*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Time is but the stream I go a-fishing in. I drink at it;
but while I drink, I see the sandy bottom and detect
how shallow it is. Its thin current slides away, but
eternity remains. I would drink deeper; fish in the sky,
whose bottom is pebbly with stars.
.
Thoreau, Walden
The series Sleep/Wound appeared in my solo exhibition titled The Cleft in Words, The Words As Flesh, at Stop 22 Gallery, St Kilda, Melbourne in 1996.
The series consists of ethereal, intimate photographs of my partner and myself in sleep positions, taken on infra-red film, the only time I ever used such film. I was fascinated (and still am) with the positions of the body in space, and how it moves in different environments.
The second part of the series are photographs of a performance, that of the cutting of my partners back. Paul and I held a dance party at a house on Punt Road in South Yarra where our friend Woody (David J. Wood of Bent Metal fame) was being evicted. The party, naturally enough called Eviction, was held to raise money for HIV/AIDS. Paul and I decorated the house, painting large, colourful kundalini symbols such as snakes and mandalas on the walls. In one room, painted with the seven colours of the main chakras, and to ambient music connected to earth, spirit and cosmos – I cut my partners back. Half the people fled, but the other half recognised the powerful spiritual connection that was happening in the performance (remember at this time, blood in terms of being gay, was tainted because of HIV/AIDS infection). I then smeared Paul’s blood on the walls of the house with my hands, crossing the boundary of the taboo by touching a bodily fluid whist acknowledging something that is essential to human life.
After packing up all the equipment from the party, we both headed to the Tasty nightclub (if any of you remember the Tasty raid) to have a good dance, with the blood still drying on Paul’s back. People were shocked at seeing his cut back. When we got back home at 6am in the morning I took out my trusty Mamiya RZ67 and took these beautiful photographs of one of the most connected, spiritual experiences of my life.
My thankx go to Paul as always for being my muse and partner without whom these experiences and photographs would never have been possible.
Marcus
I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.
Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my Store web page.
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958) Untitled
1995-1996
From the series Sleep/Wound
Gelatin silver print
Curators: Wim van Sinderen with the assistance of Hanneke Mantel (both of Gemeentemuseum Den Haag and The Hague Museum of Photography)
Erwin Olaf (Netherlands, b. 1959) Squares, Joy
1985 Gelatin silver print
As a storyteller, Erwin Olaf is a contemporary photographer whose work addresses most current concerns of the world – discrimination, gender, sexuality, taboo, climate change, reality, equality, power, racism, freedom of expression and democracy – through staged studio and outdoor photographs of incredible technical and visual skill.
The key to his work is the twist that he gives his cinematic, perfect worlds – the hidden crack in the facade, the unhinging of the link between reality and representation. These not so perfect worlds are often inspired by stories of the past, whether those stories may be present in the works of Vermeer, the still lives of the Dutch painters of the 16th and 17th century, Caravaggio, the Olympic Games of 1936, Norman Rockwell paintings, film noir, or clothes of the 1950s and 1960s.
The stillness and silence of the photographs subjects let the viewer examine the details of the mise en scène… the perfectly placed Coke bottle and apple, the shredded American flag in Palm Springs, The Kite (2018); the bandaged knee, the dripping ice cream in Rain, The Ice Cream Parlour (2004); and also admire the beautiful textures and lighting of the finished “product”, for Olaf’s aesthetic riffs on subverting theatrical performances and magazine fashion shoots.
Olaf let’s the viewer’s eye move without restraint across the terrain of the photographs, letting them soak up the atmosphere of his hyperreal tableau vivant. Both seductive and disturbing, his photographs challenge us to interrogate our own story – who are we, what do we really believe in, and what can we do to change prejudice and bigotry in a hostile world.
Dr Marcus Bunyan
.
Many thankx to the Gemeentemuseum den Haag for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“What I want to show most of all is a perfect world with a crack in it. I want to make the picture seductive enough to draw people into the narrative, and then deal the blow.”
.
Erwin Olaf
“In 1982, I saw an exhibition of Robert Mapplethorpe in Amsterdam that blew me off the socks. I just had a Hasselblad, I was inspired by his craftsmanship and the beautiful prints, and I thought: this is what I want too. In the series ‘Squares’ (1983-1993) you clearly see his influence. I started asking people that I knew from the nightlife if they wanted to pose for me in my studio, which I had decorated in a squat of a friend. For example, the boy with the champagne bottle worked in the wardrobe of my favourite disco.”
.
Erwin Olaf (excerpt from the book ‘Erwin Olaf – I am’)
“My earliest work reflects my life in that time. I was a moth – I really loved the nightlife. In the late seventies, the early eighties was a hedonistic period: Disco and the beginning of the punk, the sexual revolution. I loved watching people play with gender, the theatrical of the nightlife, all the roles they could take.”
.
Erwin Olaf
“The camera offered me a possibility to enter a world that was not mine. I was able to hide behind the camera, but also be part of what I saw. As a photographer, you can look at people. You’re observing. I wanted to focus my gaze on groups that were outside the ‘normal’ society. One of my first photography assignments for school had as a theme ‘what’s normal?’. I still ask myself that.”
.
Erwin Olaf (excerpt from the book ‘Erwin Olaf – I am’)
Gemeentemuseum Den Haag and The Hague Museum of Photography are to honour one of the Netherlands’ most famous photographers, Erwin Olaf (b. 1959), with a double exhibition. Olaf, whose recent portraits of the royal family drew widespread admiration, will turn sixty this year – a good moment to stage a major retrospective. The Hague Museum of Photography will focus on Olaf’s love of his craft and his transition from analogue photojournalist to digital image-maker and storyteller. Olaf will himself bring together some twenty photographs by famous photographers of the past who have been a vital source of inspiration to him. Gemeente Museum Den Haag will show non-commissioned work by Olaf from 2000 to his most recent series, including the work he produced in Shanghai and his most recent series Palm Springs, on display for the first time. Olaf will be showing his photography in the form of installations, in combination with film, sound and sculpture.
Erwin Olaf – Palm Springs: behind the scenes
Erwin Olaf (Netherlands, b. 1959) First Aids Benefit Club Flora Palace Amsterdam, I
1983
Gelatin silver print
Erwin Olaf (Netherlands, b. 1959) First Aids Benefit Club Flora Palace Amsterdam, II
1983
Gelatin silver print
Erwin Olaf (Netherlands, b. 1959) Squares, Pearls
1986
Gelatin silver print
“Chessmen was inspired by a chance meeting with my former photography teacher at the School for Journalism. A few years after I graduated there, I met him on the street. When I showed him my work in my studio, he said, “Say, would you like to publish a book?” He had recently taken over a publishing house for a pittance. The only problem was that I didn’t have enough work for a book. “Oh,” he said, “you only need sixty-four pages. And if you leave a page white next to each photo, you will need thirty-two photos. “At home I thought about it while listening to the radio – a chess program was just going on. At one point the presenter said: “This is an attacking game with thirty-two pieces. A war game. “I knew immediately: I’m going to make chess pieces. Those few words on the radio were all I needed; I had a clear picture in mind. Earlier I had been thinking about how I could do something with the theme of power. Power is something weird. Why do people abuse their power? Or why do you want it? Why do some people allow others to exercise power over them? From those questions came the idea of a power game and the people who play it. ”
Erwin Olaf (excerpt from the book Erwin Olaf – I Am)
“The Blacks series is largely inspired by Janet Jackson’s album Rhythm Nation 1814. In one song, she sings: “In complete darkness we are all the same / It is only our knowledge and wisdom that separates us / Don’t let your eyes deceive you.” A few years earlier I had been hitchhiking to Paris and southern France, together with a friend with an Indonesian background. I was admitted without problems in all kinds of clubs, but they refused him at the door. At that time I became much more aware of the fact that the amount of pigment in your skin can have serious consequences. So when I heard Janet Jackson sing, I thought: this is my theme. I can create a group of people where everyone is equal.”
Erwin Olaf (excerpt from the book Erwin Olaf – I Am)
Journalistic training
Erwin Olaf was studying journalism in Utrecht in the 1980s when, having noticed that he was unhappy, one of his lecturers pressed a camera into his hands. ‘I loved the thing right from the word go,’ says Olaf, ‘the weight, the cool metal in my hand. It felt so natural. And when I took my first photographs, I knew I had found my calling.’ Olaf began taking journalistic photographs of theatre performances, worked for progressive magazines and volunteered for COC Nederland (which represents LGBTI interests). In his early work Olaf often depicted the human body quite graphically, breaching the restrictions on sexuality, the body and gender. He describes himself at that time as an angry adolescent, though his taboo-breaking work was highly significant in terms of visual freedom in the Netherlands.
Early work at The Hague Museum of Photography
The exhibition at The Hague Museum of Photography will start with his early work. Chessmen (1987-1988) was one of Olaf’s first non-commissioned series, which came about when he was given the opportunity to produce a photobook. He had to fill 32 pages and he wanted to focus on the theme of power. He had heard an item on the radio about chess, a game of war consisting of 32 pieces. Olaf portrayed the game in a series of provocative images, featuring visible genitals, small half-naked people with kinky attributes, and extremely fat women in bondage outfits. The series did not go unnoticed. He received criticism for it, but also the Young European Photographers Prize.
Skill
Another early series shows the engagement that has remained important throughout Olaf’s career. Blacks (1990) is based on a song by Janet Jackson with the line, ‘In complete darkness we are all the same. It is only our knowledge and wisdom that separates us’. The series reflects Olaf’s battle for equality, and also his technical skill. In these baroque portraits, literally everything is black as coal, yet Olaf managed to give the images a rich tonality, both with his camera and in the developing process. A self-taught photographer, he has shown himself to be a master, not only of old-fashioned darkroom processes, but also of new techniques that have emerged in rapid succession since the digital revolution. He did pioneering work with Photoshop in the famous series Royal Blood (2000). Thanks to this new technique, he is even better able to experiment to his heart’s delight in his staged photography.
Sources of inspiration
Besides his own work, at The Hague Museum of Photography Erwin Olaf will be bringing together some twenty photographs by photographers who are his most important sources of inspiration, ranging from a vintage still life with roses by the late nineteenth-century photographer Bernard Eilers to self-portraits by Robert Mapplethorpe and Rineke Dijkstra. The work of these photographers inspired him, made him look in a different way at his own artistic practice, or pushed his photography in a new direction. By showing these pictures alongside his early work, which is imbued with his love of his craft, Olaf will give visitors to the Museum of Photography an idea of what has shaped him as a photographer.
Gemeentemuseum Den Haag
The exhibition at the Gemeentemuseum will begin, even before the entrance to the galleries, with the life-sized installation Keyhole (2012). The exterior has two long walls with panelling above which framed photographs hang, as in a classic interior. But visitors can watch two films through the keyhole in the doors on either side of the installation. It will be immediately apparent that the Gemeentemuseum is highlighting a new development in the work of Erwin Olaf. Here, he is going one step further, presenting his photography in exciting combinations of film, sound and sculpture.
Social engagement
Erwin Olaf’s work has always been highly personal and socially engaged. The clearest influence on the development of his work has been the events surrounding 9/11. Since then, the bombastic, baroque staging of his previous work has made way for more vulnerability and serenity. This has produced images that are very popular with the public: highly stylised film scenes staged perfectly down to the smallest detail, often bathed in light as if they were paintings, with an uncomfortable underlying message. As in the series Rain (2004), which appears to capture the moment between action and reaction after a shocking event. The series Grief (2007), shot in a 1960s setting, is about the first moment of response, the first tear.
Recent events are also reflected in Olaf’s work. He made the Tamed & Anger self-portraits (2015) in response to the Charlie Hebdo attack. In other works he addresses issues like the position of the individual in a globalising world, the exclusion and stereotyping of certain groups of people, and taboos associated with gender and nudity. The exhibition at the Gemeentemuseum will thus afford a glimpse inside Olaf’s turbulent and sometimes dark mind. A visit to the exhibition will be like wandering through his head.
Palm Springs: final part of a triptych
Erwin Olaf’s most recent series, Palm Springs (2018), will premiere at the exhibition in the Gemeentemuseum. It is part of a triptych about cities undergoing change, the other two parts being Berlin (2012) and Shanghai (2017). The Berlin series was produced in a period when dark clouds were gathering above Europe. It highlights Olaf’s concerns about freedom of expression and democracy, and the transfer of power from an older to a new generation. Shanghai is a hypermodern metropolis in China with a population of 24 million. The series made in this city explores what happens to the individual in an environment like this. In Palm Springs, Olaf again focuses on topical issues. One of the key themes is climate change, though at the same time the images also recall the America of the 1960s. In a beautiful series of portraits, landscapes – this was the first time Olaf had photographed landscapes – still lifes and filmic scenes he refers to issues like teenage pregnancy, discrimination, religious abuses and polarisation. The series tells the story of people withdrawing into gated communities as reality invades their paradise.
Photographs of royal family
A very special addition to the double exhibition will be Erwin Olaf’s photographs of the Dutch royal family. As part of the exhibition at the Gemeentemuseum he will bring together many of the photographs that the Government Information Service commissioned him to take of the royal family. He also took the picture that the family used as a Christmas greeting last December. ‘I’m proud of the royal family,’ says Olaf, ‘because they are a binding factor in a democracy that is sometimes very divided. I’m happy to be able to contribute to that.’
Successful artist
The double exhibition will show how Erwin Olaf has developed from angry provocateur to one of the Netherland’s most famous and popular photographers. His work now features in the collections and exhibitions of museums the world over, including China, Russia, The United States of America and Brazil. In 2008 The Hague Museum of Photography showed his Rain, Hope, Grief and Fall series. In 2011 he won the prestigious Johannes Vermeer Prize, and in 2018 the Rijksmuseum purchased almost 500 photographs and videos by Erwin Olaf.
Biggest retrospective to date
Together, the exhibitions at the Gemeentemuseum and the Museum of Photography will constitute the biggest retrospective of Olaf’s work ever staged, spanning the period from the early 1980s to his most recent work. In the words of Erwin Olaf: celebrating 40 years of visual freedom.
The double exhibition has been curated by Wim van Sinderen with the assistance of Hanneke Mantel (both of Gemeentemuseum Den Haag and The Hague Museum of Photography), and has come about in close collaboration with Erwin Olaf and his studio.
Press release from the Gemeentemuseum Den Haag website [Online] Cited 04/05/2019
“I made the Royal Blood series to celebrate Photoshop as the new craft. I wanted to make something that was clearly fiction and would be impossible without Photoshop. A theme that was in the air at the time was that violence was suddenly identified with glamor. I never understood why criminals, even murderers, have fans. People worship them! And every cinema is chock full of people watching violence every week. I wanted to expose the attraction of blood, violence and celebrity – that live fast, that young ideal. Now I could no longer do this type of work. The emotion behind it has disappeared – I have already told that story. But it remains an important part of my legacy.”
Erwin Olaf (excerpt from the book Erwin Olaf – I am)
Where Do We Come From / What Are We / Where Are We Going
I went to see one of my best friends for the last time in hospital today.
Joyce has been like a surrogate mother to me for the last eight years. She has been wise counsel, friend, support, teacher, reconciler, adventurer and philosopher to this sometimes lost man. We had many adventures to exhibitions and openings, to our favourite restaurant Caffe e Cucina to have dinner, or going to see “Our Julia”, an exhibition of her favourite photographer Julia Margaret Cameron at the Art Gallery of New South Wales in Sydney. It is so sad in this life that we have to loose the wisdom of age only for the mistakes of past generations to be repeated over and over again.
Both Joyce and I do not believe in traditional, dogmatic religion. Both of us cannot stand the hypocrisy, baloney and proselytising that religion undertakes in the name of an “imaginary friend.” Religion is a crutch for the dogmatic who then impose their beliefs, and discrimination, on others.
But we both believe in spirit, that ineffable quality of experience where you obtain communion with the energy of the cosmos. A feeling, an emotional energy of connection to body, spirit and soul. Something noumenal, something that we have knowledge of, but that we can’t completely describe.
Strip away the baggage of religion from these photographs and you are left with a man being tortured and his spirit suffering. I wonder what this man was like when he was a baby? Who did he talk to growing up, what did he say, who did he meet. What was his essential journey to get to this place? Imagine Pontius Pilate not washing his hands of him, but sitting down with him and having a philosophical discussion on the nature of existence and being.
I felt immense love and sadness, hope and sorrow when I saw Joyce for the last time on this earth. I wished her a good journey and told her that I would see her soon.
I will miss her strength, intelligence, and beautiful spirit. But above all I will miss her love.
Dr Marcus Bunyan
If we can find out what we are… that is the artist.
And then, this goes to the core element of your being:
If the core part of your life is the search for the truth then that becomes a core part of your identity for the rest of your life,
and the core element of your enquiry remains the same.
It becomes embedded in your soul.
.
Joyce Evans
Father forgive them they know not what they do
Today thou shalt be with me in Paradise
Woman behold thy son: Son thy mother
My God my God why hast thou forsaken me
I thirst
Into thy hands I commend my spirit
It is finished
From 1895 to 1898 Day undertook a project that was without precedent: an extended series – some 250 negatives – showing scenes of the life of Christ, from the Annunciation to the Resurrection, in which he played the title role. In 1890 Day had traveled to Oberammergau to see the famous once-a-decade Passion Plays and may well have seen a similar multimedia presentation that toured the East Coast, including Boston, later in the 1890s. For his own production, Day starved himself, let his beard grow long, and imported cloth and a cross from Syria. Just prior to the reenacted Crucifixion, he made this series of close-up self-portraits – the most powerful images in his entire series – which represent Christ’s seven last words:
FATHER FORGIVE THEM; THEY KNOW NOT WHAT THEY DO.
TODAY THOU SHALT BE WITH ME IN PARADISE.
WOMAN, BEHOLD THY SON; SON, THY MOTHER
MY GOD, MY GOD, WHY HAST THOU FORSAKEN ME?
I THIRST.
INTO THY HANDS I COMMEND MY SPIRIT.
IT IS FINISHED.
.
For many people, Day’s self-portraits as Christ were – and remain – unsettling, as one tries to reconcile their fact and fiction. Day defended the use of photography for sacred subjects as a matter of artistic freedom, and Steichen wrote, “Few paintings contain as much that is spiritual and sacred in them as do the ‘Seven Words’ of Mr. Day. … If we knew not its origin or its medium how different would be the appreciation of some of us, and if we cannot place our range of vision above this prejudice the fault lies wholly with us. If there are limitations to any of the arts, they are technical; but of the motif to be chosen the limitations are dependent on the man – if he is a master he will give us great art and ever exalt himself.”
Widely considered one of the masterpieces of photographic history, the monumental self portrait depicts Day as Christ in a series of seven platinum prints set in a frame designed by the artist. The work is a high point of Pictorialism – the turn-of-the-century movement advocating the artistic merit of photography. With few prints ever made by the artist and a tragic fire destroying his studio, Day’s photographs are tremendously rare. The Museum also acquired the crown of thorns worn by Day in The Seven Last Words and three important portraits of Day taken by photographers Edward Steichen, James Craig Annan and Clarence H. White. They were kept by the artist as part of his personal archive.
“The Seven Last Words is one of the most significant images in the history of photography, a work that reverberates with iconic importance and one that influenced subsequent artists significantly,” said Anne E. Havinga, Estrellita and Yousuf Karsh Senior Curator of Photographs at the MFA.
Born into an affluent family in Norwood, F. Holland Day was a turn-of-the-century Bostonian with an ultra-refined aesthetic sensibility and a multitude of interests, particularly in art and literature. He was a member of the “Boston Bohemians,” a circle of friends with whom he shared a love for the Arts and Crafts movement, sophisticated wit and Symbolist literature and art. He was also an admirer of old master painting and classical sculpture, and collected Japanese decorative arts and drawings. His interests led him into a career as a fine book publisher and photographer.
Day became interested in photography in the mid 1880s, joining the Pictorialist crusade to prove that photography could be a fine art, and within a decade he had become one of the most important figures in the international movement. While Day championed the same goals promoted by fellow photographers, he also defended religious imagery and the male nude – subjects that had previously been the domain of painting and sculpture. The seriousness of Day’s approach to artistic photography and his heightened sense of symbolism, enhanced by the subtle, low-keyed tonalities of his prints, were an inspiration to other photographers of the time.
In 1898, Day began exploring religious themes in his photographs. His “Sacred Studies,” as he called them, were widely acclaimed for their high-art aspirations – as seen in their relation to old master religious painting – and their unquestionable daring. The Seven Last Words was one of Day’s most expressive and best-known pieces and continues to be admired by many contemporary artists, especially those who explore identity, role play and staged photography in their work. Each of the seven photographs in the work, set in a frame designed by the artist, represents one of the last phrases spoken by Christ:
Father forgive them they know not what they do.
Today thou shalt be with me in Paradise.
Woman behold thy son: Son thy mother.
My God my God why hast thou forsaken me.
I thirst.
Into thy hands I commend my spirit.
It is finished.
.
Only two other versions of the work exist today: one is in the Metropolitan Museum of Art (without the artist-designed frame) and a third is owned by a private collector (with an altered frame). The MFA’s version is in tremendous condition and is in its original, un-altered frame.
It’s hard to get a sense of this exhibition from the media images, therefore difficult to make any constructive comment on the strength of the exhibition.
Apparently, “The exhibition’s gallery feels very domestic. Groups of photos hang on the walls – different sizes, colors, formats and frames – like you’d see in a living room or hallway. MFA curator Karen Haas confirms that evocation is absolutely intentional.
“Photographers from the very beginning have been fascinated by the way that the camera could capture images of loved ones, freeze them in time,” she says. “They form sort of reliquaries of memory, and these sorts of relationships to the objects – that idea of the photograph as a talisman-like object I think has been somewhat forgotten in our contemporary world.” …
Haas’ goal in creating this show is to illustrate how broad and diverse family configurations can be – without defining them. “The families that we’re born into, generational families,” she describes, “but also romantic unions, couples and chosen families – families we have chosen for ourselves.” And that includes the military and the church, Haas says. “I think the family is such a basic social construct – so basic to so many of our lives – that I hope that these kinds of images will really resonate with people.” (Text from Andrea Shea. “Portraits At The MFA Question What Family Looks Like,” on the Wbur website December 20, 2017 [Online] Cited 16/02/2022)
Outsider family, insider family, single parent family, nuclear family, extended family, reconstituted family, childless family, gay family, step family, “family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them.”
But what is most important is this: “There is no right or wrong answer when it comes to what is the best type of family structure. As long as a family is filled with love and support for one another, it tends to be successful and thrive. Families need to do what is best for each other and themselves, and that can be achieved in almost any unit.” (Michelle Blessing. “Types of Family Structures,” on the Love to Know website Nd [Online] Cited 16/02/2022)
Families all have secrets, no matter how perfect they may seem to the outside world. Whether it be domestic violence behind closed doors or skeletons in the closet there is always more than meets the eye. And that’s where these photographs of families fail in their representation of the family. That, and the title of the exhibition – (un)expected families – because in the 21st century, nothing should be unexpected. By adding emphasis to the (un), the title merely propagates a form of discrimination, of outsider as different and therefore worthy of abuse because of that very difference. Expected families: we are all human beings and therefore anything is to be expected.
Dr Marcus Bunyan
.
Many thankx to the Museum of Fine Arts Boston for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Bringing together more than 80 pictures taken by American photographers from the 19th century to today, (un)expected families explores the definition of the American family – from the families we are born into to the ones we have chosen for ourselves. The works on view depict a wide range of relationships, including multiple generations, romantic unions, and alternative family structures. Using archival, vernacular, and fine art photographs, (un)expected families offers a variety of perspectives on the American family, from Dorothea Lange’s depiction of a migrant family at the time of the Dust Bowl to Louie Palu’s portraits of US Marines fighting in Afghanistan. The exhibition illustrates that the family has always taken diverse forms: affluent and destitute, cohesive and fractured, expected and unexpected. Taken together, the photographs challenge visitors to consider what family means to them. (un)expected families features celebrated practitioners like Nan Goldin, Carrie Mae Weems, LaToya Ruby Frazier, and Harry Callahan, as well as a number of renowned Boston-area artists, such as David Hilliard, Nicholas Nixon, Abe Morell, and Sage Sohier.
Lewis W. Hine (American, 1874-1940) Home Workers, New York
1915
Lewis W. Hine/Museum of Fine Arts, Boston
Louis Faurer (American, 1916-2001) Ritz Bar, New York
1947-1948
Estate of Louis Faurer/Museum of Fine Arts, Boston
Duane Michals (American, b. 1932) When he was young, he could not imagine being old. And now that he is old, he cannot imagine ever having been young
1979
Gelatin silver print
Duane Michals, courtesy of the DC Moore Gallery, New York, and Osmos, New York
Sage Sohier (American, b. 1954) Mum in her bathtub, Washington, D.C.
2002
Inkjet print
Living New England Artists Purchase Fund, created by the Stephen and Sybil Stone Foundation
Courtesy Museum of Fine Arts, Boston
David Hilliard (America, b. 1964) Rock Bottom
2008
Panorama Construction
Rock Bottom features, in the left panel, a close up sharp focus portrait of Hilliard’s father standing in a lake, with a severe and harsh facial expression, yet vulnerably placing his hands on his chest between his two sailor swallow’s tattoos. In the right panel, Hilliard himself appears somewhat further from the camera. With a gentler facial expression, the photographer contrasts with his tense patriarchal figure, but features a similar hairy chest and matching tattoos – giving the viewer a hint on the subject’s father-son relationship. The middle panel is exclusive for environmental portraiture and the creation of meaning in the composition: a sunny day at the lake, where the blue skies and soft clouds perfectly reflect on the water and separate the subject matters. The real meaning of the juxtaposition relies on the knowledge of Hilliard’s personal life and the presence of the middle panel: although the father accept his son’s homosexuality, the issue has clearly been a source of tension between them, creating both emotional and physical distance between the subject matters. Represented by the central panel, a stunning view divides the two generations both visually and metaphorically, symbolising the idea of emotional distance in an atypical form.
Like most of Hilliard’s photographs, Rock Bottom exposes how physical distance is often manipulated to represent emotional distance. The presence of the middle panel, exclusively dedicated to environmental portraiture and the emphasis on the importance of our surroundings, also suggests the emotional distance between the subjects. The lack of elements and presence of great depth of field of the center panel insinuates that, regardless of the level of intimacy between the subject matters – distance is always palpable.
Marina Pedrosa. “David Hilliard: Building Meaning Through Composition,” on the medium website [Online] Cited 22/08/2018
Caleb Cole (American, b. 1981) The Big Sister
2012
From the series Odd One Out (2010-Present)
Archival pigment print
49 × 68cm (19 5/16 × 26 3/4 in.)
Museum purchase with funds donated by James N. Krebs
Bringing together more than 80 pictures taken by photographers from the 19th century to today, (un)expected families at the Museum of Fine Arts, Boston (MFA), explores the definition of the American family – from the families we’re born into to the ones we’ve chosen. The photographs in the exhibition, on view from December 9, 2017 through June 17, 2018, depict a wide range of relationships – multiple generations, romantic unions and alternative family structures – whether connected by DNA, shared life experiences, common interests or even a social media network. Encompassing both carefully staged portraits and serendipitous snapshots, the selection of vernacular, documentary and fine art photographs in (un)expected families illustrates that the concept of family has long taken many forms – a subject that has fascinated photographers since the invention of the camera – and challenges visitors to consider what family means to them. Drawn primarily from the MFA’s holdings, the exhibition includes photographs by celebrated artists such as Nan Goldin, Gordon Parks, Nicholas Nixon, Sally Mann, Diane Arbus, Tina Barney, Emmet Gowin and Bruce Davidson. Loans from private collections include Victorian-era “hidden mother” photographs of children and turn-of-the-century portraits of women in intimate relationships sometimes referred to as “Boston marriages.” Additionally, (un)expected families highlights many New England photographers whose work centers on familial relationships, debuting eight photographs – acquired specifically for the exhibition – by Zoe Perry-Wood, Arno Rafael Minkkinen, Amber Tourlentes, Caleb Cole, Tanja Hollander, David Hilliard and Jeannie Simms. An interactive component of (un)expected families invites visitors to share thoughts about their own families on response cards. A selection will be displayed in the gallery on a rotating basis, and all will be archived as part of the permanent exhibition record. Additionally, a free family guide engages children with close looking and drawing activities. The exhibition is generously supported by an anonymous donor.
“Almost as soon as exposure times became short enough to make portraiture feasible, photographers have been drawn to capture likenesses of loved ones. Perhaps that power to freeze a moment in time is what explains why family photographs are so often described as the first thing one would save from a burning building,” said Karen Haas, Lane Curator of Photographs. “I find it particularly fascinating that there seems to be a growing interest among contemporary photographers to focus on families in their work – even as with the rise of smartphones and social media, our own personal pictures are increasingly relegated to the ether, rarely experienced as tangible objects.”
The images presented in (un)expected families span 150 years. Among the oldest pictures are photographs of “hidden mothers” (1860s-1870s), depicting infants in the laps of concealed adults – a trick to keep the children still during long sittings or exposures. The mothers or nursemaids were draped with scarves or blankets, or hidden behind furniture or painted backdrops. Similarly, the contemporary photograph Nayla, Ted, Alexandra, Nick, March 30, 1995 (1995) by Cambridge-based Elsa Dorfman (born 1937) focuses solely on the children. While names of the parents are among those handwritten on the bottom of the large-scale Polaroid, only their legs are visible in the composition. Another contemporary photograph juxtaposed with the Victorian-era “hidden mothers,” which were made during a period of high infant mortality rates, is Tammy Hindle (2006) by Nicholas Nixon (born 1947). Part of Nixon’s series documenting a family’s heartbreaking loss of a child, the image shows the mother, Tammy, carrying a portrait of the baby, Claire, to the funeral service, their bodies appearing to magically merge in the reflection within the picture frame.
Father-and-son relationships are explored in images by Dawoud Bey (born 1953), Duane Michals (born 1932) and Jim Goldberg (born 1953), all of which incorporate texts that amplify the moving and often painful stories behind the images, as well as recently acquired photographs by David Hilliard (born 1964) and Arno Rafael Minkkinen (born 1945). Hilliard’s triptych Rock Bottom (2008) is one of an extended series of panoramic photographs that trace the shifting narrative of the gay artist’s complicated relationship with his father. The beautifully choreographed self-portrait visually links the two men, unmistakably related to each other and sporting identical swallow tattoos, across a serene expanse of lake. Minkkinen’s 31-12-86, Self-Portrait with Daniel, Andover (1986), recently gifted to the MFA by the artist, is one of a little-known series of portraits that he took of his son Daniel as the boy grew and matured from infancy to adolescence. The photograph shows Daniel sitting on a bed, bathed in raking light and looking directly at his father’s large-format camera. With his head hidden from view, Minkkinen’s outstretched arms perfectly echo the curve of the headboard and create a haunting embrace that speaks to a parent’s deep-seated desire to encircle and protect a child.
Seventeen photographs representing multiple generations of a family are arranged in a salon-style hang, ranging from intimate depictions of parents with children, such as Baby Toss (2009) by Julie Blackmon (born 1966); to pairs of siblings, such as Twins at WDIA, Memphis (about 1948) by Ernest C. Withers (1922–2007); to a 1925 panorama capturing an extended family reunion encompassing about 200 people. The display also features recently acquired photographs by Sage Sohier (born 1954) and Jeannie Simms (born 1967). Sohier’s Mum in her bathtub, D.C. (2002) is from an extended series devoted to her mother, a former fashion model who had posed for Richard Avedon and Irving Penn in the 1940s. Simms’ Arnie, Susan & Elijah, Jamaica Plain, MA (2015) is from a series documenting the lives of couples married in Cambridge after Massachusetts became the first U.S. state to issue same-sex marriage licenses on May 17, 2004.
Recently acquired works by Amber Tourlentes (born 1970), Zoe Perry-Wood (born 1959) and Jess Dugan (born 1986) also document the experience of LGBTQ couples, families and individuals. Tourlentes has regularly made LGBTQ family portraits on the Town Hall stage in Provincetown, Massachusetts, during its annual Family Week, sometimes revisiting the same subjects over the course of several years. Perry-Wood has spent the last decade photographing another annual event, the Boston Alliance of Gay and Lesbian Youth (BAGLY) Prom, which offers a safe and celebratory occasion for young couples – an alternative to more traditional high-school proms. Allowing her subjects to pose in front of the camera in a studio-like setting, as seen in José and Luis (2015), Perry-Wood helps to give them a sense of personal agency and collective pride at a pivotal moment in their lives. Unlike Tourlentes and Perry-Wood, Dugan photographs her subjects – friends within the LGBTQ community – in natural light and the privacy of their own living spaces, exploring issues of gender, identity and social connection through large-format portraits such as Devotion, from the series Every Breath We Drew (2012).
With the invention of the small and affordable Kodak camera in the late 19th century, followed by the instant camera in the 1940s, many Americans no longer felt the need to visit formal portrait studios in order to record their personal lives. Among the casual snapshots featured in (un)expected families are Polaroids of Caroline Kennedy and her cousin Tina Radziwill, taken by Andy Warhol (1928-1987) in the summer of 1972 and exhibited at the MFA for the first time. The artist – along with filmmaker Jonas Mekas and photographer Peter Beard – was hired by Jacqueline Kennedy Onassis to teach the children filmmaking and photography. Also on view are an album of photographs commemorating a fraternity at Baker University in Kansas (1910s) and six snapshots depicting “Boston marriages” (1920s-1930s) – a turn-of-the-century term used to describe two women living together without the support of a man – romantic relationships in some cases and simply platonic partnerships in others.
Several groupings in the exhibition are centered on places of family life. Working roughly 50 years apart, one on New York’s Lower East Side and the other in Harlem, Lewis Hine (1874-1940) and Bruce Davidson (born 1933) both found the kitchen table an ideal site for their documentary photographs of tenement families in New York City. The groundbreaking Kitchen Table series (1990) by Carrie Mae Weems (born 1953) – featuring the photographer herself as the central figure, alongside lovers, children and friends – speaks to all those who have loved, quarrelled and come together around a communal table. Similarly, Tina Barney (born 1945) often acts as both guide and participant in her photographs – including Thanksgiving (1992) – which portray complex family moments in the wealthy East Coast social scene that she grew up in. In another selection of photographs by Julie Mack (born 1982), Mary Ellen Mark (1940-2015) and Dorothea Lange (1895-1965), the car is shown as a setting for a contemporary family self-portrait, a shelter for a homeless family in Los Angeles, and a vehicle for escape for migrant farm workers and their families during the Dust Bowl.
Alongside biologically related families and romantic unions, the exhibition highlights bonds among close-knit communities – “chosen families” – often documented by photographers embedded within the groups. Louie Palu (born 1968) spent several years covering the conflict in Afghanistan, producing portraits of U.S. Marines that capture the terrible toll of war etched on their faces and reflected in their eyes. Danny Lyon (born 1942) was a student at the University of Chicago when he first befriended members of the Chicago Outlaws, a notorious motorcycle club. For a number of years, he documented the individual gang members, their families and friends, as well as races, meetings, social gatherings, rides throughout the Midwest and even their funerals. Nan Goldin (born 1953) uses her camera as a form of diary to record the lives of friends, whom she considers a surrogate family. In Jimmy Paulette and Tabboo! in the bathroom, NYC (1991), Goldin represents two drag queens in New York City’s East Village, working in her characteristically direct, snapshot-like style. For the artist, who has lost many in her circle to HIV-AIDS, such images form tangible records of powerful human connections in fragile times.
Ethel Shariff in Chicago (1963) by Gordon Parks (1912-2006) and Hutterite Classroom, Gilford, MT (2005) by Christopher Churchill (born 1977) are among the photographs depicting religious communities. Ethel Shariff, the eldest daughter of longtime Nation of Islam head Elijah Mohammed, stands at the apex of Parks’ group portrait, surrounded by fellow members of the organisation’s women’s corps. Churchill’s photograph is from a series of pictures on the theme of American faith – a project he undertook in the years just after 9/11. Traveling across the country, he visited various sacred landscapes, places of worship and religious communities including the Hutterites, a branch of the Anabaptists who trace their beginnings back to the Protestant Reformation. For Churchill, the series became an exploration into the very basic human need to be connected to something greater than ourselves. Similarly, Tanja Hollander (born 1972) traveled all over the world – across the U.S. and Europe, but also as far away as Kuala Lumpur and New Zealand – for five years, tracking down all of her hundreds of Facebook friends and making portraits of them set in their own homes. Shot with an iPhone or a simple point-and-shoot camera, these intimate pictures – two of which were acquired for the exhibition – present a fascinating commentary on the role of social media and interpersonal relationships in the 21st century.
Additional highlights of (un)expected families include photographs in a variety of formats. Caleb Cole (born 1981) is a local photographer particularly fascinated by the dynamics of family photographs found at estate sales and flea markets in which one of the subjects – in contrast to the rest of the smiling faces – appears especially sad or downcast. Cole digitally alters these vernacular images to isolate the single, lonely figure, all the while maintaining the shapes of the remaining sitters so that the “odd one out” is set off against the blank, white expanse of the group. In The Big Sister (2012), a recent acquisition, a young girl whose parents have just introduced her to a new baby looks dejectedly off into space as if desperately wishing she could return to her former status as an only child. Digital projections from the series To Majority Minority (2014-2015) by Annu Palakunnathu Matthew (born 1964) are also based on found snapshots, sourced from photo albums of immigrant families that have come to the U.S. from all over the world. Working with the owners of these albums, Matthew digitises the images and then recreates the figures and their poses using contemporary family members in place of the original sitters. By presenting them as projections that seamlessly flow from one generation into another, the artist measures the passage of time through the faces of subsequent generations, and the accompanying texts tell stories inspired by the treasured photographs of their ancestors.
And then there’s Louie Palu’s black and white portraits of Marines. These are some of the few single-person portraits among images of families or groups. Paired with a group photo, there is an initial sense of loneliness. But isolate the image and it’s a different story.
“In the military, you arrive alone and leave the military alone but live on a battlefield as part of a close group of people who will do everything to support you and are willing to risk their life to save yours,” he said. “When you are a soldier, your comrades can define a life-changing experience not a single member of your biological family will ever understand. When you come home, your mother, father, wife, brothers, sisters and children can never connect to that experience like your comrades can. When you are in a group, you are strong, and when you are alone, you are not.”
Elsa Dorfman (April 26, 1937 – May 30, 2020) was an American portrait photographer. She worked in Cambridge, Massachusetts, and was known for her use of a large-format instant Polaroid camera. …
Dorfman’s principal published work, originally published in 1974, was Elsa’s Housebook – A Woman’s Photojournal, a photographic record of family and friends who visited her in Cambridge when she lived there during the late 1960s and early 1970s. Many well known people, especially literary figures associated with the Beat generation, are prominent in the book, including Lawrence Ferlinghetti, Allen Ginsberg, Peter Orlovsky, Gary Snyder, Gregory Corso, and Robert Creeley, in addition to people who would become notable in other fields, such as radical feminist Andrea Dworkin, and civil rights lawyer Harvey Silverglate (who would become Dorfman’s husband). She also photographed staples of the Boston rock scene such as Jonathan Richman, frontman of The Modern Lovers, and Steven Tyler of Aerosmith.
In 1995, she collaborated with graphic artist Marc A. Sawyer to illustrate the booklet 40 Ways to Fight the Fight Against AIDS. She photographed people, both with and without AIDS, each engaged in one of forty activities that might help AIDS victims in their daily life. The photographs were exhibited 1995 at the Lotus Development Corporation in Cambridge, in Provincetown and New York City. The artist donated the costs of producing the photographs for this project.
Dorfman co-starred in the documentary No Hair Day (1999).
She was known for her use of the Polaroid 20 by 24 inch camera (one of only six in existence), from which she created large prints. She photographed famous writers, poets, and musicians including Bob Dylan and Allen Ginsberg. Due to bankruptcy, the Polaroid Corporation entirely ceased production of its unique instant film products in 2008. Dorfman stocked up with a year’s supply of her camera’s last available 20 by 24 instant film.
Dawoud Bey (b. 1953) is a photographer known for his colour portraits of various subjects, perhaps most notably teenagers. This 2005 photograph is of a teen named Kevin and is from Bey’s series Class Pictures, which is a study of high school students across the country
Annu Palakunnathu Matthew To Majority Minority – Thuan
2014-2015
The word immigrant conjures up families passing through Ellis Island or young men climbing across the southwest border fence. The United States of America of yesterday, filled with immigrants of European descent is giving way to a new multi-coloured and multicultural America. By 2050 “minority” populations in the U.S. will become the majority of the population. In this new multi-coloured America, we need to reframe our understanding of our newest immigrants in terms of their cultures, religions and stories.
In this project, I explore the generational transition from immigrant to native within families, starting with portrait photographs from these immigrant’s albums. These old photographs reflect where they have come from, revealing family histories and shared stories of immigration. The final portrait animation helps us empathise with these new Americans beyond the stereotype of the family at Ellis Island or the presumed terrorist.
Museum of Fine Arts, Boston
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts
Opening hours:
Monday and Tuesday 10am – 5pm
Wednesday – Friday 10am – 10pm
Saturday and Sunday 10am – 5pm
Polixeni Papapetrou (Australian, 1960-2018) Drag queen wearing cut out dress
1993
From the series Drag Queens 1988-1999
Gelatin silver photograph
28.5 x 28.5cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney
My god, what a loss.
I am very sorry to hear of the passing of Polixeni Papapetrou. Sadness indeed…
Poli was a wonderful spirit and an incredibly gifted artist. Condolences to Robert Nelson and all of the family.
A selection of some of my favourite Papapetrou images are posted below – but really, there are so many memorable images, she leaves behind an indelible and lasting legacy.
From an earlier posting:
“What we should do is honour this talented and determined artist for creating so many memorable images over the years, for following her passion and her heart with courage and conviction. For the rest of my life I will always remember the spaces, the ambiguous vistas, the fantastical archetypes, the fables of her work. Images of drag queens and Dreamkeepers, Ghillies and goblins are etched in my memory. I will always remember them. You can’t ask much more from the work of an artist than that.”
.
You can kill the dreamer, but you cannot kill the dream.
Dr Marcus Bunyan
“Art does not reproduce the visible; rather, it makes visible.”
.
Paul Klee. Creative Credo (Schöpferische Konfession) 1920
Polixeni Papapetrou (Australian, 1960-2018) Three young men paying homage to Elvis on the 13th anniversary of Elvis’ death, Elvis Memorial Melbourne
1990
From the series Elvis Immortal 1987-2002
Selenium toned gelatin silver photograph
40.7 x 40.7cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney
Polixeni Papapetrou (Australian, 1960-2018) Mr Wrestling
1992
From the series Wrestlers 1992
Pigment ink print
100 x 100cm
Polixeni Papapetrou (Australian, 1960-2018) Indian Brave
2002
From the series Phantomwise 2002-03
Pigment ink print
85 x 85cm
Courtesy the artist and Nellie Castan Gallery, Melbourne and Stills Gallery, Sydney
Polixeni Papapetrou (Australian, 1960-2018) Lost
2005
From the series Fairy Tales 2004-2014
Type C print
100 x 100cm
Courtesy the artist, Michael Reid Gallery, Sydney + Berlin and Jarvis Dooney Galerie, Berlin
Reproduced with permission
Polixeni Papapetrou (Australian, 1960-2018) In the Wimmera 1864 #1
2006
From the series Haunted country 2006
Pigment ink print
105 x 105cm
Geelong Gallery Collection
In the Wimmera 1864 #1 from the Haunted country series is amongst the earliest works by the artist to have been staged in the Australian landscape and is one in which she explores the narrative of the ‘lost child’. The work references the story of three children lost in Mallee scrub near their home outside Horsham in the Wimmera District and is reminiscent, as the artist intends, of Frederick McCubbin’s late 19th century paintings of children lost or at least wandering absent-mindedly through the Australia bush.
Text from the Culture Victoria website
Polixeni Papapetrou (Australian, 1960-2018) Hanging Rock 1900 #3
2006
From the series Haunted country 2006
Pigment ink print
105 x 105cm
Polixeni Papapetrou (Australian, 1960-2018) The Provider
2009
From the series Between Worlds 2009-2012
Pigment print
105 x 105cm
Polixeni Papapetrou (Australian, 1960-2018) The Mourner
2012
From the series Between Worlds 2009-2012
Pigment print
105 x 105cm
Polixeni Papapetrou (Australian, 1960-2018) The Joy Pedlars
2011
From the series The Dreamkeepers 2012
Pigment print
105 x 105cm
Polixeni Papapetrou (Australian, 1960-2018) The Wanderer No. 3
2012
From the series The Dreamkeepers 2012
Pigment print
105 x 105cm
Polixeni Papapetrou (Australian, 1960-2018) Ocean Man
2013
From the series The Ghillies 2013
120 x 120cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
Polixeni Papapetrou (Australian, 1960-2018) Scrub Man
2012
From the series The Ghillies 2013
120 x 120cm
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013
Review of the exhibition Polixeni Papapetrou: Lost Psyche at Stills Gallery, 2014
When “facing” adversity, it is a measure of a person’s character how they hold themselves, what face they show to the world, and how their art represents them in that world. So it is with Polixeni Papapetrou. The courage of this artist, her consistency of vision and insightful commentary on life even while life itself is in the balance, are inspiring to all those that know her.
Papapetrou has always created her own language, integrating the temporal dissemination of the historical “case” into a two-dimensional space of simultaneity and tabulation (the various archetypes and ancient characters), into an outline against a ground of Cartesian coordinates.1 In her construction, in her observation and under her act of surveillance, Papapetrou moves towards a well-made description of the states of the body in the tables and classification of the psychological landscape. Her tableaux (the French tableau signifies painting and scene (as in tableau vivant), but also table (as in a table used to organise data)) are a classification and tabulation that is an exact “portrait” of “the” illness, the lost psyche of the title. Her images lay out, in a very visible way, the double makeover: of the outer and inner landscape.
These narratives are above all self-portraits. The idea that image, archetype and artist might somehow be one and the same is a potent idea in Papapetrou’s work. What is “rendered” visible in her art is her own spirit, for these visionary works are nothing less than concise, intimate, focused self-portraits. They speak through the mask of the commedia dell’ arte of a face half turned to the world, half immersed in imaginary worlds. The double skin (as though human soul, the psyche, is erupting from within, forcing a face-off) and triple skin (evidenced in the lack of depth of field of the landscape tableaux) propose an opening up, a revealing of self in which the anatomy (anatemnein: to tear, to open a body, to dissect) of the living is revealed. The images become an autopsy on the living and the dead: “a series of images, that would crystallise and memorise for everyone the whole time of an inquiry and, beyond that, the time of a history.”2
Papapetrou’s images become the “true retina” of seeing, close to a scientific description of a character placed on a two dimensional background (notice how the stylised clouds in The Antiquarian, 2014 match the fur hat trim). In the sense of evidence, the artist’s archetypes proffer a Type that is balanced on the edge of longing, poetry, desire and death, one that the objectivity of photography seeks to fix and stabilise. These images serve the fantasy of a memory: of a masked archetype in a made over landscape captured “exact and sincere” by the apparatus of the camera. A faithful memory of a tableau in which Type is condensed into a unique image: the visage fixed to the regime of representation,3the universal become singular. This Type is named through the incorporated Text, the Legend: I am Day Dreamer, Immigrant, Merchant, Poet, Storyteller.
But even as these photographs seek to fix the Type, “even as the object of knowledge is photographically detained for observation, fixed to objectivity,”4 the paradox is that this kind of knowledge slips away from itself, because photography is always an uncertain technique, unstable and chaotic, as ever the psyche. In the cutting-up of bodies, cutting-up on stage, a staging aimed at knowledge – the facticity of the masked, obscured, erupting face; the corporeal surface of the body, landscape, photograph – the image makes visible something of the movements of the soul. In these heterotopic images, sites that relate to more stable sites, “but in such a way as to suspect, neutralise, or invert the set of relations that they happen to designate, mirror or reflect,”5 Papapetrou’s psyche, “creates the chain of tradition which passes a happening on from generation to generation.”6 In her commedia dell’ arte, an improvised comedy of craft, of artisans (a worker in a skilled trade), the artist fashions the raw material of experience in a unique way.7 We, the audience, intuitively recognise the type of person being represented in the story, through their half masks, their clothing and context and through the skilful dissemination of collective memory and experience.
Through her storytelling Papapetrou moves towards a social and spiritual transformation, one that unhinges the lost psyche. Her landscape narratives are a narrative of a recognisable, challenging, unstable non-linear art, an art practice that embraces “the speculative mystery of ancient roles… They’re all souls with divided emotions, torn between dream and reality, who like us, converge on the collective stage that is the world.” They are archetype as self-portrait: portraits of a searching, erupting, questioning soul, brave and courageous in a time of peril. And the work is for the children (of the world), for without art and family, extinction.
Dr Marcus Bunyan
Footnotes
1/ Adapted from Didi-Huberman, Georges. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpetriere (trans. Alisa Hartz). Cambridge, Mass.: MIT Press, 2003, p. 24-25. I am indebted to the ideas of Georges Didi-Huberman for his analysis of the ‘facies’ and the experiments of Jean-Martin Charcot on hysteria at the Hôpital Salpêtrière in Paris in the 1880s.
2/ Ibid., p. 48
3/ Ibid., p. 49
4/ Ibid., p. 59
5/ Foucault, Michel. “Of Other Spaces,” in Diacritics Spring 1986, p. 24 quoted in Fisher, Jean. “Witness for the Prosecution: The Writings of Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, pp. 226-227
6/ Fisher, Ibid., p. 227-228
7/ “One can go on and ask oneself whether the relationship of the storyteller to his material, human life, is not in itself a craftsman’s relationship, whether it is not his very task to fashion the raw material of experience, his own and that of others, in a solid, useful, and unique way.”
Benjamin, Walter. Illuminations (trans. by Harry Zohn; edited by Hannah Arendt). New York: Schocken Books, 1968 (2007), p. 108
Polixeni Papapetrou (Australian, 1960-2018) The Immigrant
2014
From the series Lost Psyche 2014
Pigment print
100 x 150cm
Polixeni Papapetrou (Australian, 1960-2018) The Storyteller
2014
From the series Lost Psyche 2014
Pigment print
100 x 150 cm
A Christmas present to myself… my most complex and enigmatic sequence to date.
Shot in Japan, all of the images come from two 1950s photography albums, one of which has a large drawing of a USAF bomber on it’s cover. The images were almost lost they were so dirty, scratched and deteriorated. It has taken me four long years to scan, digitally clean and restore the images, heightening the colour already present in the original photographs.
Sometimes the work flowed, sometimes it was like pulling teeth. Many times I nearly gave up, asking myself why I was spending my life cleaning dirt and scratches from these images. The only answer is… that I wanted to use these images so that they told a different story.
Then to sequence the work in such a way that there is an enigmatic quality, a mystery in that narrative journey. Part auteur, part cinema – a poem to the uncertainty of human dreams.
Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my Store web page.
A selection of individual images from the sequence
“I think this whole conversation can be compressed into one thing. It’s that life is joyous and wonderful and it’s meant for us to grow as individuals, as citizens, as human beings and spirits. The terrible thing is that we have a choice and usually the negative choice is the easy way. That’s what we regret because we know we’ve harmed and we’re not meant to harm. We’re meant to heal and grow and share and if I had a knife at my neck or a gun to my head I’d say the same thing.”
.
Joel-Peter Witkin
Magical momenti mori
This will be short and sweet because I on holiday in Europe.
It was a privilege to visit William Mora Galleries to see the first ever exhibition in Australia of the work of the renowned American photographer Joel-Peter Witkin. To be able to spend time with these photographic constructions in such a tranquil space truly was a blessing.
While it is possible to read all sorts of influences into the work – running from Diane Arbus (masks) through Surrealism, collage and homages to still-life “Vanitas” style paintings from the 1600s, the ‘Storyville’ prostitue photos of E.J. Bellocq, carte-de-visite and the conversant arched form of the window cut-outs of Victorian photo albums, mythological themes, ars moriendi, post-mortem photography, et al – what makes Witkin’s photographs so unique is that they could only, ever, be the work of this artist. When you look at these beautiful photographs they bear his unmistakable signature.
Witkin is able to construct in a performative space placed before the lens, engaging narratives which often have an allusive mystery embedded in them. I for one do not pretend to understand all that is going on within the images in terms of their symbolism – but this is not necessary. What I can feel is the profound love and affection that the artist has towards his subjects and his craft. Witkin is not afraid: of life, of death, of ambiguities of sexuality, identity and disability, that confront each and every one of us throughout life. He is not afraid to make bold moves in his art, scratching into the surface of the negative, bleaching into the print, collaging over the top of the base print, never afraid of high key moments in the mise-en-scène, all to create the affect that he wants in order to tell the story. He directs his imagination through the presence and physicality of the final print.
Witkin’s allegories, his mediations on the universality of death as memento mori, or meme/n/to (a meme is an element of a culture or system of behaviour passed from one individual to another, as in the multiple rituals of death) mori, remind people of the fragility of their lives and how vain are the glories of earthly life. His imaginative renditions posit this: no matter one’s station in life, the Dance of Death unites all.
Dr Marcus Bunyan
.
Many thankx to Anna and William Mora for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.
How can those terrified vague fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air,
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?
“Trump is a child living in a narcissistic hollow man – with the power to destroy the world…
Trump is not qualified to be President. His election to that office represents the ignorance of the American electorate and the corruption of our political representatives. Ours is not an intellectual culture in which thought and reason are unselfishly presented. It is a “Pop Culture” of materialistic escapism which has elected an autocratic, draft dodging, corrupt business man, who has made this country the laughing stock of the world.
The Great Masturbator And The Country He Rode In On took several months to create. The Trump model was willing to pose nude. In his right hand is the nuclear button. On his extended left arm is written: “The Only Conquest Left Is Ivanka.” On his right arm, he is wearing the symbol of Communism, the secret agenda Russia is promoting today under Putin. And for reasons yet unknown, all of us look forward to know why Trump is Putin’s marionette.
I made this photograph because I am involved in mankind. As a citizen of this formally great country, and as an artist, I made this photograph to help defeat the Republican party in the 2018 elections for its cowardice in putting their party ahead of their country. Where are our elected leaders, the Lincoln’s, the Kennedy’s of today? Where are our citizen’s hero’s, the César Chávez’s, the Martin Luther King’s, the Rosa Parks of today?
What ever happened to morality, courage and integrity?”
Orpheus is a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centred on his ability to charm all living things and even stones with his music, his attempt to retrieve his wife, Eurydice, from the underworld, and his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, film, opera, music, and painting.
“It happened on a Sunday when my mother was escorting my twin brother and me down the steps of the tenement where we lived. We were going to church. While walking down the hallway to the entrance of the building, we heard an incredible crash mixed with screaming and cries for help. The accident involved three cars, all with families in them. Somehow, in the confusion, I was no longer holding my mother’s hand. At the place where I stood at the curb, I could see something rolling from one of the overturned cars. It stopped at the curb where I stood. It was the head of a little girl. I bent down to touch the face, to speak to it – but before I could touch it someone carried me away.”
.
Joel-Peter Witkin
Ars Moriendi
The Ars moriendi (“The Art of Dying”) are two related Latin texts dating from about 1415 and 1450 which offer advice on the protocols and procedures of a good death, explaining how to “die well” according to Christian precepts of the late Middle Ages. It was written within the historical context of the effects of the macabre horrors of the Black Death 60 years earlier and consequent social upheavals of the 15th century. It was very popular, translated into most West European languages, and was the first in a western literary tradition of guides to death and dying. There was originally a “long version” and a later “short version” containing eleven woodcut pictures as instructive images which could be easily explained and memorised. …
Ars moriendi consists of six chapters:
The first chapter explains that dying has a good side, and serves to console the dying man that death is not something to be afraid of
The second chapter outlines the five temptations that beset a dying man, and how to avoid them. These are lack of faith, despair, impatience, spiritual pride and avarice
The third chapter lists the seven questions to ask a dying man, along with consolation available to him through the redemptive powers of Christ’s love
The fourth chapter expresses the need to imitate Christ’s life
The fifth chapter addresses the friends and family, outlining the general rules of behaviour at the deathbed
The sixth chapter includes appropriate prayers to be said for a dying man
…
Allegorically the images depicted the contest between angels and demons over the fate of the dying man. In his dying agony his soul emerges from his mouth to be received by one of a band of angels. Common themes portrayed by illustrators include skeletons, the Last Judgement, corpses, and the forces of good and evil battling over souls.
I was born and grew up with this sexual controversy enduring ridicule and insults and humiliations. My family took advantage of me for being joto. And I’m not to blame for being born so tired of so much reproach I left my house to study and fight against everything. I made my life and I’m happy. I hope you catch me sometime and to Saint Sebastian I thank that I left with the good of this operation that changed my life. Bogota 2008
The symbolism of food and drink [in European painting 1400-1800] has roots in classical literature. Fruits, nuts, herbs, and grain are discussed in treatises on farming and natural history, and appear widely in mythology as attributes of gods and goddesses – grapes for Bacchus, god of wine; a sheaf of corn or wheat for Ceres, the grain goddess – and in metaphors for virtue and vice. Early religious writings such as the Bible and the Apocrypha, and Christian texts of the Middle Ages and Renaissance are also rich in this imagery, often borrowing from pagan symbolism and occasionally supplanting it. The pomegranate, for example, is depicted in mythological paintings as an attribute of Venus and a symbol of desire, fertility – because of its many seeds – and marriage, but appears as frequently in sacred images of the Virgin and Child. There are several legends of the pomegranate’s creation, contributing to its symbolic potency; according to one, it grew out of blood streaming from the wounded genitals of the lustful Acdestis. The pomegranate is perhaps best known, however, for its fateful role in the myth of Proserpina. Ovid tells in the Metamorphoses of Proserpina’s abduction by Pluto, ruler of the Underworld. Proserpina’s mother, Ceres, secured her release from Hades, but, before leaving Proserpina, ate the seeds from a pomegranate and, because she had consumed food in the Underworld, was compelled to spend part of every year there. Proserpina’s cyclical descent to Hades and rise to Earth was believed to bring about the changing of seasons, and the pomegranate was thus seen as a symbol of resurrection and immortality.
Elizabeth Gertsakis (Australian, b. 1954) Children Playing (detail)
2017
Digital prints on metallic silver acrylic
39 x 163cm
Conquering orientalism
A beautiful, sensitive, sensual even, exhibition by the wonderful Elizabeth Gertsakis at William Mora Galleries. The artist forms a living relationship with early images of women and children from the Prefecture of Florina – mostly taken from that most vernacular form of photograph, the postcard – something that was sold as souvenir to the tourist trade, or posted to loved ones overseas.
Gertsakis identifies with their ethnicities and beliefs and physical appearances, transmuting their identities and narratives by printing these ephemeral objects on steel, that most durable of substances, which makes them shine under the gallery lights. The photographs both transcend time and transcend the physicality of the actual photograph… making their hidden histories a precious, and contemporary, thing. Like their protagonists, the steel makes the images and the people in them hardy enough to survive the vicissitudes thrust upon these communal people.
Gertsakis observes, “My voice is in placing myself between the present and the past as it has been generated by the cameras of others.” Beautifully enunciated. With her deep familial roots in the area – one that endured nearly five hundred years of Islamic rule and culture, as well as multiple ethnic communities and religions; Christian Greeks, Slavs, Bulgarians, Jews, Turkic and Albanian Moslems, Vlachs and Gypsies – Gertsakis creates witness and testament to her own communal familial past.
The rare and unique costumes come from the artists personal collection and when I was in the gallery space there seemed to be this electricity flowing between the images and the cloth. It was almost as though the people in the photographs were dancing again, were speaking to us today of their trials and tribulations, of their energy to survive the turmoil of the first decades of the 20th century.
Elizabeth is first generation… her father and grandfather and grandmothers… were those people…. exactly as they appear. They survived the yoke of the oppressor and conquered orientalism. These are their valuable, inspiring stories, beautifully told.
Installation view of the exhibition Girls In Our Town: Women in the Shadow of ‘The Magnificent Empire’ Florina Prefecture & Region, Macedonia Greece 1900-1917, 2017 by Elizabeth Gertsakis at William Mora Galleries, Richmond Photo: Marcus Bunyan
Elizabeth Gertsakis (Australian, b. 1954) Florina 2017
Digital prints on metallic silver acrylic
39 x 174cm
Elizabeth Gertsakis (Australian, b. 1954) Dancing Macedonian Girls 2017
Digital prints on metallic silver acrylic
39 x 136cm
Installation view of the exhibition Girls In Our Town: Women in the Shadow of ‘The Magnificent Empire’ Florina Prefecture & Region, Macedonia Greece 1900-1917, 2017 by Elizabeth Gertsakis at William Mora Galleries, Richmond Photo: Marcus Bunyan
Installation view of the exhibition Girls In Our Town: Women in the Shadow of ‘The Magnificent Empire’ Florina Prefecture & Region, Macedonia Greece 1900-1917, 2017 by Elizabeth Gertsakis at William Mora Galleries, Richmond Photo: Marcus Bunyan
I was born in the town of Florina, Macedonia, Greece. This town is in the top north western part of Greece adjacent to Albania, FYROM and Bulgaria. My family migrated to Australia in 1954 and I was educated in Australia
Florina was an oriental (ανατολικό) town belonging to the Ottoman Empire which controlled Greece from 1453 to 1922; the people of Florina were a mesh of multiple ethnic communities and religions; Christian Greeks, Slavs, Bulgarians, Jews, Turkic and Albanian Moslems, Vlachs and Gypsies. These religious groups lived and worked together in close proximity. Florina was a typical Balkan town in the later stages of the decline of Ottoman rule in the Balkans.
From 1903-1918, and including World War One (1914) and the Greco-Turkish War of 1919-1922 the entire northern territories of the Graeco-Balkan Peninsula (including Serbia) suffered great population losses through wars, cataclysmic population displacements (ethnic cleansing) and population exchanges. Refugee diaspora was moving in all directions, across from east to west in both directions. This vast political re-construction of Europe and the Balkans may have initially started from wars of revolutionary independence from the Ottomans, and subsequent internal Balkan expansionist claims to new territory, but it was the conflagration of the First World War that irreversibly rocked its cultural foundations for the future, beyond any political value in the creation of new national states in the Balkans and Asia Minor.
This history of diaspora and displacement laid down a new pattern for the twentieth century and into the twenty first century; a set of historical problems that had and continue to have irreversible impact on the function of community memory in relation to identity experienced by each succeeding wave of refugees and migrants who abandon everything in the simple need to escape and to survive.
I have chosen to highlight the consequences of cultural uprooting on memory and identity through the images of women from Florina, taken by various known and unknown photographers in the period from 1900-1918. These photographs were taken by people who may have had commercial or political intentions in the first instance but the resulting image does not always remain in the control of its original maker. Gender is important in this exhibition because it has been traditionally the female that carries the symbolic function of ritual and memory in relation to culture and identity, and ultimately, the idea and meaning of where belonging and home is. In other words the responsibility falls on the refugee and migrant woman if there is any question or ambivalence or sense of lack. This responsibility remains a constant memorial and cognitive challenge to the psyche of the female survivor, refugee and migrant.
I have used archival photographic images and reconfigured them to create a narrative representing difference. They have been extracted from their solitary sources from commercial photography, press photography and the archives of the Photographic Section of the French Army (Campaign d’Orient 1916-1918).
The installations invite entry into unknown individual histories and emphasis shared past communal lives even though there were multiple political differences and historical consequences. The original images were the result of various kinds of personal and spatial exploitation, both desired and undesired. Photography as a commercial technology played a profound role in the identification and changing of the global meaning of identity that resulted from death during war, disruption and the re-allocation of populations.
Today this usage of images of diaspora continues in the same way via 24/7 news and the internet. I feel it is important to examine female representation during times of crisis and trauma. My desire is that this exhibition encourages multiple narratives and a focus on recognition and justice for minorities internationally and in Australia, as well as the recognition and diversity of individual authenticity. Within the stereotype I look for authenticity, not for any kind of ethnic purity; and I know this is the case both within multicultural as well as the liberal concerns for justice and human rights issues in regard to minorities in contemporary art. As a woman it is the moment when, through my life in art, history and photography, that I accepted the bequest of my own historically difficult position as being the reality of my own identity.
Elizabeth Gertsakis, July 2017
Elizabeth Gertsakis (Australian, b. 1954) Lerinki 2017
Digital prints on metallic silver acrylic
39 x 72cm
Elizabeth Gertsakis (Australian, b. 1954) Beautiful Macedonians 2017
Digital prints on metallic silver acrylic
39 x 68cm
Elizabeth Gertsakis (Australian, b. 1954) Noli Me Tangere (Don’t Touch Me) 2017
Digital prints on metallic silver acrylic
60 x 91cm
William Mora Galleries
60 Tanner St, Richmond VIC 3121, Australia
Phone: +61 3 9429 1199
Opening hours:
Wednesday – Friday 10am – 4pm or by appointment
This project has been supported by the Victorian Government through Creative Victoria
PLEASE NOTE: I am still recovering from my hand operation which is going to take longer than expected. All of the text has been constructed using a dictation programme and corrected using only my right hand – a tedious process. I have to keep my mental faculties together, otherwise this hand will drive me to distraction… Marcus
Christian Thompson (Australian, b. 1978) Black gum 1-3
2007
From the series Australian graffiti
C-type prints
Collection of the National Gallery of Australia, Canberra
Photo: Andrew Curtis
Christian Thompson (Australian, b. 1978) Black gum 1
2007
From the series Australian graffiti
C-type print
Collection of the National Gallery of Australia, Canberra
Christian Thompson (Australian, b. 1978) Black gum 2
C-type print
2007
From the series Australian graffiti
Collection of the National Gallery of Australia, Canberra
“While I’m interested in portraiture – I don’t consider my work as portraiture because that suggests that I’m trying to portray myself, my own visage, my own image. I employ images, icons, materials, metaphors to capture and idea and moment in time. There are many different things at play; taking a picture of myself is really the last thing that’s on my mind.”
.
Christian Thompson in conversation with Hetti Perkins, catalogue extract
“I’m interested in simple aesthetic gestures that can say something … something quite profound about the world that we live in. I tend to build images how I create a sculpture. I borrow from the world around me.”
On being away from home: “You’re able to remove yourself from the local discourse, and romanticise home. When you’re displaced you tend to gravitate towards certain memories … But this is who I am. It would be weird not to express that somehow. I combine memories of my past with my lived experience and an idea of where I’d like to be … it’s all montaged into one.”
“But Thompson makes things up. His ‘We bury our own’ does not let us see the early daguerreotype but improvises a series of fugues on its spiritual essence. This is the crucial step that Thompson has taken: if you repeat the spectacle you cannot escape the past. But if you, a spiritual descendant, transmogrify yourself in keeping with the aura of the image’s subject, during the prolonged period of encounter and immersion, you can ‘repatriate’ that forebear. Or so he desires.”
“Through these conjurings of the language his people spoke before colonisation set out to strip them of their culture as well as their land, Christian Thompson performs private ceremonies – to reach beyond visual statements of personal presence and reawaken the knowledge of his forebears, and allow us, his listeners and viewers, into their living story.”
.
Marina Warner. “Magical Aesthetics,” extracts from the catalogue essay
Still singing, still Dreaming,
still loving… not dying.
This is a strong survey exhibition of the work of contemporary Australian Indigenous artist and Bidjara man exploring the world, Christian Thompson. As with any survey exhibition, it can only give us a glimpse into the long standing development of the artist’s work, inviting the viewer to then research more fully the themes, conceptual acts and bodies (of work) that have led the artist to this point in his artistic development. Having said that the exhibition, together with its insightful catalogue essays and additional images that do not appear in the exhibition, allow the viewer to be challenged intellectually, aesthetically and most importantly … spiritually. And to be somewhat conflicted by the art as well, it has to be said.
Thompson’s “multidisciplinary practice explores notions of cultural hybridity, along with identity and history, creating works that transcend cultural boundaries.” His self-reflexive and self-referential bodies of work, often with the artist using his body as an “armature for his characters, costumes and various props,” are intuitive and imaginative in how they relate Aboriginal and Australian/European history, taking past time into present time which influences future time. Time, memory, history, space, landscape are conflated into one point, enunciated through acts of ritual intimacy. These ritual intimacies, these performative acts, are enabled through an understanding of a regularised and constrained repetition of norms (in this case, the declarative power of colonialism), where the taking of a photograph of an Aboriginal person (for example), is “a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production…” (Judith Butler, Bodies That Matter. New York: Routledge, 1993, p. 95).
What is so heartening to see in this exhibition is a contemporary Indigenous artist not relying on re-animating colonial images of past injustices, but re-imagining these images to produce a spiritual connection to Country, to place, to people in the present moment. As Charlotte Day, Director, MUMA and Hetti Perkins, guest curator observe in the wall text at the beginning of the exhibition, “Rather than appropriating or restaging problematic ethnographic images of indigenous ancestors held in the Museum’s photographic collection, Thompson has chosen to spend significant periods of time with these images, absorbing their ‘aura’ and developing a personal artistic and deferential response that is decisively empowered.” As Marina Warner states in her excellent catalogue essay “Magical Aesthetics”, these ritual intimacies are a “magical re-animation and adopt time-honoured processes of making holy – of hallowing. Adornment is central to ritual and a prime way of glorifying and consecration.” What Thompson is doing is not quoting but translating the source-text into new material. As Mary Jacobus notes of the work of the painter Cy Twombly, “Quotation involves the repurposing of an existing text: translation requires a swerve from the source-text as it finds new directions and enters unknown terrain.” (Mary Jacobus. Reading Cy Twombly: Poetry in Paint. Princeton & Oxford: Princeton University Press, 2016, p. 7).
This auto-ethnographic exploration and adornment leads to a deterritorialisation and reterritorialisation of time in a heterotopic space, juxtaposing in a single real place several spaces, several sites of contestation – Thompson’s travels and research from around the world, the embodiment in his own culture and that of contemporary Australia, pop culture, fashion, music and language – where, as Hetti Perkins says, “the unknowable is a lovely thing” and where Thompson can affect and influence “the Zeitgeist through more subversive means.” These spaces of ritualised production overlaid with memory, imagination, desire, and nostalgia, these fragmented images, become a process and a performance in which Thompson seeks to ameliorate the objects aura through a process of ‘spiritual repatriation’. Thompson’s performativity is where the ritual of production and meaning is never fully predetermined at any stage of production and reception.
Here, in terms of ‘aura’ and ‘spirit’, I am interested in the word “repatriation”. Repatriation means to send (someone) back to their own country – from the verb repatriare, from re- ‘back’ + Latin patria ‘native land’. It has an etymological link to the word “patriot” – from late Latin patriota ‘fellow countryman’, from Greek patriōtēs, from patrios ‘of one’s fathers’, from patris ‘fatherland’ – and all the imperial connotations that are associated with the word. So, to send someone back (against their own will? by force?) or to be patriotic, as belonging to or coming from, the fatherland. A land that is father, farther away. Therefore, it is with regard to a centralised, monolithic body and its materialities (for the body is usually centrally placed in Thompson’s work) in Thompson’s instinctive works, that relations of discourse and power will always produce hierarchies and overlappings which are going to be contested. As Judith Butler notes,
“That each of those categories [body and materiality] have a history and a historicity, that each of them is constituted through the boundary lines that distinguish them and, hence, by what they exclude, that relations of discourse and power produce hierarchies and overlappings among them and challenge those boundaries, implies that these are both persistent and contested regions.” (Judith Butler. Bodies That Matter. New York: Routledge, 1993, pp. 66-67)
.
Thus performativity is the power of discourse, the politicisation of abjection, and the ritual of being.
This is where I become conflicted by much of this work. Intellectually and conceptually I fully understand the instinctive, intuitive elements behind the work (crystals, flowers, maps, butterflies, dreams) but aesthetically I feel little ‘aura’ emanating from the photographs. Thompson’s “peripatetic life and your bowerbird, magpie-like fascination” (p. 107) lead to all sorts of influences emerging in the work – orange from The Netherlands, Morris dancers from England, Jewish heritage, Aboriginal and Australian heritage, fashion, pop culture, music, language – all evidenced through “acts of concealment in his self-portraits.” (p. 75). Now there’s the rub!
In Thompson’s ritual intimacies the intimacy is performed only once, for the camera. It is not didactic, but it is interior and hidden, leaving much to the feelings of the viewer, looking. The re-presentation of that intimacy is performed by the viewer every time they look at the art. I think of the work of one of my favourite performance artists, Claude Cahun, where the artist inhabits her personas, adorning her androgynous face with costume after costume to become something that she wants to become – a buddha, a double, a harpy, a lunatic or a doll with equal ease. Cahun is always and emphatically herself, undermining a certain authority… and she produces indelible images that sear the mind.
I don’t get that from Thompson. I don’t know who he really is. Does it matter? Yes it does. In supposedly his most autobiographic work (according to Hetti Perkins), the video Heat (2010, below) the work emerges out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland where “heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair.” Perhaps for him or someone from the desert country like Hetti Perkins (as she states in the catalogue), but not for me. I feel no ‘heat’ from these three beautiful woman standing in a contextless background with a wind machine blowing their hair. The only ‘heat’ I felt was perhaps the metaphoric heat of colonisation, violence and abuse thrust on a vulnerable culture.
Talking of vulnerable cultures, in the work Polari (2014, below) Thompson invokes the history of languages in an intimate ritual “as he seeks to reanimate and repossess vanishing knowledge. Polari is a private language … a kind of code used by sailors, circus and fairground folk, and in gay circles. … Thompson’s Polari series warns us that the artist has a language of his own, which we can overhear but not fully understand: something is withheld, in contrast to the imposed and implacable exposure which the subjects of scientific collections were made to suffer in the past.” (Warner, p. 74) But why is he using Polari specifically, a language that is strongly associated with the libertine gay culture of the 1950s-70s? Does he have a right to use this word and its linguistic heritage because he is gay? It is never stated, again another thing left hidden, concealed and unresolved.
Although no culture can ever fully own its language (language is a construct after all) … if Thompson is not gay, then I would take exception to his invoking the Polari language, just as an Indigenous artist would take exception to me using Bidjara language in an art work of my own. I remember coming out in London in 1975 and speaking Polari myself when it was still being used in pubs and clubs such as the A + B club in Soho. It was not being used as a language of resistance, far from it, but as a language of desire. It was a language used to inculcate that desire. As a video on YouTube observes of speaking Polari, “you didn’t think, oh God I’m so oppressed I can never speak about myself, you just did it, you just slipped into it without thinking.” It was your own language, like a comfortable pair of slippers. Does Thompson understand how using that word to title a body of work could be as offensive to some people as he finds the denaturing of his own culture? For me this is where the work really becomes problematic, when an artist does not enunciate these connections, where things, like sexuality, remain hidden. Similarly, with historical photographs of Indigenous people taken for ethnographic study, Thompson fails to acknowledge the work of academics such as Jane Lydon and her important books Eye Contact: Photographing Indigenous Australians (2005) and Photography, Humanitarianism, Empire (2016) where she unpacks the historical baggage of the images and notes that the photographs were not solely a tool of colonial exploitation. Lydon articulates an understanding in Eye Contact that the residents of Coranderrk, an Aboriginal settlement near Healsville, Melbourne, “had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.” Again, there is more than meets the eye, more than just ‘spiritual repatriation’ of aura.
For me, the magic of this exhibition arrives when Thompson lets go all obfuscation, let’s go all actions that make something obscure, unclear, or unintelligible. Where his ritual intimacies become grounded in language, earth and spirit. This happens in the video works, Desert slippers (2006, below), Refuge (2014, below), Gamu Mambu (Blood Song) (2011) and Dhagunyilangu (Brother) (2011, below). In these videos, the Other’s gaze disintegrates and we are left with poignant, heart felt words and actions that engage history, emotion, family and Country.
The video Desert slippers “features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.” It is simple, eloquent, powerful, present. The other videos feature two baroque singers from Europe and Thompson singing in his native tongue Bidjara (Bidyara, Pitjara), a language that Wikipedia states “is an extinct Australian Aboriginal language. In 1980 it was spoken by twenty elders in Queensland, between Tambo and Augathella, Warrego and Langlo rivers.” Spelt out in black and white. Extinct. To hear Thompson sing a berceuse (French, from bercer ‘to rock’), or lullaby in his native language, a language taught to him by his father, is the most emotional of experiences. The work “combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture,” and “is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.” Amen to that.
This is the real hallowing, not the dress ups or the concealments. It is in these videos that the raw material of his and his cultures experience is transmuted into living, breathing stories, in an alchemical transmutation, a magical re-animation of past time into present and future time. My transfiguration into a more spiritual state was complete when listening in quiet contemplation. For I was given, if only for a very brief moment, access to the pain of our first peoples and a vision of hope for their future healing.
Still singing, still Dreaming,
still loving… and certainly not dying.
Dr Marcus Bunyan
Word count: 2,053
.
Many thankx to MUMA for allowing me to publish the photographs and videos in the posting. Please click on the photographs for a larger version of the image.
“At the heart of my practice is a concern with aura: what it is, how it can be photographed and how it can be repatriated.”
.
Christian Thompson
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Photo: Andrew Curtis
Christian Thompson (Australian, b. 1978) Untitled #6
2010
From the series King Billy C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Berceuse (2017)
Christian Thompson (Australian, b. 1978) Berceuse (extract installation view)
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison
Christian Thompson (Australian, b. 1978) Berceuse
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison
In this newly commissioned work, Thompson sings a berceuse – a cradle song or lullaby – that combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture. Intended as a gesture of re-imagining his traditional Bidjara language, which is been categorised as extinct, the work is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.
Thompson makes subtle reference to his maternal Sephardic Jewish roots by ruminating in this work on the lullaby Nani Nani:
Lullaby, lullaby
The boy wants a lullaby,
The mother’s son,
Who although small will grow.
Oh, oh my lady open,
Open the door,
I come home tired,
From ploughing the fields.
Oh, I won’t open them,
You don’t come home tired,
You’ve just come back,
From seeing your new lover.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Museum of Others (2016)
Installation view of Museum of Others (Othering the Ethnologist, Augustus Pitt Rivers) 2016
Christian Thompson (Australian, b. 1978) Museum of Others (Othering the Anthropologist, Walter Baldwin Spencer) 2016
From the series Museum of Others C-type print
Installation view of Museum of Others (Othering the Explorer, James Cook) 2016
Christian Thompson (Australian, b. 1978) Museum of Others (Othering the Explorer, James Cook) 2016
From the series Museum of Others C-type print
Christian Thompson (Australian, b. 1978) Equilibrium
2016
From the series Museum of Others C-type print
Museum of others is Thompson’s most recent photographic series and continues to reflect on his time at the University of Oxford. It features several ‘dead white males’ from the pantheon of British and Australian culture. The explorer, the ethnologist and the anthropologist all had roles in the process of colonisation in Australia but the art critic is particular to Thompson; Ruskin was the first Slade Professor of Fine Art at University of Oxford, just as Thompson was one of its first Australian Aboriginal students. Thompson explains his motivation for the series:
“Historically, it was the western gaze that was projected onto the ethnic other and I thought I’ll create a ‘museum of others’ and I’ll be the one othering, so to speak. ‘Equilibrium’ is based around the idea that the vessel is the equaliser. The vessel is the cradle of all civilisations. We all have that in common.”
.
Wall text from the exhibition
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series We bury our own 2010 (C-type prints)
Photo: Andrew Curtis
We bury our own is a body of work that was developed in response to the historic collection of photography, featuring Aboriginal people from the late nineteenth century, at the Pitt Rivers Museum in Oxford. Thompson noted in 2012 that these early images “have permeated my work over the last year. They have remained at the forefront of every artistic experiment and they have pushed me into new territory, they have travelled with me… I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs…”
Each of Thompson’s lyrical photographic images from We bury our own and Pagan sun feature himself partially disguised with props and costumes. The works are virtually monochromatic with elements highlighted in full colour, and his eyes, or face, are partially concealed or painted. The use of votive objects is explained in his equally lyrical 2012 statement: “I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum.”
Christian Thompson (Australian, b. 1978) Energy Matter 2010
From the series We bury our own C-type print
Christian Thompson (Australian, b. 1978) Lamenting the flowers 2010
From the series We bury our own C-type print
Christian Thompson (Australian, b. 1978) Forgiveness of Land 2010
From the series We bury our own C-type print
Christian Thompson (Australian, b. 1978) Down Under World 2010
From the series We bury our own C-type print
I conceived the We Bury Our Own series in 2010 after curator Christopher Morton invited me to develop a body of work that would be inspired by and in dialogue with the Australian photographic collection at the Pitt Rivers Museum…
The archival images have permeated my work over the last year. They have remained at the forefront of every artistic experiment and pushed me into new territory; they have travelled with me to residencies at the Fonderie Darling in Montreal and Greene Street Studio, New York. I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs. The simplicity of a monochrome and sepia palette, the frayed delicate edges and the cracks on the surface like a dry desert floor that reminded me of the salt plains of my own traditional lands.
I wanted to generate an aura around this series, a meditative space that was focused on freeing oneself of hurt, employing crystals and other votive objects that emit frequencies that can heal, ward off negative energies, psychic attack, geopathic stress and electro magnetic fields, and, importantly, transmit ideas.
I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum. I asked the photographs in the Pitt Rivers Museum to be catalysts and waited patiently to see what ideas and images would surface in the work, I think with surprising results. Perhaps this is what art is able to do, perform a ‘spiritual repatriation’ rather than a physical one, fragment the historical narrative and traverse time and place to establish a new realm in the cosmos, set something free, allow it to embody the past and be intrinsically connected to the present?
I heard a story many years ago from some old men, they told me about a ceremony where young warriors would make incisions through the flesh exposing the joints, they would insert gems between the bones to emulate the creator spirits, often enduring infection and agonising pain or resulting in death. The story has stuck with me for many years, one that suggests immense pain fused with intoxicating beauty. The idea of aspiring to embody the creators, to transgress the physical body by offering to our gods our spiritual heart, freeing ourselves of suffering by inducing a kind of excruciating decadent torture. This was something that played on my mind during the production of this series of photos and video work. The deliverance of the spirit back to land – the notion that art could be the vehicle for such a passage, the aspiration to occupy a space that belongs to something higher than one’s physical self.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints) and a still from the video dead tongue 2015
Photo: Andrew Curtis
In Dead tongue Thompson continues to interrogate the implications of England’s empirical quest on the former colonies of the British Empire through the threat to or loss of Indigenous languages. In works such as this, Thompson actively challenges the perception that Aboriginal culture has become reduced to a captured trophy of Empire.
Wall text from the exhibition
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints)
Photo: Andrew Curtis
In … Imperial relic, he continues to use himself as the ‘armature for his characters, costumes and various props’. Drawing on his background in sculpture, he has created ‘wearable sculptures’ including a trumpet shaped shirt collar, an eruption of white flowers from a union jack hoodie, and an armature of maps. In each his face is partially or fully obscured again. “I’m interested in ideas of submission and domination,” he says. “So the trumpet headpiece is beautiful, but it also potentially muffles or silences the voice. The same thing with maps: they are purporting different kinds of historical narrative, depending who is telling the story. One is about the history of Indigenous people, one is about the history of white colonisers and then one is about the idea of charting the land and of discovery. I’m wearing it as an armature over my own body: that’s part of my own history but also of Australian history.”
Christian Thompson (Australian, b. 1978) Ancient bloom
2015
From the series Imperial relic C-type print on fuji pearl metallic paper
100 x 100cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978) Ship of dreams
2015
From the series Imperial relic C-type print on fuji pearl metallic paper
100 x 100 cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
The series title Imperial relic, summarises the fundamental philosophy underpinning the colonial occupation of Australia. Like the nearby series We bury our own, it is closely connected to Thompson’s studies in the collections of the Pitt Rivers Museum and shares with the Australian graffiti series Thomson’s physical presence is standing in for the Australian landscape.
The work Ancient bloom alludes to the phonograph horn out which might be heard the voice of Fanny Cochran Smith, who’s wax cylinder recordings of songs are the only historical audio recordings of any of the Tasmanian Aboriginal languages. Is also represents a Victorian-era shirt collar – a motif that has appeared in Thompson’s work since his Emotional striptease series of 2003 – but here is exaggerated into a soft-sculptural form that both projects and stifles the voice.
In Death’s second self the artist’s face is uncovered but distorted by make up and digital postproduction effects.The title quotes William Shakespeare’s Sonnet 73:
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
.
In God and Kings Thompson is cloaked with a map of Aboriginal language groups like a coat of armour. In the Ship of dreams he reprises the motif of Australian flora obscuring his face but here his hoodie is stitched together from several flags: the red ensign (flown by British registered ships), the RAAF flag and the Australian flag.
“I’m interested in ideas of submission and domination … So the trumpet headpiece is beautiful, but it also potentially muffles or silences the voice. The same thing with maps: they are purporting different kinds of historical narrative, depending who is telling the story. One is about the history of Indigenous people, one is about the history of white colonisers and then one is about the idea of charting the land and of discovery. I’m wearing it as an armature over my own body: that’s part of my own history but also of Australian history.”
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Isabella kept her dignity, I’m not going anywhere without you, Dead as a door nail and Hannah’s diary from the series Lost together 2009 (C-type prints)
Photo: Andrew Curtis
On 13 February 2008 then Prime Minister Kevin Rudd made an official apology to Aboriginal Australians for the Stolen Generations – the children of Aboriginal and Torres Strait Islander descent who were removed from their families between 1910 and 1970 under the respective Federal and State government policies of assimilation. At the time, Thompson was preparing to leave Australia for further studies aboard and felt this historic gesture allowed him to proudly take his culture and history with him as he ventured into the world.
Thompson photographed the series Lost together in the Netherlands while studying at the DasArts Academy of Theatre and Dance at Amsterdam University. The theme of the orange throughout the series is a reference to the national colour of the Netherlands, while the tartan patterning refers to early clan societies in the United Kingdom. The combination of these different styles is based on counter-cultural aesthetics – particularly punk collage of 1970s London.
Christian Thompson (Australian, b. 1978) Hannah’s Diary
2009
From the series Lost Together C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
MUMA | Monash University Museum of Art is proud to announce the first major survey exhibition of the work of Bidjara artist, Christian Thompson, one of Australia’s leading and most intriguing contemporary artists.
Thompson works across photography, video, sculpture, performance and sound, interweaving themes of identity, race and history with his lived experience. His work is held in the collections of major state and national art museums in Australia and internationally.
Thompson made history as one of the first two Aboriginal Australians to be accepted into the University of Oxford as a Charlie Perkins Scholar, where he completed his Doctorate of Philosophy (Fine Art) in 2016. Christian Thompson: Ritual Intimacy opens as the artist looks forward to the graduation ceremony in July, when he will be conferred his degree.
Featuring a major new commission created for this exhibition, Christian Thompson: Ritual Intimacy will survey Thompson’s diverse practice, spanning fifteen years, and will also be accompanied by the publication of the first monograph on the artist’s career and work, including essays by Brian Catling RA and Professor Dame Marina Warner DBE, CBE, FBA, FRSL.
The specially commissioned installation will be an ambitious multichannel composition, developing the sonic experimentation that is a signature of Thompson’s work. Incorporating Bidjara language, it will invite viewers into an immersive space of wall-to-wall imagery and sound:
“Bidjara is officially an endangered language but my work is motivated by the simple yet profound idea that if even one word of an endangered language is spoken it continues to be a living language,” Thompson says.
Christian Thompson: Ritual Intimacy explores the unique perspective and breadth of Thompson’s practice from the fashioning of identity through to his ongoing interest in Indigenous language as the expression of cultural survival. The new multichannel work will develop musical ideas Thompson has previously explored.
“It will be a much more ambitious iteration of a song in Bidjara. At one stage I’m singing on one screen and then other versions of me appear singing the melodies. I really see it as an opportunity to do something that’s more complex musically, more textured sonically – I also want it to be more intricate with my use of language,” the artist says.
Ritual Intimacy is curated by MUMA director Charlotte Day and guest curator Hetti Perkins. Day explains that the exhibition is part of MUMA’s Australian artist series, which affords the opportunity to look at each artist’s practice in depth. “Christian’s exhibition traces a particularly productive period of research and development, from early well-known works such as the Australian Graffiti series to more recent experiments with language in sound and song works,” Day says.
A long-time curatorial collaborator with Thompson, Perkins is the writer and presenter of art + soul, the ABC’s acclaimed television series about contemporary Aboriginal and Torres Strait Islander art. Thompson was accepted to Oxford University on an inaugural Charlie Perkins Scholarship, set up to honour Hetti Perkins’s famous father – a leader, activist and the first Aboriginal Australian to graduate from university. Perkins says the MUMA exhibition is well-earned recognition for Thompson’s work, which she featured in the second series of art + soul.
“Christian has spent periods of his adult life, as a practicing artist, away from home, but there is a common thread in his work, and it’s this connection to home or Country,” Perkins says. “In terms of the rituals or rites of the exhibition title, he is constantly reiterating that connection to home – through words, through performance, through his art, through ideas and writing,” she says.
Alongside performance and ritual, Thompson’s concept of “spiritual repatriation” is central to his work. Working with the Australian collection at famed ethnographic storehouse the Pitt Rivers Museum, Oxford, the artist was offered copies of colonial photographs of Aboriginal people but preferred not to work this way. Instead, he chose to spend significant periods of time with these ancestral images, absorbing their “aura” in order to then make his own artistic response that did not reproduce those original problematic images.
Dr Christian Thompson is a Bidjara contemporary artist whose work explores notions of identity, cultural hybridity, and history; often referring to the relationships between these concepts and the environment. Formally trained as a sculptor, Thompson’s multidisciplinary practice engages mediums such as photography, video, sculpture, performance, and sound. His work focuses on the exploration of identity, sexuality, gender, race, and memory. In his live performances and conceptual anti-portraits he inhabits a range of personas achieved through handcrafted sculptures and carefully orchestrated poses and backdrops.
Press release from MUMA
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Polari (2014)
‘Polari’ is a form of cant or cryptic slang that evolved over several centuries from the various languages that converged in London’s theatres, circuses and fairgrounds, the merchant navy and criminal circles. It came to be associated with gay subculture, as many gay men worked in theatrical entertainment or joined ocean liners as waiters, stewards and entertainers at a time when homosexual activity was illegal. This slang rendered the speaker unintelligible to hostile outsiders, such as policeman, but fell out of use after the Sexual Offences Act (1967) effectively decriminalised homosexuality in the United Kingdom. Attracted to the theatricality and defiant nature of Polari (which he likens to the situation of Australian Indigenous languages under assimilationist policies), Thompson borrowed its name for the series which examines how subcultures express themselves.
Christian Thompson (Australian, b. 1978) Siren
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978) Trinity II
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978) Trinity III
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978) Ariel 2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Christian Thompson (Australian, b. 1978) Ellipse
2014
From the series Polari C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Putting on the Dish – A short film in Polari
Polari was a form of slang used by gay men in Britain prior to the decriminalisation of homosexuality in 1967, used primarily as a coded way for them to discuss their experiences. It quickly fell out of use in the 70s, although several words entered mainstream English and are still used today. For more about Polari see Wikipedia.
Polari – The Story of Britain’s Gay Slang
Author and academic Paul Baker of Lancaster University discusses a form of gay slang known as Polari that was spoken in Britain. It was a secret type of language used mainly by gay men and some lesbians and members of the trans, drag and other communities in the United Kingdom in the 20th century until it largely died out by the early 1970s.
Christian Thompson (Australian, b. 1978) Refuge
2014
Video and sound
4 mins 18 secs
Refuge is a video work by contemporary Australian artist Christian Thompson. Thompson sings in the endangered Bidjara language of his heritage. A collaboration with James Young formerly of ‘Nico’ and recorded the original track in Oxford, United Kingdom.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Heat (2010)
Christian Thompson (Australian, b. 1978) Heat (extract)
2010
Three-channel digital colour video, sound
5.52 minutes
Like the Australian graffiti photographs [see photographs below], Heat come out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland. Barcaldine is famous for its role in the foundation organised labor in Queensland and ultimately the formation of the Australian Labor Party. It also holds historical significance for Thompson’s family as it is where his great-great-grandfather, Charlie Thompson, surreptitiously bought a block of land before Aboriginal people could legally buy land, creating a safe haven for his family and other Aboriginal families at the time when Aboriginal people had few legal rights. For Thompson, heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair. It features the three granddaughters of Aboriginal rights pioneer Charlie Perkins, who are the daughters of Thompson’s Long time collaborator Hetti Perkins.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series Australian graffiti (2007)
Christian Thompson (Australian, b. 1978) Untitled (blue gum) 2007
From the series Australian graffiti C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978) Untitled (banksia) 2007
From the series Australian graffiti C-type print
Monash University Collection
Australian graffiti was the last work that Thompson made before leaving Australia for Europe. It connects with his memories of growing up in the outback and its desert flowers, which he perceives to be both fragile and immensely powerful. I adorning himself with garlands of these flowers and flamboyant garments of the 1980s and 1990s – the period in which he grew up – Thompson juxtaposes these elements against his own Bidjara masculinity. By wearing native flora he also stands in for the landscape, invoking an Indigenous understanding of the landscape as a corporeal, living ancestral being.
Christian Thompson (Australian, b. 1978) Desert slippers (extract)
2006
Single-channel digital colour video, sound
34 seconds
Desert slippers was made at the time the Northern Territory government commissioned research into allegations of the abuse of children in Aboriginal communities. When the ‘Little Children are Sacred’ report was tabled the following year, the federal government under John Howard staged the Northern Territory Emergency Response (NTER), which quickly became known as ‘the intervention’. This action was enacted without consultation with Indigenous people and ignored the substantive recommendations of the report to which it was allegedly responding.
Thompson made this video, involving his father, and the ceremonial aspects of their daily lives, during this period. Desert slippers features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.
Christian Thompson (Australian, b. 1978)
Dhagunyilangu (Brother) (extract installation view)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes
Christian Thompson
Dhagunyilangu (Brother)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes
Gamu Mambu (Blood Song) and Dhagunyilangu (Brother) were made in England and in the Netherlands respectively. While studying at the DasArts Academy of Theatre and Dance in Amsterdam, a centre for the study of early musical styles such as the baroque, Thompson realised that his own Bidjara language could be interpreted through the matrix of another cultural context and sphere. He undertook operatic training with this in mind, choosing in the end to work with specialist singers Sonja Gruys and Jeremy Vinogradov to realise the two works.
Monash University Museum of Art (MUMA)
Ground Floor, Building F,
Monash University Caulfield campus,
900 Dandenong Road,
Caulfield East, VIC 3145 Phone: 61 3 9905 4217
Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.
![Photographer unknown (American) 'Untitled [Hidden Mother]' c. 1860s-70s](https://artblart.files.wordpress.com/2018/05/13_hidden-mother_artist-unidentified-web.jpg)
Art Blart 
Review: ‘Christian Thompson: Ritual Intimacy’ at Monash University Museum of Art (MUMA), Melbourne
Tags: Aboriginal and Torres Strait Islander, Aboriginal and Torres Strait Islander art, Aboriginal art, Aboriginal Australians, Aboriginal culture, Aboriginal rights, Ancient bloom, anti-portraits, art + soul, Augustus Pitt Rivers, aura, aural, Australian art, Australian artist, Australian flag, Australian flora, Australian Graffiti, Australian Indigenous artist, Australian landscape, Australian performance art, Australian photographer, Australian photography, Bidjara, Bidjara contemporary artist, Bidjara language, Bidjara ritual, Black gum 1, Black Gum 2, Black gum 3, British and Australian culture, British Empire, Charlie Perkins, charlotte day, Christian Thompson, Christian Thompson Ancient bloom, Christian Thompson Ariel, Christian Thompson Australian Graffiti, Christian Thompson Berceuse, Christian Thompson Black gum 1, Christian Thompson Black Gum 2, Christian Thompson Black gum 3, Christian Thompson Brother, Christian Thompson Dead tongue, Christian Thompson Desert slippers, Christian Thompson Dhagunyilangu, Christian Thompson Down Under World, Christian Thompson Ellipse, Christian Thompson Energy Matter, Christian Thompson Equilibrium, Christian Thompson Forgiveness of Land, Christian Thompson Hannah's Diary, Christian Thompson Heat, Christian Thompson Imperial relic, Christian Thompson King Billy, Christian Thompson Lamenting the flowers, Christian Thompson Lost Together, Christian Thompson Museum of Others, Christian Thompson Polari, Christian Thompson Refuge, Christian Thompson Ship of dreams, Christian Thompson Siren, Christian Thompson Trinity II, Christian Thompson Trinity III, Christian Thompson Untitled #6, Christian Thompson Untitled (banksia), Christian Thompson Untitled (blue gum), Christian Thompson We bury our own, Christian Thompson: Ritual Intimacy, conceptual anti-portraits, contemporary artist, Country, cryptic slang, Dead as a door nail, Dead tongue, dead white males, Desert slippers, Dhagunyilangu, Down Under World, Ellipse, Energy Matter, ethnic other, Fanny Cochran Smith, Forgiveness of Land, gender, Hannah's Diary, Hetti Perkins, homosexuality in the United Kingdom, I'm not going anywhere without you, identity, Imperial relic, Indigenous art, Indigenous artist, Indigenous language, indigenous people, Isabella kept her dignity, James Cook, John Ruskin, King Billy, Lamenting the flowers, language, Little Children are Sacred, Lost Together, masculinity, memory, Monash University Museum of Art, MUMA, Museum of Others, Northern Territory Emergency Response, othering, Othering the Anthropologist Walter Baldwin Spencer, Othering the Ethnologist Augustus Pitt Rivers, Othering the Explorer James Cook, personas, photographing aura, Pitt Rivers Museum, Polari, RAAF flag, race, red ensign, Refuge, ritual, Ritual Intimacy, Sexual Offences Act, sexuality, Ship of dreams, Slade Professor of Fine Art, spiritual repatriation, Stolen Generations, Tasmanian Aboriginal languages, the intervention, University of Oxford, video, Walter Baldwin Spencer, We bury our own
Exhibition dates: 27th April – 8th July 2017
This project has been supported by the Victorian Government through Creative Victoria
PLEASE NOTE: I am still recovering from my hand operation which is going to take longer than expected. All of the text has been constructed using a dictation programme and corrected using only my right hand – a tedious process. I have to keep my mental faculties together, otherwise this hand will drive me to distraction… Marcus
Christian Thompson (Australian, b. 1978)
Black gum 1-3
2007
From the series Australian graffiti
C-type prints
Collection of the National Gallery of Australia, Canberra
Photo: Andrew Curtis
Christian Thompson (Australian, b. 1978)
Black gum 1
2007
From the series Australian graffiti
C-type print
Collection of the National Gallery of Australia, Canberra
Christian Thompson (Australian, b. 1978)
Black gum 2
C-type print
2007
From the series Australian graffiti
Collection of the National Gallery of Australia, Canberra
Still singing, still Dreaming,
still loving… not dying.
This is a strong survey exhibition of the work of contemporary Australian Indigenous artist and Bidjara man exploring the world, Christian Thompson. As with any survey exhibition, it can only give us a glimpse into the long standing development of the artist’s work, inviting the viewer to then research more fully the themes, conceptual acts and bodies (of work) that have led the artist to this point in his artistic development. Having said that the exhibition, together with its insightful catalogue essays and additional images that do not appear in the exhibition, allow the viewer to be challenged intellectually, aesthetically and most importantly … spiritually. And to be somewhat conflicted by the art as well, it has to be said.
Thompson’s “multidisciplinary practice explores notions of cultural hybridity, along with identity and history, creating works that transcend cultural boundaries.” His self-reflexive and self-referential bodies of work, often with the artist using his body as an “armature for his characters, costumes and various props,” are intuitive and imaginative in how they relate Aboriginal and Australian/European history, taking past time into present time which influences future time. Time, memory, history, space, landscape are conflated into one point, enunciated through acts of ritual intimacy. These ritual intimacies, these performative acts, are enabled through an understanding of a regularised and constrained repetition of norms (in this case, the declarative power of colonialism), where the taking of a photograph of an Aboriginal person (for example), is “a ritual reiterated under and through constraint, under and through the force of prohibition and taboo, with the threat of ostracism and even death controlling and compelling the shape of the production…” (Judith Butler, Bodies That Matter. New York: Routledge, 1993, p. 95).
What is so heartening to see in this exhibition is a contemporary Indigenous artist not relying on re-animating colonial images of past injustices, but re-imagining these images to produce a spiritual connection to Country, to place, to people in the present moment. As Charlotte Day, Director, MUMA and Hetti Perkins, guest curator observe in the wall text at the beginning of the exhibition, “Rather than appropriating or restaging problematic ethnographic images of indigenous ancestors held in the Museum’s photographic collection, Thompson has chosen to spend significant periods of time with these images, absorbing their ‘aura’ and developing a personal artistic and deferential response that is decisively empowered.” As Marina Warner states in her excellent catalogue essay “Magical Aesthetics”, these ritual intimacies are a “magical re-animation and adopt time-honoured processes of making holy – of hallowing. Adornment is central to ritual and a prime way of glorifying and consecration.” What Thompson is doing is not quoting but translating the source-text into new material. As Mary Jacobus notes of the work of the painter Cy Twombly, “Quotation involves the repurposing of an existing text: translation requires a swerve from the source-text as it finds new directions and enters unknown terrain.” (Mary Jacobus. Reading Cy Twombly: Poetry in Paint. Princeton & Oxford: Princeton University Press, 2016, p. 7).
This auto-ethnographic exploration and adornment leads to a deterritorialisation and reterritorialisation of time in a heterotopic space, juxtaposing in a single real place several spaces, several sites of contestation – Thompson’s travels and research from around the world, the embodiment in his own culture and that of contemporary Australia, pop culture, fashion, music and language – where, as Hetti Perkins says, “the unknowable is a lovely thing” and where Thompson can affect and influence “the Zeitgeist through more subversive means.” These spaces of ritualised production overlaid with memory, imagination, desire, and nostalgia, these fragmented images, become a process and a performance in which Thompson seeks to ameliorate the objects aura through a process of ‘spiritual repatriation’. Thompson’s performativity is where the ritual of production and meaning is never fully predetermined at any stage of production and reception.
Here, in terms of ‘aura’ and ‘spirit’, I am interested in the word “repatriation”. Repatriation means to send (someone) back to their own country – from the verb repatriare, from re- ‘back’ + Latin patria ‘native land’. It has an etymological link to the word “patriot” – from late Latin patriota ‘fellow countryman’, from Greek patriōtēs, from patrios ‘of one’s fathers’, from patris ‘fatherland’ – and all the imperial connotations that are associated with the word. So, to send someone back (against their own will? by force?) or to be patriotic, as belonging to or coming from, the fatherland. A land that is father, farther away. Therefore, it is with regard to a centralised, monolithic body and its materialities (for the body is usually centrally placed in Thompson’s work) in Thompson’s instinctive works, that relations of discourse and power will always produce hierarchies and overlappings which are going to be contested. As Judith Butler notes,
“That each of those categories [body and materiality] have a history and a historicity, that each of them is constituted through the boundary lines that distinguish them and, hence, by what they exclude, that relations of discourse and power produce hierarchies and overlappings among them and challenge those boundaries, implies that these are both persistent and contested regions.” (Judith Butler. Bodies That Matter. New York: Routledge, 1993, pp. 66-67)
.
Thus performativity is the power of discourse, the politicisation of abjection, and the ritual of being.
This is where I become conflicted by much of this work. Intellectually and conceptually I fully understand the instinctive, intuitive elements behind the work (crystals, flowers, maps, butterflies, dreams) but aesthetically I feel little ‘aura’ emanating from the photographs. Thompson’s “peripatetic life and your bowerbird, magpie-like fascination” (p. 107) lead to all sorts of influences emerging in the work – orange from The Netherlands, Morris dancers from England, Jewish heritage, Aboriginal and Australian heritage, fashion, pop culture, music, language – all evidenced through “acts of concealment in his self-portraits.” (p. 75). Now there’s the rub!
In Thompson’s ritual intimacies the intimacy is performed only once, for the camera. It is not didactic, but it is interior and hidden, leaving much to the feelings of the viewer, looking. The re-presentation of that intimacy is performed by the viewer every time they look at the art. I think of the work of one of my favourite performance artists, Claude Cahun, where the artist inhabits her personas, adorning her androgynous face with costume after costume to become something that she wants to become – a buddha, a double, a harpy, a lunatic or a doll with equal ease. Cahun is always and emphatically herself, undermining a certain authority… and she produces indelible images that sear the mind.
I don’t get that from Thompson. I don’t know who he really is. Does it matter? Yes it does. In supposedly his most autobiographic work (according to Hetti Perkins), the video Heat (2010, below) the work emerges out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland where “heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair.” Perhaps for him or someone from the desert country like Hetti Perkins (as she states in the catalogue), but not for me. I feel no ‘heat’ from these three beautiful woman standing in a contextless background with a wind machine blowing their hair. The only ‘heat’ I felt was perhaps the metaphoric heat of colonisation, violence and abuse thrust on a vulnerable culture.
Talking of vulnerable cultures, in the work Polari (2014, below) Thompson invokes the history of languages in an intimate ritual “as he seeks to reanimate and repossess vanishing knowledge. Polari is a private language … a kind of code used by sailors, circus and fairground folk, and in gay circles. … Thompson’s Polari series warns us that the artist has a language of his own, which we can overhear but not fully understand: something is withheld, in contrast to the imposed and implacable exposure which the subjects of scientific collections were made to suffer in the past.” (Warner, p. 74) But why is he using Polari specifically, a language that is strongly associated with the libertine gay culture of the 1950s-70s? Does he have a right to use this word and its linguistic heritage because he is gay? It is never stated, again another thing left hidden, concealed and unresolved.
Although no culture can ever fully own its language (language is a construct after all) … if Thompson is not gay, then I would take exception to his invoking the Polari language, just as an Indigenous artist would take exception to me using Bidjara language in an art work of my own. I remember coming out in London in 1975 and speaking Polari myself when it was still being used in pubs and clubs such as the A + B club in Soho. It was not being used as a language of resistance, far from it, but as a language of desire. It was a language used to inculcate that desire. As a video on YouTube observes of speaking Polari, “you didn’t think, oh God I’m so oppressed I can never speak about myself, you just did it, you just slipped into it without thinking.” It was your own language, like a comfortable pair of slippers. Does Thompson understand how using that word to title a body of work could be as offensive to some people as he finds the denaturing of his own culture? For me this is where the work really becomes problematic, when an artist does not enunciate these connections, where things, like sexuality, remain hidden. Similarly, with historical photographs of Indigenous people taken for ethnographic study, Thompson fails to acknowledge the work of academics such as Jane Lydon and her important books Eye Contact: Photographing Indigenous Australians (2005) and Photography, Humanitarianism, Empire (2016) where she unpacks the historical baggage of the images and notes that the photographs were not solely a tool of colonial exploitation. Lydon articulates an understanding in Eye Contact that the residents of Coranderrk, an Aboriginal settlement near Healsville, Melbourne, “had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.” Again, there is more than meets the eye, more than just ‘spiritual repatriation’ of aura.
For me, the magic of this exhibition arrives when Thompson lets go all obfuscation, let’s go all actions that make something obscure, unclear, or unintelligible. Where his ritual intimacies become grounded in language, earth and spirit. This happens in the video works, Desert slippers (2006, below), Refuge (2014, below), Gamu Mambu (Blood Song) (2011) and Dhagunyilangu (Brother) (2011, below). In these videos, the Other’s gaze disintegrates and we are left with poignant, heart felt words and actions that engage history, emotion, family and Country.
The video Desert slippers “features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.” It is simple, eloquent, powerful, present. The other videos feature two baroque singers from Europe and Thompson singing in his native tongue Bidjara (Bidyara, Pitjara), a language that Wikipedia states “is an extinct Australian Aboriginal language. In 1980 it was spoken by twenty elders in Queensland, between Tambo and Augathella, Warrego and Langlo rivers.” Spelt out in black and white. Extinct. To hear Thompson sing a berceuse (French, from bercer ‘to rock’), or lullaby in his native language, a language taught to him by his father, is the most emotional of experiences. The work “combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture,” and “is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.” Amen to that.
This is the real hallowing, not the dress ups or the concealments. It is in these videos that the raw material of his and his cultures experience is transmuted into living, breathing stories, in an alchemical transmutation, a magical re-animation of past time into present and future time. My transfiguration into a more spiritual state was complete when listening in quiet contemplation. For I was given, if only for a very brief moment, access to the pain of our first peoples and a vision of hope for their future healing.
Still singing, still Dreaming,
still loving… and certainly not dying.
Dr Marcus Bunyan
Word count: 2,053
.
Many thankx to MUMA for allowing me to publish the photographs and videos in the posting. Please click on the photographs for a larger version of the image.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Photo: Andrew Curtis
Christian Thompson (Australian, b. 1978)
Untitled #6
2010
From the series King Billy
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Berceuse (2017)
Christian Thompson (Australian, b. 1978)
Berceuse (extract installation view)
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison
Christian Thompson (Australian, b. 1978)
Berceuse
2017
Three-channel digital colour video, sound
5.47 minutes
Sound design: Duane Morrison
In this newly commissioned work, Thompson sings a berceuse – a cradle song or lullaby – that combines evocative chanting and electronic elements to invoke the cultural experiences and narratives of his Bidjara culture. Intended as a gesture of re-imagining his traditional Bidjara language, which is been categorised as extinct, the work is premised on the notion that if one word of Bidjara is spoken, or sung in this case, it remains a living language.
Thompson makes subtle reference to his maternal Sephardic Jewish roots by ruminating in this work on the lullaby Nani Nani:
Lullaby, lullaby
The boy wants a lullaby,
The mother’s son,
Who although small will grow.
Oh, oh my lady open,
Open the door,
I come home tired,
From ploughing the fields.
Oh, I won’t open them,
You don’t come home tired,
You’ve just come back,
From seeing your new lover.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Museum of Others (2016)
Installation view of Museum of Others (Othering the Ethnologist, Augustus Pitt Rivers) 2016
Christian Thompson (Australian, b. 1978)
Museum of Others (Othering the Anthropologist, Walter Baldwin Spencer)
2016
From the series Museum of Others
C-type print
Installation view of Museum of Others (Othering the Explorer, James Cook) 2016
Christian Thompson (Australian, b. 1978)
Museum of Others (Othering the Explorer, James Cook)
2016
From the series Museum of Others
C-type print
Christian Thompson (Australian, b. 1978)
Equilibrium
2016
From the series Museum of Others
C-type print
Museum of others is Thompson’s most recent photographic series and continues to reflect on his time at the University of Oxford. It features several ‘dead white males’ from the pantheon of British and Australian culture. The explorer, the ethnologist and the anthropologist all had roles in the process of colonisation in Australia but the art critic is particular to Thompson; Ruskin was the first Slade Professor of Fine Art at University of Oxford, just as Thompson was one of its first Australian Aboriginal students. Thompson explains his motivation for the series:
“Historically, it was the western gaze that was projected onto the ethnic other and I thought I’ll create a ‘museum of others’ and I’ll be the one othering, so to speak. ‘Equilibrium’ is based around the idea that the vessel is the equaliser. The vessel is the cradle of all civilisations. We all have that in common.”
.
Wall text from the exhibition
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series We bury our own 2010 (C-type prints)
Photo: Andrew Curtis
We bury our own is a body of work that was developed in response to the historic collection of photography, featuring Aboriginal people from the late nineteenth century, at the Pitt Rivers Museum in Oxford. Thompson noted in 2012 that these early images “have permeated my work over the last year. They have remained at the forefront of every artistic experiment and they have pushed me into new territory, they have travelled with me… I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs…”
Each of Thompson’s lyrical photographic images from We bury our own and Pagan sun feature himself partially disguised with props and costumes. The works are virtually monochromatic with elements highlighted in full colour, and his eyes, or face, are partially concealed or painted. The use of votive objects is explained in his equally lyrical 2012 statement: “I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum.”
Text from the Turner Galleries website [Online] Cited 22/12/2021
Christian Thompson (Australian, b. 1978)
Energy Matter
2010
From the series We bury our own
C-type print
Christian Thompson (Australian, b. 1978)
Lamenting the flowers
2010
From the series We bury our own
C-type print
Christian Thompson (Australian, b. 1978)
Forgiveness of Land
2010
From the series We bury our own
C-type print
Christian Thompson (Australian, b. 1978)
Down Under World
2010
From the series We bury our own
C-type print
I conceived the We Bury Our Own series in 2010 after curator Christopher Morton invited me to develop a body of work that would be inspired by and in dialogue with the Australian photographic collection at the Pitt Rivers Museum…
The archival images have permeated my work over the last year. They have remained at the forefront of every artistic experiment and pushed me into new territory; they have travelled with me to residencies at the Fonderie Darling in Montreal and Greene Street Studio, New York. I was drawn to elements of opulence, ritual, homage, fragility, melancholy, strength and even a sense of play operating in the photographs. The simplicity of a monochrome and sepia palette, the frayed delicate edges and the cracks on the surface like a dry desert floor that reminded me of the salt plains of my own traditional lands.
I wanted to generate an aura around this series, a meditative space that was focused on freeing oneself of hurt, employing crystals and other votive objects that emit frequencies that can heal, ward off negative energies, psychic attack, geopathic stress and electro magnetic fields, and, importantly, transmit ideas.
I lamented the passing of the flowers at the meadow, I lit candles and offered blood to the ancestral beings, looked into the black sparkling sea, donned the Oxford garb, visited the water by fire light and bowed at the knees of the old father ghost gum. I asked the photographs in the Pitt Rivers Museum to be catalysts and waited patiently to see what ideas and images would surface in the work, I think with surprising results. Perhaps this is what art is able to do, perform a ‘spiritual repatriation’ rather than a physical one, fragment the historical narrative and traverse time and place to establish a new realm in the cosmos, set something free, allow it to embody the past and be intrinsically connected to the present?
I heard a story many years ago from some old men, they told me about a ceremony where young warriors would make incisions through the flesh exposing the joints, they would insert gems between the bones to emulate the creator spirits, often enduring infection and agonising pain or resulting in death. The story has stuck with me for many years, one that suggests immense pain fused with intoxicating beauty. The idea of aspiring to embody the creators, to transgress the physical body by offering to our gods our spiritual heart, freeing ourselves of suffering by inducing a kind of excruciating decadent torture. This was something that played on my mind during the production of this series of photos and video work. The deliverance of the spirit back to land – the notion that art could be the vehicle for such a passage, the aspiration to occupy a space that belongs to something higher than one’s physical self.
Christian Thompson artist statement in “Christian Thompson: We Bury Our Own,” on the Pitt Rivers Museum website [Online] Cited 21/12/2021
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints) and a still from the video dead tongue 2015
Photo: Andrew Curtis
In Dead tongue Thompson continues to interrogate the implications of England’s empirical quest on the former colonies of the British Empire through the threat to or loss of Indigenous languages. In works such as this, Thompson actively challenges the perception that Aboriginal culture has become reduced to a captured trophy of Empire.
Wall text from the exhibition
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Ship of dreams, Ancient bloom, Death’s second self, and Gods and kings from the series Imperial relic 2015 (C-type prints)
Photo: Andrew Curtis
In … Imperial relic, he continues to use himself as the ‘armature for his characters, costumes and various props’. Drawing on his background in sculpture, he has created ‘wearable sculptures’ including a trumpet shaped shirt collar, an eruption of white flowers from a union jack hoodie, and an armature of maps. In each his face is partially or fully obscured again. “I’m interested in ideas of submission and domination,” he says. “So the trumpet headpiece is beautiful, but it also potentially muffles or silences the voice. The same thing with maps: they are purporting different kinds of historical narrative, depending who is telling the story. One is about the history of Indigenous people, one is about the history of white colonisers and then one is about the idea of charting the land and of discovery. I’m wearing it as an armature over my own body: that’s part of my own history but also of Australian history.”
Text from the Turner Galleries website [Online] Cited 22/12/2021
Christian Thompson (Australian, b. 1978)
Ancient bloom
2015
From the series Imperial relic
C-type print on fuji pearl metallic paper
100 x 100cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Ship of dreams
2015
From the series Imperial relic
C-type print on fuji pearl metallic paper
100 x 100 cm
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
The series title Imperial relic, summarises the fundamental philosophy underpinning the colonial occupation of Australia. Like the nearby series We bury our own, it is closely connected to Thompson’s studies in the collections of the Pitt Rivers Museum and shares with the Australian graffiti series Thomson’s physical presence is standing in for the Australian landscape.
The work Ancient bloom alludes to the phonograph horn out which might be heard the voice of Fanny Cochran Smith, who’s wax cylinder recordings of songs are the only historical audio recordings of any of the Tasmanian Aboriginal languages. Is also represents a Victorian-era shirt collar – a motif that has appeared in Thompson’s work since his Emotional striptease series of 2003 – but here is exaggerated into a soft-sculptural form that both projects and stifles the voice.
In Death’s second self the artist’s face is uncovered but distorted by make up and digital postproduction effects.The title quotes William Shakespeare’s Sonnet 73:
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
.
In God and Kings Thompson is cloaked with a map of Aboriginal language groups like a coat of armour. In the Ship of dreams he reprises the motif of Australian flora obscuring his face but here his hoodie is stitched together from several flags: the red ensign (flown by British registered ships), the RAAF flag and the Australian flag.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring Isabella kept her dignity, I’m not going anywhere without you, Dead as a door nail and Hannah’s diary from the series Lost together 2009 (C-type prints)
Photo: Andrew Curtis
On 13 February 2008 then Prime Minister Kevin Rudd made an official apology to Aboriginal Australians for the Stolen Generations – the children of Aboriginal and Torres Strait Islander descent who were removed from their families between 1910 and 1970 under the respective Federal and State government policies of assimilation. At the time, Thompson was preparing to leave Australia for further studies aboard and felt this historic gesture allowed him to proudly take his culture and history with him as he ventured into the world.
Thompson photographed the series Lost together in the Netherlands while studying at the DasArts Academy of Theatre and Dance at Amsterdam University. The theme of the orange throughout the series is a reference to the national colour of the Netherlands, while the tartan patterning refers to early clan societies in the United Kingdom. The combination of these different styles is based on counter-cultural aesthetics – particularly punk collage of 1970s London.
Christian Thompson (Australian, b. 1978)
Hannah’s Diary
2009
From the series Lost Together
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
MUMA | Monash University Museum of Art is proud to announce the first major survey exhibition of the work of Bidjara artist, Christian Thompson, one of Australia’s leading and most intriguing contemporary artists.
Thompson works across photography, video, sculpture, performance and sound, interweaving themes of identity, race and history with his lived experience. His work is held in the collections of major state and national art museums in Australia and internationally.
Thompson made history as one of the first two Aboriginal Australians to be accepted into the University of Oxford as a Charlie Perkins Scholar, where he completed his Doctorate of Philosophy (Fine Art) in 2016. Christian Thompson: Ritual Intimacy opens as the artist looks forward to the graduation ceremony in July, when he will be conferred his degree.
Featuring a major new commission created for this exhibition, Christian Thompson: Ritual Intimacy will survey Thompson’s diverse practice, spanning fifteen years, and will also be accompanied by the publication of the first monograph on the artist’s career and work, including essays by Brian Catling RA and Professor Dame Marina Warner DBE, CBE, FBA, FRSL.
The specially commissioned installation will be an ambitious multichannel composition, developing the sonic experimentation that is a signature of Thompson’s work. Incorporating Bidjara language, it will invite viewers into an immersive space of wall-to-wall imagery and sound:
“Bidjara is officially an endangered language but my work is motivated by the simple yet profound idea that if even one word of an endangered language is spoken it continues to be a living language,” Thompson says.
Christian Thompson: Ritual Intimacy explores the unique perspective and breadth of Thompson’s practice from the fashioning of identity through to his ongoing interest in Indigenous language as the expression of cultural survival. The new multichannel work will develop musical ideas Thompson has previously explored.
“It will be a much more ambitious iteration of a song in Bidjara. At one stage I’m singing on one screen and then other versions of me appear singing the melodies. I really see it as an opportunity to do something that’s more complex musically, more textured sonically – I also want it to be more intricate with my use of language,” the artist says.
Ritual Intimacy is curated by MUMA director Charlotte Day and guest curator Hetti Perkins. Day explains that the exhibition is part of MUMA’s Australian artist series, which affords the opportunity to look at each artist’s practice in depth. “Christian’s exhibition traces a particularly productive period of research and development, from early well-known works such as the Australian Graffiti series to more recent experiments with language in sound and song works,” Day says.
A long-time curatorial collaborator with Thompson, Perkins is the writer and presenter of art + soul, the ABC’s acclaimed television series about contemporary Aboriginal and Torres Strait Islander art. Thompson was accepted to Oxford University on an inaugural Charlie Perkins Scholarship, set up to honour Hetti Perkins’s famous father – a leader, activist and the first Aboriginal Australian to graduate from university. Perkins says the MUMA exhibition is well-earned recognition for Thompson’s work, which she featured in the second series of art + soul.
“Christian has spent periods of his adult life, as a practicing artist, away from home, but there is a common thread in his work, and it’s this connection to home or Country,” Perkins says. “In terms of the rituals or rites of the exhibition title, he is constantly reiterating that connection to home – through words, through performance, through his art, through ideas and writing,” she says.
Alongside performance and ritual, Thompson’s concept of “spiritual repatriation” is central to his work. Working with the Australian collection at famed ethnographic storehouse the Pitt Rivers Museum, Oxford, the artist was offered copies of colonial photographs of Aboriginal people but preferred not to work this way. Instead, he chose to spend significant periods of time with these ancestral images, absorbing their “aura” in order to then make his own artistic response that did not reproduce those original problematic images.
Dr Christian Thompson is a Bidjara contemporary artist whose work explores notions of identity, cultural hybridity, and history; often referring to the relationships between these concepts and the environment. Formally trained as a sculptor, Thompson’s multidisciplinary practice engages mediums such as photography, video, sculpture, performance, and sound. His work focuses on the exploration of identity, sexuality, gender, race, and memory. In his live performances and conceptual anti-portraits he inhabits a range of personas achieved through handcrafted sculptures and carefully orchestrated poses and backdrops.
Press release from MUMA
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring the series Polari (2014)
‘Polari’ is a form of cant or cryptic slang that evolved over several centuries from the various languages that converged in London’s theatres, circuses and fairgrounds, the merchant navy and criminal circles. It came to be associated with gay subculture, as many gay men worked in theatrical entertainment or joined ocean liners as waiters, stewards and entertainers at a time when homosexual activity was illegal. This slang rendered the speaker unintelligible to hostile outsiders, such as policeman, but fell out of use after the Sexual Offences Act (1967) effectively decriminalised homosexuality in the United Kingdom. Attracted to the theatricality and defiant nature of Polari (which he likens to the situation of Australian Indigenous languages under assimilationist policies), Thompson borrowed its name for the series which examines how subcultures express themselves.
Christian Thompson (Australian, b. 1978)
Siren
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Trinity II
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Trinity III
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Ariel
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017
Christian Thompson (Australian, b. 1978)
Ellipse
2014
From the series Polari
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Putting on the Dish – A short film in Polari
Polari was a form of slang used by gay men in Britain prior to the decriminalisation of homosexuality in 1967, used primarily as a coded way for them to discuss their experiences. It quickly fell out of use in the 70s, although several words entered mainstream English and are still used today. For more about Polari see Wikipedia.
Polari – The Story of Britain’s Gay Slang
Author and academic Paul Baker of Lancaster University discusses a form of gay slang known as Polari that was spoken in Britain. It was a secret type of language used mainly by gay men and some lesbians and members of the trans, drag and other communities in the United Kingdom in the 20th century until it largely died out by the early 1970s.
Christian Thompson (Australian, b. 1978)
Refuge
2014
Video and sound
4 mins 18 secs
Refuge is a video work by contemporary Australian artist Christian Thompson. Thompson sings in the endangered Bidjara language of his heritage. A collaboration with James Young formerly of ‘Nico’ and recorded the original track in Oxford, United Kingdom.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring stills from the video Heat (2010)
Christian Thompson (Australian, b. 1978)
Heat (extract)
2010
Three-channel digital colour video, sound
5.52 minutes
Like the Australian graffiti photographs [see photographs below], Heat come out of Thompson’s memories of growing up in the desert surrounding Barcaldine in central west Queensland. Barcaldine is famous for its role in the foundation organised labor in Queensland and ultimately the formation of the Australian Labor Party. It also holds historical significance for Thompson’s family as it is where his great-great-grandfather, Charlie Thompson, surreptitiously bought a block of land before Aboriginal people could legally buy land, creating a safe haven for his family and other Aboriginal families at the time when Aboriginal people had few legal rights. For Thompson, heat captures the sensation that he associates with being on his country: the dry wind blowing through his hair. It features the three granddaughters of Aboriginal rights pioneer Charlie Perkins, who are the daughters of Thompson’s Long time collaborator Hetti Perkins.
Christian Thompson: Ritual intimacy, installation view: Monash University Museum of Art, Melbourne 2017 featuring photographs from the series Australian graffiti (2007)
Christian Thompson (Australian, b. 1978)
Untitled (blue gum)
2007
From the series Australian graffiti
C-type print
Image courtesy of the artist, Sarah Scout Presents, Melbourne, and Michael Reid, Sydney and Berlin
Christian Thompson (Australian, b. 1978)
Untitled (banksia)
2007
From the series Australian graffiti
C-type print
Monash University Collection
Australian graffiti was the last work that Thompson made before leaving Australia for Europe. It connects with his memories of growing up in the outback and its desert flowers, which he perceives to be both fragile and immensely powerful. I adorning himself with garlands of these flowers and flamboyant garments of the 1980s and 1990s – the period in which he grew up – Thompson juxtaposes these elements against his own Bidjara masculinity. By wearing native flora he also stands in for the landscape, invoking an Indigenous understanding of the landscape as a corporeal, living ancestral being.
Christian Thompson (Australian, b. 1978)
Desert slippers (extract)
2006
Single-channel digital colour video, sound
34 seconds
Desert slippers was made at the time the Northern Territory government commissioned research into allegations of the abuse of children in Aboriginal communities. When the ‘Little Children are Sacred’ report was tabled the following year, the federal government under John Howard staged the Northern Territory Emergency Response (NTER), which quickly became known as ‘the intervention’. This action was enacted without consultation with Indigenous people and ignored the substantive recommendations of the report to which it was allegedly responding.
Thompson made this video, involving his father, and the ceremonial aspects of their daily lives, during this period. Desert slippers features a Bidjara ritual in which a father and son transfer sweat. The desert slipper is a native cactus that symbolises the transferal of the spirit back to earth as the plant grows.
Christian Thompson (Australian, b. 1978)
Dhagunyilangu (Brother) (extract installation view)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes
Christian Thompson
Dhagunyilangu (Brother)
2011
Single-channel digital colour video, sound, subtitled
2.19 minutes
Gamu Mambu (Blood Song) and Dhagunyilangu (Brother) were made in England and in the Netherlands respectively. While studying at the DasArts Academy of Theatre and Dance in Amsterdam, a centre for the study of early musical styles such as the baroque, Thompson realised that his own Bidjara language could be interpreted through the matrix of another cultural context and sphere. He undertook operatic training with this in mind, choosing in the end to work with specialist singers Sonja Gruys and Jeremy Vinogradov to realise the two works.
Monash University Museum of Art (MUMA)
Ground Floor, Building F,
Monash University Caulfield campus,
900 Dandenong Road,
Caulfield East, VIC 3145
Phone: 61 3 9905 4217
Opening hours:
Tuesday – Friday 10am – 5pm
Saturday 12 – 5pm
Monash University Museum of Art (MUMA) website
LIKE ART BLART ON FACEBOOK
Back to top