art (8)
Born in England in 1958 I emigrated to Australia in 1986. I started taking photographs at the age of 17 before formal studies began in Australia at the age of 30. My photography is as much European as it is Australian and my archive contains many photographs of England, France and Europe.
In 2021, I celebrate 30 years of art practice with the creation of a new website (https://marcusbunyan.com), the first to contain all my bodies of work since 1991 (note: more bodies of work still have to be added between 1996-1999).
My first solo exhibition was in a hair dressing salon in High Street, Prahran, Melbourne in 1991, during my second year of a Bachelor of Arts (Fine Art Photography) at RMIT University (formerly Phillip Institute out in Bundoora). Titled 'Of Magic, Music and Myth' it featured black and white medium format photographs of the derelict Regent Theatre and the old Victorian Railway's Newport Workshops.
The concerns that I had at the time in my art making have remained with me to this day: that is, an investigation into the boundaries between identity, space and environment. Music and "spirit" have always been an abiding influence – the intrinsic music of the world and the spirit of objects, nature, people and the cosmos ... in a continuing exploration of spaces and places, using found images and digital and film cameras to record glances, meditations and movement through different environments.
30 years after I started I hope I have learnt a lot about image making ... and a lot about myself. I also hope the early bodies of my work are still as valid now as they were when I made them. In the 30 years since I became an artist my concerns have remained constant but as well, my sense of exploration and joy at being creative remains undimmed and an abiding passion.
Now, with ego integrated and the marching of the years I just make art for myself, yes, but the best reason to make art is ... for love and for the cosmos. For I believe any energy that we give out to the great beyond is recognised by spirit. Success is fleeting but making art gives energy to creation. We all return to the great beyond, eventually.
Each photograph in this posting links to a different body of work on my new website. Please click on the photographs to see the work.
Dr Marcus Bunyan
SEE THE FULL POSTING AT https://wp.me/pn2J2-igh
Marcus Bunyan (Australian born England, b. 1958)
An English fair
1993
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958)
An English fair
1993
Gelatin silver print
Marcus Bunyan (Australian born England, b. 1958)
Manchester Mardi Gras
1993
Silver gelatin print
What is interesting to me is not just Atkins choice of the new medium of photography to describe, both scientifically and aesthetically, the beauty and detail of her collection of seaweeds; but within that new medium of photography, she chose not the photogenic or calotype process, but the graphic cyanotype process with its vivid use of the colour blue, a 'means of reproducing notes and diagrams, as in blueprints'.
Here we have a process that reproduces reality as in a diagram, a diagrammatic process that is then doubly reinforced when Atkins places her specimens directly on the cyanotype paper producing a photogram, a photographic image made without a camera. The resultant negative shadow image shows variations in tone that are dependent upon the transparency of the objects used. (Wikipedia)
Atkins photographs, produced "with great daring, creativity, and technical skill" are "a groundbreaking achievement in the history of photography and book publishing." While Atkins' books can be seen as the first systematic application of photography to science, each photograph used for scientific study or display of its species or type, there is a much more holistic creative project going on here.
Can you imagine the amount of work required to learn the calotype process, gather your thoughts, photograph the specimens, make the prints, write the text to accompany the images, and prepare the number of volumes to self-publish the book, all within a year? For any artist, this amount of concentrated, focused work requires an inordinate amount of time and energy and, above all, a clear visualisation of the outcome that you want to achieve.
That this was achieved by a woman in 1843, "in contrast to the constraints experienced by women in Victorian England," makes Atkins achievement of scientific accuracy, ethereal beauty and sublime transcendence in her photographs truly breathtaking.
Dr Marcus Bunyan
READ THE FULL TEXT AND SEE THE IMAGES AT https://wp.me/pn2J2-aRJ
Anna Atkins (1799-1871)
Ulva latissima, from Volume III of Photographs of British Algae: Cyanotype Impressions
1853
Cyanotype
Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations
November 2017: This was the best photography exhibition which wasn't an exhibition - because it was a "display" - that I saw on my recent trip to Europe. Why was it the best? Because this is what strong, insightful photography can do: it can capture life; it can document different cultures; and it can be a powerful agent for social change.
I remember London in the 1970s. I lived in Clapham (Claiff-ham Heights) and Stockwell (we called it St. Ockwell) near Brixton at the time. I remember the Brixton riot of 1981, as I was living in my little room down the road, as the cars burnt and the buildings were smashed. "Brixton in South London was an area with serious social and economic problems. The whole United Kingdom was affected by a recession by 1981, but the local African-Caribbean community was suffering particularly high unemployment, poor housing, and a higher than average crime rate." (Wikipedia) People felt oppressed by recession, racism, the police, and by the establishment, for this was the era of Margaret Thatcher and her bullies. But as these photographs show, there was such a vibrant sense of community in these areas as they sought to 'stand firm in England' because it was their home.
It is our great privilege that we have the images of this very talented group of photographers who documented Black communities in London during this time: Raphael Albert, Bandele 'Tex' Ajetunmobi, James Barnor, Colin Jones, Neil Kenlock, Dennis Morris, Syd Shelton and Al Vandenberg. And I find it heartening that all of these photographers were documenting their community at the same time. The African-Caribbean diaspora is part of the genetic makeup of the UK and multiculturalism, from where ever it emanates, should be valued in societies around the world. It enriches contemporary culture through an understanding and acceptance of difference.
Against racism; against fascism; against discrimination. For freedom from oppression and the right to be heard.
Dr Marcus Bunyan for Art Blart
SEE THE FULL POSTING AT https://wp.me/pn2J2-9yc
#StanFirminnaInglan #London #AfricanCaribbean #Brixton #documentaryphotography #photography #art #blackandwhitephotography #racism #oppression #Blackcommunity #Britain #multiculturalism
Syd Shelton (born 1947)
Southhall Carnival against the Nazis
1979, printed 2012
Gelatin silver print on paper
Gift Eric and Louise Franck London Collection 2016
Bandele Ajetunmobi (1921-1994)
East End, London
c. 1975, printed 2012
C-print on paper
Gift of Eric and Louise Franck London Collection 2016
THE LONDON PHOTOGRAPH FAIR - the UK's only established vintage photograph fair - is delighted to announce the return of its Special Edition, to be held on Saturday and Sunday the 20th and 21st of May 2017 at The Great Hall, King’s College London, adjacent to Somerset House.
The boutique event will allow established international dealers specialising in vintage photographs and photo-books to present their own curated displays of their best vintage material.
The London Photograph Fair Special Edition coincides with the closing weekend of Photo London next door at Somerset House.
On display and for sale will be unique and original vintage works from the entire history of photography from the 1840s through the 20th Century. Vintage modern masters from the 1920s will rub shoulders with rare daguerreotypes and original 1960s film and fashion press prints.
Exhibitors bringing a their finest material are: Adnan Sezer - Bruno Tartarin, photovintagefrance - Christophe Lunn, Lunn Galerie - Clement Kauter, Le Plac'Art Photo - Daniella Dangoor - The Front, London - Ian Sumner - Linus Carr - Lisa Tao - Maggs Brothers - Pablo Butcher - Pierre Spake - Richard Meara
Photographs for sale - include works by: Richard Avendon - Norman Parkinson - Paul Strand - Brassai - Man Ray - Cecil Beaton - Roger Fenton - Lewis Carroll - Walker Evans - Bill Brandt - Edward Steichen - among many others.
Tickets are just £5, available from www.photofair.co.uk
It was a flying visit to Sydney to see the Julia Margaret Cameron exhibition at the Art Gallery of New South Wales. The trip was so very worthwhile, for I had never seen JMC's large contact photographs "in the flesh" before, let alone over 100 vintage prints from the Victoria and Albert Museum collection. They did not disappoint. This exhibition is one of the photographic highlights of the year.
When you think about it, here is one the world's top ten photographers of all time - a woman, taking photographs within the first twenty five years of the birth of commercial photography, using rudimentary technology and chemicals - whose photographs are still up there with the greatest ever taken. Still recognisable as her own and no one else's after all these years. That is a staggering achievement - and tells you something about the talent, tenacity and perspicacity of the women... that she possessed and illuminated such a penetrating discernment - a clarity of vision and intellect which provides a deep understanding and insight into the human condition...
The road to spirituality is the road less travelled. It is full of uncertainty and confusion, but only through exploring this enigma can we begin to approach some type of inner reality. Julia Margaret Cameron, in her experiments, in her dogged perseverance, was on a spiritual journey of self discovery. In Philip Roth's Exit Ghost, he suggests Richard Strauss' Four Last Songs as the ideal music for a scene his character has written:
"Four Last Songs. For the profundity that is achieved not by complexity but by clarity and simplicity. For the purity of the sentiment about death and parting and loss. For the long melodic line spinning out and the female voice soaring and soaring. For the repose and composure and gracefulness and the intense beauty of the soaring. For the ways one is drawn into the tremendous arc of heartbreak. The composer drops all masks and, at the age of eighty-two, stands before you naked. And you dissolve."
These words are an appropriate epithet for the effect of the photographs of Julia Margaret Cameron in this year 2015, the 200th anniversary of her birth.
Dr Marcus Bunyan for Art Blart
Word count: 1,336
Read the full text here: http://wp.me/pn2J2-7lg
Julia Margaret Cameron
Sappho
1865
Albumen print from wet collodion glass negative
Given by Alan S. Cole, 19 April 1913
© Victoria and Albert Museum, London
In late 1865 Julia Margaret Cameron began using a larger camera, which held a 15 x 12-inch glass negative. Early the next year she wrote to Henry Cole with great enthusiasm – but little modesty – about the new turn she had taken in her work. Cameron initiated a series of large-scale, close-up heads. These fulfilled her photographic vision, a rejection of ‘mere conventional topographic photography – map-making and skeleton rendering of feature and form’ in favour of a less precise but more emotionally penetrating form of portraiture.
This striking version of Sappho is in keeping with Cameron’s growing confidence as an artist. Mary Hillier’s classical features stand out clearly in profile while her dark hair merges with the background. The decorative blouse balances the simplicity of the upper half of the picture. Cameron was clearly pleased with the image since she printed multiple copies, despite having cracked the negative.
As a photographer who engages with culture and tradition in my work, I am, not unnaturally, aware that there is some point where contemporary photography becomes the stuff of photographic history.
In this spirit, I should like to draw fellow members' attention to my exhibition PHOTOGRAPHIES (details in events). The exhibition contains four sets of prints (Surreal?, Voiture, Oradour, ART) looking at ways photography relies on perception, realism, cultural reference and time.
You may view the exhibition online at this private gallery link: PHOTOGRAPHIES
A pdf briefing on the exhibition is available HERE
An afterthought: does anyone else see E H Shepard's Piglet (from Winnie the Pooh) in the shadow of the Miro? As cross-cultural references go, that may be somewhat extreme, but now I've seen it, I can't "un-see" it....
