Based
on text from the original book: Shades of Light:
Photography and Australia 1839-1988
Gael Newton, 1988 Australian National Gallery
Chapter 13 Footnotes
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to Chapter 13 | contents
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Statements
in the catalogues for the first and second exhibitions
at David Jones' Gallery, Sydney 1949 and 1950.
A third exhibition was held in 1954 at Farmers' Gallery.
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The
use of colour materials from the 1930s has yet to be integrated
into art histories
of Australian photography. An exception is
Jennie Boddington's exhibition and publication of the colour
photography of Australian painter Russell Drysdale (1912-1981),
one of her last projects as curator of photography at the National
Gallery of Victoria, Melbourne, in 1987.
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Gordon
Andrews is a designer by profession and Hal Missingham had
been
director of the Art Gallery of New South Wales since 1945.
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See
James Cook, 'Photos by six in show', Daily Telegraph,
30 May 1955.
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H.
Tatlock Miller, 'Cameramen glamorise their wares', press
clipping from unidentified newspaper review,
23 March 1949.
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H.
Tatlock Miller, 'Alec Murray, Photographer', introduction
in Alec Murray's Album; Personalities ofAustralia
(Sydney:
Ure Smith, 1949).
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Murray
was part of the Merioola group of artists before moving
to England where he has enjoyed a
long career
as a fashion
photographer. See biography in Chris France,
Merioola and After (Sydney: S.H.
Ervin Museum and Art Gallery, National
Trust of Australia (NSW, 1986), pp.7-8.
A group of Murray's photographs is held by the Australian
National Gallery, Canberra.
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Letter
from Max Dupain to Helmut Newton 14 August 1954. Typescript
held by Max Dupain,
Sydney. Other
letters
held by Dupain show
that it was planned to exchange prints
for criticism between the Melbourne
and Sydney groups. Some prints were exchanged
and criticised.
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Le
Guay resumed similar publishing activities in the 1970s
as editor for Australian Photography 1976
(Sydney:
James
H. Coleman/Globe, 1976) and Australian
Photography - A Contemporary View (Sydney:
James H. Coleman/Globe, 1978).
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See
James H. Coleman, 'Selected Highlights and Landmarks
from Australia's Photographic
Past as
Recorded in the
Pages of its
Leading Magazine', Special 400th
issue Australian Photography (April 1984):
pp.43-71. Colour reproductions were
introduced in 1954.
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On
the cover of the exhibition publication (New York: Museum
of Modern Art, 1955). For the
political
background
to the tour
of the exhibition to countries
like Australia see Allan Sekula 'The Traffic in Photographs'
in his
Photography
Against the
Crain: Essays and Photoworks 1973-1983
(Nova
Scotia College of Art and
Design, 1984), pp.77-101. [Sekula's
critical examination of the notions of globalising and
universal photographic
discourse
had
been forgotten at the time 'A Global
Picture'
(Introduction) was written. However
Sekula's essay extends far
beyond the scope of
my accounts].
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Figures
cited by Harold Cazneaux in his report on Pictorial photography
in Australia
during
1939, Photograms
of the
Year 1940, p. 14.
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Communication
with the author 1986,
-
See
McFarlane's photograph of his grandfather, Amos Chaplin,
c. 1960, held by the Art
Gallery of New South
Wales, Sydney.
-
See
biographical notes in the catalogue for McFarlane's retrospective
at the
Print Room,
Sydney 1985, curated
by Gael Newton.
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Statement
by McCarter accompanying an illustration on his work
in Graham
Howe,
ed. New Photography
Australia (Sydney: Australian
Centre for Photography, 1974),
p. 16.
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Interviews
with the main participants and Dacre Stubbs have not
entirely
clarified the
structure
or nomenclature
of Group
M - named for Moggs
Creek, Lorne - also known as the United Moggs
Organisation.
There were
also
the Moggs
Creek Clickers.
Research into the Urban Woman exhibition
led to Group M but at a late stage
of the Bicentennial
Photography
Project
and
to date
few photographs by members have
been located.
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Indeed
in early salons Australian work submitted was deemed
not ready
for exhibition.
A sheet
on the Photovision
1963
exhibition announced
that future shows would be exclusively Australian
photography. Group
M were actively supported by John Reed (1901-1981)
founderdirector
of the Museum of
Modern Art and Design, Melbourne. Exhibitions
were held
at
his Gallery A.
-
The
Urban Woman exhibition was displayed at the Town Hall
and
subsequently toured
Mexico where it
was evidently
destroyed.
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Information
from John Cato, Melbourne. Jack Cato was nevertheless
invited to open the Photovision 1961 exhibition.
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Statement
in the catalogue for Photovision 1966. Photographer H.
Dacre
Stubbs
was a consistent critic of the approach of Group M finding it
misguided. In a review in Professional Photography Uune
1962), pp.24-5
Stubbs
sought an art in
photography which avoided the sterility of technically perfect
prints as in the older salons and the mediocrity and
technical incompetence
of the Photovision
salons. A recent article in the Age newspaper, Melbourne by Tom
Gilhooley on
the Moggs Creek Clickers prompted a letter to the editor of the
News Diary section from Albert W. Brown. Brown pointed
to the positive
achievements of the group
not only in mounting exhibitions but in bringing to Australia
The Photographer's Eye exhibition from the Museum of
Modern Art, New York but also in their
arguing for the establishment of a photography
department at the National Gallery of
Victoria.
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Produced
and photographed by Robert B. Goodman, text by George
Johnston, TheAustralians (Adelaide: Rigby, 1966).
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