What does success as a photographer look like for you? What is your dream? For me, success as a photographer is about continuing to produce images that I enjoy looking at. I started with no aspirations other than to study photography and to learn from it. Take yourself seriously. Be a fan of your own work. Work hard. Make mistakes. Enjoy the fear. Be observant of the world. Respect the rich history that has gone before us as photographers. Speak and write well about your work, with courage and honesty.
It tells the bleak story of a year-old girl who runs away from home and becomes a prostitute in Los Angeles. Glenn Sloggett was born in Brisbane in The only stories worth telling are the stories of the poor. Introduction Based in Melbourne, Glenn Sloggett has built a unique and insightful body of work documenting the parts of the city no-one wants to think about: the suburban underclass.
I can always get lost in a movie… …and football. Biographical Notes Glenn Sloggett was born in Brisbane in Share this: Twitter Facebook. Like this: Like Loading Post navigation. Search for: Begin typing your search above and press return to search. Press Esc to cancel. Follow Following. The majority of the texts on this site are by Alasdair Foster and represent his opinions. However, in order to facilitate a useful diversity of views, some texts have been invited from artists and colleagues around the world, while others appear as independent comments.
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Surf carnival, Cronulla is a quintessential Australian scene, one that frames an important aspect of national identity and culture. Although a beach is accessible for the majority of Australians and is now an accepted egalitarian space where women bodysurf, ride surfboards and compete along with beachgoers from diverse ethnic backgrounds, Surf carnival, Cronulla suggests a specific demography. Fiona Hall Australia, b. Australian vernacular photography considers how photographers have used their cameras to depict Australian life, and how ideas of the nation have been constructed through photographic images.
Sixteen Australian photographers are represented by some 27 photographs taken from the s to the s. The photographs range from the more conventionally photo-documentary through to later works by photographers positioned more consciously in an art context. A selection of photography books of the period are also on display.
Each of these artists in their own way interweave personal, documentary and fictional aspects through their images. The characters that emerge range from leathery sunbathers, beer-drinking blokes and hippies, to beach babes, student protesters and suburban housewives, shedding light on the sense of liberation and self-recognition that arose during this period.
To this end, such photographs involved minimal intervention from the photographer, both before and after the shutter release. Subjects were often unaware of being photographed and extensive darkroom manipulation was frowned upon, the rawness of prints was supposed to signal authenticity. This approach resulted in images that seemed to offer a frank perspective on Australian culture, without the romanticising tendencies of earlier photography, which had sought to construct ideals rather than document what was actually there.
As artists began to realise what they could do with the camera, so too did the images evolve. This signalled the increasingly self-conscious role of photographers themselves in the equation, suggesting the influence of post-modern theories of subjectivity and their effect on the images produced. The exhibition maps out this history and offers unexpected insight into the construction of a particularly Australian vernacular within photographic practice.
Ford often photographed those close to her as well as continually making self-portraits throughout her career. The photograph is domestic and intimate, showing a common aspect of life for young women in the s.
Staged in the kitchen, probably on a Saturday afternoon, Sue Pike, in a padded brunch coat with hair in rollers plugged into a portable hair dryer, will be a part of the action, the gossip and camaraderie. A further portrait taken in the same year shows Sue Pike metamorphosed as a beautiful bride, carefully coifed ash blonde hair under a white net veil, eyes momentarily shut, traditionally decorated with pearls and posy. Anne Zahalka Australia, b.
Licensed by Viscopy, Sydney. In The girls 2, Cronulla beach, the photographer has returned to the seaside, which was the setting for one of her most iconic series, Bondi: playground of the Pacific The girls was made as a response to the Cronulla riots and after an introduction to Aheda Zanetti, the designer of the burqini.
It seemed like there was change adrift on the beachfront. But the image of these young Muslim women lifeguards seems to celebrate the potential to transgress accepted value systems. Through the appropriation and reworking of familiar icons and styles I seek to question and understand their influence, meaning and value. In this image, three Muslim girls wearing Burqinis swimwear made for Muslim women conceived by Lebanese-Australian designer Aheda Zanetti are standing cross-armed on Cronulla beach, a lifesaving raft is in the background.
Zahalka made this work in response to the Cronulla riots of The image juxtaposes Muslim tradition with the Australian icon of the lifesaver, suggesting cultural overlap and changing national identity. William Yang Australia, b. He is known both as a photographer and for his monologues with slides which he has presented around the world to great acclaim. Yang has documented various subcultures over the last 30 years and this is reflected in his photographs as well as his monologues.
A remarkable storyteller with a unique style, his current work is a synthesis of his ongoing concerns. While these concerns spring very much from his experiences growing up with a Chinese background in far north Queensland, through to his exploration of the gay community in Sydney, the work transcends the personal and becomes a meditation on the subtleties of the ordinary and everyday.
Though the subject, at its most superficial, is food, where, when and who is there at the time is of equal importance. Yang is known for his candid photographs of friends and situations he encounters. The images are usually accompanied by a story about his life, sometimes handwritten on the print itself, sometimes spoken aloud in performative contexts. He uses narrative as a way of locating his images in a particular moment in his personal history as well as social history at large.
Yang explores themes around Australian and gay identity in a way that is frank and sometimes confronting. In this work, from a series about food, a chunk of kangaroo meat sits casually atop a laminate bench; other Australian icons such as Wonder White and Weet-Bix are also visible.
Glenn Sloggett Australia, b. Euphonix Artist Series Logic. Glenn Sloggett AustralianPhotographers. These are the images of Australia that resonate most strongly for me as an artist. I want to capture the last signs of optimism before inevitable disrepair. It was one of Australia's longest running and pre-eminent commercial galleries and one of …. Their work was featured in numerous exhibitions at key galleries and museums, including the Stills Gallery.
George Paton Gallery, Melbourne University detail We used to talk about love. Art Gallery of New South Wales.
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