Petersham hosts a lively Portuguese community who have established the suburb as the culinary centre for authentic and delicious Portuguese food. Every year in March, this year it was Sunday 12th March, the community celebrates with Australia’s biggest Portuguese Cultural Festival held in Audley and Fisher streets, Petersham.
Some of Sydney’s most popular murals are located in Newtown, Enmore or Ashfield but the trick is to find them, and some are quite a distance apart.
However, if you want to see a selection of colourful, eye popping murals in the one place, head to the Bondi Beach promenade.
Periodically, the street art on show is given a ‘fresh coat of paint’. It appears that this has occurred recently with a collection of new murals. The only mural that has been retained is a memorial to Chloe, as evidenced by its fading paint.
So the only place in Sydney where you can both have a great coffee, at one of the many excellent cafes in Campbell Street and a dip in the ocean, together with a dose of art in the fresh air, is iconic Bondi Beach.
Featured image- Peter Moran, Megan Seres, Scarlett Seres, Anne Wallace and Peter Moran. Image by Ben Apfelbaum.
The winners of the prestigious Doug Moran National Portrait Prize and the Moran Contemporary Photographic Prize were announced at in a function held at Paddington’s Juniper Hall and emceed by Richard Morecroft.
Sydney based artist Megan Seres took out the National Portrait Prize for her work entitled Scarlett as Colonial Girl. Seres received prize money of $150,000, thought to be the world’s most generous portraiture prize for her outstanding portrait of her daughter Scarlett.
The judges for this Prize were renowned artist Anne Wallace, Greta Moran, Founder of the Moran Prizes and Art Historian and Gallery Director Doug Hall. The judges commented, ‘When we know the reason for creating this painting we understand a fuller account of the portrait’s subtle force. Seres’s daughter Scarlett had been studying Colonial Australia at school, and in a school play was cast as the convict Mary Wade,
‘Women’s experience in Colonial times was already of interest for Seres who, with Scarlett’s input, made the costume which Scarlett wore. The resulting painting reflects not only the close mother and daughter relationship but also conveys the forbearance required of convict women and the gravity of their situation. It is a work which stands out as an idea which is deeply personal, yet is also to embrace history and cast it into a contemporary realm.’
Perth based photographer Johannes Reinhart took out the 2016 Moran Contemporary Photographic Prize for his photograph Mermaid Show. The award winning photo captures an image of performance artist Michelle Smith in her show Tina Tuna which was performed during Perth’s Fringe World Festival. Reinhart, who received a cheque for $50,000, told the gathering how great it was to be paid for what he loves doing, and that every year he takes thousands of photos and that only a few of them come out as he had hoped and that Mermaid Show was one of those occasions.
The judges for this year’s award were Jon Jones, Director of Photography at the Sunday Times Magazine in the UK, and Alan Davies, Emeritus Curator of Photographs at the State Library of New South Wales. Jon Jones said of Reinhart’s image, ‘This was a stand-out image, that was intriguing and thought provoking with an almost painterly quality.’
Student section prizes in the Moran Contemporary Photography Prize were awarded to Christine Drew from Canberra Girls High School (Year 11-12 category), Lachlan Sterling from Bulli High School (Year 9-10 Category) and Tess Palmer from Narooma High School (Year 7-8 category).
The 2016 Moran Art Prizes exhibition opened to the public at 10 am on Thursday 27 October. The exhibition showcases the works of the 30 finalists in the Portrait Prize and the 30 finalists in the Contemporary Photography Prize, as well as the winning entries in the Student section of the Photography Prize.
The exhibition will run at Juniper Hall until February 2017.
As part of a series of talks associated with the Library’s current exhibition Colour In Darkness (World War 1 photographs), on Thursday July 21 the Walkley Foundation arranged a panel discussion at the Metcalfe Auditorium, State Library of New South Wales. The panel, who were moderated by Sally Sara, comprised of combat photographs Gary Ramage, a freelancer, David Maurice Smith, an Oculi member, and Edwina Pickles of Fairfax Media.
By way of introduction Elise Edmonds, curator of the exhibition, stated that this exhibition tried to replicate an exhibition that toured Australia in the 1920s, right down to the original caption notes. Most photos were taken by amateurs whilst the hand colouring was designed to give the images a dreamlike quality.
The discussion was based on a question and answer format. Gary Ramage indicated that he dealt with direct contact with frontline troops in combat. David Maurice Smith dealt with the consequences of war especially Syrian refugees. Edwina Pickles said that she doesn’t go to the frontline but her most recent conflict assignment was in the largest refugee camp in the world, Dadaab in Kenya which contained half a million people mainly Somalia women and children who were still vulnerable to rape and child kidnapping. Continue reading WALKLEY MEDIA TALK : SHOTS FROM THE FRONT @ STATE LIBRARY→
David Bromley is a prominent Australian artist, known internationally for his Female Nude series and daring bold style – using colour and whimsical subject matter to communicate his perception of the human experience.
His South Yarra house was open to the public over last weekend, in light of the Leonard Joel auction. The unique property is situated in the heart of Chapel street, and is not only home to an eclectic mix of works but also breathes opulence through it’s architectural narrative. These are some of the photos that I took of this extraordinary property and some of its unique possessions.
Goulburn Regional Art Gallery is extending an invitation to the opening of an upcoming exhibition that is bound to attract plenty of interest.
At 3pm on Saturday 30th July Mark Tedeschi AM QC is to open SHOOTING AROUND CORNERS, an exhibition of his award winning photographic practice carried out over the last twenty five years.
Mark’s images range from insightful portraits of prominent Australian artists; his compassionate view of the Aboriginal urban communities of Redfern in the 1980’s, domestic interiors and everyday scenes from the streets of Italy, China and New York and Australian outback characters.
Especially intriguing are the images that capitalise on his unique position as both artist and Senior Crown Prosecutor for New South Wales, in which he is able to give a unique insight into the cloistered world of the justice system and the personalities who work within it.
Mark is also expected to talk briefly about his new book Kidnapped, an account of one of Australia’s most notorious criminal cases.
The mood will then then shift from fine photography to equally fine music with his son Simon taking over with the Simon Tedeschi Supper Concert, expected to take place around 4.30 pm.
Simon will perform a variety of his favourite tunes on the gallery’s baby grand piano. The audience is then invited to enjoy supper which will include partaking of a delicious, casual regional produce grazing table set up for the occasion.
Entry to the opening of the photographic exhibition is free. Tickets to the Piano Recital and supper are $50 plus booking fee. It is recommended to book if you are interested in attending as this event is expected to sell out quickly.
Tickets can be booked by phoning the Gallery on 48234494 or by email email@example.com
Sydney is one of the cities privileged to host the World Press photo exhibition, thanks to Canon Australia and the State Library of New South Wales.
As one would expect the bulk of the exhibition dealt with the two biggest news stories of last year, the Nepal earthquake and the plight of the refugees.
The exhibition was held at the State Library between 21 May and 19 June 2016.
Featured photo – Australian photographer Warren Richardson won the World Press Photo of the Year Award for this photo entitled- Hope For The Future. A baby is handed through a hole in a razor wire barrier, to a Syrian refugee who has already managed to cross the border from Serbia into Hungary, near Röszke.
“The results of the auction at Mossgreen in Sydney is the most significant marker of the maturity of the appreciation of photographic arts in Australia”
Gael Newton Former curator at the AGNSW and NGA
Mossgreen’s landmark auction of Max Dupain (1911-1992): Estate Photographs heldon 19 June 2016 at the firm’s new glamorous Sydney headquarters in Woollahra totalled a record $1,663,237, establishing a new Australian auction record for any photographs collection.
All 500 original photographs by one of Australia’s most famous and highly regarded photographers were sold, with numerous records established including for Dupain’s iconic Sunbaker 1937 which far exceeded the previous record selling for $105,400 and establishing a new world auction record for the artist after spirited bidding.
I did a walk through of the exhibition and then attended the auction. The quality and scope of Dupain’s work is simply breathtaking. These are some of my photos.
In WARCRAFT-THE BEGINNING the peaceful realm of Azeroth stands on the brink of war as its civilisation faces a fearsome race of invaders : orc warriors fleeing their dying home to colonise another. As a portal opens to connect the two worlds, one army faces destruction and the other faces extinction. From opposing sides, two heroes are set on a collision course that will decide the fate of their family, their people, and their home.
WARCRAFT – THE BEGINNING is currently having a wide release in cinemas around Sydney and should have a lot of appeal for lovers of the adventure/action/fantasy genres.
I recently went to the films’ premiere held at Event City cinema complex. As you can see from these photos it was a lot of fun.
These are a selection of my pics from this current exhibition. The exhibition is free and can be seen daily at the public outdoor space in Darling Harbour’s Civic Connector space and is running until June 30.
The World Wildlife Photographer of the Year Exhibition at the Australian Museum is the perfect place for any lover of our small blue planet to spend a wintry afternoon. These are remarkable and inspiring images of detail and depth; of animals and environments; of intricacy and power. Undersea creatures, disappearing landscapes and birds in profusion captured in places and poses we would never see without a photographer’s skill.
I went with a big group and we initially clustered around the large entry image, WATCHFUL CHEETAH: the eye of a mother wary for her cub peering through blades of grass. It was a then 8 year old, Leon Petrinos (Greece) who captured this animal forever.
Soon however, we wandered separately drawn by a colour or a shape or a touch on the elbow by a friend.
A vibrant little girl in a sparkly jacket was on the move too. Ignoring her mother’s “Scarlet, Scarlet” she was pulled all over the exhibition by the same forces. Scarlet was too little to read the detail about the images, she was just compelled by what called from inside the 100 black frames on the black walls. Beautifully presented, the gold of the wooden floors reflecting the narrow light focused on the works, the gallery has a jungle leaf motif and pan-pipe ethereal on the soundscape. And there is room to step back in awe or lean close to appreciate the detail.
At the end of the space is a projection of previous year’s winners but the projections do not have quite the same impact.
This competition was launched in 1965 by Britain’s first colour nature magazine ‘Animals’. Now in its 50th year, it is a collection to linger over.
The two winning images STINGER by 8 year old Carlos Perez Naval (Spain) and THE LAST GREAT PICTURE by Michael ‘Nick’ Nicholas (USA) could not be more different. The first an orange, sunlit detailed capture of a translucent scorpion. The latter: a pride of lions at rest. With a black and white feel created by using infrared, the big cats are lolling on rocks in the bottom half of the frame while the heavens are filled with rays and clouds dwarfing them. Both of these photographs are presented in both large and smaller formats.
The aim of touring the exhibition is to foreground biodiversity and sustainability and no one in my party came away untouched. I had a long chat with a woman I did not know about the plight of an animal I have never heard of. We were strangers brought together by ignorance, eager to learn from Simone Sbaraglia’s (Italy) COMMUNAL WARMTH. His photo of geladas is just extraordinary.
Each of us seemed to have our consciousness raised by something different. Some were enthralled by the detail of the fungi and others, the resilience of the invertebrates. Some repelled by the snakes or spiders, others entranced by the beauty of a Honduran mangrove. One bird lover couldn’t pull away from the colours.
For me, it was all about the mammals. I feel them somehow. Of course I was thrilled by the electricity of the volcanic lightning of APOCALYPSE by Francisco Negroni (Chile) but it was INTIMACY another photograph by Nichols, which made me peer into the faces of those Serengeti lions looking for something shared in this great big world.
That image is so close up because it was taken by a robot. New technology is well represented but not overwhelming in this exhibition. The three time lapse collected images are mesmerising and HOLLYWOOD COUGAR, (Steve Winter USA) a stalking big cat treading lightly below the iconic sign, is the result of 14 months of camera traps.
My favourite? Can an image which makes you cry unashamedly be called a highlight? If it alerts you to both the human condition and the state of the wild creatures on our planet then …yes, maybe it is. THE PRICE THEY PAY ( Bruno D’Amica Italy) depicts a 3 month old Fennec Fox illegally dug out of a nest in the Sahara Desert being sold by a teenager. The eyes of this blameless creature look out at you from the centre of the photograph and his sweet little face is framed in the V of the tattered, dirty, fragile footwear of the Tunisian boy who is just trying to survive. Nothing good is happening here and it broke my heart.
And I am sure I am not the only one to be shocked but also elated and awed by the infinite variety of our little blue planet. Scarlet and I are just two of the many millions of people who will see the photographs in this exhibition that has ‘satellites’ around the world and are also featured on the official website and being part of this collective/ global experience, in itself, makes it worth participating in.
The exhibition continues until October 5 at the Australian Museum and as they power through their renovations there are some great deals to be had on their website at http://australianmuseum.net.au/
SOHO Galleries is holding its first ever photography exhibition after 20 years in operation. SOMEWHERE IN JAFFA by Australian photographer Nathan ‘Natti’ Miller is part of this year’s Sydney’s Head On Photo Festival. It is an attention-grabbing collection of black and white photographs showing the Israeli district’s vivid cultural identity.
Jaffa is part of Tel Aviv, one of the oldest cities in the world. It has a diverse population of Jews, Christians and Muslims and is a hub of culture, entertainment, food and tourism. With this exhibition Miller aims to capture the ambiance and the diversity of Jaffa, in its ethnicity, traditional and contemporary aspects.
In the photographer’s own words, “There are few places in the world where you see a person in a café, ask permission to photograph them, engage in a conversation with them and then end up being invited for a meal at their home. Jaffa is one of those places where this happened more than once.”
Nigel Messenger, Director of SOHO Galleries was thrilled with having Nathan Miller and this first photo exhibition at the Gallery. “Somewhere in Jaffa perfectly captures unique moments and the relationships between people and places”.
It is notable that the photographs are all untitled. This recognises that each photo contains a multiplicity of perspectives. People are co-located but apart, diverse in their backgrounds and current experience. One photograph can depict smiles, concern, discomfort, cheekiness, fatigue and more.
People, streets and buildings contribute to the experience. Their place and movement suggests history yet transience.
This photographic exhibition shows that black and white can be warm and colourful. There are many varied smiles and hinted colour of garments and marketplaces. The photos may be of the commonplace but are never banal, and the viewer leaves enriched.
As well as the opportunity to view and purchase individual photographs in the exhibition, there are also two books of Millers’ photography available for purchase- Somewhere in Jaffa and Notes from the Mississippi Delta.
SOMEWHERE IN JAFFA is exhibiting at the Soho Galleries, 104 Cathedral Street, Woolloomooloo until 5th June 2015.
YASUKICHI MURAKAMI- THROUGH A DISTANT LENSis a fascinating show about Japanese photographer, businessman and inventor Yasukichi Murakami, who moved to Western Australia in 1897. He soon re-located to Broome, where he worked variously as an import/exporter, hotel manager, pearl diver and some-time jockey. He went into business first with Takazò Nishioka, and after Nishioka’s death, Murakami married Nishioka’s widow, Eki.
Murakami eventually became a successful photographer based in Darwin, but when the war broke out he was interned in a camp in Tatura, Victoria, with the family he had with his second wife. He died there in 1944 of a heart condition.
His life subsequently became a source of inspiration for Mayu Kanamori and the ‘seed’ for this play.
On Saturday April 5, the Monash Gallery of the Arts opened the Rennie Ellis Show and a showcase book of Ellis’s photography, DECADENT:1980-2000 was launched.
As the captivating chronicler of social change in Australia in the last two decades of the twentieth century, this big bold, bound in gold volume brilliantly illustrates how Ellis came face to face with the see and be seen syndrome; the excesses of hedonism and indulgences of wealth.
One hundred photos were selected from 43,000 entries of the best wildlife photography from 2013. The Wildlife Photographer of the Year 2013 exhibition is now showing at the Australian Museum. The competition is owned by the Natural History Museum, London and BBC Worldwide.