Posts Tagged ‘Zoë Croggon

07
Feb
20

Exhibition: ‘Dressing up: clothing and camera’ at the Monash Gallery of Art, Wheelers Hill, Melbourne

Exhibition dates: 23rd November 2019 – 9th February 2020

Curator: Gareth Syvret

Artists: Gordon Bennett, Polly Borland, Pat Brassington, Eric Bridgeman, Jeff Carter, Nanette Carter, Jack Cato, Zoë Croggon, Sharon Danzig, Rennie Ellis, Elizabeth Gertsakis, Christine Godden, Alfred Gregory, Craig Holmes, Tracey Moffatt, Derek O’Connor, Jill Orr, Deborah Paauwe, David Rosetzky, Damien Shen, Wesley Stacey, Christian Thompson, Lyndal Walker, Justene Williams, Anne Zahalka.

 

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation view of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne

 

 

Making an appearance

There are some stimulating and challenging works in this first exhibition curated by new MGA Associate Curator Gareth Syvret, who was parachuted into the project at the last moment. The curator has pulled together work that examines the complex interweaving of “cultural scenarios,” “interpersonal scripts,” and “intrapsychic scripts” that ground how the camera, and the photographer, picture our relationship to dressing up…. and how we see ourselves pictured by the camera.

In various ways, the works interrogate how clothes (or the lack of them) reinforce the postmodern fragmentation of the individual or group, the self being decentred and multiple, as when we change from work clothes, to drag, to leather, to wearing our footy beanie and scarf… and how these e/facements, these everyday performances (for that is what they are), camouflage or reveal our “true” nature. Do we dress up to fit in (to a tribe or group, or representation), or do we rebel against the status quo, as did that enfant terrible who refused all categorisation throughout his life, the Australian fashion pioneer Leigh Bowery. How do we turn our face towards, or away from, the camera? (turning away is a re/action to the power of representation, even if a negative one)

Firstly we must recognise that “cultural forms do not have single determinate meanings – people make sense of them in different ways, according to the cultural (including sub-cultural) codes available to them.” And secondly, we must acknowledge that, “the analysis of images always needs to see how any given instance is embedded in a network of other instances”1 through intertexuality – where we, reality, our representation, and the image, are just nodes within a network whose unity is variable and relative.

“Critical to understanding the construction of these constantly shifting networks in contemporary society are the concepts of weaving and intertexuality. Intertextuality is the concept that texts do not live in isolation, ‘caught up as they are in a system of references to other books, other texts, other sentences: it is a node within a network… Its unity is variable and relative’ (Foucault, 1973). In other words the network is decentred and multiple allowing the possibility of transgressive texts or the construction of a work of art through the techniques of assemblage [Deleuze and Guattari] – a form of fluid, associative networking that is now the general condition of art production.”2

This weaving of surfaces disrupts histories and memories that are already narrativised, already textualised. It disrupts this marking, the continual reiteration of norms, by weaving a lack of fixity into objects, namely how we see ourselves, how we pictures ourselves. Through dress, and the camera, through a constant process of reconceptualisation of space and matter, we can redefine the significations of the body of the animal in the fold of inscription, through a process of materialisation. The production of this materialisation (the matériel, or arms, of sartorial elegance) – of this signified – is open to struggle, the simulation “by virtue of its being referent-free invites a reading of a different order: it is a perpetual examination of the code.”3 A code which, Julia Kristeva notes, is not simply the product of a single author, but of its relationship to other texts and to the structures of language itself. “[A]ny text,” she argues, “is constructed of a mosaic of quotations; any text is the absorption and transformation of another.”4 And this is what is happening in this exhibition – work, and images, which are a mosaic of quotations fighting over unity and fragmentation, reality and representation… and the construction of identity.

What this exhibition, and this materialisation, does not, and cannot answer, is the critical question: why do we dress up in the first place? What is the overriding reason for this ritualistic, performative enactment, this action, which happens time after time, day after day. And what is that face that we present to the camera during this performance? As Roland Barthes lucidly observes in Camera Lucida, “The PORTRAIT-PHOTOGRAPH is a closed field of forces. Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.”5

So, who I am?

Dr Marcus Bunyan

 

  1. Dyer, Richard. The Matter of Images: Essays on Representations. London: Routledge, 1993, pp. 2-3
  2. Foucault, Michel cited in Thumlert, Kurt. Intervisuality, Visual Culture, and Education. [Online] Cited 01/04/2011 no longer available online
  3. Tseëlon, E. The Masque of Femininity: The Representation of Women in Everyday Life. London: Sage, 1995, pp. 128-130
  4. Kristeva, Julia. “Word, Dialog and Novel”, in Moi, Toril (ed.,). The Kristeva Reader, New York: Columbia University Press, 1986, p, 37 quoted in Keep, Christopher; McLaughlin, Tim and Parmar, Robin. “Intertextuality,” on The Electronic Labyrinth website [Online] Cited 07/02/2020
  5. Barthes, Roland. Camera Lucida, London, 1984, p. 13

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Many thankx to Monash Gallery of Art for allowing me to publish the photographs in the posting. All installation photographs proceed in a clockwise order around the exhibition. Please click on the photographs for a larger version of the image.

 

 

Dress and clothing are so much a part of the way people present themselves to the camera and this subject provides a strong theme through which to explore MGA’s extraordinary collection. Some photographs in the exhibition are well known, others have not previously been shown. All are equally compelling in showing the way photographers record and manipulate dress to tell their stories.

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Gareth Syvret, MGA Associate Curator

 

As cultural hybrids, images are used as if they simultaneously block and unveil truth, reality, ways of seeing and understanding.

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Ron Burnett. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, p. 237

 

The meanings of clothes may usefully be divided into two types, ‘denotation’ and ‘connotation’, each working in its own way on its own level. … Denotation is sometimes called a first order of signification or meaning. It is the literal meaning of a word or image… Connotation is sometimes called a second order of signification or meaning. It may be described as the things that the word to the image makes a person think or feel, or as the associations that a word or an image has for someone…

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Barnard, Malcolm. Fashion as Communication. London: Routledge, 1996

 

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne with at left, Gordon Bennett’s Self-portrait (Nuance II) (1994) and at right, Deborah Paauwe’s Foreign body (2004)

 

Gordon Bennett. 'Self-portrait (Nuance II)' 1994

 

Gordon Bennett
Self-portrait (Nuance II)
1994
Gelatin silver prints
50.8 x 40.6 cm (each)
Photographer: Leanne Bennett
Monash Gallery of Art, City of Monash Collection acquired 1995
Courtesy of the Estate of Gordon Bennett and Sutton Gallery (Melbourne)

 

 

Gordon Bennett’s Self -portrait (nuance II) performance was staged for the camera rather than a live audience. The artist prepared for the performance by painting his face with polyvinyl acetate glue. The process of peeling away the pale skin, created by the dry glue, was then documented in a series of photographs. This work is a subtle critique of simplistic oppositions between people who have light skin and people who have dark skin. Bennett discovered that he was of Aboriginal descent when he was 11 years old, but he resisted identifying as an Indigenous Australian for another 20 years. Conceived as a self-portrait, this work alludes to Bennett’s own process of ‘coming out’ as an Aboriginal man; removing his white mask. But, rather than representing this process in terms of a simple opposition, the photographs emphasise the nuanced ambiguities and transitory nature of identity.

 

Deborah Paauwe. 'Foreign body' 2004

 

Deborah Paauwe
Foreign body
2004
From the series Chinese whispers
Chromogenic print
120.0 x 120.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2004
Courtesy of the artist, GAGPROJECTS Greenaway Art Gallery (Adelaide) and Michael Reid (Sydney)

 

 

Deborah Paauwe’s photographs are loaded and coded psychosexual puzzles. In this photograph Foreign body, who are the subjects and what is their relation? What is the nature of the embrace Paauwe concocts: eroticism or comfort? In their opposition as clothed and naked Paauwe’s models perform a drama, on desire, for the camera in which dress is figured as a method for revealing or concealing the body as the border between eye and flesh.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Eric Bridgeman’s Woman from settlement with boobs (2010) and at right, two photographs from Tracey Moffatt’s series Scarred for life

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Tracey Moffatt. 'Job hunt' 1976 1994

 

Tracey Moffatt
Job hunt
1976 1994
From the series Scarred for life
Off-set print
80.0 x 60.0 cm
Monash Gallery of Art, City of Monash Collection acquired 1998
Courtesy of the artist and Roslyn Oxley9 Gallery (Sydney)

 

 

Scarred for life is a series of works based on true stories about traumatic childhood experiences. In response to each story, Moffatt has staged and photographed a scene that illustrates the tragic tale. The photographs have been made to look like snapshots from a family album, emphasising the everyday nature of the incidents and their ongoing significance as memories. The photographs have been presented in a way that mimics the format of the 1960s American magazine, Life, which was well known for publishing photo-essays in this captioned format. Moffatt often draws on the story-telling conventions of magazines, cinema and other popular forms of visual communication in ways that give her photographs a heightened sense of drama. In Job hunt the tension between the fictive nature of Moffatt’s artistry and the ordinariness of the subject’s dress as a schoolboy dramatises the everyday. This effect is explored further in The Wizard of Oz where the awkwardness of Moffatt’s casting of a boy in a dress as Dorothy in her own fiction is heightened by his father’s overblown gesture.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Christian Thompson’s Gods and kings (2015) and at right, Damien Shen’s Ventral aspect of a male #1 and #2 (2014)

 

Christian Thompson. 'Gods and kings' 2015

 

Christian Thompson
Gods and kings
2015
From the series Imperial relic
Chromogenic print
100.0 x 100.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2018
Courtesy of the artist and Michael Reid (Sydney + Berlin)

 

 

In this photograph by Christian Thompson the artist wears a makeshift hooded cape fashioned out of multiple maps of Australia charting different and conflicting Indigenous and colonial histories. The melding of these narratives through a careful but fragmented process of folding references the instrumentality of the map as a weapon of territoriality to challenge the idea of colonial power predicated on the designation of Australia as terra nullius. Describing his use of portraiture Thompson says, ‘I don’t think of them as being ‘myself’, because I think of my works as conceptual portraits. I’m really just the armature to layer ideas on top of … I really like the idea of wearing history, I like the idea of adorning myself in references to history.’ By wearing his cloak of maps, Thompson transfigures his body into a terrain where difficult histories are re-explored.

 

Damien Shen. 'Ventral aspect of a male #1' 2014

 

Damien Shen
Ventral aspect of a male #1
2014
From the series On the fabric of the Ngarrindjeri body – volume II
Pigment ink-jet print
59.4 x 42.0 cm
Photographer: Richard Lyons
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the artists and MARS Gallery (Melbourne)

 

 

This work is from Shen’s series On the fabric of the Ngarrindjeri body – volume II (2014), which comprises 12 black-and-white photographs showing the artist and his uncle, a Ngarrindjeri elder known as Major Sumner. Across the series, the two subjects are shown from different angles, either together or individually. Their bodies have been painted in the traditional Ngarrindjeri way and they perform in front of the camera in a studio setting. While the majority of the images were taken in front of the studio backdrop, four of the images document Major Sumner ‘behind the scenes’.

This series is typical of Shen’s practice in that it explores his Indigenous identity and family history through portraiture. For Shen this series is extremely personal, as it documents his uncle sharing his cultural knowledge and experience with him. However, the series was also created to more broadly document Ngarrindjeri culture and the history of his ancestors. Furthermore, Shen’s use of a plain studio backdrop and sepia toning, along with his prosaic titles, directly reference 19th-century ethnographic portraiture, drawing attention to the history of the representation of Indigenous people. The candid backstage images are not sepia toned and have been juxtaposed with the staged portraits in a way that further highlights the artificiality of the studio setting.

 

Damien Shen. 'Ventral aspect of a male #2' 2014

 

Damien Shen
Ventral aspect of a male #2
2014
From the series On the fabric of the Ngarrindjeri body – volume II
Pigment ink-jet print
59.4 x 42.0 cm
Photographer: Richard Lyons
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the artists and MARS Gallery (Melbourne)

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Jill Orr’s Lunch with the birds (1979) and at centre, Zoë Croggon’s Lucia (2018) and at centre right, Justene Williams Blue foto (2005)

 

Jill Orr. 'Lunch with the birds #3' 1979

 

Jill Orr
Lunch with the birds #3
1979
Ink-jet print, printed 2007
Photographer: Elizabeth Campbell
30.0 x 44.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2008
Courtesy of the artist

 

 

Jill Orr’s Lunch with the birds performance took place on St Kilda beach on a wintery day in 1979. It was conceived as a shamanistic ritual that would provide an antidote to the junk food that is often thrown to scavenging seagulls. Dressed in her mother’s wedding gown, Orr lay on the beach surrounded by a meal of whole bread, fresh fish and pure grain, and waited for the birds to come and commune with her on the foreshore. Apart from the photographer Elizabeth Campbell, who had been commissioned to document the event, there was no human audience on the beach. Like other performances that Orr has enacted in the landscape, nature itself is the primary audience for this ritual. All the same, Orr is quite conscious of using photography to share the performance with gallery audiences. Working with the photographic documentation after the event, Orr composed the images as a narrative sequence (from which these works are taken) and presented them on black mount boards to suggest a filmstrip.

 

Zoë Croggon. 'Lucia' 2018

 

Zoë Croggon
Lucia
2018
From the series Luce Rossa
Pigment ink-jet print
65.0 x 79.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2019
Courtesy of the artist and Daine Singer Gallery (Melbourne)

 

 

Zoë Croggon uses collage techniques to explore spatial relationships between the human form, architecture and the physical world. Her practice is informed by her experience of studying ballet and dance. In many of Croggon’s works, found photographs of the human body are cut out and re-placed, in tension, against surface and structure to explore the politics and poetics of space. For the series Lucia Rossa, the source materials are derived from Italian pornography, eroctica and fashion magazines. Although it is not overtly depicted, this work responds to the ways that the female body is ‘arranged, fragmented and presented for consumption…’ As such, ‘Lucia’ considers the condition of fabric, clothing and dress as a space for the body, laden with the politics of sexuality.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Justene Williams Blue foto (2005) and at right, Christine Godden’s photographs

 

Christine Godden. 'Untitled' 1976

 

Christine Godden
Untitled
1976
Gelatin silver print
15.3 x 22.8 cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist

 

 

Christine Godden’s photographic work is a highly personal and poetic form of documentary practice, which is informed by a feminist interest in developing distinctly female perspectives on the world. Godden’s familiarity with the tradition of fine art photography in North America is evident in her commitment to high quality printing, which accentuates the sensuality of her subject matter. This photograph is from a body of Untitled works that was originally exhibited in 1976 at George Paton Gallery, Melbourne and the Australian Centre for Photography, Sydney. This tightly organised sequence of 44 photographs intended to show ‘how women see [and] how women think.’ The photographs present fragments or tightly cropped glimpses of textures and bodies (usually of women) that, with their combination of tenderness and formal rigour, take the appearance of being ‘female,’ while at the same time unpicking or unhinging the logic of a feminine imagery or style.

 

Christine Godden. 'Untitled' 1976

 

Christine Godden
Untitled
1976
Gelatin silver print
15.3 x 22.8 cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist

 

Christine Godden. 'Untitled' 1976

 

Christine Godden
Untitled
1976
Gelatin silver print
15.3 x 22.8 cm
Monash Gallery of Art, City of Monash Collection acquired with the assistance of The Robert Salzer Foundation 2015
Courtesy of the artist

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Christine Godden’s photographs; at middle left David Rosetzky’s photographs; and at far right Sharon Danzig’s No escape (2004)

 

David Rosetzky. 'Hamish' 2004

 

David Rosetzky
Hamish
2004
Chromogenic prints
50.0 x 61.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2005
Reproduction courtesy of the artist and Sutton Gallery (Melbourne)

 

 

This work by David Rosetzky is an early examples of cut-out and collaged photographic portraits that he has been producing periodically since 2004. To create these images, Rosetzky produces slick studio portraits of young models, referencing the style of photography prevalent in advertising and fashion magazines. He then layers a number of portraits on top of each other before hand-cutting sections to reveal parts of the underlying prints. Through this method of image making he seeks to represent the identity of his subjects as multi-layered, shifting and often concealed.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Sharon Danzig’s No escape (2004) and at right, the work of Pat Brassington

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing work from Elizabeth Gertsakis’ series Innocent reading for origin (1987)

 

Elizabeth Gertsakis. 'Innocent reading for origin' 1987

 

Elizabeth Gertsakis
Innocent reading for origin
1987
Gelatin silver prints
74.0 x 48.5 cm (each)
Monash Gallery of Art, City of Monash Collection acquired 1994
Courtesy of the artist

 

 

For the series Innocent reading for origin, Elizabeth Gertsakis uses photographs of her family taken at the time of their migration to Australia from Florina, Greece, her birthplace, when she was an infant. These photographs are presented with typescripts of her readings and observations about the photographs. As viewers we are witness to how the images form the artist’s words and, placed alongside them, how her words form the images. The dress of the people in the photographs is particularly significant for their interpretation and description and the ways that these images operate on the artist and the viewer. Gertsakis is concerned here with how photographs transmit memory and meaning in private and public. By shifting the format and scale of family photographs from shoebox to gallery wall, Gertsakis calls into question the status of the medium as vernacular and/or fine art.

 

Elizabeth Gertsakis. 'Innocent reading for origin' 1987

 

Elizabeth Gertsakis
Innocent reading for origin
1987
Gelatin silver prints
74.0 x 48.5 cm (each)
Monash Gallery of Art, City of Monash Collection acquired 1994
Courtesy of the artist

 

 

As necessity or luxury, to integrate or rebel, in freedom or oppression, dress is the nexus of selfhood. Photography and dress are forever entwined; from its inception in the 1840s one of photography’s main objectives has been the making of portraits. Clothing has been imaged by photographers ever since. In documentary mode, photography provides a record of the ways we dress and how clothing has changed over time. As an instrument of empire photography was used for the purpose of recording the dress and appearance of Indigenous people. Since the early twentieth century the practice of fashion photographers has posed body and garment to create brands and promote lifestyle choices to sell us the clothes we wear.

This exhibition draws together photographs from the MGA collection that feature dress or clothing as a significant element in their making. Some of the photographers included have produced works with documentary intent. For many, a classification of their practice is not so clear cut. These artists photograph dress, clothing and the body to actively question appearances. They use photography as a tactic for testing the nature of consumer culture, challenging social norms or protesting histories of colonisation and discrimination. Shaping and shaped by the individual, our clothes can conceal, reveal and transform who we are. Like the photographs in this exhibition they are the bearers of memory, emotion and time.

Text from the Monash Gallery of Art website [Online] Cited 22/12/2019

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation view of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing the work of Polly Borland from her Bunny series (2004-05)

 

Polly Borland. 'Untitled XXIII' 2004-05

 

Polly Borland
Untitled XXIII
2004-05
From the series Bunny
Chromogenic print, printed 2008
25.3 x 17.1 cm
Monash Gallery of Art, City of Monash Collection acquired 2008
Courtesy of the artist and Murray White Room (Melbourne)

 

 

This photograph is from Polly Borland’s Bunny series, which consists of more than 50 images. Borland worked over an extended period of time in close collaboration with actress Gwendoline Christie as the subject of the photographs. The Bunny series plays upon the physicality of its model – who is extraordinarily tall – rendering tense, awkward and absurd poses. The surreal character of Bunny created through gestures of masking and dressing up acts as a darkly playful riposte to the objectification of the Playboy centrefold. Through a process of costuming explored between photographer and subject these images lampoon the fetishism of the glamour shot, supplanting it with their own fantasies both revealed and concealed.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left the work of Alfred Gregory, at centre the work of Jack Cato (1930s-1940s), and at right Lyndal Walker’s Lachlan sprucing by the hearth (2013) from the series Modern romance.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing the work of Jeff Carter at left: Saturday arvo, Cronulla Beach (1960) and Clan gathering, Wangaratta (1955); and at right, Rennie Ellis’ Richmond fans, Grand Final, MCG (1974)

 

Jeff Carter. 'Saturday arvo, Cronulla Beach' 1960

 

Jeff Carter
Saturday arvo, Cronulla Beach
1960
Gelatin silver print
26.8 x 38.0 cm
Monash Gallery of Art, City of Monash Collection acquired 1992
Courtesy of the artist

 

Jeff Carter. 'Clan gathering, Wangaratta' 1955

 

Jeff Carter
Clan gathering, Wangaratta
1955
Gelatin silver print
29.1 x 31.9 cm
Monash Gallery of Art, City of Monash Collection acquired 1992
Courtesy of the artist

 

Rennie Ellis. 'Richmond fans, Grand Final, MCG' 1974

 

Rennie Ellis
Richmond fans, Grand Final, MCG
1974
Chromogenic print
26.7 x 40.7 cm
Monash Gallery of Art, City of Monash Collection acquired 2007
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)

 

 

This is one of the most famous photographs of the most important date in the Australian football calendar: Grand Final Day. Ellis turned his lens off the field onto the fans of the winning side on 28 September 1974, the Richmond Tigers. Ellis’s photograph encapsulates the centrality of clothing and colour to the tribalism of football fandom – in particular among ‘cheer squads’ – some of it official merchandise, some adapted or homemade. The image brilliantly exemplifies the unique ability of still photography to render human physicality and a moment in time.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Derek O’Connor’s Untitled (1981-84) and at right, four Rennie Ellis photographs (see below).

 

Rennie Ellis. 'Confrontation, Gay Pride Week Picnic, Botanical Gardens' 1973

 

Rennie Ellis
Confrontation, Gay Pride Picnic, Botanic Gardens
1973
Selenium-toned gelatin silver print
22.8 x 34.3 cm
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)

 

Rennie Ellis. 'Drag queens and security guard' 1973

 

Rennie Ellis
Drag queens and security guard
1973
Selenium-toned gelatin silver print
30.0 x 44.0 cm
Monash Gallery of Art, City of Monash Collection acquired 2016
Courtesy of the Rennie Ellis Photographic Archive (Melbourne)

 

 

In 1973 the Australian Gay Liberation movement instigated a series of Gay Pride festivals in Adelaide, Brisbane, Melbourne and Sydney. This was a time when homosexual sex was classified as a criminal act across Australia, and the Gay Pride events sought to challenge these repressive laws and openly celebrate gay and lesbian culture in public spaces.

Rennie Ellis, one of the most prolific photojournalists of Australian society during the 1970s and 1980s, documented Melbourne’s Gay Pride Week with his characteristic warmth and candour. Commissioned to photograph the event for the National Review, Ellis captured everything from transgressive cross-dressers and camped up political banners to same-sex couples enjoying romantic interludes on the lawns of the Botanic Gardens.

Ellis made the only substantial visual record of Melbourne’s first gay and lesbian festival. These photographs show the importance of dress as a method for open expression of gay and queer identities. Since the making of these photographs, significant progress has been made on this issue, most notably with the Marriage Amendment (Definition and Religious Freedoms) Bill, 2017 providing equal rights to same sex couples. Continued work and education towards the eradication of discrimination on the basis of sexual orientation, however, remains imperative.

 

Installation view of the exhibition 'Dressing Up' at the Monash Gallery of Art, Melbourne

 

Installation views of the exhibition Dressing Up at the Monash Gallery of Art, Melbourne showing at left, Derek O’Connor’s Untitled (1981-84) and at right, two photographs by Wesley Stacey, both Untitled (1973) from the series Friends

 

Derek O'Connor. 'Untitled' 1981-84

 

Derek O’Connor
Untitled
1981-84
From the series Amata
Image 2 of a series of 4
Gelatin silver print
50.8 x 61.2 cm
Monash Gallery of Art, City of Monash Collection acquired 2007
Courtesy of the artist

 

 

Derek O’Connor took this series of photographs in the early 1980s while he was living at Amata, an Aboriginal community situated in the Anangu Pitjantjatjara / Yankunyjatjara Lands in the far northwest of South Australia. They show a group of Aboriginal youths congregating around a campfire on the outskirts of the township, casually incorporating various elements of capitalist culture into their own communal space: second-hand ’70s clothing, a portable cassette player, a tin can with a Hans Heysen label, and petrol.

Photographs of this sort, which represent Aboriginal people as fringe-dwellers on the margins of White Australia, date back to the nineteenth century. Early examples of this genre typically cast Aboriginal people as a dying race, whose way of life was rapidly being undermined by the colonial regime. In O’Connor’s photographs, however, the Aboriginal youths personify a sense of persistent vitality, in spite of their circumstances. As O’Connor explains, ‘there is no self-pity or passive resignation in the way they face the camera. Their quiet defiance has a palpable sense of integrity.’

 

 

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26
Aug
14

Exhibition: ‘The Sievers Project’ at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 13th June – 31st August 2014

Artists: Jane Brown, Cameron Clarke, Zoë Croggon, Therese Keogh, Phuong Ngo, Meredith Turnbull, Wolfgang Sievers
Curated by Naomi Cass and Kyla McFarlane

 

 

Curated by CCP Director Naomi Cass and Kyla McFarlane, this intelligent exhibition features the work of six early career artists who respond in diverse ways to renowned Australian photographer Wolfgang Sievers (1913-2007). It was a joy to see again the large vintage silver gelatin, almost clinically composed photographs by Sievers. The light, tonality and stillness of the images make them seem mythic, modern and monumental.

Each artist offers a unique “take” on Sievers influence on Australian photography and design, including his interest in refugees and human rights issues and the representation of the dignity of labour (although the machine is more often represented in Sievers work with a distinct lack of human presence and the act of work itself).

My personal favourites were Phuong Ngo’s intimate silver gelatin photographs in four groups of sweat shop workers in Vietnam, people on boats coming to Australia, photographs of textile workers in Australia and photographs of his mother. Phuong Ngo’s shared stories of young Vietnamese refugees and the journeys taken by their mothers told through photographs is very moving, but only after you are told what the four bodies of images are about. Positioned in the small Gallery Four it was also difficult to associate this installation with the rest of the exhibition. Initially I thought it was a separate exhibition until the linkages were told, the light dawned, and the connections were made.

While Cameron Clarke’s photographs of Ford factory workers and machinery are meticulously lit and digitally observed, producing a strong body of work, it is Jane Brown’s gridded analogue triptych which steals the show (see photographs below). These are superbly rich and textured photographs, beautifully seen and resolved within the shifting mise-en-scène. Brown’s images kinetically flow from one image to another even as they are self contained within a modernist grid. In some instances the artist has used the same photograph within the triptych but cropped in a different manner, which pushes and pulls the viewer into a different perspective on the subject matter. This is highly intelligent art making that observes the self contained nature and monumentality of Sievers work and reworks it, lucidly commenting on the dis/integration of these spaces and industries in the present day.

This series of work is the best sequence of photographs I have seen this year and any institution worthy of their salt should snap up these works for their collection.

Dr Marcus Bunyan for the Art Blart blog

.
Many thankx to the Director Naomi Cass and the CCP for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Marcus Bunyan 2014

 

 

Jane Brown. 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014

 

Jane Brown
Triptych. The Paper Mill (former Amcor and APM site), Fairfield
2014
3 panels of 9, 6 and 6 selenium toned, fibre-based, gelatin silver prints

 

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of Jane Brown 'Triptych. The Paper Mill (former Amcor and APM site), Fairfield' 2014 (details) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photographs of Jane Brown Triptych. The Paper Mill (former Amcor and APM site), Fairfield 2014 (details) at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Jane Brown. 'Staircase. The Paper Mill (former Amcor and APM site), Fairfield, 2014' 2014

 

Jane Brown
Staircase. The Paper Mill (former Amcor and APM site), Fairfield, 2014
2014
Fibre-based, gelatin silver print

 

Jane Brown. 'Mining machinery, Line of Lode Miners Memorial Complex, Broken Hill 2014-06-10' 2014

 

Jane Brown
Mining machinery, Line of Lode Miners Memorial Complex, Broken Hill 2014-06-10
2014
Brown toned, fibre-based, gelatin silver print
Courtesy the artist

 

installation-m

 

Installation photograph of Jane Brown’s work at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Wolfgang Sievers. 'Gears for the Mining Industry, Vickers Ruwolt, Burnley, Victoria, 1967' 1967

 

Wolfgang Sievers
Gears for the Mining Industry, Vickers Ruwolt, Burnley, Victoria, 1967
1967
Gelatin silver photograph
49.6 x 39.3 cm
National Library of Australia, Wolfgang Sievers Photographic Archive

 

Wolfgang Sievers. 'Sulphuric Acid Plant Electrolytic Zinc, Risoon, Tasmania, 1959' 1959

 

Wolfgang Sievers
Sulphuric Acid Plant Electrolytic Zinc, Risoon, Tasmania, 1959
1959
Gelatin silver photograph

 

nstallation photograph of the work of Meredith Turnbull (foreground) and Zoë Croggon (rear wall) at the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (foreground) and Zoë Croggon (rear wall) at the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Zoë Croggon. 'John Holland Constructions, Ginninderra Bridge (after Wolfgang Sievers)' 2014

 

Zoë Croggon
John Holland Constructions, Ginninderra Bridge (after Wolfgang Sievers)
2014
Photocollage
70 cm x 86 cm
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Comalco Aluminium Used in the Construction of the National Gallery of Victoria [7] (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Comalco Aluminium Used in the Construction of the National Gallery of Victoria [7] (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Comalco Aluminium Used in the Construction of the National Gallery of Victoria [18] (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Comalco Aluminium Used in the Construction of the National Gallery of Victoria [18] (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

Zoë Croggon. 'Westgate Bridge (after Wolfgang Sievers)' 2014

 

Zoë Croggon
Westgate Bridge (after Wolfgang Sievers)
2014
Photocollage
Courtesy the artist and Daine Singer, Melbourne

 

 

“Six early career artists, working in photography through to installation, have responded in diverse ways to renowned Australian photographer Wolfgang Sievers (1913-2007), icon of 20th century Australian photography. Sievers’ commercial practice exemplifies mid-century positivism and modernity, and the mythmaking role of photography. As a German Jewish immigrant, he had a strong interest in refugees and human rights issues as well as an expressed commitment to representing the dignity of labour. The Sievers Project presents key historical works as a context for engaging the past through the present.

Photographers Jane Brown and Cameron Clarke have followed in his footsteps to industrial clients Sievers photographed and valorised, finding sites that are visually dynamic within industries now in decline. Through her intrepid, research-based practice, Therese Keogh has developed a materially-rich work from the starting point of a single, anomalous photograph Sievers took at the Roman Forum in 1953. Meredith Turnbull draws on his connections with Melbourne’s design community in the 1950s and 60s, including Gerard Herbst and Frederick Romberg. In Sievers’ photographs of industrial sewing machines and their machinists, Phuong Ngo finds shared stories of young Vietnamese refugees and the journeys taken by their mothers. Zoë Croggon positions fragments of Sievers’ iconic architectural photographs against found photographs of the human body in movement.”

Text from the CCP website

 

Foreword to the catalogue

The Sievers Project follows a number of exhibitions over the last five years where CCP has opened up a vista on contemporary practice by exhibiting early work by living artists such as Bill Henson, Kohei Yoshiyuki and Robert Rooney, as well as historical photography, alongside contemporary work. As a commissioning exhibition we have titled this a ‘project’ to point towards the year-long research period integral to the exhibition, capturing the curatorial gesture of inviting early career artists to engage with the past.

The Sievers Project represents a significant curatorial endeavour for CCP, the tale of which is recounted in the Introduction. It would simply not have taken place were it not for the willingness and generosity of Julian Burnside AO QC to participate, through allowing the artists research access to his Wolfgang Sievers collection and lending work from it for the exhibition, as well as contributing an essay for this catalogue.

I acknowledge the artists for setting out on this project and for returning with thoughtful and excellent work. It has been a pleasure to both engage with and exhibit the work of Jane Brown, Cameron Clarke, Zoë Croggon, Therese Keogh, Phuong Ngo and Meredith Turnbull.

The Sievers Project has been dignifi ed by contributions by a number of experts and I wish to acknowledge Professor Helen Ennis, Australian National University School of Art who has also contributed a catalogue essay; Madeleine Say, Picture Librarian, Eve Sainsbury, Exhibitions Curator and Clare Williamson, Senior Exhibitions Curator, State Library of Victoria; Maggie Finch, Curator of Photography, National Gallery of Victoria and Professor Harriet Edquist and Kaye Ashton, Senior Coordinator, RMIT Design Archives, who all took time to speak about Sievers and share his work with the artists.

Opportunities to commission artists are relatively rare and funding through the inaugural Early Career Artist Commissions Grant from the Australia Council has enabled the project. CCP is pleased to acknowledge this recognition and support. We are delighted that Lovell Chen Architects & Heritage Consultants have provided further critical support to realise the project, for which we are grateful. We see a germane link between Lovell Chen and the premise of The Sievers Project.

The Besen Family Foundation are champions for enabling CCP to produce catalogues for selected exhibitions. I acknowledge the Foundation for their long-standing and generous engagement with CCP. We thank the National Library of Australia for providing permission to reproduce Sievers’ work in this catalogue.

The Sievers Project has provided a welcome opportunity for CCP to engage with colleagues in the fi eld of architecture and we are delighted to acknowledge a partnership with the Robin Boyd Foundation to present public programs. We are grateful to Tony Lee from the Foundation for his interest in the project.

Without doubt CCP’s ability to both present contemporary art well and look after artists is greatly enhanced through the longstanding and generous support of Tint Design and Sofi tel Melbourne on Collins. CCP is pleased to present a parallel exhibition of The Sievers Project at the 2014 Melbourne Art Fair and we thank the Melbourne Art Foundation for enabling CCP to bring the exhibition to broad new audiences. For the Art Fair exhibition we are also indebted to Christine Downer, previous CCP Board member and current supporter, for the loan of a major Sievers work.

The Sievers Project has been ably assisted by Philippa Brumby, curatorial intern. Co-curator Dr Kyla McFarlane and I thank Philippa for her wide-ranging skills over a substantial period of time. Lastly, I acknowledge Kyla for her excellent curatorial work and for the pleasure of collaborating with such a playful, dedicated and steely intellect.

.
Naomi Cass, Director, CCP

 

And what about his Legacy?

A response to this necessarily combines elements of certitude and speculation. Sievers himself was totally committed to ensuring his legacy as a photographer. He spent years meticulously cataloguing and documenting his work and was assiduous in placing as much of it as he could in major photography collections around the country – art galleries and libraries. The bulk of his archive, a staggering 65,000 negatives and prints, was acquired by the National Library where it has been digitised and is available online to users in perpetuity. But there is another aspect to his preoccupation with legacy that has troubled me over the years – his desire to control the readings of his work, to ensure that he ‘owned’ the contextualisation and interpretation of it. As I see it, some of the framing narratives he constructed were retrospective and are misleading because they are not borne out by the evidence, that is, by the photographs themselves. This is especially apparent in his insistence that the relationship between ‘man and machine’ was central to his industrial photography. In my assessment of his enormous archive, images that extol this interaction are actually relatively few in number. They are outweighed by thousands and thousands of other industrial scenes in which the worker is locked into the dreary, repetitive tasks associated with mass production, or is not present at all having been displaced by machines that are far more efficient than humans will ever be. In other words, the bulk of Sievers’ own photographs contradict his central tenet of the dignity of labour in the modern machine era. The most important aspect of his legacy is undoubtedly his photographs and the astonishingly vast, high quality body of architectural and industrial work he produced between 1938 and the early 1970s. My view is that his black and white photography is the best although he did not agree with me, arguing that his colour photography, with its expressive and dramatic qualities, was equally fine. For me, it is his black and white images that are visionary, their precision, clarity and drama embodying the belief in progress that underpinned modernity. I would also suggest Sievers’ legacy isn’t confined to his photography. As a man he cared deeply about the world and wanted it to be better. He was closely involved in the restoration of Karl Friedrich Schinkel’s buildings in Berlin in the 1990s and in the re-evaluation of his own father’s reputation (Professor Johannes Sievers was an expert on Schinkel and had used his young son’s photographs in his books on the architect in the 1930s). Wolfgang donated his photographs to fund-raising campaigns for human rights and remained a passionate antiwar activist until his death.

 

What would he have thought about this project?

I suspect that he would have been thrilled to know that his contribution to Australian life and photography is the touchstone for the six photographers involved in the project and that his work continues to be appreciated.

.
Professor Helen Ennis is Director of the Centre for Art History and Art Theory at ANU School of Art, Canberra.

 

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

Installation photographs of the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photographs of the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

nstallation photograph of the work of Therese Keogh (detail) in the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Therese Keogh (detail) in the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (detail) in the exhibition 'The Sievers Project' at the Centre for Contemporary Photography (CCP)

 

Installation photograph of the work of Meredith Turnbull (detail) in the exhibition The Sievers Project at the Centre for Contemporary Photography (CCP)

 

Therese Keogh. 'In the Forum Romanum (after Sievers)' 2013

 

Therese Keogh
In the Forum Romanum (after Sievers)
2013
Graphite on paper
Courtesy the artist

 

Cameron Clarke. 'Loui Nedeski, Ford Motor Company, Geelong' 2014

 

Cameron Clarke
Loui Nedeski, Ford Motor Company, Geelong
2014
Archival inkjet print
50 x 63 cm
Courtesy the artist

 

Cameron Clarke. 'Küsters Washer, Bruck Textiles, Wangaratta' 2014

 

Cameron Clarke
Küsters Washer, Bruck Textiles, Wangaratta (detail)
2014
Archival inkjet print

 

Cameron Clarke. 'Theis Dye Jets, Bruck Textiles, Wangaratta' 2014

 

Cameron Clarke
Theis Dye Jets, Bruck Textiles, Wangaratta (detail)
2014
Archival inkjet print

 

Phuong Ngo. 'Untitled' 2014

 

Phuong Ngo
Untitled
2014
from the Mother Vietnam series
Inkjet print
Courtesy the artist

 

 

Centre for Contemporary Photography
404 George St, Fitzroy
Victoria 3065, Australia
T: + 61 3 9417 1549

Opening Hours:
Wednesday – Saturday, 11am – 6pm
Sunday, 1pm – 5pm

Centre for Contemporary Photography website

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Dr Marcus Bunyan

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

Marcus Bunyan black and white archive: ‘Mask’ 1994

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