Three exhibitions at MGA explore the nexus of photography, fashion, identity and the importance of the medium as process
Address: 860 Ferntree Gully Road Wheelers Hill Victoria 3150
Date: 23 November 2019 – 9 February 2020
Time: T-F 10am-5pm S-S 12-5pm
Ticket: Free entry
Call: 03 8544 0500
Untitled II 2011
from the series Cocktail
pigment ink-jet print 110.0 x 81.0 cm
courtesy of the artist
Omar Victor DIOP
Jean-Baptiste Belley (1746–1805) 2014
from the series Diaspora
pigment ink-jet print 118.9 x 84.1 cm
courtesy of the artist and MAGNIN-A (Paris, France)
‘Drawing upon the tradition of African studio photography, the artists in the exhibition use portraiture, fashion, textiles and styling to raise questions around identity, power and history. Through portraiture the artists represent themselves and others as they want to be seen, contesting past discourses and engaging with new discourses around race and identity.’
– Julietta Park, Senior Curator, Cairns Art Gallery
For Gareth Syvret’s curatorial debut at MGA Dressing up: clothing and camera showcases a suite of photographs from the MGA Collection that imagine dress as 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.
This exhibition draws together photographs 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.
‘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.’
– Gareth Syvret, MGA Associate Curator
With paintings and rare photographs drawn from Albert Tucker’s personal archive, The Tucker portraits explores how an artist renowned for painting the evils of modern life used photography within his artistic practice, in particular in his portraiture.
In 1939 Tucker acquired his first camera. From that moment on he began documenting his life and the people and places that meant so much to him. His archive of photographs range from studies of people that he used as inspiration and source material for his paintings, through to incredibly rare and intimate portraits of his family and friends who today are recognised as leading protagonists in Australian modernism and the Heide circle. These are images that explore the social, cultural and political life of Australia throughout the 1930s to late 1990s.
The exhibition showcases the original photographs alongside the paintings they inspired, with exclusive footage of Tucker speaking about his practice.
‘It has been a great privilege working with the Albert and Barbara Tucker Foundation to draw together an exhibition that explores how photography was integral to the practice of Albert Tucker, one of Australia’s most important modernist artists, so well-known for his paintings of modern life. Tucker’s relationship with photography changed over his career – he never thought of himself as a ‘photographer’, and while portraiture was important to his practice, he only produced a scarce few portrait paintings. This exhibition showcases rare photographs taken by Tucker, of himself and the people that meant so much to him, which he used to inspire his paintings. Tucker commented that he used portraiture as a way to try and “reach back into the past and seize that period, and the people who comprise it and try to fix them … these people were part of my artistic life and human background … the important thing for me was to recreate their presence and fix them so that they would have some kind of immortality”.’
– Anouska Phizacklea, MGA Director