Monday, May 18, 2020

“Let’s Get Personal”, Selby and Friends online concert, May 14.


Reviewed by Tony Magee

Pianist Kathryn Selby has inventively and most professionally countered the COVID-19 live concert lockdown, by recording Tour 2 of this year’s subscription season privately at Sydney Grammar School. In this case, we are seeing and hearing what should have taken place in Llewellyn Hall on Thursday 7th May: “Let’s Get Personal” - Mozart, Beethoven and Dvorak.

Pianist Kathryn Selby

To be fair to the artists and to be able to give my readers as accurate an impression as possible of the quality of the music played, I’ve been able to dispense with the tiny computer speakers and instead run a line-out through a Sansui AU-717 amplifier and a pair of exquisite Rogers BBC Studio 1 Monitor speakers.

Kathryn Selby is joined by Andrew Haveron, principal violin and concertmaster of the Sydney Symphony Orchestra and Umberto Clerici, co-principal cello with the Sydney Symphony Orchestra.

Mozart’s “Piano Trio No. 3 in B flat major, K.502” opened the program. Immediately, one is struck by the clarity of tone from the piano, as well as the excellent balance between it, the violin and cello. Phrasing is crisp and clear, quite structured and precise, in keeping with the fashion of the classical era, with just enough elasticity to keep the music flowing with energy and emotion.

The microphones were able to capture the wide dynamic range of the players. Forte passages came across with intensity, quieter passages were delivered with style and grace.

Intonation within the trio was superb. One of the most “in-tune” and intelligent performances of any work I’ve heard in a long time.

Selby plays her Mozart with a relaxed technique, extracting a singing tone from the piano. Cadence points were all executed with a suitable flourish from all three players. The performance was one of authority and precision, with the slow movement allowing for some contrasting rubato and gentleness, played with great feeling, almost verging on Romanticism.

The third movement revealed a return to strict classical structure and precision. Mozart’s intense compositional style here requiring a great deal of technique and ensemble playing from the trio, something they delivered with conviction and purpose.

The “Piano Trio in E flat major, Op.1 No.1” by Beethoven followed and revealed an even more beautiful singing tone from the piano. One of the hallmarks of Selby’s style is her ability to make every note count with extreme clarity, even in fast passages, where it can be easy to gloss over details. All her ornamentation is precise and clipped. Phrases and cadence points all end with a suitable crescendo.

Violin and piano exchanged melodic riffs almost in a conversational manner. Later in the first movement, the cello switched from a supporting role, creating a fascinating three way musical dialogue, definitely not an argument, rather an animated, creative and very enthusiastic discussion about something tremendous and exciting.

The slow movement was a showcase for the violin and cello to speak with each other in alternating musical phrases, the piano dropping back into an accompanying role. Both Haveron on violin and Clerici on Cello delivered tone production of beauty and depth.

The fourth and final movement revealed intense and thrilling passages of allegro and vivace, played with precision timing and phrasing by the trio. It was an electric performance.

Dvorak’s “Piano Trio No.4 in E minor, Op.90, subtitled ‘Dumky’, closed the concert. The plural form of the Slavic / Ukrainian ‘Dumka’, it is a term referring to epic ballads, in this case, a brooding, introspective composition with cheerful sections interspersed within. A complex work, there are five movements, but these are then divided into no less than thirteen musical sections.

Piano and cello together open with a dramatic, mournful, melancholy introduction before being taken over by a heart-wrenching melody from the violin. Then suddenly, a contrasting “cheerful phrase” bursts forth, which descends into a black, depressive mood. The three musicians very successfully created an atmosphere of a person or persons, struggling with a myriad of mixed emotions, lurching from sadness to despair, with moments of joy and hope, dashed by what ever ghastly circumstances have befallen them, only to rise up again defiantly. And so life goes on.

The myriad of dynamics and musical shadings created by the trio were of a magnitude that ranged from the sublime and delicate to massive, thunderous, almost torturous climaxes.

To quote the psychiatrist from an episode of “Fawlty Towers”, “there’s enough material here for an entire conference”.

Dvorak’s ‘Dumky’ trio is surely one of the greatest musical works of the late 19th century. It portrays every possible human emotion and feeling, all wrapped up into a complex, mind-blowing experience. In the hands of Kathryn Selby, Andrew Haveron and Umberto Clerici, this all came across with incredible conviction and seriousness. It was as though they lived the piece. I, the listener, did the same. I can only begin to imagine what the effect must be like to hear this piece live.

Review first published in an edited format in Canberra City News Digital Edition, May 15, 2020



Saturday, May 9, 2020

Truganini

Truganini – Journey through the apocalypse by Cassandra Pybus.  Allen & Unwin, 2020.

Reviewed by Frank McKone

Maps by Guy Holt
By permission of the publishers.


“Cassandra Pybus is an award-winning author and a distinguished historian.  She is the author of twelve books and has held research professorships at the University of Sydney, Georgetown University in Washington DC, the University of Texas and Kings College, London.  She is descended from the colonist who received the largest free land grant on Truganini’s traditional country of Bruny Island.”  (Title Page)
Tasmania: South-east Nation - Nuenonne Clan on Bruny Island
Map: Guy Holt


 “Staring out over the mudflats [from near Oyster Cove] to the D’Entrecasteaux Channel at what had once been my family’s land on North Bruny Island, my emotions were in havoc….  I opened the gate [of the faded turquoise cottage, where] my uncle Ken welcomed me as if I had never been away.  Over a cup of tea, he told me that the place was getting too much for him, so I arranged to buy it from him, then and there.

"For the past thirty-four years the place I call home has been that cottage on the old station road in the country of the Nuenonne."  Page 268.


______________________________________________


Reading between the time in 1828 when Richard Pybus was settled on his 500 acres land grant, when Truganini was probably about 16, to the time she died on 4 May 1876, Cassandra Pybus’ story-telling gave me that feeling – as if I had never been away.  Knowing, too, that her research is absolutely meticulous left me also with my emotions ‘in havoc’ as she goes on to describe them – “nothing as intimate and corrosive as guilt, just a powerful sense of complicity in the dispossession, destruction and denial that this dismal place represented”.

Truganini – Journey through the apocalypse is essential reading for all Australians; indeed for all people the world over.  I should start with my own experience.

My English parents migrated to Australia in 1955, when I was 14.  My Geography text book had taught me, in one distant black and white photo, that Australian Aborigines lived in a desert and wore almost no clothes.  Big city newspapers I read at Australia House in London headlined murders seemingly every day.  Dangerous?  Well…my father had taught me how to avoid the Teddy Boys in London, population 10 million - equal to that of the whole of Australia at that time.

If Aboriginal people appeared, they were cartoon characters who apparently lived in deserts with few clothes on.  In other words my understanding on arrival was no different from that of James Cook on his third voyage, except that he actually met the people at Adventure Bay, on the seaward side of Bruny Island, 29 January 1777.  Truganini’s father, Manganerer, was there.

The Captain Cook Society website at
 https://www.captaincooksociety.com/home/detail/225-years-ago-january-march-1777 
records that John Henry Martin, seaman on the Discovery, described the natives. "They have few, or no wants, & seemed perfectly Happy, if one might judge from their behaviour, for they frequently wou'd burst out, into the most immoderate fits of Laughter & when one Laughed every one followed his example Emediately."

But, as Pybus explains, “Cook was unaware that these people believed they were meeting their own dead returning as pale shadows of their former selves.  Being treated as some kind of kin, rather than as trespassing aliens, Cook and his officers were not to witness the fierce territorial attachment of the Nuenonne to their country.”

Of course, I immediately thought of what happened in Hawaii only two years later, when Cook was killed on 14 February 1779.  I think the brief mention at
https://www.seattletimes.com/entertainment/books/the-death-of-captain-cook-misunderstanding-and-murder   
by Irene Wanner of the book by Glyn Williams: “The Death of Captain Cook: A Hero Made and Unmade” will lead you into that story of misunderstanding.

I began to realise that I was going to learn far more than I thought I knew already by reading on – about what happened to the daughter of the man with childhood memories of Captain Cook.  Usually, I write reviews of live theatre, where I am responding to immediate experience.  The Convid-19 virus has put paid – or rather, unpaid – to that.  Cassandra Pybus may be a distinguished historian, but she is also a powerful creative writer, adept at creating drama.

A paragraph chosen at random, 97 pages in:  Stopping to rest about a quarter of a mile inland from the mouth of the Boobyalla River, Truganini made an unsettling discovery.  While gathering swan’s eggs for Wooredy to eat, she became curious about a deep indentation in the ground, and after digging further into the hole she uncovered an old wooden chest that contained a jumble of human bones.  Days later, at the mouth of the Tomahawk River, she saw two bleached male skeletons lying a few hundred yards apart that no one had tried to hide.  Awful though it was, Truganini had seem similar sights before – the beaches and inlets of the north-east corner were repositories of many human bones, invariably male and often shattered by a musket ball.

This is not the stuff of romantic or ‘horror’ fiction.  This is true history.  The word that comes to mind for Pybus’ writing is honesty.

This quality is especially significant in her dealing with the extensive, thoroughly detailed diaries, or log books, kept by the man officially credited by the colonial government for the removal of the last Aboriginal people from Tasmania – George Augustus Robinson.  His first land grant was adjacent to the Pybus grant in Nuenonne country.

The timeline provided in the book after Truganini’s story has been told is an excellent reminder of important dates and episodes.  It begins in 1804 with the establishment of the penal settlement on the Derwent River, later named Hobart.  By the time of Truganini’s likely birth in 1812 “the Nuenonne clan was diminished and traumatised” and “no longer ‘without jealousy of strangers’; they no longer saw the ghost men as their kin.”

It is best, I found, to leave reading the timeline until after allowing the experience of becoming immersed in the story to seep through beyond your consciousness of historical detail to your emotional state in response.  This is why when reviewing a stage play, I prefer not to read the program or interview the director or cast beforehand.  It is the immediacy of my thoughts and feelings that I need to express.

George Augustus Robinson saw himself as a good man who wanted to save the original people at first from themselves and then from the inevitable ravages of the invading colonists.  To “lift them from their state of savage ignorance” required them to “put their trust in God, he told them, and, by extension, in him, George Augustus Robinson: the good father sent to save them from obliteration.”  As in a good play, it is not so much in the plot, but in the characters and their relationships that the drama unfolds of the decade-long story of how Truganini played her part from Robinson’s first noticing her in 1829, “impressed with this young woman’s obvious intelligence and grasp of English”, to the transporting of people from all the clans in Tasmania to Flinders Island by 1835, and how Robinson’s attempt to move them finally to the Australian mainland at Port Phillip (Melbourne) failed by 1841.

The final chapter is the denouement after that climactic point, simply titled The Way the World Ends, taking us through to the point where Truganini becomes famous as ‘the last Tasmanian Aboriginal’.  If you were taught, as I was, that this was true, you will think again, about the cast of all the people in Truganini’s life from her Nuenonne father Manganerer, of the South-east Nation, through to all those others from the many clans within the South-west, Oyster Bay, North Midland, North-east, Ben Lomond, North, North-west and Big River Nations.  Their individual biographies take up an extra 30 pages of absorbing reading.
Tasmania: Indigenous Nations' Boundaries
Map: Guy Holt
“Driven to distraction by rising hysteria” the farming ‘settlers’ attempted, finally with official support authorised by Governor George Arthur by proclaiming martial law in 1828 and the Black Line of 1830, to remove the original owners by out-and-out murder.  G A Robinson believed, with the help of the Nuenonne clan, he could walk all around and across Van Dieman’s Land and persuade personally everyone still living on country to accept him as their saviour, accept his command, and go with him to places of safety – which in the end would mean on an island off-shore away from the temptation to return.

https://www.tandfonline.com/doi/abs/10.1080/14443058.2012.760213?journalCode=rjau20
See The Black Line in Van Diemen's Land (Tasmania), 1830 by Lyndall Ryan to whom Cassandra Pybus has dedicated this book.
Tasmania: Van Diemen's Land Locations
February - October 1830 
Truganini and Dray led G A Robinson walking from Recherche Bay
to Port Davey, Bathurst Harbour, past Macquarie Harbour,
across the Pieman River and Arthur River
to Cape Grimm, then east to Launceston
600 miles


Map: Guy Holt




My migrating to Australia (Sydney and the Blue Mountains) introduced me to bushwalking.  This is very different from ‘rambling’ in England, ‘hiking’ in America or ‘tramping’ in New Zealand.  It meant navigating through ‘scrub’ often with no tracks (and certainly no National Park signposts until quite recent times).  My wife and I know what it means to face the special features of Tasmanian bush: ‘horizontal scrub’, seemingly impenetrable tangled vegetation, and mud so deep, thick and clinging, just as Robinson describes, that I had great difficulty on one occasion extracting my right shoe after extracting myself from such a mudhole on the Overland Track. 

Escaping convicts died from starvation and exposure trying to cross Van Dieman’s Land from the Sarah Island prison in Macquarie Harbour in the hopes of reaching Hobart – except for Alexander Pearce: Alexander Pearce (1790 – 19 July 1824) was an Irish convict who was transported to the penal colony in Van Diemen's Land (the modern day state of Tasmania), Australia for seven years for theft. He escaped from prison several times. During one of these escapes he allegedly became a cannibal, murdering his companions one by one. In another escape, with one companion, he allegedly killed him and ate him in pieces. He was eventually captured and was hanged and dissected in Hobart for murder. https://en.wikipedia.org/wiki/Alexander_Pearce

This episode not only shows how degenerated was the white society of Van Diemen’s Land, but makes even more amazing the physique and cultural adaptation of Truganini’s people who lived so successfully in this seriously rugged landscape in such a climate 40+ degrees latitude south.  Truganini, a diver for abalone and shellfish of all kinds, and swimmer of great strength, endurance and skill, saved Robinson twice from certain drowning in the flooded Arthur River on the infamous West Coast where the Roaring Forties hold sway all year round; while her husband Wooredy could maintain their meat supply hunting kangaroos and wallabies in areas which had been carefully managed by fire farming, as Robinson noted – for thousands of years more than he could have imagined.

The following photos show the nature of the country Truganini and her friend Dray, a young woman from the Lowreenne clan of the South-west Nation, led Robinson through to find people, such as the Tarkiner clan of the North-west Nation.  They met up on the banks of the Arthur River.  “The dominant man in the group was a very tall Tarkiner warrior in his forties named Wyne….As evening fell, the whole group walked back to a camp in the forest, with Robinson carrying Wyne’s youngest daughter on his shoulders….A secret warning was conveyed to Peevay [of Robinson’s group] that he should keep watch that night because the Tarkiner intended to kill Robinson and any of his guides who were not their kin, with the exception of Truganini, whom they wanted to keep for themselves….”

This was one occasion when Truganini saved the desperate George Augustus Robinson’s life.

Photos: Meg McKone Feb (summer) 2019





Roaring Forties weather coming in, near Arthur River.








                                             West Coast Hut Depression near Arthur River
Aboriginal huts - large beehive shaped structures composed of wood and bark that could accommodate between 6 -14 people.

The unique beehive shape was specifically designed to withstand the harsh weather conditions of Tasmania’s coastal environments, particularly along the west coast where they are more commonly found.
https://www.aboriginalheritage.tas.gov.au/cultural-heritage/aboriginal-hut-depressions




Midden including abalone shells, behind Four Mile Beach south of Pieman River.







Dense rainforest inland near Montezuma Falls between Macquarie Harbour and Pieman River.














From Friendly Mission 1829-1831, the story takes us on through Extirpation and Exile 1831-1838, when everyone was believed to have been found and moved to Flinders Island in Bass Strait.

Map: Guy Holt
The situation at Wybalenna was simply dreadful, and so Robinson – in competition with the infamous John Batman, who made entirely spurious agreements with the Kulin people on the mainland to establish what became Melbourne – won the day, and became Chief Protector of Aborigines there with the intention of taking all the Van Dieman’s Land people across Bass Strait.  That story In Kulin Country 1839-1841 reveals a new level of misunderstanding. 

The mainland was administered from Sydney, so bringing Van Diemen’s Land people to Port Phillip was never going to be acceptable to the official superintendent, Charles La Trobe.  And, of course completely outside Robinson’s understanding, the Tasmanian nations had had no connection with the Australian mainland for some 10,000 years, since Bass Strait was flooded after the last Ice Age ended.  The idea that these people would naturally get on with any Aboriginal people whose country they were put into, just because they were all Aboriginals, was completely out of touch.  But Truganini with her diplomatic and language skills did her best. 

In Chapter 8, by 1839, “Confronted with the magnitude of the suffering in Port Phillip, the chief protector had no idea what he was supposed to do for so many afflicted and desperate people” – the Wurundjeri, Boonwurrung, Wadawurrung, Djadjawurrung and Taungurong clans of the Kulin Nation.  When Robinson organised a feast for more than five hundred, in the hopes of building trust as he could personally distribute food, “It fell to Truganini, Wooredy and Peevay to dispel suspicions that the feast was a trap to get the clans corralled together in one place where they could be shot.  Eventually, the offer of fresh meat was too enticing for the Kulin to stay away and the feast went off without incident….”

But the tragic end of Chapter 9 is just too awful to contemplate.

When considering the idea that Truganini was the last Tasmanian, though, the story of one figure, Lacklay from the Punnilerpanner clan of the North Nation, who spoke the same language as Peevay, may be of interest.  He apparently disappeared from Port Phillip, presumably drowned in a boat that was wrecked – except that it did not capsize in Westernport Bay as people then believed.

He possibly worked in the whaling industry based in New Zealand, with an Oyster Bay Nation man known as Ned Tomlins, who married a Maori woman (Hipora) and had a son (Edward).  Perhaps Lacklay’s story turned out like Ned’s: he was young and could well have had a family of his own.  And there are surely many others: Wikipedia quotes “Contemporary figures (2016) for the number of people of Tasmanian Aboriginal descent vary according to the criteria used to determine this identity, ranging from 6,000 to over 23,000.”

Including lawyer, activist  and currently chair of the Aboriginal Land Council of Tasmania, Michael Mansell.
https://en.wikipedia.org/wiki/Aboriginal_Tasmanians
https://en.wikipedia.org/wiki/Michael_Mansell

The final scene in Truganini’s life, at the end of Chapter 10, is told with simple dignity and respect for this remarkable woman.  Though we cannot undo the past, surely we can improve the future.  Truganini – Journey through the apocalypse is not a book to make immigrants like me feel guilty for the dreadful treatment of our Aboriginal peoples that the colonisation of Australia has caused.

I am angry, though, when, as Cassandra Pybus puts it in her Afterword, “From all points in the southern sky, leaders of the First Nations of Australia came together in 2017 to produce the Uluru Statement from the Heart [and] they proposed a Makarrata, which is a word [from the far northern Kakadu region – so distant from Truganini’s Nuenonne country on Bruny Island in the far south] in the Yolgnu language meaning a coming together after a struggle, facing the facts of wrongs done, and living again in peace”; angry because the Australian Prime Minister of the day dismissed out of hand enshrining these people and Makarrata in our country’s Constitution – a law, by the way, passed on 5 July 1900 by the British Parliament, given Royal Assent by Queen Victoria on 9 July and proclaimed on 1 January 1901, which effectively ignored the presence of the original owners of the land!

On our behalf, Cassandra Pybus has faced the facts and the wrongs done, even alongside her own family’s history since 1828.  Surely now it is well past the time, as the Uluru Statement asks, for ‘a fuller expression of Australia’s nationhood’.






Sunday, May 3, 2020

Theatre Network Australia Bulletin

Posted by Frank McKone

*The acronym ASSITEJ comes from the original French:
Association Internationale de Theatre pour les Enfants et le Jeunesse
.
[TNA is the Australian National Centre for ASSITEJ. We support Sue Giles in her role as Australian Representative and Vice President of ASSITEJ global, and work in collaboration with Sue and the wider sector on key advocacy priorities and activities.]

Dear ASSITEJ Network Colleagues,
I hope that this bulletin finds you healthy, safe and at home.
We find ourselves in such a different landscape right now. Working from home, access to free childcare and mass home schooling in 2020 all have a huge impact on the lives of children, young people and families across Australia.
I hope that among the difficulties, this could also be a time to envisage a new kind of future with the young people of Australia who are dreaming from their bedrooms, lounge rooms and backyards. A kind of imagination that can see past this into a new future.
Please read on for updates on from ASSITEJ around the world, news of solidarity across the Theatre for Young Audiences and Youth Arts sector and some inspiration from kids around the globe.
Tessa Leong (with Nicole, Simone, Rani, Yuhui and Jamie)
Theatre Network Australia

CRISIS CASH FOR ARTISTS FUND 1000 x 1000: CALLING FOR CHAMPION COMPANIES!
A consortium of companies in the performing arts sector, led by Theatre Network Australia in partnership with Creative Partnerships Australia, are currently working on a fundraising campaign to provide equity bursaries to independent artists who have been adversely affected by COVID-19 and who do not have a financial safety net.TNA are actively seeking companies who will endorse the campaign and get the word out to potential donors as well as struggling artists. Get in touch if you'd like to join the list of fabulous companies getting behind it here https://www.tna.org.au/1000-x-1000-crisis-cash-for-indies/champion-companies/
CRISIS CASH FOR ARTISTS FUND 1000 x 1000: GIVING AND RECEIVING!
The other essential part of this campaign is to get some generous donors in touch with independent artists. If you have a stable job and love the arts you can DONATE HERE.https://australianculturalfund.org.au/projects/1000-x-1000/

Media Contact for the complete Bulletin:  
"Tessa Leong"



“The Best Festival We Never Had”


Roland Peelman launches the 2020 Canberra International “Virtual” Music Festival on line.

by Tony Magee

From a Paddington laneway, behind the historic home of Australian composer Peggy Glanville-Hicks, now a residency and performance space for emerging Australian composers, Canberra International Music Festival artistic director Roland Peelman presented his address, launching their cleverly and hastily devised “virtual festival”, which had an “official” launch time of 2pm, Friday 1st May, although it was not actually a live stream.

CIMF artistic director, Roland Peelman

“Artists are the people who generate ideas - new ideas - and new ideas are probably what we need more than anything else in these times”, said Peelman in his opening remarks.

“We may not rate music as ‘essential services’ - I’m thinking of our nurses, doctors and teachers at the moment - but in times of crisis when everything is closed down or locked up, music actually opens the mind. It raises our hopes for what is to come”.

“Peggy Glanville-Hicks, like many female composers of her generation, had to face her share of challenges. But she was tenacious and really showed extraordinary resilience. I would say that all the artists in this year’s festival have resilience written in their DNA and I hope you enjoy their work and find ways of supporting them”.

“Together, we will be stronger and together we can all get through this”.

During the Second World War in Britain, pianists Dame Myra Hess and Moura Lympany joined forces to organise daily lunchtime concerts at The National Art Gallery in central London, to raise British morale. 

Dame Myra Hess - Wartime concerts at the National Art Gallery, Trafalgar Square

Winston Churchill had ordered all artworks in the gallery be removed and relocated to underground safety bunkers for preservation. In addition, all evening concert halls were blacked out at night to avoid being targeted by German bombers, including the two most prominent venues - Wigmore Hall and Royal Albert hall. 

Hess’ lunchtime concerts, numbering 1,968 over a period of six years, were presented on Monday to Friday without fail. 

Every artist was paid five guineas no matter who they were.

Hess personally played in 150 of the concerts.

Included in the virtual festival launch, was an improvisation for violin and didgeridoo played by Veronique Serret and William Barton, filmed April 30 in the Peggy Glanville-Hicks residency.

Veronique Serret and William Barton performing in  the Glanville-Hicks residency,

A piece of intense emotion and feeling, the players took both instruments to extremes. The didgeridoo bass drone foundation was interspersed with percussive, haunting and ancient sounds - showcasing the skills of William Barton and bedazzling the listener with his endless variety of guttural, primal, and evocative shades of colour and depth. 

Serret on violin, formerly with the Australian Chamber Orchestra and now leader of the Darwin Symphony, complimented Walton’s playing with searing and evocative sounds, sometimes melodic, sometimes percussive. 

Both players inspired each other and reacted to each other, creating a piece of unknown destination, and unknown territory before dwindling into a surreal, mystical, mist.

A final inclusion in today’s online activities, came from The Australian Romantic and Classical Orchestra, who shared a link to their YouTube playlist of the repertoire they would have delivered live during the 2020 festival. 

Highlights include “Haydn’s Creation”, in a performance by the Academy of Ancient Music, conducted by Christopher Hogwood, Handel’s “Water Music Suite” from the London 2012 Proms and “Les éléments” by Jean-Féry Rebel, performed by The Akademie für Alte Musik Berlin.

Check back to the CIMF Facebook page and website (cimf.org.au) every day now through to May 10, where news and video uploads from some of the festival artists will be available for viewing and listening - just a glimpse of ‘The Best Festival We Never Had".

Article first published in Canberra City News Digital Edition, May 2, 2020



Thursday, April 23, 2020

THE SALON

Photography Review by Brian Rope: THE SALON
Members’ Exhibition: PhotoAccess Online Gallery
16 April – 16 May 2020

The Salon is an opportunity for PhotoAccess to showcase recent work of its diverse membership. The aim is to celebrate the breadth and diversity of the community’s creative and technical practice. Work in, or incorporating, any photographic medium (including digital and darkroom prints, video, photo-sculpture and installation) was welcome for submission.

This year, for reasons that need no explanation, the exhibits are on the brand new online gallery space: http://www.gallery.photoaccess.org.au/. Photo Access hopes viewers enjoy the new format, and the works of their brave members willing to take a leap of faith into the unknown!

In her catalogue essay, Virginia Rigney reminds us that “The salon hang – instituted in the high-ceilinged drawing rooms and art academies of Europe to be an annual open gathering of the latest works made by their members – was traditionally the place to test response and their social attention rivalled sporting events. An exhibitor at these 19th century Salons would look anxiously to see where their work had been hung. At eye line was a sure sign of favoured status – too high or too low might consign the work to the fate of forgettability.  But for the impartial spectator, the pictures seemed to jostle next to each other in spirited companionship. To witness a crowd gathered around a work – debating its merits – would be a measure of its currency.” Sadly, we are not able to do that on this occasion. We have instead to view the salon in the intimacy of our own digital screens.
​
Whilst many images in the exhibition reflect on the recent and current disasters, many others do not. There are numerous photographs taken at other places far away that might remind us of opportunities we hope to take in the future.

Helen McFadden’s Ndutu Lions, 2019 shows us two male lions still resting in the shrubbery as the sun came up over Ndutu at the southern edge of the Serengeti plains. The bleached silver vegetation makes this image different to so many other shots of lions that we have all seen. Andree Lawrey’s Hokkaido Winter is simply a delicious artwork.

Still overseas, Kleber Osorio has contributed a very strong monochrome image utilising the hard light and shadows he saw at the Tate Modern to reveal the silhouettes of visitors.


Kleber Osorio, Shades of Tate, 2018, Inkjet Print

Eva Van Gorsel takes us away from Canberra too, beautifully showing us an iconic Australian outback scene.


Eva Van Gorsel, Nightfall, 2020, inkjet print, 25 x 44cm

Also away from Canberra, but in a very different place, Amanda Pratt tempts viewers to consider why she might have chosen to take such a photograph. It clearly shows us that good and interesting images can be found and created anywhere.


Amanda Pratt, Candelo Blue Pegs, 2020

In works by Leeanne Mason we see our own part of the world in a beautiful way. Her landscapes were taken during the recent bushfires but reveal the wonderful beauty to be found in this place.


Leeanne Mason, Snowy Mountains Kangaroo, 2020

Judy Parker has let us into the private intimacy of her own world showing just one of a current body of work where she has embedded poems expressing her thoughts into the image itself. The image alone is a thing of delicate beauty. The added poetry only enhances it.


Judy Parker, Brocaded Lace, 2020, inkjet print

​Brian MacAlister is also showing part of a larger body of work, looking at spaces and at human behaviours, both intentional and accidental. I particularly like his Untitled (1), 2020.

Andrew Babington also shows us part of a series which he says is a reflection on humanity’s selfishly driven attempt to overcome the natural world. It is a timely reminder that, after the pandemic is overcome, there will still be environmental issues to overcome.


Andrew Babington, Dreaming of The Murrumbidgee, I, 2020, inkjet print, 30 x 40cm, 1/50

With his Mount Ainslie, Jamie Hladky provides the one exhibit that is not a straight-forward still image. Like a GIF it flickers in something of the way that we expect of a campfire. It is great to see an artwork that is one step beyond a simple capture. It should remind us all that we need to explore and experiment with our creations to further our art.

Robert Jack has also explored and successfully shows us what his own accompanying words say “There is no reality. There is only abstraction. The camera always lies.” He is right.


Robert Jack, Echo o, 2020, Type C Print

Joe Slater’s extremely dark image is, perhaps, the most arresting one in the exhibition. It needs time absorbing it before we can adequately see what is in it. Slater notes that times are dark and that his work reflects that. As Rigney reminds us, the act of picking up a camera is reassuringly normal behaviour in these strange days and instantly a way to comprehend what is going on.


Joe Slater, Stairs, Falling, 2020

I could go on mentioning every one of the more than fifty artworks in the exhibition, but I’ll leave it there and simply encourage you to look at every work for yourself. In addition to the actual exhibition and catalogue, there is an excellent exhibition essay by Virginia Rigney, audio and video recordings from members about their artworks, and a full list of works and their prices. If you wish to become a member of PhotoAccess yourself, head here to sign up! Some of these works are for sale, please contact hello@photoaccess.org.au for any enquiries.

Footnote: I probably should mention that here are two of my own images in this exhibition.








SLOW


Photography Review:  SLOW
Greg Stoodley : PhotoAccess Online Gallery
16 April – 16 May 2020

After having to close its physical gallery, PhotoAccess has moved its scheduled exhibitions to a new online gallery space: http://www.gallery.photoaccess.org.au/ and expressed the hope that viewers enjoy the new format, and the works of their exhibitors who have been willing to take a leap of faith into the unknown!

The online gallery space introduces Slow, by Greg Stoodley, by saying his exhibition ‘reflects a personal take on the modernist portraits of Irving Penn. The artist has used principles and foundations he's noticed in Penn's portraits to create engaging, meaningful portraits of his own. These works strike one as timeless and classical, yet moreover relevant and recognisable as a contemporary photo-media practice. Stoodley is a dedicated member of PhotoAccess, and a master in the ways of platinum palladium darkroom printing, and we're honoured he chose us to host this exhibition.’

Stoodley graduated from the Canberra Institute of Technology with an Advanced Diploma of Photography in 2014. Then he was offered a position at the Royal Australian Mint to photograph the National Coin Collection. He is currently continuing his studies at the ANU School of Art, whilst maintaining a commercial photography practice as a freelance photographer. He also has been an instructor at Photo Access, teaching short courses in Studio Photography and Art Documentation.

For any readers who do not know the work of Penn, he was one of the twentieth century's great photographers. Despite being celebrated as one of Vogue magazine's top photographers for more than sixty years, Penn was an intensely private man. Known for striking images and first-rate prints, he pursued his work with quiet and unfailing commitment, approaching his photography with an artist's eye and expanding the creative prospects of the medium.

Penn was among the first photographers to pose subjects against a simple grey or white backdrop and he effectively used its simplicity. Expanding his austere studio surroundings, he constructed a set of upright angled backdrops, to form a stark, acute corner. Stoodley has utilised similar backgrounds.

When he submitted his exhibition proposal to Photo Access, Stoodley’s concept envisaged a “slowing down” using traditional techniques, studio setups, medium format cameras, black and white film, and platinum printing processes. This exhibition invites us to carefully examine the choices made by photographers today.

So, against that background, how well has Stoodley done? My answer is that, overall, he has done very well.

This exhibition comprises 18 portraits, all bar one being monochrome. For me the standouts include Waist Coat, Arnett, and Michael; all shot in a corner and all of men. Penn famously photographed the Duchess of Windsor standing in much the same type of corner.





Arnett © Greg Stoodley


Michael © Greg Stoodley

Saskia is photographed in the same corner setting but, otherwise, does not relate to the other images already mentioned. This is the one nude included in Stoodley’s exhibition. It is a fine image but does not, for me, compare with Penn’s best-known nudes which are of fleshy models, whereas Stoodley has a much slimmer subject.


Saskia © Greg Stoodley

Likewise, there is just a single colour image in Slow and I found myself asking why it was included. Penn did shoot in colour, but his strength is in his black and white work. The exhibition would have been equally strong without Dixie.


Dixie © Greg Stoodley

The catalogue essay Learning from slowness by Kate Warren, a Lecturer of Art History and Curatorship at the Australian National University, is well worth reading and there is some additional interesting behind the scenes background to the exhibition on Woodley’s own blog https://gregstoodley.com/new-blog-layout. He shows some of the prints in the wash bath, drying and laid out for observation, as well as shots of his final print products.

All artworks are for sale, in multiple editions. Some works are available as inkjet, platinum palladium prints, or silver gelatin prints. Contact hello@photoaccess.org.au for details.






Tuesday, April 21, 2020

FLOWERS FOR MRS HARRIS


Based on the novel by Paul Gallico
Book by Rachel Wagstaff  
Music & Lyrics by Richard Taylor
Directed by Daniel Evans
Streaming from the Chichester Festival Theatre to 8 May

Review by Len Power 15 April 2020

While the pandemic rages on, the Chichester Festival Theatre in England has given us the opportunity to watch their 2018 production of the musical, ‘Flowers For Mrs Harris’, through online streaming.

It was first produced in Sheffield in 2016 where it won three UK Theatre Awards including Best Musical.

Based on the novel by Paul Gallico, the story focusses on middle-aged battler Ada Harris who spends her days cleaning houses for rich folks while inspiring others to reach out for their dreams.  A picture of a Christian Dior dress suddenly inspires her to follow a dream of her own that takes her to Paris and back.  It’s a charming and touching story about a woman who doesn’t realize how much she inspires others while having no real expectations for herself.

The lavish and colourful production has been designed by Lez Brotherston.  The challenge of mounting a complex musical on a stage with the audience on three sides of the proscenium-less stage has been met superbly.

Performances by the ten cast members are excellent.  Leading the company is Clare Burt as Mrs Harris.  She gives a skilful performance of great warmth and sings the challenging music very well, too.

The other nine principal performers play the rest of the characters in dual roles.  So expertly is this done, that it takes a while to realize it’s the same performer.  A fashion show in Paris in the second act is a visual highlight with models appearing in fabulous post-war gowns by designer, Christian Dior.

The director, Daniel Evans, has produced a memorable show in which all the elements come together very well.  His clever staging and the depth of characterisations he has obtained from his cast are impressive.

The music and lyrics by Richard Taylor work very well in the context of the show but it’s a recitative-style score with no individual songs.  It’s fine while you’re watching it and you can admire the cleverness of the score and the complex arrangements but there are no tunes to remember afterwards.  It’s a challenging sing for the cast and they handle it very well.  It will help if you turn on the Closed Captions when you start watching it.

Overall, the story, the acting and the staging are what make this so memorable and it was good to have the opportunity to see it.  The show streams from the Chichester Festival Theatre website.

Len Power’s reviews are also broadcast on the Artsound FM 92.7 ‘In the Foyer’ program on Mondays and Wednesdays at 3.30pm.

‘Theatre of Power’, a regular podcast on Canberra’s performing arts scene with Len Power, can be heard on Spotify, ITunes and other selected platforms or at https://player.whooshkaa.com/shows/theatre-of-power.