ART
Authur McIntyre
The Australian, 17th May 1977
Focussing on the most democratic art of them all
IT LOOKS as though 1977 will be the year when Sydney really comes to terms with the photograph.
For too long Australians have been wary of photography as a valid art form. This attitude has resulted in photography lagging behind where other art forms have moved conspicuously ahead.
Public collections, like the National In Canberra, have rallied to the cause in past year, but private buyers have been few. All this looks like changing.
The locals are beginning to appreciate that photography is an art form available to all. Quality photographs can he purchased for comparatively small sums. Surety this is the most democratic of all the arts.
Photography has an Immediacy of Impact because there is leas contrived mystery involved. After all, everyone I know has had a love affair with a Brownie!
The Australian Centre for Photography is now an established feature of the Paddington scene. For 2½ years the centre has set about making the locals aware that photography is arguably the major art form of this century.
Things would never have gotten off the ground without Visual Arts Board assistance. Increasing public Interest In the centre would seem to justify greater government support in the future. If the Centre's overall standard of exhibitions is any indication, this is money very well spent indeed.
Two exhibitions are providing striking viewing, American photographer Lee Friedlander was awarded Guggenheim grants In 1960 and 1962 and his work has a maturity of style and vision conspicuously lacking in the work of many younger exponents.
At first glance Friedlander's pictures may appear rather conservative. Closer scrutiny reveals some quite startling aspects and a refreshing brand of humour.
This exhibition of 50 photographs comes from the Museum of Modern Art in New York and is divided into groups relating to specific subject areas. Friedlander's tough approach to formal composition is neatly balanced by a poetic vision of the American environment with all Its sores intact.
Los Angeles 1965 typifies Friedlander's amusingly cynical observation of the American scene Other memorable prints include Butte, Montana, 1970 with its central signpost spelling out Lee Ave and Brattleboro, Vermont, 1972 featuring a spooky, helmeted head.
A young Australian, Douglas Holleley, showing 30 prints in the upstairs room. The larger ones reveal a strong tonal concern that is missing in most of the smaller photographs. The decorative appeal of the seductive colours, rippling water and intimate body details is undeniable.
Fascinating colour transparencies are created by various mineral salts and chemicals used to alter the molecules making up the original silver image. With more substance Hblleley's work would be a major achievement.
The Australian Centre for Photography is run by a group of people who really care. Their efforts are paying off, not so much to dollars but more significantly to terms of genuine public awareness in the photograph as art.
Australia could do with more dedicated galleries like this.