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Figure 1:
Moggs Creek Clickers expedition to Mt Feathertop in 1962. The purpose of the exercise was to erect a bronze statue, salvaged from a demolishing Brighton mansion and claimed to be a likeness of Dame Minnie Moggs, upon the summit. Apart from the absurdity of the venture there was a also a touch of the irreligious about it, as the figure of a nubile woman was to be placed just above an already existing cross. John Crook designed a special stretcher (seen here) which redistributed the dead weight of the haul, but the stature was only in place for a few days before it was destroyed by lightning or vandals.
[Photographer unknown] (L-R): Member of BMW, John Crook, Ern Poppins, Fred Mosse, Albert Brown, Grier McVea, Steve Seward.
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Figure 2
Moggs Creek Clickers expedition to Mt Feathertop.
(L-R): Peripheral Clicker, Member of BMW, Ern Poppins, Fred Mosse, Grier McVea. [Photographer unknown]
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Figure 3
John Crook (foreground) at the closure of the Bolangum Inn, near St Arnaud, 1967. [Photographer: Albert Brown]
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Figure 4
The unveiling of the statue of Sir Samuel Moggs at the second Clicker convention February 1957.
[Photographer: Ron Friedman]
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Figure 5
Photovision 59 at Pink Alley.
Eric Smith’s shots of Moomba displayed on what appears to be hessian or canvas.
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Figure 6
Albert Brown
Self portrait in bowler hat, 1965.
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Figure 7
George Bell
Self portrait in top hat, 1960s.
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Figure 8
Casualty: Albert Brown,
Anzac Day early 1960s.
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Figure 9
Mr Westbrook, Richmond: Albert Brown
Work undertaken for the Henderson Poverty Commission.
Although possibly unintentional the resemblance to FSA work is striking.
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Figure 10
Pain: George Bell
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Figure 11
Composition with hands: George Bell
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Figure 12
Untitled: John Crook
Recipient of the Clicker Award at Photovision 60
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Figure13
Designing Urban Woman.
Max Forbes makes his point, obscuring Albert Brown, while a pensive John Bolton looks on.
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Figure 14
Designing Urban Woman
Eric Smith and Roy McDonald watch an unknown news cameraman.
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Figure 15
Untitled: Roy McDonald, early 1960s
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Figure 16 Untitled: Roy McDonald, early 1960s
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Figure 17
Madonna, Parisian market: Harry Youlden, late 1950s
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Figure 18
Man with hand on face, Paris: Harry Youlden, late 1950s
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Figure 19
The Instant Portrait Photographer (Perth, 1956): Richard Woldendorp
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Figure 20
Street scene (Perth, 1959): Richard Woldendorp
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Figure 21
Photovision 60 at MOMA
[Photographer unknown]
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Figure 22
Photovision 61 at MOMA
[Photographer unknown]
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Figure 23
Photovision 62 at MOMA
[Photogorapher unknown]
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Figure 24
Photovision 62 at MOMA
[Photographer: Cliff Restarick]
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Figure 25
Photograph from Urban Woman taken in Georges by Albert Brown.early 1960s.
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Figure 26
Photograph from Urban Woman by Albert Brown.
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Figure 27
Photograph from Urban Woman by George Bell.
This was the opening shot of the exhibition.
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Figure 28
Photograph from Urban Woman by George Bell.
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Figure 29
Photograph from Urban Woman by Roy McDonald.
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Figure 30
Photograph from Urban Woman by Roy McDonald. |
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Figure 31
Woman in hat at Dawn Service (Brisbane 1961): Lance Nelson.
Photograph from Urban Woman. |
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Figure 32
Woman with child on shoulder (Sydny 1961): Lance Nelson.
Photograph from Urban Woman. |
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Figure 33
A possible news photograph of Urban Woman.
The exhibition provokes a reaction from these two young women,
but the photographer probably had more in mind than recording the current fashion in high heels.
[Photographer unknown] |
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Figure 34
Another installation shot of Urban Woman.
Both the main pictures of behatted gatherings are fairly open ended in what they say;
not a crime in itself, but probably difficult for a viewer, such as this woman, to derive much from except an identification over headware.
On the right is a more sentimental shot of children and autumn leaves by Roy McDonald.
[Photographer unknown] |
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Figure 35
One of the early sequences from Urban Woman showing mothers and their babies.
The photograph on the right is by John Crook of his wife and daughter. |
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Figure 36
The last sequence of Urban Woman showing old age and death.
Works include those by John Crook (lower centre) and George Bell (far right). |
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Figure 37
Another installation shot from Urban Woman.
Albert Brown’s juxtaposition of youth and old age is in the lower left.
Other photographers unknown. |
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Figures 38-41
Installation shots of Urban Woman which give an idea how the exhibition came together as a unit.
Unfortunately clarity is not helped by the originals being small contact prints.
The four shots are arranged from childhood, through adolescence, to maturity.
Figure 40 features some of John Bolton’s ballroom dancers on the right.
[Photographer unknown] |
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Figure 42
Interior, Lake Tyers: Albert Brown, early 1960s.
From A Time To Love.
The quotation from Isaiah 45:22 states:
Look unto me, and be
ye saved, all the ends of
the earth: for I am God,
and there is none else. |
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Figure 43
Mrs Edwards and child, Lake Tyers: Albert Brown, early 1960s.
From A Time To Love |
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Figure 44
Mrs Effie Moburn, Lake Tyers: Albert Brown, early 1960s.
From A Time To Love.
Comparisons to FSA work is again unavoidable. |
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Figure 45
Handout, Lake Tyers: Albert Brown, early 1960s.
From A Time To Love.
Whether an accurate description or not, the white store keeper is caught in an action indicating avariciousness. |
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Figure 46
Bushfire damage and winding road by George Bell, early 1960s.
From A Time To Love. |
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Figure 47
Detail of bushfire damage by George Bell, early 1960s.
From A Time To Love. |
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Figure 48
Animal bones by George Bell, early 1960s.
From A Time To Love. |
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Figure 49
The remains of Windy Gale’s house by George Bell, early 1960s.
From A Time To Love. |
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Figure 50
Geriatric by John Crook, early 1960s.
From A Time To Love. |
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Figure 51
Geriatrics by John Crook, early 1960s.
From A Time To Love. |
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Figure 52
Sleeping geriatric by John Crook, early 1960s.
From A Time To Love. |
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Figure 53
Mental institution inmate by Roy McDonald,early 1960s.
From A Time To Love. |
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Figure 54
Mental institution inmate by Roy McDonald, early 1960s.
From A Time To Love. |
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Figure 55
Mental institution inmate by Roy McDonald early 1960s.
From A Time To Love. |
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Figure 56
Mental institution inmate by Roy McDonald early 1960s.
From A Time To Love. |
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Figure 57
Child’s hand on mossy rock by George Bell.
Photovision 60 award winner.
An example of Bell’s fascination with the fragmentary view. |
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Figure 58
Drought cracked earth by George Bell.
An example of Bell’s interest in texture. |
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