Posts Tagged ‘Melbourne

09
May
19

Joyce Evans celebration

May 2019

Where: Monash Gallery of Art, Wheelers Hill
When: Monday 20 May 6-9pm

 

 

Joyce Evans photographer celebration… I hope many of you can attend.

A truly remarkable human being.

Marcus

 

 

If we can find out what we are… that is the artist. This goes to the core element of your being, and the core element of your enquiry remains the same.

If the core part of your life is the search for the truth then that becomes a core part of your identity for the rest of your life. It becomes embedded in your soul.

.
Joyce Evans

 

 

Jean-luc Syndikas. 'Joyce Evans' Nd

 

Michael Silver (Australian)
Joyce Evans
Nd

 

 

A Celebration of Joyce and her contribution to art, photography, women’s status, mentorship and philanthropy. At least 30 of her prints will be displayed. Celebrants will talk and recall in their own words experiences with Joyce and her passions. The event will be recorded and made available for non-attendees. Snacks and drinks will be available.

Please email Alfred Zerfas Facebook (to azerfas@gmail.com – her brother) about other friends of Joyce you have notified and whether you will come.

 

 

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

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

Monash Gallery of Art website

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05
Apr
19

Marcus Bunyan black and white archive: Mask, 1994

April 2019

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

 

 

Marcus Bunyan. 'Paul (Dildo I)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo I)
1994
From the series Mask
Gelatin silver print

 

 

This series of photographs is of my partner, my lover, my best friend and my muse for twelve and a half years. We had such fun with life, pushing the boundaries at every opportunity. It was a privilege to be able to photograph Paul in every situation that we thought about, to capture the creativity of spirit and being, of existence.

There are many photographs of this handsome, intelligent man that I took – a deep collaboration that I will never have again in my lifetime. The photographs that emerged from our relationship remind me of those that Alfred Stieglitz took of Georgia O’Keeffe – strong images based on trust and intimacy.

To Paul, I am proud of the photographs we took together and I am eternally grateful for our love, relationship and exploration of body, mind and spirit. Thank you.

Marcus

 

I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

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 Bunyan. 'Mask' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask I
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask II
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Horse bit)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Horse bit)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Boots)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Boots)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance I' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance I
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask III
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Dildo II)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo II)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Blind)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Blind)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance II' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance II
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance III' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance III
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance IV' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance IV
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Dildo III)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo III)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands on hips)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands on hips)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Blind)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Blind)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands on hips)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands on hips)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Saliva I' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Saliva I
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Saliva II' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Saliva II
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands behind back)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands behind back)
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask IV' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask IV
1994
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Boots and mask)' 1994 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Boots and mask)
1994
From the series Mask
Gelatin silver print

 

 

Marcus Bunyan website

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16
Mar
19

Photographs: Marcus Bunyan. ‘Oblique’ 2019

March 2019

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
2019
From the series Oblique
Digital colour photograph

 

 

Here is a new body of work shot mainly from moving taxi windows in Bangkok and surrounds, interspersed with still, Zen-like images.

With the moving images, you have to anticipate by a couple of seconds the movement of the taxi and the release of the shutter so you have no idea what the image will actually be. Your sense of previsualisation is completed on feel and instinct. You trust the world to provide the image which you are looking for. I enjoy them, they give me pleasure and contentment in their creation.

 

Oblique

In terms of defining the concept of the oblique we can say that: “The oblique is fundamentally interested in how a body physically experiences a space.”

In this case, both physically and spiritually.

The series investigates the concept through images of movement and stillness, fleeting glimpses of urban life intertwined with Zen-like images. The series is constructed not as a sequence, but as a “volume” where there is no beginning, no middle and no end. It is like a jewel that can be turned around and looked at from different perspectives, where no one perspective is the correct interpretation. Each volume has its own validity, its own uniqueness.

The images can also be read as a protest against death – no beginning, no middle, no end – where everything is connected to everything else. As Goethe observes in his Conversations with Eckermarm (5 June 1825):

“In nature we never see anything isolated, but everything in connection with something else which is before it, beside it, under it, and over it.”

Dr Marcus Bunyan

.
66 images
© Marcus Bunyan

Please note: the series is best viewed on a desktop computer with a large screen.

PLEASE VIEW THE WHOLE SERIES ON MY WEBSITE

PLEASE CLICK ON THE PHOTOGRAPH BELOW TO SEE A LARGER VERSION OF THE IMAGES

Alternative versions of the work can be found at Oblique B, Oblique C and Oblique D.

 

 

Marcus Bunyan (Australian, born England 1958) 'Oblique' series 2019

 

The 66 images of Oblique (2019). Please click on the photograph to see a larger version of the work

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
2019
From the series Oblique
Digital colour photograph

 

 

Marcus Bunyan website

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24
Feb
19

Review: ‘Clement Meadmore: The art of mid-century design’ at the Ian Potter Museum of Art, Melbourne

Exhibition dates: 20th November 2018 – 24th March 2019

Curators: Dean Keep and Jeromie Maver

 

 

Clement Meadmore (Australian, 1929-2005) 'Reclining chair' 1953

 

Clement Meadmore (Australian, 1929-2005)
Reclining chair
1953
Steel, cotton cord, rubber
Private collection

 

 

I have always loved the ordered forms, the elegiac simplicity of Clement Meadmore’s designs. Therefore, I very much looked forward to seeing this exhibition. Unfortunately, the installation left me feeling a little alienated both towards the objects themselves but more importantly, the artist and designer.

Simply put, the installation of the works was too clinical and cold, the designs either raised on white boxes or enclosed in metal frames… or both. If their presentation was to engender the idea that this was “art” – the art of mid-century design – by placing them in a “white cube”, isolating them from their functional context (in modernist homes, cafés and restaurants), then I was not buying what the exhibition was selling. The metal frames reminded me of the frame that surrounds some of Francis Bacon’s painting series, Study after Velázquez’s Portrait of Pope Innocent X (1946-mid-1960s), making this viewer want to scream at the museum control evidenced here.

The use of black and white walls didn’t help. In a jazz age (Meadmore was the most ardent admirer of jazz music) of music, colour and movement, and when Meadmore painted one of the interiors of his café in bold primary colours, the use of such bland colours seemed puzzling. Both I and my esteemed friend Joyce Evans, who knew Meadmore in New York and often went to the jazz clubs with him there, felt that the exhibition failed to capture the spirit of the artist, his wonderful personality – or the spirit of the age. The closest that the exhibition comes to that spirit, that sense of joie de vivre after the privations of the Second World War, are not works by Meadmore at all, but paintings that appeared on the wall of the Legend Expresso and Milk Bar interior c. 1956 by Leonard French titled The Legend of Sinbad the Sailor (1956, below). Here is a cacophony of sound, colour and movement redolent of the era.

Other things rankle. The importance of his contribution to the changing nature of the Melbourne art scene, and the Australian art scene in general, cannot be underestimated. Joyce Evans said to me that, as director of Gallery A, Meadmore’s influence on the direction of contemporary art in Melbourne was incredible, his influence in this sphere much more important than any of the designs he ever made. Other than a brief paragraph of wall text (below), there is little investigation into this aspect of Meadmore’s career in Australia. This is not the thrust of this exhibition as shown by its title, but to ignore his curatorial influence on contemporary art in Melbourne is, I believe, a mistake.

Further, while his groundbreaking designs are now presented as “art” – the hypothesis for the exhibition – at the time Meadmore’s sculpture was his art, his passion; his furniture and lighting was his business. What he did to pay the bills. Two facts are pertinent here: the fact that Meadmore did move to New York in 1963 to achieve international prominence as a sculptor, and the fact that after he moved to America he never made another chair. It says a lot about where his passion really lay.

Looking beyond all of these comments, it was absolutely fantastic to see the ordered forms, the simple functionality and elegant design of Meadmore’s objects, with his use of basic, everyday materials such as steel rod and cord to make his now iconic designs. Two things stood out for me. The ingenious sculptural steel base that enables the Calyx lamps to rest in two positions; and the most beautiful and sophisticated design and construction of the structure under a coffee table. The exhibition is worth visiting just to see these two design elements alone. But the work that most captures the spirit of the man better than anything else in this exhibition, and not the “art” on a pedestal, is that of a small welded steel and brass sculpture called The Trumpeter from 1957 (below). This is the man, the artist, in all his effervescence and gregariousness. It’s a pity the exhibition didn’t capture this spirit.

Marcus

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

 

 

“Space should reveal itself to the wandering eye. Furniture should enhance a feeling of space by its non-obstructing presence.”

.
Clement Meadmore

 

 

GALLERY 1

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 1 of the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

Clement Meadmore: The art of mid-century design is the first major survey to focus on the industrial design practice of one of Australia’s most internationally successful artists. Curated by Dean Keep and Jeromie Maver, the exhibition charts the evolution of Clement Meadmore’s design aesthetic in the 1950s and early 60s, before he shifted his focus to sculpture, and highlights the role Meadmore played alongside Australia’s most innovative and progressive designers of the mid-century period.

The exhibition sheds light on a time when mid-century tastemakers sought to shape post-war Melbourne into a thriving and cosmopolitan city that, through the intersection of art, design and architecture, embodied the ideals and principles of the modernist aesthetic. Meadmore’s first furniture design, a steel rod and corded dining chair created in 1951, became an instant hit, catching the attention of the highly influential modernist architect Robin Boyd and receiving the Good Design Award from the Society of Interior Designers of Australia (SIDA). The chair would later form part of the iconic thirteen-piece series known as the Meadmore Originals.

For just over a decade, Meadmore produced a small range of innovative furniture and lighting designs, popular with architects, artists and designers of the period. The ground-breaking modern homes designed by architects such as Robin Boyd, Neil Clerehan and Peter McIntyre were not complete without Meadmore furniture or lighting, often placed alongside pieces by Frances Burke, Grant Featherston, Fred Lowen and Douglas Snelling. Meadmore’s furniture and designs were regularly featured in journals such as Australian Home Beautiful and Architecture and Arts, and sold at Marion Hall Best’s showrooms in Sydney and Frances Burke’s New Design store in Melbourne.

In 1955, prior to the 1956 Melbourne Olympics, Meadmore was commissioned by Ion Nicolades to design the interiors of the Legend Espresso and Milk Bar and the Teahouse, both in Melbourne. Drawing upon international modernism and a new-found passion for Italian culture, the Legend Espresso and Milk Bar is arguably one of Meadmore’s greatest achievements and became a touchstone for many young creatives in 1950s Melbourne.

In the latter part of the 1950s, Meadmore’s attention increasingly shifted to his sculptural practice and the gallery scene, whilst maintaining his industrial design practice. He would also play a pivotal role in establishing and managing Max Hutchinson’s Gallery A. Known as the Little Bauhaus, the gallery championed non-figurative art and industrial design, with Meadmore responsible for designing the gallery’s line of contract furniture.

The result of 10 years research, Clement Meadmore: The art of mid-century design presents many pieces for the first time, alongside newly discovered Meadmore designs. The exhibition also presents a rare opportunity to see original furniture and lighting designed by Meadmore for the modernist interiors of the Legend Espresso and Milk Bar and the Teahouse. The iconic designs in this exhibition – including chairs, tables, light fixtures, and graphics – are enlivened by archival images and documents, alongside interviews with the artist’s family and colleagues connected to the Melbourne art, jazz and design scenes of the 1950s. Clement Meadmore: The art of mid-century design showcases Meadmore’s rich design practice and shines a light on the important cultural shifts that shaped mid-century Melbourne.

Text from the Ian Potter Museum of Art website [Online] Cited 10/02/2019

 

Clement Meadmore (Australian, 1929-2005) 'Glass top coffee table' 1952

 

Clement Meadmore (Australian, 1929-2005)
Glass top coffee table
1952
Steel, glass, rubber
Harris/Atkins Collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005) 'Corded armchair' 1952

 

Clement Meadmore (Australian, 1929-2005)
Corded armchair
1952
Steel, cotton cord, hardwood, rubber
Private collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 1 of the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

GALLERY 2

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005) 'Three-legged plywood chair' 1955

 

Clement Meadmore (Australian, 1929-2005)
Three-legged plywood chair
1955
Painted steel, plywood, rubber
Harris/Atkins Collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

On the wall at rear is Erica McGilchrist (1926-2014) Frigidity from the series Moods 1954 and Clement Meadmore’s custom made frame. Pen and ink on paper; steel rod and hardwood (frame) Heide Museum of Modern Art, gift of Erica McGilchrist

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 2 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

Calyx Lighting

The Calyx lighting range takes design cues from Meadmore’s interest in international modernism, and represents an important shift in his practice. A distinctive feature of the Calyx range is the ingenious sculptural steel base, that enables the lamp to rest in two positions.

Using low-cost materials, readily available from local suppliers, the lamps required no welding and were designed to be easily manufactured and assembled in the workshop. Aluminium shades were hand-painted in a range of matt enamel colours, then baked in a beehive kiln in the backyard of Meadmore’s Burwood Road shop. All components were cut to size by Meadmore for quick assembly: the shade was easily fixed to the metal bracket using two metal pins and tap washers, then with the addition of a length of electrical flex, the finished product was ready or sale. The Calyx range was featured at the Anderson’s Furniture stand (also designed by Meadmore) at the Homes Exhibition in 1954.

Wall text

 

Clement Meadmore Calyx lighting design detail

Clement Meadmore Calyx lighting design detail

Clement Meadmore (Australian, 1929-2005) 'Calyx desk lamp' 1954

 

Clement Meadmore (Australian, 1929-2005)
Calyx desk lamp
1954
Steel, enamel paint on aluminium
Private collection

 

Clement Meadmore (Australian, 1929-2005) 'Calyx pendant lamp' 1954

 

Clement Meadmore (Australian, 1929-2005)
Calyx pendant lamp
1954
Steel, enamel paint on aluminium, steel
Harris/Atkins Collection

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 2 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

The work of Clement Meadmore (1929-2005), one of Australia’s most innovative and progressive designers from the mid-century period, will be on display at the Ian Potter Museum of Art from 20 November. This will be the first major survey of the influential industrial design work Meadmore undertook in Australia, before he moved to New York in 1963 and achieved international prominence as a sculptor.

The exhibition focuses on the crossover of art, design and architecture, featuring Meadmore’s iconic designs including chairs, tables and light fixtures. Rare archival images and documents, and interviews with the artist’s family and colleagues connected to the Melbourne art, jazz and design scenes of the 1950s will be on display alongside sculptures and structures.

Curated by Dean Keep and Jeromie Maver, the exhibition shines a light on Meadmore’s rich design practice and the important cultural shifts that shaped mid-century Melbourne. The display charts the evolution of the artist’s design aesthetic in the 1950s and early 1960s, cementing the role he played with the Australian design scene of this time.

Curator Dean Keep said, “The exhibition is an important retrospective showing a snapshot of time when mid-century tastemakers sought to turn Melbourne into a thriving and cosmopolitan city.”

It was in 1951 that Meadmore designed his first piece of furniture; a steel rod and corded dining chair which would form part of the iconic thirteen-piece series known as Meadmore Originals. This chair design became an instant hit, catching the attention of the highly influential modernist architect Robin Boyd.

For the next ten years, Meadmore produced a range of innovative furniture and lighting designs, popular with architects, artists and designers of the period. The ground-breaking modern homes designed by architects such as Robin Boyd, Neil Clerehan and Peter McIntyre were not complete without Meadmore furniture.

In the mid-1950s, Meadmore was commissioned to design the interiors of the Legend Espresso and Milk Bar in Melbourne, opening for the 1956 Melbourne Olympics. Before shifting towards sculpture in the late 1950s, Meadmore’s designs were regularly featured in popular lifestyle magazines and sold in designer department stores in Sydney and Melbourne.

Clement Meadmore: The art of mid-century design is on at Ian Potter Museum of Art, The University of Melbourne from 20 November 2018 to 3 March 2019.

This project has been assisted by a State Library Victoria Creative Fellowship.

Press release from the Ian Potter Museum of Art

 

 

GALLERY 3

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005)
Model for a six-hundered foot skyscraper
1978
Wood, gesso and paint
Collection of Rosalind Meadmore

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

 

Michael Hirst

The three tables presented here pose interesting questions about the business and design arrangements between Clement Meadmore and Michael Hirst, and ambiguous boundaries between authorship and attribution in some of the Hirst manufactured furniture.

The two tiled occasional tables, traditionally attributed to Hirst, were both made by Clement Meadmore and were presented by he designer as gifts to the Dallwitz family in Adelaide. Meadmore considered the tables as prototypes for a new design, sharing with the Dallwitz family his process of making them: first, the glass tiles were laid out to form a pattern, then affixed to adhesive paper and turned upside down. A square structure could then be built around them to hold the wet plaster or cement until it had set hard.

The Dining Table (c. 1959) manufactured by Hirst, was originally owned by the Rippin family, friends of both Hirst and Meadmore. Ailsa Rippin maintained throughout her life that the table was designed by Meadmore, an assertion supported by the aesthetic and structural similarities it shares with a coffee table Meadmore designed for Violet Dulieu and with one of his earliest welded sculptures (c. 1954).

Wall text

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 3 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

GALLERY 4

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

At left: Clement Meadmore. Door handle (from Thomas’ music store) c. 1959 welded steel Collection of Ken Neale
At right: Clement Meadmore. Untitled c. 1962 welded steel Private collection, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Clement Meadmore (Australian, 1929-2005)
The Trumpeter
1957
Welded steel, brass
Private collection, Canberra

 

Installation views of Gallery 4 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

GALLERY 5

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Photograph at rear is of the Teahouse interior c. 1958

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Artefacts relating to the Legend Expresso and Milk Bar including building application (1955), menu book and cups and saucers

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Photograph at rear is of the Legend Expresso and Milk Bar interior c. 1956, 239 Bourke Street, Melbourne Victoria, with Leonard French’s painting The Legend of Sinbad the Sailor
(1956, below) on the wall behind the counter. Courtesy of I. A. Nicolades and L. French. Credit: Leonard Janiszewski and Effy Alexakis. In Their Own Image: Greek-Australians; and chair for Legend Expresso and Milk Bar c. 1956, steel, brass, Collection of Mr John and Ms Dora Dallwitz

 

 

Café culture: the Legend and the Tea House

A time of great cultural shifts, the 1950s saw Melbourne evolve into a multi-cultural city enriched by the contributions of post-war migrants. The introduction of European café culture at this time had an enduring influence on the character of the city, as did the preparations for the 1956 Olympic Games, which prompted a major program of rebuilding and revitalisation, providing Clement Meadmore with the opportunity to create two of the most imaginative and original interiors in Melbourne.

Ion Nicolades was one of many business owners to remodel their premises in anticipation of the number of visitors soon to descend upon the city. Owner of the Anglo-American Café, a Melbourne institution which had operated on the same site since 1904, Nicolades approached Meadmore with the idea of transforming his business into a contemporary café, renamed the Legend Expresso and Milk Bar. Located in the heart of the city on Bourke Street, the space was divided by an internal wall, with the café to the left, and milk bar to the right – and ideal mix that would capitalise on its proximity to nearby offices and cinemas.

Noted on the plans as the ‘superintending architect’, Meadmore designed every aspect of the Legend, from structural elements through to interior design. From the stools, tables and steel rod chairs, through to the black metal pendant lights. Meadmore crafted an interior that embodied a playful mix of European modernism and contemporary styling. The refurbished Legend quickly became a hub for the young art and design crowd.

Nicolades soon commissioned Meadmore for a second project, the Tea House (also known as the T House). In contrast to the Italophile interiors of the Legend, this project blended British culture and Asian aesthetics with motifs from the botanical world. Meadmore’s subtle inclusion of visual metaphors can be seen in the shape of the chair backs, which reference tea leaves, and in the shape of his lighting: an allusion to the hats worn by plantation workers who picked the tea [see last installation photograph below]. Meadmore’s passion for geometry informed both the design and spatial arrangement of the interior and furnishings, creating a striking display of ordered forms. The rows of simple steel rod tables and chairs, enveloped by curtained walls that draw the eye deep into the room, demonstrate his ability to minimise visual weight and create a sense of light and space.

Wal text

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Leonard French (Australian, 1928-2017)
The Legend of Sinbad the Sailor
1956
Duco and enamel on board
La Trobe University Art Collection
Donated under the Australian Government Cultural Gifts Program by Mr Ion Nicolades 1999

 

 

Gallery A

Gallery A was an art gallery in Melbourne’s Flinders Lane, established in 1959 by Max Hutchinson and Clement Meadmore, who took the role of gallery director. The inaugural exhibition included work b the Italian abstract expressionist Franco Meneguzzo (Italian, b. 1924), who Meadmore had met in Milan six years earlier, alongside a group of Australia abstract painters, such as Meadmore’s housemate Peter Upward (Australian, 1932-1983). In a climate of conservatism within the Australian art scene, Gallery A was unapologetically progressive, showcasing non-figurative and abstract art alongside design. An exhibition featuring the work of Ludwig Hirschfield-Mack (1893-1965, German 1893-1939, arrived Australia 1940) in 1961 helped earn Gallery A the title of ‘Little Bauhaus’. In keeping with the Bauhaus principle of bridging the gap between art and industry, Gallery A’s activities extended beyond the exhibition of art and design to the production of a range of furniture, designed by Meadmore and manufactured by Hutchison’s company Adroit Manufacturing. Described as ‘contract furniture’, these designs were intended for commercial projects and were advertised in the gallery’s brochures.

Wall text

 

Installation view of the exhibition 'Clement Meadmore: The art of mid-century design' at the Ian Potter Museum of Art, Melbourne

 

Installation views of Gallery 5 the exhibition Clement Meadmore: The art of mid-century design at the Ian Potter Museum of Art, Melbourne

 

 

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

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

The Ian Potter Museum of Art website

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05
Aug
18

Review: ‘Dale Cox: Inner Logic’ at Australian Galleries, Melbourne

Exhibition dates: 24th July – 12th August 2018

 

Dale Cox (b. 1969) 'Usurper Ruminant' 2016

 

Dale Cox (b. 1969)
Usurper Ruminant
2016
Acrylic on gold enamel on board
120cm x 90cm

 

 

Clarion call

The sky is blue, the sun is shining and yet, in this era of the Anthropocene, the Earth is in deep shit. Through the activities of a virus, a contagion that infests the planet…. that is – the ego, the selfishness of the individual human and, collectively, of the human race – “we are perhaps amongst the first to contemplate not just our own finite existence, but the doomed fate of the Earth itself.”

My friend Dale Cox’s exhibition Inner Logic at Australian Galleries dissects this situation in a most intelligent and imaginative manner. Instead of didactic protest, Cox uses the language of Australian pastoral landscape, iconic edifice and stratigraphic cross section to make ironic comment on popular culture, history and religion. As you dissect the various influences and concepts within the work you chuckle to yourself at the artist’s inventiveness and humour.

Mixing the tight style and formal, classical beauty of Australian colonial painting (with reference in particular to the work of John Glover) with the uncanny sense of reality and precision found in the paintings of Jeffrey Smart, Cox twists his realities and points of view. Shopping trolleys have a strange perspective when filled with Australian colonial landscapes; aircraft stairs seem strangely twisted as they lead to a geological cross-section topped with verdant greenery (a journey through time); clouds in the burning landscape look like that of an atomic bomb; an Uluru-like profile of Elvis in the Australian bush is dotted with tents and encampments; and Australian ute’s of unlikely shape sit at the base of a constructed Elvis edifice, the most prominent thing to my mind in the painting being the four air conditioning units at the base of the construction cabin, sitting in an absolutely barren landscape. The perspicacity of Cox’s (re)marks is exemplary.

My favourite works in the exhibition are the Usurper paintings. Here Cox condenses the customs, traditions and rituals of the human race (colonisation, farming, habitation – power, possession, destruction and modification of the environment and its animals) onto the body of the (b)ovine family, the livestock “genetically modified over time through the artificial selection of desirable traits by humans, with a view to increasing the docility of the animals, their size and productivity, their quality as agricultural products, and other culturally desired features,”1 to serve humans who are substantially dependent on their livestock for sustenance and other purposes. These artificial bodies, these illegitimate usurpers, float on a sea of gold enamel and wood grain form.

Cox’s declamations, his inner logic if you like, document in the most inventive way the liturgy of errors of the human race. His work is a clarion call for humans to be better custodians (for that is what we are) of the Earth. Through his subversive paintings, the artist “challenges the myopic tendency for us humans to fixate on ourselves in a way that bodes poorly for our ability to see the bigger picture and act as stewards for the entire planet rather than as self serving, selfish species.” (Email to the author, 28 July 2018). His humors (basic substances which are in balance when a person, or in this case the Earth, is healthy) add to the raised voices against the naysayers of global warming, the backward looking fossil fuel industry, the power of nations and corporations, and the vested interests of the rich and powerful, mainly men. It’s time for the dreamers, the artists, and the spiritual to confront these dinosaurs of the past, so that they may shape the future. So that the human race can cast aside their shadow and learn to walk on the Earth without leaving tracks.

Dr Marcus Bunyan

.
Many thankx to Dale Cox for allowing me to publish the text and the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Shaman

“There are two kinds of people in this world.

There are those who are dreamers and those who are being dreamed.

There comes a time in every mans life when he must encounter his past.

For those that are dreamed, who have no more than a passing acquaintance with power, this moment is usually played out on their death beds as they try to bargain with fait for a few more moments of life time.

But for the dreamer, the person of power, this moment takes place alone, before a fire, when he calls upon the spectres of his personal past to stand before him like witnesses before the court…

I am not speaking of remembering the past. Anyone can remember the past, and in remembering we frame it to serve and justify the present. Remembering is a conscious act and therefore subject to embellishment. Remembering is easy.

The person of power sits alone before the fire and confronts his past. He hears the testimony of these spectres and he dismisses them one by one. He acquits himself of his past. If you comprehend this, the man of power has no past. No history that can claim him. He has cast aside his shadow and learnt to walk in the snow without leaving tracks.”

.
Dr Alberto Villoldo

 

 

Dale Cox (b. 1969) 'Usurper Transplant' 2016

 

Dale Cox (b. 1969)
Usurper Transplant
2016
Acrylic on gold enamel on board
120cm x 90cm

 

Dale Cox (b. 1969) 'Usurper Glover' 2016

 

Dale Cox (b. 1969)
Usurper Glover
2016
Acrylic on gold enamel on board
120cm x 90cm

 

John Glover (England 1767 - Australia 1849, Australia from 1831) 'The River Nile, Van Diemen's Land, from Mr Glover's farm' 1837

 

John Glover (England 1767 – Australia 1849, Australia from 1831)
The River Nile, Van Diemen’s Land, from Mr Glover’s farm
1837
Oil on canvas
76.4 x 114.6 cm
National Gallery of Victoria, Melbourne
Felton Bequest, 1956

 

 

John Glover’s colonial landscapes can be divided into two groups: pastoral scenes of the land surrounding his own property, and pre-contact Aboriginal Arcadias. Although the Aboriginal figures are at times generic, they are shown as active participants in the landscape. Such scenes were, however, entirely imagined, as Glover encountered very few Tasmanian Aboriginal people while in the colony. Glover had not experienced the conflict or witnessed the violence between Tasmanian Aboriginal resistance fighters and white settlers during the 1820s. By the time of his arrival in 1831, the Tasmanian Aboriginal survivors had been forced to leave Country and relocate to Flinders Island.

 

Dale Cox (b. 1969) 'Tract 38 (Burning landscape)' 2012

 

Dale Cox (b. 1969)
Tract 38 (Burning landscape)
2012
Acrylic on canvas
102 x 152cm

 

Dale Cox (b. 1969) 'Tract 38 (Burning landscape)' 2012 (detail)

 

Dale Cox (b. 1969)
Tract 38 (Burning landscape) (detail)
2012
Acrylic on canvas
102 x 152cm

 

Dale Cox (b. 1969) 'Flight SQ2118 to Thailand' 2018

 

Dale Cox (b. 1969)
Flight SQ2118 to Thailand
2018
Acrylic on board
81 x 122cm

 

Dale Cox (b. 1969) 'Rewilding II' 2018

 

Dale Cox (b. 1969)
Rewilding II
2018
Acrylic on board
81 x 122cm

 

Dale Cox (b. 1969) 'Anticolonial' 2018

 

Dale Cox (b. 1969)
Anticolonial
2018
Acrylic on board
81 x 122cm

 

 

Inner Logic 2018

The motifs and elements in this exhibition are all related to our human predicament; to this era of the Anthropocene and our unique capacity amongst living things to contemplate our own mortality. While we have grappled with our impermanence for thousands of years, we are perhaps amongst the first to contemplate not just our own finite existence, but the doomed fate of the Earth itself. A kind of double death.

It’s a lot to take on board.

Perhaps, unsurprisingly, we are well practiced at diversion, denial and a kind of wishful thinking when it comes to our fate. Religion has served us rather well as a kind of ‘soft landing’ into the unknown; furnishing us cradle to grave with a reassuring framework towards a life after death.

It is an intoxicating idea that when we die we go elsewhere. Anything but death seems like a plan. Indeed, many opine that a belief in an afterlife is essential to the very fabric of humanity, that our lives would be meaningless if it simply ended. Perhaps there is an inner logic to this: Is there a point to a life that simply ends?

Our aversion to annihilation runs deep, and in light of some fairly compelling arguments that it is so, humanity is slow to accept the deal. And now that we are facing mounting evidence that we are hurtling towards an environmental collapse of our own making, it seems the all too human ability to simply avert our gaze is once again at play. Desperate times call for desperate measures in collective denial, and so it seems we enter the post-truth era.

There are myriad ways in which we pull off this practised art of self-delusion. Central to it is our unerring fascination with ourselves, our own species. ‘Anthropocentricity’ has served us for millennia as an essential tool of survival by strengthening our ties as family units, tribes, villages and, by extension, nations. The gods we created invariably took a patriarchal form, and we still cling to these heroic manifestations of our own image.

Even our innate altruism appears limited to all things ‘us’. We seem ill-equipped as stewards of the planet of being capable of seeing the bigger picture, of accommodating the survival of all species. All animals are necessarily hardwired to fixate on their own collective survival at the expense of other species, but it is humans alone who can progress that exclusivity to global obliteration.

I generalise, of course. Many manage to stare reality squarely in the face, and many more understand the importance of the broader environment. And it will get harder to remain wilfully ignorant, as the ecological collapse is well underway, overtaking even the gloomiest of predictive models. It is in plain sight and will only become harder to ignore.

The environmental problems we face appear too colossal for individuals to consider; it all seems too overwhelming, too daunting. These are not ‘human-sized’ problems after all. But if we can apply the same collective fervour and inventiveness we applied to bettering our human lot, if we can find a global will to turn our remarkable capacity for enterprise in science, technology and innovation to repairing the planet as a whole, we may have just cause for hope.

Dale Cox

 

Dale Cox (b. 1969) 'The Bungle Bungles' 2018

 

Dale Cox (b. 1969)
The Bungle Bungles
2018
Acrylic on board
122 x 244cm

 

Dale Cox (b. 1969) 'Always on my mind' 2018

 

Dale Cox (b. 1969)
Always on my mind
2018
Acrylic on board
101 x 244cm

 

 

Anthropocene definition

Relating to or denoting the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.

Evolutionary psychology definition

Evolutionary psychology is a theoretical approach to psychology that attempts to explain useful mental and psychological traits – such as memory, perception, or language – as adaptations, i.e., as the functional products of natural selection.

The purpose of this approach is to bring the functional way of thinking about biological mechanisms such as the immune system into the field of psychology, and to approach psychological mechanisms in a similar way.

In short, evolutionary psychology is focused on how evolution has shaped the mind and behaviour. Though applicable to any organism with a nervous system, most research in evolutionary psychology focuses on humans. (Text from the Science Daily website)

Evolutionary psychologists argue that much of human behaviour is the output of psychological adaptations that evolved to solve recurrent problems in human ancestral environments…

Evolutionary psychologists hold that behaviours or traits that occur universally in all cultures are good candidates for evolutionary adaptations including the abilities to infer others’ emotions, discern kin from non-kin, identify and prefer healthier mates, and cooperate with others. (Text from the Wikipedia website)

Tract definition

A short piece of writing, especially on a religious or political subject, that is intended to influence other people’s opinions; a large area of land; a major passage in the body, large bundle of nerve fibres, or other continuous elongated anatomical structure or region.

Usurper definition

A usurper is an illegitimate or controversial claimant to power, often but not always in a monarchy. In other words, a person who takes the power of a country, city, or established region for themselves without any formal or legal right to claim it as their own. Usurpers are both those who overtake a region by often unexpected physical force, as well as individuals or organisations who overtake a region through political influence and subterfuge – though the word “usurper” denotes a single person; either an individual who acted alone, or the leader of a group which supported their controversial claim.

 

Dale Cox (b. 1969) 'Untitled (Lunar lander of wood)' 2012

 

Dale Cox (b. 1969)
Untitled (Lunar lander of wood)
2012
Acrylic on board
51 x 77cm

 

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

Dale Cox (b. 1969) 'Cold War Reliquary' 2014

 

Dale Cox (b. 1969)
Cold War Reliquary
2014
Mixed media Wood acrylics gold enamel metal rock glass
Dimensions variable
Created for the Blake Prize

 

 

Cold War Reliquary 2015-16

A reliquary (also referred to as a shrine or by the French term châsse) is a container for relics. These may be the purported physical remains of saints, such as bones, pieces of clothing, or some object associated with saints or other religious figures. (Wikipedia definition)

.
My sculpture is a vessel- a craft, a portal, a reliquary. Like many Religious objects its serves as a nexus, a transport between Earth and Heaven. The Apollo Lunar Module carried the first Human to the Moon landing on July 20 1969. I was 3 months old. Russia had landed an unmanned craft safely on the moon ten years earlier. The ‘Space Race’ was chiefly an assertion of Ideological superiority between Communism and Capitalism, and the most symbolic battlefield of the ‘Cold War’.

I have long thought of mans tentative forays into space as a kind of membrane piercing journey into the Spiritual – the body released of its Earthly mass and transcended into the Heavens. The reference to a Religious Relic and object of Art – a reliquary for the precious moon rock it houses within the glass dome, elevates a Mechanical Machine to the status of a Religious Relic and is intended to supplant and parody the Christian Canon that asserts our ascension to Heaven (or Hell) upon death.

The essential role of Science as the facilitator of Space Exploration is significant, and as such the Spacecraft itself is venerated here as a Religious object.

The use of Quasi Religious painted panels directly references early Christian Art, whilst most of the Latin Inscriptions are direct translations of NASA Radio Transcripts between (Earth) Base Command and the Astronauts during the critical stages of the Moon landing, and the first historic moments upon landing. Buzz Aldrins remark as he first set foot on the moon was “Beautiful, beautiful. Magnificent desolation.” In Latin Magnificus in desertum.

Dale Cox

 

 

 

Cold War Reliquary

The Cold War Reliquary is a vessel – a spacecraft, and a Holy Relic. Like many Religious objects, it serves as a nexus, a transport between Earth and Heaven.
I have long thought of man’s forays into space as a kind of membrane piercing journey into the Spiritual – the body released of its Earthly mass and transcended into the Heavens. This reliquary for the precious moon rock it houses within a glass dome, elevates a Mechanical Machine to the status of a Religious Relic and playfully parodies the Space Race as the era in which Science finally transcended Religion.

 

Inner Logic continues Dale Cox’s insightful and evocative explorations into environmental, spiritual and anthropological themes; investigating the impact of humankind on this planet and our collective search for meaning.

“The motifs and elements within the current exhibition of my paintings all are in some way or another related to our human predicament and this era of the anthropocene and our unique capacity amongst living things to contemplate our own mortality,” says Cox, “We humans have been grappling with our own mortality for thousands of years. Are we today, however amongst the first generations to contemplate not just our own finite existence, but also the doomed fate of the Earth itself? A kind of double death…”

Inner Logic presents a dynamic series of recent paintings in Dale Cox’s highly distinctive visual language, in which elements from the natural world and icons from popular, religious, industrial and historical culture are assembled in precarious, yet harmonious balance upon a backdrop of the vast unknown. Meticulously executed in acrylic paint, these works are visually intricate and conceptually dense, yet the clarity and significance of their message resonates with immediacy and power.

Dale Cox is equally proficient in sculpture as he is in painting and works across a wide range of media. This exhibition presents the artist’s compelling Cold War Reliquary (Finalist in the 64th Blake Prize); a magnificent recreation of the Lunar Lander spacecraft realised as a gilded religious receptacle, “My sculpture is a vessel – a spacecraft, a portal, a reliquary. Like many religious objects its serves as a nexus, a transport between Earth and Heaven. I have long thought of man’s forays into space as a kind of membrane piercing journey into the spiritual – the body released of its Earthly mass and transcended into the Heavens. This reliquary for the precious moon rock it houses within a glass dome, elevates a Mechanical Machine to the status of a Religious Relic and playfully parodies and challenges the Christian Church.” Dale Cox, 2018

Press release from Australian Galleries

 

Dale Cox (b. 1969) 'Art Mart' 2018

 

Dale Cox (b. 1969)
Art Mart
2018
Acrylic on board
120 x 89cm

 

Dale Cox (b. 1969) 'Albert' 2018

 

Dale Cox (b. 1969)
Albert
2018
Acrylic on board
160 x 122cm

 

Dale Cox (b. 1969) 'The wonder of you' 2018

 

Dale Cox (b. 1969)
The wonder of you
2018
Acrylic on board
120 x 90cm

 

Dale Cox (b. 1969) 'The wonder of you' 2018 (detail)

 

Dale Cox (b. 1969)
The wonder of you (detail)
2018
Acrylic on board
120 x 90cm

 

 

Australian Galleries
35 Derby Street,
Collingwood 3066
Phone: +61 3 9417 4303

Opening hours:
Open 7 days 10am to 6pm

Australian Galleries website

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18
Jul
18

Photographs: Marcus Bunyan. ‘Paris in film’ 2018 Part 1

July 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

 

Paris in film 2018

These photographs were taken on a trip to Paris in 2017 using my Mamiya twin-lens C220 medium format camera shot on Kodak Ektra 100 colour negative film.

They are only basic jpg scans of the negs, full frame, no cropping, and I have colour corrected as best I can, noting that all digital images look different from computer monitor to monitor – one of the perennial hazards of looking at work online. They have not been sequenced at the moment.

The photographs seem to hang well together as a body of work. I would love to get good scans and print some of them.

Through their clear visualisation, the photographs speak directly to the viewer.

Marcus

.
68 images
© Marcus Bunyan

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

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Cimetière du Père Lachaise' from the series 'Paris in film' 2018

 

Marcus Bunyan
Cimetière du Père Lachaise
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Fontainebleau' from the series 'Paris in film' 2018

 

Marcus Bunyan
Fontainebleau
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan
Parc de Sceaux
2018
From the series ‘Paris in film’ 2018

 

 

Marcus Bunyan website

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08
Jul
18

Review: ‘Colony: Australia 1770 – 1861’ at NGV Australia at Federation Square, Melbourne Part 2, featuring photographs from exhibition

Exhibition dates: 15th March – 15th July 2018

Presented in conjunction with the exhibition Colony: Frontier Wars (15 March – 2 September 2018) which presents a powerful response to colonisation through a range of historical and contemporary works by Indigenous and non-Indigenous artists dating from pre-contact times to present day.

Warning: Aboriginal and Torres Strait Islander readers should be aware that this posting contains images and names of people who may have since passed away.

 

 

Installation view of the exhibition 'Colony: Australia 1770 - 1861' at NGV Australia at Federation Square, Melbourne

 

Installation view of the exhibition Colony: Australia 1770 – 1861 at NGV Australia at Federation Square, Melbourne showing how some of the photographs were displayed in the case at rear.

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

” …what the generality of the white population of the Colony consist of, which is of the most debased and vilest dregs of Great Britain and Ireland… they never look on the Blacks in the light of human beings, but, would just as soon shoot them as they would a crow, or hunt them as they would a kangaroo. Indeed in some districts the dogs used to be thought good for nothing unless they could kill a Black as well as a kangaroo, and they used to teach them to do so, by giving them some of the poor Black’s blood.”

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James Graham. ‘Overland Letter’ part of the Graham Bros collection at The University of Melbourne archives

 

The bad deeds of some leading frontier politicians, administrators and military men have been almost overlooked; many history books – even more modern online popular resources such as the Australian Dictionary of Biography – diminish, attempt to justify or overlook completely their proven excesses against this continent’s Indigenes. …

“On any occasion of seeing or falling in with the Natives, either in Bodies or Singly, they are to be called upon, by your friendly Native Guides, to surrender themselves to you as Prisoners of War. If they refuse to do so, make the least show of resistance, or attempt to run away from you, you will fire upon and compel them to surrender, breaking and destroying the Spears, Clubs and Waddies of all those you take Prisoners. Such natives as happen to be killed on such occasions, if grown up men, are to be hanged up on Trees in Conspicuous Situations, to Strike the Survivors with the greater terror.”

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Lachlan Macquarie, fifth governor of New South Wales quoted in Paul Daley, “Heroes, Monuments and History,” in ‘Meanjin’, Autumn 2018

 

 

Terror incognita

Firstly, let me state that I am no expert in Australian colonial history, culture or photography. These are very specialised fields. But what I can do is use my eyes, my knowledge and my feelings to provide comment on this exhibition.

This magnificent exhibition at NGV Australia at Federation Square is a fascinating interrogation of the early history of the Australian nation, yet at the same time I found it very disturbing and sad. The exhibition more resembles a natural history exhibition than an art exhibition, a cabinet of curiosities, a Wunderkammer, were encyclopaedic collections of objects whose categorical boundaries are yet to be defined are mixed with the first European art made on this continent. The exhibition is a microcosm or theatre of the world, and a memory theatre, for all that has passed since before invasion of this land up until the year 1861. The installation mixes together colonial and Indigenous artefacts from within the allotted time period. There is so much to see that I have visited three times and not got to the bottom of this exhibition it is so dense. Paintings, drawings, sculpture, colonial furniture, clothing, pottery, jewellery, photography, maps, artefacts, etc… are displayed in a melange of techniques, offering a huge range of artists and media. Please see Part 1 of the posting for the installation images of the exhibition.

Some observations can be made. Generally, the paintings and drawings are of a very classical form, very tightly controlled and painted. They set out to document the landscape, firstly the Australian landscape as seen in the European tradition, and then in a more realistic yet romanticised form in later paintings. Early colour aquatints of Aboriginal people depict them climbing trees in an almost reptilian manner while later representations picture “a romantic vision of a vast, silent and forbidding land. Two generic Aboriginal people figures are included in the foreground in the guise of the noble savage.” Of a vanishing race. Other collages (a fictionalised representational technique), such as James Wallis’ View of Awabakal Aboriginal people, with beach and river inlet, and distant Aboriginal group in background (c. 1818), propose “a harmonious relationship between the Awabakal, colonisers and the military. Such a suggestion is at odds with earlier events of April 1816 when Wallis, under the direction of Governor Macquarie, led an armed regiment against Dharawal and Gandangara people south of Sydney, in what is now acknowledged as the first officially sanctioned massacre of Indigenous people in Australia.” (Exhibition text) Further, the romanticised vistas of colonial interloper John Glover (1767-1849) evoke, “an idyll where the natives were at one with nature, even as the slaughter was upon them…” (Damian Smith, 2018). This connection to nature can be seen in Glover’s painting The River Nile, Van Diemen’s Land, from Mr Glover’s farm (1837). But, as the exhibition text notes, “Glover had not experienced the conflict or witnessed the violence between Tasmanian Aboriginal resistance fighters and white settlers during the 1820s. By the time of his arrival in 1831, the Tasmanian Aboriginal survivors had been forced to leave Country and relocate to Flinders Island.” These representations of Aboriginal life are pure fiction constructed in the imagination of the artists and colonisers.

By way of contrast, the portraits of landed gentry, such as Thomas Bock’s four paintings of Captain William Robertson and his family (1830s-50s), are elegant and flattering. They are portraits executed in the grand Georgian manner fashionable in England and were greatly prized by colonists. Here is a family who has made it, and they want everyone to know about it. The roots of their representation are in the old country, their allegiance there also, to the mother country. Australia is a colony, part of the British Empire, an outpost of all that is right and proper in the world. Imagine just for a second that you are back in the 1850s. No electricity, only candle power. Now imagine arriving at a home with these portraits, or the landscapes of John Glover, lit by candle light. The skin would be luminescent, the golden frames glowing in the light; the trees in the Glover paintings would have writhed, seeming almost alive in the flickering light. A forbidding landscape indeed.

In portraiture, the same disposition can be seen in the early daguerreotype and ambrotype photographs of Aboriginals and colonists.

“Within a decade of the arrival of European colonists in the Port Phillip District a number of professional photographers had established studios in Melbourne, and prominent among these was Douglas Kilburn. Around 1847, Kilburn made a series of portraits [see below] of people thought to be from the Kulin nation. The images testify to the power of photographs to record kin and define identity. They also show Aboriginal people who had experienced a decade of dispossession following the arrival of settlers. It is believed Kilburn’s subjects were among the numbers of First Nations people who had few choices other than to return to Melbourne because they had been driven out of their Country.” (Exhibition text)

If we look at these small, personal, one-off photographs housed in leather cases that can be closed off from the world, when opened to reveal the Aboriginal sitters … we notice how frontal they are, how they face straight on to the camera, how grouped they are, how they fill the picture plane with little negative space around them, how the camera seems to press in on them, as though to capture every last detail of their countenance and clothing. Their visage. The aspect of their being. These are ethnographic documents as much as they are portraits, for they map the condition of the captives. If, as Michael Graham-Stewart states in his book Bitter fruit: Australian photographs to 1963, “photography operates not only as an instrument of oppression, but also as a means of connecting with people of the past,” what do contemporary Indigenous Australians make of these images. Do they find evidence of wrongdoing and suffering but also of resistance, adaptation, and continuity? Are they also angry and sad at what they have lost, as in a thriving and incredibly diverse culture? I would be.

Again, by way of contrast we look at how the colonists viewed themselves in these personal treasures. Here, we must remember that these early photographs would have been relatively expensive for a family to have commissioned them, almost as expensive say, in contemporary terms, as buying a plasma television when they first came out. Only the well-to-do would have been able to afford to have their portrait taken. Two examples of this providence and bounty can be seen in this posting. The portrait of The Lashmar family by William Millington Nixon (1857-58, see below) shows a family who were pioneering pastoralists on Kangaroo Island in the 1850s. “Despite the relative remoteness of their home, and the harshness of the environment, the family evidently prospered. Thomas Young Lashmar not only had the means to travel to Adelaide with his wife and family, but was also able to commission photographic portraits at a time when it was still a relatively expensive exercise.” (Exhibition text) While Aboriginals while forced from their land and massacred, pastoralists were making money and prospering from the confiscated lands.

Nothing better shows the sense of entitlement that the early pastoralists had (and still do today, with their illegal land clearing) towards their possession of the land and their identity that arose from that possession, than the commissioned set of five portraits by daguerreotype portraitist George Goodman of the daughters of prominent local land holder William Lawson II in the town of Bathurst, north-west of Sydney. Dressed in their finest, the young daughters, arms covered, clutch flowers and either look away from the camera or directly at it. The camera is placed directly at eye level, or slightly below it, and the space around the sitter is open and amorphous, a plain background which isolates the figure in space. Unlike the claustrophobic portraits by Douglas Kilburn of the Aboriginals from the Kulin nation, here the sitters seem to possess the space of the photograph, they inhabit and can breathe in the pictorial plane. In particular, the portrait of Susannah Caroline Lawson (1845, below) pictures a young woman with an incredibly determined stare and haughty demeanour. She seems to radiate a perfect sense of entitlement within the physical presence of the photograph.

Other photographs reinforce this vision of the world that the colonists enacted. Thomas Bock’s Portrait of two boys (1848-50, below) “shows that he was a skilled photographer by 1848… Any parent would have been thrilled by such a vivid image of their sons, especially as, like many colonial sons, they might be getting ready to be sent ‘home’ to the United Kingdom for schooling. The image of the boys was a memento for their parents as well as proof for relatives in Britain that colonial society could produce the same well-dressed and well-bred young boys as the old country.” (Gael Newton)

There is the rub. For migrants who were a long way from home, photography was proof that they were alive, successful, flourishing… and could live up to the expectations of their family back home and the standards of the old country. “Photography served several interrelated roles associated with the experience of migration and colonisation. For those European migrants transplanted halfway across the world, often without family or friends, the most immediate and heartfelt use for the camera was portraiture. Some of Australia’s earliest surviving photographs are small, sturdily cased portraits which provided ‘likenesses as if by magic’ of those depicted and were sent back ‘home’, thus providing an emotional connection to family members.” (Exhibition text) An emotional connection for people living in a far off land to those back “home”, and an emotional connection to family in a forbidding land, to remind themselves of their strength and unity in the face of the unknown.

What this exhibition does not show, because they are later photographs, is evidence of the overt oppression of Indigenous peoples that photography documented. While terra nullius is a Latin expression meaning “nobody’s land” usually associated with colonising Australia, the British Government using this term to justify the dispossession of Indigenous people, there is also another term, terra incognita, a term used in cartography for regions that have not been mapped or documented. In many ways the terror that Indigenous people experienced during invasion is still being mapped and explored. Much of it is still not known or is unaccepted, as a terror incognita. Dr Katherine Ellinghaus in her article “Criss-Cross History Hidden in a Letter,” notes that, “Reconciliation Australia’s own biennial survey [2016] has found that more than one in three Australians don’t accept that Aboriginal and Torres Strait Islander people were subject to mass killings, incarceration, and forced removal from their lands.”

This is the terror that still exists in the Australian psyche. The terror of cutting ties to the motherland, the terror of an incognita, an “unknown land”, and the hidden terror prescribed and enacted on the cultural body of the Aboriginal, unacknowledged by some even today.

Dr Marcus Bunyan for Art Blart

Word count: 1,853

.
Many thankx to the National Gallery of Victoria for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Dr Marcus Bunyan and the National Gallery of Victoria.

 

Unknown photographer. 'Robert Lyall with the New Norfolk Cup' 1851 Ambrotype

 

Unknown photographer
Robert Lyall with the New Norfolk Cup
1851
Ambrotype
National Gallery of Victoria, Melbourne
Purchased, 2004
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

Robert Lyall was a successful Tasmanian publican and businessman whose interests extended to horse racing. In 1851 his prized horse Patience won the New Norfolk Cup and Lyall was the recipient of a handsome silver presentation cup. Not only evidence of his success and standing, the cup was apparently also of great personal significance to Lyall as he included it as a decorative element when this large-scale ambrotype was commissioned. Unlike more intimately scaled cased images, this photograph was framed so that it could be prominently displayed on the wall. (Exhibition text)

 

Douglas T. Kilburn (attributed to) 'No title (Group of Koori men)' c. 1847 Daguerreotype

Douglas T. Kilburn (attributed to) 'No title (Group of Koori men)' c. 1847 Daguerreotype

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Group of Koori men)
c. 1847
Daguerreotype; leather, wood, velvet, brass
National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1983

Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

Within a decade of the arrival of European colonists in the Port Phillip District a number of professional photographers had established studios in Melbourne, and prominent among these was Douglas Kilburn. Around 1847, Kilburn made a series of portraits of people thought to be from the Kulin nation. The images testify to the power of photographs to record kin and define identity. They also show Aboriginal people who had experienced a decade of dispossession following the arrival of settlers. It is believed Kilburn’s subjects were among the numbers of First Nations people who had few choices other than to return to Melbourne because they had been driven out of their Country. (Exhibition text)

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846) 'No title (Group of Koori men)' c. 1847

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Group of Koori men)
c. 1847
Daguerreotype; leather, wood, velvet, brass
National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1983

 

 

Kulin

The Kulin nation is an alliance of five Indigenous Australian tribes in south central Victoria, Australia. Their collective territory extended around Port Phillip and Western Port, up into the Great Dividing Range and the Loddon and Goulburn River valleys. Before British colonisation, the tribes spoke five related languages. These languages were spoken in two groups: the Eastern Kulin group of Woiwurrung, Boonwurrung, Taungurong and Ngurai-illam-wurrung; and the western language group of just Wathaurung.

The central Victoria area has been inhabited for an estimated 60,000 to 100,000 years before European settlement. At the time of British settlement in the 1830s, the collective populations of the Woiwurrung, Boonwurrung and Wathaurong tribes of the Kulin nation was estimated to be under 20,000. The Kulin lived by fishing, hunting and gathering, and made a sustainable living from the rich food sources of Port Phillip and the surrounding grasslands.

Due to the upheaval and disturbances from British settlement from the 1830s on, there is limited physical evidence of the Kulin peoples’ collective past. However, there is a small number of registered sites of cultural and spiritual significance in the Melbourne area.

Text from the Wikipedia website

 

Douglas T. Kilburn (attributed to) 'No title (South-east Australian Aboriginal man and two younger companions)' 1847 (left) and 'No title (Two Koori women)' c. 1847 (right) Daguerreotypes

 

Left

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (South-east Australian Aboriginal man and two younger companions)
1847
Daguerreotype
National Gallery of Australia, Canberra
Purchased 2007

Right

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Two Koori women)
c. 1847
Daguerreotype, brass, glass, gold, velvet
National Gallery of Victoria, Melbourne
Purchased, 2004

Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Douglas T. Kilburn (attributed to) 'No title (Two Koori women)' c. 1847 Daguerreotype

 

Douglas T. Kilburn (attributed to) (England 1811 – Australia 1871, Australia from 1846)
No title (Two Koori women)
c. 1847
Daguerreotype, brass, glass, gold, velvet
National Gallery of Victoria, Melbourne
Purchased, 2004
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

As a way of attracting attention to his newly opened business Douglas Kilburn took at least eight daguerreotypes of Aboriginal people in the lands of the Kulin nation. As a result of the nineteenth-century belief that the Aboriginal people were doomed to annihilation, Kilburn intended the images as ethnographic studies rather than individual portraits; nevertheless, his unnamed sitters project a proud and dignified presence. His photographs were popular with local artists such as Eugene von Guérard and John Skinner Prout, who copied them, and they also reached an international audience when they were used as the basis for wood engravings in William Westgarth’s Australia Felix in 1848, Nordisk Penning-Magazin in 1849 and the Illustrated London News in 1850. (Exhibition text)

 

George Goodman Lawson children

 

George Goodman (active in Australia 1842-51)

Left

Maria Emily Lawson
1845
Daguerreotype
Mitchell Library, State Library of New South Wales, Sydney
Presented 1993

Middle

Susannah Caroline Lawson
1845
Daguerreotype; leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Right

Eliza Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

George Goodman Lawson mother and children

 

George Goodman (active in Australia 1842-51)

Left

Caroline and Thomas James Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented 1991

Middle

Sophia Rebecca Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Right

Sarah Ann Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

George Goodman arrived in Sydney in 1842 and established the first professional photography studio in Australia. Although he is known to have made photographs of Tasmanian street scenes, his stock-in-trade was portraiture. Goodman travelled to regional towns where he advertised his services as a daguerreotype portraitist. In 1845 he visited the town of Bathurst, north-west of Sydney, and was commissioned to photograph the family of prominent local land holder William Lawson II. The resulting series includes five individual portraits of Lawson’s young daughters and a charming, and surprisingly informal, image showing his wife Caroline Lawson and their young son. (Exhibition text)

 

George Goodman (active in Australia 1842-51) 'Susannah Caroline Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Susannah Caroline Lawson
1845
Daguerreotype; leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

George Goodman (active in Australia 1842-51) 'Eliza Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Eliza Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

George Goodman (active in Australia 1842-51) 'Caroline and Thomas James Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Caroline and Thomas James Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented 1991

 

George Goodman (active in Australia 1842-51) 'Sophia Rebecca Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Sophia Rebecca Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

George Goodman (active in Australia 1842-51) 'Sarah Ann Lawson' 1845

 

George Goodman (active in Australia 1842-51)
Sarah Ann Lawson
1845
Daguerreotype, leather, velvet
Mitchell Library, State Library of New South Wales, Sydney
Presented by Sir Kenneth Street, 1960

 

Unknown photographer (working 1850s) 'Pair of portraits: George Taylor, his wife Ann (nee Collis Pratt)' c. 1856 Ambrotypes

 

Unknown photographer (working 1850s)
Pair of portraits: George Taylor, his wife Ann (nee Collis Pratt)
c. 1856, Adelaide
Two ambrotypes, colour dyes, gold paint
9.4 x 6.8 cm (each image, oval)
J.C. Earl Bequest Fund 2010
Art Gallery of South Australia, Adelaide
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘No title (Mother and children)’ 1855-56

 

Freeman Brothers Studio, Sydney (1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
No title (Mother and children)
1855-56
Daguerreotype, oil paint; leather, gold, paint, glass, velvet, metal, wood (case)
National Gallery of Victoria, Melbourne
Gerstl Bequest, 2001
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘No title (Mother and children)’ 1855-56

 

Freeman Brothers Studio, Sydney (1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
No title (Mother and children)
1855-56
Daguerreotype, oil paint; leather, gold, paint, glass, velvet, metal, wood (case)
National Gallery of Victoria, Melbourne
Gerstl Bequest, 2001

 

 

One of the largest and most celebrated Sydney photographic studios was run by the Freeman Brothers, whose skilful portraits were much admired. This pair of entrepreneurial photographers used the latest processes, building a large, well-appointed studio and actively promoting their work through display in international exhibitions. James Freeman was also extremely well versed in the potential uses of the medium, delivering a comprehensive lecture on the topic to a Sydney society in 1858. (Exhibition text)

 

Thomas Glaister (England 1824 - United States 1904, Australia 1850s) 'No title (Seated woman)' c. 1858

 

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
No title (Seated woman)
c. 1858
Ambrotype, coloured dyes
13.6 h x 10.7 w cm (case)
National Gallery of Australia, Canberra
Purchased 1983
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Professor Robert Hall. ‘Portrait of a gentleman with check pants’ 1855-65 and Thomas Glaister. ‘George Coppin’ c. 1855

 

Left

Professor Robert Hall (active in Australia mid 19th century)
No title (Portrait of a gentleman with check pants)
1855-65
Stereo ambrotype, colour dyes
8.8 x 17.1 cm (overall)
Art Gallery of South Australia, Adelaide
R. J. Noye Collection
Gift of Douglas and Barbara Mullins, 2004

Right

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
George Coppin
c. 1855
Daguerreotype, hand tinted, gilt-matted and glazed
5.2 x 12.7 cm
Mitchell Library, State Library of New South Wales, Sydney

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

George Selth Coppin (8 April 1819 – 14 March 1906) was a comic actor, entrepreneur and politician, active in Australia. For more information see the Australian Dictionary of Biography entry.

 

Thomas Glaister. ‘No title (Gentleman)’ c. 1854

 

Meade Brothers Studio, Melbourne (studio active in Australia 1850s)
Thomas Glaister (attributed to) (photographer England 1825 – United States 1904)
No title (Gentleman)
c. 1854
Daguerreotype, colour pigments; gold, leather, velvet, brass, glass (case)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of T. H. Lustig and Moar Families, Governor, 2001
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Thomas Glaister. ‘No title (Gentleman)’ c. 1854

 

Meade Brothers Studio, Melbourne (studio active in Australia 1850s)
Thomas Glaister (attributed to) (photographer England 1825 – United States 1904)
No title (Gentleman)
c. 1854
Daguerreotype, colour pigments; gold, leather, velvet, brass, glass (case)
National Gallery of Victoria, Melbourne
Purchased through the NGV Foundation with the assistance of T. H. Lustig and Moar Families, Governor, 2001

 

Thomas Bock. ‘William Robertson Jnr.’ c. 1852 and ‘Margaret Robertson’ c. 1852

 

Left

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
William Robertson Jnr.
c. 1852
Daguerreotype, hand coloured
case: 9.2 x 8.0 cm, image: 7.0 x 5.5 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

Right

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
Margaret Robertson
c. 1852
Ambrotype, hand coloured
case: 9.3 x 8.0 cm, image: 7.0 x 6.0 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

News of scientific discoveries reached Australia via the flotillas of ships plying the southern trade routes. The first demonstrations of photography occurred in England and France in 1839. News of this reached Australia that same year and was described in an account in the Tasmanian newspaper The Cornwall Chronicle on 19 October 1839. Former convict Thomas Bock was one of the earliest Tasmanian photographers, first advertising his studio in September 1843. His daguerreotype portraits resemble his paintings and drawings in their composition and use of hand-colouring. (Exhibition text)

 

Thomas Bock

1790 – 1855

Thomas Bock, artist, printmaker and photographer, is believed to have been born at Sutton Coldfield, near Birmingham, in 1790. He completed an apprenticeship as an engraver with Thomas Brandard in Birmingham and in 1814 established his own business there, advertising himself as an ‘Engraver and Miniature Painter’. In April 1823, Bock and a woman named Mary Day Underhill appeared at the Warwickshire Assizes charged with ‘administering concoctions of certain herbs to Ann Yates, with the intent to cause a miscarriage.’ Both were found guilty and sentenced to transportation for fourteen years. At the time of his conviction, Bock was thirty-two, married and father to five children. Bock arrived in Hobart aboard the Asia in January 1824. His convict record stated he had ‘served an apprenticeship to the Engraving Business’ and described him as ‘well connected and very orderly.’ The colonial authorities found immediate use for Bock, some of his earliest Tasmanian works being bank notes engraved for the Bank of Van Diemen’s Land and a drawing of executed cannibal, Alexander Pearce, made in July 1824 at the request of the Colonial Surgeon. Bock worked as a printmaker during the 1820s, engraving stationery along with illustrations for publications such as the Hobart Town Almanack while also producing portraits. He received a conditional pardon in 1832 and free pardon a year later, thereafter establishing a highly successful practice as Hobart’s most sought-after portrait artist. Bock was particularly known for his portrait drawings utilising watercolour, pencil, chalk and pastel (or ‘French crayon’), but his practice was diverse, incorporating printmaking and oil painting as well as photography. On his death in Hobart in March 1855 he was described as ‘an artist of a very high order’ whose works ‘adorned the homes of a number of our old colonists and citizens.’

Text from the National Portrait Gallery website

 

Thomas Bock (attributed to) (England 1790 - Australia 1855, Australia from 1824) 'William Robertson Jnr.' c. 1852

 

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
William Robertson Jnr.
c. 1852
Daguerreotype, hand coloured
case: 9.2 x 8.0 cm, image: 7.0 x 5.5 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

 

 

William Robertson (1839-1892), barrister and politician, was the third of the seven children of pastoralist William Robertson (1798-1874) and his wife Margaret (née Whyte, 1811-1866). Robertson was born and educated in Hobart and then at Wadham College, Oxford. He is believed to be the first Australian to row in an Oxford eight, his team victorious against Cambridge in the Boat Race of 1861. Robertson graduated with a BA in 1862 and was married and called to the bar the following year. On his return to Australia, Robertson practised law in Hobart before heading to Victoria in 1864. He worked as a barrister in Melbourne and then assisted in the management of the family property, Corangamarah, which he and his three brothers jointly inherited on the death of their father in 1874. Robertson served as a member of the Victorian Legislative Assembly between 1871 and 1874 and again from 1881 to 1886; he was also President of the Colac Shire council in 1880-81. After the dissolution of the partnership with his brothers in 1885, Robertson became sole owner of Corangamarah, later called The Hill, and in retirement enjoyed the lifestyle of an ‘hospitable and sports-loving country gentleman.’

Text from the National Portrait Gallery website

 

Thomas Bock (attributed to) (England 1790 - Australia 1855, Australia from 1824) 'Margaret Robertson' c. 1852

 

Thomas Bock (attributed to) (England 1790 – Australia 1855, Australia from 1824)
Margaret Robertson
c. 1852
Ambrotype, hand coloured
case: 9.3 x 8.0 cm, image: 7.0 x 6.0 cm
National Portrait Gallery, Canberra
Gift of Fiona Turner (nee Robertson) and John Robertson, 2001
Donated through the Australia Government’s Cultural Gifts Program

 

 

Margaret Robertson (née Whyte, 1811-1866) was the daughter of settlers George and Jessie Whyte, who emigrated to Van Diemen’s Land from Scotland in 1832. In September 1834, Margaret married Scottish-born entrepreneur and landowner William Robertson (1798-1874), who had arrived in the colony in 1822 and who, in the decade leading up to his marriage, had acquired land nearby to a property owned by Margaret’s family. The first of Margaret and William’s seven children – four sons and three daughters – was born in 1835. The family resided in Hobart until the early 1860s, when Roberston relocated to his Victorian estate, where Margaret died in February 1866.

Text from the National Portrait Gallery website

 

Thomas Bock (England 1790 - Australia 1855, Australia from 1824) 'No title (Portrait of two boys)' 1848-50

 

Thomas Bock (England 1790 – Australia 1855, Australia from 1824)
No title (Portrait of two boys)
1848-50, Hobart, Tasmania, Australia
Daguerreotype
case closed 7.0 h x 6.0 w cm case open 7.5 h x 13.0 w cm
National Gallery of Australia, Canberra
Purchased 2009
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

The daguerreotype was first demonstrated in Australia in Sydney in May 1841. Late the following year, London’s George Goodman set up the first commercial studio in Sydney, claiming to have an exclusive license to use the daguerreotype in the colonies. Goodman was working in Hobart in August 1843, where he came in direct competition with British convict artist Thomas Bock.

Although an engraver by trade, Bock had a keen interest in photography and, in the Hobart Town Advertiser of 29 September 1843, he advertised that ‘in a short time he would be enabled to take photographic likenesses in the first style of the art’. Infuriated, Goodman threatened legal action and Bock promptly withdrew until five years later when he opened a portrait photography studio in Hobart.

Bock’s stepson Alfred assisted him in the photography-side of the studio business. They had seen daguerreotype portraits brought from London by Reverend Francis Russell Nixon in Hobart in June 1843 – before Goodman’s arrival in Tasmania – and had purchased a camera from a Frenchman in Hobart so that they could learn the new art form using photographic formulas published in English magazines. Their lack of proper training, however, shows in Hobart dignitary GTYB Boyes’s records of August 1849, in which he comments, ‘Bock understands the nature of his apparatus but very imperfectly!’ Despite this and other unfavourable remarks between 1849 and 1853, Boyes continued to visit Bock’s studios for daguerreotype portraits.

Bock’s portrait of two freckle-faced boys dressed in matching outfits shows that he was a skilled photographer by 1848 – a year before Boyes’s initial disparaging remark. Any parent would have been thrilled by such a vivid image of their sons, especially as, like many colonial sons, they might be getting ready to be sent ‘home’ to the United Kingdom for schooling. The image of the boys was a memento for their parents as well as proof for relatives in Britain that colonial society could produce the same well-dressed and well-bred young boys as the old country. The sitters are as yet unidentified but the daguerreotype has been dated by comparison with several identified examples of double portraits of children that have survived out of the hundreds of images made by the Bock studio.

Gael Newton
Senior Curator, Photography
in artonview, issue 61, autumn 2010

 

William Millington Nixon (England 1814 - Australia 1893, Australia from 1855) 'The Lashmar family' 1857-58

 

William Millington Nixon (England 1814 – Australia 1893, Australia from 1855)
The Lashmar family
1857-58
Daguerreotype, coloured inks; gold, leather, brass, metal, velvet and glass (case)
National Gallery of Victoria, Melbourne
Purchased, 2004
Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

Shortly after his arrival in Adelaide in 1855, William Millington Nixon began making daguerreotypes, and quickly become a skilled daguerreotypist. By 1858 he had built a reputation as a portraitist and established a studio in King William Street, Adelaide.

The Lashmar family were pioneering pastoralists on Kangaroo Island in the 1850s. Despite the relative remoteness of their home, and the harshness of the environment, the family evidently prospered. Thomas Young Lashmar not only had the means to travel to Adelaide with his wife and family, but was also able to commission photographic portraits at a time when it was still a relatively expensive exercise. (Exhibition text)

 

Unknown photographer. 'No title (Portrait of a nun)' c. 1860

 

Unknown photographer
No title (Portrait of a nun)
c. 1860
Ambrotype with hand tinting
4.0 x 16.5 x 12.5 cm (box)
Art Gallery of South Australia, Adelaide
R.J. Noye Collection
Gift of Douglas and Barbara Mullins, 2004
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Thomas Glaister (England 1824 - United States 1904, Australia 1850s) 'Reverend Jabez Bunting Waterhouse' 1861

 

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
Reverend Jabez Bunting Waterhouse
1861
Ambrotype, coloured-dyes
Mitchell Library, State Library of New South Wales, Sydney
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

WATERHOUSE BROTHERS: Jabez Bunting (1821-1891), Joseph (1828-1881), and Samuel (1830-1918), Wesleyan ministers, were the fifth, ninth and tenth children of Rev. John Waterhouse (d. 1842) and his wife Jane Beadnell, née Skipsey. In 1838 their father, a prominent Yorkshire Methodist, was appointed general superintendent of the Wesleyan Methodist Mission in Australia and Polynesia with a roving commission. With his wife, seven sons and three daughters, he reached Hobart Town in the James on 1 February 1839.

Jabez was born in London on 19 April 1821, educated at Kingswood School in 1832-35 and apprenticed to a printer. In Hobart, A. Bent’s printing premises were purchased and worked by Jabez. In 1840 he became a local preacher extending his ministry to convict road menders. Received as a probationer in 1842, he returned to England to enter Richmond (Theological) College and in 1845 was appointed to Windsor circuit. After his ordination at the Methodist chapel, Spitalfields, he was sent to Van Diemen’s Land in 1847, and ministered successively in the Hobart, Westbury, Campbell Town and Longford circuits. In 1855 the first conference of the Wesleyan Church in Australia appointed him to South Australia; he served at Kapunda, Willunga and Adelaide, his ministry marked by his business acumen and his role as secretary of the Australasian Conference at Adelaide in 1862.

In 1864 Waterhouse was transferred to New South Wales and was appointed successively to Maitland, Goulburn, Orange, Waverley, Parramatta, Newcastle and Glebe. In 1874-75 he was secretary of the New South Wales and Queensland Annual Conference and president in 1876; he was elected secretary of the first three general conferences of the Australasian Wesleyan Methodist Church: in Melbourne 1875, Sydney 1878 and Adelaide 1881. In 1882 he retired as a supernumerary, but remained on committees such as those of the Sustentation and Extension Society and the Missionary Society, frequently looking after missionary interests during the absence of George Brown. He supported the Wesleyan Church in Tonga in the dispute with S. W. Baker and published The Secession and the Persecution in Tonga … (Sydney, 1886). Regarded as a gifted preacher by his denomination and as the architect of most of the conference legislation, he died of heart disease and dropsy at Randwick on 18 January 1891 and was buried in the Wesleyan section of Rookwood cemetery. He was survived by his wife Maria Augusta, née Bode, whom he had married at Windsor, England, on 13 August 1847, and by seven sons; his second son John was headmaster of Sydney High School.

Niel Gunson. Australian Dictionary of Biography

 

Freeman Brothers Studio. ‘Walter Davis’ and ‘Jemima Jane Davis’ c. 1860

 

Left

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Jemima Jane Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

Right

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Walter Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘Walter Davis’ c. 1860

 

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Walter Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Freeman Brothers Studio. ‘Jemima Jane Davis’ c. 1860

 

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Jemima Jane Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

 

Freeman Brothers Studio. ‘Walter Davis’ c. 1860

 

Freeman Brothers Studio (Sydney 1854-1900)
James Freeman (England 1814 – Australia 1890, Australia from early 1850s)
William Freeman (England 1809 – Australia 1895, Australia from early 1850s)
Walter Davis
c. 1860
Ambrotype, coloured dyes; wood, leather, velvet, glass and gilt metal (case)
National Gallery of Victoria, Melbourne
Gift of Warwick Reeder, 1991

 

Unknown photographer. 'No title (Portrait of a man, woman and child)' c. 1860

 

Unknown photographer
No title (Portrait of a man, woman and child)
c. 1860
Ambrotype, coloured dyes; wood, leather, brass, glass, silk (velvet) (case)
Museum of Applied Arts and Sciences, Sydney
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. 'No title (Portrait of mother and child)' c. 1855

 

Unknown photographer
No title (Portrait of mother and child)
c. 1855
Ambrotype, coloured dyes; wood, leather, brass, glass, silk (velvet) (case)
Museum of Applied Arts and Sciences, Sydney
Gift of Tooth & Company Ltd under the Australian Government’s Tax Incentives for the Arts Scheme, 1986
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. ‘Jemima, wife of Jacky with William T. Mortlock’ and ‘Jacky, known as Master Mortlock’ c. 1860

 

Left

Unknown photographer
Jemima, wife of Jacky with William T. Mortlock
c. 1860
Daguerreotype
Ayers House Museum, National Trust of South Australia, Adelaide

Right

Unknown photographer
Jacky, known as Master Mortlock
c. 1860-65
Daguerreotype
Ayers House Museum, National Trust of South Australia, Adelaide

Photos: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

The Mortlock family were wealthy pastoralists in South Australia. Along with the daguerreotypes of family members they commissioned around 1860 are two portraits of their domestic servants known as Jemima and Jacky. Each member of the Mortlock family has been named in these images, but the identity of the two Aboriginal sitters has been lost – initially with the assignment of European first names and then the addition of the surname ‘master Mortlock’, which identified them as servants of the pastoralists who employed them. (Exhibition text)

 

Unknown photographer. 'Brothers William Paul and Benjamin Featherstone' c. 1860

 

Unknown photographer
Brothers William Paul and Benjamin Featherstone
c. 1860
Ambrotype, gold paint
15.5 x 12.1 cm (case)
Art Gallery of South Australia, Adelaide
J.C. Earl Bequest Fund, 2010
Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

Thomas Glaister (England 1824 - United States 1904, Australia 1850s) 'Professor John Smith' c. 1858

 

Thomas Glaister (England 1824 – United States 1904, Australia 1850s)
Professor John Smith
c. 1858
Daguerreotype
Tasmanian Museum and Art Gallery, Hobart
Presented by Miss Kate Crouch, 1942
Photo:
© Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. 'Emily Spencer Wills' c. 1859

 

Unknown photographer
Emily Spencer Wills
c. 1859
Daguerreotype, coloured dyes; brass, glass, leather, wood
1/6th plate daguerreotype with applied colour in al brass matt (without original leather case)
Frame: 8.5 x 7.2 cm, sight: 6.6 x 5.4 cm
National Portrait Gallery, Canberra Gift of T S Wills Cooke 2014
Donated through the Australian Government’s Cultural Gifts Program
Photo:
© Dr Marcus Bunyan and the National Gallery of Victoria

 

Unknown photographer. 'Emily Spencer Wills' c. 1859

 

Unknown photographer
Emily Spencer Wills
c. 1859
Daguerreotype, coloured dyes; brass, glass, leather, wood
1/6th plate daguerreotype with applied colour in al brass matt (without original leather case)
Frame: 8.5 x 7.2 cm, sight: 6.6 x 5.4 cm
National Portrait Gallery, Canberra Gift of T S Wills Cooke 2014
Donated through the Australian Government’s Cultural Gifts Program

 

 

Photography served several interrelated roles associated with the experience of migration and colonisation. For those European migrants transplanted halfway across the world, often without family or friends, the most immediate and heartfelt use for the camera was portraiture. Some of Australia’s earliest surviving photographs are small, sturdily cased portraits which provided ‘likenesses as if by magic’ of those depicted and were sent back ‘home’, thus providing an emotional connection to family members.

This group of family portraits shows members of the Wills family, including Thomas Wentworth Wills, who was a prominent sportsman and one of the authors of the rules of the game that later became known as Australian Rules. (Exhibition text)

 

Unknown photographer. 'No title (Group of people in front of a crushing plant on a goldfield)' 1860s and Henry King (Australia 1855-1923) 'Henry Kay' 1855-60

 

Left

Unknown photographer
No title (Group of people in front of a crushing plant on a goldfield)
1860s
Ambrotype; embossed leather, wood, velvet, brass, gilt metal
National Gallery of Victoria, Melbourne Purchased, 2007

Right

Henry King (Australia 1855-1923)
Henry Kay
1855-60
Ambrotype, coloured dyes
2 photographs: ambrotypes with hand-colouring ; 8.9 x 6.5 cm. (oval, sight, f.1) in pinchbeck and gilt brass mount 10.9 x 8.3 cm. and 9.6 x 7.0 cm. (oval, sight, f.2) in gilt brass mount 10.9 x 8.2 cm., in brown union case 12.0 x 9.4 cm
Pictures Collection, State Library Victoria, Melbourne
Gift of Mrs W.G. Haysom 1964

Photo: © Dr Marcus Bunyan and the National Gallery of Victoria

 

 

The discovery of gold in 1851 led to extraordinary change in the colonies as migrants flooded in and previously unknown wealth enabled expansion and development. Across the colony mines were dug and small towns and settlements were established. This ambrotype shows a working mine in central Victoria and also reveals the environmental damage that resulted from the scramble for gold.

The desire to make a fortune on the goldfields brought about significant social change. Migrants such as Henry Kay, who arrived from Penang in the 1850s, came seeking gold but stayed on in various other roles, including that of court interpreter. (Exhibition text)

 

Henry King (Australia 1855-1923) 'Henry Kay' 1855-60

Henry King (Australia 1855-1923) 'Henry Kay' 1855-60

 

Henry King (Australia 1855-1923)
Henry Kay
1855-60
Ambrotype, coloured dyes
2 photographs: ambrotypes with hand-colouring ; 8.9 x 6.5 cm. (oval, sight, f.1) in pinchbeck and gilt brass mount 10.9 x 8.3 cm. and 9.6 x 7.0 cm. (oval, sight, f.2) in gilt brass mount 10.9 x 8.2 cm., in brown union case 12.0 x 9.4 cm
Pictures Collection, State Library Victoria, Melbourne
Gift of Mrs W.G. Haysom 1964

 

 

The Ian Potter Centre: NGV Australia

Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
10am – 5pm
Closed Mondays

National Gallery of Victoria website

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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: ‘Mask’ 1994

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