Exhibition: ‘Candid Camera: Australian Photography 1950s-1970s’ at the Art Gallery of South Australia, Adelaide

Exhibition dates: 28th May – 1st August, 2010

 

Robert McFarlane (Australia, b. 1942) 'Charles Perkins going home from University' c. 1963 from the exhibition 'Candid Camera: Australian Photography 1950s-1970s' at the Art Gallery of South Australia, Adelaide, May - August, 2010

 

Robert McFarlane (Australia, b. 1942)
Charles Perkins going home from University
c. 1963, Sydney
Pigment print on paper
Image: 23 x 15cm
South Australian Government Grant 2009
Art Gallery of South Australia, Adelaide
© Robert McFarlane, Courtesy of Josef Lebovic Gallery, Sydney

 

 

There are some great photographs below, including one of my favourite photographs by an Australian artist of all time – At Newport (1952) by Max Dupain. There is something about this photograph that to me, makes it even more iconic than Sunbaker (1934). Perhaps it is the modernist rendering of space, the tensional placement of the figures: the curve of the boys back, the slope of the young man’s torso and attendant shadow on the wall, the girl at bottom right caught looking at the poised figure about to dive in – coupled with the receding pylons floating into the distance and the dark cliff face at right.

To have the previsualisation in the mind’s eye, that understanding of what was about to happen placed before the camera and then to capture it takes a truly great photographer. Being a naturalised Australian this is, to me, is one of the most iconic of all Australian photographs. What a beautiful photograph.

Dr Marcus Bunyan


Many thankx to Miranda Young and the Art Gallery of South Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Rennie Ellis (Australia, 1940-2003) 'Auntie Mame, Kings Cross, Sydney' 1970-1971 from the exhibition 'Candid Camera: Australian Photography 1950s-1970s' at the Art Gallery of South Australia, Adelaide, May - August, 2010

 

Rennie Ellis (Australia, 1940-2003)
Auntie Mame, Kings Cross, Sydney
1970-1971, Sydney
Gelatin silver photograph
Image: 37 x 24cm
South Australian Government Grant 2009
Art Gallery of South Australia, Adelaide
© Rennie Ellis Photographic Archive

 

Jeff Carter (Australia, 1928-2010) 'Tobacco Road' 1956 from the exhibition 'Candid Camera: Australian Photography 1950s-1970s' at the Art Gallery of South Australia, Adelaide, May - August, 2010

 

Jeff Carter (Australia, 1928-2010)
Tobacco Road
1956, Ovens Valley, Victoria
Gelatin silver photograph
Image: 28.8 x 27.1cm
South Australian Government Grant 2003
Art Gallery of South Australia, Adelaide
© Jeff Carter

 

 

Candid moments of Australian life from the 1950s, 60s and 70s, captured by some of Australia’s most renowned photographers, go on display in Candid Camera – a fascinating new photographic exhibition at the Art Gallery of South Australia.

Curated by Julie Robinson, the Art Gallery’s Senior Curator of Prints, Drawings & Photographs, Candid Camera: Australian Photography 1950s-1970s includes more than 80 documentary images by photographers including Max Dupain, David Moore, Jeff Carter, Robert McFarlane, Mervyn Bishop, Rennie Ellis, Carol Jerrems and Roger Scott.

These photographers have been great observers, capturing memorable images in Australia and abroad of people at leisure or engaged in everyday activities – images which appear unposed, spontaneous, or with their subjects captured unaware.

The photographs on display encompass social rituals, beach culture, protest movements, Indigenous issues, migration, youth subcultures, work, leisure, music, people, travel and humour. They range from images of the famous – such as Prime Ministers, boxing champion Lionel Rose, musicians Bon Scott and Daddy Cool – to those of ordinary people.

Says Julie Robinson, “The photographs in Candid Camera epitomise life during the 50s, 60s and 70s and resonate with spontaneity, humour and humanity.”

Robinson explains, “Even the anonymous people seem familiar to us as a result of these photographs, like David Moore’s European migrants arriving in Sydney, Rennie Ellis’s Cosmetics salesgirl, Toorak Rd, the two youths exiting ghost train ride in Roger Scott’s photograph or the unidentified women waiting at an Adelaide bus stop, in Robert McFarlane’s photograph.”

Many of these photographs have only been recently acquired by the Art Gallery of South Australia and this exhibition will provide the first opportunity for audiences to view them displayed together.

Press release from the Art Gallery of South Australia website [Online] Cited 20/10/2010 no longer available online

 

Jeff Carter (Australia, 1928-2010) 'Saturday arvo, Chippendale' 1960

 

Jeff Carter (Australia, 1928-2010)
Saturday arvo, Chippendale
1960, Chippendale, New South Wales
Gelatin silver photograph
Image: 30.5 x 36.1cm
South Australian Government Grant 2003
Art Gallery of South Australia, Adelaide
© Jeff Carter

 

Max Dupain (Australia, 1911-1992) 'At Newport' 1952

 

Max Dupain (Australia, 1911-1992)
At Newport
1952, Sydney
Gelatin silver photograph
Image: 31.5 x 34.0cm
D’Auvergne Boxall Bequest Fund 2009
Art Gallery of South Australia, Adelaide

 

Rennie Ellis (Australia, 1940-2003) 'Cosmetics salesgirl, Toorak Road' c. 1970

 

Rennie Ellis (Australia, 1940-2003)
Cosmetics salesgirl, Toorak Road
c. 1970, Melbourne
Gelatin silver photograph
Image: 29.0 x 43.5cm
South Australian Government Grant 2009
Art Gallery of South Australia, Adelaide
© Rennie Ellis Photographic Archive

 

Rennie Ellis (Australia, 1940-2003) 'Union Jack, Lorne' c. 1968

 

Rennie Ellis (Australia, 1940-2003)
Union Jack, Lorne
c. 1968, Victoria
Gelatin silver photograph
Image: 29.4 x 44.0cm
South Australian Government Grant 2009
Art Gallery of South Australia, Adelaide
© Rennie Ellis Photographic Archive

 

Roger Scott (Australia, b. 1944) 'Ghost train' 1972

 

Roger Scott (Australia, b. 1944)
Ghost train
1972, Sydney
Gelatin silver photograph
Image: 27.0 x 40.0cm
South Australian Government Grant 2009
Art Gallery of South Australia, Adelaide
© Roger Scott, Courtesy of Josef Lebovic Gallery, Sydney

 

 

Art Gallery of South Australia
North Terrace
Adelaide SA 5000
Phone: 61 8 8207 7000

Opening hours:
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Art Gallery of South Australia website

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Opening: Rennie Ellis ‘No standing only dancing’ at The Ian Potter Centre: NGV Australia

Exhibition dates: 31st October, 2008 – 22nd February, 2009

Opening: 30th October, 2008

 

Rennie Ellis (Australian, 1940-2003) 'Girls' Night Out, Prahran' 1980 from the exhibition Rennie Ellis 'No standing only dancing' at The Ian Potter Centre: NGV Australia, Oct 2008 - Feb 2009

 

Rennie Ellis (Australian, 1940-2003)
Girls’ Night Out, Prahran
1980
Silver gelatin, selenium toned fibre based print

 

 

A very social and lively crowd gathered at The Ian Potter Centre: NGV Australia at Federation Square on the evening of 30th October to celebrate the life and work of the Australian social photographer Rennie Ellis.

After opening comments by the NGV Director Dr Gerard Vaughan there was a funny and erudite speech by Phillip Adams AO who had flown down from Sydney to open the exhibition. The crowd enjoyed the anecdotes about his relationship with Rennie and said he thought that dying was a good career move on Rennie’s behalf and that he would have loved the fact that he had a retrospective at the NGV. Adams observed that Ellis used to be everywhere, at every party and opening, using his astute eye to record and never to judge. Applause all round for a life well lived.

On entering the exhibition space viewers were treated to a simple but effective installation of his work, with overtones of the 1970’s-1980s interior decor with yellow and white circle graphics and hanging fabric chandelier. The curatorial staff at the NGV (notably Susan van Wyk) have chosen over 200 works from an archive of over half a million images for the exhibition in a process that has taken over two and a half years.

As an immigrant arriving in Australia in 1986 I remember 397 Club that used to be at 397 Swanston Street. After every other place had closed this club attracted people from every walk of life: pimps, prostitutes, drag queens, faggots, lesbians, straights and druggies. Rennie was probably there recording the scene. We were there just for a good time. It was fun and this is what Ellis’ photography is. Not burdened by overarching conceptual ideas Ellis recorded what he saw insightfully, balancing social commentary and spatial organisation in the construction of his images. The image Girls’ Night Out, Prahran 1980 (above) is a pearler (with the look on the woman’s face) and neatly encapsulates the magic of his image making.

Dr Marcus Bunyan

 

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

Opening of the exhibition 'No standing only dancing' by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008

 

Opening of the exhibition No standing only dancing by Rennie Ellis at The Ian Potter Centre: NGV Australia October 30th 2008.
Photographs © Marcus Bunyan

 

 

The Ian Potter Centre: NGV Australia
Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

Rennie Ellis Photographic Archive

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