Posts Tagged ‘Manly beach

08
Nov
20

Photographs: Max Dupain (Australian, 1911-1992) Part 1

November 2020

 

Max Dupain. 'Sydney Harbour Crepuscule' 1937

 

Max Dupain (Australian, 1911-1992)
Sydney Harbour Crepuscule
1937
Gelatin silver print
32.5 x 47cm

 

Noun. crépuscule m (plural crépuscules) twilight, dusk (the time of the day when the sun sets)

 

 

Iv’e been saving up these images for some time. This, the first of a two-part posting, features many images that are rare online, especially in a large size.

Dupain was a master of the use of light and form (Tea Towel Trio, 1934), an early proponent of Modernist photography in Australia (Silos at Pyrmont; Silos through windscreen, both 1935), an expert in night photography (Mosman Bay at dusk, 1937) and the use of chiaroscuro (Passengers Disembarking from Ferry, 1950s; Newsstand, Nd). He was an innovator in surrealist photography (Night with her train of stars and her gift of sleep, 1936-37), photomontage (Nude Figure with Shell Transposed, 1936), and advertising photography. His nude studies evidence an experimentation towards the representation of the human body (Jean with Wire Mesh, 1938; Nude Figure behind Wire Mesh, 1930s), his portraits possess a sensitivity and feeling towards subject matter (Portrait of Boy in Sunlight, 1936), while his portrayal of Australian culture –  the body as architecture (Bondi, 1939); the myth of the surf lifesaver (Life Guards with Flag and Reel March, Nd); and the bustling metropolis (Rush Hour, Kings Cross, 1938) address the burgeoning self confidence of the Australian nation in the 1930s.

Seemingly, there was nothing that Dupain could not turn his hand too, that he could not photograph.

What strikes me most when looking at his photographs is the precision of his visual inquiry. His focus, his previsualisation, in knowing exactly what he wanted to say in that image – even while shifting genres and points of view. Like the subtle camera positioning of Atget where the angles are not what you would expect, Dupain rarely puts his camera where a mere mortal would stand to take a photograph. He looks, down (Manly, 1940s), up (crouching on his haunches to make the Life Guards and the Bondi couple seem monumental) and across – framing his compositions with diagonals, arches, and waves of people, almost like musical annotation. Everything looks simple and eloquent, elegant, but beneath the surface these are sophisticated images.

Far from being nostalgic, I look at Dupain’s body of work, and then at an individual photograph like Buses, Eddy Avenue (Nd) – and marvel at Dupain’s contemporary rendition (rending?) of time and space. Placing his camera as far to the right as he dared, Dupain captures the diagonal line of the parked buses in sunlight framed by the dark arch of the tunnel, the tram passing from left to right, the perfectly positioned clocktower and willowy flag giving a sense of movement… and then that man, that man, standing stock still at right with his shadow falling in front of him. IF he was not there, the whole focus of the image, the punctum, would be gone. It would just be a serviceable image. But he IS there and Dupain recognised that!

Similarly, in one of my favourite photographs by Dupain, At Newport (1952) “Dupain’s viewpoint turns the top of the wall into a taught line across the picture and his five bathers are strung out along it and held in tension like forms on a wire. As one prepares to dive, his counterweight, the sinewy young man, descends on the dry side. At the picture’s edges, the girls in bathing caps counterbalance the boy with hunched shoulders.” Birds on a wire, notes on a musical stave. Can you imagine being Dupain standing there and recognising that composition and the distorted shadow, in that very instance of its emergence, its flowering, for that ever so brief second in the existence of the cosmos….

Simply put, Max Dupain is the greatest Australian male photographer that has ever lived.

Dr Marcus Bunyan

.
All images are used under fair use conditions for the purpose of educational research. Please click on the photographs for a larger version of the image.

 

 

Max Dupain. 'Mosman Bay at dusk' 1937

 

Max Dupain (Australian, 1911-1992)
Mosman Bay at dusk
1937
Gelatin silver print
28 x 37.5cm

 

Max Dupain. 'Night with her train of stars and her gift of sleep' 1936-37

 

Max Dupain (Australian, 1911-1992)
Night with her train of stars and her gift of sleep
1936-37
Gelatin silver print
30 x 36cm

 

Max Dupain. '(Rhythmic Form)' 1935

 

Max Dupain (Australian, 1911-1992)
(Rhythmic Form)
1935
Gelatin silver print
22.5 x 30.5cm

 

Max Dupain. '(Nude Figure with Trombone Shadow)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Figure with Trombone Shadow)
1930s
Gelatin silver print
25 x 17.5cm

 

Max Dupain. '(Nude Figure with Shell Transposed)' 1936

 

Max Dupain (Australian, 1911-1992)
(Nude Figure with Shell Transposed)
1936
Gelatin silver print
50 x 35.5cm

 

Max Dupain. 'Two forms' 1939

 

Max Dupain (Australian, 1911-1992)
Two forms
1939
Gelatin silver print
50.5 x 38.5cm

 

 

This photograph relates conceptually to Dupain’s experiments with photographs of nudes. According to the vitalist philosophies of the time, the spiralling rounded shell being shaped by nature is feminine, while the hard metallic tool is man-made and represents the masculine principle. Photographed on a plain surface and lit with raking light, the sense of space is ambiguous. Dupain retained an interest in still-lifes throughout his career, returning to them particularly towards the end of his life. In the 1930s his most well-known still-life was Shattered intimacy 1936 (AGNSW collection) where an image of broken glass and a broken classical statue has been solarised, producing a powerful narrative. Two forms is a more contemplative image as the shell and the head of a hammer lie side by side and are of similar scale. Interestingly, the two forms are distant from each other, rather than close together, and their scale gives them equality. It is not known whether Dupain necessarily subscribed to the contemporaneous anxiety about the ‘new woman’, but certainly one can read this image as an examination of difference.

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

 

Max Dupain. 'Tea Towel Trio' 1934

 

Max Dupain (Australian, 1911-1992)
Tea Towel Trio
1934
Gelatin silver print
29.5 x 22cm

 

Max Dupain. 'Still Life' 1935

 

Max Dupain (Australian, 1911-1992)
Still Life
1935
Gelatin silver print
29.5 x 21.5cm

 

Max Dupain. 'Blankets' Nd

 

Max Dupain (Australian, 1911-1992)
Blankets
Nd
Gelatin silver print
31 x 24cm

 

Max Dupain. '(Male Nude with Discus)' Nd

 

Max Dupain (Australian, 1911-1992)
(Male Nude with Discus)
Nd
Gelatin silver print
39 x 32cm

 

Max Dupain. 'Dart' 1935

 

Max Dupain (Australian, 1911-1992)
Dart
1935
Gelatin silver print
50 x 37.5cm

 

Max Dupain. 'Dart' 1935

 

Max Dupain (Australian, 1911-1992)
Dart
1935
Gelatin silver print

 

Max Dupain. 'Sleeping Boy' 1941

 

Max Dupain (Australian, 1911-1992)
Sleeping Boy
1941
Gelatin silver print

 

Max Dupain. 'Portrait of Boy in Sunlight' 1936

 

Max Dupain (Australian, 1911-1992)
Portrait of Boy in Sunlight
1936
Gelatin silver print
29 x 26cm

 

Max Dupain. 'Jean with Wire Mesh' 1938

 

Max Dupain (Australian, 1911-1992)
Jean with Wire Mesh
1938
Gelatin silver print
49.5 x 39.5cm

 

 

In 1937, [Jean] Bailey posed for Jean with wire mesh, which some experts hail as the single most powerful image ever taken by Max Dupain, generally regarded as Australia’s greatest lensman.

It’s more subtle than his most famous image, Sunbaker, also shot in 1937. It’s less frozen in time than his striking scenes of wartime Australians serving in New Guinea. It’s more universal than his evocative tableaux of shearers, cattle drovers, miners and “six o’clock swillers”. And it’s less contrived than the commissioned portraits he took of wealthier women for the equivalent of today’s social pages.

Of all the many women who posed for his camera, Bailey was regarded as Dupain’s muse. Even by her own admission, she was not the most beautiful woman in 1930s Sydney.

In some pictures, by other photographers, she looks quite plain. …

But Dupain saw something special in her, though even Bailey does not know what it was.

“It’s not enormously erotic,” says [Alan] Davies. “But it is incredibly sensual, masterful in its use of light and shade. To photograph someone with her forehead in full sunlight and the rest of her figure cloaked in shadow is an extraordinary technical achievement. Most photographers would regard it as professional suicide. They wouldn’t attempt it.”

The image, he says, “is an astonishing masterpiece of chiaroscuro”. Unlike so many of Dupain’s images, this – and another outstanding work in the exhibition of an unknown model called Nude with pole – are timeless, betraying none of the nostalgia for which Dupain is so often noted.

White, who under Dupain’s tutelage became an accomplished photographer herself, says simply, “I think Jean with wire mesh is his most beautiful image. It leaves Sunbaker for dead.”

Anonymous. “Portrait of a lady,” on The Sydney Morning Herald website, July 12, 2003 [Online] Cited 24/10/2020

 

Max Dupain (Australian, 1911-1992) '(Nude Figure behind Wire Mesh)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Figure behind Wire Mesh)
1930s
Gelatin silver print
50.5 x 40 cm

 

Max Dupain. 'Hands of a Dancer' 1935

 

Max Dupain (Australian, 1911-1992)
Hands of a Dancer
1935
Gelatin silver print
29 x 27.5cm

 

Max Dupain. 'Artist and Model' 1938

 

Max Dupain (Australian, 1911-1992)
Artist and Model
1938
Gelatin silver print
35.5 x 30.5cm

 

Max Dupain. '(Super-Imposed Woman and Night Cityscape)' 1937

 

Max Dupain (Australian, 1911-1992)
(Super-Imposed Woman and Night Cityscape)
1937
Gelatin silver print
46 x 35cm

 

Max Dupain. 'Fire Stairs at Bond Street Studio (Solarised)' 1935

 

Max Dupain (Australian, 1911-1992)
Fire Stairs at Bond Street Studio (Solarised)
1935
Gelatin silver print
30 x 21.5cm

 

Max Dupain. 'Fire Stairs at Bond Street Studio' 1930s

 

Max Dupain (Australian, 1911-1992)
Fire Stairs at Bond Street Studio
1930s
Gelatin silver print
24.5 x 9cm

 

Max Dupain. '(Olive Cotton in Wheat Fields)' Nd

 

Max Dupain (Australian, 1911-1992)
(Olive Cotton in Wheat Fields)
Nd
Gelatin silver print
30 x 30cm

 

Max Dupain. '(Fire Stairs at Bond Street)' 1934

 

Max Dupain (Australian, 1911-1992)
(Fire Stairs at Bond Street)
1934
Gelatin silver print
26 x 21cm

 

 

Max Dupain is Australia’s most celebrated modernist photographer. Born in the Sydney, Dupain practiced photography as a teenager, receiving his first camera in 1924. In 1929 he joined the New South Wales Photographic Society, and in 1930 was employed in the studio of prominent Pictorialist Cecil Bostock, where he received solid training in all aspects of photography. He established his own studio in Sydney in 1934, servicing commercial clients and producing still lifes, figure photography and portraits. In his personal work, he explored the surrealist aesthetic of Man Ray, experimenting with formal abstraction and montage. With the outbreak of World War II, Dupain worked with the Camouflage Unit in 1941, travelling to New Guinea and the Admiralty Islands. His photography of the 1960s and 70s was shaped by architectural interests and he fostered working relationships with several prominent architects, most notably Harry Seidler.

Text from the Art Gallery of New South Wales website [Online] Cited 24/10/2020

 

Max Dupain. 'Silos through windscreen' 1935

 

Max Dupain (Australian, 1911-1992)
Silos through windscreen
1935
Gelatin silver print
40 x 43cm

 

 

While cars and machinery were rarely Max Dupain’s personal choice of forms to photograph, his Silos through windscreen 1935 embraces the new age from a new perspective. It is an uncharacteristically complex composition. The view of the silos from the front seat shows off the car’s smart dashboard; at the same time his camera records a fragment of a brick factory reflected in the rear vision mirror.

 

Max Dupain. 'Silos at Pyrmont' 1935

 

Max Dupain (Australian, 1911-1992)
Silos at Pyrmont
1935
Gelatin silver print
49 x 37cm

 

 

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

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

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

1. Dupain, M. 1938, ‘Letter to the editor’, Sydney Morning Herald, 30 March

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

 

Max Dupain. 'Bondi' 1939

 

Max Dupain (Australian, 1911-1992)
Bondi
1939
Gelatin silver print
37 x 37.5cm

 

 

Dupain was one of the first Australian photographers to embrace Modernism. The simplicity of form and unusually low vantage point of this picture reflect the influence of German photography that he saw in the journal Das Deutsche Lichtbild. At first Dupain preferred another version of the image; when it was published in 1948, the photograph shows the woman standing with her arms folded. Here, she leans toward the man, their bodies slightly overlapping. Standing parallel to the picture plane, their bodies and those of the young men at their sides form a pyramid – one of Dupain’s preferred forms at this time.

Text © National Gallery of Australia, Canberra

 

Max Dupain. 'At Newport' 1952

 

Max Dupain (Australian, 1911-1992)
At Newport
1952
Gelatin silver print
25 x 29cm

 

 

There is a strong sense of masculinity found in many of Dupain’s beach works. In At Newport this is emphasised by the strong, angular lines of the figures, an image that seems to capture the essence of male youth at the beach. In this image, three male swimmers are positioned in the foreground of a beachside pool setting. The long shadows of the late summer sun place further emphasis on the angularity and thus the masculinity that is a feature of this image.

Text from the Annette Larkin Fine Art website

 

Max Dupain. 'At Newport Baths' 1952

 

Max Dupain (Australian, 1911-1992)
At Newport
1952
Gelatin silver print
45.0 x 40.0cm
National Gallery of Australia
Purchased 1976

 

 

Dupain took At Newport in 1952 at the Newport Baths, as it was then known, a sea-water pool next to the Pacific Ocean about 20 miles north of Sydney. It’s an ambiguous photograph in more ways than one because the angle of the shot makes it seem as if the tremendous weight of the sea is being held back by nothing stronger than a low wall, with the water rising almost to the brim. Dupain’s viewpoint turns the top of the wall into a taught line across the picture and his five bathers are strung out along it and held in tension like forms on a wire. As one prepares to dive, his counterweight, the sinewy young man, descends on the dry side. At the picture’s edges, the girls in bathing caps counterbalance the boy with hunched shoulders. The distant pillars along the side of the pool duplicate these intervals. There appears to be some indecision, though, about the crop Dupain intended on the right. A print in his archive shows space between the right-hand girl and the edge, which is better, while a print in a national collection omits her entirely. Losing her disembodied head and intense concentration on the diver weakens the photograph. (There is also a second picture of bathers from the same group (below))

At Newport can be straightforwardly construed as another celebration by Dupain the dedicated modernist of the vitalising power of sunlight and the exuberant Australianness of the beach, but there is an alternative way of reading it. An essay in Dupain’s Sydney (1999) notes that the photographer didn’t like people very much, valued solitude, and would rather be doing something than have to talk. (He was remarkably industrious, leaving an archive of more than a million pictures.) This group of bathers is together but disconnected. Two faces are hidden and unknowable, looking down at the water, and the others are half-concealed in shadow, lost in their own thoughts. Then there is the ungainly shape cast by the young man’s long legs, which serves as a foil to the dark tones of the rising land. The shadow introduces an element of discord and adds to the mood of subtle disquiet.

Rick Poynor. “Exposure: Newport Baths by Max Dupain,” on the Design Observer website 23/06/2015 [Online] Cited 24/10/2020

 

Max Dupain. 'Newport Baths I' 1952

 

Max Dupain (Australian, 1911-1992)
Newport Baths I
1952
Gelatin silver print
23.5 x 25.5cm

 

Max Dupain. 'Bondi Couple' 1950s

 

Max Dupain (Australian, 1911-1992)
Bondi Couple
1950s
Gelatin silver print
20.5 x 20.5cm

 

Max Dupain. 'Manly' 1940s

 

Max Dupain (Australian, 1911-1992)
Manly
1940s
Gelatin silver print
47 x 37.5cm

 

 

From 1938, and throughout the late 1940s after his return from the war, Dupain took many photographs of Manly beach from the high vantage point offered by its iconic shark tower. These landscapes often found striking diagonal obliques in the convergence of incoming surf, the activities of lifesavers, the lines of beachgoers, and the surrounding modernist architecture, including promenades. These photographs tell us as much about Dupain’s leisure time as they do his artistic interests: the beach was ‘how I used to spend my weekends’, Dupain later wrote. More than its convenience, Manly offered a very local experience of modernity. Dupain strongly believed in and advocated for a contemporary photography, that it was important to consciously be part of the age into which one was born.

Text © National Gallery of Australia, Canberra

 

Max Dupain. '(Life Guards with Flag and Reel March)' Nd

 

Max Dupain (Australian, 1911-1992)
(Life Guards with Flag and Reel March)
Nd
Gelatin silver print
26 x 26.5 cm

 

Max Dupain (Australian, 1911-1992) '(Life Savers at Attention in a Row)' 1940s

 

Max Dupain (Australian, 1911-1992)
(Life Savers at Attention in a Row)
1940s
Gelatin silver print
25.5 x 30 cm

 

Max Dupain (Australian, 1911-1992) 'Lifesavers' 1940s

 

Max Dupain (Australian, 1911-1992)
Lifesavers
1940s
Gelatin silver print
36.5 x 47.5cm

 

Max Dupain. '(Passengers Disembarking from Ferry)' 1950s

 

Max Dupain (Australian, 1911-1992)
(Passengers Disembarking from Ferry)
1950s
Gelatin silver print
30.5 x 30.5cm

 

Max Dupain. '(Male Commuters departing Ferry)' Nd

 

Max Dupain (Australian, 1911-1992)
(Male Commuters departing Ferry)
Nd
Gelatin silver print
27 x 26cm

 

Max Dupain. '(Newsstand)' Nd

 

Max Dupain (Australian, 1911-1992)
(Newsstand)
Nd
Gelatin silver print
36 x 30.5cm

 

Max Dupain. 'Meat Queue, Sydney' 1946

 

Max Dupain (Australian, 1911-1992)
Meat Queue, Sydney
1946
Gelatin silver print
40.5 x 50.5cm

 

 

Meat queue, Sydney was one in a series of pictures Sydney photographer Max Dupain undertook for the Department of Information. When interviewed by curator Helen Ennis in 1991 Dupain said:

“We were doing a story on queues after the war. They were all over the place – queues for buses, vegetables, fruit. I just happened to come across this butcher shop in Pitt Street, I think it was. Here they were all lined up, and I went around it, took a number of pictures, ultimately ending up with this sort of architectural approach with four of five females all dressed in black with black hats, not looking too happy about the world. Suddenly one of them breaks the queue when I’m focused up all ready to go, pure luck.”1

The solidity of the linear figures taken from mid distance beneath a meat coupon scale which will weigh a proportion of meat with the allowable coupons democratises the women. The picture is given a sudden focus as the central figure decides to move from the queue and unwanted contact is made with the woman ahead. Described as both a documentary photograph, but not necessarily a social comment, the economic food-rationing of postwar Australia is shown in this clear modernist image of black-and-white shapes in shallow space. Form rather than content defines this image. The central figure in a lighter coloured coat is balanced on either side by the darker coats as the black hats, which make a wave along the horizontal, parallel the line of meat hooks.

1. Ennis, H. 1991, Max Dupain: photographs, Australian National Gallery, Canberra p. 18.

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

 

Max Dupain. 'Morning Commuters, The Kabu, Circular Quay' 1938

 

Max Dupain (Australian, 1911-1992)
Morning Commuters, The Kabu, Circular Quay
1938
Gelatin silver print
32.5 x 30cm

 

Max Dupain. 'Tram Abstraction' 1930

 

Max Dupain (Australian, 1911-1992)
Tram Abstraction
1930
Gelatin silver print
23.5 x 20cm

 

Max Dupain. '(Buses, Eddy Avenue)' Nd

 

Max Dupain (Australian, 1911-1992)
(Buses, Eddy Avenue)
Nd
Gelatin silver print
17.5 x 17cm

 

Max Dupain. 'Rush Hour, Kings Cross' 1938

 

Max Dupain (Australian, 1911-1992)
Rush Hour, Kings Cross
1938
Gelatin silver print

 

Max Dupain. 'Rush Hour, Kings Cross' 1938

 

Max Dupain (Australian, 1911-1992)
Rush Hour, Kings Cross
1938
Gelatin silver print

 

Max Dupain. 'Rush Hour, Kings Cross' 1938

 

Max Dupain (Australian, 1911-1992)
Rush Hour, Kings Cross
1938
Gelatin silver print
40.5 x 42cm

 

 

LIKE ART BLART ON FACEBOOK

Back to top

21
Feb
16

Review: ‘On the beach’ at the Mornington Peninsula Regional Art Gallery, Mornington

Exhibition dates: 11th December 2015 – 28th February 2016

Curator: Wendy Garden

 

 

This is another solid thematic group exhibition at the Mornington Peninsula Regional Art Gallery (curator Wendy Garden), following on from their recent success, Storm in a teacup.

The exhibition is not as successful as Storm in a teacup, mainly because most of the works are based on the monolithic, monosyllabic representation of beach culture, and its figuration, during the early decades of the twentieth century (White Australia policy, Australian stereotypes of the interwar period) and the re-staging of these ideas in the contemporary art presented through a diachronic (through/time), performative discourse.

There is so much re-staging in this exhibition I was left to wonder whether there was any original art work being produced that does not quote sources of history, memory, identity, representation and art from past generations. Daniel Boyd re-stages Captain Cook’s landing at Botany Bay with said hero as a pirate. Stephen Bowers replicates the Minton willow pattern motif and early paintings of kangaroos. Leanne Tobin re-stages Bungaree’s disrobing on the beach during his journey with Matthew Flinders. Diane Jones re-stages Max Dupain’s Sunbaker replacing the anonymous prostrate man with her head looking into the camera, or Dupain’s Form at Bondi with her head turned towards the camera. Worst offender is Anne Zahalka who re-states Dupain’s Sunbaker (again!) as a red-headed white women on the beach; or re-presents Charles Meere’s Australian beach pattern (1940, below) not once but twice – the first time in The bathers (1989) broadening the racial background of people to depict multicultural Australia in the 1980s, the second time in The new bathers (2013) broadening the mix even further. Most successful of these re-stagings is Michael Cook’s series of photographs Undiscovered in which the artist subverts deeply ingrained understandings of settlement, that of terra nullius, by depicting Captain Cook as black and positioning him in high-key, grey photographs of impressive beauty and power, surveying the land he has ‘discovered’ while perched upon an invisibly balanced ladder.

But with all of the works that quote from the past there is a sense that, even as the artists are critiquing the culture, they are also buying into the system of patriarchy, racism and control that they seek to comment on. They do not subvert the situation, merely (and locally) extrapolate from it. The idealised, iconic representation of early 20th century Australia culture in the paintings from the 1920-30s and the photographs from the 1940s-70s – specimens of perfect physical beauty – are simply shifted to a new demographic – that of iconic, individual figures in the same poses as the 1940s but of a different ethnicity. The colour of the figure and the clothing might have changed, but the underlying structure remains the same. And if you disturb one of the foundation elements, such as the base figure in one of George Caddy’s balancing beachobatics photographs, the whole rotten edifice of a racism free, multicultural Australia will come tumbling down, just as it did during the Cronulla Riot.

What I would have liked to have seen in this exhibition was a greater breadth of subject matter. Where are the homeless people living near the beach, the sex (for example, as portrayed in Tracey Moffat’s voyeuristic home video Heaven which shows footage of male surfers changing out of their wetsuits in car parks – “shot by Moffatt and a number of other women as if they were making a birdwatching documentary” – which challenges the masculinity of Australian surf culture and the ability of women to stare at men, instead of the other way around), death (drownings on beaches, the heartbreak of loss), and debauchery (the fluxus of Schoolies, that Neo-Dada performance of noise and movement), the abstract nature of Pictorialist photographs of the beach, not to mention erosion and environmental loss due to global warming. The works presented seem to have a too narrowly defined conceptual base, and a present narrative constructed on a coterie of earlier works representing what it is to be Australian at the beach. The contemporary narrative does not address the fluidity of the landscape in present time (in works such as Narelle Autio’s series Watercolours or The place in between).

The dark underside of the beach, its abstract fluidity, its constant movement is least well represented in this exhibition. Although I felt engaged as a viewer the constant re-quoting and rehashing of familiar forms left me a little bored. I wanted more inventiveness, more insight into the conditions and phenomena of beach culture in contemporary Australia. An interesting exhibition but an opportunity missed.

.
Many thankx to the Mornington Peninsula Regional Art Gallery for allowing me to publish most of the photographs in the posting. Other photographs come from Art Blart’s archive and those freely available online. Thankx also go to Manuela Furci, Director of the Rennie Ellis Photographic Archive for allowing me to publish his photographs in the posting. Please click on the photographs for a larger version of the image. All text comes from the wall labels to the exhibition.

 

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation views of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with Daniel Boyd’s We call them pirates out here (2006, below)

 

Daniel Boyd (b. 1982) 'We call them pirates out here' 2006

 

Daniel Boyd (b. 1982)
We call them pirates out here
2006
Museum of Contemporary Art
Purchased with funds provided by the Coe and Mordant families, 2006

 

 

“The landing of Captain Cook in Botany Bay, 1770 by E. Phillips Fox is such an iconic and important image relating to the birth of Australia. Shifting the proposed view of Fox’s painting to something that was an indigenous person’s perspective allowed for me to challenge the subjective history that has been created.” – Daniel Boyd, 2008

.
In this painting Daniel Boyd parodies E. Phillips Fox’s celebrated painting which was commissioned in 1902 by the Trustees of the National Gallery of Victoria to commemorate federation. No longer an image valorising colonial achievement, Boyd recasts the scene as one of theft and invasion. Captain Cook is depicted as a pirate to contest his heroic status in Australia’s foundation narratives. Smoke in the distance is evidence of human occupation and is a direct retort to the declaration that Australia was ‘terra nullius’ – land belonging to no-one, which was used to justify British possession.

 

Stephen Bowers (b. 1952) Peter Walker (board maker) (b. 1961) 'Antipodean willow surfboard' 2012 'Antipodean willow surfboard (Mini Simmons)' 2012

 

Stephen Bowers (b. 1952)
Peter Walker (board maker) (b. 1961)
Antipodean willow surfboard
2012
Antipodean willow surfboard (Mini Simmons)
2012
Hollow core surfboard, Paulownia wood, fibreglass, synthetic polymer paint
Courtesy of the artist and Lauraine Diggins Fine Art, Caulfield

 

Stephen Bowers (b. 1952) Peter Walker (board maker) (b. 1961) 'Antipodean willow surfboard (Mini Simmons)' (detail) 2012

 

Stephen Bowers (b. 1952)
Peter Walker (board maker) (b. 1961)
Antipodean willow surfboard (Mini Simmons) (detail)
2012
Hollow core surfboard, Paulownia wood, fibreglass, synthetic polymer paint
Courtesy of the artist and Lauraine Diggins Fine Art, Caulfield

 

 

In these works Bowers combines the willow pattern motif, a ready-made metaphor of hybridity, with an image of a kangaroo as envisioned by George Stubbs in 1772. The willow pattern as an English invention, created by Thomas Minton in 1790. It is an imaginative geography and, like the first known European painting of a kangaroo, considers other lands as strange, exotic places. In this work the imagery of colonial occupation is visualised as a fusion of cultures underpinned by half-truths, fantasy and desire.

 

Installation view of Leanne Tobin's 'Clothes don't always maketh the man' (2012) (detail)

Installation view of Leanne Tobin's 'Clothes don't always maketh the man' (2012) (detail)

 

Installation views of Leanne Tobin’s Clothes don’t always maketh the man (2012)

 

Leanne Tobin (b, 1961)
Clothes don’t always maketh the man (detail)
2012
Sand, textile, wood
Collection of the artist

 

 

Bungaree (c. 1755-1830) was a Garigal man who circumnavigated the continent of Australia with Matthew Flinders on the H.M.S. Investigator between 1802-03. Unlike Bennelong, who attempted to assimilate with British ways and Pemulwuy, who resisted, Bungaree made the decision to navigate a relationship with the British while still maintaining his cultural traditions. He played an important role as an envoy on Flinder’s voyages, negotiating with the different Aboriginal groups they encountered. A skilled mediator, Bungaree was adept at living between both worlds. When coming ashore he would shed his white man’s clothes so that he could conduct protocol relevant to the local elders. In this respect the beach became a zone of transformation and exchange.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation views of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with in the foreground, Leanne Tobin’s Clothes don’t always maketh the man (2012), and in the background photographs from Michael Cook’s Undiscovered series (2010, below)

 

Michael Cook (b. 1968) 'Undiscovered 4' 2010

 

Michael Cook (b. 1968)
Undiscovered 4
2010
inkjet print on Hahnemuhle paper
124.0 x 100.0 cm
Australian National Maritime Museum

 

 

A selection of works from a series of ten photographs in which Michael Cook contests the idea of ‘discovery’ that underpins narratives of the British settlement of Australia… Cook depicts the historic Cook as an Aboriginal man replete in his British naval officers attire. His ship, the famed Endeavour, is anchored in the sea behind him. By mimicking the moment of first discovery Cook subverts deeply ingrained understandings of settlement and asks us to consider what type of national Australia would be if the British had acknowledged Aboriginal people’s prior ownership.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery showing, at top left, Max Dupain’s Form at Bondi (1939); to the right of that Dupain’s At Newport (1952, below); to the right upper is George Caddy’s Chest strength and breathing exercise, 20 February 1937 (below); followed at far right by Rennie Ellis’ St Kilda Lifesavers (1968, top) and David Moore’s Lifesavers at Manly (1959, bottom)

 

Max Dupain. 'At Newport' 1952, Sydney

 

Max Dupain (1911-1992)
At Newport
1952, Sydney
Silver gelatin photograph

 

George Caddy (1914-1983) 'Chest strength and breathing exercise, 20 February 1937' 1937

 

George Caddy (1914-1983)
Chest strength and breathing exercise, 20 February 1937
1937
Digital print on paper
Paul Caddy collection
Courtesy of Paul Caddy

 

 

Like Max Dupain, who was three years his senior, Caddy was interested in the new modernist approach to photography. During 1936 he read magazines such as Popular Photography from New York and US Camera rather than Australasian Photo-Review which continued to champion soft-focus pictorialism. This photograph was taken the same year as Dupain’s famous Sunbather photograph. The framing and angle is similar reflecting their common interest in sharp focus, unusual vantage points and cold composition.

 

George Caddy (1914-1983) 'Freshwater Surf Life Saving Club reel team march past, 3 April 1938' 1938

 

George Caddy (1914-1983)
Freshwater Surf Life Saving Club reel team march past, 3 April 1938
1938
Digital print
Collection of the Mitchell Library, State Library of New South Wales
Purchased from Paul Caddy, 2008

 

 

This photograph was taken only months after an infamous rescue at Bondi. On 6 February 1938 a sand bar collapsed sweeping two hundred people out to sea. 80 lifesavers rescued all but 5 people in a day subsequently described as Black Sunday. By 1938 the Surf Life Saving Association, which incorporated clubs from around Australia, had rescued 39,149 lives in its 30 year history. In 1938 alone there were 3,442 rescues. Up until the events of Black Sunday no one had drowned while lifesavers were on duty at Australian beaches. In comparison 2,000 people drowned in England each year.1

  1. Alan Davies, Bondi Jitterbug: George Caddy and his amera, Sydney: State Library of New South Wales, p. 13.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, at far left, Anne Zahalka’s The sunbather #2 (1989, below) and, at right, a selection of George Caddy’s beachobatics photographs.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, at far left, Max Dupain’s Sunbaker (1937, top) with Diane Jones Sunbaker (2003, below); in the centre Anne Zahalka’s The sunbather #2 (1989, below); then Max Dupain’s Form at Bondi (1939, top) with Diane Jones Bondi (2003) underneath.

 

Anne Zahalka. 'The sunbather #2' 1989

 

Anne Zahalka (b. 1957)
The sunbather #2
1989
From the series Bondi: playground of the Pacific 1989
Type C photograph

 

Installation photograph of Charles Meere's 'Australian beach pattern' (1940, below) and Anne Zahalka's 'The bathers' (1989)

 

Installation photograph of Charles Meere’s painting Australian beach pattern (1940, below) and Anne Zahalka’s photograph The bathers (1989) from the series Bondi: playground of the Pacific 1989, in which Zahalka restates Charles Meere’s painting to subvert the narrow stereotype of the Australian ideal… In this work Zahalka broadens the racial background of people depicted to create a more representative image of multicultural Australia in the 1980s.

 

Charles Meere (1890-1961) 'Australian beach pattern' 1940 (detail)

 

Charles Meere (1890-1961)
Australian beach pattern (detail)
1940
Oil and wax on canvas
Collection of Joy Chambers-Grundy and Reg Grundy AC OBE

 

 

A now iconic representation of early 20th century Australia culture… The scene is dominated by a mass of suntanned bodies: muscular, square-jawed white Australians – specimens of perfect physical beauty – enjoying the strenuous physical activities of the beach. A glorification of the strong, healthy, racially pure Australian ideal of the 1930s, it is eerily reminiscent of Nazi German Aryan propaganda between the wars.

Notably, the figures themselves all appear anonymous and disconnected, with indistinct facial features that show no acknowledgement of their fellow beach-goers. Their identities are overwhelmed by Meere’s obsession with arrangement. Rather than reflect real life, the figures are placed to create an idealised work of perfect balance. It is fascinating to consider that this iconic representation of Australian beach culture actually came from the imagination of an Englishman, who had only lived in Australia since the mid-1930s and who, according to his apprentice, ‘never went to the beach’ and ‘made up most of the figures’.1

  1. Freda Robertshaw quoted in Linda Slutzkin, Charles Meere 1890-1961. Sydney: S. H. Ervin Gallery, 1987, p. 6.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, at far left, George Caddy’s beachobatic photographs, and on the far wall Sidney Nolan’s Bathers (1943, below) and Jeffrey Smart’s Surfers Bondi (1963, below)

 

Sidney Nolan (1917-1992) 'Bathers' 1943

 

Sidney Nolan (1917-1992)
Bathers
1943
Ripolin enamel on canvas
Headed Museum of Modern Art, Melbourne
Bequest of John and Sunday Reed, 1982

 

Jeffrey Smart (1921-2013) 'Surfers Bondi' 1963

 

Jeffrey Smart (1921-2013)
Surfers Bondi
1963
Oil on board
Private collection

 

 

“When bans on daylight bathing were lifted in 1902, the beach became a prime leisure destination. The beach became not only as a public space of recreation but also as a place where the Australian identity was developing, for many epitomizing the liberties of Australia’s society. On the beach brings together 76 outstanding and iconic paintings, photographs and installations to consider the defining relationship we have to the shore.

Works by artists including Vernon Ah Kee, Arthur Boyd, Gordon Bennett, Daniel Boyd, Max Dupain, Charles Meere, Tracey Moffatt, David Moore, Sidney Nolan, Polixeni Papapetrou, John Perceval, Scott Redford, Jeffrey Smart, Albert Tucker, Guan Wei and Anne Zahalka, as well as outstanding recently discovered works by George Caddy (see above). A champion jitterbug dancer, Caddy’s photographs of ‘beachobatics’ were kept undisturbed in a shoebox for 60 years until they were ‘discovered’ by his son after his death. They capture the exuberance and optimism of Australian society between the wars.

The beach first became a prime leisure destination in the early decades of the twentieth century. Up to Federation many artists had looked to the bush to galvanise a fledging nationalism, but during the interwar years this shifted and increasingly the beach became the site of Australian identity. Already by 1908 one Melbourne newspaper commented upon the ‘vast throng of holidaymakers all along the coast.’ In the years following the First World War, against a backdrop of a growing interest in physical fitness, the beach was seen as a place for creating ‘a fine healthy race of men.’ Understandings of the beach as an Australian way of life emerged during this period and increasingly the Australian type was associated with bronzed athletic bodies on the beach.

On the beach looks at artists’ responses to the stereotype of the interwar period and juxtaposes modernist works with contemporary artists’ responses to include a more culturally diverse mix of people. Other artists in the exhibition challenge understandings of the beach as a benign space and consider the history of violence that is latent.”

Press release from the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Photographer Joyce Evans looking at two colour photographs by Rennie Ellis in the exhibition.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, on the far wall left hand side, photographs by Rennie Ellis.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, on the far wall right hand side, photographs by Rennie Ellis and, at right, Fiona Foley’s Nulla 4 eva IV (2009)

 

Rennie Ellis. 'Union Jack, Lorne' c. 1968

 

Rennie Ellis (1940-2003)
Union Jack, Lorne
c. 1968
Silver gelatin selenium toned fibre-based print
Rennie Ellis Photographic Archive

 

Rennie Ellis. 'Four Sunbathers, Lorne' c. 1968

 

Rennie Ellis (1940-2003)
Four Sunbathers, Lorne
c. 1968
Type C photograph (ed. AP)
Rennie Ellis Photographic Archive

 

Rennie Ellis. 'Bondi, New South Wales' 1997

 

Rennie Ellis (1940-2003)
Bondi, New South Wales
1997

 

“On the beach we chuck away our clothes, our status and our inhibitions and engage in rituals of sun worship and baptism. It’s a retreat to our primal needs.” – Rennie Ellis

 

Installation view of Vernon Ah Kee. 'cantchant' 2007-09

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

Installation view of Vernon Ah Kee. 'cantchant' 2007-09 (detail)

 

Installation views of Vernon Ah Kee’s cantchant 2007-09

 

Vernon Ah Kee (b. 1967)
cantchant
2007-09
Synthetic polymer paint and resin over digital print on roamer, vinyl
Courtesy of the artist and Milani Gallery, Brisbane

 

 

Vernon Ah Kee’s response to the events at Cronulla (the Cronulla Riot) us a powerful retort to the racists and their mantra ‘we grew here, you flew here’ chanted on the beach during the riots. Ah Kee takes issue pointing out the hypocrisy in their statement.

We grew here, you flew here is an insincere statement and they were chanting it over and over again. It’s a way to exercise racism. I’m like ‘WE’ grew here, say what you want, but we’re the fellas that grew here.

The surfboards are printed with Yidinji shield designs and the portraits are members of the artists family. The work was exhibited in the Australian Pavilion at the 2009 Venice Biennale.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, on the far wall, Charles Blackman’s Sunbather (c. 1954, below) and Arthur Boyd’s Kite flyers [South Melbourne] (1943, below).

 

Charles Blackman (b. 1928) 'Sunbather' c. 1954

 

Charles Blackman (b. 1928)
Sunbather
c. 1954
Oil on board
Private collection, Melbourne

 

 

This is one of a number of paintings and drawings made in response to Blackman’s observations of life on Melbourne’s beaches. Blackman moved from Sydney to Melbourne in 1945 to be part of Melbourne’s burgeoning art scene, making friends with John Perceval, Joy Hester and John and Sunday Reed amongst others.

During this period Blackman regularly took the tram to St Kilda beach to swim and paint. Although he enjoyed spending time on the beach, there is a sinister overtone to this painting of a prostrate figure lying on the sand. A bleak, grey palette articulates the pallid lifeless flesh amplifying a sense of death. The hollow slits that substitute for eyes further accentuate the corpse-like appearance. It is a stark contrast to many paintings of the era that emphasise physical vitality and wellbeing. Rather the sense of isolation and heavy treatment of shadows and water creates a painting that is psychologically disturbing. This painting can be seen as a response to his wife, Barbara’s developing blindness. It has been noted that as the ‘darkness grew in her life, his pictures got darker.’1 Blackman stated many years later ‘I was trying to paint pictures which were unseeable.’2

  1. Barry Humphries quoted in Peter Wilmoth ‘An artist in wonderland’ The Age, 21 May 2006.
  2. Charles Blackman interviewed by James Gleeson, 28 April 1979.

 

Arthur Boyd (1920-1999) 'Kite flyers [South Melbourne]' 1943

 

Arthur Boyd (1920-1999)
Kite flyers [South Melbourne]
1943
Oil on canvas mounted on cardboard
46.3 x 60.9 cm
National Gallery of Victoria
The Arthur Boyd Gift, 1975

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, in the centre, Brett Whiteley’s Balmoral (1975-78, below). To the left of this painting is Nancy Kilgour’s Figures on Manly Beach (1930, below) and to the right, at top, Norma Bull’s Bathing Beach (c. 1950-60s, below) with at bottom, George W. Lambert’s Anzacs bathing in the sea (1915, below).

 

Brett Whiteley (1939-1992) 'Balmoral' 1975-78 (detail)

 

Brett Whiteley (1939-1992)
Balmoral (detail)
1975-78
Oil and collage on canvas
180 x 204 cm
Collection of the Hunter-Dyer family

 

Nancy Kilgour (1904-1954) 'Figures on Manly Beach' c. 1930

 

Nancy Kilgour (1904-1954)
Figures on Manly Beach
c. 1930
Oil on canvas
76 x 117 cm
Manly Art Gallery and Museum, Sydney
Purchase with the assistance of the NSW Ministry for the Arts, 1986

 

 

Nancy Kilgour’s artificial arrangement of figures is believed to have been painted in the 1930s before Charles Meere painted his highly contrived composition Australian Beach Pattern, 1940. The staged poses create a tableau of Australians enjoying the freedoms of life on the beach. What is interesting about Kilgour’s painting is that a number of people are depicted fully clothed. so the emphasis is not so much on toned physiques but rather the pleasures of relaxing on the beach. The painting is also unusual because, whereas most beach scenes are cast in brilliant sunshine, the figures in the foreground in this painting are rendered in shadow suggesting the presence of the towering Norfolk Island Pine trees which form a crescent along the Manly foreshore.

 

Norma Bull. 'Bathing Beach' c. 1950-60s

 

Norma Bull (1906-1980)
Bathing Beach
c. 1950s-60s
Oil on aluminium
30.5 x 40 cm
Collection of the Warrnambool Art Gallery, Victoria

 

 

Norma Bull began her career at the National Gallery School in 1929, Receiving acclaim for her portraits she won the Sir John Longstaff Scholarship in 1937 and travelled to London where she worked as a war artist during the Second World War. After nine years in Europe, Bull returned to Australia and spent the next year following Wirth’s Circus, painting acrobats, clowns and scenes from circus life. She settled in the Melbourne suburb of Surrey Hills and spent her summer holidays at Anglesea which provided the opportunity to paint seascapes and beach scenes.

 

George W. Lambert. 'Anzacs bathing in the sea' 1915

George W. Lambert. 'Anzacs bathing in the sea' 1915 (detail)

 

George W. Lambert (1867-1930)
Anzacs bathing in the sea (full and detail)
1915
Oil on canvas
25 x 34 cm
Mildura Arts Centre
Senator R.D. Elliott Bequest, presented to the City of Mildura by Mrs Hilda Elliott, 1956

 

 

George Lambert, Australia’s official war artist, travelled to Gallipoli where he created detailed studies of large battle scenes. He also painted a number of smaller, more intimate works which were execute rapidly on the spot such as this scene of men bathing in the sea. Lambert’s focus is the musculature of their bodies. They are depicted as exemplars of heroic Australian masculinity. Historian C.E.W. Bean reflected in the 1920s that it was through the events on Anzac Cove on 25th April 1915 ‘that the consciousness of Australian nationhood was born.’1 In this respect the painting can be seen to have baptismal overtures.

  1. C.E.W. Bean, Official history of Australia in the War of 1914-1918 Volume 2, Sydney: Angus and Robertson, 1934, p. 346.

 

Installation view of the exhibition 'On the beach' at the Mornington Peninsula Regional Art Gallery

 

Installation view of the exhibition On the beach at the Mornington Peninsula Regional Art Gallery with, second left, Anne Zahalka’s The girls #2, Cronulla Beach (2007, below). At left on the far wall John Anderson’s Abundance (2015, below) followed by John Hopkins The crowd (1970, below)

 

Anne-Zahalka-The-girls-#2-WEB

 

Anne Zahalka (b. 1957)
The girls #2, Cronulla Beach
2007
From the series Scenes from the Shire 2007
Type C photograph
73.3 x 89.2 cm
Mornington Peninsula Regional Art Gallery
Gift of the artist, 2012

 

John Anderson (b. 1947) 'Abundance' (detail) 2015

 

John Anderson (b. 1947)
Abundance (detail)
2015
Oil on linen
Courtesy of the artist and Australian Galleries, Melbourne and Sydney

 

John Hopkins. 'The crowd' 1970

 

John Hopkins (b. 1943)
The crowd
1970
Synthetic polymer paint on canvas
172.7 x 245.2 cm
Mornington Peninsula Regional Art Gallery
Gift of the artist, 1974

 

Polixeni Papaetrou born Australia 1960 'Ocean Man' 2013

 

Polixeni Papaetrou (b. 1960)
Ocean Man
2013
From the series The Ghillies 2012-13
National Gallery of Victoria, Melbourne
Purchased NGV Foundation, 2013

 

 

The ghillie suit is a form of camouflage originally used by hunters and the military. Recently popularised in the video game, Call of duty, the ghillie suit is worn by Papapetrou’s son, Solomon, who poses on the beach at Queenscliff. Appearing neither man nor nature, his indistinct form speaks of transformation and becoming – of prison and absence. By depicting the figure as some sort of monster emerging from the depths of the ocean, Papapetrou creates an image that draws upon Jungian understanding of the sea as a symbol of the collective unconscious – both a source of life and return.

 

 

Mornington Peninsula Regional Art Gallery
Civic Reserve, Dunns Road, Mornington

Opening hours:
Tuesday – Sunday 10am – 5pm

Mornington Peninsula Regional Art Gallery website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,691 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

December 2020
M T W T F S S
 123456
78910111213
14151617181920
21222324252627
28293031  

Archives

Categories