1-20 of 43 results  for:

  • Photography x
  • Oceanic/Australian Art x
  • Twentieth-Century Art x
Clear all

Article

Kyla Mackenzie

New Zealand photographer. Aberhart became a leading photographer in New Zealand from the 1970s with his distinctive 8×10 inch black-and-white photographs, taken with a 19th-century large format Field Camera. He is particularly well known for his images of disappearing cultural history, often melancholic in tone, in New Zealand....

Article

Anne Kirker

Australian painter, photographer and teacher. Binns trained as a painter at the National Art School, Sydney (1958–62) and held her first solo exhibition at Watters Gallery, Sydney in 1967. It comprised vividly coloured and decorative paintings, with explicit representations of female genitalia. This symbolic imagery predated a collective push by Australian women artists to produce work that they believed was inherently female. She initiated many community arts projects from the beginning of the 1970s and was an influential force in re-positioning women’s work. This took into account collaborative projects and a respect for amateur techniques and traditions that thrive outside the art world of metropolitan centres. Her community projects included ...

Article

William Main

New Zealand photographer and film maker. He came to photography through membership of the Christchurch Camera Club. Moving to Wellington in 1945 he became an assistant to Spencer Digby, one of the country’s leading portrait photographers. After five years he moved as a cameraman and director to the government-sponsored National Film Unit, where one of his notable achievements was the ...

Article

Constance W. Glenn

American photographer of Australian birth. Bruehl trained as an electrical engineer in Melbourne, but in 1919 he emigrated to the USA. He developed his interest in photography while working for the Western Electric Company, New York. In 1923 he attended an exhibition by students of ...

Article

Robert Smith

Australian photographer of Guernsey birth. After his arrival in South Australia c. 1858, he pursued his interest in photography while working as a hairdresser, becoming a professional photographer in Adelaide in 1867. Economic recession led him to move in 1870 to the neighbouring colony of Victoria, where he worked as hairdresser and photographer in the goldfields settlement of Talbot. By ...

Article

Robert Smith

Australian photographer of New Zealand birth (see fig.). His father, Pierce Mott Cazneau (1849–1928), was an English-born New Zealand photographer, who became manager of a photographic portraiture studio in Adelaide c. 1889 and took his family to South Australia. While still at school Harold Cazneaux assisted his father and in ...

Article

Edward Hanfling

New Zealand photographer, sculptor, installation artist, and painter, active also in France and Great Britain. Culbert consistently explored the workings of both natural and artificial light in his works, as well as the transformation of found objects and materials. A student at Hutt Valley High School, his artistic ability was fostered by the radical art educator James Coe. From ...

Article

Jeanette Hoorn

Australian Aboriginal painter and photographer of Badimaya and Yamatji descent. Convent educated, she trained at Curtin University and at the Claremont School of Art, both in Perth, between 1992–5. Dowling gained broad recognition from the late 1990s with her confronting and haunting paintings that tell stories about her family and the history of British colonialism and race relations in Western Australia (...

Article

Patrick McCaughey

Australian painter and photographer of English birth. His family settled in Melbourne in 1923, but Drysdale visited Europe twice in the early 1930s; on his second visit in 1932–3 he was particularly excited by the work of Paul Cézanne, Vincent van Gogh, Paul Gauguin, Henri Matisse and Pablo Picasso. The experience confirmed his desire to be an artist....

Article

John R. Neeson

Australian photographer, film maker, painter, and installation artist. Dunkley-Smith studied at Ballarat Teacher’s College (1964–5), Melbourne Teacher’s College (1966), Ballarat School of Mines and Industries (1967–71), and at Hornsey College of Art, London (1974–6). Since the late 1970s, Dunkley-Smith has made an enduring foundational contribution to analogue and digital, time-based, and venue-specific installation practice in Australia. Initially trained as a painter, Dunkley-Smith’s work with film and multiple slide projection installations date from the mid-1970s when he was living in London. His installations are characterized by duplicate and triplicate screens and sequences of images of time-based works that utilize procedural methods addressing the relation of pattern to indeterminacy, aspects of representation, and audience desire....

Article

Robert Smith

Australian photographer (see fig.). By 1929, when he joined the New South Wales Photographic Society, he had been an enthusiastic photographer for five years. In 1930 he began exhibiting and became assistant to Cecil Bostock (1884–1939), a leading commercial photographer and devotee of Pictorial photography. Dupain studied art at the East Sydney Technical College and at Julian Ashton’s Art School in Sydney. Within three years he had left Bostock and broken with the Impressionist effects of Pictorialism in favour of European-derived styles emphasizing form, dramatic contrasts and adventurous choice of subject. After a subsequent period of experiment with various modern artistic idioms, by the late 1930s he achieved a distinctive personal style based on perceptive and imaginative attitudes to subject-matter. His work had a growing documentary tendency possessing an affinity with developments in the USA....

Article

Helen Ennis

Australian photographer, film maker, and video artist. Ford studied photography at the Royal Melbourne Institute of Technology in 1961 and worked intermittently in the field of commercial photography in Melbourne until 1967. Her daughter Emma was born in 1967 and son Ben in 1968. Ford was a key figure in the development of the art photography movement in Australia and was one of the first women photographers to establish an independent art practice. Her earliest photographs, portraits of her female friends, were not exhibited at the time but were eventually shown at the Art Gallery of New South Wales, Sydney, in ...

Article

Leonard Bell

New Zealand photographer. Born and trained in London, she migrated to New Zealand in 1958. By 1964 she was working as a freelance professional photographer, and was soon prominent in several genres, notably portraiture, in particular of artists, potters, writers, and children, and ‘street’ photography, as well as photojournalism for periodicals and newspapers, such as the ...

Article

Anthony Gardner

Malaysian conceptual artist, active also in Australia. Gill studied at the University of Western Sydney, completing her MA in 2001. Despite working in a range of media, she is best understood as a process-based artist who has consistently explored notions of migration and transformation within material culture. These include the effects of international trade on such everyday activities as cooking and eating. The spiral form of ...

Article

Charles Green

Australian photographer and video artist. Gladwell graduated in 1996 from the Sydney College of the Arts with a BFA and then from the College of Fine Arts, University of NSW, with an MFA in 2001. He then studied at Goldsmiths College, University of London, between ...

Article

Anne Kirker

Australian photographer and installation artist. Hall began her career as a photographer in the mid-1970s, relinquishing a formal training in painting. She produced black-and-white modernist images of people embedded in their surroundings, favouring the incidental and over-looked. However by 1978, when she had lived for a time in London, Hall shifted away from the documentary tradition. Impressed by the ...

Article

Charles Green

Australian photographer. Henson attended Prahran College of Advanced Education, Melbourne, but, precocious and fiercely independent, discontinued his studies in 1975. Recognition by art museums was immediate and his first solo exhibition was at Melbourne’s National Gallery of Victoria at the age of 19. From that point onwards, he was noted for his immensely ambitious, large series of photographs, almost always collectively and individually titled ...

Article

David P. Millar

Australian photographer, film producer, film maker and writer. He was introduced to photography while working at a steel foundry in Lithgow, NSW, when his foreman would take him on photographic excursions into the nearby Blue Mountains. After an apprenticeship with a photographic postcard firm, where he gained a reputation for achieving spectacular effects with the camera, he was appointed official photographer to the Australian geologist and explorer ...

Article

John R. Neeson

Installation art is a hybrid of visual art practices including photography, film, video, digital imagery, sound, light, performance, happenings, sculpture, architecture, and painted and drawn surfaces. An installation is essentially site specific, three-dimensional, and completed by the interaction of the observer/participant in real time and space. The point of contention with any definition concerns the site specificity, ephemerality, and consequently ‘collectability’ of the work itself. One view has it that the category installation is presupposed on the transitory and impermanent, the second that an installation can be collected and re-exhibited as a conventional work of art....

Article

Helen Ennis

Australian photographer. She studied photography at Prahran College of Advanced Education in Melbourne from 1967 to 1970, graduating with a Diploma of Art and Design. She received a technical teacher’s certificate from Hawthorn Teachers College in 1971 and during the 1970s taught photography in Melbourne, Sydney, and Hobart. Her earliest photographs were in the photo-documentary style that was taken up by many young Australian photographers involved in the burgeoning art photography movement in the 1970s. She worked in black and white, generally taking photographs with the consent of her subjects. She did not use flash or distorting wide-angle lenses because she wanted her photographs to be ‘natural’ and ‘real’. Jerrems began to exhibit in Melbourne in ...