CURRENT

 

PARALLEL RELATIONS: SERIALITY IN PHOTOGRAPHY
The Annual USU Art Collection Exhibition.

Opening 6-8pm August 13
Continuing to September 5
Bill Henson, George Gittoes, Alex Kershaw, and The Twilight Girls (Helen Hyatt-Johnston and Jane Polkinghorne)
Curated by Jessica Bradford and Esther Rolfe

Public Programs
Earlwood Farm Presents: Read Before Burning – Saturday August 15, 11am-1pm.
http://verge-gallery.net/2015program/earlwood-farm-presents/read-before-burning-august-15-11am/

Creativity and Lifelong Learning Panel Discussion: Saving the world: kids & the power of creativity – Saturday August 29, 1-3pm.
http://verge-gallery.net/saturday-29-august-saving-the-world-kids-the-power-of-creativity/

Panel Discussion for Parallel Relations: Seriality in Photography – Saturday September 5, 1-3pm.


 


The 2015 University of Sydney Student Union Art Collection exhibition delves into the concept of ‘series’.  Curators Jess Bradford and Esther Rolfe have spent the past five months working closely with a range of photographs in the USU art collection and aim to critique the nature of seriality in photographic practice through a survey of four different approaches to ‘series’.

This exhibition, titled Parallel Relations: Seriality in Photography, brings external works and works from within the collection together. The exhibition includes photographs by The Twilight Girls, Alex Kershaw, Bill Henson and George Gittoes.

Bradford and Rolfe reunite an image in the collection by The Twilight Girls with three other images from the series The Power and the Glory. These four pictures depict a tale of two fighters in sausauge suits and represent a third of the six part series. The prints will be exhibited with a gif screen work sourced from the artists. Alex Kershaw’s image Notice Board (2000) from the USU collection will be paired with Construction for Watching Waterloo (2006) and Untitled Monuments #1 (1998-2001). While these images were not created as a series, by positioning these three photographs in the space, Bradford and Rolfe create a new series by drawing together links in the consistent visual style and narrative content in Kershaw’s work.  Bill Henson’s Untitled 1980/82 series has been exhibited in various forms but was originally shown as 220 images installed in 26 groups.  This exhibition shows nine works from the USU collection, rehanging of the work to allow for new impressions and interpretations between the individual images.   Finally, 6 images from George Gittoes’ photographic series of Rwanda have been selected from the 40 images held in the collection. These images reveal the story of the country’s civil conflict in 1995.

The resulting exhibition aims to showcase a variety of methods used to create a series of photographic images, and by reuniting, stitching and editing series of works to highlight the narratives that connect individual images together.

Jess Bradford is an emerging artist based in Sydney.  She is currently undertaking a Master of Fine Arts at Sydney College of the Arts and has been awarded the Australian Postgraduate Award. She has co-curated the exhibition Parallel Relations as part of her first year as University of Sydney Union Art Collection coordinator.

Esther Rolfe is an emerging curator currently undertaking a Master of Art Curating at the University of Sydney. Rolfe is presently in her second year as a University of Sydney Union Art Collection coordinator.  She has co-curated Reticulation (2014) and Parallel Relations (2015) and independently curated cut.paste.repeat (2015).


PARALLEL RELATIONS: SERIALITY IN PHOTOGRAPHY Panel DIscussion
Saturday September 5, 1-3pm

Henri Cartier-Bresson’s concept of the decisive moment seems at odds with the practice of photographic series. Does such sequential work suggest that certain things elude a singleimage? Today with digital media when thousands of images are made by anyone, what future is there for photographic practice and theory? Join panelists Isobel Parker Philip, Dr Donna Brett, Cherine Fahd and The Twilight Girls with moderator Jess Bradford for an informal discussion, followed by a short Q&A.

Isobel Parker Philip is a curator, writer and photographer from Sydney. She is presently the Assistant Curator, Photographs at The Art Gallery of New South Wales, Sydney and has independently curated exhibitions at UTS Gallery, Firstdraft, Sydney Guild, The Paper Mill, Breezeblock and the Villa Alba Museum, Melbourne. Her writing has appeared in un Magazine, Runway, Das Superpaper, Try Hard Magazine and RealTime, among others, and she has written catalogue essays for numerous artists including Robyn Stacey, Justine Varga, Nick Dorey and Heidi Yardley.

Dr Donna West Brett is an art historian, curator and lecturer of modern art at the University of Sydney. She is author of ‘Interventions in Seeing: GDR Surveillance, Camouflage & the Cold War Camera’, in Camouflage Cultures: The Art of Disappearance, Ann Elias, et al., eds. (University of Sydney Press, 2015) and her forthcoming book Photography and Place: Seeing and Not Seeing Germany After 1945 will be published late 2015 by Routledge.

Cherine Fahd lives and works in Sydney. She is currently a PhD candidate at Monash University, Melbourne and Lecturer in Photomedia at Sydney College of the Arts at the University of Sydney.
Fahd’s work is represented in major public collections in Australia such as the Art Gallery of New South Wales, National Gallery of Victoria, National Gallery of Australia, Artbank, University of QLD Museum, University of Wollongong Collection, Monash Gallery of Art, Gold Coast City Gallery, Albury City Gallery & Casula Powerhouse Art Centre. She is the recipient of numerous New Workgrants from the Australia Council for the Arts along with art awards and residencies such as the NSW Women & Arts Fellowship from Arts NSW, the Josephine Ulrick and Win Schubert Foundation for the Arts Photography Award, the National Photography Prize and the Moya Dyring Studio from the AGNSW.

The Twilight Girls is the creative collaboration between Jane Polkinghorne and Helen Hyatt-Johnston that started in 1990. They have exhibited extensively in Australia and in the United States in a practice that crosses and integrates various media including photography, sculpture/installation and video. Their work has been shown in a range of spaces from artist-run-initiatives (ARIs) through to contemporary art spaces. Major works include the 23 minute video 50 Ways to Kill Renny Kodgers, 2014, a collaboration with Mark Shorter, at Contemporary Art Tasmania (CAT) which also opened the Dark Mofo festival in 2014; ‘Consider Her Ways’ (2014), was shown in We Are Family at the Australian Centre for Photography; ‘Smotherlode’ (2013) was shown in Re:Cinema at the Sydney College of the Arts Gallery and Parsons The New School for Design, New York; and ‘The Power and the Glory’ (2004), in Resistance and Ritual at Westspace, Melbourne.


 

EXHIBITION IMAGES