Posts Tagged ‘David Moore

20
Jul
17

Exhibition: ‘Patrick Pound: The Great Exhibition’ as part of the NGV Festival of Photography at NGV Australia, Melbourne Part 1

Exhibition dates: 31st March – 30th July 2017

 

Individual art works from the NGV collection (in artist alphabetical order) appearing in Patrick Pound: The Great Exhibition at NGV Australia

 

” … from an air guitar to Being and nothingness … “

 

Part 1 of this bumper posting. More to follow.

My hand is progressing slowly. A return to part-time work in the next couple of weeks, for which I will be grateful. It has been tough road dealing with this injury.

Marcus

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

 

 

Antoine-Louis Barye (France 1796-1875) 'Walking lion' c. 1840

 

Antoine-Louis Barye (France 1796-1875)
Walking lion
Lion qui marche
c. 1840, cast 1900
Bronze
National Gallery of Victoria
Felton Bequest, 1927

 

Antoine-Louis Barye (France 1796-1875) 'Walking tiger' c. 1841

 

Antoine-Louis Barye (France 1796-1875)
Walking tiger
Tigre qui marche
c. 1841, cast 1900
Bronze
National Gallery of Victoria
Felton Bequest, 1927

 

John Armstrong (England 1893-1973) 'Invocation' 1938

 

John Armstrong (England 1893-1973)
Invocation
1938
Tempera on plywood
National Gallery of Victoria
Purchased with funds donated by Ian Hicks AM and Dorothy Hicks, 2006

 

 

Invocation is one of a series of paintings, which John Armstrong begun in the 1930’s as a direct statement against the rise of Fascism in Europe. John Armstrong observed Fascism in Italy at first hand and became an active left wing campaigner against the proliferation of nuclear weapons. He was commissioned as an official war artist, designing a cover for a leaflet in the 1945 election campaign and contributed occasional articles and poetry to left wing journals. In his painting Victory, he imagined the result of a nuclear holocaust, which attracted the attention at the Royal Academy Summer Exhibition in 1958.

Text from the Leicester Galleries website

 

Eugène Atget (France 1857-1927) 'Eclipse' 1911, printed 1956- early 1970s

 

Eugène Atget (France 1857-1927)
Eclipse
1911, printed 1956- early 1970s
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1978

 

 

Surrogates and the Surreal

Atget’s photograph Pendant l’éclipse (During the eclipse) was featured on the cover of the seventh issue of the Parisian Surrealists’ publication La Révolution surréaliste, with the caption Les Dernières Conversions (The last converts), in June 1926. The picture was uncredited, as were the two additional photographs reproduced inside. Although Atget firmly resisted the association, his work – in particular his photographs of shop windows, mannequins, and the street fairs around Paris – had captured the attention of artists with decidedly avant-garde inclinations, such as Man Ray and Tristan Tzara. Man Ray lived on the same street as Atget, and the young American photographer Berenice Abbott (working as Man Ray’s studio assistant) learned of the French photographer and made his acquaintance in the mid-1920s – a relationship that ultimately brought the contents of Atget’s studio at the time of his death (in 1927) to The Museum of Modern Art almost forty years later.

Text from Art Blart posting Eugène Atget: “Documents pour artistes” at the Museum of Modern Art (MOMA), New York

 

Pierre Bonnard (France 1867-1947) 'Siesta' 1900

 

Pierre Bonnard (France 1867-1947)
Siesta
La Sieste
1900
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1949

 

Eugène Boudin (France 1824-98) 'Low tide at Trouville' 1894

 

Eugène Boudin (France 1824-98)
Low tide at Trouville
Trouville, Mareé basse
1894
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1939

 

John Brack (Australia 1920-99) 'Self-portrait' 1955

 

John Brack (Australia 1920-99)
Self-portrait
1955
Melbourne, Victoria
Oil on canvas
National Gallery of Victoria
Purchased with the assistance of the National Gallery Women’s Association, 2000

 

 

Striking in its candour, with its subject stripped of vanity and dressed in early-morning attire, Self portrait is a piercing study of a man engaged in the intimacy of shaving. Although images of women at their toilette have been frequently depicted by both male and female Australian artists, it is unusual for men to be shown or to show themselves in this context. Modest in scale, Brack’s image is conceived in a complex yet subtle colour scheme, applied with clarity and precision. ~ Geoffrey Smith

 

Britains Ltd, London manufacturer (England 1860-1997) 'Milk float and horse' c. 1950

 

Britains Ltd, London manufacturer (England 1860-1997)
Milk float and horse
no. 45F from the Model home farm series 1921-61
c. 1950
Painted lead alloy
National Gallery of Victoria
Presented by Miss Lucy Kerley and her nephew John Kerley, 1982

 

Jacques Callot (France 1592-1635) 'The firing squad' 1633

 

Jacques Callot (France 1592-1635)
The firing squad
L’Arquebusade
Plate 12 from Les Misères et les malheurs de la guerre
(The miseries and misfortunes of war) series
1633
Etching, 2nd of 3 states
National Gallery of Victoria
Purchased, 1950

 

Paul Caponigro (born United States 1932) 'Nahant, Massachusetts' 1965

 

Paul Caponigro (born United States 1932)
Nahant, Massachusetts
1965
Gelatin silver photograph
National Gallery of Victoria
Purchased with the assistance of the National Gallery Society of Victoria, 1977

 

Jean Charles Cazin (France 1841-1901, lived in England 1871-75) 'The rainbow' late 1880s

 

Jean Charles Cazin (France 1841-1901, lived in England 1871-75)
The rainbow
L’Arc-en-ciel
late 1880s
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1913

 

Marshall Claxton (England 1813-81, lived in Australia 1850-54) 'An emigrant's thoughts of home' 1859

 

Marshall Claxton (England 1813-81, lived in Australia 1850-54)
An emigrant’s thoughts of home
1859
Oil on cardboard
National Gallery of Victoria
Presented by the National Gallery Women’s Association, 1974

 

 

Marshall Claxton’s painting An emigrant’s thoughts of home (1859) belongs to a clutch of works, both fine and popular, both pictorial and literary, that for an Australasian audience are perhaps the most resonant of the many products of Victorian culture. Emigration, a social and political phenomenon for mid-nineteenth-century Britain, and the essential lubricant of British imperialism, inspired a profusion of paintings, prints, novels, plays, poems, essays and letters that speak eloquently about the realities and myths of Victorian Britain and its role in the world, engaging concepts of the family, womanhood, the artist’s role and function and, indeed, the meaning of life. ~ Pamela Gerrish Nunn

 

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

 

Olive Cotton (Australia 1911-2003)
Teacup ballet
1935, printed 1992
Gelatin silver photograph
National Gallery of Victoria
Purchased from Admission Funds, 1992

 

 

Among Cotton’s most famous photographs, Teacup ballet has very humble origins. It was taken after hours in the Dupain studio and used a set of cheap cups and saucers Cotton had earlier bought from a Woolworths store for use around the studio. As she later recounted: ‘Their angular handles suggested to me the position of “arms akimbo” and that led to the idea of a dance pattern’. The picture uses a range of formal devices that became common to Cotton’s work, especially the strong backlighting used to create dramatic tonal contrasts and shadows. The picture achieved instant success, and was selected for exhibition in the London Salon of Photography for 1935.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australia 1911-2003) 'The sleeper' 1939, printed 1992

 

Olive Cotton (Australia 1911-2003)
The sleeper
1939, printed 1992
Gelatin silver photograph, ed. 4/25
National Gallery of Victoria
Purchased from Admission Funds, 1992

 

 

The sleeper 1939, Olive Cotton’s graceful study of her friend Olga Sharp resting while on a bush picnic, made around the same time as Max Dupain’s Sunbaker, presents a different take upon the enjoyment of life in Australia. The woman is relaxed, nestled within the environment. The mood is one of secluded reverie.

Text © National Gallery of Australia, Canberra

 

Edward Curtis (United States 1868-1952) 'Kalóqutsuis - Qágyuhl' 1914, printed 1915

 

 

Edward Curtis (United States 1868-1952)
Kalóqutsuis – Qágyuhl
1914, printed 1915
Photogravure
National Gallery of Victoria
Gift of Ms Christine Godden, 1991

 

 

Not only was he one of the greatest ethnographic photographers of all time (as well as being an ethnographer recording more than 10,000 songs on a primitive wax cylinder, and writing down vocabularies and pronunciation guides for 75 languages) … he was also an aesthetic photographer. Looking at his photographs you can feel that he adhered to the principles of the nature and appreciation of beauty situated within the environment of the Native American cultures and peoples. He had a connection to the people and to the places he was photographing…

Curtis created a body of work unparrallleled in the annals of photography – an ethnographic study of an extant civilisation before it vanished (or so they thought at the time). Such a project stretched over thirty years, producing 45-50 thousand negatives “many of them on glass and some as large as fourteen by seventeen inches” of which 2,200 original photographs appeared in his magnum opus, The North American Indian…

While all great photographers have both technical skill and creative ability it is the dedication of this artist to his task over so many years that sets him apart. That dedication is critically coupled with his innate ability to capture the “spirit” of the Native American cultures and peoples, their humanity.

Dr Marcus Bunyan

 

Frances Derham (Australia 1894-1987) 'Building the bridge' 1929

 

Frances Derham (Australia 1894-1987)
Building the bridge
1929
Colour linocut on Japanese paper
National Gallery of Victoria
Gift of Mr Richard Hodgson Derham, 1988

 

Kerry Dundas (born Australia 1931, lived in Europe 1958-67) 'A girl is carried away under arrest' 1961-63

 

Kerry Dundas (born Australia 1931, lived in Europe 1958-67)
A girl is carried away under arrest
from the Youth against the Bomb series
1961-63
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1971

 

Max Dupain (1911-1992) 'Bondi' 1939

 

Max Dupain (1911-1992)
Bondi
1939
Gelatin silver photograph
30.3 × 29.5 cm
National Gallery of Victoria
Purchased with the assistance of the Visual Arts Board, 1976

 

Walker Evans (United States 1903-75) 'Hitchhikers, near Vicksburg, Mississippi' 1936, printed c. 1975

 

Walker Evans (United States 1903-75)
Hitchhikers, near Vicksburg, Mississippi
1936, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Walker Evans (United States 1903-75) 'Auto dump, near Easton, Pennsylvania' 1935, printed c. 1975

 

Walker Evans (United States 1903-75)
Auto dump, near Easton, Pennsylvania
1935, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

William Frater (born Scotland 1890, arrived Australia 1913, died 1974) 'The blue nude' c. 1934

 

William Frater (born Scotland 1890, arrived Australia 1913, died 1974)
The blue nude
c. 1934
Oil on canvas on cardboard
National Gallery of Victoria
Gift of Mrs Lina Bryans, 1969

 

 

His contribution to art in Australia was, however, as a painter who introduced Post-Impressionist principles and challenged the notion that art was an imitation of nature.

Frater’s oeuvre developed between 1915 and 1920 towards a simplification of design, an interplay of massed lights and shadows, and sonorous low-keyed colour that reflected his interest in the classical seventeenth century painters in interaction with the analytical tonal theory of Max Meldrum. Notable examples of his predominantly figure and portrait paintings are ‘The artist’s wife reading’ (1915) and ‘Portrait of artist’s wife’ (1919). An experimental Colourist phase followed in the next decade. His first solo exhibition was held in May 1923 at the Athenaeum, Melbourne, and he exhibited with the Twenty Melbourne Painters from the late 1920s, and the Contemporary Group of Melbourne in the 1930s.

His approach in the 1930s was markedly indebted to Cézanne, especially in the portraits which predominated until his retirement… Frater gave aggressive leadership to the small group of modernists in the 1920s. His example, teaching, lecturing and crusty style of polemic did much to disrupt the academic style as the arbiter of pictorial values and to pioneer a change of taste in the community.

Text from the Australian Dictionary of Biography website

 

Emmanuel Frémiet (France 1824 - 1910) 'Gorilla carrying off a woman' 1887

 

Emmanuel Frémiet (France 1824 – 1910)
Gorilla carrying off a woman
Gorille enlevant une femme
1887
Bronze
National Gallery of Victoria
Gift of the artist, 1907

 

Lee Friedlander (born United States 1934) 'Hillcrest, New York' 1970, printed c. 1977

 

Lee Friedlander (born United States 1934)
Hillcrest, New York
1970, printed c. 1977
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1977

 

Lee Friedlander (born United States 1934) 'Mount Rushmore' 1969, printed c. 1977

 

 

Lee Friedlander (born United States 1934)
Mount Rushmore
1969, printed c. 1977
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1977

 

 

The ‘tourist gaze’

As Grundberg notes, Friedlander’s terse depiction shows both the sight and the tourists themselves, being brought into existence through the effects of looking, reflecting, framing and imaging. These, he adds, are all linked to the general project of culturally appropriating the natural world. ‘Natural site has become acculturated sight’ (Grundberg 1990: 15).

As the image makes clear, the ‘sight’ or the ‘site’ is a ‘seeing’ without a subject, for it pre-exists the arrival and activity of any individual tourist-photographer, who, once located there, is framed as much as framing. The sight is not so much an object to be viewers an already structured condition of seeing, a situation which places the sightseer even as he or she freely choose to look or shoot.

The effects of photography’s presence in the tourist system merely completed a process under way before photography’s birth. As tourists, even at the moment of photographing, even if touring cameraless, we are not so much looking as looking at images, or looking for images. Tourism provides us less with experience than with events to be seen, Or rather, events to look at. The privileging of the visual grants us separation from our own experience… We look on or look in through the distancing arrangements of the camera or through eyes educated to see with the same ontological remoteness. The world of the tourist is ‘over there’, in the past-present, in the exotic-ordinary. It is framed off, the object of imaging or description, in some spectacular distance, or set back as performance (Greenwood in Smith 1989).

Peter Osborne. Traveling Light: Photography, Travel and Visual Culture. Manchester University Press, 2000, pp. 81-82.

 

Barbara Hepworth (England 1903-75) 'Eidos' 1947

 

Barbara Hepworth (England 1903-75)
Eidos
1947
Stone, synthetic polymer paint
National Gallery of Victoria
Purchased with the assistance of the Samuel E. Wills Bequest to commemorate the retirement of Dr E. Westbrook, Director of Arts for Victoria, 1981

 

 

Eidos a Greek term meaning “form” “essence”, “type” or “species”. The early Greek concept of form precedes attested philosophical usage and is represented by a number of words mainly having to do with vision, sight, and appearance. The words, εἶδος (eidos) and ἰδέα (idea) come from the Indo-European root *weid-, “see”. Eidos (though not idea) is already attested in texts of the Homeric era, the earliest Greek literature. This transliteration and the translation tradition of German and Latin lead to the expression “theory of Ideas.” The word is however not the English “idea,” which is a mental concept only.

The meaning of the term εἶδος (eidos), “visible form”, and related terms μορφή (morphē), “shape”, and φαινόμενα (phainomena), “appearances”, from φαίνω (phainō), “shine”, Indo-European *bhā-, remained stable over the centuries until the beginning of philosophy, when they became equivocal, acquiring additional specialised philosophic meanings. (Theory of Forms Wikipedia)

 

Lewis Hine (United States 1874-1940) 'Sam Pine, 8 year old truant newsboy who lives at 717 West California Street' 1917

 

Lewis Hine (United States 1874-1940)
Sam Pine, 8 year old truant newsboy who lives at 717 West California Street
1917
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1980

 

David Hockney (born England 1937, worked in United States 1964-68, 1975- ) 'Reclining figure' 1975

 

David Hockney (born England 1937, worked in United States 1964-68, 1975- )
Reclining figure
1975
Etching and liftground etching, ed. 38/75
National Gallery of Victoria
Gift of Margaret Toll, 2006

 

Edmond-François Aman-Jean (France 1860-1936) 'Woman resting' c. 1904

 

Edmond-François Aman-Jean (France 1860-1936)
Woman resting
La Femme couchée
c. 1904
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1905

 

Max Klinger (Germany 1857-1920) 'Cast of artist's hands' 1920

 

Max Klinger (Germany 1857-1920)
Cast of artist’s hands
1920
plaster
National Gallery of Victoria
Gift of Mrs Marcelle Osins, 1994

 

Fred Kruger (born Germany 1831, arrived Australia 1860, died) 'Coast scene, Mordialloc Creek, near Cheltenham' c. 1871

 

Fred Kruger (born Germany 1831, arrived Australia 1860, died)
Coast scene, Mordialloc Creek, near Cheltenham
c. 1871
Albumen silver photograph
National Gallery of Victoria
Gift of Mrs Beryl M. Curl, 1979

 

 

The best of the landscape photographs have nothing to do with Arcadian, pastoral life at all. For me, Kruger’s photographs only start to come alive when he is photographing gum trees against the sky. Anyone who has tried to photograph the Australian bush knows how difficult it is to evince a “feeling” for the bush and Kruger achieves this magnificently in a series of photographs of gum trees in semi-cleared land, such as Bush scene near Highton (c. 1879). These open ‘parklike’ landscapes are not sublime nor do they picture the spread of colonisation but isolate the gum trees against the sky. They rely on the thing itself to speak to the viewer, not a constructed posturing or placement of figures to achieve a sterile mise-en-scène.

Dr Marcus Bunyan from a posting on the NGV exhibition Fred Kruger: Intimate Landscapes.

 

Kusakabe Kimbei (Japan 1841-1934) 'No title (Couple with a cabinet photograph and ghost in background)' 1880s

 

Kusakabe Kimbei (Japan 1841-1934)
No title (Couple with a cabinet photograph and ghost in background)
1880s
Albumen silver photograph, colour dyes
National Gallery of Victoria
Purchased, 2004

 

 

Kimbei Kusakabe arrived in Yokohama in 1856 and became Felice Beato’s pupil, hand-coloring his photographs until 1863. In 1881, he opened his own studio and promptly became one of the most prosperous and influential photographers of his generation, rivalling the Western artists that had until then dominated the market. With his coloured portraits, everyday scenes and landscapes, he is the purveyor of souvenir images for Westerners visiting Japan. Kimbei Kusakabe depicted men in serene social and economic contexts while women – his favourite subjects – were represented in romantic portraits as well as domestic and cultural scenes. The young mysterious and submissive geisha was particularly appealing to Western audiences and the Japanese photographer helped establish their visual identity as icons of feminine beauty and social etiquette. Kimbei Kusakabe’s rare images are a rich resource for the comprehension of a Japan that has now disappeared. (Text from The Red List website)

Kusakabe Kimbei worked with Felice Beato and Baron Raimund von Stillfried as a photographic colourist and assistant before opening his own workshop in Yokohama in 1881, in the Benten-dōri quarter, and from 1889 operating in the Honmachi quarter. He also opened a branch in the Ginza quarter of Tokyo. Around 1885, he acquired the negatives of Felice Beato and of Stillfried, as well as those of Uchida Kuichi. Kusakabe also acquired some of Ueno Hikoma’s negatives of Nagasaki. He stopped working as a photographer in 1912-1913. (Wikipedia)

 

Dorothea Lange (United States 1895-1965) 'Towards Los Angeles, California' 1936, printed c. 1975

 

Dorothea Lange (United States 1895-1965)
Towards Los Angeles, California
1936, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Dorothea Lange (United States 1895-1965) 'Ditched, stalled and stranded, San Joaquin Valley, California' 1935, printed c. 1975

 

Dorothea Lange (United States 1895-1965)
Ditched, stalled and stranded, San Joaquin Valley, California
1935, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Russell Lee (United States 1903-86) 'Interlude, after watching the Fourth of July Parade, Vale, Oregon' 1941, printed c. 1975

 

Russell Lee (United States 1903-86)
Interlude, after watching the Fourth of July Parade, Vale, Oregon
1941, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

José López (born Cuba 1941, lived in United States c. 1961-92, died United States 1992) Luis Medina (born Cuba 1942, lived in United States 1961-85, died United States 1985) 'Boy asleep by the beach' 1976

 

José López (born Cuba 1941, lived in United States c. 1961-92, died United States 1992)
Luis Medina (born Cuba 1942, lived in United States 1961-85, died United States 1985)
Boy asleep by the beach
1976
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1978

 

Ruth Maddison (born Australia 1945) 'No title (Woman collecting a Christmas present from the car)' 1977-78

 

Ruth Maddison (born Australia 1945)
No title (Woman collecting a Christmas present from the car)
from the Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland series
1977-78, printed 1979
Gelatin silver photograph, coloured pencils and fibretipped pen, ed. 1/5
National Gallery of Victoria
Purchased, 1980

 

 

This was a very hands on process, an observation confirmed by artist Ruth Maddison. “The process was like hand watering your garden, an intense exchange and engagement with the object. When I started I was completely untrained, but I loved the process. I just experimented in order to understand what medium does what on what paper surface. There was the beauty of its object and its physicality. I just loved the object.” Her series Christmas holiday with Bob’s family, Mermaid Beach, Queensland (1977/78, below), photographed over Christmas Day and several days afterwards, evidences this magical transformation. Vernacular photographs of a typical Australia Christmas holiday become something else, transformed into beautiful, atypical representations of family, friendship, celebration and life.

Dr Marcus Bunyan commenting on the National Gallery of Australia exhibition Colour My World: Handcoloured Australia Photography.

 

Henri Matisse (France 1869-1954) 'Reclining nude on a pink couch' 1919

 

Henri Matisse (France 1869-1954)
Reclining nude on a pink couch
Nu couché sur canapé rose
1919
Oil on canvas
National Gallery of Victoria
Felton Bequest, 1952

 

Amedeo Modigliani (born Italy 1884, lived in France 1906-20, died France 1920) 'Nude resting' c. 1916-19

 

Amedeo Modigliani (born Italy 1884, lived in France 1906-20, died France 1920)
Nude resting
c. 1916-19
Pencil on buff paper; laid down
National Gallery of Victoria
Felton Bequest, 1948

 

László Moholy-Nagy (born Hungary 1895, lived in Germany 1920-34, lived in United States 1935-37, United States 1937-46, died United States) 'Helsinki' 1927, printed 1973

 

László Moholy-Nagy (born Hungary 1895, lived in Germany 1920-34, lived in United States 1935-37, United States 1937-46, died United States)
Helsinki
1927, printed 1973
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

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

 

David Moore (Australia 1927-2003)
Migrants arriving in Sydney
1966
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1991

 

 

In this evocative image Moore condenses the anticipation and apprehension of immigrants into a tight frame as they arrive in Australia to begin a new life. The generational mix suggests family reconnections or individual courage as each face displays a different emotion.

Moore’s first colour image Faces mirroring their expectations of life in the land down under, passengers crowd the rail of the liner Galileo Galilei in Sydney Harbour was published in National Geographic in 1967.1 In that photograph the figures are positioned less formally and look cheerful. But it is this second image, probably taken seconds later, which Moore printed in black-and-white, that has become symbolic of national identity as it represents a time when Australia’s rapidly developing industrialised economy addressed its labour shortage through immigration. The strength of the horizontal composition of cropped figures underpinned by the ship’s rail is dramatised by the central figure raising her hand – an ambiguous gesture either reaching for a future or reconnecting with family. The complexity of the subject and the narrative the image implies ensured its public success, which resulted in a deconstruction of the original title, ‘European migrants’, by the passengers, four of whom it later emerged were Sydneysiders returning from holiday, alongside two migrants from Egypt and Lebanon.2 Unintentionally Moore’s iconic image has become an ‘historical fiction’, yet the passengers continue to represent an evolving Australian identity in relation to immigration.

1. Max Dupain and associates: http://www.mdaa.com.au/people/moore-05.php. Accessed 17.06.2006
2. Thomas D & Sayers A 2000, From face to face: portraits by David Moore, Chapter & Verse, Sydney

© Art Gallery of New South Wales Photography Collection Handbook, 2007

From a posting on the exhibition The Photograph and Australia at the Art Gallery of New South Wales.

 

Henry Moore (England 1898-1986) 'Reclining figure distorted - Sectional line' 1979

 

Henry Moore (England 1898-1986)
Reclining figure distorted – Sectional line
1979
Chalk, charcoal, wax crayon, ballpoint pen and watercolour over pencil
National Gallery of Victoria
Gift of Ginny Green, Sandra Bardas OAM family, Vicki Vidor OAM and Bindy Koadlow in memory of their parents Loti Smorgon AO and Victor Smorgon AC through the Australian Government’s Cultural Gifts Program, 2014

 

William De Morgan (designer, England 1839-1917) 'Startled tigers, dish' c. 1880

 

William De Morgan & Co., London (manufacturer, England 1872-1911)
William De Morgan (designer, England 1839-1917)
Startled tigers, dish
c. 1880
Earthenware
National Gallery of Victoria
Felton Bequest, 1980

 

Helen Ogilvie (Australia 1902-93) '(Four figures seated at a table listening to a phonograph through earpieces)' c. 1947

 

Helen Ogilvie (Australia 1902-93)
(Four figures seated at a table listening to a phonograph through earpieces)
Illustration to Flinders Lane: recollections of Alfred Felton by Russell Grimwade. Melbourne University Press,Carlton, 1947
c. 1947
Wood-engraving on Japanese paper, proof
National Gallery of Victoria

 

 

“What interested me I think were the English wood engravers. I would have seen them in reproductions in books … I think it appealed to me as an artistic expression because it was done so directly with the hand. I know that when a painter is painting the hand is connected with the brain. But with wood engraving it seemed to me it was almost more so. And I got very worked up about it, but I had no way of learning … I know how I got started. Eric Thake was the man who said to me, “I’ll show you how to use your tool.”‘

from Anne Ryan, ‘Australian etchings and engravings 1880s-1930s from the Gallery’s collection’, AGNSW, Sydney 2007

 

John Perceval (Australia 1923-2000) 'Lover's walk in the corn, summer, England' 1964

 

John Perceval (Australia 1923-2000)
Lover’s walk in the corn, summer, England
1964
Oil and toy mouse on canvas
National Gallery of Victoria
Presented through The Art Foundation of Victoria by Fingal Pastoral Property Limited, Fellow, 1997

 

Peter Peryer (born New Zealand 1941) 'Seeing' 1989

 

Peter Peryer (born New Zealand 1941)
Seeing
1989
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1996

 

G. B. Poletto (Italy 1915-88) 'No title (Ava Gardner in wardrobe still for On the beach: Street)' 1957

 

G. B. Poletto (Italy 1915-88)
No title (Ava Gardner in wardrobe still for On the beach: Street)
1957
Gelatin silver photograph
National Gallery of Victoria
Purchased, 2003

 

David Potts (Australia 1926-2012, lived in England 1950-55) 'Cat show, London' 1953

 

David Potts (Australia 1926-2012, lived in England 1950-55)
Cat show, London
1953
Gelatin silver photograph
National Gallery of Victoria
Purchased through the KODAK (Australasia) Pty Ltd Fund, 1975

 

August Sander (Germany 1876-1964) 'Itinerant basket makers' 1929

 

August Sander (Germany 1876-1964)
Itinerant basket makers
from the People of the Twentieth Century project
1929, printed 1973
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1974

 

 

Nomadism

In the literature on nomadism, there is considerable disagreement over the range of societies that should be designated as “nomadic,” but there is some consensus that at least three categories of mobile peoples should be recognised. The first category, to which many wish to restrict the term “nomadic,” is that of pastoral nomads… The second broad category of nomads is that of hunter-gatherers, whose mode of subsistence sets them apart from both pastoralists and sedentary farmers…

The third basic category is that of Gypsies, itinerant basket-makers, tinkers, weavers, mimes, magicians, musicians, horse dealers, nostrum traders, carnival people, circus performers, and so on. Characterised the variously as “service nomads,” “economic nomads,” “commercial nomads,” “craftsman nomads,” “non-food producing nomads,” “floating industrial populations,” “peripatetic tribes,” “peripatetic peoples” or plain “peripatetics,” these are spatially mobile peoples who primarily exploit resources in the social environment. They exploit what Berland and Salo call a distinct peripatetic niche: “the regular demand for specialised goods and/or services that more sedentary or pastoral communities cannot, or will not, support on a permanent basis.”

Ronald Bogue. Deleuze’s Way: Essays in Transverse Ethics and Aesthetics. London and New York: Routledge, 2007, pp. 114-115.

 

Ben Shahn (born Lithuania 1898, lived in United States c. 1925-69, died United States 1969) 'A deputy with a gun on his hip during the September 1935 strike in Morgantown, West Virginia' 1935, printed c. 1975

 

Ben Shahn (born Lithuania 1898, lived in United States c. 1925-69, died United States 1969)
A deputy with a gun on his hip during the September 1935 strike in Morgantown, West Virginia
1935, printed c. 1975
Gelatin silver photograph
National Gallery of Victoria
Purchased, 1975

 

Athol Shmith (Australia 1914-90) 'Misses Mary and Rae Plotkin, bridesmaids at the wedding of Mrs Edith Sheezel' 1940

 

Athol Shmith (Australia 1914-90)
Misses Mary and Rae Plotkin, bridesmaids at the wedding of Mrs Edith Sheezel
1940
Hand-coloured gelatin silver photograph
National Gallery of Victoria
Gift of Mary Lipshut through the Australian Government’s Cultural Gift’s Program, 2012

 

Baron Raimund von Stillfried (Austria 1839-1911, lived throughout Europe and Asia 1871-1910) 'No title (Tattooed bettōs, porters)' c. 1875, printed c. 1877-80

 

Baron Raimund von Stillfried (Austria 1839-1911, lived throughout Europe and Asia 1871-1910)
No title (Tattooed bettōs, porters)
c. 1875, printed c. 1877-80
Albumen silver photograph, colour dyes
National Gallery of Victoria
Purchased through the NGV Foundation with the assistance of The Herald & Weekly Times Limited, Fellow, 2001

 

 

“There are two employments which I have mentioned among those of domestic servants because they would be so classed by us, but which in Japan rank among the trades. The jinrikisha man and the groom belong, as a rule, to a certain class at the bottom of the social ladder, and no samurai would think of entering either of these occupations, except under stress of severest poverty. The bettōs, or grooms, are a hereditary class and a regular guild, and have a reputation, among both Japanese and foreigners, as a betting, gambling, cheating, good-for-nothing lot. An honest bettō is a rare phenomenon.”

Alice Mabel Bacon. Japanese Girls and Women. Boston and New York: Houghton Mifflin Company The Riverside Press, 1891, p. 319.

 

Hiroshi Sugimoto (born Japan 1948, lived in United States and Japan 1976- ) 'Winnetka Drive-In, Paramount' 1993

 

Hiroshi Sugimoto (born Japan 1948, lived in United States and Japan 1976- )
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph, ed. 8/25
National Gallery of Victoria
Bowness Family Fund for Contemporary Photography, 2009

 

 

Hiroshi Sugimoto’s famous series Theaters is represented in the exhibition by the work Winnetka Drive-In, Paramount (1993) where  Sugimoto “photographs auditoriums of American movie theaters, and drive-in movies, during showings. The exposure time used for the photograph corresponds with the projection time of the film. This allows him to save the duration of the entire film in a single shot. What remains visible of the film’s time-compressed, individual images is the bright screen of the movie theater, which illuminates the architecture of the space. That its content retreats into the background makes the actual film a piece of information, manifesting itself in the (movie theater) space. As a result, instead of a content-related event, film presents itself here as the relationship between time and spatial perception.”3

If we think of the camera lens as being fully open, like an eye without blinking, for the duration of the length of the film then the shutter of the lens has to be set on “B” for Bulb which allows for long exposure times under the direct control of the photographer. “The term bulb is a reference to old-style pneumatically actuated shutters; squeezing an air bulb would open the shutter and releasing the bulb would close it… It appears that when instantaneous shutters were introduced, they included a B setting so that the familiar bulb behaviour could be duplicated with a cable release.”4 In other words light waves, reflecting from the surface of objects, are controlled by the photographer over an indefinite period (not the short “snap” of the freeze frame / the decisive moment), accumulating light from thousands of years in the past through the lens of the camera onto the focal plane, coalescing into a single image, controlled and constructed by the photographer.

Dr Marcus Bunyan from a review of the NGV exhibition Light Works (2012)

3. Kellein, Thomas and Sugimoto, Hiroshi. Time Exposed. Thames & Hudson, First edition, 1995, p. 91, quoted on the Media Art Net website. [Online] Cited 08/09/2012.
4. Anon. “Bulb (photography),” on the Wikipedia website. Nd. [Online] Cited 08/09/2012.

 

James Thomas (England 1854-1921, lived in Italy 1889-1906) 'Thyrsis' 1914

 

James Thomas (England 1854-1921, lived in Italy 1889-1906)
Thyrsis
1914
Bronze, patina
National Gallery of Victoria
Felton Bequest, 1915

 

Joseph Turner (active in Australia 1856- 1880s) 'No title (Laying the foundation stone of the Geelong clock tower)' 1856

 

Joseph Turner (active in Australia 1856- 1880s)
No title (Laying the foundation stone of the Geelong clock tower)
1856
Daguerreotype leather, wood, silk, gilt metal and glass (case)
National Gallery of Victoria
Purchased, 1974

 

 

Market Square was a town square located in the centre of Geelong, Victoria, Australia. Consisting of eight acres (2.9 hectares) of land, the area was reserved by Governor Sir George Gipps as a town square during the initial surveying of Geelong. The area later became a produce market, before being progressively built upon. Today the Market Square Shopping Centre occupies the site, having been opened in 1985 by the City of Geelong…

A clock tower was built in the centre of the square in 1856. It was the idea of the second mayor of Geelong James Austin, who offered to pay for a clock tower in Geelong to mark his term as mayor. The clock was featured in The Illustrated London News in March 1855. Components for the clock arrived in Geelong on November 13, 1855 from England, but the location for the clock had yet to be decided. Suggestions of high ground at top of Moorabool, Yarra or Gheringhap Streets were put forward at the time, the indecision lasting into early 1856. In July 1857 a decision was made, and the foundation stone was finally laid in the Market Square…

The clock tower remained until October 1923 when it was demolished to make way for the CML Building. There was a public outcry, and no one was willing to demolish it. However, it was deemed too impractical to move intact, and was brought down by steel cables attached to traction engine. The site of the clock tower is marked by a plaque in the Market Square Shopping Centre.

Text from the Wikipedia website

 

William Wegman (born United States 1943) 'Horned hound' 1991

 

William Wegman (born United States 1943)
Horned hound
1991
Polaroid photograph
National Gallery of Victoria
Purchased, 1992

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

LIKE ART BLART ON FACEBOOK

Back to top

12
Jul
16

Review: ‘Max and Olive: The photographic life of Olive Cotton and Max Dupain’ at The Ian Potter Museum of Art, Melbourne

Exhibition dates: 31st May – 24th July 2016

National Gallery of Australia touring exhibition

Curator: Shaune Lakin

 

 

An independent vision

 

Pictorialism, Surrealism and Modernism: Light, geometry and atmosphere

This is the quintessential hung “on the line” exhibition from the National Gallery of Australia which features the work of two well respected Australian photographers, Max Dupain and Olive Cotton, showing over three gallery spaces at The Ian Potter Museum of Art, Melbourne. Of its type, it is a superb exhibition which rewards repeated viewing and contemplation of the many superb photographs it contains.

While Dupain may be the more illustrious of the two featured artists – notable for taking the most famous photograph in Australian photographic history (Sunbaker, 1937, below); for being the first Australian photographer to embrace Modernism; and for bringing a distinctly Australian style to photography (sun, sea, sand) – it is the artist Olive Cotton’s work that steals almost every facet of this exhibition through her atmospheric images.

Dupain’s importance in the history of Australian photography cannot be underestimated. He dragged Australian photography from Pictorialism to Modernism in a few short years and met fierce resistance from the conservative camera clubs, stuck in the age of Pictorialism, because of it. He was the first to understand what Modernism meant for the medium in Australia, and how photographers would in future picture the country. He wanted to see the world through ‘modern’ eyes. As he observed, ‘(photography) belongs to the new age … it is part and parcel of the terrific and thrilling panorama opening out before us today – of clean concrete buildings, steel radio masts, and the wings of the air line. But its beauty is only for those who themselves are aware of the ‘zeitgeist’ – who belong consciously and proudly to this age, and have not their eyes forever wistfully fixed on the past.’ Dupain’s awareness of the ‘zeitgeist’ of modernity was coupled with a keen eye for composition, light and form (what Dupain later termed ‘passing movement and changing form’), and an understanding of photography’s expressive potential. Over the next 50 years he captured many memorable images, some of the most famous images ever taken of this sun burnt country.

Dupain started to hit his straps with his early cross-over images which contained elements of both Pictorialism and Modernism. His 1930s series of three photographs of Fire Stairs at Bond Street Studio (one of which is feature in the exhibition), and images such as Design – suburbia (1933, below) and Still life (1935, below) still possess that soft, raking light that was so beloved by Pictorialists, coupled with an implicit understanding of form, geometry and light. As fellow photographer David Moore observes, by the time of photographs such as Pyrmont silos (1935, below) and Through the Windscreen (1935), ‘any return to sentimental Pictorialism was precluded’. That sense of the European avant-garde, the aesthetics of contemporary European photography, the strength of industrial forms, imbues Dupain’s photographs with a crisp, clean decisiveness, that ‘symphony of forms and textures’. Whether it be the monumentalism of silos, or the monumentalism of bodies (such as in the classic Bondi, 1939), Dupain relished the opportunity to merge aesthetics with representation, pushing the boundaries of what was thought possible within the medium, believing that both representation and aesthetics could exist within the same frame. Evidence of this merging of can be seen in photographs such as Untitled [Factory chimney stacks] (1940, below) and Backyard, Forster, New South Wales (1940, below). These images are silent in their formalism… they are very quiet, and still, and rather haunting, beautiful in their tonality (with lots of yellow in the 8 x 10 and perhaps even small prints).

Dupain and Cotton both revel “in photography’s great capacity to make sense of the relations of light, texture and form as they exist in the present,” and evidence “a modernist concern with line, form and space; documentary photography’s interest in realism and ‘the living moment’; and the pictorial and formal attributes of commercial photography.” But as the press release insightfully observes, “Comparisons articulate and make apparent Dupain’s more structured – even abstracted – approach to art and to the world; similarly, comparisons highlight Cotton’s more immersive relationship to place, with a particularly deep and instinctual love of light and its ephemeral effects.” And this is where the photographs of Olive Cotton are so much more engaging, and alive, than those of Max Dupain.

While Dupain was busy running a commercial studio (with Cotton his assistant and for a couple of years his wife), Olive seems to have had more freedom to experiment, to express herself in a less structured way than her erstwhile husband. Walking around this exhibition my initial thoughts were wow, Olive Cotton, you are an absolute star. Photographs such as The way through the trees (1938, below), while not possessing the technical brilliance of a Dupain, possess something inherently more appealing – a sensitivity and feeling for subject that nearly overwhelms the senses. Truly here is a symphony of texture, light and form. The composition is a subtle paean, a song of praise to the natural and modern world – a world of geometry, textures, light and form. The rendition of this image, a performance of interpretation, is simply magnificent in its sensitivity to subject matter. The print is also glorious in its delicacy and colour. For me, this is what is so appealing about the work of Olive Cotton, an innate sensitivity that all of her photographs seem to possess – in composition, in proportion, in printing and in colour. Cotton maintained an independent vision forged out of experimentation, creating spaces for erotic imaginings, spaces for action and spaces for quiet contemplation. Her use of light and shade, of body and shadow, of classical and modernist motifs …. is superlative. While Dupain’s photographs are more structured and more dazzling in a technical sense, Cotton’s photographs possess more “atmosphere”, a complex and insightful way of seeing and imaging the world which has few equals in the annals of Australian photography.

Below is a short transcription of a voice memo I made on my phone as I toured around the exhibition for the third time:

“What a great show this is, the photographs of Max Dupain and Olive Cotton. But it is the photographs of Olive Cotton that are the wonder of this exhibition. Photographs such as Orchestration in light (1937, below), Sky submerged (c. 1937) and especially The way through the trees (1938, below) are just masterpieces of complex seeing. A sort of… mmmm … an intimate previsualisation where there are hints of Pictorialism – dappled light, moss on the trees – and yet there is a geometric form to the composition that marks it as definitively Modernist. As the wall text states, “this exceptional landscape appears at first glance like a classic Pictorialist view of the Australian bush but typical of Cotton’s best pictures, this landscape merges Pictorialism’s stylistic and formal codes  with those of a cosmopolitan modernist sensibility. Cotton pays particular attention to the similarly angled tree trunks, as well as the all over pattern of the spotted gums and the dapples of light, not bound or hemmed in dogma, Cotton created a view of being completely immersed in the landscape.” The colour of the print, there are hints of pinks and greens and beiges. When was it taken and printed, it must have been an early one, 1938 … and then again the beautiful tonality of it. Wow!

As with all of her best work Cotton is constructing her environment – through music, through geometry, through light. Over the city (1940, below), the light over the city, the shadow of the city, the silhouette of the city in outline, followed by Grass at sundown (1939, below) shooting contre jour, into the light. In Max after surfing (1937, below) there is evidence of Cotton’s understanding of the play of form, of light, of shadow and the composition of the pictorial plane into triangles, horizontals and verticals. This creates a sense of mystery within the four walls of the photograph. As art historian Tim Bonyhady observes, it ‘is not just one of the most erotic Australian photographs, but possibly the first sexually charged Australian photograph by a woman of a man’. The sensuality and atmosphere of the Cotton’s are just gorgeous. Olive Cotton just has such a marvellous grasp of the construction of the picture plane using form, texture and shadow… and feeling. If had a choice I would take away most of the Cotton’s (laughs), because I think they are just amazing…”

There are so many great images in this exhibition, from both Cotton and Dupain, that is hard to know where to start. I haven’t even mentioned images such as Dupain’s sensual but commercial Jean with wire mesh (c. 1935, below), his seminal Street at Central (1939, below) with its raking light and abstraction, or Cotton’s most famous image Teacup ballet (1935, below). I could go on and on. The only disappointment with the exhibition is that, for the uninitiated, there is little to place both photographers works in the context of their time and place, other than a few The Home magazines in a couple of display cases and the wall text. There is little sense of what a tumultuous period this was in Australian history – between two world wars, during a depression, with the advent of modernity, freedom of movement through cars, White Australia policy in full swing, meat and four veg on the table, women’s place in the home, the rise of vitalism and the cult of the bronzed Aussie body and the worship of nature and the outdoors, mateship and the beach as a place of socialisation. But that is the nature of such a classic, hung “on the line” exhibition. It would have been great to see some large photographs, floor to ceiling, of the environment from which all these nearly contextless (as in a particular time and place) images emerged but this is a minor quibble. In the end, I restate that this is a stunning exhibition that is a must see for any aficionado of great Australian photography. Go see it before it closes.

Dr Marcus Bunyan for Art Blart

Word count: 1,685

.
Many thankx to The Ian Potter Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

“I like few people … to go into a room of strangers is a chore for me … I can effect a relationship, but afterwards, I think: was it worth it?”

.
Max Dupain

 

“Looking at the work of these two great Australian photographers together is enlightening; they were often shooting the same subjects, or pursuing subjects and pictorial effects in similar ways. Rarely do we get to see two great Australian artists working side-by-side in this way. And while Max Dupain’s reputation might now stand well above most other Australian photographers, this exhibition shows that Olive Cotton had a significant role to play in his development as a photographer, and was in many ways his equal.”

.
Shaune Lakin

 

 

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Gallery one

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

installation-g

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

At left, Max Dupain’s Bawley Point landscape (1938) and middle, Dupain’s Untitled [Factory chimney stacks], 1940

 

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

Max Dupain’s famous Sunbaker (1937) is second from the right

 

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

Olive Cotton’s most famous image, Teacup ballet (1935) at left

 

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

Max Dupain’s Jean with wire mesh (c. 1935) at right

Gallery two

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

Cabinet with view of The Home magazine (April 1st 1933 right) which feature the photographs of Max Dupain

Gallery three

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

Max Dupain’s Street at Central (1939) left, followed by his Thin man (1936) and Olive Cotton’s Fashion shot, Cronulla sandhills (Max Dupain photographing model) (1937) at right

 

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Max and Olive: The photographic life of Olive Cotton and Max Dupain' at The Ian Potter Museum of Art, Melbourne

 

Installation photographs of the exhibition Max and Olive: The photographic life of Olive Cotton and Max Dupain at The Ian Potter Museum of Art, Melbourne
All images © Marcus Bunyan, The National Gallery of Australia and The Ian Potter Museum of Art

 

 

Olive Cotton (1911-2003) and Max Dupain OBE (1911-1992) were pioneering modernist photographers. Cotton’s lifelong obsession with photography began at age eleven with the gift of a Kodak Box Brownie. She was a childhood friend of Dupain’s and in 1934 she joined his fledgling photographic studio, where she made her best-known work, Teacup Ballet, in about 1935. Throughout the 1930s, Dupain established his reputation with portraiture and advertising work and gained exposure in the lifestyle magazine The Home. Between 1939 and 1941, Dupain and Cotton were married and she photographed him often; her Max After Surfing is frequently cited as one of the most sensuous Australian portrait photographs. While Dupain was on service during World War II Cotton ran his studio, one of very few professional women photographers in Australia. Cotton remarried in 1944 and moved to her husband’s property near Cowra, New South Wales. Although busy with a farm, a family, and a teaching position at the local high school, Cotton continued to take photographs and opened a studio in Cowra in 1964. In the 1950s, Dupain turned increasingly to architectural photography, collaborating with architects and recording projects such as the construction of the Sydney Opera House. Dupain continued to operate his studio on Sydney’s Lower North Shore until he died at the age of 81. Cotton was in her seventies when her work again became the subject of attention. In 1983, she was awarded a Visual Arts Board grant to reprint negatives that she had taken over a period of forty years or more. The resulting retrospective exhibition in Sydney in 1985 drew critical acclaim and has since assured her reputation.

Text from the National Portrait Gallery website

 

Olive Cotton (Australian, 1911 - 2003) 'Only to taste the warmth, the light, the wind' c. 1939

 

Olive Cotton (Australian, 1911 – 2003)
Only to taste the warmth, the light, the wind
c. 1939
Gelatin silver photograph

PHOTOGRAPH NOT IN EXHIBITION

 

 

Only to taste the warmth, the light, the wind appears to have been the only print Cotton made of this image. It was found in the late 1990s and has been shown only once, in an exhibition at the AGNSW in 2000 where it was also used on the catalogue cover. It was unusual for Cotton to print so large, yet it is entirely fitting that this monumental head and shoulder shot of a beautiful young woman should be presented in this way. The subject was a model on a fashion shoot at which Cotton was probably assisting. Cotton often took her own photographs while on such shoots and used them for her private portfolio. The photograph transcends portraiture, fashion and time to become a remarkable image of harmony with the elements.

Cotton took the title for this photograph from an 1895 poem by English poet Laurence Binyon, ‘O summer sun’:

O summer sun, O moving trees!
O cheerful human noise, O busy glittering street!
What hour shall Fate in all the future find,
Or what delights, ever to equal these:
Only to taste the warmth, the light, the wind,
Only to be alive, and feel that life is sweet?1

A photographer whose work straddles pictorialism, modernism and documentary, Cotton maintained an independent vision throughout her working life, based on the close observation of nature. Her understanding of the medium of photography was not to do with capture, but rather ‘drawing with light’.

1. 1915, ‘Poems of today’, English Association, London p 96

Text from the Art Gallery of New South Wales website © Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Olive Cotton (Australian, 1911 - 2003) 'Max' c. 1935

 

Olive Cotton (Australian, 1911 – 2003)
Max
c. 1935
gelatin silver photograph
14.8 x 14.5 cm
National Gallery of Australia, Canberra
Purchased 1998

 

 

In this highly abstracted portrait, Cotton seems to present Dupain as an athlete – perhaps, with his strangely extended arms, a hammer thrower, in an image that predates by at least two years Dupain’s own photographs of athletes outdoors. It is likely that Cotton photographed her friend in this way because of the graphic pictorial effect she wished to achieve. Cotton exploits the shape of the Rolleiflex camera’s square-format film: Dupain’s body cuts across the right-hand corner of the picture, from which his overstretched forearms (the shape and tone of which were the result of much dodging and burning in the darkroom) create a diagonal oblique angle that is classically modernist. A similar conflation of diagonal lines, which was common to the ways that modern life in Australia at the time was represented in advertising and architectural photography, can also be seen in pictures such as Surf’s edge and Teacup ballet.

Text © National Gallery of Australia, Canberra

 

“Max Dupain put his lack of clannishness down to a temperament which inclined to the stoic and an early life as an only child. He relished the solitude of his darkroom, familiar places and routines and the early morning calm of Sydney Harbour, where he rowed his scull until prevented by ill health in the early 1990s. He was not a joiner or follower of teams; he was republican in politics and agnostic. Philosophically, Dupain mixed rationalism and a less defined alliance with the passionate exhortation to live directly in one’s environment, body and heart. This philosophy was espoused by poets and writers such as D.H Lawrence, from the movement known in the 1920s and 1930s as Vitalism.

Although he acknowledged that he was a bit of a loner by temperament, portraiture was a significant part of Max Dupain’s personal and professional work. He included some dozen or so portraits in his selection for his 1948 monograph, fifty plates showing ‘my best work since 1935’. Dupain’s images, including many portraits especially of the 1930s to 1960s, have stamped the public image of this era of rapid progress and increasing cultural sophistication in Australia. Portraiture was at the top stratum of Dupain’s first three decades of work but volume decreased markedly from the 1960s, when Max Dupain and Associates, his business, began to specialise in architectural and industrial commissions.”

‘Vintage Max’ by Gael Newton, 1 June 2003

 

Max Dupain. 'Sunbaker' 1937

 

Max Dupain (Australian, 1911 – 1992)
Sunbaker
1937
Gelatin silver photograph
37.7 x 43.2 cm
National Gallery of Australia, Canberra
Gift of the Philip Morris Arts Grant 1982

 

Olive Cotton (Australian, 1911 - 2003) 'The photographer's shadow (Olive Cotton and Max Dupain)' c. 1935

 

Olive Cotton (Australian, 1911 – 2003)
The photographer’s shadow (Olive Cotton and Max Dupain)
c. 1935
Gelatin silver photograph
16.6 x 15.2 cm
National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'The sleeper' 1939

 

Olive Cotton (Australian, 1911 – 2003)
The sleeper
1939
Gelatin silver photograph
29.2 h x 25.0 w cm
National Gallery of Australia, Canberra
Purchased 1987

 

The sleeper 1939, Olive Cotton’s graceful study of her friend Olga Sharp resting while on a bush picnic, made around the same time as Max Dupain’s Sunbaker, presents a different take upon the enjoyment of life in Australia. The woman is relaxed, nestled within the environment. The mood is one of secluded reverie.

Text © National Gallery of Australia, Canberra

 

Max Dupain (Australian, 1911 - 1992) 'Untitled [Olive Cotton in Wheat Fields]' Nd (probably late 1930s)

 

Max Dupain (Australian, 1911 – 1992)
Untitled [Olive Cotton in Wheat Fields]
Nd (probably late 1930s)
Gelatin silver photograph

PHOTOGRAPH NOT IN EXHIBITION

 

Olive Cotton (Australian, 1911 - 2003) 'Max' 1939

 

Olive Cotton (Australian, 1911 – 2003)
Max
1939
Gelatin silver photograph
National Gallery of Australia, Canberra

 

 

Cotton shot this portrait of fellow Australian photographer, Max Dupain during their brief marriage at their home in Longueville on Sydney’s lower north shore. Dupain is captured affectionately in the portrait, represented as at once casual through pose and, as industrious on account of his rolled up sleeves and the Rolleiflex TLR camera which hangs from his neck. It is indicative of the combination of a working and personal relationship Cotton and Dupain shared during the late 1930s when they operated a commercial studio together. The couple separated in 1941 but Cotton went on to manage the Dupain Studio while Max was away serving as a camouflage officer during the Second World War 1.

1. Ennis H 2005, ‘Olive Cotton: photographer’, National Library of Australia, p. 6

Text from the Art Gallery of New South Wales website © Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Olive Cotton (Australian, 1911 - 2003) 'Max after surfing' 1937

 

Olive Cotton (Australian, 1911 – 2003)
Max after surfing
1937
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 2006

 

 

This intimate study of Dupain, who Cotton was romantically involved with at the time, first appeared in the mid-1990s; Cotton did not include it in her reassessment of her oeuvre in the mid-1980s that involved making prints of her best images. For many commentators, this remains a radical image in the history of Australian photography. For the art historian Tim Bonyhady, it ‘is not just one of the most erotic Australian photographs, but possibly the first sexually charged Australian photograph by a woman of a man’. This is the only known vintage print of the image, which inexplicably carries the signature and a message from the fashion photographer George Hoyningen‑Huene, who visited Sydney in December 1937 and spent time with Dupain. It suggests perhaps that Hoyningen-Huene was present when Cotton made the print.

Text © National Gallery of Australia, Canberra

 

Max after surfing is a portrait of Dupain taken in 1939, around the time of their brief marriage. While the photograph was taken indoors, the sharply delineated contrast and the dramatic interplay between light and shade evoke harsh sunlight. The work is loaded with suggestion and emotional intimacy. As art historian and curator Helen Ennis noted in 2000, the close vantage point and the tension between visible form and dense shadow ‘creates a space for erotic imaginings’.

A photographer whose work straddles pictorialism, modernism and documentary, Cotton maintained an independent vision throughout her working life, based on the close observation of nature. Her understanding of the medium of photography was not to do with capture, but rather ‘drawing with light’.

Text from the Art Gallery of New South Wales website © Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Max Dupain (Australian, 1911 - 1992) 'Jean with wire mesh' c. 1935

 

Max Dupain (Australian, 1911 – 1992)
Jean with wire mesh
c. 1935
Gelatin silver photograph
46.0 h x 34.5 w cm
National Gallery of Australia, Canberra
Purchased 2006

 

 

This portrait of Jean Lorraine, a close friend of Cotton, was one of many taken of her by Cotton and Dupain. This photograph is notable for its technical virtuosity – Dupain’s control of the variegated light across Jean’s body, beautifully lyrical and sensuous, is masterful. It also reflects Dupain’s active interest in the work of Man Ray, whose earlier Shadow patterns on Lee Miller’s torso (1930) was no doubt an influence. Like Man Ray’s image of his lover, Dupain’s portrait of Jean is also notable for its eroticism. While Dupain might have argued that this photograph was a study of light falling on surfaces, the light and shade take particular pleasure in the form of Jean’s naked torso. This eroticism has been underplayed throughout the history of the picture, not surprising given the nature of the relationships involved: when it was published in The Home in February 1936, Jean with wire mesh was known simply as a Photographic study. Dupain printed at least two versions of this shot, another with Jean’s eyes open.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'Girl with mirror' 1938

 

Olive Cotton (Australian, 1911 – 2003)
Girl with mirror
1938
Gelatin silver photograph
Image 31.7 h x 29.9 w cm sheet 32.6 h x 30.6 w cm
Purchased 1987

 

 

The photographs Cotton took while attending Dupain’s fashion shoots often focussed on the graphic effects created by light rather than fashion or the dynamics of the shoot itself. Cotton’s role as assistant left her free to explore personal interests, without the imperative of getting a shot for the assignment. This image of a model attending to her make-up, seemingly absorbed in her own image, is primarily concerned with the patterns created by light falling on sand dunes and the way they contrast with the decorative print of her clothing. It is notable that the image we see in the mirror is not the model’s face, but the patterns created by light hitting the sand. As Cotton later remembered, ‘I took it mostly because I really liked the pattern in the sand and the contrasting pattern in the left-hand corner’, which includes a series of diagonal shadows cast by Dupain’s tripod.

Text © National Gallery of Australia, Canberra

 

Max Dupain (Australian, 1911 - 1992) 'The floater' 1939

 

Max Dupain (Australian, 1911 – 1992)
The floater
1939
Gelatin silver photograph
National Gallery of Australia
Purchased 1976

 

 

Two versions of this image of a woman floating in water were printed by Dupain, so like Sunbaker it held particular interest for him. It acknowledges one of the great moments in avant-garde photography, André Kertész’s iconic study of underwater distortion Underwater swimmer (1917). As with Kertész, Dupain’s interest was with the visual effects created by light hitting the water and the impact of this on the contours of the swimmer. In his personal copy of the anthology Modern Photography (1931), Dupain highlighted the writer G.H. Saxon Mills’ claim that photography’s value existed in both its capacity to record the world and the optical effects it found or created – ‘its … symphony of forms and textures.’ (Wall text)

 

Olive Cotton (Australian, 1911 - 2003) 'Fashion shot, Cronulla sandhills (Max Dupain photographing model)' 1937

 

Olive Cotton (Australian, 1911 – 2003)
Fashion shot, Cronulla sandhills (Max Dupain photographing model)
1937
Cronulla, Sydney, New South Wales, Australia
Gelatin silver photograph
Image 30.4 h x 38.5 w cm sheet 40.2 h x 48.7 w cm
National Gallery of Australia, Canberra
Purchased 1988

 

As the studio assistant, Cotton accompanied Dupain on fashion shoots to attend to models, doing their make-up and helping with costume changes. She often used these opportunities to take her own photographs, including this wonderful image of Dupain photographing the model Noreen Hallard for David Jones. As well as producing a striking image of Dupain and Hallard at work, Cotton was interested in the landscape in which they operated, paying particular attention to the pattern created by their footsteps in the sand.

Text © National Gallery of Australia, Canberra

 

 

“Olive Cotton and Max Dupain are key figures in Australian visual culture. They shared a long and close personal and professional relationship. This exhibition looks at their work made between 1934 and 1945, the period of their professional association; this was an exciting period of experimentation and growth in Australian photography, and Cotton and Dupain were at the centre of these developments.

This is the first exhibition to look at the work of these two photographers as they shared their lives, studio and professional practice. Looking at their work together is instructive; they were often shooting the same subjects, or pursuing subjects and pictorial effects in similar ways. Comparisons articulate and make apparent Dupain’s more structured – even abstracted – approach to art and to the world; similarly, comparisons highlight Cotton’s more immersive relationship to place, with a particularly deep and instinctual love of light and its ephemeral effects.

This exhibition focuses on the key period in each of their careers, when they made many of their most memorable images. Keenly aware of international developments in photography, Cotton and Dupain experimented with the forms and strategies of modernist photography, especially Surrealism and the Bauhaus, and drew upon the sophisticated lighting and compositions of contemporary advertising and Hollywood glamour photography.

They brought to these influences their own, close association with the rich context of Australian life and culture during the 1930s and ’40s. Their achievement can be characterised, borrowing terms they used in discussions of their work, as the development of a ‘contemporary Australian photography’: a modern photographic practice that reflected their own, very particular relationships to the world and to each other.

Lives

Cotton and Dupain’s friendship stretched back to childhood summers spent at Newport Beach, NSW, where their families spent summer holidays. They were both given their first cameras – Kodak Box Brownies – by relatives as young teenagers, and spent days together wandering around taking photographs. They shared a similar commitment to photography as teenagers and young adults: both made and published or exhibited photographs while at school, and in 1929 they became members of the Photographic Society of New South Wales. But their approach to achieving the ‘professional life’ of a photographer took different paths: Dupain undertook a formal apprenticeship with the pictorialist master Cecil Bostock between 1930-33, while Cotton studied arts at Sydney University with the idea of becoming a teacher and photographed after hours.

Cotton and Dupain became romantically involved in 1928 and married in 1939; they separated in 1941 and eventually divorced in 1944. In spite of these personal vicissitudes, Cotton and Dupain remained professionally connected. Cotton managed the Dupain studio from late 1941-45, while he worked with the Department of Home Security’s Camouflage Unit during the Second World War. On his return, Cotton left Sydney and spent the rest of her life in relative isolation near Cowra, NSW, where she raised her family of two with husband Ross McInerney and, between 1964 and 1983, operated a small studio. And while Dupain returned from the war to develop his reputation and significance as Australia’s most recognised twentieth-century photographer, his work was deeply affected by his experience of the war and took on a completely different complexion to his work from the previous decade.

Studio

In 1934, Dupain opened a studio in a rented room at 24 Bond Street, Sydney; Cotton joined him as his assistant soon after. By 1936, the Dupain studio’s business had expanded to the extent that it moved into larger premises in the same building, before relocating in early 1941 to a whole floor of a building at 49 Clarence Street.

Their positions at the Dupain studio were clearly defined – he was the photographer, she the studio assistant. Even so, Cotton and Dupain each maintained distinct but in some ways closely aligned practices, both in and out of the studio. Cotton did not tend to take photographs commercially until after she took over the management of the Dupain studio in late 1941, when photographs were circulated in her name. Before then, she made use of the studio’s equipment afterhours, including Dupain’s large Thornton Pickard camera; her work was exhibited and published on occasion, both locally and internationally.

At the same time, Dupain’s photographs became increasingly widely-seen and influential. Sydney Ure Smith’s iconic monthly magazine The Home regularly published Dupain’s portraits, documentary work, social photographs (often actually taken by Cotton), and fashion and product photographs made for clients such as David Jones. When Dupain went to war, the studio continued to operate successfully under Cotton’s management. While some long-standing clients such as David Jones took their business elsewhere, Cotton took some of her most important pictures in the early 1940s, and her increasing confidence at this time can be identified across images of the city, industry and labour.

Dialogue

Cotton and Dupain were active members of Sydney’s network of young artists and photographers, of which the Dupain studio was a centre. Along with their contemporaries, including figures like Geoffrey Powell, Damien Parer and Lawrence Le Guay, they staked a claim for photography as a vital part of contemporary culture, exhibiting photographs alongside other artworks at venues like Sydney’s David Jones Gallery.

Their networks included members of Sydney’s progressive architectural, design, publishing and advertising communities, with whom they often collaborated. The threads of influence within this complex network of making, exhibiting, publishing and commissions were intricate. It is possible, for example, to see Dupain’s strong visual style affect those around him. His interest in surrealist style, which really took hold in 1935, can be identified in work by other, often lesser photographers working at the time, and indeed in the design of The Home, which published his work in editorial and advertisements. There were also times when Cotton indicated certain directions for Dupain. For example, her images of bodies outdoors, which cleverly pulled together classical and modernist motifs, predate similar images by Dupain.

It is clear also that Cotton and Dupain were engaging in dialogue within their own work. Their shared interest in photographing form, texture and shadow is seen across many pictures throughout the mid- to late 1930s. Their pictures also engage critically with photography as a medium, in images that draw attention to the photograph as a double of its subject, and in pictures that seem to play with photograph’s stillness. As Dupain later remembered, together they ‘shared the problems of photography’.

Contemporary Australian Photography

What were ‘the problems of photography’ that Dupain and Cotton sought to settle? In the most straightforward sense, they involved the assumption that Australian photographers were yet to completely embrace or realise the medium’s potential, which rested in careful attention to its aesthetic possibilities, recognition of its mechanical origins, and negotiation of the particular way the medium engaged notions of objectivity and subjectivity. Their solution to these problems involved a progressive photographic practice that intended to release photography from the shackles of history and orthodoxy, and to revel in photography’s great capacity to make sense of the relations of light, texture and form as they exist in the present.

Cotton’s and Dupain’s solution to ‘the problems of photography’ was to make work that made a feature of the medium’s modernity, and the strange way that mechanics, physics and aesthetics come together in modern photography to look at the world and to find beauty in it. They did this in a way that remained firmly footed in their own, very particular place in the world and history. In terms of style, their solution integrated legacies of Pictorialism – especially its interest in the atmospheric effects found in landscape – with a range of other, often competing modes and styles: a modernist concern with line, form and space; documentary photography’s interest in realism and ‘the living moment’; and the pictorial and formal attributes of commercial photography.

It is possible that, for the first time, Australian photography found in the work of Cotton and Dupain a contemporary expression: a photographic practice that emerged from, responded to and expressed the mood, ambitions and sensibility of its time.”

Press release from The Ian Potter Museum of Art

 

Max Dupain (Australian, 1911 - 1992) 'Street at Central' 1939

 

Max Dupain (Australian, 1911 – 1992)
Street at Central
1939
Gelatin silver photograph
45.6 x 37.5 cm
National Gallery of Australia, Canberra
Purchased 1976

 

Max Dupain (Australian, 1911 - 1992) 'Street at Central' 1939

 

Max Dupain (Australian, 1911 – 1992)
Street at Central
1939
Gelatin silver photograph
45.6 x 37.5 cm
National Gallery of Australia, Canberra
Purchased 1976

 

Two different versions of this photograph. Notice the different cropping and colour of each image, and how it adds emphasis to the light and to the shadows of the people.

 

Olive Cotton (Australian, 1911 - 2003) 'Teacup ballet' 1935

 

Olive Cotton (Australian, 1911 – 2003)
Teacup ballet
1935
Gelatin silver photograph
37.5 x 29.5 cm
National Gallery of Australia, Canberra
Purchased 1983

 

‘This picture evolved after I had bought some inexpensive cups and saucers from Woolworths for our studio coffee breaks to replace our rather worn old mugs. The angular handles reminded me of arms akimbo, and that led to the idea of making a photograph to express a dance theme.

When the day’s work was over I tried several arrangements of the cups and saucers to convey this idea, without success, until I used a spotlight and realised how important the shadows were. Using the studio camera, which had a 6 ½ x 4 ½ inch ground glass focusing screen, I moved the cups about until they and their shadows made a ballet-like composition and then photographed them on a cut film negative. The title of the photograph suggested itself.

This was my first photograph to be shown overseas, being exhibited, to my delight, in the London Salon of Photography in 1935.’ Olive Cotton 1995 1

Olive Cotton and Max Dupain were childhood friends and, although she graduated in English and mathematics from the University of Sydney in 1934, her interest in photography led her to work in Dupain’s studio from this year. Cotton was employed as a photographer’s assistant in the studio, however she worked assiduously on her own work and continued to exhibit in photography salon exhibitions. Tea cup ballet is one of Cotton’s most well-known photographs and yet it is somewhat eccentric to her main practice, being at first glance typically modernist with its dramatic lighting and angular shapes. Her longstanding interest in organic forms provides a deeper reading. The abstraction of form by the lighting and the placement of the cups and saucers enables the relationship to dancers on a stage to become clear.

1. Ennis H 1995, ‘Olive Cotton: photographer’, National Library of Australia, Canberra p. 25

Text from the Art Gallery of New South Wales website © Art Gallery of New South Wales Photography Collection Handbook, 2007

 

Among Cotton’s most famous photographs, Teacup ballet has very humble origins. It was taken after hours in the Dupain studio and used a set of cheap cups and saucers Cotton had earlier bought from a Woolworths store for use around the studio. As she later recounted: ‘Their angular handles suggested to me the position of “arms akimbo” and that led to the idea of a dance pattern’. The picture uses a range of formal devices that became common to Cotton’s work, especially the strong backlighting used to create dramatic tonal contrasts and shadows. The picture achieved instant success, and was selected for exhibition in the London Salon of Photography for 1935.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'Shasta daisies' 1937

 

Olive Cotton (Australian, 1911 – 2003)
Shasta daisies
1937
Gelatin silver photograph
National Gallery of Australia, Canberra
Purchased 1987

 

 

Celebrated Australian photographer Olive Cotton was given her first Box Brownie by her family for her eleventh birthday (1922) and continued to experiment with taking and developing pictures throughout the 1920s. By the early 1930s Cotton had mastered the Pictorialist style so popular at the time and was on her way to establishing her own approach which also incorporated Modernist principles. The recurrent themes of landscape and plant-life are important to the photographer’s approach, which photography scholar Helen Ennis describes as Cotton’s concern for the ‘potential for pattern-making’.

Shasta daisies is an interesting and rare combination of natural form and a highly-constructed scenario, the flowers having been photographed in Cotton’s studio and carefully arranged for the camera. Cotton, in the 1995 book, wrote of the photograph: “I chose to photograph these in the studio because out of doors I would have had less control of the lighting and background. I examined the composition very carefully through the studio camera’s large ground glass focussing screen and – the view from the camera’s position being slightly different to my own – made as many rearrangements to the flowers as seemed necessary. I then used (apart from a background light) one source of light to try and convey a feeling of outdoors.” Shasta daisies is important within Cotton’s oeuvre for uniting her interest in plants in their natural ‘outdoors’ environment with her enquiry into photographic form and space.

Text from the Art Gallery of New South Wales website

 

Max Dupain (Australian, 1911 - 1992) 'Homage to D.H. Lawrence' 1937

 

Max Dupain (Australian, 1911 – 1992)
Homage to D.H. Lawrence
1937
Gelatin silver photograph
45.8 x 33.9 cm
National Gallery of Australia, Canberra
Purchased 1982

 

 

Dupain admired vitalist philosophies, which argued that modern identity had become fragmented and asserted the importance of the integration of body and emotion, of sensual and emotional experience. He was attracted to the work of British writer D.H. Lawrence, especially his insistence on the ‘thingness’ of things as a way of embodying a properly integrated mind and body. This photograph uses surrealist juxtaposition to draw together a copy of Lawrence’s Selected poems, a flywheel (representing the modern world) and a classical bust, recalling the idealised relationship of natural and sensual worlds in ancient Greece and Rome. Other images incorporating classical busts appeared in the pages of the Modern Photography annuals, but Dupain makes them his own, lifted above mere pastiche.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'Orchestration in light' 1937

 

Olive Cotton (Australian, 1911 – 2003)
Orchestration in light
1937
Gelatin silver photograph
Image 24.1 h x 27.4 w cm sheet 25.4 h x 28.2 w cm
Purchased with assistance from the Helen Ennis Fund
National Gallery of Australia, Canberra

 

 

Cotton took this landscape early one morning at Wullumbi Gorge in the New England tablelands, during a camping trip with Dupain. It is remarkable for both the way the light transforms the landscape into quivering energy and the way Cotton makes sense of that enigmatic experience in pictorial form. As its title suggests, the photograph recalled for Cotton – who trained as a musician as a girl – a musical composition, particularly ‘the beautiful graduation in tone going from a bass tone to a high treble at the top of the picture’.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'The patterned road' 1938

 

Olive Cotton (Australian, 1911 – 2003)
The patterned road
1938
Gelatin silver photograph
24.6 h x 28.8 w cm
National Gallery of Australia, Canberra
Purchased 1983

 

Max Dupain (Australian, 1911 - 1992) 'Bawley Point landscape' 1938

 

Max Dupain (Australian, 1911 – 1992)
Bawley Point landscape
1938
Gelatin silver photograph
29 x 26.6 cm
National Gallery of Australia, Canberra
Purchased 1982

 

 

This landscape, one of many taken by Dupain on the south coast of New South Wales, was made in the same year as Cotton’s similar study of shadow and landscape, The patterned road (above). These two landscapes share an interest in what Dupain later termed ‘passing movement and changing form’. Although Dupain rarely published or circulated his landscapes at this time, pictures such as Bawley Point landscape certainly relate to a broad range of other images, perhaps most notably still lifes and nudes, that articulated an Australian modernist photography through the interplay of light passing through openings. These images find monumental stillness in movement and strong shadows, which quite literally ‘double’ their subject.

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'Over the city' 1940

 

Olive Cotton (Australian, 1911 – 2003)
Over the city
1940
Gelatin silver photograph
32.2 h x 30.3 w cm
National Gallery of Australia, Canberra
Purchased 1987

 

Max Dupain (Australian, 1911 - 1992) 'Grass at sundown' 1939

 

Olive Cotton (Australian, 1911 – 2003)
Grass at sundown
1939
Gelatin silver photograph
Primary Insc: Signed and dated l.l. pencil, “Olive Cotton ’39”. Titled l.r. pencil, “Grass at sundown”.
Printed image 28.9 h x 30.8 w cm sheet 30.0 h x 31.6 w cm
National Gallery of Australia, Canberra
Gift of the artist 1987

 

Max Dupain (Australia 1911 - 1992) 'Design - suburbia' 1933

 

Max Dupain (Australia 1911 – 1992)
Design – suburbia
1933
Gelatin silver photograph
29.4 h x 23.6 w cm
National Gallery of Australia, Canberra
Purchased 1982

 

 

This early image proudly displays the influence of the work of pictorialist photographers that Dupain knew well, most notably the Sydney-based photographer, Harold Cazneaux. At the time Dupain made this image, he was serving an apprenticeship in the commercial studio of Cecil Bostock, a Pictorialist and founding member with Cazneaux of the Sydney Camera Circle in 1916. Dupain’s interest in the pictorial effects created by light passing through apertures (here, the posts and beams of a suburban fence) seems to remember similar images of light streaming through blinds and pergolas by Cazneaux, who Dupain called ‘the father of modern Australian photography’. The fascination with capturing light as it passes through openings will stay with Dupain throughout his life, though the focus will sharpen as he moves away from the diffused effects favoured by art photographers in the early decades of the century.

Text © National Gallery of Australia, Canberra

 

Max Dupain (Australia 1911 - 1992) 'Still life' 1935

 

Max Dupain (Australia 1911 – 1992)
Still life
1935
Gelatin silver photograph
29.0 h x 20.8 w cm
Purchased 1982

 

 

While the subject of this photograph seems to be a simple, lidded pail (which featured in a number of Dupain’s still lifes) seen in morning light, it is actually an exercise in abstraction. Of most interest to Dupain is the complex network of diagonal lines created by light, shadow and timber boards. The picture reflects the pleasure Dupain took in the pictorial effects created by light (he was fond of quoting the Belgian photographer Léonard Misonne’s dictum, ‘the subject is nothing, light is everything’), and at the same time expresses the fundamental principle upon which his photographic practice was always based. While the image of light passing through apertures is an analogy for the way the camera operates, the still life also embodies photography’s expressive potential. As Dupain later stated, ‘with still-life you can arrange or rearrange or do what you like, it becomes a very, very personal exercise that you have total control over’.

Text © National Gallery of Australia, Canberra

 

Max Dupain. 'Pyrmont silos' 1933, printed later

 

Max Dupain (Australian, 1911 – 1992)
Pyrmont silos
1935
Gelatin silver photograph
Printed image 25.2 h x 19.2 w cm sheet 31.2 h x 26.2 w cm mount 42.4 h x 32.0 w
National Gallery of Australia, Canberra
Purchased 1976

 

 

Max Dupain was the first Australian photographer to embrace Modernism, and took a number of photographs of Pyrmont silos in the 1930s. There were no skyscrapers in Sydney until the late 1930s so the silos, Walter Burley Griffin’s incinerators and the Sydney Harbour Bridge were the major points of reference for those interested in depicting modern expressions of engineering and industrial power. Olive Cotton’s Drainpipes 1937 shows the precisely formed circles and curves of the pipes, interspersed with slivers of light and long shadows.

In almost text-book fashion, this image reflects Dupain’s assimilation of the aesthetics of contemporary European photography, which he encountered in publications such as the Das Deutsche Lichtbild [The German photograph] and Modern Photography annuals, the 1932 edition of which was edited by Man Ray. While Dupain’s relationship to the contemporary world was complicated, he nonetheless advocated for the latest photographic trends out of Europe and America, and for photographing modern, industrial subjects; as he asserted in 1938, ‘great art has always been contemporary in spirit’. Writing in 1975 about this image for Dupain’s retrospective at the Australian Centre for Photography, fellow photographer David Moore, who had worked with Dupain in the late 1940s, saw it as a turning point in Dupain’s career, believing that here ‘his awareness of the strength of industrial forms was confirmed with confident authority … From this moment any return to sentimental Pictorialism was precluded’.

Text © National Gallery of Australia, Canberra

 

Pyrmont silos is one of a number of photographs that Dupain took of these constructions in the 1930s. In all cases Dupain examined the silos from a modernist perspective, emphasising their monumentality from low viewpoints under a bright cloudless sky. Additionally, his use of strong shadows to emphasise the forms of the silos and the lack of human figures celebrates the built structure as well as providing no sense of scale. Another photograph by Dupain in the AGNSW collection was taken through a car windscreen so that the machinery of transport merges explicitly with industrialisation into a complex hard-edge image of views and mirror reflections. There were no skyscrapers in Sydney until the late 1930s so the silos, Walter Burley Griffin’s incinerators and the Sydney Harbour Bridge were the major points of reference for those interested in depicting modern expressions of engineering and industrial power.

Dupain was the first Australian photographer to embrace modernism. One of his photographs of the silos was roundly criticised when shown to the New South Wales Photographic Society but Dupain forged on regardless with his reading, thinking and experimentation. Some Australian painting and writing had embraced modernist principles in the 1920s, but as late as 1938 Dupain was writing to the Sydney Morning Herald:

“Great art has always been contemporary in spirit. Today we feel the surge of aesthetic exploration along abstract lines, the social economic order impinging itself on art, the repudiation of the ‘truth to nature criterion’ … We sadly need the creative courage of Man Ray, the original thought of Moholy-Nagy, and the dynamic realism of Edouard [sic] Steichen.”1

1. Dupain, M 1938, “Letter to the editor,” in Sydney Morning Herald, 30 March

Text from the Art Gallery of New South Wales website © Art Gallery of New South Wales Photography Collection Handbook, 2007

 

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

 

Max Dupain (Australian, 1911 – 1992)
Backyard, Forster, New South Wales
1940
Gelatin silver photograph
30.5 h x 30.5 w cm
National Gallery of Australia, Canberra
Purchased 1983

 

 

This highly formal view of the backyard of a hotel in the coastal town of Forster embodies Dupain’s sense of Australian modernist photography. The picture’s frontalism and overriding use of horizontals and verticals acknowledge that the camera faced its subject face-to-face and that the view has been consciously framed. But as the title of the photograph makes clear, it is also a record of a particular place. In his personal copy of G.H. Saxon Mills’ essay ‘Modern photography’, which greatly assisted Dupain to conceptualise his own sense of a contemporary photographic practice, Dupain highlighted and annotated with a question mark the following statement: ‘”modern” photography means photography whose aim is partly or wholly aesthetic, as opposed to photography which is merely documentary or representational.’ Dupain believed that both were possible within the same frame.

Text © National Gallery of Australia, Canberra

 

Max Dupain (Australian, 1911 - 1992) '(Factory chimney stacks)' 1940

 

Max Dupain (Australian, 1911 – 1992)
[Factory chimney stacks]
1940
Gelatin silver photograph
49.0 h x 38.4 w cm
National Gallery of Australia, Canberra
Purchased 1983

 

 

Dupain highlighted the writer G.H. Saxon Mills’ claim that photography’s value existed in both its capacity to record the world and the optical effects it found or created – ‘its … symphony of forms and textures.’

These factory chimney stacks are reduced to their most simple and direct form, which is shown free of any distraction. As Dupain noted, borrowing from the great American architectural historian Lewis Mumford, the ‘mission of the photograph is to clarify the subject’. The choice of subject matter was influenced by an essay by the English journalist, G.H. Saxon Mills, written in 1931 and read by Dupain soon after: ‘(photography) belongs to the new age … it is part and parcel of the terrific and thrilling panorama opening out before us today – of clean concrete buildings, steel radio masts, and the wings of the air line. But its beauty is only for those who themselves are aware of the ‘zeitgeist’ – who belong consciously and proudly to this age, and have not their eyes forever wistfully fixed on the past.’

Text © National Gallery of Australia, Canberra

 

Olive Cotton (Australian, 1911 - 2003) 'The way through the trees' 1938

 

Olive Cotton (Australian, 1911 – 2003)
The way through the trees
1938
Gelatin silver photograph
29.6 h x 29.0 w cm
National Gallery of Australia, Canberra
Gift of the artist 1987

 

Max Dupain (Australian, 1911 - 1992) 'An old country homestead, Western Australia' 1946

 

Max Dupain (Australian, 1911 – 1992)
An old country homestead, Western Australia
1946
Gelatin silver photograph

PHOTOGRAPH NOT IN EXHIBITION

 

 

The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria
Tel: +61 3 8344 5148

Opening hours:
Tuesday to Friday 10 am – 5 pm
Saturday and Sunday 12 – 5 pm

The Ian Potter Museum of Art website

LIKE ART BLART ON FACEBOOK

Back to top

12
Nov
15

Exhibition: ‘David Moore: Glimpses of Chewton’ and other art at the Castlemaine Art Gallery and Historical Museum

Exhibition dates: 31 October – 31 December 2015

 

The State of Victoria has some truly wonderful regional galleries. I hadn’t been to Castlemaine Art Gallery and Historical Museum for a few years and I had forgotten what an absolutely stunning gallery it is. Stylish art deco building, diffused natural light filling the expansive spaces of the wood floored galleries, displaying interesting art works from their collection. I particularly liked the Edward J Shearsby, Ethel Carrick, John Perceval and, my favourite, a most glorious Sydney Long Pastoral scene (1909, below).

To top off an inspirational visit, there was the most beautiful exhibition of small oil on canvas and oil on cedar panel paintings by the artist David Moore: Glimpses of Chewton. These works had me entranced. Comprised of three years work, these paintings are an exploration of the region by the artist who bought a house in the area with his partner. Moore set out to discover Chewton through driving the local roads and by doing small paintings of the views… not the big vista but the small glimpse. As I said to Moore in a recent telephone conversation, small vibrations of energy.

You can really feel that the artist has captured the frequency – and by that I mean the song line – and spiritual energy of the landscape. These are strong paintings with sensuous brush work yet they are quiet and still in their presence before you – sensitive and beautiful. I love the size of them, like small jewels, and they draw you in and hold you. The gridded hang is especially effective. For an artist to feel these vibrations of energy is one thing, for it then to be transferred into the art is an entirely, and difficult, other. The correspondence between Moore’s work and the Sydney Long Pastoral scene is quite delicious to contemplate. Apparently, these were supposed to be preparatory sketches for larger studio based work, which will eventuate over time, but once Moore had started on these “glimpses” he kept going, creating this body of work. I am so thankful that he did, and I am grateful that I visited the gallery to see them. They made my day.

Do yourself a favour, take a day trip to Castlemaine. It’s well worth the visit.

Dr Marcus Bunyan for Art Blart

.
Many thankx to Castlemaine Art Gallery and Historical Museum and David Moore for allowing me to publish the art work in the posting. Please click on the photographs for a larger version of the image.

 

 

Installation photograph of David Moore's exhibition 'Glimpses of Chewton' at the Castlemaine Art Gallery and Historical Museum

Installation photograph of David Moore's exhibition 'Glimpses of Chewton' at the Castlemaine Art Gallery and Historical Museum

Installation photograph of David Moore's exhibition 'Glimpses of Chewton' at the Castlemaine Art Gallery and Historical Museum

Installation photograph of David Moore's exhibition 'Glimpses of Chewton' at the Castlemaine Art Gallery and Historical Museum

 

Installation photograph of David Moore’s exhibition Glimpses of Chewton at the Castlemaine Art Gallery and Historical Museum

 

David Moore. 'Winter sky' 2015

 

David Moore
Winter sky
2015
Oil on linen
© Courtesy of the artist and James Makin Gallery, Melbourne

 

David Moore. 'Hillside shadows' 2015

 

David Moore
Hillside shadows
2015
Oil on cedar panel
© Courtesy of the artist and James Makin Gallery, Melbourne

 

David Moore. 'Clear sky' 2015

 

David Moore
Clear sky
2015
Oil on cedar panel
© Courtesy of the artist and James Makin Gallery, Melbourne

 

David Moore. 'Approaching storm' 2015

 

David Moore
Approaching storm
2015
Oil on linen
© Courtesy of the artist and James Makin Gallery, Melbourne

 

David Moore. 'Stormy sky' 2015

 

David Moore
Stormy sky
2015
Oil on linen
© Courtesy of the artist and James Makin Gallery, Melbourne

 

 

David Moore: Glimpses of Chewton

An exhibition of works painted in and around the town of Chewton, in North Central Victoria. Local artist David Moore is one of Australia’s foremost painters and was a recipient of the A.M.E Bale Residental Scholarship and the Norman Kaye award. He teaches painting in Melbourne, and is represented by Chrysalis Galleries in Melbourne.

 

About the Castlemaine Art Gallery and Historical Museum

Founded in 1913, the Castlemaine Art Gallery and Historical Museum has a unique collection of Australian art and fascinating historical artefacts reflecting the early history of the district. The beautiful art deco building, dating from 1931 with several extensions since then, is a work of art itself, with purpose-built galleries, lit largely by natural lighting.

The Gallery and Museum is fully accredited by Museums Australia. It is governed by private trustees and managed by a committee elected by subscribers. State and local government support is provided, and the Gallery has a strong tradition of support from benefactors, local families, artists and patrons.

 

Sydney Long. 'Pastoral scene' 1909

Sydney Long. 'Pastoral scene' 1909

 

Sydney Long (1871-1955)
Pastoral scene
1909
Oil on cardboard
Gift of Lady Mary Spencer 1949

 

Formerly known as Narrabeen landscape, this painting has been retitled due to uncertainty in its depiction of Narrabeen.

With paintings such as this, Long sought to produce works of the most imaginative kind from his surroundings. A panoramic vista, the artist focused on the patterns of light and shade over the landscape to create a sense of depth, leading the viewer’s eye to the blue hills in the background.

 

Sydney Long. 'Pastoral scene' 1909 (detail)

 

Sydney Long (1871-1955)
Pastoral scene (detail)
1909
Oil on cardboard
Gift of Lady Mary Spencer 1949

 

Edward J Shearsby. 'An Impression of Collins Street' c. 1910

 

Edward J Shearsby (active c. 1900-30 Melbourne)
An Impression of Collins Street
c. 1910
Oil on board
Estate of Barbara H Gordon 1999

 

The high viewpoint and bustling street are similar to Pissarro’s Boulevard Montmartre, morning, cloudy weather 1897 in the National Gallery of Victoria. Impressionism had an enormous influence on Australian artists from the late 19th century, mostly in the form of reproductions brought back by expatriate artists.

 

Edward J Shearsby. 'An Impression of Collins Street' c. 1910 (detail)

 

Edward J Shearsby (active c. 1900-30 Melbourne)
An Impression of Collins Street (detail)
c. 1910
Oil on board
Estate of Barbara H Gordon 1999

 

Frederick McCubbin. 'Golden sunlight' 1914

 

Frederick McCubbin (1855-1917)
Golden sunlight
1914
Oil on canvas
Gift of Dame Nellie Melba 1923

 

Frederick McCubbin. 'Golden sunlight' 1914 (detail)

 

Frederick McCubbin (1855-1917)
Golden sunlight (detail)
1914
Oil on canvas
Gift of Dame Nellie Melba 1923

 

The setting is below the artist’s family home on the Yarra River, South Yarra. Instead of the sight of the industrial stone crusher on the opposite bank, McCubbin has created an Arcadian fantasy of colour and light. Dame Nellie Melba possibly bought the work when she visited the McCubbin’s during an Australian tour. Melba’s father, David Mitchell, had an interest in a local Newstead mine and she visited the Gallery collection prior to donating.

The artist has used a ‘scumble’ technique: building up many layers of thinly applied paint giving a transparent effect. The composition was fist sketched in white and sienna, followed by pigment mixed on the palette and applied with a knife and brush handle to keep the colours pure. Later the work was rubbed with a pumice stone to give a smooth surface. Colours from different layers were allowed to show through. Highlights were applied over the top with paint straight from the tube.

 

E Phillips Fox (1865-1915) 'On the Mediterranean Coast' c. 1911

 

E Phillips Fox (1865-1915)
On the Mediterranean Coast
c. 1911
Oil on canvas
Presented 1935

 

Ethel Carrick (1872-1952) 'Untitled (Royal Avenue, Versailles)' c. 1909

 

Ethel Carrick (1872-1952)
Untitled (Royal Avenue, Versailles)
c. 1909
Oil on panel
Gift of Major B R F MacNay 1978

 

Ethel Carrick (1872-1952) 'Untitled (Royal Avenue, Versailles)' c. 1909 (detail)

 

Ethel Carrick (1872-1952)
Untitled (Royal Avenue, Versailles) (detail)
c. 1909
Oil on panel
Gift of Major B R F MacNay 1978

 

Lina Bryans. 'Plum Tree' 1947

 

Lina Bryans (1909-2000)
Plum Tree
1947
Oil on composition board
Purchased with funds from the Felix Cappy Bequest in his memory, 2014

Probably painted at Stanhope House, Eltham by the font gate near the cedar tree overlooking the old orchard on the property.

 

Lina Bryans. 'Plum Tree' 1947 (detail)

 

Lina Bryans (1909-2000)
Plum Tree (detail)
1947
Oil on composition board
Purchased with funds from the Felix Cappy Bequest in his memory, 2014

 

 

A modernist, Bryans was associated with Frater’s circle which included Ada May Plante and Isabel Hunter Tweddle. Her first works were painted early in 1937 and Basil Burdett selected her Backyards, South Yarra in 1938 for the Herald Exhibition of Outstanding Pictures of 1937. Her work was included in Burdett’s article in Studio (1938) and in the exhibition, Art of Australia 1788-1941, shown at MoMA (New York) in 1941. Bryans went to live in Darebin Bridge House, a converted coach-house at Darebin, in the late 1930s, joining Ada May Plante. Bryans subsequently purchased it using her inheritance, painted and decorated it distinctively and named it “The Pink Hotel”. It became an artists’ colony for Bryans, Plante, Frater, Ambrose Hallen and Ian Fairweather and other artists. It was a centre for a group of writers associated with the journal Meanjin, from whom Lina’s son Edward developed his interest in journalism.

In 1948 Bryans had her first solo exhibition. It included Nude (1945, NGV) and Portrait of Nina Christesen (1947), both painted at Darebin, which she sold later that year and moved to Harkaway, near Berwick. She took a few lessons from George Bell in 1948 and from Mary Cockburn Mercer in 1951. In 1953 she went to America, then to France where she studied for a few months at La Grande Chaumière and visited Mercer in the south of France. Back at Melbourne, she once more became prominent in the city’s artistic and cultural milieu.

Landscape painting was always important to Bryans and throughout the 1960s and 1970s, it became more dramatic and abstract. In 1965 she visited Central Australia and painted extremely colourful modernist paintings of the Australian bush. She was awarded the 1966 Crouch Prize for Embedded Rock (1964, BFAG). Her major work Landscape Quartet from her second solo exhibition, held at Georges Gallery in 1966, was purchased by the National Gallery of Victoria, which awarded her a retrospective in 1982, held at Banyule Gallery in 1982, which subsequently toured regional galleries in Victoria.

Nevertheless, as Forwood notes (2001), her portraits ‘best reveal her contribution to Australian art’, moreover, ‘her seventy-three portraits of friends engaged in the world of art and letters form a pictorial biography of Bryans herself’. Her well-known portrait of Australian writer Jean May Campbell, The Babe is Wise, (named after Campbell’s novel of the year before) was painted in 1940. It is held in the National Gallery of Victoria collection. (Text from Wikipedia website)

 

John Perceval (1923-2000) 'Double Sunset' 1961

 

John Perceval (1923-2000)
Double Sunset
1961
Oil on composition board
Purchased 1962

 

John Perceval (1923-2000) 'Double Sunset' 1961 (detail)

 

John Perceval (1923-2000)
Double Sunset (detail)
1961
Oil on composition board
Purchased 1962

 

Charles Blackman (b. 1928) 'Dream Image' 1963

 

Charles Blackman (b. 1928)
Dream Image
1963
Oil on canvas on composition board
Purchased 1964

 

Charles Blackman (b. 1928) 'Dream Image' 1963 (detail)

 

Charles Blackman (b. 1928)
Dream Image (detail)
1963
Oil on canvas on composition board
Purchased 1964

 

View of Castlemaine Art Gallery and Historical Museum with works in situ

View of Castlemaine Art Gallery and Historical Museum with works in situ

 

Two views of Castlemaine Art Gallery and Historical Museum with works in situ

 

Clifton Pugh (1924-1990) 'The Crab Catcher' 1958

 

Clifton Pugh (1924-1990)
The Crab Catcher
1958
Oil on composition board
Purchased 1958

 

Robert Jacks (1943-2014) 'Goddess' 1959/60

 

Robert Jacks (1943-2014)
Goddess
1959/60
Bronze
Gift of the artist 2001

 

Clifford Last (1918-1993) 'Family Group' 1958

 

Clifford Last (1918-1993)
Family Group
1958
Limed Pine
Gift of the Subscribers 1958

 

 

Castlemaine Art Gallery and Historical Museum
14 Lyttleton Street (PO Box 248)
Castlemaine, Vic 3450 Australia
Phone: (03) 5472 2292
Email: info@castlemainegallery.com

Opening hours:
Monday        10am to 5pm
Tuesday       CLOSED
Wednesday   10am to 5pm
Thursday      10am to 5pm
Friday          10am to 5pm
Saturday      12pm to 5pm
Sunday        12pm to 5pm

Castlemaine Art Gallery and Historical Museum website

David Moore Facebook page

LIKE ART BLART ON FACEBOOK

Back to top

31
May
15

Exhibition: ‘The photograph and Australia’ at the Art Gallery of New South Wales, Sydney

Exhibition dates: 21st March – 8th June 2015

Curator: Judy Annear, Senior curator of photographs, AGNSW

 

“Cultural theorist Ross Gibson has written that ‘being Australian might actually mean being untethered or placeless … and appreciating how to live in dynamic patterns of time rather than native plots of space’. Photographs always enable imaginative time and space regardless of their size and how little we might know of the ostensible subject. When people are oriented toward the camera and photographer, there is a gap which the viewer intuitively recognises. The gap is time as much as space. Occasionally – as in an anonymous 1855 daguerreotype taken at Ledcourt, Victoria, of Isabella Carfrae on horseback where we see a servant standing on the verandah, shading her eyes, and in the 1877 Fred Kruger photograph of the white-clad cricketer at Coranderrk – a subject in the photograph presses so close to the picture plane that we know for the time of the exposure they look directly into an unknowable future and collide now with our gaze as we look back.”

.
Judy Annear. “Time,” in Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 19

 

 

This is an important exhibition and book by Judy Annear and team at the Art Gallery of New South Wales, an investigation into the history of Australian photography that is worthy of the subject. Unfortunately, I could not get to Sydney to see the exhibition and I have only just received the catalogue. I have started reading it with gusto. With regard to the exhibition all I have to go on is a friend of mine who went to see the exhibition, and whose opinion I value highly, who said that is was the messiest exhibition that she had seen in a long while, and that for a new generation of people approaching this subject matter for the first time it’s non-chronological nature would have been quite off putting. But this is the nature of the beast (that being a thematic not chronological approach) and personally I believe that modern audiences are a lot more understanding of what was going on in the exhibition than she would give them credit for.

In the “Introduction” to the book, Annear rightly credits the work undertaken by colleagues – especially Gael Newton’s Shades of light: photography and Australia 1839-1988, published in 1988; Alan Davis’ The mechanical eye in Australia: photography 1841-1900, published in 1977; and Helen Ennis’ Photography and Australia, published in 2007. As the latter did, this new book “emphasises the ways in which photographs, especially in the nineteenth century, function in social, cultural and political contexts, exploring photography’s role in representing relationships between Indigenous and settler cultures, the construction of Australia, and its critique.” (Annear, p. 10)

While Ennis’ book took a chronological approach, with sections titled First Photographs, Black to Blak, Land and Landscape, Being Modern, Made in Australia, Localism and Internationalism, The Presence of the Past – Annear’s book takes a more conceptual, thematic approach, one that crosses time and space, linking past and present work in classificatory sections titled Time, Nation, People, Place and Transmission. Both books acknowledge the key issues that have to be dealt with when formulating a book on the photograph and Australia: “the medium itself, Australia’s history, and the relationship between them. Is Australian photography different? If so, how, and in relation to what? One has to look at places with not dissimilar histories, such as Canada and New Zealand. And other questions: what has preoccupied photographers working in relation to Australia at various points in time? Have their concerns been primarily commercial, aesthetic, historical, realist, interpretive, or theoretical? Have they developed projects unique to the photographic medium; for example, large-scale classificatory projects? What have they achieved, what did it mean then, and what does it mean now?” (Annear, p.10)

These questions are the nexus of Annear’s investigation and she seeks to answer them in the well researched chapters that follow, while being mindful of “preserving some of the slipperiness of the medium.” And there is the rub. In order to define these classificatory sections in the exhibition and book, it would seem to me that Annear shoehorns these themes onto the fluid, mutable state of “being” of the photograph, imposing classifications to order the mass of photography into bite sized entities. While “the book encourages the reader to explore connections – between different forms of photography, people and place, past and present” it also, inevitably, imposes a reading on these historical photographs that would not have been present at the time of their production.

The press release for the book says, “The photograph and Australia investigates how photography was harnessed to create the idea of a nation.” Now I find the use of that word “harnessed” – as in control and make use of – to be hugely problematic. Personally, I don’t think that the slipperiness and mutability of photography can ever be controlled by anyone to help create the idea (imagination?) of a nation. Nations build nations, not photography. As a friend of mine said to me, it’s a long bow to draw… and I would agree. The crux of the matter is that THERE ARE NO HANDLES, only the ones that we impose, later, from a distance. There is no definitive answer to anything, there are always twists and turns, always another possibility of how we look at things, of the past in the present.

Photography and photographs, “with its ability to capture both things of the world and those of the imagination,” are always unstable (which is why the photograph can still induce A SENSE OF WONDER) – always uncertain in their interpretation, then and now. Photographs do not belong to a dimension or a classification of time and space because you feel their being NOT their (historical) consequence. Hence, all of these classifications are essentially the same/redundant. Perhaps it’s only semantics, but I think the word “utilises” – make practical and effective use of – would be a better word in terms of Annear’s enquiries. It also occurred to me to turn the question around: instead of “how photography was harnessed to create the idea of a nation”; instead, “how the idea of a nation helped change photography.” Think about it.

Finally, a comment on the book itself. Beautifully printed, of a good size and weight, the paper stock is of excellent quality and thickness. The type is simple and legible and the book is lavishly illustrated with photographs. The reproductions are a little ‘flat’ but the main point of concern is the size of the reproductions. Instead of reproducing carte de visite at 1:1 scale (that is, 64 mm × 100 mm), their mounted on card size – they are reproduced at 40 mm x 68 mm (see p. 236 of the catalogue below). Small enough already, this printing size renders the detailed reading of the images almost impossible. Worse, the images are laid out horizontally on a vertical page, with no size attribution of the original, nor whether they are 1/9th, 1/6th daguerreotype’s or ambrotypes, CDV’s or cabinet cards next to the image.

The reproduction size of the daguerreotypes and ambrotypes is even worse, making the images almost unreadable. For example, in an excellent piece of writing at the end of the first chapter, “Time”, Annear refers to “an anonymous 1855 daguerreotype taken at Ledcourt, Victoria, of Isabella Carfrae on horseback where we see a servant standing on the verandah, shading her eyes,”. In the image in this posting (below) we can clearly see this woman standing on the verandah, but in the reproduction in the book (p. 139), she is reduced to a mere smudge in history, an invisibility caused by the size of the reproduction, thereby negating all that Annear comments upon. Instead of the “subject in the photograph presses so close to the picture plane that we know for the time of the exposure they look directly into an unknowable future and collide now with our gaze as we look back,” there is no pressing, hers has no presence, and our gaze cannot collide with this vision from the future past. Why designers of photographic books consistently fall prey to these traps is beyond me.

Dr Marcus Bunyan for the Art Blart blog

.
Many thank to the Art Gallery of New South Wales for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

 

Judy Annear. 'The photograph and Australia'. Sydney: Art Gallery of New South Wales, 2015. p. 236

 

Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 236

 

 

The first large-scale exhibition of its kind to be held in Australia in 27 years, The photograph and Australia presents more than 400 photographs from more than 120 artists, including Richard Daintree, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Tracey Moffatt, Robyn Stacey, Ricky Maynard and Patrick Pound.

The works of renowned artists are shown alongside those of unknown photographers and everyday material, such as domestic and presentation albums. These tell peoples’ stories, illustrate where and how they lived, as well as communicate official public narratives. Sourced from more than 35 major collections across Australia and New Zealand, including the National Gallery of Australia, the National Library of Australia and the Australian Museum, The photograph and Australia uncovers hidden gems dating from 1845 until now.

A richly illustrated publication accompanies the exhibition, reflecting the exhibition themes and investigating how Australia itself has been shaped by photography.

 

Extract from “Introduction”

“The task of this book is to formulate questions around Australian photography and its history, regardless of Australia’s, and the medium’s, permeable identity. While early photography in Australia made histories of the colonies visible, and a great deal can be read from the surviving photographic archives, interpretation of this material is often conjecture, and much remains oblique. Patrick Pound describes the sheer mass of photographs and images in the world today as an “unhinged album.”11 This dynamic of making, accumulating, ordering, disseminating, reinterpreting, re-collecting and re-narrating is an important aspect of photography. The intimate relationship, historically, between the photograph and the various arts and sciences, along with the adaptability to technological change and imaginative interpretations, allows for a constant montaging or weaving together of uses and meanings. This works against the conventional linear structure of classical histories and the idea of any progressive evolution of the medium. If what we are dealing with is a phenomenon rather than simply a form then analysing the phenomenon and its dynamic relationship to art, society, peoples, sciences, genres, and processes is critical to our modern understanding of ourselves and our place in the world as well as of the medium itself.12

In the 1970s, cultural theorist Roland Barthes wrote an essay entitled The photographic message.13 While he focussed primarily on press photography and made a distinction between reportage and ‘artistic’ photography, his pinpointing of the special status of the photographic image as a message without a code – one could say, even, a face without a name – and his understanding of photography as a simultaneously objective and invested, natural and cultural, is relevant in the colonial and post-colonial context.

We search for clues in photographs of our past and present. In some ways this is a melancholy activity, in other ways valuable detective work. In many cases it is both. Photography since its inception has belonged in a nether world of being and not being, legibility and opacity. This book preserves some of the slipperiness of the medium, while providing a series of texts touching on the photographs at hand. The history of the photograph and its relationship to Australia remains tantalisingly partial; the ever-burgeoning archives await further excavation.”14

Judy Annear. “Introduction,” in Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 13.

 

11. See ‘Transmission’ pp. 227-33
12. See Geoffrey Batchen, blog.fotomuseum.ch/2012/10/5-a-subject-for-a-history-about-photography accessed 22 April 2014
13. Roland Barthes, ‘The photographic message’, Image, music, text, trans Stephen Heath, Flamingo, London, 1984, pp. 15-31
14. Parts of this Introduction were in a paper delivered at the symposium, Border-lands: photography & cultural contest, Art Gallery of New South Wales, Sydney 31 Mar 2012

 

Time

The relationship of the photograph to ‘Time’ is discussed in chapter one, which examines how contemporary artists such as Anne Ferran, Rosemary Laing and Ricky Maynard reinvent the past through photography. The activities of nineteenth-century photographers such as George Burnell and Charles Bayliss are also discussed… The manipulation by artists and photographers of imaginative time – the time of looking at the photographic image – allows for consideration of the nexus between space and time, how subjects can be momentarily tethered and, equally, how they can float free.

Nation

Chapter two considers the idea of ‘Nation’: looking at the public role of the photograph in representing Australia at world exhibitions before Federation in 1901. Photography in this period enabled new classificatory systems to come into existence… Of particular importance was the use of the photograph to cement Darwinistic views that determined racial hierarchies according to superficial physical differences. The photograph also advertised the growing colonies to potential migrants and investors through the depiction of landscapes and amenities.

People

The third chapter, ‘People’, analyses the uncertain post-colonial heritage that all Australian inherit and how that can be evidenced and examined in photographs. The chapter encompasses portraits by Tracy Moffatt and George Goodman, for example, and considerations of where and how people lived and chose to be photographed. These include the people of the Kulin nation of Victoria, those who resided at Poonindie Mission in South Australia, the Yued people living at New Norcia mission in Western Australia, as well as the Henty family in Victoria, the Mortlocks of South Australia, the children living at The Bungalow in Alice Springs and the people of Tumut in New South Wales.

Place

‘Place’ is examined in chapter four, particularly in terms of the use of photography to enable exploration, whether to Antarctica (Frank Hurley), to map stars and further the natural sciences (Henry Chamberlain Russell, Joseph Turner), or to open up ‘wilderness’ for tourism or mining (JW Beattie, Nicholas Caire, JW Lindt, Richard Daintree) … Photographs are examined as both documents and imaginative interpretations of activity and place.

Transmission

Chapter five, ‘Transmission’, considers the traffic in photographs and the fascination with the medium’s reproducibility and circulation… The evidential aspect of the photograph has proven to be fleeting and only tangentially related to the thing it traces. The possibility of being able to fully decipher a photograph’s meaning is remote, even when it has been promptly ordered and annotated in some form of album. Each photographic form expands the possibility of instant and easy communication, but the swarm of material serves only to prove the impossibility of order, classification, and accuracy. The photograph as an aestheticised object continues regardless of platform, and the imaginative possibilities of the medium have not been exhausted.

Sections from Judy Annear. “Introduction,” in Judy Annear. The photograph and Australia. Sydney: Art Gallery of New South Wales, 2015. p. 12.

 

Charles Bayliss. 'Group of local Aboriginal people, Chowilla Station, Lower Murray River, South Australia' 1886

 

Charles Bayliss
Group of local Aboriginal people, Chowilla Station, Lower Murray River, South Australia
1886
From the series New South Wales Royal Commission: Conservation of water. Views of scenery on the Darling and Lower Murray during the flood of 1886
Albumen photograph
Art Gallery of New South Wales, purchased 1984

 

 

This tableaux of Ngarrindjeri people fishing was carefully staged by photographer Charles Bayliss in 1886. Not just subjects, they actively participated in the photography process. It was observed at the time that the fishermen arranged themselves into position, with “the grace and unique character of which a skillful artist only could show.”

“In one extraordinary image created in 1886 by the photographer Charles Bayliss, the Ngarrindjeri people of the lower Murray River were active participants in the staging of a fishing scene. Writing in his journal, Bayliss’s companion Gilbert Parker noted: “Without a word of suggestion, these natives arranged themselves in a group, the grace and unique character of which a skilful artist only could show.” Annear says the image looks like a museum diorama to modern eyes. “But these people were very active in deciding how they wanted to be photographed,” she says. “They were determined to create an image they felt was appropriate.”

The first photographs of indigenous Australians were formal, posed portraits, taken in blazing sunlight. The sitters are often pictured leaning against each other (stillness was required for long exposure times) with eyes turned to the camera and bodies wrapped in blankets or kangaroo skins. Some wore headdresses or necklaces that may or may not have belonged to them.

“Indigenous Australians agreed to be photographed out of curiosity, or perhaps for food,” says Judy Annear, curator of The photograph and Australia, a major new photography exhibition at the Art Gallery of New South Wales. “In the past, it was considered that these sorts of early pictures were indicative of the colonial gaze. But now there is a lot of research going on into how these early photos were made. Often, the local people would have been invited to come into a studio and they were paid. They would have been dressed up and told what to do.”” (Text in quotations from the Sydney Morning Herald website)

 

Unknown photographer. 'Australian scenery, Middle Harbour, Port Jackson' c. 1865

 

Unknown photographer
Australian scenery, Middle Harbour, Port Jackson
c. 1865
Carte de visite
Art Gallery of New South Wales, gift of Josef & Jeanne Lebovic, Sydney 2014

 

Unknown photographer. 'Australian scenery, Middle Harbour, Port Jackson' (verso) c. 1865

 

Unknown photographer
Australian scenery, Middle Harbour, Port Jackson (verso)
c. 1865
Carte de visite
Art Gallery of New South Wales, gift of Josef & Jeanne Lebovic, Sydney 2014

 

Ernest B Docker. 'The Three Sisters Katoomba – Mrs Vivian, Muriel Vivian and Rosamund 7 Feb 1898' 1898

 

Ernest B Docker
The Three Sisters Katoomba – Mrs Vivian, Muriel Vivian and Rosamund 7 Feb 1898
1898
Stereograph
Macleay Museum, The University of Sydney

 

Charles Nettleton (Australia 1825 – 1902) 'Untitled' 1867-1874

 

Charles Nettleton (Australia 1825 – 1902)
Untitled
1867-1874
Carte de visite
6.2 x 9.1 cm image; 6.3 x 10.0 cm mount card
Purchased 2014
Art Gallery of New South Wales

 

 

Charles Nettleton was a professional photographer born in the north of England who arrived in Australia in 1854, settling in Melbourne. He joined the studio of Townsend Duryea and Alexander McDonald, where he specialised in outdoor photography. Nettleton is credited with having photographed the first Australian steam train when the private Melbourne-Sandridge (Port Melbourne) line was opened on 12 September 1854. Nettleton established his own studio in 1858, offering the first souvenir albums to the Melbourne public. He worked as an official photographer to the Victorian government and the City of Melbourne Corporation from the late 1850s to the late 1890s, documenting Melbourne’s growth from a colonial town to a booming metropolis. He photographed public buildings, sewerage and water systems, bridges, viaducts, roads, wharves, and the construction of the Botanical Gardens. In 1861 he boarded the ‘Great Britain’ to photograph the first English cricket team to visit Australia and in 1867 was appointed official photographer of the Victorian visit of the Duke of Edinburgh. For the Victorian police he photographed the bushranger Ned Kelly in 1880. This is considered to be the only genuine photograph of the outlaw.

 

Tracey Moffatt. 'I made a camera' 2003

 

Tracey Moffatt
I made a camera
2003
Photolithograph
Collection of the artist
© Tracey Moffatt, courtesy Roslyn Oxley9 Gallery, Sydney

 

 

“The Art Gallery of New South Wales is proud to present the major exhibition The photograph and Australia, which explores the crucial role photography has played in shaping our understandings of the nation. It will run from 21 March to 8 June 2015.

Tracing the evolution of the medium and its many uses from the 1840s until today, this is the largest exhibition of Australian photography held since 1988 that borrows from collections nationwide. It presents more than 400 photographs by more than 120 artists, including Morton Allport, Richard Daintree, Paul Foelsche, Samuel Sweet, JJ Dwyer, Charles Bayliss, Frank Hurley, Harold Cazneaux, Olive Cotton, Max Dupain, Sue Ford, Carol Jerrems, Tracey Moffatt, Robyn Stacey, Ricky Maynard, Anne Ferran and Patrick Pound.

Iconic images are shown alongside works by unknown and amateur photographers, including photographic objects such as cartes de visite, domestic albums and the earliest Australian X-rays. The exhibition’s curator – Judy Annear, senior curator of photographs, Art Gallery of NSW – said:

“Weaving together the multiple threads of Australia’s photographic history, The photograph and Australia investigates how photography invented modern Australia. It poses questions about how the medium has shaped our view of the world, ourselves and each other. Audiences are invited to experience the breadth of Australian photography, past and present, and the sense of wonder the photograph can still induce through its ability to capture both things of the world and the imagination.”

The exhibition brings together hundreds of photographs from more than 35 private and public collections across Australia, England and New Zealand, including the National Gallery of Australia, the National Library of Australia and the State Library of Victoria. Highlights include daguerreotypes by Australia’s first professional photographer, George Goodman, and recent works by Simryn Gill. From mass media’s evolution in the 19th century to today’s digital revolution, The photograph and Australia investigates how photography has been harnessed to create the idea of a nation and reveals how our view of the world, ourselves and each other has been changed by the advent of photography. It also explores how photography operates aesthetically, technically, politically and in terms of distribution and proliferation, in the Australian context.

Curated from a contemporary perspective, the exhibition takes a thematic rather than a chronological approach, looking at four interrelated areas: Aboriginal and settler relations; exploration (mining, landscape and stars); portraiture and engagement; collecting and distributing photography. A lavishly illustrated 308-page publication, The photograph and Australia (Thames & Hudson, RRP $75.00), accompanies the exhibition, reflecting its themes and investigating the medium’s relationship to people, place, culture and history.”

Press release from the Art Gallery of New South Wales

 

David Moore (Australia 06 Apr 1927 – 23 Jan 2003) 'Migrants arriving in Sydney' 1966, printed later

 

David Moore (Australia 06 Apr 1927 – 23 Jan 2003)
Migrants arriving in Sydney
1966, printed later
gelatin silver photograph
30.2 x 43.5 cm image; 35.7 x 47.0 cm sheet
Gift of the artist 1997
© Lisa, Karen, Michael and Matthew Moore

 

 

In this evocative image Moore condenses the anticipation and apprehension of immigrants into a tight frame as they arrive in Australia to begin a new life. The generational mix suggests family reconnections or individual courage as each face displays a different emotion.

Moore’s first colour image Faces mirroring their expectations of life in the land down under, passengers crowd the rail of the liner Galileo Galilei in Sydney Harbour was published in National Geographic in 1967.1 In that photograph the figures are positioned less formally and look cheerful. But it is this second image, probably taken seconds later, which Moore printed in black-and-white, that has become symbolic of national identity as it represents a time when Australia’s rapidly developing industrialised economy addressed its labour shortage through immigration. The strength of the horizontal composition of cropped figures underpinned by the ship’s rail is dramatised by the central figure raising her hand – an ambiguous gesture either reaching for a future or reconnecting with family. The complexity of the subject and the narrative the image implies ensured its public success, which resulted in a deconstruction of the original title, ‘European migrants’, by the passengers, four of whom it later emerged were Sydneysiders returning from holiday, alongside two migrants from Egypt and Lebanon.2 Unintentionally Moore’s iconic image has become an ‘historical fiction’, yet the passengers continue to represent an evolving Australian identity in relation to immigration.

1. Max Dupain and associates: http://www.mdaa.com.au/people/moore-05.php. Accessed 17.06.2006
2. Thomas D & Sayers A 2000, From face to face: portraits by David Moore, Chapter & Verse, Sydney

© Art Gallery of New South Wales Photography Collection Handbook, 2007

 

David Moore. 'Redfern Interior' 1949

 

David Moore
Redfern Interior
1949
Silver gelatin print
26.7 x 35.4 cm image; 40.3 x 50.5 cm sheet
Purchased with funds provided by the Art Gallery Society of New South Wales 1985

 

David Moore’s career spanned the age of the picture magazines (for example: Life, Time, The Observer) through to major commissions such as the Sydney Opera House, CSR, and self initiated projects like To build a Bridge: Glebe Island. The breadth and depth of his career means there is an extraordinary archive of material which describes and interprets the last 50 years of Australian life, the life of the region, and events in Britain and the United States. He was instrumental in advancing Australian photography throughout his career and in the early 1970s was active in setting up the Australian Centre for Photography, Sydney. From well-known images such as Migrants arriving in Sydney to Redfern interior, Moore has documented events and conditions in Sydney.

 

Charles Bayliss (England, Australia 1850 – 1897) Henry Beaufoy Merlin (England, Australia 1830 – 1873) 'Untitled' c. 1872

 

Charles Bayliss (England, Australia 1850 – 1897)
Henry Beaufoy Merlin (England, Australia 1830 – 1873)
Untitled
c. 1872
Albumen photograph
Dimensions
24.5 x 29.4 cm image/sheet
Gift of Josef & Jeanne Lebovic, Sydney 2014

 

Paul Foelsche. 'Adelaide River' 1887

 

Paul Foelsche
Adelaide River
1887
Albumen photograph
Art Gallery of New South Wales, gift of Josef & Jeanne Lebovic, Sydney 2014

 

 

This photo of people relaxing on the banks of the Adelaide River in the Northern Territory was taken by Paul Foelsche, a policeman and amateur anthropologist.

The collection of 19th century images brought together in The photograph and Australia show indigenous people in formal group portraits or as “exotic” subjects. They are photographed alongside early settlers, working as stockmen or holding tools. Amateur gentleman photographers such as the Scottish farmer John Hunter Kerr captured such images on his own property, Fernyhurst Station, in Victoria. Another amateur photographer, Paul Foelsche, the first policeman in the Northern Territory, took portraits of the Larrakia people, which have since become a priceless archive for their descendants.

 

NSW Government Printer. 'The General Post Office, Sydney' 1892–1900

 

NSW Government Printer
The General Post Office, Sydney
1892-1900
Albumen photograph
State Library of New South Wales, Sydney, presented 1969

 

Melvin Vaniman. 'Panorama of intersection of Collins and Queen Streets, Melbourne' 1903

 

Melvin Vaniman
Panorama of intersection of Collins and Queen Streets, Melbourne
1903

 

J. W. Lindt (Germany 1845 – Australia from 1862, Australia 1926) 'Body of Joe Byrne, member of the Kelly gang, hung up for photography, Benalla' 1880

 

J. W. Lindt (Germany 1845 – Australia from 1862, Australia 1926)
Body of Joe Byrne, member of the Kelly gang, hung up for photography, Benalla
1880
Gelatin silver print

 

 

Australia’s first ever press photograph pushed boundaries few journalists would transgress today. Captured by J.W, Lindt in 1880, the photo shows the dead body of a member of Ned Kelly’s infamous gang, strung up on a door outside the jail house in Benalla in regional Victoria.

Joe Byrne died from loss of blood after being shot in the groin during the siege of Glenrowan pub. Another photographer is pictured mid-shot, while an illustrator walks away from the new technology with his hat on and portfolio tucked under his arm. “We see this as the first Australian press photograph. It has that spontaneity media photographs have, and it’s also very evocative with many different stories in it,” the gallery’s senior curator of photographs, Judy Annear, said. (Text from the Sydney Morning Herald website)

 

Richard Daintree. 'Midday camp' 1864–70

 

Richard Daintree
Midday camp
1864-70
Albumen photograph, overpainted with oils
Queensland Museum, Brisbane

 

This image was an albumen photograph (using egg whites to bind chemicals to paper) which was then hand-coloured with oil paints to bring it to life. The photographer took it in the 1860s to advertise Australia as a land of opportunity.

 

Ricky Maynard. 'The Healing Garden, Wybalenna, Flinders Island, Tasmania' 2005

 

Ricky Maynard (Australia 1953 – )
Ben Lomond, Tasmania , Cape Portland, Tasmania
The Healing Garden, Wybalenna, Flinders Island, Tasmania, from the series Portrait of a distant land
2005, printed 2009
Gelatin silver photograph, selenium toned
34.0 x 52.0 cm image; 50.3 x 60.8 cm sheet
Art Gallery of New South Wales, purchased with funds provided by the Aboriginal Collection Benefactors’ Group and the Photography Collection Benefactors’ Program 2009

 

 

Ricky Maynard has produced some of the most compelling images of contemporary Aboriginal Australia over the last two decades. Largely self taught, Maynard began his career as a darkroom technician at the age of sixteen. He first established his reputation with the 1985 series Moonbird people, an intimate portrayal of the muttonbirding season on Babel, Big Dog and Trefoil Islands in his native Tasmania. The 1993 series No more than what you see documents Indigenous prisoners in South Australian gaols.

Maynard is a lifelong student of the history of photography, particularly of the great American social reformers Jacob Riis, Lewis Hines, Dorothea Lange and Walker Evans. Maynard’s images cut through the layers of rhetoric and ideology that inevitably couch black history (particularly Tasmanian history) to present images of experience itself. His visual histories question ownership; he claims that ‘the contest remains over who will image and own this history…we must define history, define whose history it is, and define its purpose as well as the tools used for the telling it’.

In Portrait of a distant land Maynard addresses the emotional connection between history and place. He uses documentary style landscapes to illustrate group portraits of Aboriginal peoples’ experiences throughout Tasmania. Each work combines several specific historical events, creating a narrative of shared experience – for example The Mission relies on historical records of a small boy whom Europeans christened after both his parents died in the Risdon massacre. This work highlights the disparity between written, oral and visual histories, as Maynard attempts to create ‘a combination of a very specific oral history as well as an attempt to show a different way of looking at history in general’.

 

JW Lindt. 'No 37 Bushman and an Aboriginal man' 1873

 

JW Lindt
No 37 Bushman and an Aboriginal man
1873
Albumen photograph
Grafton Regional Gallery Collection, Grafton, gift of Sam and Janet Cullen and family 2004

 

Professional photographers such as the Frankfurt-born John William Lindt (who became famous for photographing the capture of the Kelly Gang at Glenrowan in 1880) took carefully posed tableaux images in his Melbourne studio. One set of Lindt photographs, taken between 1873 and 1874, show settlers and indigenous people posing with the tools of their trade. One unusual image shows a settler holding a spear and a local man holding a rifle.

Annear says the photographs speak of a time when early settlers and indigenous people were engaged in an exchange of cultures. “These photos weren’t just a passive, one-way process,” Annear says. “It wasn’t just about capture and exoticism. We are finding contemporaneous accounts that point to a level of exchange going on that was extremely important. These photos show who those people were, where they lived and what they were doing. They have a very powerful presence in that regard, and Aboriginal people today are going back through these photographs in order to trace their family trees.” …

Annear says she could have put together an exhibition of images of the “great suffering” experienced by Aboriginal people in Australia, but chose not to. “I found the 19th century material so rich and strong and most people aren’t aware of these images. It seemed like a great opportunity to bring them forward,” she says. “I don’t want to whitewash history, but I do want people to see how rich life was, how people were adapting, and then how that was removed. After Federation and the White Australia policy and other assimilation policies, photos of indigenous people seem to disappear. Why did they disappear? The people were still here. They were greatly diminished in many senses, but nonetheless they were still here.”

Elissa Blake. “Art Gallery of NSW photography exhibition: Stories told in black and white,” on the Sydney Morning Herald website, April 2, 2015

 

Charles Bayliss. 'Lawrence Hargrave trochoided plane model' 1884

 

Charles Bayliss
Lawrence Hargrave trochoided plane model
1884
Albumen photograph
Museum of Applied Arts and Sciences, Sydney, gift of Mr William Hudson Shaw 1994

 

Unknown photographer. 'Duryea Gallery, Grenfell Street, Adelaide' c. 1865

 

Unknown photographer
Duryea Gallery, Grenfell Street, Adelaide
c. 1865
Carte de visite
State Library of South Australia, Adelaide

 

JJ Dwyer. 'Kalgoorlie's first post office' c. 1900

 

J. J. Dwyer
Kalgoorlie’s first post office
c. 1900
Gelatin silver photograph
Kerry Stokes Collection, Perth
Photo: Acorn Photo, Perth

 

Harold Cazneaux. 'Spirit of endurance' 1937

 

Harold Cazneaux
Spirit of endurance
1937
Gelatin silver photograph
Art Gallery of New South Wales, gift of the Cazneaux family 1975

 

Keast Burke (New Zealand, Australia 1896 - 1974) 'Husbandry 1' c. 1940

 

Keast Burke (New Zealand, Australia 1896 – 1974)
Husbandry 1
c. 1940
Gelatin silver photograph, vintage
30.5 x 35.5 cm image/sheet
Gift of Iris Burke 1989

 

Unknown photographer. 'Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria' c. 1855 (detail)

 

Unknown photographer
Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria
c. 1855
Daguerreotype, hand-tinted
National Gallery of Australia, Canberra, purchased 2012

 

Unknown photographer. 'Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria' c. 1855

 

Unknown photographer
Isabella Carfrae on horseback, Ledcourt, Stawell, Victoria
c. 1855
Daguerreotype, hand-tinted
National Gallery of Australia, Canberra, purchased 2012

 

 

“In the late 19th century, cameras were taking us both inside the human body and all the way to the moon. By the 1970s the National Gallery of Victoria had begun collecting photographic art, and within another decade the digital revolution was underway. But this exhibition – the largest display of Australian photography since Gael Newton mounted the 900-work Shades of Light: Photography and Australia 1838-1988 at the National Gallery of Australia 27 years ago – is not chronological.

It opens with a salon hang of portraits of 19th and 20th century photographers, as if to emphasise their say in what we see, and continues with works grouped by themes: Aboriginal and settler relations; exploration; mining, landscape and stars; portraiture and engagement; collecting and distributing photography.

“A number of institutions and curators have tackled Australian photography from a chronological perspective and have done an extremely good job of it,” Annear says. “I have used their excellent research as a springboard into another kind of examination of the history of photography in this country. Nothing in photography was actually invented here, so I have turned it around and considered how photography invented Australia.”

Most of the photographs – about three quarters of the show, in fact – date from the first 60 years after Frenchman Louis Daguerre had his 1839 revelation about how to capture detailed images in a permanent form. Annear says the decades immediately following photography’s arrival in Australia provide a snapshot of all that has followed since.

“In terms of the digital revolution it is interesting to look back at the 19th century. What is going on now was all there then, it is just an expansion. There is a very clear trajectory from the birth of photography towards multiplication. After the invention of the carte de visite in the late 1850s they were made like there was no tomorrow. There are millions of cartes de visite in existence.”

There are quite a few of these small card-mounted photographs (the process was patented in Paris, hence the French) in the exhibition too, including one of a woman reflected in water at Port Jackson dating from circa 1865. With the trillions of images now in existence, it is easy to forget that once upon a time catching your reflection in the water, glass or a mirror was the only way to glimpse your own image (short of paying hefty sums for an artist to draw you).

After the invention of photography, people were quick to see how easily they could manipulate the impression created. While photographs are about fixing a moment in time, we can never be really sure just what it is they are fixing. “It’s not as simple as windows and mirrors – what we are looking at has always been constructed in some way,” Annear says. “What’s interesting about the medium is that you think it’s recording, fixing and capturing, but it is just creating an endless meditation on whatever a photograph’s relationship might be to whatever was real at the time it was taken.”

Extract from Megan Backhouse. “How the Photograph Shaped a Nation,” on the Art Guide Australia website, 20 April 2015

 

Sue Ford. 'Self-portrait' 1986

 

Sue Ford
Self-portrait
1986
From the series Self-portrait with camera (1960-2006) 2008
Colour Polaroid photograph
Art Gallery of New South Wales, purchased with funds provided by the Paul & Valeria Ainsworth Charitable Foundation, Russell Mills, Mary Ann Rolfe, the Photography Collection Benefactors and the Photography Endowment Fund 2015
© Sue Ford Archive

 

George Goodman. 'Caroline and son Thomas James Lawson' 1845

 

George Goodman
Caroline and son Thomas James Lawson
1845
Daguerreotype
State Library of New South Wales, Sydney, presented 1991

 

Olive Cotton. 'Only to taste the warmth, the light, the wind' c. 1939

 

Olive Cotton
‘Only to taste the warmth, the light, the wind’
c. 1939
Gelatin silver photograph
Art Gallery of New South Wales, purchased with funds provided by John Armati 2006

 

Unknown photographer. 'John Gill and Joanna Kate Norton' 1856

 

Unknown photographer
John Gill and Joanna Kate Norton
1856
Albumen photograph
Picture Collection, State Library of Victoria, Melbourne

 

Unknown photographer. 'Alfred and Fred Thomas, proprietors of the Ravenswood Hotel' 1880-90

 

Unknown photographer
Alfred and Fred Thomas, proprietors of the Ravenswood Hotel
1880-90
Tintype
State Library of Western Australia, Perth

 

Mervyn Bishop. 'Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory' 1975

 

Mervyn Bishop
Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari, Northern Territory
1975
Type R3 photograph
Art Gallery of New South Wales, Hallmark Cards Australian Photography Collection Fund 1991
© Mervyn Bishop. Department of the Prime Minister and Cabinet

 

Axel Poignant (England, Australia, England 12 Dec 1906 – 05 Feb 1986) 'Aboriginal stockman, Central Australia' c. 1947, printed 1982

 

Axel Poignant (England, Australia, England 12 Dec 1906 – 05 Feb 1986)
Aboriginal stockman, Central Australia
c. 1947, printed 1982
Type C photograph
35.6 x 24.4 cm image/sheet
Purchased 1984
© Courtesy Roslyn Poignant

 

 

Though not born in Australia, Axel Poignant’s work is largely about the ‘Outback’, its flora and fauna and the traditions of Australian and Indigenous identity. Poignant was born in Yorkshire in 1906 to a Swedish father and English mother, and arrived in Australia in 1926 seeking work and adventure. After tough early years of unemployment and homelessness, he eventually settled in Perth and found work as a portrait photographer, before taking to the road and the bush in search of new subjects. Poignant became fascinated with the photo-essay as a means of adding real humanity to the medium, and much of his work is in this form. The close relationships he developed with Aborigines on his travels are recorded in compassionate portraits of these people and their lives – the low angles and closely cropped frames appear more natural and relaxed than the stark compositions of earlier ethnographic photography.

 

Nicholas Caire. 'Fairy scene at the Landslip, Blacks' Spur' c. 1878

 

Nicholas Caire
Fairy scene at the Landslip, Blacks’ Spur
c. 1878
Albumen photograph
National Gallery of Victoria, Melbourne, purchased 1994

 

Frank Styant Browne. 'Hand' 1896

 

Frank Styant Browne
Hand
1896
X-ray
Queen Victoria Museum and Art Gallery collection, Launceston

 

 

Art Gallery of New South Wales
Art Gallery Road, The Domain
Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

LIKE ART BLART ON FACEBOOK

Back to top

16
Mar
14

Review: ‘Wildcards: Bill Henson shuffles the deck’ at Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 1st February – 30th March 2014

.

Installation photograph of 'Wildcards: Bill Henson shuffles the deck' at the Monash Gallery of Art

Installation photograph of 'Wildcards: Bill Henson shuffles the deck' at the Monash Gallery of Art

.

Installation photographs of Wildcards: Bill Henson shuffles the deck at the Monash Gallery of Art

1/ stygian gloom
2/large grouping of 14 works by Wesley Stacey

.

UNKNOWN_WEB

.

Unknown
Untitled
c. 1900
Cyanotype print
Monash Gallery of Art, City of Monash Collection
Acquired 2012

.

.

vapid [vap-id]
adjective
lacking or having lost life, sharpness, or flavor

Origin:
1650-60;  Latin vapidus;  akin to va·por [vey-per]
noun
a visible exhalation, as fog, mist, steam, smoke diffused through or suspended in the air; particles of drugs that can be inhaled as a therapeutic agent.

.

.
This is an unexceptional exhibition, one that lacks jouissance in the sense of a transgressive kind of enjoyment, an investigation of the subject that gives pleasure in taking you to unexpected places. At times I felt like a somnambulist walking around this exhibition of photographs from the Monash Gallery of Art collection curated by Bill Henson, pitched into stygian darkness and listening to somewhat monotonous music. It was a not too invidious an exercise but it left me with a VAPID feeling, as though I had inhaled some soporific drug: the motion of the journey apparently not confined by a story, but in reality that story is Henson’s mainly black and white self-portrait. The photographs on the wall, while solid enough, seemed to lack sparkle. There were a couple of knockout prints (such as David Moore’s Himalaya at dusk, Sydney, 1950 below, the Untitled Cyanotype, c. 1900, above and Mark Hinderaker’s delicate portrait of Fiona Hall, 1984, below) and some real bombs (the large Norman Lindsay photographs, modern reproductions printed many times their original size were particularly nauseous) and one has to ask, were the images chosen for how they were balanced on the wall or were they chosen for content?

Henson states that there was no concept or agenda when picking the 88 photographs for this exhibition, simply his INTENSITY of feeling and intuition, his intuitive response to the images when he first saw them – to allow “their aesthetics to determine their presence… our whole bodies to experience these photographs – objects as pictures as photographs.”1 Henson responded as much as possible to the thing which then becomes an iconography (which appeals to his eye) as he asks himself, why is one brush stroke compelling, and not another? The viewer can then go on a journey in which MEANING comes from FEELING, and SENSATIONS are the primary stuff of life.

One of Henson’s preoccupations, “is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it.”2 He would like us to acknowledge the presence and aura (Walter Benjamin) of the photograph as we stand in front of it, responding with our whole bodies to the experience, not just our eyes. He wants us to have an intensity of feeling towards these works, responding to their presence and how he has hung the works in the exhibition. “There are no themes but rather images that appeal to the eye and, indeed, the whole body. Because photographs are first and foremost objects, their size, shape grouping and texture are as important as the images they’re recording.”3

Henson insists that there was no preconceived conceptual framework for picking these particular photographs but this is being disingenuous. Henson was invited to select images from the MGA collection with the specific idea of holding an exhibition, so this is the conceptual jumping off point; he then selected the images intuitively only to then group and arrange then intuitively/conceptually – by thinking long and hard about how these images would be grouped and hung on the wall of the gallery. I would like to believe that Henson was thinking about MUSIC when he hung this exhibition, not photography. Listen to Henson talk about the pairing of Leonie Reisberg’s Portrait of Peggy Silinski, Tasmania (c. 1976, below) and Beverley Veasey’s Study of a Calf, Bos taurus (2006, below) in this video, and you will get the idea about how he perceives these photographs relate to each other, how they transcend time and space.

This is one of the key elements of the exhibition: how Henson pushes and pulls at time and space itself through the placing of images of different eras together. The other two key elements are how the music rises and falls through the shape of the photographs themselves; and how the figures within the images are pulled towards or pushed away from you. With regard to the rise and fall, Henson manipulates the viewer through the embodiedness of both horizontal and vertical photographs, reminding me of a Japanese artist using a calligraphy brush (see the second installation image above, where the photographs move from the vertical to the square and then onto panoramic landscape). In relation to the content of the images, there seems to be a preoccupation (a story, a theme?) running through the exhibition with the body being consumed by the landscape or the body being isolated from the landscape but with the threat of being consumed by it. Evidence of this can be seen in Wesley Stacey’s Willie near Mallacoota (1979, below) where the body almost melts into the landscape and David Moore’s Newcastle steelworks (1963, below) where the kids on the bicycles are trying to escape the encroaching doom that hovers behind them.

One of the key images in the exhibition for me also reinforces this theme – a tiny Untitled Cyanotype (c. 1900, above) in which two Victorian children are perched on a bank near a stream with the bush beyond – but there are too many of this ilk to mention here: either the figures are pulled towards the front of the frame or pushed back into the encroaching danger, as though Henson is interrogating, evidencing un/occupied space. Overall, there is an element of control and lyrical balance in how he has grouped and hung these works together, the dark hue of the gallery walls allowing the photographs to exist as objects for themselves. Henson puts things next to each other in sequences and series to, allegedly, promote UNEXPECTED conversations and connections through a series of GESTURES.

As Henson notes,

“Maybe it’s the fact that the photographs have the ability to suggest some other thing and that’s what draws you in – that’s that feeling, the thing that slips away from thought. These are really the same things that apply to our meetings with any work of art, whether it’s a piece of music or a sculpture or anything else. There’s something compelling, there’s something there that sort of animates your speculative capacity, causes you to wonder. Other times, or most of the time, that’s not the case. Certainly most of the time that’s not the case with photography.”4

.

For me, there was little WONDER in this exhibition, something that you would go ‘oh, wow’ at, some way of looking at the world that is interesting and insightful and fractures the plaisir of cultural enjoyment and identity. While the photographs may have been chosen intuitively and then hung intuitively/conceptually, I simply got very little FEELING, no ICE/FIRE  (as Minor White would say) – no frisson between his pairings, groupings and arrangements. It was all so predictable, so ho-hum. Everything I expected Henson to do… he did!

There were few unexpected gestures, no startling insight into the human and photographic condition. If as he says, “Everything comes to you through your whole body, not just through your eyes and ears,”5 and that photographs are first and foremost objects, their size, shape, grouping and texture as important as the images they’re recording THEN I wanted to be moved, I wanted to feel, to be immersed in a sensate world not a visible exhalation (of thought?), a vapor that this exhibition is. Henson might have painted an open-ended self-portrait but this does not make for a very engaging experience for the viewer. In this case, the sharing of a story has not meant the sharing of an emotion.

.
Dr Marcus Bunyan for the Art Blart blog

.

.
1. 
Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014.
2. Ibid.,
3. Fiona Gruber. “Review of Wildcards, Bill Henson Shuffles the Deck” on the Guardian website, Wednesday 12 February 2014 [Online] Cited 16/03/2014
4. Fehily op. cit.,
5. Fehily op. cit.,

.

Many thankx to the 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.

WARNING

Aboriginal and Torres Strait Islander viewers should be aware that the following posting may contain images of deceased persons.

.

.

John Eaton. 'Sheep in clearing' c. 1920s

.

John Eaton (born United Kingdom 1881; arrived Australia 1889; died 1967)
Sheep in clearing
c. 1920s
Gelatin silver print
15.6 x 23.8 cm
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

.

Fred Kruger. 'Queen Mary and King Billy outside their mia mia' c. 1880

.

Fred Kruger (born Germany 1831; arrived Australia 1860; died 1888)
Queen Mary and King Billy outside their mia mia
c. 1880
Albumen print
13.4 x 20.8 cm
Monash Gallery of Art, City of Monash Collection acquired 2012

.

David Moore. 'Himalaya at dusk, Sydney' 1950

.

David Moore (Australia 1927-2003)
Himalaya at dusk, Sydney
1950
Gelatin silver print, printed 2005
24.5 x 34.25 cm
Monash Gallery of Art, City of Monash Collection donated by the Estate of David Moore 2006
Courtesy of the Estate of David Moore (Sydney)

.

Stacey-willie-near-mallacoota

.

Wesley Stacey (born Australia 1941)
Willie near Mallacoota
1979
From the series Koorie set
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program by Christine Godden 2011

Published under fair use for the purpose of art criticism

.

David MOORE Newcastle steelworks

.

David Moore (Australia 1927-2003)
Newcastle steelworks
1963
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Acquired 1981

Published under fair use for the purpose of art criticism

.

.

“One of those preoccupations is an interest in the photograph as an object, in the physical presence of the print or whatever kind of technology is being used to make it. Part of the reason for that is that photography, more than any other medium, suffers from a mistake or misunderstanding people have when they’ve seen a reproduction in a magazine or online: they think they’re seeing the original. A certain amount of photography is made with its ultimate intention being to be seen in a magazine or online, but most photography, historically, ended up in its final form as a print – a cyanotype, or a tin type or a daguerreotype or whatever it might be.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism.

.

REISBERG-WEB

.

Leonie Reisberg (born Australia 1955)
Portrait of Peggy Silinski, Tasmania
c. 1976
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

.

VEASEY_calf_WEB

.

Beverley Veasey (born Australia 1968)
Study of a Calf, Bos taurus
2006
Chromogenic print
Monash Gallery of Art, City of Monash Collection
Acquired 2006

.

.

“I think when you look through any collection, you’re often struck by the kind of pointlessness and banality of photography. It doesn’t matter which museum in the world you look at. It’s like, “is there any need for this thing to exist at all?”. It probably comes back to the capacity of the object, the image to suggest things, the suggestive potential rather than the prescriptive, which is a given in photography of course, the evidential authority of the medium preceding any individual reading we have of particular pictures. Maybe it’s the fact that the photographs have the ability to suggest some other thing and that’s what draws you in – that’s that feeling, the thing that slips away from thought. These are really the same things that apply to our meetings with any work of art, whether it’s a piece of music or a sculpture or anything else. There’s something compelling, there’s something there that sort of animates your speculative capacity, causes you to wonder. Other times, or most of the time, that’s not the case. Certainly most of the time that’s not the case with photography.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism.

.

POIGNANT-WEB

.

Axel Poigant (born United Kingdom 1906; arrived Australia 1926; died 1986)
Jack and his family on the Canning Stock Route
1942
Gelatin silver print, printed 1986
Monash Gallery of Art, City of Monash Collection
Acquired 1991

.

JOHNSON_light-performance_WEB

.

Tim Johson (born Australia 1947)
Light performances
1971-72
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Acquired 2011

.

FAHD_alicia_WEB

.

Cherine Fahd (born Australia 1974)
Alicia
2003
From the series A woman runs
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated through the Australian Government’s Cultural Gifts Program 2011

.

STACEY_friends-WEB

.

Wesley Stacey (born Australia 1941)
Untitled
1973
From the series Friends
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Bill Bowness 2013

.

.

“That was one of the things that interested me and continues to interest me about photography: how these things inhabit the world as objects. And indeed we read them not just with our eyes but with how our whole bodies read and encounter and negotiate these objects, which happen to be photographs. And that’s very much a thing that interests me in the way that I work. I feel sometimes that I only happen to make photographs myself and that it’s a means to an end… So there’s a sense in which I’m interested in these objects that happen to be photographs and the way that they inhabit the same space that our bodies inhabit. Everything comes to you through your whole body, not just through your eyes and ears – it’s a vast amount of information. Watching something get bigger as you draw closer to it, not just matters of proximity, but texture or the way objects sit in a space when they’re lit a certain way – all of this is very interesting to me, always has been.”

Interview with Bill Henson by Toby Fehily posted 01 Feb 2014 on the Art Guide Australia website [Online] Cited 18/02/2014. Used under fair use for the purpose of art criticism.

.

HINDERAKER_Fiona-Hall_WEB

.

Mark Hinderaker (born United States of America 1946; arrived Australia 1970; died 2004)
Fiona Hall
1984
Gelatin silver print
Monash Gallery of Art, City of Monash Collection
Donated by Janice Hinderaker through the Australian Government’s Cultural Gifts Program 2003

.

LLINDSAY_Norman-and-Rose-WEB

.

Lionel Lindsay (Australia 1874–1961)
Norman Lindsay and Rose Soady, Bond Street studio
c. 1909
Gelatin silver print, printed 2000
Monash Gallery of Art, City of Monash Collection
Donated by Katherine Littlewood 2000

.

STRIZIC_BHP_WEB

.

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012)
BHP steel mill, Port Kembla, 1959
1959
Gelatin silver print, printed 1999
Monash Gallery of Art, City of Monash Collection
Donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008

.

.

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue – Fri: 10am – 5pm
Sat – Sun: 12pm – 5pm
Mon/public holidays: closed

Monash Gallery of Art website

LIKE ART BLART ON FACEBOOK

Back to top

26
Jan
13

Exhibition: ‘Flatlands: photography and everyday space’ at the Art Gallery of New South Wales (AGNSW), Sydney

Exhibition dates: 13th September 2012 – 3rd February 2013

.

This posting contains one of my favourite early works by Fiona Hall, Leura, New South Wales (1974, below) which is redolent of all the themes that would be expressed in the later work – an alien landscape that examines “the relationship between humankind and nature and the symbolic role of the [fecund] garden in western iconography.” In her work the “nature” of things (plants, money, videotape, plumbing fittings, birds nests, etc…) are re/classified, re/ordered and re/labelled.

Another stunning photograph in this posting is Minor White’s Windowsill daydreaming (1958, below). It is one of my favourite images of all time: because of the power of observation (to be able to recognise, capture and present such a manifestation!); because of the images formal beauty; and because of its metaphysical nature – a poetry full of esoteric allusions, one that addresses a very profound subject matter that is usually beyond ordinary knowledge or understanding. This alien presence, like the structure of an atom, is something that lives beyond the edges of our consciousness, some presence that hovers there, that we can feel and know yet can never see. Is it our shadow, our anima or animus? This is one of those rare photographs that will always haunt me.

.
Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All text accompanying photographs © Art Gallery of New South Wales Photography Collection Handbook, 2007.

.

Cecil Bostock (Australia 1884–1939) 'Phenomena' c. 1938

.

Cecil Bostock Australia 1884-1939
Phenomena
c. 1938
gelatin silver photograph
26.3 x 30.5cm
Gift of Max Dupain 1980

.
Bostock remains an enigmatic personality in Australian pictorial and early modernist photography. This is at least in part due to his body of work being scattered on his death in 1939 as it was auctioned to cover his debts. Fortunately Phenomena was left to his former assistant Max Dupain who had worked with him from 1930 to 1933.

Phenomena was one of 11 photographs Bostock exhibited with the Contemporary Camera Groupe and it was placed in the window at David Jones along with other photographs such as Plum blossom 1937 by Olive Cotton and Mechanisation of art by Laurence Le Guay. Phenomena is a wonderful modernist work with its plays of light and dark and disorienting shapes and curving lines. It is impossible to tell exactly how the shapes are made or where the light is coming from, nor what the objects are. It could easily be exhibited upside down where the viewer could be looking down on objects arranged on a flat surface. Phenomena is a tribute to Bostock’s restless, inventive and exacting abilities.

.

Fiona Hall. 'Leura, New South Wales' 1974

.

Fiona Hall Australia b.1953
Leura, New South Wales
1974
Gelatin silver photograph
27.8cm x 27.8cm
Art Gallery of New South Wales, Sydney purchased 1981
© Fiona Hall

.
The rich tones and fine detail of Leura, New South Wales were made possible by Hall’s use of a large-format nineteenth-century view camera. The antiquated technology, once used by colonial photographers to document nature and the taming of the Australian landscape, here records instead the verdant foliage of a floral-patterned couch and carpet. Made at the beginning of Hall’s career, it demonstrates her burgeoning interest in the representation of nature. The relationship between humankind and nature and the symbolic role of the garden in western iconography has since been a recurrent theme in her work, which ranges across photography, sculpture and installation. Leura… differs from Hall’s other photographs in that it documents a “found” object. Hall’s later works, such as The Antipodean suite 1981 and her large-format polaroids of 1985, are of her own constructions and sculptures. Her Paradisus terrestris series 1989-90, 1996, 1999, of aluminium repousse sculptures takes the garden of Eden as its subject and treats it as an Enlightenment florilegium, wherein nature is classified, ordered and labelled. This kind of botanical transcription, like photography, was the process through which the alien Australian landscape was ‘naturalised’ by its colonists – a process which Hall wryly comments on in this acutely observed encounter within a domestic interior.

.

David Moore. 'Light pattern, camera in motion' c. 1948, printed 1997

.

David Moore Australia 1927 – 2003
Light pattern, camera in motion
c. 1948, printed 1997
Gelatin silver photograph
50.7cm x 40.3cm
Art Gallery of New South Wales, Sydney
Gift of Karen, Lisa, Michael and Matthew Moore, 2004

.

Simryn Gill. From 'A long time between drinks' 2005

.

Simryn Gill Singapore/Malaysia/Australia b.1959
From A long time between drinks
2005
Portfolio of 13 offset prints
29.8cm x 29.7cm
Art Gallery of New South Wales, Sydney
© Simryn Gill

.
Among Simryn Gill’s multi-disciplinary explorations of identity and belonging, investigations of suburban locations carry a particular resonance due to their often autobiographical nature. A long time between drinks 2009 is an intensely focused look at suburban Adelaide which was the artist’s first experience of Australia when she arrived in 1987 from Kuala Lumpur, and the city where she first exhibited. Gill returned to Adelaide in 2005 to revisit this early point of contact, producing an evocative series of 13 images.

The photographs impart an ostensible sense of alienation and isolation that corresponds to the artist’s position as an outsider looking in. Gill’s viewpoint of these empty streets that seem to lead nowhere is forensic and detached. But surprisingly, as repetitious compositions and details culminate across the photographs, the prosaic subject matter becomes increasingly surreal, abstract and even poetic.

As Sambrani Chaitanya has stated, “Gill’s work is an investigation of the limits of categorisation,”1 and this group of works, just as in Gill’s examination of Marrickville (where she now lives) in May 2006, emphasises the difficulty of defining an idea of place through mere description. Memory, time and pure invention are required to fill in the gaps. The eerie, yet evocative environment in these photographic prints is further enhanced by their presentation in a square box emulating those of sets of vinyl LP recordings.

1. Sambrani, C “Other realties, someone else’s fictions: the tangled art of Simryn Gill,” [Online], Art and Australia Vol.42, No.2, Summer 2004, p.220/

.

David Stephenson USA/Australia b1955 'Sant’ivo alla Sapienza 1645-50 Rome, Italy' 1997

.

David Stephenson USA/Australia b.1955
Sant’ivo alla Sapienza 1645-50 Rome, Italy
1997
From the series Domes 1993-2005
Type C photograph
55 × 55 cm
Art Gallery of New South Wales, Sydney purchased with funds provided by Joanna Capon and the Photography Collection Benefactors Program 2002
© David Stephenson

.
With poetic symmetry the Domes series considers analogous ideas. It is a body of work which has been ongoing since 1993 and now numbers several hundred images of domes in countries including Italy, Spain, Portugal, Turkey, England, Germany and Russia. The typological character of the series reveals the shifting history in architectural design, geometry and space across cultures and time, demonstrating how humankind has continually sought meaning by building ornate structures which reference a sacred realm.2 Stephenson photographs the oculus – the eye in the centre of each cupola. Regardless of religion, time or place, this entry to the heavens – each with unique architectural and decorative surround – is presented as an immaculate and enduring image. Placed together, the photographs impart the infinite variations of a single obsession, while also charting the passage of history, and time immemorial.

2. Hammond V 2005, “The dome in European architecture,” in Stephenson D 2005, Visions of heaven: the dome in European architecture, Princeton Architectural Press, New York p.190

.

.

“A new exhibition, Flatlands: photography and everyday space, examines photography’s role in transforming the way we perceive, organise and imagine the world. The 39 works by 23 Australian and international artists included in the exhibition have been drawn from the Gallery’s permanent collection of 20th century and contemporary photography.

Definitions of space have always depended on the scientific, social and cultural aspects of the human experience. At its birth in the 19th century, photography’s monocular vision was seen as the ultimate tool for representation and classification. Elusive phenomena such as distance, depth and emptiness seemed within grasp. Yet, limited to freezing single moments or viewpoints in time, the photograph’s ability to objectively represent the world was under question by the turn of the 20th century. Technological advancements, such as faster exposure times transformed the potential of the medium to not only show things that escaped the eye but new ways of seeing them as well.

Embracing partiality and ambivalence, modernist photography sought to capture the fragments, details and blurred boundaries in the expanses we call personal space. What the photograph began to reveal were dimensions which German cultural theorist Walter Benjamin described in 1931 as the ‘optical unconscious’ of reality. The works of photographers such as Melvin Vaniman, Frederick Evans, Harold Cazneaux, William Buckle, Franz Roh, Olive Cotton, David Moore, Josef Sudek, Minor White and Robert Rauschenberg explore the intangible in spaces which define our physical and spiritual relationship with reality. Windows, doorways, ceilings, staircases – these mundane and ordinary passageways suddenly acquire a centrality and metaphysical depth normally denied to them.

The edges between sacred and profane, public and private, natural and artificial, real and dreamed environments became further entangled in the subjective visions of late 20th century and contemporary photographic work. For Daido Moriyama, Fiona Hall, Pat Brassington, Simryn Gill, Christine Godden, Geoff Kleem, Leonie Reisberg, Ingeborg Tyssen, David Stephenson and Justine Varga, space is seen to be a product of the perception of the individual. Photographs are able to reveal realms outside of the scientific – that is those created by emotion, memory and desire.

As Fiona Hall commented in 1996, our belief might be maintained, for at least as long as the image can hold our attention, in the possibility of inhabiting a world as illusory as the two-dimensional one of the photograph.” Collectively, these images destabilise naturalised certainties while activating the imaginary dimension and the unsettling, albeit poetic potential of photography to impact and alter our view of the world.”

Press release from the AGNSW website

.

Olive Cotton Australia 1911-2003 'By my window' 1930

.

Olive Cotton Australia 1911-2003
By my window
1930
Gelatin silver photograph
20.3 x 15.1cm
Purchased with funds provided by the Photography Collection Benefactors’ Program 2006

.

Olive Cotton. 'Skeleton Leaf' 1964

.

Olive Cotton Australia 1911-2003
Skeleton Leaf
1964
Gelatin silver photograph
24.7 × 19.6 cm
Art Gallery of New South Wales, Sydney purchased with funds provided by the Photography Collection Benefactors’ Program 2006
© artist’s estate

.

Minor White America 1908-1976 'Christmas ornament, Batavia, New York, January 1958' 1958

.

Minor White America 1908-1976
Christmas ornament, Batavia, New York, January 1958
1958
From the portfolio Sound of one hand 1960-1965
Gelatin silver photograph mounted on card
Gift of Patsy Asch 2005
Reproduction with permission of the Minor White Archive
© Princeton University Art Museum

.

Minor White. 'Windowsill daydreaming' 1958

.

Minor White American 1908-1976
Windowsill daydreaming
Rochester, New York, July 1958
From the portfolio Sound of one hand 1960-1965
Art Gallery of New South Wales, Sydney
Reproduction with permission of the Minor White Archive
© Princeton University Museum of Art

.
Informed by the esoteric arts, eastern religion and philosophy, Minor White’s belief in the spiritual qualities of photography made him an intensely personal and enigmatic teacher, editor and curator. White’s initial experience with photography was through his botanical studies at the University of Minnesota where he learned to develop and print photomicrography images, a view of life that he saw as akin to modern art forms. White advocated Stieglitz’s concept of ‘Equivalence’ in which form directly communicated mood and meaning, that ‘darkness and light, objects and spaces, carry spiritual as well as material meanings’.1 White disseminated his photographic theories through the influential quarterly journal ‘Aperture’, which he edited and co-founded with his contemporaries Ansel Adams, Dorothea Lange, Beaumont Newhall and others.

Like Stieglitz, White also worked in sequences that through abstraction, expression and metaphor emphasised his mystical interpretation of the visual world. The sequences allow for a dialogue to continue through and in-between the images, engaging the viewer in a visual poem rather than any strict or formal narrative. The series, Sound of one hand, exemplifies White’s study of Zen and esoteric philosophies, reflecting his meditation of the Zen koan from which he saw rather than heard any sound. The first of the series, Metal ornament, Pultneyville, New York, October 1957 presents an abstracted form that is both sensual and elusive, slipping in and out of ocular register. The ambiguous graduated tones and reflected light pull the eye into the centre of the image before vicariously dragging it back. This broken semi-elliptical shape is mirrored in Windowsill daydreaming, Rochester, New York, July 1958 as the gently moving curtains play with the light and shadows of White’s flat, creating abstracted organic forms. Abstracted forms of nature were of great interest to White as can be seen in the rest of the series that capture the frosted window of his flat with its crystallised ice, condensation and glimpses of the outside world.

1. Rice S 1998, “Beyond reality,” in A new history of photography, ed M Frizot, Könemann, Cologne pp.669-73

.

.

Art Gallery of New South Wales
Art Gallery Road, The Domain
Sydney NSW 2000, Australia

Opening hours:
Open every day 10am – 5pm
except Christmas Day and Good Friday

Art Gallery of New South Wales website

LIKE ART BLART ON FACEBOOK

Back to top

23
Sep
12

Review: ‘Photographic abstractions’ at the Monash Gallery of Art (MGA), Melbourne

Exhibition dates: 3rd August – 30th September 2012

.

.

John Gollings
born Australia 1944
Untitled
1988
from the series Bushfire aerials
Gelatin silver print
45.5 x 56.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist

.

.

John Gollings
born Australia 1944
Untitled
1988
from the series Bushfire aerials
Gelatin silver print
45.5 x 55.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist

.

.

David Stephenson
born United States of America 1955 arrived Australia 1982
Star drawing 1996/402
1996
from the series Star drawings 1995-2006
Chromogenic print, printed 2008
55.8 x 55.8 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist, John Buckley Gallery Melbourne, Boutwell Draper Gallery, Sydney and Bett Gallery, Hobart

.

.

Paul Knight
born Australia 1976
Cinema curtain #3
2004
Chromogenic print
43.5 x 55.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist

.

“The function of the stage curtain in the cinema was to help suspend the illusion of reality in the moving image of the film. The idea being that the plain white screen behind the curtain was never seen without the moving image on it. So the illusion always existed behind the curtain and was simply masked-off from us by it. This is partly why the image was alway projected onto the curtain for a moment before it was opened, to ensure that we never saw the dead white screen. These works use this function of the cinema stage curtain as a way of engaging with the meta-reality offered by the flat-plane of a photographic print. Utilising the lure of aesthetics and pattern to bring the viewer onto the folded membrane of the curtain and onto the essentially flat plane of the print. Both give way to a potential of volume.”

Text from the Paul Knight website

.

.

Paul Knight
born Australia 1976
Cinema curtain #2
2004
Chromogenic print
43.5 x 55.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist

.

.

Dropping the abstract ball

There are some excellent works in this interestingly themed exhibition at the Monash Gallery of Art. Unfortunately the exhibition, the theme and the work are let down by two curatorial decisions. Before I address those issues I will give my insight into some of the work presented:

  • A wonderful print of Sisters of Charity, Washington DC by David Moore (1956) where the starched cornettes of the sisters reminded me of paper doves. The kicker or punctum in this image is the hand of one of the sisters pointing skywards/godwards
  • Wonderful David Stephenson Star Drawing. I always like photographs from this series. Taken in Central Australia using as many as 72 multiple exposures, Stephenson used a set of rules for each exposure – deciding on the length and amount of exposure and how far he would rotate the camera between each exposure before embarking on the creation of each image. The construction of the image was pre-determined  but because of the movement of the earth and stars over a couple of hours, the result always incorporated an element of chance. Stephenson draws with light that is millions of years old, the source of which may not exist by the time the light falls on Stephenson’s photographic plate (the star might be dead)
  • John Gollings Untitled from the Bushfire series. Beautiful, luminous black and white silver gelatin prints of tracks in bushfire affected areas. These aerial photographs make the surface of the earth seem like the surface of the skin complete with hairs and wrinkles. In process they reference the New Topographics exhibition of 1975, where the mapping of the landscape is etched into the surface of the photographic print, where the pictorial plane records the environment like the marks on an etching plate. “The pictures were stripped of any artistic frills and reduced to an essentially topographic state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion and opinion.”
  • The beautiful Scott Redford Urinal photographs where the subject becomes secondary to the abstract visual elements as the flash bounces off the metal surfaces. Tight camera angles and a limited colour palette cause an almost transcendent composition. The swirls and markings and the sword-like quality of the central image (see below) remind me of Excalibur rising from the lake, dripping water.
  • Four photographs by John Cato, one each from Petroglyph 1971-79, Waterway 1971-79, Proteus 1971-79 and Tree – a journey 1971-79. These were incredibly beautiful and moving photographs, abstractions of the natural world. You need to be reminded what an amazing artist John was, one of the very best Australian photographers, his poetic photographs are cosmological in their musicology and composition
  • Two photographs from Paul Knight’s outstanding Cinema curtain series (above). For me there was a textural, sensory experience here, an intimacy with the subject matter that forced me to focus on the surface of the photograph, the flat plane of the photographic print, itself a highly abstract form. Amazing
  • My particular favourite in the exhibition were the, to me, unknown works of the artist Jozef Stanislaw Ostoja-Kotkowski (see the two images directly below). These photographs were the most delightful surprise of the exhibition – landscapes of the mind that had great feeling and focus, felt movement, space, flow of light and energy. This was wonderfully nuanced work that I wanted to see more of

.
Some excellent work then that was let down by two curatorial decisions. The first was the amount of work in the exhibition by each artist – a couple of prints here, another three small prints there – that really never gave the viewer chance to fully engage with the outcomes that the artist was trying to achieve nor explore the process that the artist was using. I know this was a group exhibition trying to highlight work from the collection but a more useful contribution would have been less artist’s in the exhibition with greater work from each, allowing for a more focused exhibition.

Far more serious, however, was the lack of any text that placed the work in a socio-cultural context. At the beginning of the exhibition there was 5 short paragraphs on a wall as you enter the space with mundane insights such as:

  • Photographic language engages the senses and imagination and challenges the way we “look” at the world
  • Through the use of cropping and obscure angle the familiar is made unfamiliar
  • Colour, shape and form (geometric patterns) are important
  • Some artists’ eliminate the camera altogether through photograms, scanner, collage
  • Use of multiple exposures, distortion, mirroring
  • By drilling down into the substances and processes of photography we can reflect on the very nature of photography itself
  • Exploring geometry and patterns found in nature and the built environment or alluding to more intangible themes such as time, mortality and spirituality

.
I have précised the five paragraphs but that’s all you get!

The only other information comes from brief wall texts accompanying each artist and these sound bites really don’t give any social and cultural context to the artist, the time they lived in or the social themes that would have influenced the work. For example, who would know from this exhibition that the artist John Cato was one of the first photographers in Australia to create visual tone poems using images of the Australian landscape, one of the first to work in sequences of images and who would go on to be a teacher of great repute, helping other emerging photographic artists at a critical time in the development of Australian art photography. Nobody. Also, I wanted to know more about the “substances” and “processes” of photography in regard to photographic abstraction. There was no serious theoretical enquiry, no educational component offered to the viewer here.

While money might be tight there is really no excuse for this lack of creditable, researched, insightful information. You don’t need a catalogue, all you need is a photo-stated 4-6 page essay to be given to visitors (if they desire to have one, if they want the information). It doesn’t take money it takes will to inform and educate the viewer about this important aspect of Australian photographic history. For a subject so engaging this was most disappointing. In this particular case the curators really did drop the abstract ball.

Dr Marcus Bunyan for the Art Blart blog

.

Many thankx to the 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.

.

.

Jozef Stanislaw Ostoja-Kotkowski
born Poland 1922 arrvied Australia 1949 died 1994
Untitled
c. 1971
Gelatin silver print
24.6 x 19.2 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist

.

.

Jozef Stanislaw Ostoja-Kotkowski
born Poland 1922 arrvied Australia 1949 died 1994
Australia Square – Sydney
1971
from the series Inscape 871
Gelatin silver print
29.4 x 24.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist

.

.

Anne MacDonald
born Australia 1960
Cloth (red velvet)
2004
Ink-jet print
127.0 x 105.0 cm
Collection of the artist
© courtesy of the artist and Bett Gallery, Hobart

.

.

John Cato
Australia 1926-2011
Tree – a journey
1971-79
from the series Essay I
Gelatin silver print
35.5 x 27.5 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the John Cato Estate

.

.

Chantal Faust
born Australia 1980
Waiting
2007
Chromogenic print
80.0 x 58.0 cm
Collection of the artist
© courtesy of the artist

.

.

Chantal Faust
born Australia 1980
Lap Milk
2007
Chromogenic print
80.0 x 58.0 cm
Collection of the artist
© courtesy of the artist

.

.

“Drawing on MGA’s collection of Australian photographs, Photographic abstractions highlights the work of 33 Australian artists who use photography to achieve abstract effects. Ranging from modernist geometric abstraction and the psychedelic experiments and conceptual projects of the 1970s, through to recent explorations of pixelated pictorial space, this exhibition surveys a rich history of abstract Australian art photography. Photography is traditionally recognised for its ability to depict, record and document the world. However, this exhibition sets out to challenge these assumptions. As co-curator of the exhibition and MGA Curator Stephen Zagala states, “The artists in this exhibition are less concerned with documenting the world and more interested in engaging the senses, exciting the imagination and making the ordinary appear extraordinary.”

Some artists have eliminated the camera altogether, preferring the effects that can be achieved with photograms and digital scans. Other artists have experimented with multiple exposures, mirrored images, irregular lenses and the printing of the usually discarded stubs of negatives. Co-curator and MGA Curatorial Assistant Stella Loftus-Hills says, “Photography has always been tied to abstraction. Some of the first photographs ever produced were abstract and subsequent photographers have sought out abstract compositions in their work.” 

One highlight of the exhibition is a selection of works by the iconic Australian photographer David Moore, who experimented with abstract photography alongside his more well-known figurative work. In Moore’s Blue collage (1983) the process of cutting bands of colour from existing photographs to create a new composition celebrates the artist’s imagination above and beyond the camera’s ability to capture content.

Artists include Andrew Browne, John Cato, Jo Daniell, John Delacour, Peter Elliston, Joyce Evans, Chantel Faust, Susan Fereday, Anthony Figallo, George Gittoes, John Gollings, Graeme Hare, Melinda Harper, Paul Knight, Peter Lambropoulos, Bruno Leti, Anne MacDonald, David Moore, Grant Mudford, Harry Nankin, Ewa Narkiewicz, John Nixon, Rose Nolan, Jozef Stanislaw Ostoja-Kotkowski, Robert Owen, Wes Placek, Susan Purdy, Scott Redford, Jacky Redgate, Wolfgang Sievers, David Stephenson, Mark Strizic and Rick Wood.”

Press release from the MGA website

.

.

David Moore
Australia 1927-2003
Sun patterns within the Sydney Opera House
1962
Gelatin silver print, printed 2005
37.75 x 25.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the Estate of David Moore

.

.

David Moore
Australia 1927-2003
Sisters of Charity, Washington DC
1956
Gelatin silver print
30.5 x 19.5 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the Estate of David Moore

.

.

Robert Owen
born Australia 1937
Street, Burano, Italy
1978
Silver dye bleach print
20.0 x 25.0 cm
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist and Arc One Gallery, Melbourne

.

.

Robert Owen
born Australia 1937
Green Sheet, Burano, Italy
1978
Silver dye bleach print
Monash Gallery of Art, City of Monash Collection
© courtesy of the artist and Arc One Gallery, Melbourne

.

.

Scott Redford
born Australia 1962
Urinal (Broadbeach)
2000-01
from the Urinals series 1988-2001
Chromogenic print
Collection of the artist
© courtesy of the artist

.

.

Scott Redford
born Australia 1962
Urinal (Surfer’s Paradise)
2000-01
from the Urinals series 1988-2001
Chromogenic print
Collection of the artist
© courtesy of the artist

.

.

Scott Redford
born Australia 1962
Urinal (Fortitude Valley)
2000-01
from the Urinals series 1988-2001
Chromogenic print
Collection of the artist
© courtesy of the artist

.

“Redford’s photographs of urinals… dialogue with art historical motifs that precede discourses of minimal art and postmodern understandings of the abject. In representing the site of male urination, they evoke the oxidation paintings of Andy Warhol, who directed young men to piss onto canvases prepared with copper oxide, resulting in compelling abstract imagery…. All of that is in Redford’s photographs and at the same time they are completely empty and quiet and contemplative… They are pure sensory experience like rainfall, even transcendent in their purity. They are concerned with beauty, but they are beyond debates about beauty. They are indifferent and in this they are transcendent.’

Chapman, Christopher. “Scott Redford’s urinals,” in Redford, Scott et.al. Bricks are Heavy (exhibition catalogue). Brisbane: Institute of Modern Art, pp. 6-7.

.

.

Monash Gallery of Art
860 Ferntree Gully Road, Wheelers Hill
Victoria 3150 Australia
T: + 61 3 8544 0500

Opening hours:
Tue-Fri: 10am-5pm
Sat-Sun: 12pm-5pm
Mon/public holidays: closed

Monash Gallery of Art website

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,193 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

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.

October 2017
M T W T F S S
« Sep    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Archives

Categories