Sally Brownbill

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Archive for November 2014

26/11/2014

Edmund Pearce Gallery- New show

– posted by Sally

Opening - Thursday Nov 27 / 6-8 PM

Exhibitions / November 26 – December 20

Gallery One:
Arini Byng & Georgia Hutchison / Adult Contemporary

Adult Contemporary extends on the collaborative practice of Arini Byng and Georgia Hutchison. Through an open-ended enquiry of sampling, combining and collapsing material elements – the work explores the process of studio photography and its relationship to material and encounter.


Gallery Two:
Breckon / Set this House in Order

Set this House in Order lifts a number of objects from Breckon’s suburban childhood home, presenting them as meticulous photographic ‘skins’ of the objects themselves. A Sanyo radio from the 1970s, a well-worn tape and briefcase sit within this ongoing series, their wear and tear set out in minute detail, as though preserved in a museum of a forensic notebook.


Gallery Black:
Katherine Griffiths / Naturally Beautiful

Naturally Beautiful aims to create an insight into the female image generated by popular culture and its potential influence on our younger generation, ultimately challenging our ideals and perception on how we see beauty in today’s society.

 

Read more about Edmund Pearce Gallery here

 

20/11/2014

New Mac Studio now open

– posted by Sally

read more …

17/11/2014

Student Photographer of the Year 2014 Competition

– posted by Sally

read more …

11/11/2014

Q&A with Shaune Lakin

– posted by Sally

Senior Curator Photography at the National Gallery of Australia.

I was born and raised in country Victoria and have spent most of my adult life in Melbourne. I lived for a few years in Ireland during my 20s, but returned to Melbourne to do a PhD at the University of Melbourne. My PhD looked at American photographic books – I am really interested in American culture and I guess I had a thing for Walker Evans. I looked at photographic books because there wasn’t really an archive in Australia for anyone interested in looking at American photographs, so looking at reproductions made sense.

After completing my PhD and teaching for a bit at Melbourne University, I moved to Canberra to work as a Curator of International Art at the National Gallery of Australia. I went up there primarily to work on an exhibition of French paintings, but I stayed at NGA for a couple of years before moving across the lake to the Australian War Memorial to write a book on Australian conflict photography.

While war had never really figured in my imagination, as strange as that sounds given its significance, this became a dream job – looking after a massive collection of some of the most historically significant photographs and photographic objects in the world, and thinking in a really detailed way about the relationship of photographic practices to history and memory.

In 2008 I moved back to Melbourne to become Director of Monash Gallery of Art. I had always known about MGA, and never spent much time here, but I was really interested in the idea of helping a place with such a particular commitment to photography develop further. After six really fulsome years, I am now moving back to Canberra and the NGA.

What inspired you to become a curator?
To be honest it was in part chance. NGA needed someone to work on an exhibition of French painting, and I was teaching a bit of nineteenth century French painting and was familiar with many of the works in the show. So I went up in that context. However, I soon realised that for the most part my whole experience of art objects had been filtered through reproductions – slides and photography books. Actually ‘handling’ real artefacts was something else altogether. I loved the materiality of the object, which of course is something fundamental to working with a collection. And so it developed, my relationship with art objects, especially photographs. I would say that (and this is not unusual) my work as a curator was informed by the pleasure I got out of the object itself (so photographs are not just about content or pictures).

So it wasn’t about being ‘inspired’, more about chance and taking advantage of opportunities that came my way, even when they looked weird – like me writing about war photographs, when I knew little about war or what it really meant.

What advice about the do's and don'ts would you give to an aspiring Curator and then Gallery Director?
Take advantage of opportunities as they come your way. And I was one of those gallery directors that has a strong connection with work – I look at work all the time. Even though the job is becoming increasingly about business development and management, I think a gallery director is always going to have to retain an intrinsic relationship to the work we celebrate.

What is next for Shaune Lakin?
Driving up to Canberra sometime in October. I can’t wait.
 

National Gallery of Australia

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