Posts Tagged ‘Melbourne

26
Feb
21

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

February 2021

 

Marcus Bunyan. 'Bamboo' 1994-1996

 

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

 

 

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

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

Marcus

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

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

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

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

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

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

 

Marcus Bunyan. 'Baby, Oslo' 1994-1996

 

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

 

Marcus Bunyan. 'Barrows' 1994-1996

 

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

 

Marcus Bunyan. 'Barrows' 1994-1996

 

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

 

Marcus Bunyan. 'Bellows' 1994-1996

 

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

 

Marcus Bunyan. 'Bonsai' 1994-1996

 

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

 

Marcus Bunyan. 'Bricks and cups' 1994-1996

 

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

 

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

 

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

 

 

Children and flowers

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Corrugations

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Melbourne gay pride 1994

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

 

Marcus Bunyan website

Marcus Bunyan black and white archive

LIKE ART BLART ON FACEBOOK

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16
Sep
20

Marcus Bunyan black and white archive: ‘Horses, sheep’, 1994-95

September 2020

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

 

The second of two postings of new scans from my black and white negative archive.

The horse photographs were taken at a Royal Melbourne Show one year. The photographs of the sheep were taken in country New South Wales.

Ah, the light!

Dr Marcus Bunyan

 

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

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 !

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Foal' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Foal
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Foal' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Foal
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Mother, foal' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Mother, Foal
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Brand' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Brand
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Diamonds' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Diamonds
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Diamonds' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Diamonds
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Button braids' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Button braids
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Bridle' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Bridle
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Hock, Gaskin' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Hock, Gaskin
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Saddle' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Saddle
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Saddle' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Saddle
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Horses, sheep' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Horses, sheep
Gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan black and white archive 1991-1997

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

13
Sep
20

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

September 2020

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

 

The first of two postings of new scans from my black and white negative archive.

Most of these photographs were taken at a Royal Melbourne Show one year. The photographs of the cattle on the road were taken in country New South Wales, while the photographs of the Dalmatian were taken near Commercial Road in Prahran, South Yarra.

Ah, the light!

Dr Marcus Bunyan

 

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

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 !

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Dalmation' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Dalmation
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Dalmation' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Dalmation
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Dalmation' from 'Dogs, chickens, cattle and cows' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Dalmation
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

Marcus Bunyan. 'Untitled' from 'Dogs, chickens, cattle' 1994-95

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1994-95
From Dogs, chickens, cattle
Gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan black and white archive 1991-1997

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

26
Jul
20

Marcus Bunyan black and white archive: ‘Padlocks/People’, 1994-96

July 2020

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

 

The padlocks were from a collection borrowed from a friend and photographed on a black velvet background. I liked their antiquity coupled with their minimalist modernist aesthetic highlighted against the black background. The installation photographs at the bottom of the posting show how they were originally exhibited at my solo exhibition The Cleft in Words, The Words as Flesh at Stop 22 Gallery, Melbourne in 1996, in a grid formation with the facade of an English cathedral.

The people were photographed out of the open door of an old W class tram on Swanston Street, Melbourne, with me sitting on the floor of the tram handholding my Mamiya RZ67 – so that the people outside were at eye level as they entered. At the time, I was fascinated by the open door of the tram, of life sliding past, of people not being aware they were being photographed climbing up into the tram after the door had opened.

Today, putting these two sets of images together, I am thinking about the relationship between the mundanity of everyday life and being locked into the routine and ritual of existence, with barely a key in/sight. At the time, and now, I am informed by a quotation from Susan Stewart:

“To walk in the city is to experience the disjuncture of partial vision/partial consciousness. The narrativity of this walking is belied by a simultaneity we know and yet cannot experience. As we turn a corner, our object disappears around the next corner. The sides of the street conspire against us; each attention suppresses a field of possibilities… The walkers of the city travel at different speeds, their steps like handwriting of a personal mobility.”1

Shadows lengthen, people hasten, rushing who knows where, the body immersed in absent presence, present and not present, conscious and not conscious, aware and yet unaware of the narratives of the body and the city. Walkers of this transcendent and anonymous silence.

Dr Marcus Bunyan

 

  1. Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham: Duke University Press, 1993, p. 2. Prologue.

 

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 !

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Padlocks/People' 1995-96

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From Padlocks/People
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996'

 

Marcus Bunyan (Australian, born England 1958)
Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996
1996
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996'

 

Marcus Bunyan (Australian, born England 1958)
Installation of the Padlocks at the exhibition ‘The Cleft in Words, The Words as Flesh’ at Stop 22 Gallery, Melbourne, 1996
1995-96
Gelatin silver print

 

 

Marcus Bunyan black and white archive 1991-1997

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

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03
May
20

Marcus Bunyan black and white archive: ‘Sleep/Wound’, 1995-96

May 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 (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

 

Time is but the stream I go a-fishing in. I drink at it;
but while I drink, I see the sandy bottom and detect
how shallow it is. Its thin current slides away, but
eternity remains. I would drink deeper; fish in the sky,
whose bottom is pebbly with stars.

.
Thoreau, Walden

 

 

The series Sleep/Wound appeared in my solo exhibition titled The Cleft in Words, The Words As Flesh, at Stop 22 Gallery, St Kilda, Melbourne in 1996.

The series consists of ethereal, intimate photographs of my partner and myself in sleep positions, taken on infra-red film, the only time I ever used such film. I was fascinated (and still am) with the positions of the body in space, and how it moves in different environments.

The second part of the series are photographs of a performance, that of the cutting of my partners back. Paul and I held a dance party at a house on Punt Road in South Yarra where our friend Woody (David J. Wood of Bent Metal fame) was being evicted. The party, naturally enough called Eviction, was held to raise money for HIV/AIDS. Paul and I decorated the house, painting large, colourful kundalini symbols such as snakes and mandalas on the walls. In one room, painted with the seven colours of the main chakras, and to ambient music connected to earth, spirit and cosmos – I cut my partners back. Half the people fled, but the other half recognised the powerful spiritual connection that was happening in the performance (remember at this time, blood in terms of being gay, was tainted because of HIV/AIDS infection). I then smeared Paul’s blood on the walls of the house with my hands, crossing the boundary of the taboo by touching a bodily fluid whist acknowledging something that is essential to human life.

After packing up all the equipment from the party, we both headed to the Tasty nightclub (if any of you remember the Tasty raid) to have a good dance, with the blood still drying on Paul’s back. People were shocked at seeing his cut back. When we got back home at 6am in the morning I took out my trusty Mamiya RZ67 and took these beautiful photographs of one of the most connected, spiritual experiences of my life.

My thankx go to Paul as always for being my muse and partner without whom these experiences and photographs would never have been possible.

Marcus

 

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

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 !

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

Marcus Bunyan (Australian, born England 1958) 'Untitled' 1995-96 From the series 'Sleep/Wound'

 

Marcus Bunyan (Australian, born England 1958)
Untitled
1995-96
From the series Sleep/Wound
Gelatin silver print

 

 

Marcus Bunyan black and white archive 1991-1997

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

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12
Dec
19

Vale Andrew Follows: A life in focus. ‘Elements Of Focus’ exhibition at Magnet Gallery, Docklands, Melbourne

Exhibition dates: 7th – 21st December 2019

 

Andrew Follows (Australian) 'Elements of Focus' 2019

 

Andrew Follows (Australian)
Elements of Focus
2019
Photos used: 12

 

 

Vale Andrew Follows: A life in focus

It is with great sadness that I found out today that artist Andrew Follows passed away yesterday, December 11th, 2019.

If anybody could say that he lived and breathed photography it was Andrew. It was his passion, his reason for being. And he was good at it, very good at it.

With his Retinitis Pigmentosa (RP) – a condition which rendered one eye completely blind with ever diminishing tunnel vision in the other – he saw the world like nobody else could. Not because of this, but because he was Andrew, he was just born to be the great enabler. There was no dis/abled with Andrew. He got on with life. He got on with being an artist, being the best he could possibly be with a passion and enthusiasm which I was totally in awe of.

I still remember our trips together to photograph for his solo exhibition Density at Anita Traverso Gallery in 2013 with his beloved guide dog Eamon sitting in the footwell of my car. I mentored Andrew for a year before the exhibition and believe me, he knew what he wanted and how to get the shot. I drove him to the locations we had chosen and helped him set up the camera and tripod. He opened the lens and looked at the screen on the back of the digital camera… and saw the world! He saw things that were only blurs to him before on the screen of that digital camera. That line of light that hovers above the judges chair in the courtroom at Beechworth, where Ned Kelly was sentenced to death, lingers long in the memory. Only Andrew could get permission to photograph, at night, in the old Beechworth Courthouse.

As I have written in an earlier piece, “His is not the vision of im(pair)ment as the rest of us see the world, through two eyes, but the holistic vision of a monocular eye that becomes the root of his photography. The lens of the camera becomes an extension of Self, the shutter his very existence and the digital screen on the back of the camera his tabula rasa, a “blank slate” upon which he writes his experience and perception, his knowledge of the world. His experience of vision and the evidence of his photographs become both the beginning and the end of the work, a place in which his fundamental nature resides.”

Andrew speaks truth to photography, for that was his nature. In so doing he speaks truth to life itself.

He had such a passion for photography. Two postings I did for him earlier Andrew Follows: Carmania (February 2016) and Andrew Follows: Carmania 2 (June 2016) express what I most loved about Andrew as a person and as a photographer… how he just got so much out of life, and how he saw the world with crystal clear focus and clarity – in these two postings combining his two great passions, cars and photography. I still think these are some of the best art car photographs I have ever seen. There is an immediacy and directness to them, a time and space of great perception. Again, in his new exhibition we feel his love in seeing the world through the camera, offering his unique and fragmented perspective to the viewer, which comes together in the final, holistic image.

Above all Andrew brought people together to enable his projects through his charisma, cheekiness and charm, his get up and go for what he was doing and what he wanted to achieve. He brought everyone along for the ride. Andrew Andrew Andrew what a spirit young man… what energy, love, passion, commitment and talent. We had some fabulous times together. I loved how you taught me as much as I taught you. About life, about photography, and looking and seeing the world. I’m so glad I got to see you at the opening on Saturday and give you a kiss and a hug.

Andrew speaks truth to photography, for that was his nature. In so doing he speaks truth to life itself.

With thanks to Dishan Marikar, Magnet Galleries Melbourne, Fiona Cook and everyone who helped with the exhibition and book. Condolences to all family and friends.

Marcus xx

.
Many thankx to Andrew Follows, Magnet Galleries Melbourne and Dishan Marikar for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. The book from the exhibition is available to buy from the gallery as are prints, and funds raised from this show will benefit artists with disability in the future with a biennial prize to be awarded from the Andrew Follows Trust. For more information about the book please see the Magnet Galleries Melbourne website.

 

 

Andrew Follows (Australian) 'Mercedes-Benz 230SL' 2019

 

Andrew Follows (Australian)
Mercedes-Benz 230SL
2019
Photos used: 11
Year of manufacture: 1964

 

'Elements of Focus' exhibition book cover

 

Elements of Focus exhibition book cover

 

'Elements of Focus' exhibition book cover and postcards

 

Elements of Focus exhibition book cover and postcards

 

'Elements of Focus' exhibition postcards

 

Elements of Focus exhibition postcards

 

Crowd at the opening of Andrew Follows' 'Elements of Focus' exhibition at Magnet Galleries Melbourne

 

Crowd at the opening of Andrew Follows’ Elements of Focus exhibition at Magnet Galleries Melbourne
Photo: Michael Silver

 

Andrew Follows (Australian) 'Ferrari F12tdf' 2019

 

Andrew Follows (Australian)
Ferrari F12tdf
2019
Photos used: 12
Year of manufacture: 2017

 

Andrew Follows (Australian) 'Ferrari F12tdf' 2019 (detail)

Andrew Follows (Australian) 'Ferrari F12tdf' 2019 (detail)

 

Andrew Follows (Australian)
Ferrari F12tdf (details)
2019
Photos used: 12
Year of manufacture: 2017

 

Andrew Follows (Australian) 'Lamborghini Murcielago R-GT (unrestored)' 2019

 

Andrew Follows (Australian)
Lamborghini Murcielago R-GT (unrestored)
2019
Photos used: 5
Year of manufacture: 2004

 

Andrew Follows (Australian) 'Lamborghini Murcielago R-GT (restored)' 2019

 

Andrew Follows (Australian)
Lamborghini Murcielago R-GT (restored)
2019
Photos used: 13
Year of manufacture: 2004

 

Andrew Follows (Australian) 'Ferrari Enzo' 2019

 

Andrew Follows (Australian)
Ferrari Enzo
2019
Photos used: 10
Year of manufacture: 2003

 

Andrew Follows with his guide dog Leo and his mentor Dishan Marikar

 

Andrew Follows with his guide dog Leo and his mentor Dishan Marikar at the opening of the exhibition Elements of Focus at Magnet Galleries Melbourne

 

 

Elements of Focus is a very important project that brings together my two passions – motor cars and photography. The cars in this project range from some of the rarest to even a few more common examples, but they are being photographed and presented in a way that has never been seen before.

Being a legally blind photographer, who has tunnel vision, my images offer the viewer a different perspective through my lens and take them on a visual journey. I have an eye condition called Retinitis Pigmentosa (RP), a condition which has rendered one eye completely blind with ever diminishing tunnel vision in the other. I can see three metres to most people’s seventy metres, and that through a foggy haze.

My tunnel vision means that I can’t see the object as a whole when I’m photographing a car, I take shots of each individual element of the car, and then piece the final image together like a jigsaw puzzle.

For this very exciting photographic project, I have been mentored by Dishan Marikar, one of the best car photographers in Melbourne. I am very honoured and proud to have Dishan teach me new skills in the area of photography he is so well known for.

For those of you may not know, I have been diagnosed with cancer of the oesophagus and Elements of Focus may be the last exhibition that I will be able to celebrate with you as I am not well. I’d love to share this important exhibition with my friends, peers and colleagues. Thank you for being part of my journey in photography and life.

Andrew Follows

Text from the Andrew Follows website November 7, 2019 [Online] Cited Saturday 07/12/2019

 

Andrew Follows (Australian) 'Porsche 991 911 GT2 RS' 2019

 

Andrew Follows (Australian)
Porsche 991 911
GT2 RS

2019
Photos used: 16
Year of manufacture: 2018

 

Andrew Follows (Australian) 'Lamborghini Diablo Roadster' 2019

 

Andrew Follows (Australian)
Lamborghini Diablo Roadster
2019
Photos used: 21
Year of manufacture: 1999

 

Andrew Follows (Australian) 'Frazer Nash TT' 2019

 

Andrew Follows (Australian)
Frazer Nash TT
2019
Photos used: 11
Year of manufacture: 1932

 

 

Elements Of Focus is a very important project that brings together the two passions of Andrew Follows: motor cars and photography. The cars in this project range from some of the rarest in Australia to even a few common examples, but they are being photographed and presented in a way that has never been seen before. Being a legally blind photographer with tunnel vision, Andrew’s images offer viewers a different perspective through his lens as he takes them on a visual journey.

“My tunnel vision means that I can’t see the object as a whole. When I’m photographing a car, I take shots of each individual element of the car, and then piece the final image together like a jigsaw puzzle.”

For this very exciting photographic project, Andrew has been mentored by Dishan Marikar, one of the best car photographers in Melbourne.

The exhibition is being held in December at Magnet Gallery in Docklands, a highly respected photography gallery in Melbourne.

“I am very honoured and proud to have Dishan teach me new skills in the area of photography he is so well known for. The team at Magnet has been great to work with and I am very excited to showcase my Elements Of Focus project there.”

Text from the Magnet Galleries Melbourne website [Online] Cited Saturday 07/12/2019

 

Andrew Follows (Australian) 'Citroën DS21 Safari' 2019

 

Andrew Follows (Australian)
Citroën DS21 Safari
2019
Photos used: 10
Year of manufacture: 1971

 

Andrew Follows (Australian) 'Citroën DS21 Safari' 2019 (detail)

Andrew Follows (Australian) 'Citroën DS21 Safari' 2019 (detail)

 

Andrew Follows (Australian)
Citroën DS21 Safari (details)
2019
Photos used: 10
Year of manufacture: 1971

 

 

Installation views of Andrew Follows Citroën DS21 Safari 2019 at the exhibition Elements of Focus at Magnet Galleries Melbourne

 

Pages from the 'Elements of Focus' book

Pages from the 'Elements of Focus' book

Pages from the 'Elements of Focus' book

 

Pages from the Elements of Focus book showing photographic fragmentation and stitching process

 

Andrew Follows (Australian) 'Porsche 964 991 Turbo 3.6' 2019

 

Andrew Follows (Australian)
Porsche 964 991 Turbo 3.6
2019
Photos used: 9
Year of manufacture: 1994

 

Andrew Follows (Australian) 'Maserati Merak SS' 2019

 

Andrew Follows (Australian)
Maserati Merak SS
2019
Photos used: 9
Year of manufacture: 1978

 

Marcus Bunyan with his friend Andrew Follows at the opening of his exhibition 'Elements of Focus'

 

Marcus Bunyan with his friend Andrew Follows at the opening of his exhibition Elements of Focus at Magnet Galleries Melbourne

 

 

Magnet Galleries Melbourne
SC G19 Wharf St, The District,
Docklands, Victoria, 3008
Australia
Phone: +61 (0) 3 8589 0371

Opening hours:
Tuesday – Friday 11am – 5pm
Saturday and Sunday 11am – 4pm

Andrew Follows Photographer website

Magnet Galleries Melbourne website

 

26
Sep
19

Exhibition: ‘Terracotta Warriors: Guardians of Immortality’ at the National Gallery of Victoria, Melbourne

Exhibition dates: 24th May – 13th October 2019

 

Censer 灰陶熏炉 Qin dynasty, 221 - 207 BCE

 

Censer
灰陶熏炉
Qin dynasty, 221 – 207 BCE
Earthenware
Xi’an Museum, Xi’an

 

 

The best thing about this exhibition were the beautiful lidded containers, flasks, everyday vessels and censers; cows, sows, goats, mythical creatures and smaller soldiers. The female attendant was divine.

Other than that I refrain from comment for fear of incriminating myself!

(perhaps a yawn would suffice)

Marcus

 

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

 

Epic accounts of China’s ruling dynasties, philosophies, inventions and social customs during ancient times have been passed down through the centuries in the writings of philosophers, imperial scribes and military strategists. However, it was not until archaeologists in the twentieth century unearthed evidence – masterful bronzes, delicately crafted jades and boldly decorated ceramics – that the advanced levels of civilisation, artistry and refined aesthetics that existed in the past were more fully revealed. This provided a greater understanding of the rituals, social customs, preparation for the afterlife and quest for immortality that remained central to Chinese culture.

The greatest discovery of all was in 1974, when local farmers digging an irrigation well in Lintong district, Xi’an, unearthed fragments of the terracotta warriors. With this astounding discovery the legends of ancient China’s first emperor, Qin Shihuang, were confirmed. In their size and number, the terracotta warriors are unique in world history and signify Qin Shihuang’s quest for immortality, his affiliation with China’s mythical rulers, and his supreme imperial mandate as the son of heaven.

Text from the National Gallery of Victoria website

 

 

Lacquered vessel, Ding 陶胎漆鼎 Warring States period, 475 - 221 BCE

 

Lacquered vessel, Ding
陶胎漆鼎
Warring States period, 475 – 221 BCE
Lacquer on earthenware
Shangluo City Museum, Shangluo

 

Lidded container, He (left) 彩绘陶盒 Han dynasty, 207 BCE - 220 CE

 

Lidded container, He (left)
彩绘陶盒
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

Lidded container, He (right)
彩绘陶盒
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

 

Jar for storing grain (left) 彩绘陶仓 Han dynasty, 207 BCE - 220 CE

 

Jar for storing grain (left)
彩绘陶仓
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

Jar for storing grain (right)
彩绘陶仓
Han dynasty, 207 BCE – 220 CE
Earthenware, pigments
Ganquan County Museum, Yan’an

 

 

Ceramic ware with boldly painted decoration became widely used as substitutes for bronze vessels during the Qin (221 – 207 BCE) and Han (207 BCE – 220 CE) dynasties. The spontaneous and energetic decoration indicates they were produced in large numbers and therefore affordable to the general public. Vessels like these were used as utensils in daily life as well as modest tomb ware to contain provisions for the afterlife, like grain, wine and other foods. Ceramic ware like water pourers or incense burners also served as affordable utensils used in ceremonies and rituals.

Wall text from the exhibition

 

Flask, Hu 彩绘陶壶 Spring and Autumn period, 771 - 475 BCE

 

Flask, Hu
彩绘陶壶
Spring and Autumn period, 771 – 475 BCE
Earthenware, pigments
Longxian County Museum, Baoji

 

 

These Han dynasty ceramic vessels maintain the elegant shapes and decorative features of Zhou dynasty bronze vessels produced 1000 years earlier. Free-flowing painted designs reference nature motifs and auspicious subjects like clouds and dragons. The Four-sided flask displays ringed handles in solid relief on either side in a direct reference to identically shaped bronze vessels from the Zhou dynasty.

Wall text from the exhibition

 

Hollow brick with snake and tortoise 玄武纹空心砖 Western Han dynasty, 207 BCE - 9 CE

 

Hollow brick with snake and tortoise
玄武纹空心砖
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Maoling Museum, Xingping

 

 

The Qin state capital city changed location on numerous occasions before establishing its grandest city and ultimate capital at Xianyang in 350 BCE. Vast palaces were constructed with wooden structures and clay-tiled roofs. Palaces were decorated with magnificent murals that featured geometric and floral designs as well as figures and animals. At the fall of the Qin empire in 207 BCE, the palaces were destroyed, with the grandest of them, Epang Palace, so large it reportedly burned for more than three months. Today, nothing but foundations remain; however, an idea of their grandeur and decoration can be gained from bricks and roof tiles. Four of the bricks display the four protective spirits representing each of the cardinal directions: the turtle (north), dragon (east), vermilion bird (south) and tiger (west).

Wall text from the exhibition

 

Flask, Hu 彩绘陶壶 Spring and Autumn period, 771 - 475 BCE

 

Flask, Hu
彩绘陶壶
Spring and Autumn period, 771 – 475 BCE
Earthenware, pigments
Longxian County Museum, Baoji

 

 

Ritual objects and ancestral treasures

Before the establishment of a nationally unified state by Emperor Qin Shihuang in 221 BCE, China had a long history of opposing kingdoms, self-governing territories and dynasties whose customs, beliefs and refined artisanship influenced the Qin dynasty and its creativity. Family prestige, social harmony and a belief in immortality and the afterlife were central to the creation of auspicious and ceremonial objects used for burial rituals, ancestor worship and encouraging good fortune. This gallery displays some of the most exquisitely crafted of these objects, produced from the beginning of the Zhou dynasty to the end of the Han dynasty (1046 BCE – 220 CE).

Jade was believed to possess magical powers that could maintain the human life force of air or breath after death, and beautifully carved jade objects would often accompany bodies in burial to help purify the deceased’s soul for its journey to the afterlife. Bronze objects with decorative motifs and inscriptions were created to represent a symbolic connection to China’s earliest dynasties and a ‘mandate from heaven’ to rule. Gold is thought to have been introduced to China from Central Asia and was mostly used for decoration on clasps, buckles and ceremonial objects.

Wall text from the exhibition

 

Belt plaque 金牌饰 Western Han dynasty, 207 BCE - 9 CE

 

Belt plaque
金牌饰
Western Han dynasty, 207 BCE – 9 CE
Gold, jade, agate, turquoise
Shaanxi Provincial Institute of Archaeology, Xi’an

 

 

In contrast to jade, which symbolised wealth and spiritual purity, and bronze, used to produce ritual objects, gold was used to a lesser extent and served a primarily decorative purpose. The tradition of using gold for personal adornment is believed to have come to China from Central Asia, and gold became a favoured material from the Spring and Autumn period (771 – 475 BCE) onwards. Objects that represented personal status, such as belt hooks, belt plaques and personal adornments, were usually cast in solid gold and often featured stylised geometric dragon motifs and inlaid semiprecious stones like turquoise and agate.

Wall text from the exhibition

 

Door ring holder in the form of a mythological beast, Pushou 四神兽面纹玉铺首 Han dynasty, 207 BCE - 220 CE

Door ring holder in the form of a mythological beast, Pushou 四神兽面纹玉铺首 Han dynasty, 207 BCE - 220 CE

 

Door ring holder in the form of a mythological beast, Pushou
四神兽面纹玉铺首
Han dynasty, 207 BCE – 220 CE
Jade
Maoling Museum, Xingping

 

 

This impressive door ring holder (pushou) in the form of a taotie mythological beast mask would support a large ring from its lower section and be positioned in the centre of doors or gateways. Its size is evidence of the grandeur of the palace or mausoleum building it once adorned. Its fierce appearance, with bulging eyes, was believed to ward off evil spirits, and its curling motifs ingeniously incorporate the four protective spirits in each corner. The four holy creatures are (clockwise from top left) the white tiger, the azure dragon, the vermilion bird and the black tortoise.

Wall text from the exhibition

 

 

In a dual presentation of Chinese art and culture past and present, the Melbourne Winter Masterpieces series at the National Gallery of Victoria will present China’s ancient Terracotta Warriors alongside a parallel display of new works by one of the world’s most exciting contemporary artists, Cai Guo-Qiang, at NGV International, May 2019.

Terracotta Warriors: Guardians of Immortality is a large-scale presentation of the Qin Emperor’s Terracotta Warriors, which, discovered in 1974 in China’s Shaanxi province, are regarded as one of the greatest archaeological finds of the twentieth century and widely described as the eighth wonder of the world. The exhibition will feature eight warrior figures and two life-size horses from the Imperial Army, as well as two half-size replica bronze chariots, each drawn by four horses.

These sculptures will be contextualised by an unprecedented Australian presentation of more than 150 exquisite ancient treasures of Chinese historic art and design lent by leading museums and archaeological sites from across Shaanxi province. These include priceless gold, jade and bronze artefacts that date from the Western Zhou through to the Han dynasties (1046 BC – 220AD). Illuminating more than a millennium of Chinese history, the exhibition will showcase the magnificence and authority of the once-entombed figures and reveal, through the intricate display of accompanying objects and artefacts, the sophistication that characterised the formative years of Chinese civilisation.

Presented in parallel, Cai Guo-Qiang: The Transient Landscape, will see contemporary artist, Cai Guo-Qiang, create all new art works inspired by his home country’s culture and its enduring philosophical traditions, including a monumental installation of 10,000 suspended porcelain birds. Spiralling over visitors’ heads, the birds create a three-dimensional impression of a calligraphic drawing of the sacred Mount Li, the site of the ancient tomb of China’s first emperor, Qin Shihuang, and his warriors. Cai will collaborate on the exhibition’s design, creating breathtaking immersive environments for the presentation of both his work and the Terracotta Warriors.

Drawing on Cai’s understanding of ancient Chinese culture and his belief that a dialogue with tradition and history can invigorate contemporary art, he will also create a monumental porcelain sculpture of peonies, placed at the centre of a 360-degree gunpowder drawing.

Tony Ellwood AM, Director, NGV said: ‘Thirty-six years ago, in 1982, the National Gallery of Victoria presented the first international exhibition of China’s ancient Terracotta Warriors only several years after their discovery. History will be made again in 2019, when the Qin Emperor’s Terracotta Army will return to the NGV for the 2019 Melbourne Winter Masterpieces exhibition series – this time in a sophisticated dialogue with the work one of China’s most celebrated contemporary artists, Cai Guo-Qiang.’

Of the parallel presentation, Cai said: ‘They are two rivers of time separated by two millennia, each creating a course at their own individual speed across a series of shared galleries. The ancient and the contemporary – two surges of energy that crisscross, pull, interact and complement each other, generating a powerful tension and contrast, each attracting and resisting the other.’

Jeff Xu, Founder and Managing Director, Golden Age Group said: ‘This exhibition will inspire Australian and international audiences to delve deeper into the many rich and diverse facets of China’s heritage. As Principal Partner, Golden Age is pleased to support such an ambitious world-exclusive showing in Victoria,  demonstrating our commitment to Melbourne as the cultural capital. We believe this exhibition will leave a lasting impression on this city for decades to come.’

This exhibition was organised by the National Gallery of Victoria, Melbourne, in partnership with Shaanxi Provincial Cultural Relics Bureau, Shaanxi History Museum, Shaanxi Cultural Heritage Promotion Centre, and Emperor Qin Shihuang’s Mausoleum Site Museum of the People’s Republic of China.

Press release from the National Gallery of Victoria [Online] Cited 14/07/2019

 

Armoured general 铠甲将军俑 Qin dynasty, 221 - 207 BCE

Armoured general 铠甲将军俑 Qin dynasty, 221 - 207 BCE

Armoured general 铠甲将军俑 Qin dynasty, 221 - 207 BCE

 

Armoured general
铠甲将军俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

This general, the largest of the terracotta warriors in the exhibition, has a distinguished beard and moustache and displays a stance of importance. His position of authority is indicated by his headdress, which is the same style as that of the adjacent unarmoured general, and is further enforced by decorative tassels on his chest and back that act as insignias of rank. Generals and other high-ranking officers wore long armoured tunics that tapered from the waist to a triangular shape at the front, protecting their vital organs.

Wall text from the exhibition

 

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

 

Armoured military officer
中级铠甲军吏俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

Standing warriors weigh between 150 and 300 kilograms and usually consist of seven different parts: a plinth, feet, legs, torso, arms, hands and head. Clay was kneaded by foot, and the torso section was built up with a coil layering technique. Other parts were created by pressing soft clay into moulds, in a process similar to making roof tiles or drainage pipes. To give each warrior a unique appearance, different moulds were used and the position of fingers and arms was manipulated while the clay was soft. Folds of clothing or armour plates were added to the torso, and head features were developed with additional small pieces of clay to define the cheekbones, chin, ears, nose and hair.

Wall text from the exhibition

 

Standing archer 立射俑 Qin dynasty, 221 - 207 BCE

Standing archer 立射俑 Qin dynasty, 221 - 207 BCE

Standing archer 立射俑 Qin dynasty, 221 - 207 BCE

 

Standing archer
立射俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

The release of energy and sense of movement at the moment of firing an arrow results in archers displaying the most elegant and dramatic stances of all the terracotta warriors. The standing archer’s feet are slightly parted for balance, and he stares intently into the distance as if following the flight of an arrow just released from his bow. Displaying the topknot and braiding of a warrior, he wears a simple gown that allows freedom of movement. When created, the warriors were painted in bright colours and coated with lacquer, but this colouring had mostly been lost by the time of their excavation. New techniques of colour preservation are currently being developed at the terracotta warriors site.

Wall text from the exhibition

 

Unarmoured infantryman 战袍武士俑 Qin dynasty, 221 - 207 BCE

 

Unarmoured infantryman
战袍武士俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

Unarmoured or light infantrymen are distinguished by their hair gathered in a top knot and their absence of armour. Their simple robes and low-slung belts give them a less military appearance; however, their half-closed right hand would have originally held a sword. We can clearly see that this figure has been reconstructed from many small broken parts. Of more than 2000 warriors unearthed to date, none have been discovered intact. It is speculated that shortly after their completion at the fall of the Qin dynasty, the victorious Han entered the terracotta warriors’ underground passages, smashed the contents and set the wooden passages on fire.

Wall text from the exhibition

 

 

Terracotta warriors

The discovery of the terracotta warriors, one of the most significant archaeological finds of the twentieth century, was made by chance. In March 1974, seeking water during a period of drought, local farmers began digging an irrigation well in Lintong district, Xi’an. Little more than a metre below ground, they unearthed fragments of the terracotta army, including a warrior’s head and a group of bronze arrowheads. Had the farmers commenced their digging a metre to the east, the warriors may have remained undetected.

The enormous tomb mound of China’s first emperor, Qin Shihuang, is located 1.5 kilometres from the terracotta warriors. While this has been the Qin emperor’s recognised tomb site over the centuries, astoundingly the creation of the warriors who guarded it was never recorded and knowledge of their existence was lost over time. It was recorded that the emperor employed and conscripted up to 700,000 workers to construct his mausoleum, the terracotta army and other buried items, making it the largest and most ambitious mausoleum construction in China’s history. To date, approximately 2000 of an estimated 8000 warriors have been excavated, and the pieces on display here represent the variety of individuals created, their positions within the army and their styles of apparel.

 

The first emperor’s mausoleum, according to the grand historian

Han dynasty historian and scribe Sima Qian (145 – 86 BCE) wrote a detailed account of the construction and interior of Qin Shihuang’s mausoleum in his text Records of the Grand Historian – Basic Annals of Qin:

‘In the ninth month, the First Emperor was interred at Mount Li. When he first came to the throne, the digging and preparation work began. Later, when he had unified China, 700,000 men were sent there from all over the empire. They dug through three layers of groundwater, and poured in bronze for the outer coffin. Palaces and scenic towers for a hundred officials were constructed, and the tomb was filled with rare artefacts and wonderful treasure. Craftsmen were ordered to make crossbows and arrows primed to shoot at anyone who entered the tomb. Mercury was used to simulate the hundred rivers, the Yangtze and Yellow River, and the great sea, and set to flow mechanically. Above were representations of the heavenly constellations, below were the features of the land. Candles were made from fat of “man-fish”, calculated to burn and not extinguish for a long time. The Second Emperor said: “It would be inappropriate for the concubines of the late emperor who have no sons to be out free”, [and] ordered that they should accompany the dead, and a great many died. After the burial, it was suggested that it would be a serious breach if the craftsmen who constructed the mechanical devices and knew of its treasures were to divulge those secrets.

Therefore after the funeral ceremonies had completed and the treasures [had been] hidden away, the inner passageway was blocked, and the outer gate lowered, immediately trapping all the workers and craftsmen inside. None could escape. Trees and vegetation were then planted on the tomb mound such that it resembles a hill.’

Wall text from the exhibition

 

Armoured military officer 中级铠甲军吏俑 Qin dynasty, 221 - 207 BCE

 

Armoured military officer
中级铠甲军吏俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

Civil official 文官俑 Qin dynasty, 221 - 207 BCE

Civil official 文官俑 Qin dynasty, 221 - 207 BCE

Civil official 文官俑 Qin dynasty, 221 - 207 BCE

 

Civil official
文官俑
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

In preparation for the afterlife, Emperor Qin Shihuang not only produced a terracotta army for his protection, but also ceramic administrators to look after government and civil affairs. This terracotta figure was discovered at a site adjacent to the emperor’s tomb, more than a kilometre from the terracotta army. Twelve civil officials were discovered, as well as the bones of twenty actual horses, one chariot and one charioteer. The officials all feature moustaches and a small tuft of chin hair and wear small hats believed to symbolise their status as officials or public conveyances. The attire of some civil officials includes baggy robes and a belt from which a pouch (presumably carrying a sharpening stone) and knife (to inscribe bamboo slats used for record keeping) hang.

Wall text from the exhibition

 

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

Chariot horse 车马 Qin dynasty, 221 - 207 BCE

 

Chariot horse
车马
Qin dynasty, 221 – 207 BCE
Earthenware
Emperor Qin Shihuang’s Mausoleum Site Museum, Xi’an

 

 

Horses were fundamental to the strength of Chinese rulers and sacrificial horse burials had been practised since the Shang dynasty (c. 1600 – 1046 BCE). This is particularly notable at the tomb of Duke Jing of Qi (reigned 547 – 490 BCE), which contained a pit with the remains of over 600 horses. At several separate excavation sites in the vicinity of Emperor Qin Shihuang’s tomb, the remains of real horses and chariots have been discovered. However, the first emperor is significantly noted as the first to create life-sized horse replicas as an integral part of the terracotta army’s military formation. While the adjacent horse features a hole on each side to prevent cracking during firing, this example was ventilated through its detachable tail.

Wall text from the exhibition

 

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

Tomb gate 画像石 Eastern Han dynasty, 25 - 220 CE

 

Tomb gate
画像石
Eastern Han dynasty, 25 – 220 CE
Stone, pigments
Suide County Museum

 

 

This graphically decorated tomb gate depicts animated events and scenes of daily life typical of the Qin (221 – 207 BCE) and Han (207 BCE – 220 CE) dynasties. The lintel displays a hunting scene with men on horseback galloping at full speed – some with lances and others shooting arrows – in pursuit of wild animals. The inner left and right supports feature images of people wrestling, playing instruments, nursing children, performing acrobatics, walking with a horse, carrying goods or climbing stairs. Mythical birds, creatures and people are pictured on the rooftops and on the curling vines of the outer supports.

Wall text from the exhibition

 

Mythical creatures 石兽 Eastern Han dynasty, 25 - 220 CE

Mythical creatures 石兽 Eastern Han dynasty, 25 - 220 CE

 

Mythical creatures
石兽
Eastern Han dynasty, 25 – 220 CE
Stone
Xi’an Beilin Museum, Xi’an

 

 

Large stone beasts lined ‘spirit paths’ leading to the tombs of emperors, royals and aristocrats to protect them in the afterlife. These two magnificent Han dynasty examples stride forward with teeth displayed and powerful tails gracefully balanced behind. The female rests her front paw on a playful infant beast, representing natural harmony, and the male beast places his paw on a ball, representing his supremacy.

Wall text from the exhibition

 

Female attendant 粉彩女俑 Western Han dynasty, 207 BCE - 9 CE

Female attendant 粉彩女俑 Western Han dynasty, 207 BCE - 9 CE

 

Female attendant
粉彩女俑
Western Han dynasty, 207 BCE – 9 CE
Earthenware, pigments
Shaanxi Provincial Institute of Archaeology, Xi’an

 

 

Excavated from the Yangling tomb of the fourth Han emperor, Jing, this female attendant displays the rounded shoulders typical of a Han dynasty beauty. She wears multi-layered robes with wide sleeves and the splayed lower section fashionable among women of the time. The position of her hands, concealed in her sleeves, elegant stance and gentle expression suggest that she is waiting to attend the imperial household members.

Wall text from the exhibition

 

Standing soldiers 彩绘步兵俑 Western Han dynasty, 207 BCE - 9 CE

 

Standing soldiers
彩绘步兵俑
Western Han dynasty, 207 BCE – 9 CE
Earthenware, pigments
Xianyang Museum, Xianyang

 

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

Large cavalrymen 彩绘骑马俑 Western Han dynasty, 207 BCE - 9 CE

 

Large cavalrymen
彩绘骑马俑
Western Han dynasty, 207 BCE – 9 CE
Earthenware, pigments
Xianyang Museum, Xianyang

 

 

A terracotta army of more than 2400 horses with riders and standing figures was discovered in 1965 by villagers levelling land at Yangjiawan, approximately twenty-two kilometres north-east of Xi’an. Due to the large number of military objects found, the site is believed to be a satellite tomb in the burial complex of the first Han emperor, Gaozu, associated with the military generals Zhou Bo and his son Zhou Yafu. Each standing warrior carries a shield and wears a loose rove, and one has painted armour. Colour remains visible on these figures and provides a good indication of their original appearance.

Label text from the exhibition

 

Goat 陶山羊 Western Han dynasty, 207 BCE - 9 CE

Goat 陶山羊 Western Han dynasty, 207 BCE - 9 CE

 

Goat
陶山羊
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

Cow 陶牛 Western Han dynasty, 207 BCE - 9 CE

Cow 陶牛 Western Han dynasty, 207 BCE - 9 CE

 

Cow
陶牛
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

Wild male dog 陶狼犬(公) Western Han dynasty, 207 BCE - 9 CE; Domestic female dog 陶家犬(母) Western Han dynasty, 207 BCE - 9 CE

 

Wild male dog
陶狼犬(公)
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

Domestic female dog
陶家犬(母)
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

Sow 陶母猪 Western Han dynasty, 207 BCE - 9 CE

 

Sow
陶母猪
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Shaanxi Provincial Institute of Archaeology, Xi’an

 

Group of ten soldiers 男武士俑--十人组 Western Han dynasty, 207 BCE - 9 CE

Group of ten soldiers 男武士俑--十人组 Western Han dynasty, 207 BCE - 9 CE

 

Group of ten soldiers
男武士俑–十人组
Western Han dynasty, 207 BCE – 9 CE
Earthenware
Han Yangling Museum, Xianyang

 

 

More than 40,000 small-scale terracotta warriors were discovered and excavated during the 1990s from pits adjacent to the Han Yangling tomb of Emperor Jing. Created seventy years after Qin Shihuang’s life-sized terracotta warriors, they served the same purpose as tomb guardians but were of a scale that could be more practically produced. The torsos, legs and heads were moulded separately then joined with moist clay before firing. Arms, made from wood, clothing, made from cloth, and armour, made from leather, have all perished during their 2000 years underground. The variety of faces produced from different moulds suggest a multicultural nation and the many regions and ethnicities present in the Han dynasty army.

Label text from the exhibition

 

Wellhead 绿釉陶井 Han dynasty, 207 BCE - 220 CE

 

Wellhead
绿釉陶井
Han dynasty, 207 BCE – 220 CE
Glazed earthenware
Xi’an Museum, Xi’an

 

 

NGV International
180 St Kilda Rd, Melbourne

Opening hours:
Open daily, 10am – 5pm

National Gallery of Victoria website

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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’, 1995-96

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)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo I)
1995-96
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 !

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

Marcus Bunyan. 'Mask' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask I
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask II
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Horse bit)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Horse bit)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Boots)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Boots)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance I' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance I
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask III
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Dildo II)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo II)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Blind)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Blind)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance II' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance II
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance III' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance III
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Balance IV' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Balance IV
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Dildo III)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Dildo III)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands on hips)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands on hips)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Blind)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Blind)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands on hips)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands on hips)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Saliva I' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Saliva I
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Saliva II' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Saliva II
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Hands behind back)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Hands behind back)
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Mask IV' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Mask IV
1995-96
From the series Mask
Gelatin silver print

 

Marcus Bunyan. 'Paul (Boots and mask)' 1995-96 from the series 'Mask'

 

Marcus Bunyan (Australian, born England 1958)
Paul (Boots and mask)
1995-96
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

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ costs $1000 plus tracked and insured shipping. For more information please see my store web page.

 

 

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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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-96 Part 2

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