© 2018 by Monash Gallery of Art for LEGACY. Your collection. Our story.

Entrance

And in the Beginning

The exhibition opens with the first work officially gifted to the collection when MGA opened its doors in the new building in 1990: a tapestry by Josef Albers, donated by MGA’s original architect, Harry Seidler. The story goes that Seidler wanted to nail it to the entry foyer wall so it could never be removed, and in the only purpose-built gallery Seidler ever designed, this would have been a constant presence of a modernist masterpiece in honour of one of Australia's leading exponents of Modernism and the Bauhaus.


This entrance echoes the original entry (now the meeting room and Wilbow Gallery). In the early 2000s MGA underwent a redevelopment that involved expanding the building to incorporate a café and library, thus re-orientating the entrance away from the snorkel design and creating a spine that connects the visual arts with literature.

The rich purple, blue and gold splash of colour echoes the pattern of the Albers tapestry while hinting at the explosion of photography beyond.

 

Hero Men

A number of donors have contributed to the collection of 'hero men' photographers who emerged as leaders in Australia from the 1930s to 1970s. The strong selection of works from seminal Australian photographers such as Dupain, Moore and Sievers, is exemplar of the impact of individual donors on developing MGA's collection. When seen together and united as part of a public collection these works enter into conversation - something many of these artists did with each other throughout their careers.

 

Josef ALBERS

4 carres, bleu gris ochre jaune  1968

tapestry

170.00 x 170.00 cm

Monash Gallery of Art, City of Monash Collection

donated by Harry Seidler 1990

MGA 2002.28

© The Josef and Anni Albers Foundation/VG Bild-Kunst. Copyright Agency, 2018

While it is an unusual addition to a collection solely dedicated to Australian photography, this tapestry was the first work officially gifted to the collection when MGA opened its doors in 1990 - a unique gift from MGA’s original architect, Harry Seidler.

Albers was a central figure in twentieth-century art and a master of the Bauhaus. He began constructing compositions that utilised designs that  incorporated squares within squares which originated from his Homage to the Square painting series (c.1951). He explored this across many mediums, including paintings, tapestries, drawings, prints and furniture, but it wasn’t until after Albers' death that his experimentation with photography was discovered. This included photocollages featuring photographs he made at the Bauhaus between 1928 and 1932. These were the subject of exhibitions at MoMA in 1988 for The Photographs of Josef Albers and in 2017 for One and One Is Four: The Bauhaus Photocollages of Josef Albers. (The Museum of Modern Art, USA)

Adam KNOTT

Max Dupain  1992-93

gelatin silver print

26.0 x 39.2 cm

Monash Gallery of Art, City of Monash Collection

donated through the Australian Government's Cultural Gifts Program by Richard King in memory of Murray Stewart Smith 2008

courtesy of the artist

MGA 2008.288

David MOORE

David Moore (1927-2003) began his professional life in the late 1940s working at photography studios in Sydney. During the 1950s, Moore was based in London and established a profile working as a photojournalist on assignments for international picture magazines such as Time and Life. In a career that spanned 60 years, Moore mainly worked as a photojournalist while pursuing a range of personal projects that highlighted his individual interests and distinctive aesthetic. Moore based the last thirty years of his life in Sydney, often documenting distinctively Australian subjects and promoting photography as an art form.

Harry Seidler, Killara, Sydney  2004

gelatin silver print

27.0 x 42.0 cm

Monash Gallery of Art, City of Monash Collection

donated by Gordon Darling AC CMG through the Australian Government's Cultural Gifts Program  2004

MGA 2004.45

courtesy of Lisa, Michael, Matthew and Joshua Moore

Max DUPAIN

Max Dupain (1911-1992) began his photographic career in 1930 as an apprentice in the studio of Cecil Bostock. He established his own studio in Sydney in 1934 and continued to produce a broad range of commercial work over the course of his life. Dupain is renowned for his architectural photography and iconic images of Australian beach culture. His experiments with photomontage and photograms during the 1930s are of critical importance to the history of Australian photography. Dupain’s work during World War II as a civilian photographer is also of historical significance, marking a shift in practice away from advertising and fashion, and toward social documentary.

Sunrise at Newport  1974

gelatin silver print

41.5 x 39.5 cm

Monash Gallery of Art, City of Monash Collection

donated through the Australian Government's Cultural Gifts Program by Christine Godden 2011

MGA 2011.073

courtesy of The Max Dupain Exhibition Negative Archive and Rex Dupain

This black and white photograph shows an elevated perspective of a beach with a silhouetted figure walking through the waves in the foreground. A major aspect of Dupain’s practice was the imaging of Australian beaches and beach culture. This photograph was taken in Newport, which was a life-long holiday destination for Dupain after his father built a cottage there in the 1920s. 

Max DUPAIN

Mosman Bay at dusk  1937
gelatin silver print
49.6 x 32.6 cm
Monash Gallery of Art, City of Monash Collection
donated by James Mollison AO through the Australian Government's Cultural Gifts Program 2008
MGA 2008.006

Joyce Evans

Joyce Evans (1929- ) is a key figure of Australian photography in the late twentieth century. Evans’s initial contribution as an advocate for the medium included establishing Church Street Photographic Centre in 1976, encouraging a broad interest in photography and assisting the careers of many Australian photographers. Evans also introduced audiences at Church Street to the work of key figures in international photography. The gallery closed in 1982. Evans decided to become a photographer before she opened Church Street, but it was in the early 1980s that she began to focus more productively on her own practice.

Mark Strizic  1984

chromogenic print

30.5 x 30.5 cm

Monash Gallery of Art, City of Monash Collection

donated by the artist through the Australian Government's Cultural Gifts Program  2008

MGA 2008.272

courtesy of the artist

Wolfgang SIEVERS

Sweatshop, Melbourne  1958

gelatin silver print

31.5 x 57.5 cm

Monash Gallery of Art, City of Monash Collection

donated by the artist 1986

MGA 1986.50

Mark STRIZIC

Mark Strizic was born in Berlin and migrated to Melbourne from Zagreb, Croatia in 1950. Strizic had no formal training in photography, but began taking photographs of Melbourne in the 1950s. He abandoned his studies in physics to become a full-time photographer in 1957, taking up subsequent commissions in architectural, industrial, interior design and portrait photography. Among Strizic’s most widely recognised images are those he created of the city of Melbourne from 1955–70. In the 1970s, Strizic began to use photography in experimental and expressive ways, combining, repeating and transforming elements from his black and white negatives through colour and technical manipulation. He used bright colours to transform symbols of urban ugliness into imaginative, colourful designs that commented critically on the quality of urban Australian society. Strizic exhibited widely and his works are held in many public and private Australian collections. He passed away in 2012.

An international brigade  1971
gelatin silver print
34.0 x 23.2 cm
Monash Gallery of Art, City of Monash Collection
donated by the Bowness Family through the Australian Government's Cultural Gifts Program 2008
MGA 2008.114
courtesy of the artist's estate

David MOORE

Nuns at Lourdes Centenary, France  1958

gelatin silver print

37.0 x 24.5 cm

Monash Gallery of Art, City of Monash Collection

donated by the Estate of David Moore 2006

MGA 2006.82

courtesy of Lisa, Michael, Matthew and Joshua Moore

Mark STRIZIC

Collins Street at McPherson's building - 1  1967

gelatin silver print

53.8 x 36.0 cm

Monash Gallery of Art, City of Monash Collection

donated by the Bowness Family through the Australian Government's Cultural Gifts Program 2008

MGA 2008.112

courtesy of the artist's estate

Mark STRIZIC

BHP steel mill, Port Kembla  1959

gelatin silver print

35.7 x 24.8 cm

Monash Gallery of Art, City of Monash Collection

donated by the Bowness Family through the Australian Government's Cultural Gifts Program  2008

MGA 2008.124

courtesy of the artist's estate

Mark STRIZIC

Port Kembla BHP steel casting  1959
gelatin silver print
36.9 x 29.2 cm
Monash Gallery of Art, City of Monash Collection
donated by the Bowness Family through the Australian Government's Cultural Gifts Program 2008
MGA 2008.125
courtesy of the artist's estate

Mark STRIZIC

Arch Robin Boyd: Domain Park, South Yarra, June  1970

gelatin silver print

41.0 x 36.4 cm

Monash Gallery of Art, City of Monash Collection

donated by the Bowness Family through the Australian Government's Cultural Gifts Program 2008

MGA 2008.132

courtesy of the artist’s estate

Mark STRIZIC

McPhersons Richmond, Vic  1963

gelatin silver print

37.0 x 49.5 cm

Monash Gallery of Art, City of Monash Collection

donated by the artist 2002

MGA 2002.08

courtesy of the artist’s estate

Mark STRIZIC

Forging 1963 style  1963
gelatin silver print
37.0 x 45.5 cm
Monash Gallery of Art, City of Monash Collection
donated by the artist 2002
MGA 2002.11
courtesy of the artist's estate

Mark STRIZIC

McPhersons Richmond Vic  1963

gelatin silver print

37.0 x 49.5 cm

Monash Gallery of Art, City of Monash Collection

donated by the artist 2002

MGA 2002.07

Wesley STACEY

This photograph is from Wesley Stacey’s series Barragga to Indulkana (1971–92), which is a compilation of landscape photographs taken with panoramic cameras between 1971 and 1992. The photographs plot an imaginary road trip from the beach at Barragga (where Stacey lives) to a waterhole at Indulkana in northern South Australia. This cross-country transect includes views of beaches, creek beds, snowfields, grasslands, forests and deserts, from New South Wales, Victoria, Queensland and the Australian Capital Territory.

The Barragga to Indulkana sequence features many of Stacey’s most dramatic panoramas. Carefully composing his shots to take advantage of the panoramic format, he uses the stretched proportions to make vistas breathe and accentuate lines of perspective.

Bush beside the Murrah River  c. 1981
from the series Barragga to Indulkana
gelatin silver print
17.9 x 50.8 cm
Monash Gallery of Art, City of Monash Collection
donated by Wesley Stacey 2013
MGA 2013.121
courtesy of the artist

Wesley STACEY

Wesley Stacey studied drawing and design at East Sydney Technical College before working as a graphic designer and photographer in Sydney and London in the early 1960s. In the late 1960s he worked as a magazine photographer in Sydney and from 1969–75 he worked as a freelance commercial photographer. He often used a Kodak Instamatic camera during the seventies, making series of informal images of his friends and recording his environment. In 1973 Stacey helped establish the Australian Centre for Photography.

Stacey is one of Australia’s most important living photographers. His work has been exhibited widely, including Serpentine Gallery, London, Art Gallery of New South Wales, and a retrospective at the National Gallery of Australia in 1991. His work is included in most significant public collections in Australia, including NGA, NGV and AGNSW. Stacey continues to work from a base on the South Coast of New South Wales.

Collusion on the shore, Cutagee  1992

gelatin silver print

65.0 x 210.0 cm

Monash Gallery of Art, City of Monash Collection

donated by Charles Nodrum 2010

MGA 2010.041


Anne ZAHALKA

The bathers  1989
from the series Bondi: playground of the Pacific
chromogenic print
95.0 x 112.0 cm
Monash Gallery of Art, City of Monash Collection
donated through the Australian Government's Cultural Gifts Program by the Bowness Family 2010
MGA 2010.022

courtesy of the artist

 
2012113-2.jpg

GO TO JERREMS

Carol JERREMS

Juliet 'Girl amongst leaves'  1976
gelatin silver print
20.2 x 30.3 cm
Monash Gallery of Art, City of Monash Collection
acquired with assistance of the MGA Foundation 2012
MGA 2012.113
courtesy of Ken Jerrems and the Estate of Lance Jerrems