Posts Tagged ‘Marcus Bunyan photographer

26
Feb
21

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 1

February 2021

 

Marcus Bunyan. 'Bamboo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Tall Bamboo
1994-1996
Gelatin silver print

 

 

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.

All images © Marcus Bunyan. Please click the photographs for a larger version of the image. Please remember these are just straight scans of the prints, all full frame, no cropping !

Marcus

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. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Baby, Oslo
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Barrows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Barrows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Barrows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Barrows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Bellows' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bellows
1994-1996
Gelatin silver print

 

Marcus Bunyan. 'Bonsai' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bonsai
1994-96
Gelatin silver print

 

Marcus Bunyan. 'Bricks and cups' 1994-1996

 

Marcus Bunyan (Australian, b. 1958)
Bricks and cups
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Cabbage' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Cabbage
1994-96
Gelatin silver print

 

 

Children and flowers

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Children and flowers IIII' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Children and flowers IIII
1994-96
Gelatin silver print

 

Corrugations

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Corrugations IIII' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Corrugations IIII
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Crazy paving' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Crazy paving
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marguerite Daisy I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marguerite Daisy I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marguerite Daisy II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marguerite Daisy II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Doll face I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Doll face I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Doll face II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Doll face II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Drainpipe I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Drainpipe I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Drainpipe II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Drainpipe II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Face I (William Klein)' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Face I (William Klein)
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Face II (William Klein)' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Face II (William Klein)
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gate I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gate I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gate II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gate II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Chalice III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Chalice III
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Cracked' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Cracked
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Gumnuts' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Gumnuts
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hat I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Hat I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Hat II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Hat II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Helicopter, flag pole and sun' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Helicopter, flag pole and sun
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'If?' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
If?
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Jubilee Street, Melbourne' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Jubilee Street, Melbourne
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Kids horse I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Kids horse I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Kids horse II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Kids horse II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Monster' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Monster
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Marquetry' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Marquetry
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory I' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory I
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory II' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory II
1994-96
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Saint Gregory III' 1994-96

 

Marcus Bunyan (Australian, b. 1958)
Saint Gregory III
1994-96
Gelatin silver print

 

Melbourne gay pride 1994

 

Marcus Bunyan (Australian, b. 1958) 'Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Body painting, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Body painting, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'James Dean, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
James Dean, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Banquet table, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Banquet table, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Eagle brand, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Eagle brand, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Pentagram, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Pentagram, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Love, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Love, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Dragons wing, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Dragons wing, Melbourne gay pride
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Rose Kennedy, Melbourne gay pride' 1994

 

Marcus Bunyan (Australian, b. 1958)
Rose Kennedy, Melbourne gay pride
1994
Gelatin silver print

 

 

Marcus Bunyan (Australian, b. 1958)
Om, Melbourne gay pride
1994
Gelatin silver print

 

 

Marcus Bunyan website

Marcus Bunyan black and white archive

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07
Feb
21

Photographs: Marcus Bunyan. ‘Stones, Vaults, Flowers: Père Lachaise’ 2017-2020

February 2021

 

 

les jeunes ñ’oublient pas
souvenir et jeunesse

young people don’t forget
memory and youth

 

 

A body of work from Père Lachaise cemetery, Paris. Unfortunately, I can’t display the series how I would like them laid out on Art Blart due to the limited page width… please see the layout on desktop (not mobile, again problems) at http://marcusbunyan.com/stones/

There are some beautiful individual images here – closing in on details, low depth of field, over saturated colours, out of focus, blurred – but in bringing them together I compose with the camera … a feeling, an homage to this place.

Conceptual: Instead of the axis ‘xyz’ being ‘space time context’ I roll the matrix through 90 degrees so the axis is now context (x), space (y) and time (z) – time being the floating variable (not just the variable time of the camera’s shutter): a photograph of the memorial to the victims of the Paris Commune; photographs of the tomb of Victor Noir who became a symbol of opposition to the imperial regime after he was assassinated; photographs of stones laid in respect to the victims of the Nazi death camps; the life of flowers (mostly artificial); the light streaming through stained glass windows at the back of vaults. Light, bending, light bending – illuminating the Stygian darkness, revealing hidden relations, small revelations.

I am the unmoved mover contemplating the perfectly beautiful, indivisible connection between life and death.

Dr Marcus Bunyan

 

65 mages in the series © Marcus Bunyan. Please click on the photographs for a larger version of the image. These are straight digital photographs, all full frame, no cropping.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

 

 

Marcus Bunyan. 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

 

 

Marcus Bunyan website

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20
Nov
19

Putting it out there!

November 2019

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

 

Dear friends of Art Blart. A call for help!

Just putting this out there in the ether of the cosmos because you never know, its spirit might hear you.

I am looking for a research fellowship or postdoc work in photography anywhere in the world.

I have been working at Faculty of Arts at the University of Melbourne for years, 4 days a week making websites. This is because of my bipolar and anxiety disorder. It has been a job to get me through the tough times. But after my recent photographic research trip to Europe, I realise that I need more stimulus – to fully concentrate on photography at an elite level. To research and write a book on photography.

In 2021 I will have been an artist for 30 years and my first writings date from 1998. I have been writing Art Blart now for 10 years… a lot of research and writing for this cultural memory archive, perhaps used as the basis for a book on the spirit of photography in the 21st century. But I am open to any research project. I have to do something to be able to immerse myself fully in photography.

If you have any ideas or knowledge of friends with connections please let me know at
bunyanth@netspace.net.au.

Thank you!

Marcus

 

New work

All photographs are from a new body of art work I am working on for 2020, provisionally titled ‘(How I) Wish You Were Here’, taken during my recent European research trip. These are difficult photographs to understand but please take the time (critical in looking at photographs) to feel them.

My mentor and friend said: “This is the most difficult work to organise yet. There is something to see in every picture – but it is so subtle – not everyone will see it, but it is for people who look at pictures a lot. MG0028 (the yellow entrance with stone pillars) is lovely – the entrance painted a warm sickish colour, a sort of terrible colour aesthetically – and the cropping is just a little brutal: what is it really showing at this camera to subject distance?

But it all works brilliantly, and they are all like that – there are subtle things that can’t be traced: i.e. are they the photographer: or are they the camera or are they just inevitable in this world? It is a type of anti-spirituality meets spirituality… and any number of other meeting points.”

And my friend Elizabeth Gertsakis said: “Spatial as well as surface tactile. Fascinated randomness. The human figure appears as a singular frozen device. Post-apocalyptic as well.”

I said: the spirit has left the earth, the body; something NQR. Eventually, the whole purpose of the series is not to tell the viewer where they are in the world, just give little clues as the viewer moves through time and space… something that photography is very good at: disrupting time and space.

Marcus

.
Please click on the photographs for a larger version of the image.

 

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from the series 'How I) Wish You Were Here' 2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled from the series (How I) Wish You Were Here
2020
Colour photograph
© Marcus Bunyan

 

 

Marcus Bunyan writings

Marcus Bunyan website

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31
Oct
19

Text and photos: Marcus Bunyan. “Punk jacket,” in Chris Brickell and Judith Collard (eds.,). ‘Queer Objects’ MUP, 2019

November 2019

 

Marcus Bunyan (Australian, b. 1958) 'Self-portrait with punk jacket and The Jesus and Mary Chain T-shirt' 1992

 

Marcus Bunyan (Australian, b. 1958)
Self-portrait with punk jacket and The Jesus and Mary Chain T-shirt
1992
Gelatin silver print
© Marcus Bunyan

 

 

Many thankx to University of Otago academics Chris Brickell and Judith Collard for inviting me to write a chapter for this important book… about my glorious punk jacket of the late 1980s (with HIV/AIDS pink triangle c. 1989). Aaah, the memories!

Please come along to the Australian launch of the book at Hares Hyenas bookshop (63 Johnston Street, Fitzroy, Melbourne) on Wednesday, November 6, 2019 at 6pm – 7.30pm. The book is to be launched by Jason Smith (Director Geelong Gallery). Click on the photographs for a larger version of the image.

Marcus

 

 

“Gay and lesbian identity (and, by extension, queer identity) is predicated on the idea that, as sexualities, they are invisible, because sexuality is not a visible identity in the ways that race or sex are visible. Only by means of individual expression are gay and lesbian sexualities made discernible.”

.
Ari Hakkarainen. “‘The Urgency of Resistance’: Rehearsals of Death in the Photography of David Wojnarowicz” 2018

 

 

Punk Jacket

 

I arrived in Melbourne in August 1986 after living and partying in London for 11 years. I had fallen in love with an Australian skinhead boy in 1985. After we had been together for a year and a half together his visa was going to expire and he had to leave Britain to avoid deportation. So I gave up my job, packed up my belongings and went to Australia. All for love.

We landed in Melbourne after a 23-hour flight and I was driven down Swanston Street, the main drag (which in those days was open to traffic) and I was told this was it; this was the centre of the city. Bought at a milk bar, the Australian version of the corner shop, the first thing I ever ate in this new land was a Violet Crumble, the Oz equivalent of a Crunchie. Everything was so strange: the light, the sounds, the countryside.

I felt alienated. My partner had all his friends and I was in a strange land on my own. I was homesick but stuck it out. As you could in those days, I applied for gay de facto partnership status and got my permanent residency. But it did not last and we parted ways. Strange to say, though, I did not go back to England: there was an opportunity for a better life in Australia. I began a photography course and then went to university. I became an artist, which I have now been for over 30 years.

Melbourne was totally different then from the international city of today: no café culture, no big events, no shopping on Sundays, everything shut down early. At first living there was a real culture shock. I was the only gay man in town who had tattoos and a shaved head, who wore Fred Perrys, braces and Doc Martens. All the other gay men seemed to be stuck in the New Romantics era. In 1988 I walked into the Xchange Hotel on Commercial Road, then one of the pubs on the city’s main gay drag, and said to the manager, Craig, ‘I’m hungry, I’m starving, give me a job’, or words to that effect. He thought a straight skinhead had come to rob the place, but he gave me a job, sweet man. He later died of AIDS.

I went to my first Mardi Gras in Sydney the same year, when the party after the parade was in the one pavilion, the Horden at the showgrounds, and there were only 3000 people there. I loved it. Two men, both artists who lived out in Newtown, picked me up and I spent the rest of the weekend with them, having a fine old time. I still have the gift Ian gave me from his company, Riffin Drill, the name scratched on the back of the brass belt buckle that was his present. I returned the next year and the party was bigger. I ventured out to Newtown during the day, when the area was a haven for alternatives, punks and deviants (not like it is now, all gentrified and bland) and found an old second-hand shop quite a way up from the train station. And there was the leather jacket, unadorned save for the red lapels. It fitted like a glove. Somehow it made its way back with me to Melbourne. Surprise, surprise!

Then I started making the jacket my own. Studs were added to the red of the lapel and to the lower tail at the back of the jacket with my initials MAB (or MAD as I frequently referred to myself) as part of the design. A large, Gothic Alchemy patch with dragon and cross surrounded by hand-painted designs by my best mate and artist, Frederick White, finished the back of the jacket. Slogans such as ‘One Way System,’ ‘Oh Bondage, Up Yours!’ and ‘Anarchy’ were stencilled to both arms and the front of the jacket; cloth patches were pinned or studded to the front and sides: Doc Martens, Union Jack, Southern Cross … and Greenpeace. I added metal badges from the leather bar, The Gauntlet, and a British Skins badge with a Union Jack had pride of place on the red lapel. And then there was one very special homemade badge. Made out of a bit of strong fabric and coloured using felt-tip pens, it was attached with safety pins to the left arm. It was, and still is, a pink triangle. And in grey capital letters written in my own hand, it says, using the words of the Latin proverb, ‘SILENCE IS THE VOICE OF COMPLICITY’.

I have been unable to find this slogan anywhere else in HIV/AIDS material, but that is not to say it has not been used. This was my take on the Silence = Death Collective’s protest poster of a pink triangle with those same words, ‘Silence = Death’ underneath, one of the most iconic and lasting images that would come to symbolise the Aids activist movement. Avram Finkelstein, a member of the collective who designed the poster, comments eloquently on the weight of the meaning of ‘silence’: ‘Institutionally, silence is about control. Personally, silence is about complicity.’1 In a strange synchronicity, in 1989 I inverted the pink triangle of the ‘Silence = Death’ poster so that it resembled the pink triangle used to identify gay (male) prisoners sent to Nazi concentration camps because of their homosexuality; the Pink Triangles were considered the ‘lowest’ and ‘most insignificant’ prisoners. It is estimated that the Nazis killed up to 15,000 homosexuals in concentration camps. Only in 2018, when writing this piece, did I learn that Avram Finkelstein was a Jew. He relates both variants of the pink triangle to complicity because ‘when you see something happening and you are silent, you are participating in it, whether you want to or not, whether you know it or not’.2

Finishing the jacket was a labour of love that took several years to reach its final state of being. I usually wore it with my brown, moth-eaten punk jumper, bought off a friend who found it behind a concert stage. Chains and an eagle adorned the front of it, with safety pins holding it all together. On the back was a swastika made out of safety pins, to which I promptly added the word ‘No’ above the symbol, using more safety pins, making my political and social allegiances very clear. Both the jumper and the jacket have both been donated to the Australian Lesbian and Gay Archives.

By 1993 I had a new boyfriend and was at the beginning of a 12-year relationship that would be the longest of my life. We were both into skinhead and punk gear, my partner having studied fashion design with Vivienne Westwood in London. We used to walk around Melbourne dressed up in our gear, including the jacket, holding hands on trams and trains, on the bus and in the street. Australia was then such a conservative country, even in the populated cities, and our undoubtedly provocative actions challenged prevailing stereotypes of masculinity. We wore our SHARP (Skinheads Against Racial Prejudice) T-shirts with pride and opposed any form of racism, particularly from neo-fascists.3

Why did we like the punk and skinhead look so much? For me, it had links to my working-class roots growing up in Britain. I liked the butch masculinity of the shaved head and the Mohawk, the tattoos, braces, Docs and Perrys – but I hated the racist politics of straight skinheads. ‘SHARPs draw inspiration from the biracial origins of the skinhead subculture … [they] dress to project an image that looks hard and smart, in an evolving continuity with style ideals established in the middle-to-late 1960s. They remain true to the style’s original purpose of enjoying life, clothes, attitude and music. This does not include blanket hatred of other people based on their skin colour.’4

By the very fact of being a ‘gay’ punk and skinhead, too, I was effectively subverting the status quo: the hetero-normative, white patriarchal society much in evidence in Australia at the time. I was subverting a stereotypical masculinity, that of the straight skinhead, by turning it ‘queer’. Murray Healy’s excellent book, Gay Skins: Class, Masculinity and Queer Appropriation, was critical to my understanding of what I was doing intuitively. Healy looks into the myths and misapprehensions surrounding gay skins by exploring fascism, fetishism, class, sexuality and gender. Queer undercurrents ran through skinhead culture, and shaven heads, shiny DMs and tight Levis fed into fantasies and fetishes based on notions of hyper-masculinity. But Healy puts the boot into those myths of masculinity and challenges assumptions about class, queerness and real men. Tracing the historical development of the gay skin from 1968, he assesses what gay men have done to the hardest cult of them all. He asks how they transformed the gay scene in Britain and then around the world, and observes that the ‘previously sublimated queerness of working class youth culture was aggressively foregrounded in punk. Punk harnessed the energies of an underclass dissatisfied with a sanitised consumer youth culture, and it was from the realm of dangerous sexualities that it appropriated its shocking signifiers.’5 There is now a whole cult of gay men who like nothing better than displaying their transformative sexuality by shaving their heads and putting on their Docs to go down the pub for a few drinks. Supposedly as hard as nails and as gay as fuck, the look is more than a costume, as much leatherwear has become in recent years: it is a spiritual attitude and a way of life. It can also signify a vulnerable persona open to connection, passion, tenderness and togetherness.

In 1992 I took this spiritual belonging to a tribe to a new level. For years I had suffered from depression and self-harm, cutting my arms with razor blades. Now, in an act of positive energy and self-healing, skinhead friend Glenn performed three and a half hours of cutting on my right arm as a form of tribal scarification. There was no pain: I divorced my mind from my body and went on a journey, a form of astral travel. It was the most spiritual experience of my life. Afterwards we both needed a drink, so we put on our gear and went down to the Exchange Hotel on Oxford Street in Sydney with blood still coming from my arm. I know the queens were shocked – the looks we got reflected, in part, what blood meant to the gay community in that era – but this is who I then was. The black and white photograph in this chapter (below) was taken a day later. Paraphrasing Leonard Peltier, I was letting who I was ring out and resonate in every deed. I was taking responsibility for my own being. From that day to this, I have never cut myself again.

These tribal belongings and deviant sexualities speak of a desire to explore the self and the world. They cross the prohibition of the taboo by subverting gender norms through a paradoxical masculinity that ironically eroticises the desire for traditional masculinity. As Brian Pronger observes,
.

“Paradoxical masculinity takes the traditional signs of patriarchal masculinity and filters them through an ironic gay lens. Signs such as muscles [and gay skinheads], which in heterosexual culture highlight masculine gender by pointing out the power men have over women and the power they have to resist other men, through gay irony emerge as enticements to homoerotic desire – a desire that is anathema to orthodox masculinity. Paradoxical masculinity invites both reverence for the traditional signs of masculinity and the violation of those signs.”6

.
Violation is critical here. Through violation gay men are brought closer to a physical and mental eroticism. I remember going to dance parties with my partner and holding each other at arm’s length on the pumping dance floor, rubbing our shaved heads together for what seemed like minutes on end among the sweaty crowd, and being transported to another world. I lost myself in another place of ecstatic existence. Wearing my punk jacket, being a gay skinhead and exploring different pleasures always took me out of myself into another realm – a sensitive gay man who belonged to a tribe that was as sexy and deviant as fuck.

Dr Marcus Bunyan

 

Marcus Bunyan. “Punk Jacket,” in Chris Brickell and Judith Collard (eds.,). Queer Objects. Manchester University Press, 2019, pp. 342-349.

Word count: 2,055

Endnotes

  1. Anonymous. ‘The Artist Behind the Iconic Silence = Death Image’, University of California Press Blog, 1 June 2017: https://www.ucpress.edu/blog/27892/the-artist-behind-the-iconic-silence-death-image
  2. Silence Opens Door, ‘Avram Finkelstein: Silence=Death,’ YouTube, 4 March 2010:
    https://youtu.be/7tCN9YdMRiA
  3. Skinheads Against Racial Prejudice was started in 1987 in New York as a response to the bigotry of the growing white power movement in 1982
  4. Anonymous, ‘Skinheads Against Racial Prejudice’:
    https://en.wikipedia.org/wiki/Skinheads_Against_Racial_Prejudice
  5. Murray Healy, Gay Skins: Class, masculinity and queer appropriation (London: Cassell, 1996), p. 397
  6. Brian Pronger, The Arena of Masculinity: Sports, homosexuality, and the meaning of sex (New York: St Martin’s Press, 1990), p. 145

 

 

Marcus Bunyan. 'Punk Jacket' c. 1989-1991

Marcus Bunyan. 'Punk Jacket' c. 1989-1991

Marcus Bunyan. 'Punk Jacket' c. 1989-1991 (detail)

 

Marcus Bunyan (Australian, b. 1958)
Punk Jacket
c. 1989-1991
Mixed media
Collection of the Australian Lesbian and Gay Archives (ALGA)
© Marcus Bunyan and ALGA

 

Marcus Bunyan (Australian, b. 1958) 'Self-portrait with punk jacket, flanny and 14 hole steel toe capped Docs' 1991

 

Marcus Bunyan (Australian, b. 1958)
Self-portrait with punk jacket, flanny and 14 hole steel toe capped Docs
1991
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan (Australian, b. 1958) 'Marcus (after scarification), Sydney' 1992

 

Marcus Bunyan (Australian, b. 1958)
Marcus (after scarification), Sydney
1992
Gelatin silver print
© Marcus Bunyan

 

 

Other Marcus photographs in the Queer Objects book

 

Marcus Bunyan (Australian, b. 1958) 'Two torsos' 1991

 

Marcus Bunyan (Australian, b. 1958)
Two torsos
1991
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan (Australian, b. 1958) 'Fred and Andrew, Sherbrooke Forest, Victoria' 1992

 

Marcus Bunyan (Australian, b. 1958)
Fred and Andrew, Sherbrooke Forest, Victoria
1992
Gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan website

Marcus Bunyan black and white archive

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21
Dec
13

New work: ‘upside, down’ 2013 by Dr Marcus Bunyan

December 2013

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

 

Finally, I got my act together for a new series of my own work titled upside, down (2013). The series is now online on my website or you can click on the thumbnails below to go the full image. There are 30 images in the series formed as a sequence. Below is a selection of images from the series. Please click on the photographs for a larger version of the image.

People have asked me what this series is about. It’s about the suspension of belief; it’s about taking an enormous, heavy war machine and floating it in mid air and the impossibility of this; it’s about looking at this structure of destruction as a constructivist object, looking at the mass of this object; it is about the disintegration of this object (for these are poor quality scans that when enlarged will fall apart) – about raising the object up and letting it fall into the world. It is against war.

People have said to me the images look strange, that they look better the right way up. I’m glad that they are inverted for the world is a very strange place, where we make huge machines just to kill ourselves. I’m glad they look strange, I’m glad they make you feel uncomfortable. They are meant that way.

The sculptor Fredrick White has observed that the work is also about the beauty of the object, emphasising its form by inverting the mass of the ship, and also the weight, compression and displacement of space – almost like a time slippage/fracture, a time portal to another world. This is very perceptive because the work is about all of these things. I love layering the work so it reveals different things!

Dr Marcus Bunyan

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.

 

 

“The initial feeling of the series was of a curtain rising – and that strongly draws us into the drama. But the whole series is very witty, very touching and appeals very strongly to the senses. There is an inevitability about the human condition here that is very sobering. In the end the strongest of your gestures are almost ignored by the viewer who becomes aware of this atmosphere.”

.
Text from my mentor ISL

 

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013
Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013 Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

Marcus Bunyan. 'Untitled' from the series 'upside, down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside, down 2013
Digital photograph

 

 

Marcus Bunyan website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96

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