A recording of various pianoforte pieces in the Recital Hall of the Royal College of Music, London on the 15th November 1977. All pieces performed by Marcus Bunyan. I was 19 years old (as in the photographs below). Nobody ever believes me that I was a concert pianist. Well here is the proof!
1/ Haydn – Sonata No. 62 in E flat major I. Allegro 2/ Haydn – Sonata No. 62 in E flat major II. Adagio 3/ Haydn – Sonata No. 62 in E flat major III. Finale: Presto 4/ Beethoven – Sonata Op. 10 No. 3 II. Largo e mesto 5/ Chopin – Etude Op. 25 No. 1 “Aeolian Harp” in A flat major – Allegro sostenuto 6/ Debussy – Pour le Piano I. Prelude 7/ Debussy – Pour le Piano II. Sarabande 8/ Brahms – Rhapsody Op. 79 No. 1 in B minor 9/ Medtner – Marchen Op. 42 No. 2
Marcus Bunyan (Australian born England, b. 1958) The Only Recording 1977 (2017) CD cover
The only recording of myself as a concert pianist. Yes, really!
Recorded in the Recital Hall of the Royal College of Music, London on the 15th November 1977 when I was 19 years old, on a reel to reel tape deck. 40 years ago this year.
I heard it recently for the very first time. My friend Daniel Desiere from Dex Audio, Jeff Whitehead and myself were surprised at the sound quality, and it was an emotional experience to listen to me playing all those years ago. It almost seems like another life. Daniel and the team at Dex Audio in Melbourne have done a fabulous job producing a master and they have burnt it to disc in 20 copies.
I attained my degree (A.R.C.M. Associate of the Royal College of Music) as a concert pianist at 20 and did a postgraduate year before giving up the piano after 16 years. I had been a child prodigy since the age of 6 but enough was enough.
Looking back now I wonder how I made such glorious music given the upheaval in my life at the time. I loved the romantics especially Chopin, Debussy, etc…
Love to my early self.
Marcus xxxx
Unknown photographer Marcus Bunyan, 19 years old, Welwyn Garden City, Hertfordshire 1977 Colour photograph
Jeff Busby (Australian, b. 1952) William Heimerman c. 1975-1980 Silver gelatin print
William Heimerman: the essence of 344
Imagine a gallery in a land far far way, that for a period of 10 years or so brought the very best of West Coast/East Coast North American and European, mainly male fine art photography to that land for the edification of artists, students and the viewing public.
Imagine a land that had never seen many fine art prints by such luminaries as Edouard Boubat, Harry Callahan, Paul Caponigro, Larry Clark, William Clift, William Eggleston, Franco Fontana, Oliver Gagliani, Ralph Gibson, Emmet Gowin, Eikoh Hosoe, Eliot Porter, Duane Michals, Lisette Model, August Sander, Aaron Siskind, and Brett Weston before. Imagine the impact that this gallery (together with Brummels and Church Street Photographic Centre) had on the development of photography as an art form in this land during the period 1975-85.
No, this is not the internationally famous art gallery 291 that was located in Midtown Manhattan at 291 Fifth Avenue in New York City, created and managed by Alfred Stieglitz; but rather The Photographers’ Gallery located at 344 Punt Road, South Yarra, run from 1975 onwards by that dynamic duo, William (Bill) Heimerman and Ian Lobb, until Bill took over the sole running of the gallery in 1980. Such is the importance of this gallery to the history and development of art photography in that far away land, Australia, that the number 344 should be enshrined in the legend that this gallery has become during this time period. As Ian Lobb has observed, “The initial philosophy was simply to let people see the physical difference between the production of prints overseas and locally. After a while this moved from the Fine Print to other concerns both aesthetic and conceptual.”
Personally, I cannot speak of the early years at the gallery, for I only arrived in Australia in 1986… but I have done enough research to know of the incredible impact that the exhibitions and workshops at the gallery had on the photographic community in Australia at the time. The gallery was run on a shoe-string budget and never made any money, but both Bill and Ian were so passionate about the endeavour, about what they were trying to achieve – that there was an absolute integrity to their mission, undertaken with so much knowledge and insight into photography, art, and life, that drew people to them and to the gallery. There was so much energy and fun, that was the critical thing fun, to be had at the gallery.
I will be forever grateful to William Heimerman. Bill was the first person to give me a solo exhibition at a commercial gallery in 1992, during the second year of my Bachelor of Arts (Fine Art Photography) at what was then Phillip Institute out at Bundoora. Incidentally, Ian Lobb was one my lecturers out at Bundoora. I was only just finding my way as an artist producing classical black and white fine art photographs, a wet behind the ears 34 year old at the beginning of his path, following his dream as an artist. Two other solo exhibitions followed in 1993 (black and white) and 1995 (colour, conceptual Master of Arts exhibition). I also co-curated with Bill, John Cato’s retrospective, ‘…and his forms were without number’ at The Photographers’ Gallery in 2002. What an enlightening experience that was.
I also vividly remember getting an absolutely terrible review of one of my first two exhibitions at the Gallery by a now well known academic in one of the only two big newspapers in Melbourne, the Herald Sun, and being absolutely distraught upon reading it. It was soul destroying. Bill sat me down and, in that laid-back Wisconsin accent, comforted me and told me it was ok, that I should not give up, but I should keep on doing what I was doing, and that everything would be ok. To follow my path no matter what. I’ll never forget Bill’s kindness in that moment of despair, his compassion and honest forthrightness with advice. It bring tears to my ears even now. 25 years later I am still an artist, and I am still in love with photography.
Bill was handsome, charming, urbane, erudite, witty, and above all, fun. I remember the openings we had at the gallery, the glasses of wine out the back in the garden with Bill and friends; the long talks in the back space of the gallery about art and photography. I have a photograph, a Polaroid of me in a satin yellow shirt with Bill in the background smiling, at one of the openings… but blow if I can find it at the moment. That was Bill, enjoying the sunshine, the art, the education, the friends and the fun.
While the gallery never really made any money during the early period – and while their was a feminist reaction during the 1970s “against the technocratic and patriarchal American West Coast ‘fine print’ tradition then being promoted by the Photographers’ Gallery” – one can never underestimate or demean the achievement of Bill (and Ian) in bringing to Australia the work of such notable artists. Geoff Strong, writing the catalogue essay “The Melbourne Movement: Fashion and Faction in the Seventies” for the exhibition The Thousand Mile Stare at the Victorian Centre for Photography in 1988, likened Bill and Ian to a “pair of blinkered bulldozers” in their promotion of the gallery’s programme, proposing that Carol Jerrems was of another stream, people who wanted to change the world in the great tradition of the European avant-garde movements of the 1920s.
But here we have photographs of Jerrems by Bill and Bill by Jerrems (how strange to see them both looking through the camera lens at each other); and we have wonderful photographs of Bill and Ian taken by Jerrems, with their 35mm and Rollei SL66 cameras sitting behind them at the Dog Rocks near Geelong. This is what it was about: exploration, passion, photography, friendship, and fun. The Photographers’ Gallery did change the photographic art world in Australia as people knew it through the charisma and hard work of two men. As Ian said at the recent gathering for Bill, ‘Ralph Gibson said to us, “what am I doing here with you guys in Melbourne, Australia – they want me in Berlin and Tokyo, yet I’m here with you!”‘
To Bill I say, thank you for the memories, for your advice, for your friendship and above all, for your unblinking passion and commitment to photography and art. An exhibition at the Photographers’ Gallery was an honour. You can look back on those comments by Geoff Strong as a badge of courage, and with pride … because you had the foresight to go out there and get the job done. And for that vision Bill, you will forever be remembered in the annals of the history of photography in Australia. Respect.
Carol Jerrems (Australian, 1949-1980) Ayer’s Dog Rock [Bill Heimerman looking through his Rolleiflex] 1975 Silver gelatin print (Digital clean by Marcus Bunyan)
William Heimerman (Australian born America, 1950-2017) Untitled [Carol Jerrems looking through her camera, Dog Rocks near Geelong] c. 1975 Silver gelatin print
Carol Jerrems (Australian, 1949-1980) Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong] 1975 Silver gelatin print (Digital clean by Marcus Bunyan)
Carol Jerrems (Australian, 1949-1980) Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong] 1975 Silver gelatin print (Digital clean by Marcus Bunyan)
William Heimerman 1950-2017
William Heimerman, who has died aged 67, was the long-term director of the Photographers’ Gallery and Workshop in South Yarra where museum quality exhibitions were held from the mid 1970’s. The Photographers’ Gallery, was established in 1973 by Rod McNicol, Paul Cox, and John Williams, then sold to photographer Ian Lobb who convinced William to assist in running the gallery, from that point known as the Photographers’ Gallery & Workshop. They set out on a journey to exhibit Australian and international photographic work of the highest quality. After a few years of co-directorship, from 1977 until 2015 William was the sole director energetically seeking out the finest work from Australia, the USA, and Europe.
The gallery also offered workshops in all aspects of photography taught by Australian & international photographers including John Cato, William Clift, Ralph Gibson, Ian Lobb, Stephen Lojewski, and Les Walkling. At the invitation of The Photographers’ Gallery renowned photographer Harry Callahan visited Australia to present a public lecture. Tony Perry in 1980 wrote about the gallery, “Today the Photographers’ Gallery is run solely by Bill Heimerman… with an enviable record of exhibitions and workshops is seen as the premier gallery in Australia; a show there is a genuine honour.”
William Lee Heimerman was born 13th January 1950 in Appleton, Wisconsin, the son of the late Peter and Rose Heimerman. William grew up in Menasha, Wisconsin, attending St Patrick’s grade school then St Mary’s high school. During his high school years he enjoyed and excelled in all sporting activities, receiving a scholarship to attend the University of Wisconsin, Milwaukee. Following his undergraduate studies he secured a Master’s Degree (Cum Laude) from the University of Wisconsin, Oshkosh. After graduating from University he taught English at Winneconne High School, Wisconsin, and coached both the football and the debate teams.
In 1974 William accepted a teaching position with the Victorian Education Department and taught English at Coburg Technical School. It was here that he met Ian Lobb and the late Carol Jerrems, both avid photographers, who initiated his interest in and appreciation of photography. William subsequently moved to Brighton Technical College where he and other staff established a photography programme.
A few years later William was teaching photography at Melbourne State College and the Council of Adult Education in Melbourne, inculcating students in the techniques of fine printing and the zone system. William was himself an accomplished photographer, producing work in abstract, portrait and landscape veins. His is art of great poetry that will be exhibited in a posthumous exhibition that is in preparation.
William passed away on October 1 at Hammond Care in Caulfield after a relatively short period of declining health. Siblings, Patricia, Jane, Jeff, Kevin, Ted, brother in law Tom, sisters in law Sarah, Diane, and Paula, many nieces and nephews, extended relatives and friends, survive him. His brother Robert preceded William in death. He will be greatly missed by lifelong friend Barbara Derrick, and the many artists and art collectors that he befriended.
Barbara, Louise and Jeff (William’s brother)
Peter Leiss (Australian born England, b. 1951) Untitled [Bill Heimerman and Ian Lobb at the rear of the Photographers’ Gallery] c. 1975-1980 Silver gelatin print
Jeff Busby (Australian, b. 1952) Untitled [William Heimerman and friend outside the Photographers’ Gallery (344)] c. 1978 Silver gelatin print
Louise Bradley Untitled [William Heimerman adjusting Robert Besanko prints in the main space of the Photographers’ Gallery] c. 1975-1980 Silver gelatin print (Digital clean by Marcus Bunyan)
Jeff Busby (Australian, b. 1952) Untitled [Bill Heimerman and friends at the Photographers’ Gallery] c. 1975-1980 Silver gelatin print
The Photographers’ Gallery: A very brief history
The Photographers Gallery & Workshop was founded by Paul Cox, Ingeborg Tyssen, John F. Williams and Rod McNicoll in 1973, and the Gallery was then taken over in late 1974 by Ian Lobb, his first exhibition as director being at the beginning of 1975; Bill Heimerman joined as joint director at the beginning of 1976.
Shows of American photography became relatively commonplace in Melbourne and it was the first time Australian photographers and the general public had access to such a concentration of international photography in a variety of styles. From 1975-1981 every second exhibition at The Photographers Gallery was an international exhibition. Some of the exhibitions during this period included work by August Sander (German – arranged by Bill Heimerman), Edouard Boubat (France), Emmet Gowin (USA – twice), Paul Caponigro (USA – twice), Ralph Gibson (UK – twice, once of his colour work), William Eggelston (USA), Eliot Porter (USA), Wynn Bullock (USA), William Clift (USA), Harry Callahan (USA), Aaron Siskind (USA – twice, once with a show hung at Ohnetitel) Jerry Uelsmann (USA), Brett Weston (USA). The artists often came out to Australia, presenting a series of lectures and workshops during their exhibitions.
Very few prints were ever purchased by the National Gallery of Victoria or the National Gallery of Australia during this period, for a variety of reasons (mainly personal, financial and institutional). As Ian Lobb observes,
“The initial philosophy was simply to let people see the physical difference between the production of prints overseas and locally. After a while this moved from the Fine Print to other concerns both aesthetic and conceptual. The gallery at best, just paid for itself. During international shows the attendance at the gallery was high. During Australian shows the attendance was low.”
Harry Callahan, William Clift, John Cato, Ralph Gibson, Ian Lobb, Stephen Lojewski, Les Walkling.
William Heimerman (Australian born America, 1950-2017) Carol Jerrems c. 1975-1980 Silver gelatin print
Peter Leiss (Australian born England, b. 1951) William Heimerman c. 1975-1980 Silver gelatin print
Peter Leiss (Australian born England, b. 1951) Untitled [Bill Heimerman at the Photographers’ Gallery] c. 1975-1980 Silver gelatin print
Peter Leiss (Australian born England, b. 1951) Untitled [Bill and Barbara] c. 1975-1980 Silver gelatin print
The Photographers’ Gallery
The most significant time for contemporary Australian photography was the period from mid 1975 to 1977. Three singular events occurred which provided local artist/ photographers with more hope and encouragement than some thought they had any right to expect. In the latter half of 1975 Bill Heimerman and lan Lobb took over the Photographers’ Gallery in South Yarra. With a new and dynamic policy they challenged the status quo and, in time, changed the course of the previous five years.
While actively seeking new, local work they were determined the gallery would never compromise itself, and only photographs of the highest quality would be exhibited in the hope that Australian standards would be lifted to an international level. After an initial, brief flirtation with local photography it became evident that the homegrown product was noticeably shabby, and the gallery embarked on the risky program of bringing the best contemporary, international work to Australia.
By doing this it was hoped that a better understanding of print quality would follow, that internationally acclaimed work would break down the public resistance to photography as an artistic medium and that buyers, both public and private, would respond to a venue which allowed them to view overseas work before purchasing. The gallery was to become a locus and the means whereby Australians, working at home, could gain credibility overseas. By 1977, with a series of first class exhibitions behind them, Heimerman and Lobb organised the first workshop to be conducted here by an American photographer, Ralph Gibson. In previous years we had seen lecture tours by Szarkowski and Friedlander but these were poorly publicised and attended. The gallery has also sponsored visits by William Clift and Harry Callahan who have both inspired and encouraged those lucky enough to meet them. Today the Photographers’ Gallery is run solely by Bill Heimerman, lan Lobb having left to pursue his photography, and with an enviable record of exhibitions and workshops is seen as the premier gallery in Australia; a show there is a genuine honour.
~ Tony Perry 1980
Print Letter No.25 Jan/Feb. 1980 Vol. 5 No. 1 pp. 8-9
Peter Leiss (Australian born England, b. 1951) Untitled [The note] Melbourne, 2017 Digital photograph
Peter Leiss (Australian born England, b. 1951) Untitled [At the gathering for William Heimerman: Jeff Busby, Conrad Winkler and Marcus Bunyan] Melbourne, 2017 Digital photograph
Peter Leiss (Australian born England, b. 1951) Untitled [At the gathering for William Heimerman] Melbourne, 2017 Digital photograph
Left to right standing: Jeff Busby, Konrad Winkler, Francis Busby, Andrew Daly, Barbara Anne Smith, Robert Besanko, Marcus Bunyan, Philip Ingamells, Mae O’Laughlin, Sandy Sonderal, Angelo Kara Karavitis Sitting: Louise Bradley, Barbara Derrick, Ian Lobb, Kalli Pulos, Ros Winkler, Diana Haig, Jon Conte Dogs: Yoshi, Sophie
The only recording of myself as a concert pianist. Yes, really!
Recorded in the Recital Hall of the Royal College of Music, London on the 15th November 1977 when I was 19 years old, on a reel to reel tape deck. 40 years ago this year.
I heard it recently for the very first time. My friend Daniel Desiere from Dex Audio, Jeff Whitehead and myself were surprised at the sound quality, and it was an emotional experience to listen to me playing all those years ago. It almost seems like another life. Daniel and the team at Dex Audio in Melbourne have done a fabulous job producing a master and they have burnt it to disc in 20 copies.
I attained my degree (A.R.C.M. Associate of the Royal College of Music) as a concert pianist at 20 and did a postgraduate year before giving up the piano after 16 years. I had been a child prodigy since the age of 6 but enough was enough.
Looking back now I wonder how I made such glorious music given the upheaval in my life at the time. I loved the romantics especially Chopin, Debussy, etc…
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Studies taken at Newport railway workshops, Melbourne in 1994 with my Mamiya RZ67.
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.
Please remember these are just straight scans of the prints, all full frame, no cropping!
Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my Store web page.
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 from the series Études Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Jim Black, artist 1994 from the series Études Silver gelatin print
I finally got around to scanning some more of my black and white archive, this time further photographs from a trip to England in 1994 forming a new sequence. The photographs picture my now ageing mother (these were taken over 20 years ago), an English fair, medieval tiles and Highgate Cemetery, among other subjects.
The image of  my mother plays off against a land that is noting an absence – maybe an absence of a certain type of yang force… even the “strong draught horse” seems to come from another time.
My friend and mentor Ian Lobb said of the sequence: “Wow – that is really good Marcus”. Praise I value highly indeed.
The photographs form a sequence and should be viewed horizontally. Please click on the long small image below to see them in this format, and then click again to enlarge the images.
Unfortunately, WordPress only allows vertical presentations of images in this blog format that I am using – but I have still presented them for you to see in the posting below in horizontal form.
Please click on the first image below to see the spacing of the sequence, and click again to enlarge the sequence.
Dr Marcus Bunyan
I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.
Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.
Marcus Bunyan (Australian, b. 1958) England 1994 Second sequence
Marcus Bunyan (Australian, b. 1958) Maman 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Bridge, Chatsworth House 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Covered figure with graves 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) IOTA, 1893, Napoli, Cantanese Domenico, age 14 with gravestones 1994 Gelatin silver print
December 20th 1893, a mounted messenger galloped into Boscastle with news that a large ship was driving ashore, but by 4 pm the 1000-ton iron barque IOTA of Naples had crashed under the great Lye rock off Bossiney Cove. Her crew leapt for the rocks, but two fell and were crushed under the barque’s bilges, while Domenico Cantanese, aged fourteen, was swept away… Only the body of the young cabin boy was recovered from the sea, he’s buried in the windswept graveyard of St Materiana Church Tintagel, where a wooden cross and a lifebuoy bearing his name and ‘Iota, Napoli, 1893’ still marks his grave.
Marcus Bunyan (Australian, b. 1958) An English fair 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Medieval tiles 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Esther 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Three crosses four graves, Highgate Cemetery 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) An English fair 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Death’s pathway 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Descending 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Landscape, Chatsworth House 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) An English fair 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Two graves, Highgate Cemetery 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Five angels 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) An English fair 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Medieval tiles 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Covered figure with flowers 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) An English fair 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Tree, Highgate Cemetery 1994 Gelatin silver print
Marcus Bunyan (Australian, b. 1958) Lake District, England 1994 Silver gelatin print
I finally got around to scanning some more of my black and white archive, this time from a trip to England in 1994. Beautiful, poignant and funny (people wearing their solidarity with people living with HIV/AIDS, with ribbons on their crotch), these images make me laugh and reflect at the same time. To all those that we have lost, we remember them.
Dr MarcusBunyan
I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.
Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.
Marcus Bunyan (Australian, b. 1958) Lake District, England 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Lake District, England 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Lake District, England 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Lake District, England 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Lake District, England 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Manchester Mardi Gras 1994 Silver gelatin print
Marcus Bunyan (Australian, b. 1958) Untitled 2015 Digital photograph From the series Too Much of the Air
Too Much of the Air
After 16 months hard work, I have completed a new 52 image sequence.
These images will be printed large to reinforce the disintegration of the image, technology and human being. Tullio Crali‘s painting Before the Parachute Opens (Prima che si apra il paracadute) (1939) was one of a few starting points, inspirations, for the new sequence.
Below is a selection of images from the sequence. Please click on the photographs for a larger version of the image.
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.
“Imagine being in these planes knowing that you only had moments to live, and knowing that you could do nothing about it. What brought you to that point, what decisions did you take as a human being (or were taken for you) that enacted this scenario.
The “greatness” as the event passes is what is being worked with here. It is the inverse aspect of the sublime. Usually the sublime is regarded as beyond time … but not here. Essentially I am sustaining the last moments of a doomed life, outside of time.
We are unusually privileged to experience the sublime in this way. It is usually a lost aspect through the death of the witness.”
This is the most difficult restoration of a photograph that I have ever undertaken. The photograph is of William the great grandfather of my friend Daniel who asked me to restore the photograph for him.
It was such a challenge because I had to reconstruct the parts of the photograph that were completely missing because of the cut and sellotape, match the different tonalities of the two halves and then also match the bicycle spokes across the gap (the two halves were misaligned meaning the spokes did not match up) … talk about a labour of love!
I hope it came out reasonably well as this image means a lot to Daniel, the only photograph he has of his great grandfather.
Dr Marcus Bunyan
Please click on the photographs for a larger version of the image.
You can see the difficulty with restoring such a bad tear and sellotape – the left hand side was even worse!
I started the archive 6 years ago with 11 people a day reading it. Today the archive averages between 3-4,000 people a day and has over 3,000 Likes on Facebook.
Reproduced below are a couple of postings from the archive on its very first day 13/11/2008 – just text please note, no images – and a mandala image of the Sahasrãra or Crown Chakra (for creativity) to celebrate the milestone.
Namaste
Marcus
The artist does not turn money into time
“The artist does not turn time into money, the artist turns time into energy, time into intensity, time into vision. The exchange that art offers is an exchange in kind; energy for energy, intensity for intensity, vision for vision… Can we afford to live imaginatively, contemplatively?”
Winterson, Jeanette. Art Objects. London: Vintage, 1996, p. 139.
After Light
“And on the other end of the spectrum, there is the AFTER LIGHT, a light of the past, which are echoes from past experiences so intense that they sometimes appear in front of us in the form of unexpected shadows. They hide on clear days under the roofs of houses. It is believed to be the same light seen by people we knew many years ago that survives like a message in a bottle, but always in a precarious way and often vanishes into thin air.”
Helguera, Pablo. “How to Understand the Light on a Landscape,” in Patt, Lise (ed.,). Searching for Sebald: Photography After W. G. Sebald. Los Angeles: The Institute of Cultural Inquiry, 2007, p. 119.
Sahasrãra or Crown Chakra / Thousand Petal Lotus
 “That for which they seek is that which searches.”
Saint Francis of Assissi
Symbol
The Crown Chakra is known as the Thousand Petal Lotus. The number 1000, adds up and reduces to the number 1 in numerology. The number one represents strong leadership and will power, a courageous person who is goal oriented and driven. A number one person is a pioneer who is independent and individualistic and approaches issues from a unique perspective. A number one is original and sometimes unconventional. They possess tremendous potential for success in life.
Throughout history it has been depicted in paintings of Jesus the Christ, Buddha, Saints, Angels and other highly evolved beings as a golden white halo around their heads.
Colour
The Crown Chakra is associated with the colour violet. Some references link it to the colour white as well. Violet is the highest colour in the light spectrum. It represents the spiritual or higher self, wisdom, vitality, intuitive awareness, passion and dignity. White is purity and the colour of the Divine light. Red, which is the lowest colour on our physical perceptual light spectrum, and just above infrared light, rules the Root Chakra. Conversely, violet, the highest colour on our physical perceptual light spectrum, and just below ultra-violet light, rules the Crown Chakra.
Sense
Our multidimensional and extrasensory senses are ruled by the seventh chakra. Once this chakra is opened, our sense of empathy and unity expands. When we raise our consciousness, we experience another person, place or object as if we are inside of them or as if we are “being” them. It is important, then, that we remember that with this power comes responsibility. We should activate these senses only to provide help or healing – NEVER for mere curiosity or with any malicious intent.
Compassion is the main sense that develops as our Crown Chakra opens. We have two kinds of compassion: Crown Compassion, which is more about perception and communication, and Heart Compassion, which is more about emotions and empathy.
Element
The element of this Chakra is the Cosmic Energy, which is often experienced as an inner light emanating from the deepest part of our being. This Cosmic Energy, which rules the higher kingdoms and stems from the Source, feels like an ultimate intelligence and a sense of all-knowing. When our Crown Chakra opens we can also experience the complete isolation and blackness of the Great Void. This Void, which resonates just below the fifth dimension, represents the raw potential for all that can, or will be. The total darkness is representative of the centre of a seed before it opens into the light of manifestation. when we can perceive from our Crown Chakra, we can identify both extremes of all polarities.
The opening of the Crown Chakra expands our perception into the fifth dimension where there are NO polarities. Therefore, there are many paradoxes associated with this Chakra as it represents the “end of all paradox.” As we travel through the higher dimensions, it is important that we release all judgments associated with the polarities of light and dark. We must instead consult our own inner knowing and higher consciousness to navigate us through our inner worlds. Eventually, we will all be aware of our fifth dimensional selves; they know no judgment and hold no fear. For what is judgment, if not a form of fear?
Consciousness
Since our Crown Chakra represents our multidimensional consciousness, as we open this Chakra our reality will no longer be limited to the third and fourth dimension. When our Brow Chakra, the sixth Chakra, opens we begin to travel into the higher sub planes of the fourth dimension. With the opening of our seventh Chakra, and the subsequent activation of our Third Eye, our consciousness can now enter the fifth dimension. It is then that the many realities around and within us gradually become consciously apparent to us.
The process of our awakening begins with expanding the consciousness of our physical selves and working to clear our etheric bodies. Then the astral, the mental, the causal and the spiritual I AM consciousness can align themselves in preparation to ascend into the fifth dimension. Until we reach the fifth dimension we can “work” towards enlightenment, but from the fifth dimension on, we must simply “BE”. “Doing” is not important then; consciousness alone is important. And finally, in the sixth and seventh dimensions even consciousness is not important as there is only the “Isness”, the “Nowness” and the “Hereness.”
Co-curators: Simon Maidment, NGV and Dr Sally Gray, guest curator
Unidentified photographer David McDiarmid at his first one-man show ‘Secret Love’, Hogarth Gallery, Sydney, 1976 1976 Silver gelatin photograph Dennis Altman Collection, Australian Lesbian and Gay Archives (ALGA)
Here’s winking at you, sweetie…
My apologies for the slightly out of focus nature of some of the installation photographs, but I had to take them quickly as I walked through the gallery with co-curator Simon Maidment. If you relied on the nine press images supplied by the NGV (bottom of the posting), you would have no idea of the complexity of this artists work nor would you possess an understanding of the scale, intimacy, brashness, beauty and confrontational visibility of the art. You would also have no idea what a stunning installation the NGV has produced to display the work.
Simply put, this is the best exhibition I have seen in Melbourne this year.
David McDiarmid – activist (the first gay person ever to be arrested in Australia) and multi-dimensional artist – proves the personal IS political AND influential. His work moves from early personal narratives through decorative to visually commanding and confrontational art. As homosexual identity transits from camp to gay to queer, McDiarmid deconstructs and redefines this identity using context as a FOIL for his art making. As Robert Nelson in his excellent review of the exhibition in The Age newspaper observes, “McDiarmid’s expression of the erotic is an act of protest as well as festivity. When McDiarmid began in full fervour, gay sex was not only reviled but illegal; and as he ended his career, homosexuality seemed to pass from the police to the undertaker. He began his expose of gay eroticism in the spirit of a demonstration and ended it as an act of compassion.”1
Well said. Homosexuality was illegal were McDairmid started making art and was deathly when he himself succumbed to the Grim Reaper. But during the journey that he took the key thing to remember is that McDiarmid never “passed” as something he was not. He was always up front, out there, doing his thing since he was first arrested in 1971. He was always pushing the boundaries, offering a wider perspective on social histories and political contexts. He questioned the marginalisation of minorities (Secret Love, 1976), the boundaries of self and society and examined taboo and transgression in a conservative society. He lived at the cutting edge of culture. Later, he waged a life and death struggle for HIV/AIDS funding, awareness and compassion with a fierce determination combined with sparkling wit, humour and sardonic aphorisms. Sexual politics and safe sex campaigns went hand in hand.
Of course, sexuality and sexual identity were at the core of his creativity. He explored the urban gay male world and the struggle for gay rights, sexual and emotional sensibilities and the cultural politics of HIV/AIDS. Early work was influenced by time spent in New York (where he knew Keith Haring) and San Francisco, where he experienced the development of the clone scene and the music of the clubs. His mode of construction has a lot in common with folk and women’s art (in particular patchwork and quilting) coupled with the use of contemporary materials (such as holographic foil).
McDiarmid’s later work becomes more symbolic and universal but still contains that cutting edge of the personal (DEMENTED QUEEN REMEMBERS HER NAME – forgets to die; POSITIVE QUEEN FEELS NEGATIVE – goes shopping). In the most amazing room of art I have seen this year, McDiarmid uses reflective cut and tiled holographic foils to create moving tribute and biting comment on the HIV/AIDS epidemic. In this darkened room the viewer is surrounded by tiles that “scintillate in spectral transience, changing their colours holographically according to your movement. The image is blunt and horny but also melancholy and scary; and similarly the medium impenetrable, deflecting the gaze and forcing you to change perspective.” (Robert Nelson)
But it’s more than that. You are surrounded by metallic flesh and embedded amongst the iridescence is both love and hate, life and death, winking eyes and holographic rainbow coloured skulls. Body language (1990, below) contains the names of McDairmid’s dead lovers woven into its fabric, a Swastika with the word AIDS for a head and the desire for the anus as a man pulls his arse cheeks apart. But here’s the rub – the tiny, puckered hole contains a holographic image of a winking eye, inviting you in, sharing the death/life joke with you. It’s a classic. In this room it feels as though you are surrounded by the fires of hell as the opalescence of the work changes from footstep to footstep, from positive to negative, from love to hate – and the pure beauty of the work is overwhelming. These are absolutely stunning works of art by any mark of the imagination, up there with the very best art ever made in Australia. His famous Rainbow Aphorisms series 1994 (below) are strong but they are are not a patch on the silver foil works. Less successful are the textile and costume designs, the weakest part of the exhibition.
One question springs to mind. Would his art have been as strong without the impetus of “death art” behind it? What would it have looked like?
I wonder which direction his art would have taken after his initial investigation of gay male identity had he not contracted HIV / AIDS and started making art about the disease. This strong focus gives the work the impetus and grunt it needed to move from the purely decorative and graphic, ney camp in some cases, to work with serious gravitas. In these later works McDiarmid lays it all on the line and just goes for it. I am so glad he did. They are powerful, concise, confrontational, beautiful, shimmering renditions of a soul living life to the full while he still had time.
It’s a pity the NGV has not advertised and promoted this exhibition more extensively. With a stunning catalogue, insightful research, amazing installation and world class art this is one exhibition you shouldn’t miss in Melbourne this winter.
Dr Marcus Bunyan
ART BLART: THE ONLY PLACE TO SEE INSTALLATION PHOTOGRAPHS OF THIS EXHIBITION ON THE WEB.
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Installation photograph of early works including, in the case, Vest (c. 1972), hand-embroidered by McDiarmid with the words ‘sydney gay liberation’ as a gift for John Lee with photographs of McDiarmid and artist Peter Tully used as a wallpaper on the wall behind at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne Photos: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Installation photograph of early works including Secret Love art show, poster (1976, far left), Secret Love (1976, top centre left), Ken’s Karate Klub (1976, centre below left) and Tube of joy (1976, above right) – all from the Secret Love series, 1976 except KKK – at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Secret Love (installation view) 1976 From the Secret Love series, 1976 Metallic paint, red fibre-tipped pen, coloured pencil, collage of cut photo-offset lithograph and red and black ink on graph paper 78 x 66cm Collection of Paul Menotti and Bryce Kerr, Sydney Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Secret Love (installation view) 1978 Collage of cut colour photo-offset lithographs on plastic, metal and plastic 135 x 142.8cm Collection of Bernard Fitzgerald, Sydney Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Secret Love (installation view detail) 1978 Collage of cut colour photo-offset lithographs on plastic, metal and plastic 135 x 142.8cm Collection of Bernard Fitzgerald, Sydney Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Installation view of various artworks from 1978 including Strangers in the night (top second left), Mardi Gras (top fourth left), Juicy fruit (top second right) and Real confessions (bottom second left) All National Gallery of Victoria Photo: Marcus Bunyan
Bush Couture, Sydney (fashion house) (front) Linda Jackson (designer) David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) (painter) Paua kimono (installation view) 1984 National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
Interview with co-curator Simon Maidment
MB: First of all Simon, can I ask how long have you been at the National Gallery of Victoria and what brought you to the institution?
SM: I’ve been at the NGV since June 2013 and I joined because of a new vision for the gallery which is making contemporary art a priority, both in collecting practices in the exhibitions that the NGV holds. Recently, there has been a real push for change, precipitated by the appointment of Max Delany who is a friend and colleague I respect a lot and who has been really supportive of my career.
MB: So what was your background in terms of training?
SM: I studied as an artist and immediately before coming to the NGV I was undertaking my PhD at The University of Melbourne’s Victorian College of the Arts Centre for Ideas with Elizabeth Presa as one of my supervisors.
MB: And what new knowledge was your PhD based around?
SM: It investigated curatorial practices that could be thought of as context responsive, looking at artists who seek to enact some sort of social and/or political change.
MB: So this exhibition would be perfect to fit into that…
SM: Yes, indeed… so largely my background has been working with living artists. I have done a few shows in which I have worked with existing bodies of work, but I have done a lot of shows where I have been facilitating artists works. I started as an artist working in media arts – sound, video, projection and digital technologies – and often worked as a studio assistant for more senior artists, people like Sue Ford, Susan Fereday, Ian de Gruchy and my role with them became more and more about facilitation. Then the directorship of Westspace came up and I got that, and my focus turned more from collaboration and working as a studio assistant to facilitation. I became a curator because basically that is what I was doing.
MB: So can you tell me Simon, what was the lead in time for this exhibition? I know it was postponed and delayed at various times, what were the reasons for that?
SM: It was kind of before my time so I am not really sure, but there have been different curators at different times from the NGV involved with the project. So Ted Gott was involved with the exhibition, even before he began work at the NGV. Ted was involved with David’s estate with Sally Gray, my co-curator, right from the start, so he’s been an advisor to Sally right from the start of this long journey. I think the initial discussion about the show was with Ted, and then when Jason Smith was in my position he was involved in this project. When I was talking with Sally the very first discussions about holding the exhibition at the NGV was maybe 15 years ago…
MB: So to finally get it here and up on the walls…
SM: So when I started 11 months ago there was really very little in place. So Max Delany and Sally started a conversation about working towards this show probably about 14 months ago. When Tony Ellwood started he was like, “We’re doing this show.” He’s a big fan of David McDiarmid. He was very familiar with his work so I think that helped speed things along and he really facilitated getting this exhibition done. It was scheduled for 2011.
MB: To get it together from start to finish in 14 months is pretty amazing really…
SM: It was a lot of work but bearing in mind how familiar Sally is with the material we kind of had a real head start.
MB: But then you have to pull it all together from lenders and institutions that hold works and that would have been very intensive. Then to design it all and to make it look like it does. It looks fantastic! Everyone at the opening was just smiling and having a good time, looking at the work, remembering.
SM: I knew the work en masse would blow people away.
MB: Reading the catalogue, you can see that David comes from a period where there was a ground swell of social movements, which was almost like one movement. Everybody went to everyone else’s rallies and they all protested together. David McDiarmid was the very first gay person to get arrested in Australia and at the moment I am digitally restoring the image of him being marched away by two policemen at the ABC protest in Sydney. It is so degraded it will take a long time to restore but it is a really important image. Out of that there comes a real social conscience, fighting for your rights and freedom. So leading on from that, when you think about having this exhibition here now (after Ted Gott’s seminal exhibition Don’t Leave Me This Way: Art in the Age of AIDS at the National Gallery of Australia in 1994), you observe that marginalised voices rarely enter institutional centres of art, rarely enter the mainstream art. It’s usually ARI’s or small public galleries. Not that the artist is gay (because they are just artists) but that the CONTENT addresses gay issues – which is why it’s so fantastic to see this exhibition here at the NGV.
So were there any barriers here to doing David’s show?
SM: No, not really. I think one of the really important things to note is that they show would not have really happened without the large gift from the estate. Becoming the key holder and custodian of David McDiarmid’s work added extra emphasis and responsibility about doing the right thing. At that point the organisation is implicated in that legacy and somehow we have to disseminate the work out into the community.
MB: It is quite a confronting show, how do you think the general public will respond to it?
SM: I have done a couple of tours of people through the exhibition, members and other, and one of the things that has been surprising to me, in a way, which has only become apparent when I have been describing the show in which David makes work in response to particular social and political conditions and contexts… is how different things are. AIDS is now not a terminal illness. To speak to a younger generation than even myself, they have no idea about dying from lack of a viable treatment, of AIDS being a death sentence.
MB: Last night I had a cry for all the people I had loved and lost. But it’s not just the public coming in to see this exhibition, it’s young gay men who don’t ever see anybody ill, don’t understand about the side effects of taking the medication, about what living with HIV is like. They don’t understand the struggle that went on for them to live as they do now. Do you think they will engage with that?
SM: We have structured the show in a way that teases those things out. One of the aspects of McDiarmid as a figure that I find very interesting is that, in 20 short years of practice, he spanned incredible key moments and periods of change in broader society and also within gay society. The legal, medical, institutional change… and really looking at that 20 years is looking at a period of immense social change. The narrative of the exhibition is then to reflect on that broader cultural shift through the biography of one person.
MB: It’s interesting when I looked at the show, when you start making work as an artist it’s always about personal narratives – lovers, friends, places – which then widens out into more universal concerns. You can see in David’s early work him scribbling, writing and really intimately notating his world, investigating his self and his relations to the world around him. And then to take that insight and then to mould it into these reflective images into the Rainbow Aphorisms at the end is an incredible journey. Stephen Alkins was saying to be last night that even the last works were still grounded in this humorous, ironic look at life. He as a really important multimedia artist when you actually study the work.
SM: Just to pick up on one aspect that you are mentioning, and going back into my own background, one of things that Max Delany and I have been talking about that has in some ways illuminated this project is that, in the 1970s and 80s that saying ‘The personal is political’, is very important. David’s work is talking very much about the political as his own biography. Perhaps there is a shift in his later work to a more symbolic realm, and I would argue that nowadays artists working in a political and social context and to affect social change is not so much now as a personal identity – a woman, a black man, a gay man – it’s not necessarily about individual identities anymore, in some ways those battles seem to have been won within Western society. Actually for artists now in this context it’s more about neo-liberalism or capitalism. So it tends to be more on an institutional level and people tackling that in a much more symbolic realm. For instance I am thinking of such people as Jeremy Deller, an English artist who engages with British history and in particular his Battle of Orgreave, a reenactment of the actual Battle of Orgreave which occurred during the UK miners’ strike in 1984.
MB: People like Tom Nicholson in Australia, then, who did the Monument for the flooding of Royal Park (2008-2010), a proposition for the scattering of nardoo sporocarp throughout Royal Park, a vast Park in Melbourne’s inner north which was Burke and Wills departure point, now commemorated by a small cairn.
SM: Exactly. Artists like Tom are working in very propositional ways about memory, social imagination, monuments and memorialisation. All those kind of things are very much within a symbolic realm now. McDiarmid’s work fills the personal and then moves into the symbolic.
MB: But then Stephen Alkins said it was always personal to David, still based in the personal. He was very loyal to his friends, he was a very quiet person, very loving person with great energy. But he didn’t suffer fools gladly, and I think that this comes out of that culture of standing up for yourself and being strong because of the stuff we had to go through to where we are today. Seeing this exhibition actually shows you that difference and what we had to fight for.
SM: There’s a real drive there in that last room. He made so much work, across so much media, at the end of his life – that impending death drive was the source of so much creativity.
MB: McDiarmid was heavily influenced by international artists such as Keith Haring but he never really showed overseas. What do you think about that diaspora, that going overseas and then returning home to then begin exhibiting?
SM: Well the earlier work is, as you say, heavily influenced by the New York scene, the clone scene that was prevalent in the 80s – San Francisco, New York – so he’s definitely channelling those places… Interestingly, unlike many other artists, his art practice is nearly all Australian.
MB: Finally, what do you think is is his legacy in terms of his standing as an artist?
SM: In the last ten years of his life he was heavily involved as a community artist. He was incredibly busy and incredibly involved with things like the organisation of the Sydney Gay Mardi Gras and the design of the posters and floats. He was director of Mardi Gras from 1988-90 and he worked up float designs for various groups. You really get a sense of, as you said, of the solitary work of an artist and a real commitment to that work. In terms of his legacy as an artist, I don’t think that we will know until the exhibition is over. His work, such as the Rainbow Aphorisms, has been distributed widely but not really in an art context, and certainly not in a museum show such as this. People have not had the opportunity to visualise his work as a whole body of work until now.
MB: That brings me to the international context. The Keith Haring Foundation relentlessly promotes his work through books, exhibitions and conferences throughout the world. Do you think that you will start promoting his work overseas to other galleries and getting it into international exhibitions?
SM: I think the book will open a lot of doors. Because his work reproduces so well, because his writing is so interesting there is a broad range of voices for the scholars to investigate. But I think because the work reproduces so beautifully that will be hugely important. One of the aspects that the book will hopefully communicate to a younger audience is that of an infected muscular, sexually active, virile man not an emaciated artist… but to understand that and where that came from, and how radical that was at the time. I think that is one of the legacies that people will take away from David’s work. He is one of the artists that has been really instrumental in redefining that imaginary representation of a dying gay man.
MB: I remember seeing those + and – posters in gay sex venues, and thinking to myself, wow those are so amazing, who did those!
SM: Yes, those posters are about not closing down, about always been open to possibilities.
MB: Thank you so much Simon for taking the time to talk to me, it’s been great.
SM: Always a pleasure.
Dr Marcus Bunyan with Simon Maidment for Art Blart, June 2014
Simon Maidment is Curator of Contemporary Art at the NGV.
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Installation views of various Sydney party posters with a black and white background wallpaper of David and the HIV Living group’s Day of the dead skeleton for the Sydney Gay and Lesbian Mardi Gras, 1992 (commissioned by the AIDS Council of NSW) at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne Photos: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Sleaze Ball, Horden Pavilion, 12 October 1985 (installation view) 1985 Screenprint printed in black and gold ink 91.2 x 65cm (sheet) National Gallery of Australia, Canberra Gift of the artist, 1991 Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) So I walked into the theatre (installation view) 1984-1985 Synthetic polymer paint, iron-on transfer, and cotton thread on cotton Heide Museum of Modern Art, Melbourne Gift of the Estate of David McDiarmid, 1998 Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) So I walked into the theatre (installation view detail) 1984-1985 Synthetic polymer paint, iron-on transfer, and cotton thread on cotton Heide Museum of Modern Art, Melbourne Gift of the Estate of David McDiarmid, 1998 Photo: Marcus Bunyan
So I walked into the
theatre and lit a cigarette
I looked around. Then I
saw Tony. He lives in
Brooklyn and has a nice
beard and greasy hair.
He didn’t acknowledge
me, but I expected that.
I’d already made it with
him several times before
and each time, he pretended
was the first. He had
even told me his name
once, and that he lived
with a lover. We always
have great sex, but he doesn’t
want me to do anything
but stand there. He has
an incredible mouth…
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Disco kwilt (installation view) c. 1980 Artbank collection Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Installation view of works from the series Kiss of Light, 1990-1992 including at left Mighty real 1991 with Kiss of Light 1990 right at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne Collage of cut self-adhesive holographic film on enamel paint on plywood Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Mighty real (installation view detail) 1991 From the Kiss of light series 1990-1992 Collage of cut self-adhesive holographic film on enamel paint on plywood 144.5 x 123.6cm Collection of Bernard Fitzgerald, Sydney Photo: Marcus Bunyan
Detail of one of David McDiarmid’s holographic film art works showing the winking eyes Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Body language (installation view) 1990 From the Kiss of light series 1990-1992 Collage of cut self-adhesive holographic film on enamel paint on plywood 152.4 x 121.8cm National Gallery of Victoria, Melbourne Photo: Marcus Bunyan
There is a holographic winking eye in the arsehole of this work
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Thinking of you (installation view detail) 1990 Collage of cut self-adhesive holographic film on enamel paint on plywood 140 x 120cm Collection of Steven Alkins, Mullumbimby, New South Wales Photo: Marcus Bunyan
Installation photograph of the last room showing, at left on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-1995 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Standard bold condensed (installation view) 1994 Screenprint on mylar on colour laser print 255.7 x 242.3cm (overall) National Gallery of Victoria, Melbourne Gift of the Estate of David McDiarmid, 1998 Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Works from the Rainbow Aphorisms series (installation views) 1994, printed 2014 Computer generated colour inkjet prints 149.1 x 110cm (image and sheet each) Collection of the McDiarmid Estate, Sydney Photos: Marcus Bunyan
Peter Tully (Australian, 1947-1992)
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Lived in United States 1979-1987
Ron Smith(Australian, b. 1950s) Totem works 1992-1995 Anodised aluminium, found objects (installation) Dimensions variable Collection of Ron Smith, Woonona, New South Wales
Installation photograph of the last room showing, at right on the wall, work from the Rainbow Aphorisms series 1994 with in front Totem works 1992-1995, then at left on the wall Pictograms 1995 at the exhibition David McDiarmid: When This You See Remember Me at NGV Australia, Melbourne Photo: Marcus Bunyan
David McDiarmid (Australian 1952-1995, worked in United States 1979-1987) Pictograms 1995 Vinyl and reflective plastic on aluminium Photo: Marcus Bunyan
“I never saw art as being a safe thing. I know that exists but that’s not something that involves me.”
~ David McDiarmid, 1993
The vibrant, provocative and pioneering work of leading Australian artist, designer and gay activist David McDiarmid will be presented in a retrospective exhibition at the National Gallery of Victoria. Defying classification, McDiarmid’s work encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics.
David McDiarmid: When This You See Remember Me will bring together more than 200 works, including the artist’s early gay liberation work; New York graffiti and disco quilts; fashion collaborations with Linda Jackson; his pioneering Rainbow aphorisms and Gothic aphorisms digital work; material he produced as Sydney Mardi Gras Artistic Director; posters created for the AIDS Council of NSW; and, his significant and highly influential international campaigns developed in the context of AIDS, sexual politics and safe sex in the 1990s.
Tony Ellwood, Director, NGV, said, “The NGV is pleased to be staging this retrospective of an artist whose work had enormous impact on both the gay liberation movement and the international dialogue around AIDS, and whose clear messages of liberation, equality and emancipation continue to resonate today. David McDiarmid: When This You See Remember Me explores the social history, as well as political and art historical context, that informed McDiarmid’s work, which inspires through its courage, poetry, exuberance and cultural impact.”
Defying classification, the work of David McDiarmid encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics; happily residing in the spaces between high and low art, popular culture and community engagement. At once kaleidoscopic, celebratory and darkly humorous in tone, the artist’s idiosyncratic, highly personal and at times, confessional work highlights the redefinition and deconstruction of identities – “from camp to gay to queer” – drawing on the experiences of a life intensely lived in Melbourne, Sydney and New York. Charting the shifts in politics and individual and community expression that unfold across the decades of the 1970s, 80s and 90s, this exhibition also reveals McDiarmid’s artistic and grassroots political response to the impact of HIV/AIDS during the 1980s and beyond, for which he is best known internationally.
Recognising the cultural climate in which the artist worked, including the burgeoning of the gay rights movement, and a decade later, the advent of the AIDS crisis, the playful and provocative nature of McDiarmid’s work was critically related to changes that were occurring throughout this time to sexual identity and politics in Australia.
Dr Sally Gray, Guest Curator, said, “McDiarmid’s work speaks so eloquently of its time yet its importance and relevance endures today. David McDiarmid: When This You See Remember Me is the first exhibition in which the full scope of McDiarmid’s creative oeuvre is on display and is the culmination of painstaking research, with the support of many of his collaborators, friends and fans.”
David McDiarmid: When This You See Remember Me will coincide with the 20th International AIDS Conference in Melbourne in July 2014.
This exhibition includes coarse language and sexual content. Press release from the NGV
![Carol Jerrems (Australian, 1949-1980) 'Ayer's Dog Rock [Bill Heimerman looking through his Rolleiflex]' 1975](https://artblart.com/wp-content/uploads/2017/10/jerrems-william-heimerman-web.jpg "Carol Jerrems (Australian, 1949-1980) 'Ayer's Dog Rock [Bill Heimerman looking through his Rolleiflex]' 1975")
![William Heimerman (Australian born America, 1950-2017) 'Untitled [Carol Jerrems looking through her camera, Dog Rocks near Geelong]' c. 1975-1980](https://artblart.com/wp-content/uploads/2017/10/heimerman-carol-jerrems-web.jpg "William Heimerman (Australian born America, 1950-2017) 'Untitled [Carol Jerrems looking through her camera, Dog Rocks near Geelong]' c. 1975-1980")
![Carol Jerrems (Australian, 1949-1980) 'Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong]' 1975](https://artblart.com/wp-content/uploads/2017/10/jerrems-william-heimerman-ian-lobb-web.jpg "Carol Jerrems (Australian, 1949-1980) 'Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong]' 1975")
![Carol Jerrems (Australian, 1949-1980) 'Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong]' 1975](https://artblart.com/wp-content/uploads/2017/10/jerrems-william-heimerman-ian-lobb1-web.jpg "Carol Jerrems (Australian, 1949-1980) 'Untitled [Bill Heimerman and Ian Lobb at the Dog Rocks near Geelong]' 1975")
![Peter Leiss (Australian born England, b. 1951) 'Untitled [Bill Heimerman and Ian Lobb at the rear of the Photographers' Gallery]' c. 1975-1980](https://artblart.com/wp-content/uploads/2017/10/leiss-william-heimerman2-web.jpg "Peter Leiss (Australian born England, b. 1951) 'Untitled [Bill Heimerman and Ian Lobb at the rear of the Photographers' Gallery]' c. 1975-1980")
![Jeff Busby (Australian, b. 1952) 'Untitled [William Heimerman and friend outside the Photographers Gallery (344)]' c. 1978](https://artblart.com/wp-content/uploads/2017/10/busby-william-heimerman-and-friend-web.jpg "Jeff Busby (Australian, b. 1952) 'Untitled [William Heimerman and friend outside the Photographers Gallery (344)]' c. 1978")
![Louise Bradley. Untitled [William Heimerman adjusting Robert Besanko prints in the main space of the Photographers' Gallery] c. 1975-1980](https://artblart.com/wp-content/uploads/2017/10/louise-bradley-william-heimerman-web.jpg "Louise Bradley. Untitled [William Heimerman adjusting Robert Besanko prints in the main space of the Photographers' Gallery] c. 1975-1980")
![Jeff Busby (Australian, b. 1952) 'Untitled [Bill Heimerman and friends at the Photographers' Gallery]' c. 1975-1980](https://artblart.com/wp-content/uploads/2017/10/busby-william-heimerman1-web.jpg "Jeff Busby (Australian, b. 1952) 'Untitled [Bill Heimerman and friends at the Photographers' Gallery]' c. 1975-1980")
![Peter Leiss (Australian born England, b. 1951) 'Untitled [Bill Heimerman at the Photographers' Gallery]' c. 1975-1980](https://artblart.com/wp-content/uploads/2017/10/leiss-william-heimerman-web.jpg "Peter Leiss (Australian born England, b. 1951) 'Untitled [Bill Heimerman at the Photographers' Gallery]' c. 1975-1980")
![Peter Leiss (Australian born England, b. 1951) Untitled [Bill and Barbara]' c. 1975-1980](https://artblart.com/wp-content/uploads/2017/10/leiss-william-heimerman3-web.jpg "Peter Leiss (Australian born England, b. 1951) Untitled [Bill and Barbara]' c. 1975-1980")
![Peter Leiss (Australian born England, b. 1951) 'Untitled [The note]' Melbourne, 2017](https://artblart.com/wp-content/uploads/2017/10/leiss-the-note-web.jpg "Peter Leiss (Australian born England, b. 1951) 'Untitled [The note]' Melbourne, 2017")
![Peter Leiss (Australian born England, b. 1951) 'Untitled [At the gathering for William Heimerman: Jeff Busby, Conrad Winkler and Marcus Bunyan]' Melbourne, 2017](https://artblart.com/wp-content/uploads/2017/10/leiss-busby-winkler-bunyan-web.jpg "Peter Leiss (Australian born England, b. 1951) 'Untitled [At the gathering for William Heimerman: Jeff Busby, Conrad Winkler and Marcus Bunyan]' Melbourne, 2017")
![Peter Leiss (Australian born England, b. 1951) 'Untitled [At the gathering for William Heimerman]' Melbourne, 2017](https://artblart.com/wp-content/uploads/2017/10/leiss-heimerman-group-2017-web.jpg "Peter Leiss (Australian born England, b. 1951) 'Untitled [At the gathering for William Heimerman]' Melbourne, 2017")
Art Blart _ art and cultural memory archive 
You must be logged in to post a comment.