Posts Tagged ‘collective identity

03
Aug
17

Review: ‘Under the sun: Reimagining Max Dupain’s Sunbaker’ at the Monash Gallery of Art, Melbourne

Exhibition dates: 6th May – 6th August 2017

“A GREAT review Marcus. As always. A master piece.” ~ Peter Barker, artist

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of the entrance to the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Max Dupain. 'Sunbaker' c. 1937

 

Max Dupain (Australia 1911-92)
Sunbaker
c. 1937
Gelatin silver print
Monash Gallery of Art, City of Monash Collection acquired 1980

 

Anne Zahalka. 'The sunbather #2' 1989

 

Anne Zahalka
The sunbather #2
1989
From the series Bondi: playground of the Pacific
Monash Gallery of Art, City of Monash Collection acquired 1997

 

 

The misery of too much sun

Simply put (where the work in this exhibition is anything but), this is one of the most depressing Australian group photography exhibitions that I have seen in a very long time. I left the exhibition feeling like I wanted to slit my wrists.

“Reimagining” an image is always going to be problematic, especially such an iconic photograph as Max Dupain’s no-face, monolithic, Uluru-shaped, low depth of field, wet, British male tourist lying on Culburra Beach, New South Wales in the 1930s – an image that “supposedly conveys a quintessential Australian identity,” a “casual holiday snap that came to symbolise leisure and freedom in the 1970s [which] was taken in the uncertain economic times before the Second World War.”

The scope for such a contemporary conceptual exercise is vast and the artists in this exhibition don’t waste the opportunity. Variously but not exclusively we have:

  • Snow White and the Seven Dwarfs, the Breakfast Club (1985), a movie in which five teenagers navigate identity issues
  • Indigenous massacres in Australia … positions of the planets between 1789 and 1928, when 63 massacres of Indigenous peoples took place
  • Samoan culture – malu – the female-Samoan tattoo (tatau)
  • The lifeless body of three-year-old refugee Aylan Kurdi, lying face down on a beach in Turkey which now haunts the figure of the Sunbaker
  • Sufi-inspired choreography, the dancers wearing a hammam cloth
  • 1920s swimwear based on wartime camouflage schemes
  • Reclaiming of the feminist body both as a medium of deliberate submission and active resistance through women’s strength, endurance and resilience by undertaking physical and psychological experiments that test the limits of her body, playfully and painfully
  • Denunciating the violence of the sand mining industry on the ecosystem, the land and its peoples
  • Grandfather opal-mine worker in South Australia excluded from Aboriginal rights until 1967
  • Paradox of a nation seen as a sun-blessed paradise while its shores have been a place of contestation and misery
  • Memories of childhood landscapes and research into the Massacre Map published by the Koorie Heritage Trust, which identified sites where Indigenous massacres occurred between 1836 and 1853
  • Digitally animated Sunbaker to make it resonate as a symbol of the 229 years since colonisation

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How you get from a holiday snap of a tourist visiting Australia, having a swim, flopping down on the beach and all the joy that this entails to Snow White and the Seven Dwarfs, the Breakfast Club, female-Samoan tattoos, camouflage schemes, reclaiming the feminist body and more contestation and misery than you can poke a stick at – massacres, more massacres, symbol of 229 years of colonisation and a body of a three-year-old refugee which now supposedly haunts the figure of Sunbaker – is mind boggling. And no, the powerful image of that small body does not haunt Sunbaker. It never will. Only in the titular imagination of the artist!

Some of these reconceptualisations draw such a long bow that the arrow fell out of the sky long before the art work was finished. The trajectory of most of this work is so cerebral that you wonder whether the artists actually thought about visual and associative outcomes, something that the viewer would make connection to and with, before they started making the work. Is this really a good idea? Does the image, Sunbaker, actually evoke any of these relationships? For example, what have positions of the planets between 1789 and 1928 and identified sites where Indigenous massacres occurred between 1836 and 1853 have to do with a sun baker… other than to assuage white guilt over the invasion of Aboriginal land? That is the crux of the matter: it’s all about white guilt.

There is such a thing as acknowledging the past and letting it go, while taking responsibility for the present and the future. As a black American friend of mine said to me recently, he doesn’t blame white people for slavery, and neither do most black Americans… it’s history, acknowledge it and move on; take responsibility for present injustices. Of course, past, present and future time are linked; memory and history influence culture, narrative and identity. But to constantly conceptualise, as much contemporary Australian photography does, the past AS the present through existential angst ridden explorations that produce forgettable images simply beggars belief. Let’s have more contestation and misery; let’s perpetuate the cycle of guilt, shame, misery and despair that we acknowledge was totally wrong. Let’s invert Sunbaker into a demon – a fractured, negative identity – both literally and metaphysically. Two artists literally do this, as though by inverting an image using this trope, you give the negative image profound power.

Other than Anne Zahalka’s wonderful feminist re-imag(in)ing of Sunbaker, the most evocative excavation of relationship to the original image comes from that gorgeous photographer William Yang. Just a celebration of sun, sand, sea, and male identity through beautiful, intimate images of the male body – “At Bondi Beach, people were sunbathing. There was an attractive openness in the atmosphere…” An atmosphere and a generosity of spirit sorely lacking in the rest of the work.

Marcus

PS. And it’s Sunbaker not The Sunbaker!

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

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Sara Oscar’s Pleasant Island (The Pacific Solution) (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

Sara Oscar (born 1975, Sydney, NSW) 'Pleasant Island (The Pacific Solution)' 2017

 

Sara Oscar (born 1975, Sydney, NSW)
Pleasant Island (The Pacific Solution)
2017
Inkjet print on Hahnemuehle paper
Courtesy the artist

 

 

Sara Oscar draws connections between the present and the past. Interested in how time changes the meaning of images, her practice is drawn to allegory and metaphor.

In late 2015, photographs circulated widely of the lifeless body of three-year-old refugee Aylan Kurdi, lying face down on a beach in Turkey. The pose has come to symbolise the plight of all refugees and now haunts the figure of the Sunbaker. Nauru – a picturesque island in Micronesia that imprisons refugees to Australia under the Pacific Solution – is the subject of this series that draws connections between the themes of colonialism, beach culture and immigration.

 

 

Nasim Nasr (born 1964, Tehran, Iran; lives and works Sydney, NSW)
Still for Eighty Years
2017
Courtesy the artist and Greenaway Art Gallery, Adelaide
Video: © Dr Marcus Bunyan, Monash Gallery of Art and Nasim Nasr

 

 

Nasim Nasr’s multimedia practice explores the cultural differences between East and West, looking at the complex identities that exist at their nexus.

Shot on Culburra Beach, NSW – where Dupain photographed the Sunbaker – Still for Eighty Years juxtaposes traditional motifs from the Middle East with the Australian beach landscape. Here, the beach becomes a place for cross-cultural dialogue. Inviting us to contemplate their mesmerising Sufi-inspired choreography, the dancers wear a hammam cloth specifically woven for the performance. Nasr’s work is a meditation on the transient nature of identity.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Nasim Nasr’s Still for Eighty Years (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

Nasim Nasr. 'Still for Eighty Years' 2017

 

Nasim Nasr (born 1964, Tehran, Iran; lives and works Sydney, NSW)
Still for Eighty Years
2017
Production stills from video
Courtesy the artist and Greenaway Art Gallery, Adelaide

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Justene Williams’ Home security: out of the sun (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Justene Williams (born 1970, Sydney, NSW) 'Home security: out of the sun' 2017

 

Justene Williams (born 1970, Sydney, NSW)
Home security: out of the sun
2017
Dye sublimation print on chromaluxe metal
Courtesy of the artist and Sarah Cottier Gallery, Sydney

 

 

Home security is inspired by Dupain’s involvement in the Department of Home Security during the Second World War as part of the Sydney Camouflage Group. Working for the Australian Government, the group deployed visual illusions inspired by surrealism, cubism and abstraction to conceal military equipment. With his astute photographic eye for shadows, exposure and patterns, Dupain contributed to The Art of Camouflage, a manual that described techniques he later taught to soldiers in Darwin and Papua-new Guinea.

Inspired by the sheltering trees of the Sydney College of the Arts Callan Park Campus and 1920s swimwear based on wartime camouflage schemes, this work continues Williams exploration of the poetics and politics of camouflage.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Daniel von Sturmer’s Sunbaker (MGA replica) (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

 

Continuing his After Images series (begun in 2013), Daniel von Sturmer has photographed the shadow cast by the replica of Dupain’s Sunbaker held in the Monash Gallery of Art collection. Using a specially constructed ‘set’, the resulting work – a 1:1 image of the Sunbaker shadow – questions the aura held by the original, iconic image. How relevant is the original when multiple reproductions exist?

Examining the ability of photography to accurately capture the real world, this abstract black square draws connections between an image’s meaning and how significance is transferred from the original to the shadow.

 

Daniel von Sturmer. 'Sunbaker (MGA replica)' 2017

 

Daniel von Sturmer (Born 1972, Auckland, Aotearoa, New Zealand Lives and works in Melbourne, Vic)
Sunbaker (MGA replica)
2017
Unique archival pigment print
Courtesy the artist and Anna Schwartz Gallery, Melbourne / Sydney

 

 

Under the sun: Reimagining Max Dupain’s Sunbaker is a large-scale exhibition of new works commissioned from 15 artists responding to Australian photographer Max Dupain’s iconic ‘Sunbaker’ image. Artists include Peta Clancy, Christopher Day, Destiny Deacon, Michaela Gleave, Nasim Nasr, Sara Oscar, Julie Rrap, Khaled Sabsabi, Yhonnie Scarce, Christian Thompson, Angela Tiatia. Kawita Vatanajyankur, Daniel Von Sturmer, Justene Williams and William Yang. Under the sun is a travelling exhibition produced by the Australian Centre for Photography (ACP).

MGA Curator Stella Loftus-Hills said, “MGA is delighted to be hosting Under the sun and to be revisiting Max Dupain’s ‘Sunbaker’ (1937) 80 years after its creation. Dupain’s iconic photograph entered MGA’s collection in 1980 and this exhibition is a wonderful opportunity for our audiences to view the work in the context of contemporary art and to reflect upon its relationship to current ideas around national identity.”

Under the sun explores views of our culture, our identity and our nationhood through works that surprise, challenge and enthuse audiences. Commissioned by ACP, the mix of artists reflects Australia’s multi-cultural, multi-ethnic and multi-faith nature, enabling a creative and often very personal exploration of the question ‘is there something new under the sun?’ These artists contemplate, challenge and interpret the representation of Max Dupain’s photograph – which became an icon of a particular time and a particular vision of Australian culture – while offering unique perspectives on what it could possibly signify in our current society.

ACP Curator, Claire Monneraye said: “Max Dupain’s ‘Sunbaker’, remains an iconic representation of the Australian way of life and a milestone in the history of Australian photography. In this exhibition, the 15 artists have interrogated the social and political implications embedded within this image but also challenged the status of this photograph in our visual culture. Pushing the boundaries of the photographic medium, their works expose the aesthetical complexities at play in discussions around collective identity.

Examining the legacy of the past and questioning the relevance that this image might retain in the future, the exhibition draws on a range of diverse practitioners and creative forms to consider questions of representation and cultural pluralism while also reflecting on the depiction of the idealised body, discussing gender issues, cultural and political ideas relating to immigration and colonisation, and our relationship with the land.”

Press release from the Monash Gallery of Art

 

 

Kawita Vatanajyankur (Born 1987, Bangkok, Thailand Lives and works Bangkok and Sydney, NSW)
Carrier (extract)
2017
Video, duration: approx. 5 mins
Courtesy the artist and Stills Gallery, Sydney
Video: © Dr Marcus Bunyan, Monash Gallery of Art and Kawita Vatanajyankur

 

 

In this video work, Kawita Vatanajyankur reflects on her experience of migrating to Australia, exploring the resulting shift of identity. Celebrating women’s strength, endurance and resilience, Vatanajyankur’s captivating, seductive – and yet disquieting – videowork critiques the challenges faced by migrant Asian women in relation to everyday labour.

Referring to her performances as ‘meditation postures’, the artist undertakes physical and psychological experiments that test the limits of her body, playfully and painfully. The artist’s self-objectification is part of a feminist art tradition that reclaims the female body, both as a medium of deliberate submission and active resistance.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Kawita Vatanajyankur’s Carrier (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Kawita Vatanajyankur. 'Carrier' 2017

Kawita Vatanajyankur. 'Carrier' 2017

 

Kawita Vatanajyankur (Born 1987, Bangkok, Thailand Lives and works Bangkok and Sydney, NSW)
Carrier
2017
Video stills
Courtesy the artist and Stills Gallery, Sydney

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Destiny Deacon’s Sand minding and Sand grabs (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Destiny Deacon. 'Sand minding' 2017

Destiny Deacon. 'Sand grabs' 2017

Destiny Deacon. 'Sand grabs' 2017

Destiny Deacon. 'Sand grabs' 2017

 

Destiny Deacon (Born 1957, Maryborough, Qld Lives and works Melbourne, Vic KuKu (Cape York) and Erub/Mer (Torres Strait) peoples)
Sand minding
2017
Archival inkjet pigment print
Sand grabs
2017
Archival inkjet pigment prints
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

 

Throughout her career Destiny Deacon has orchestrated a personal and political theatre of kitsch and poignant ‘Aboriginalia’ to expose and deconstruct Indigenous issues. Deacon’s anti-art aesthetic confronts us with the cruelty of racism and the sombre reality of Australia’s colonial history.

Acknowledging the sand as central to Dupain’s photograph, Destiny Deacon denunciates the violence of the sand mining industry on the ecosystem, the land and its peoples. While hands are performing a destructive soil surgery, two uncanny dolls emerge from the sand. Both whistleblowers and guardians of the land, they invite us to consider a topical issue and its consequences.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Christopher Day’s Untitled (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Christopher Day. 'Untitled' 2017

 

Christopher Day (Born 1978, Melbourne, Vic, 1978 Lives and works Melbourne, Vic)
Untitled
2017
Pigment print

 

 

After processing, developing and scanning the photographs shot on his 35 mm camera, Christopher Day assembles, crops, combines and rearranges his images, again and again. Blending personal and historical narratives, Day’s complex imagery is ambiguous, humorous and allegorical, challenging simplistic definitions of identity and gender.

In this work a shiny round apple bearing visible teeth marks alludes to the story of Snow White and the Seven Dwarfs – each character embodying a set of clichés including Snow White herself, whose beauty and feminine charm become her undoing. The artist also refers to The Breakfast Club (1985), a movie in which five teenagers navigate identity issues.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation view of Michaela Gleave’s Under One Sun (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Michaela Gleave. 'Under One Sun' (detail) 2017

 

Michaela Gleave (Born 1980, Alice Springs, NT Lives and works Sydney, NSW)
Under One Sun (detail)
2017
Silver gelatin prints
Courtesy the artist and Anna Pappas Gallery, Melbourne

 

 

Under One Sun highlights the complexity of colonial history and the ambivalence of representing identity. Using Wikipedia’s listing of Indigenous massacres in Australia, Michaela Gleave highlights the lack of the associated verified historical data. Her zoomed out installation documents the positions of the planets between 1789 and 1928, when 63 massacres of Indigenous peoples took place.

James Cook’s first Pacific voyage, to document the 1769 Transit of Venus and investigate the existence of Terra Australis Incognita, opened the way for the European settlement of Australia. Drawing parallels between the development of photography, science and colonisation, the artist reminds us that technological advances in astronomy and navigation helped expand the British Empire, with science often justifying the atrocities committed.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Yhonnie Scarce’s Working Class Man (Andamooka Opal Fields) (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

Yhonnie Scarce (Born 1973, Woomera, SA Lives and works Melbourne, Vic and Adelaide, SA Kokatha and Nukunu peoples)
Working Class Man (Andamooka Opal Fields)
2017
Inkjet print on cotton rag paper, vintage metal bucket, blown glass
Courtesy the artist and This Is No Fantasy + Dianne Tanzer Gallery, Melbourne

 

 

In this deeply personal work, Yhonnie Scarce pays tribute to her grandfather, who endured many hardships during his life as an opal-mine worker in South Australia. Looking at this family photograph, Scarce felt compelled to tell the story of a man who provided for his family and contributed to society, yet remained excluded from the rights of Australian citizenship until 1967.

Beyond the nostalgic, Scarce includes vernacular photographs in her installations not only to control her personal narrative but also to reaffirm the presence of unsung heroes. ‘Politically motivated and emotionally driven’, Working Class Man (Andamooka Opal Fields) epitomises the experience of many Indigenous Australians while interrogating the effects of colonisation on future generations.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Angela Tiatia’s Dark Light (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

Angela Tiatia (Born 1973, Auckland, Aotearoa, New Zealand Lives and works in Sydney, NSW)
Dark Light
2017
Video, duration: 4 min, self-adhesive inkjet pigment print
Courtesy the artist and Alcaston Gallery, Melbourne

 

 

With Dark Light, Angela Tiatia deconstructs every element of the Sunbaker to reconfigure its exact opposite. The sensual tension created by this process forces us to re-examine the familiar.

Tiatia also reveals deeper contradictions. A chandelier symbolising opulence and power is hung over the artist’s body which is baring the malu – the female-Samoan tattoo (tatau). In pre-Christian times, the malu signified protection and shelter as young women entered womanhood. However, it was condemned by missionaries alongside their male equivalent (pe’a) and some Samoan communities still forbid women to publicly expose the malu. Dark Light sees Tiatia resisting the forces of colonialism embedded within Samoan culture.

 

Christian Thompson (Born 1978, Gawler, SA Lives and works in London, England Bidjara people) 'This Brutal World' 2017

 

Christian Thompson (Born 1978, Gawler, SA Lives and works in London, England Bidjara people)
This Brutal World
2017
Inkjet pigment print
Courtesy the artist and Michael Reid, Sydney / Berlin

 

 

With This Brutal World, Christian Thompson focuses on portraiture and its ability to trouble the relationship between past and present.

Where Dupain’s Sunbaker supposedly conveys a quintessential Australian identity, Thompson reminds us of assimilation policies first outlined at the Aboriginal Welfare Initial Conference of Commonwealth and State Aboriginal Authorities in 1937. Here the artist wears a costume borrowed from London’s National Theatre. His eyes are covered with dried roses and his body is superimposed on the glittering shallow creek beds – images captured during trips to his traditional homelands in outback Queensland. Thompson employs references to the natural world to evoke spirituality.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Julie Rrap’s Speechless (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Julie Rrap (Born 1950, Lismore, NSW Lives and works Sydney, NSW) 'Speechless' 2017

Julie Rrap (Born 1950, Lismore, NSW Lives and works Sydney, NSW) 'Speechless' 2017

 

Julie Rrap (Born 1950, Lismore, NSW Lives and works Sydney, NSW)
Speechless
2017
Bronze and steel
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

 

 

Julie Rrap’s long interest in the politics of the human body informed her investigation of the Sunbaker pose. A casual holiday snap that came to symbolise leisure and freedom in the 1970s, Dupain’s photograph was taken in the uncertain economic times before the Second World War.

Exploring the ambivalence of the pose and transposing this contradiction to now, Rrap draws attention to the paradox of a nation seen as a sun-blessed paradise while its shores have been a place of contestation and misery. Speechless places the viewer in two positions, showing the viewpoint of both the person who speaks out and the one who keeps their head down.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Peta Clancy’s Fissures in time (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Peta Clancy. 'Fissures in time #3' 2017

Peta Clancy. 'Fissures in time #1' 2017

Peta Clancy. 'Fissures in time #2' 2017

Peta Clancy. 'Fissures in time #4' 2017

 

Peta Clancy (Born 1970, Melbourne, Vic, Lives and works Melbourne, Vic)
Fissures in time (L to R) #3 #1 #2 #4
2017
Archival pigment prints
Courtesy the artist

 

 

Drawing on memories of childhood landscapes, Peta Clancy repeatedly visited several locations in Victoria, taking photographs with her large-format camera. Informed by her research into the Massacre Map published by the Koorie Heritage Trust, which identified sites where Indigenous massacres occurred between 1836 and 1853, the artist has produced placeless images that question our relationship to landscapes of trauma and how we perceive reality.

After photographing a site, Clancy returned to install a large print on a custom-designed frame in front of the same landscape; slicing through the paper, then revealing sections of the scene behind before re-photographing it. The resulting images challenge you to see with fresh eyes.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of William Yang’s SUMMER, A suite of images and My Time at South Bondi (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
SUMMER, A suite of images
2017
Digital pigment prints
Courtesy the artist and Stills Gallery, Sydney

My Time at South Bondi
2017
Video with music by Daniel Holdsworth
Duration: 4 min
Courtesy the artist and Stills Gallery, Sydney

 

 

A prolific documentary photographer, storyteller and performer, William Yang creates works that tell an intimate, autobiographical story.

For this installation, William Yang draws on his extensive archive of images, memories and sensual experiences, showing the unique atmosphere of freedom that prevailed on Sydney beaches in the 70s, 80s and 90s. Taken around Bondi and Tamarama, Yang has captured the joy of an era and the beauty of the elements with humour and generosity. More than reminiscence or exposé, Yang’s images reveal sensitive connections and insightful reflections about cultural identity.

 

William Yang. 'Golden Summer' 1987/2016

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Golden Summer
1987/2016
Digital print with gold foil
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Lifesaver Double' 1987/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Lifesaver Double
1987/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW) 'Lifesavers #3' 1987/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Lifesavers #3
1987/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Splashproof #1' 1994/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Splashproof #1
1994/2017
Digital print with digital text
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Splashproof #2' 1994/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Splashproof #2
1994/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Splashproof #3' 1994/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Splashproof #3
1994/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Bondi Beach (1970s)' 1970s/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Bondi Beach (1970s)
1970s/2017
Digital print with text
Courtesy the artist and Stills Gallery, Sydney

 

William Yang. 'Tamarama Lifesavers' 1981/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Tamarama Lifesavers
1981/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang 'Checking Out Bondi' 1981/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Checking Out Bondi
1981/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW) 'Childhood of Icarus' 1975/2017

 

William Yang (Born 1943, Mareeba, Qld Lives and works Sydney, NSW)
Childhood of Icarus
1975/2017
Digital print
Courtesy the artist and Stills Gallery, Sydney

 

 

Khaled Sabsabi (Born 1965, Tripoli, Lebanon Lives and works Sydney, NSW)
229 (extract)
2017
Three-channel video with sound
Duration: 3 min 49 sec
Hand-painted laser prints on transparencies
C-type prints
Courtesy the artist and Milani Gallery, Brisbane
Video: © Dr Marcus Bunyan, Monash Gallery of Art and Khaled Sabsabi

 

 

Khaled Sabsabi has recreated the negative of the Sunbaker by reframing the image and playing with the essential codes of the photographic medium. Sabsabi has multiplied, handpainted and digitally animated the photograph to make it resonate as a symbol of the 229 years since colonisation.

229 challenges the representation of race by inverting black and white, forcing us to question the almost imperceptible alterations, and examine notions of copyright and origin. Ultimately, 229 asks the viewer to be actively engaged and socially responsible.

 

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Under the sun Reimagining Max Dupain's 'Sunbaker'' at Monash Gallery of Art, Melbourne

 

Installation views of Khaled Sabsabi’s 229 (2017) from the exhibition Under the sun: Reimagining Max Dupain’s Sunbaker at Monash Gallery of Art, Melbourne

 

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

Khaled Sabsabi. '229' 2017

 

Khaled Sabsabi (Born 1965, Tripoli, Lebanon Lives and works Sydney, NSW)
229
2017
Production stills from video
Courtesy the artist and Milani Gallery, Brisbane

 

 

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Victoria 3150 Australia
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20
Mar
09

Review: ‘Order and disorder: archives and photography’ at the National Gallery of Victoria International, Melbourne

Exhibition dates: 18th October 2008 – 19th April 2009

 

 Patrick Pound. 'Writing in a library' 1996

 

Patrick Pound (New Zealander 1962-, worked in Australia 1989- )
Writing in a library
1996
Photocopies, oil stick, card
169.4 x 127.2 cm (image); 180.2 x 137.2 cm (sheet)
National Gallery of Victoria, Melbourne
Purchased, 1997
© Patrick Pound  

 

 

“These fragments I have shored against my ruins”

.
T.S. Eliot

 

 

An interesting exhibition is presented in the permanent third floor photography gallery at NGV International, Melbourne on a subject that deserved a much more rigorous investigation than could been undertaken in this small gallery space. Presenting single works by Ed Ruscha, Bernd and Hilla Becher, Patrick Pound, Robert Rooney, Simon Obarzanek, Penelope Davis, Candid Hofer, Linda Judge and Charles Green and Lyndell Brown the works seek to investigate the nature of the relationship between photography and the archive, between the semi-permanences of an archival memory and the spaces of a transgressive intertexuality marked by fragmentary, ironic counter-performances.

As noted in the catalogue essay by NGV curator Maggie Finch the archive is a place for holding knowledge that contains elements of truth and error, order and disorder; archives are able to shape history and memory, depending on how, when and by whom the records are accessed. Any disruption of order, governance and authority can lead to alternative readings and interpretations as the arcane ‘mysteries’ of the methods of classification are overturned. Since Victorian times when the body came under the self-surveillance of the camera and was found wanting, photographs have documented the faces of criminals, the physiognomy of degeneration and the fever of war.

As Yiannis Papatheodorou has observed when reviewing Jacques Derrida Mal d’Archive

“Derrida declares that since the dominant power of the archive derives from the economy of knowledge, it also provides the institutional responsibility of the interpretation. The localisation of the information transforms the inscription, provided by the function of the archive, into the impression of a memory’s trace, conscious or unconscious …

The preservation of memory, the access to information, the “resources” of the sources and the working environment are not just the representation of a future memory. They are active practices and discourses that create hierarchies and exclusions. The archives are the languages of the past, activated however dialogically, according to scientific and social demands. The content of our choice is marked by the way we are seeking information. Far from being an abstract principle, our choice is an ideologically oriented negotiation closely related to the politics of interpretation.”1

.
An there’s the rub. Not only is this exhibition a reordering of an unpublished memory (for that is what an archive is, a unique unpublished memory), it is also a reiteration of the authority of the gallery itself, the
“institutional responsibility of the interpretation.”
2 Deciding what was in this exhibition and what to leave out creates hierarchies of inclusion and exclusion – and in this case the inclusions are mainly ‘safe’ works, ones that challenge the ontology of existence, the cataloguing of reality in a slightly ironic way but oh – nothing too shocking! nothing too disordered! Nothing here then of the archive of images that substantiate the horrors of war, the trans/disfiguration of men in both World Wars for example. There are few images to haunt us, none to refresh our memories in a problematic way.

The more successful pieces, the works that challenge the order of the archive (“what is no longer archived in the same way is no longer lived in the same way”)3, are the ones by Ed Ruscha, Penelope Davis and Simon Obarzaneck (all below).

Ruscha’s vertical inverted cityscape is trapped in a display cabinet opened out on the horizontal plane in concertina format, like one of those optical illusion images in which you see an image looking from one direction and a different image from the other direction. Ruscha’s personal experience of driving down Sunset Strip in Los Angeles and his anthropological recording of the urban experience has been disseminated in a mass produced ‘artists’ book. No unique unpublished archive here. Beneath the facades of the shops other narratives emerge – images are stitched together, cars chopped off, people dismembered – all in a very linear, conceptual way; a journey from one point to another, one that is both subjective (the voice  and hand of the author) and objective (the en masse production of the book).

As Chris Balaschak has noted, “The images, taken during the day, capture only the facades of the buildings. Ignorance is given to cars or people, both of which are often cut in half between separate exposures. The imperfections of matching the facades are cracks along Ruscha’s drive. Through these cracks we find Ruscha, not such an anonymous author after all. Splitting cars in two, and mismatching facades we become keenly aware of the passage of time. The facades of buildings may appear as stage sets but they are active points on other itineraries, anticipating future and past narratives.”4

.
This is Ruscha’s trace through the city but also our intersection with his journey, our chance to make our own itineraries as Balaschak (in his insightful writing) rightly points out. The fragmentary dismembering becomes the space between, the disorder of the linear into a heterotopic space of remembering. We the viewer create our own narrative, flitting through the cracks in the archive of memory, the photographer, the author of our own journey.

Penelope Davis photograms are luminous objects. She makes resin casts of the spine of discarded books and places the casts directly onto photographic paper and then exposes them to light. The books glow and hover in the blackness, the words on the spine reversed. Stripped of their context, of their memory, they become ethereal books, phantom texts, liminal images that hover between what is known and what is imagined. As Davis has said, Most people assume that when they look at a photo that they are looking at the thing photographed – but they are not. They are looking at a photo. Books and photographic images and archives are enigmatic – you can’t be sure of a singular definition or meaning.”

Davis is ‘messing around’ with the idea of veracity, the truth of photography and the ordering of the archive of our mind through the images we collate. We seek to grasp the original memory of an event, of the reading and ordering of our life through images and none is available to us, for as Foucault has observed memories are only ever fragmentary and distorted representations, partial truths a best. Like Jorge Luis Borges’ journey into the infinite universe of The Library of Babel, for Foucault the psyche is not an archive but a mirror, like the shining silver foil surface of the cover of the Ed Ruscha book:

“The search for the self is a journey into a mental labyrinth that takes random courses and ultimately ends at impasses. The memory fragments recovered along the way cannot provide us with a basis for interpreting the overall meaning of the journey. The meanings that we derive from our memories are only partial truths, and their value is ephemeral. For Foucault, the psyche is not an archive but only a mirror. To search the psyche for the truth about ourselves is a futile task because the psyche can only reflect the images we have conjured up to describe ourselves. Looking into the psyche, therefore, is like looking into the mirror image of a mirror. One sees oneself reflected in an image of infinite regress. Our gaze is led not toward the substance of our beginnings but rather into the meaninglessness of previously discarded images of the self.”5

.
This leads us nicely onto the images of Simon Obarzanek.

In a fantastic series of photographs, the only ones of this exhibition that seemed to haunt me (as Susan Sontag says images do), Obarzanek photographs people in an ordered, almost scientific, manner. Photographed face on against a non-contextual background using a low depth of field, these repetitive, collective, unnamed people remind me of the images of Galton. But here the uniformity is overwhelmed by quirky differences – the placement of eyes and lips seem large offering a strange, surreal physiognomy. These images resonate, the challenge, they remain with you, they question the order of things as no other photograph in this exhibition does. From simplicity comes eloquence.

To finish I must address the elephant in the room, in fact two elephants!

There is not one digital photograph contained in the exhibition, the work being collage, Type C colour or black and white silver gelatin prints. There is no mention in the catalogue of the crisis of cultural memory that is now permeating our world. Some believe the ever expanding digital archive, the Internet, threatens our lived memories “amidst the process of the ‘digitisation of culture’ and the new possibilities of storing.”6 This vision entails the fear of loosing cultural contents, hitting the delete button so that  memory passes into forgetting. This is a vision to which I do not subscribe, but the issue needed to be addressed in this exhibition: how are digital technologies altering our re-assemblance of memory, altering photography’s ability inherent ability to record, store and organise visual images? What about the aura of the original or was there never such a thing?

Furthermore, it would seem that with photographs becoming less and less a fixed essence; with the meaning of the photograph more and more divorced from its referent; with the spectators look the key to reading photographs; and the performance of the photograph a cut and paste reality… then perhaps we are left not with the two polar opposites of order and disorder but some orthogonal spaces in-between.

The second elephant in the room in the gallery space itself.

Whilst the curators of photography at the National Gallery of Victoria do an amazing job running large exhibitions such as the Andreas Gursky and Rennie Ellis shows that have starred this year, the NGV ‘International’ is shooting itself in the foot with the current permanent photography gallery space. Small, jaded and dour it seems an addendum to other larger spaces in the gallery and to be honest photography and Melbourne deserves better. Personally I feel more alive in the fashion gallery that is on the floor below and that, for an photographer, is a hard thing to say.

As the theme for this exhibition deserved a greater in depth investigation so the gallery needs to expand it’s horizons and give the permanent photography gallery a redesign and overhaul. Where is the life and passion of contemporary photography displayed in a small space for all to see in a gallery that sees itself as ‘International’? In an occularcentric world the key word is intertexuality: the gallery space should reflect the electri-city, the mixing of a gallery design ethos with images to surround us in a space that makes us passionate about contemporary photography. Now that would really be a new order of things!

Dr Marcus Bunyan for Art Blart

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

 

  1. Papatheodorou, Yiannis. History in the promised land of memory. Review of  Jacques Derrida, Mal d’Archive, Paris, Éd. Galilée, 1995 [Online] Cited on 20th March 2009 (no longer available online)
  2. The archive is understood as collective reservoir of knowledge fulfilling diverse functions and conditioned by three main factors: conservation, selection and accessibility. How are contents stored and which media are used to conserve them? What is selected for storage and what is decided to be cleared out and thus forgotten? Who decides what is archived and who has access to the resources? All these questions paint the archive as a political space where relations of power cross aspects of culture and collective identity.”
    Assmann, A. (2003) Erinnerungsräume, Formen und Wandlungen des kulturellen Gedächtnis. [Memory Spaces, Forms and Transformations of Cultural Memory] Special paperback editon, 1st edition publ. 1999, München: Beck, p. 343-346
  3. Derrida, Jacques. (1996) Archive Fever, A Freudian Impression. Transl. by E. Prenowitz, p. 18 orig. publ. as Mal d’Archive: une impression freudienne in 1995, Chicago, London: The University of Chicago Press
  4. Balaschak, Chris. Itineraries [part 3] [Online] Cited on 20th March 2009 (no longer available online)
  5. Hutton, Patrick. “Foucault, Freud, and the Technologies of the Self,” in Martin, Luther and Gutman, Huck and Hutton, Patrick (eds.,). Technologies of the Self: A Seminar with Michel Foucault. London: Tavistock Publications, 1988, p. 139
  6. Featherstone, M. (2000) “Archiving Cultures,” in British Journal of Sociology, 51(1), pp. 161-184

 

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

Ed Ruscha. 'Every Building on Sunset Strip' 1966

 

Ed Ruscha (American, 1937- )
Every building on the Sunset Strip
1966
Artist book: photo-offset lithographs, letterpress, concertina, cardboard cover, silver-coated plastic-covered slipcase, 1st edition
17.8 x 760.7 cm (open); 17.8 x 14.4 x 0.8 cm (closed); 18.6 x 14.6 x 1.4 cm (slipcase)
Private collection, Melbourne
© Ed Ruscha, courtesy Gagosian Gallery, New York

 

Penelope Davis. 'Shelf' 2008

 

Penelope Davis (Australian 1963- )
Shelf
2008
From the Fiction-Non-Fiction series 2007-08
Type C photograph
90.0 x 70.0 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2008

 

 

“Archives contain elements of truth and error, order and disorder and are infinitely fascinating. As both collections of records and repositories of data, archives are able to shape history and memory depending on how, when and by whom the materials are accessed. Their vastness allows for multiple readings to be unravelled over time.

Photography is naturally associated with archives because of its inherent ability to record, store and organise visual images. With this in mind, this exhibition brings together artists drawn largely from the permanent collection of the NGV who explore the idea of archives as complex, living and occasionally mysterious systems of knowledge. Several of the selected artists act as archivists, collecting and ordering their own unique bodies of photographs, while others create disorder by critiquing the ideas and systems of archives.”

Text from the NGV International website [Online] Cited 18/03/2009 (no longer available online)

 

Simon Obarzanek. '6 faces from 123 faces' (2000–02)

 

Simon Obarzanek (Israeli/Australian 1968-, worked in United States 1995-2001)
6 faces from 123 faces
2000-02
Gelatin silver photographs
(a) 33.1 x 25.4 cm; (b) 33.4 x 25.4 cm; (c) 33.2 x 25.3 cm; (d) 33.4 x 25.4 cm; (e) 33.4 x 25.4 cm; (f) 33.4 x 25.4 cm
National Gallery of Victoria, Melbourne
Purchased with funds arranged by Loti Smorgon for Contemporary Australian Photography, 2003 (2003.86.a-f)
© Simon Obarzanek

 

Simon Obarzanek (Israeli/Australian 1968-, worked in United States 1995-2001) 'Box Hill girl' 2000-2002

 

Simon Obarzanek (Israeli/Australian 1968-, worked in United States 1995-2001)
Box Hill girl
2000-2002
Gelatin silver photograph
33.4 × 25.4 cm
National Gallery of Victoria, Melbourne
Purchased with funds arranged by Loti Smorgon for Contemporary Australian Photography, 2003
© Simon Obarzanek

 

 Simon Obarzanek (Israeli/Australian 1968-, worked in United States 1995-2001) 'Boy with eyes' 2000-2002

 

Simon Obarzanek (Israeli/Australian 1968-, worked in United States 1995-2001)
Boy with eyes
2000-2002
Gelatin silver photograph
33.4 × 25.4 cm
National Gallery of Victoria, Melbourne
Purchased with funds arranged by Loti Smorgon for Contemporary Australian Photography, 2003
© Simon Obarzanek

 

 

NGV International
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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Sleep/Wound’ 1995-96


Marcus Bunyan black and white archive: 'Sleep/Wound' 1995-96 *PLEASE NOTE THIS POSTING CONTAINS PHOTOGRAPHS OF MALE NUDITY - IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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