Ure Smith Pty Ltd, Sydney 1948, Basser Steps with Basser College in background, October – November 1967.
He objected and wanted the Meat Queue image instead. It was not until 1965–66 that the Library occupied its own purpose-built facility. The image was frequently reproduced. Pyrmont Silos. He said he preferred other of his classic shots such as Meat Queue , 1946, where there is more going on in terms of content and composition. During this time, from 1959 to 1970, UNSW’s main photographer of record was Max Dupain. Meanwhile the Sunbaker still had his unalloyed fans. His wife Margaret has just opened the Australian Centre for Photography. This new entrance from Anzac Parade was created and named the Walkway.
That’s an entire lifetime. Established in 1980, the University Archives acquires and preserves the records, photographs, film and other items of long-term value relating to the life of the university and its members and makes these available to users now and in the future. From 1973–76 the tower was added to the Library, providing additional space. It may not be used for commercial purposes without prior permission from the publisher. Gough Whitlam has been in power for almost three years. In 1948 a signed and dated enlargement, now lost, was reproduced along with other documentary-style photographs in the book Max Dupain Photographs. Fast forward to 1975. Dupain has emphasised the geometric arrangement and industrial materiality of the building and retaining wall, utilising the atmospheric effects of light and shade and formal qualities of line and contrast.
Ure Smith Pty Ltd, Sydney 1948. More photographs by Max Dupain held in the University Archives can be accessed through UNSW Library Digital Collections: The University Archives welcome donations of records, photographs, film and other items of long-term value relating to the life of the university and its members. In 1995 the retail artist Ken Done made a series of paintings which gridded the Sunbaker’s instantly recognizable muscular arch in a gestural shorthand across a bright orange field. He later joined the Photographic Society of NSW, where he was taught by Justin Newlan; after completing his tertiary studies, he worked for Cecil Bostock in Sydney.
Thank you Martyn.
Josef Lebovic Gallery. And today’s teenagers can’t seem to place him. This changed considerably in the 1990s where it became known as the Mall. It became an icon seemingly as delicate and solid as the Harbour Bridge itself. Meat queue 1946 documented a necessary postwar pastime for many Australian women when certain foods were still in short supply. Photography is now art, not documentary. Geoffrey Pryor, political cartoon, The Canberra Times, 29 December, 1995, Advertising postcard for The Republican newspaper, 1997. Wings of wind. Our Sunbaker was born one of twins, a pair of negatives Max Dupain shot of Harold Cyril Salvage — an English bookseller and avid reader, rower and pipe smoker — who, in Dupain’s words, ‘slammed himself down on the beach to have a sunbake’ after a swim. Change ), You are commenting using your Facebook account. UNSW Library Unstacked | Online Exhibition, Vicki Van Hout | Dialogues With RealTime Online Exhibition, Branch Nebula | Dialogues With RealTime Online Exhibition, Martin del Amo | Dialogues With RealTime Online Exhibition, Nonggirrnga Marawili | The View From Here, Kayi Kayi Nampitjinpa | The View From Here, Footer | Max Dupain: the architecture of UNSW, In Response: Dialogues With RealTime Online Exhibition, Alun Leach-Jones: a language of his own | Online Exhibition, Back to home | UNSW Library Online Exhibitions.
Beloved wife of the late Max Dupain and adored mother of Danina and Rex, fond He celebrates the scale and design of this modernist design as a sculptural form which contrasts with the smaller, domestic buildings in the lower right-hand-side of the image. Max Dupain (1911 - 1992) was an Australian modernist photographer. Change ), You are commenting using your Twitter account. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. In 1994–95 large aluminium UNSW letters were placed on all four sides of the Library Tower, ensuring UNSW was clearly identifiable across Sydney. We welcome enquiries from those undertaking research into any part of the university’s history. Max Dupain has captured UNSW’s new, purpose-built Library soon after its completion. As the figure, photographed thirty-eight years earlier, lay suspended against the non-perspectival bands of sand and sky, it looked as contemporary as an abstract ‘colour field’ painting of the day.
As he iterated prints from the slightly overdeveloped negative he incrementally made the Sunbaker even more abstract, lightening the burned-in borders of sky and sand at top and bottom, and dodging the thick shadows around his head so he is suspended with even more high-tensile strength against the void. View of the Library from the Chancellery, August 1966. Even though in 2013 his son, Rex Dupain, made a new sunbaker on a Xperia ZI smartphone for a charity auction, we certainly aren’t seeing the same number of parodies as before. This juxtaposition reflects the aspirations of the young University, as it continues to combat the grand challenges facing the world, embracing change and championing research, growth and development across all disciplines. The lurid tagline, ‘How this tiny negative of Sunbaker came to be at the centre of a tale of love, money and ambition’, refers to an article by the journalist Janet Hawley about the legal tussle over Dupain’s will. In the following decades until his death in 1992 Dupain made about 200 prints from the surviving negative. In 2004 the Sunbaker made it to the front cover of the Sydney Morning Herald’s Good Weekend magazine for the second time. The purpose of collecting and preserving archival records is to make these available to users now and in the future. The photos on this website been reproduced and communicated to you by The University of New South Wales. Max Dupain 1911 – 1992 (Moira in the Mirror) 1951. gelatin-silver photograph. From 1955, a library was located on the Kensington campus, housed in various locations before finding a permanent home.
At the time this photograph was taken, the Robert Heffron building (which was still under construction, and is now known as the UNSW Business School) was to be the biggest and most well equipped building on campus, a tribute to Robert Heffron, who was pivotal in the establishment and development of UNSW. Change ), You are commenting using your Google account. Importantly, the Sunbaker began to be pastiched and parodied by photographers and cartoonists.
Slop! The Sunbaker photograph was taken eighty years ago. He said he preferred other of his classic shots such as Meat Queue, 1946, where there is more going on in terms of content and composition. Sorry, your blog cannot share posts by email.
More remote beaches like Culburra could also become tabla rasa sites of personal potential for idealistic groups of young people such as Dupain and his friends, but they were again centred around the vigorous, vital, pure, white body. The print exhibited at the ACP in 1975 was priced at $85, but eventually he was selling them for $1,500 each. That moment. I left the ACP in June of 1975 and David Moore completed Max’s exhibition calling for many new enlargements against my choice of smaller vintage prints that I had laid aside in the studio for the show. In other words — ‘here is a marvellous piece of precast concrete, steel and glass, how do we get it onto film with pictorial sensibility, drama and emotional involvement?’, Max Dupain, 1976, View of Main Walkway from Anzac Parade, July 1964, “… Photography is like any other graphic medium. bromoil photograph. He has used the high vantage point of the newly built Heffron building to capture a scene below of a rapidly growing University. Max Dupain 1911 – 1992. Slob! In 1989 Anne Zahalka photographed a pale-skinned red-haired ‘Sunbather’ growing a fine crop of pre-cancerous cells. He is renowned for his modernist approach and his photographs of beach culture are among the most iconic images in Australian history. Before his death Max Dupain professed to being embarrassed by all the attention it was getting, from jingoistic Australians in general, and from gay couples decorating their new flats in particular. Perhaps it even reminded some of Ayers Rock (now Uluru) in its timeless monumentality. Perhaps that’s why the people at QANTAS are so naturally good at making you feel at home, wherever in the world you happen to fly.’ QANTAS’s copywriters summed up the essence of his iconicity: the Sunbaker is at home in Australia, truly relaxed in his decisive claiming of the land. Those friends. And in 1985 the Indigenous photographer Tracey Moffatt pointedly displaced him entirely with her photograph of ‘The Movie Star’ David Gulpilil reclining at Bondi complete with boardies, a tinnie, a surfboard, a ghetto blaster, dreads and tribal face paint. Cover of the Sydney Morning Herald Good Weekend Magazine, 7 August 2004. Alongside his art photography, Dupain primarily worked as a commercial architecture photographer – but his artistic vision was always present.
Library - exterior - Front of library, 1967. Dupain has framed the scene using the geometric design of the Heffron building balcony, using the elevated viewpoint to convey the size of the new modernist building and the scale of the University’s plans.
Unlike the Harbour Bridge or Uluru the Sunbaker is no longer in our face every day.
The photograph is not titled ‘Harold Salvage’, but ‘Sunbaker’. The College also included a separate dining hall designed by E.H. Farmer and assisted by Peter Hall, the architect who succeeded Joern Utzon as supervising architect for the construction of the Sydney Opera House. It looks like the shadow of the camera strap on Dupain’s Rolleiflex, cast as he lay on his stomach in front of Salvage grabbing his two shots. From the 1960s until the 1980s, the Walkway had shrubs and lawn planted through its centre, as Dupain has captured here. Bostock was known within the pictorialist movement, a style of photography in the late nineteenth century which sought to engage the medium’s artistic and interpretive qualities. In the 1950s, he shifted towards architectural photography, capturing built form with a sculptural aesthetic. But at least David agreed with me that the Sunbaker was the lead image. In the early 1960s the then Vice-Chancellor Professor Philip Baxter sought to create a ‘grand avenue’ to the growing University, one which commanded a vista to the upper campus. Max Dupain (1911 – 1992) is one of the leading figures of 20th-century Australian photography. Can myself and Dr Daniel Palmer from Monash University use your comments in our ‘Timeline’ of Australian photo curating and exhibiting at ‘photocurating.net’. ( Log Out /
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