixeni Papapetrou
Drag queen wearing cut out dress
1993
Gelatin silver photograph
28.5 x 28.5 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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Papapetrou_Suzie,-Elvis-fan-at-home,-Melbourne,-1989-WEB

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Polixeni Papapetrou
Suzie, Elvis fan at home, Melbourne
1989
Selenium toned gelatin silver photograph
40.7 x 40.7 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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Indian_Brave_2002-WEB

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Polixeni Papapetrou
Indian Brave
2002
Pigment ink print
85 x 85 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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Three-young-men-paying-homage-to-Elvis-on-the-13th-anniversary-of-Elvis'-death,-Elvis-Memorial,-Melbourne,-1990-WEB

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Polixeni Papapetrou
Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne
1990
Selenium toned gelatin silver photograph
40.7 x 40.7 cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney

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“This exhibition focuses on the performative in the work of Polixeni Papapetrou, from her early documentary work through to her directorial work with her children since 2002, regarded internationally as some of the most powerful and provocative works in the field of perfomative photography. Papapetrou’s enduring interest is in how the ‘other’ is represented and how the ‘other’ performs in reinforcing our own identity.

Polixeni Papapetrou is one of Australia’s leading contemporary photomedia artists. She has been exploring relationships between history, contemporary culture, landscape, identity and childhood through her photographic practice since the mid-eighties. In this exhibition, selected by Professor Anne Marsh in consultation with the artist, a particular thread has been selected across Papapetrou’s practice – that of the performative – from her early documentary work through to her directorial work with her children from 2002 to the present.

Her images are informed by her own experience as ‘other’, growing up as a Greek immigrant in a white, Anglo-Saxon, male-dominated culture in Australia in the 1960s and 1970s. Marilyn Monroe impersonators, Elvis Presley fans, body builders, circus performers and drag queens have all taken their turn in front of Papapetrou’s camera. All of these people are, one way or another, performing i dentities.

In 2002 Papapetrou turned her focus to the experience of childhood, using her children as the performers in her pictures. There is a challenging confusion between fantasy, mythology, archetype, animism and theatricality present in these works, ranging from the playful to the transgressive, wrangling with the question of identity and stressing the embodied nature of experience.”

Text from the CCP website

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Polixi-Circus-detail-b-WEB

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Polixeni Papapetrou
Fortune teller (detail)
1989
From the series Ashton Circus, Silvers Circus 1989-1990

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Polixeni Papapetrou. 'Levitation, Silvers Circus' (detail) 1989

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Polixeni Papapetrou
Levitation, Silvers Circus (detail)
1989
From the series Ashton Circus, Silvers Circus 1989-1990

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Polixeni. 'Papapetrou Ashton Circus, Silvers Circus' series (installation view) 1989-1990

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Polixeni Papapetrou
Ashton Circus, Silvers Circus series (installation view)
1989-1990

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Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

Installation views of Polixeni Papapetrou 'A Performative Paradox' at the Centre for Contemporary Photography (CCP)

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Installation views of Polixeni Papapetrou A Performative Paradox at the Centre for Contemporary Photography (CCP)

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Daniel von Sturmer 'Production Still for After Images'

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Daniel von Sturmer
Production Still for After Images
Courtesy the artist and Anna Schwartz Gallery, Melbourne and Sydney

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“In After Images the shadows of a set of subjectively ‘important artefacts’ (a business card, a phone, a letter…) are presented alongside generic objects from the studio, for example: a bin, some tape, a ruler… Presented at 1:1 scale, the images propose a kind of transference; the object itself may be insignificant but its subjective meaning carries weight, and its shadow leaves a space the viewer fills with their own reading.

Photographed using a specially constructed ‘set’ to enable the separation of an object from its shadow, the resulting image stands alone, separated from its object yet inextricably bound to the realm of signification from which it has been cast.”

Text from the CCP website

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Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 'After Images' at the Centre for Contemporary Photography (CCP)

Installation views of Daniel von Sturmer 
'After Images' at the Centre for Contemporary Photography (CCP)

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Installation views of Daniel von Sturmer 
After Images at the Centre for Contemporary Photography (CCP)

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

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

Centre for Contemporary Photography website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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