| 24-Apr-59 |
Photovision '59. A photograph of the exhibition at the Museum of Modern Art of Australia. Date is a guess |
| |
|
| 24-Apr-60 |
Photovision '60. Two photographs of the exhibition at the Museum of Modern Art. Again the date is a guess |
| 9-May-61 |
Photovision "61, held in the Museum of Modern Art, attracted one hundred and six single prints, only eighteen from Australia. Most were international entries. No record of the designer, nor judges was given in the catalogue. The catalogue stated, "Many entrants in what were no doubt genuine attempts at originality, resorted to the well-tried techniques of contrived distortion of the naturally definitive photographic image. These attempts to disguise the basic means of making the image, can be as retrogressive to artistic progress as Salon-minded photographers constantly working to pander to the most banal standards of beauty." |
| |
|
| 8-May-62 |
Photovision '62, held in the Museum of Modern Art of Australia, Tavistock Place. This was the fourth successive year of Photovision. It attracted one hundred and twenty single print entries and nineteen series of prints from around the world, including Austria, Germany, Norway, U.S.A., France, Formosa, Macau, Italy and Yugoslavia. There were also entries in the transparency series and audio visuals. The exhibition was designed by Max Forbes. Judges were, John Reed, Frank Guy, David Moore and John Crook. |
| |
|
| 28-Feb-63 |
One photograph of Group M's contribution to the Herald Outdoor Art Show. |
| |
|
| 1 -Aug-63 |
Photograph of Max Forbes et al, arranging "Urban Woman" photographs at the Secondary Teachers' College, prior to the exhibition. |
| |
|
| 12-Aug-63 |
The Herald camera news describing Urban Woman and showing two prints |
| |
|
| 21 -Aug-63 |
The Sun article on "Urban Woman", together with four photographs. |
| |
|
| 27-Aug-63 |
"Urban Woman" opened in the Lower Melbourne Town Hall. Three prints of that exhibition are available. Bill Hannan writing in the brief (because funds were limited) catalogue said, "Urban woman was chosen as the theme because its two elements reflect a basic conflict in modern life, a conflict between permanent human values and rapidly changing social conditions. Collectively Group M has made no attempt to preach a message." |
| |
|
| 28-Aug-63 |
The Australian Women's Weekly published an article on "Urban Woman". It stated that nearly all of the three hundred photographs selected were taken without the aid of a telephoto lens or flash equipment. Six photographs from the exhibition accompanied the article. |
| |
|
| 28-Aug-63 |
The Sun reports Myra Roper, in opening "Urban Woman", as having criticised Group M for neglecting professional women. |
| |
|
| 30-Jun-64 |
Photovision '64 was presented at the Museum of Modern Art and subsequently in Bowman Arcade, Adelaide and the Queen Victoria Art Gallery, Launceston. The Eugene Atget award was made for the first time to perpetuate the memory of the French photographer who dedicated his life to recording his environment. John Crook wrote in the catalogue, "We must not forget the words of Albert Camus:"lt is not necessary to succeed in order to persevere." There is no doubt that the medium of photography does not stand high in Australian artistic achievements. Yet we know what the medium is capable of, and it must not be let down by human failure - by lack of intensity, boldness, imagination or perseverance." |
| |
|
| 30-Jun-64 |
Invitation to the opening of Photovision 1964 at Ball & Welch Ltd., 180 Flinders Street. |
| |
|
| 13-Sept-65 |
Photovision '65, entitled, "A Time to Love". The exhibition was designed by Derrick Watson and presented in the Ball and Welch department store. "The photographs presented were specifically made to record, to isolate what we might instinctively reject." They dealt with bushfire aftermath, geriatrics, mental health and the Aboriginal minority. |
| |
|
| 14-Sept-65 |
Photograph in the Sun, showing two girls in front of one of the aboriginal prints. |
| |
|
| 23-Oct-65 |
Bill Hannan reviews "A Time to Love" in the Bulletin. He stated, "We need much more of photography of this kind and calibre. It should be more widely commissioned, both for the archives and for the education of the community." |
| |
|
| 8-Feb-67 |
The West Australian publishes a photograph of Thomas Edison from the Gernsheim Collection. |
| |
|
| 11 -Feb-67 |
The West Australian reports an exhibition of historic photographs from the Gernsheim Collection. The exhibition was part of the Festival of Perth. |
| |
|
| 4-Apr-67 |
Agenda Item No. VI. 2. submitted to the Trustees of the National Gallery of Victoria advocating the establishment of a Department of Photography at the Victorian Arts Centre. |
| |
|
| 16-Jul-67 |
One photograph of the Gernsheim Collection on display at the Marion Shopping Centre, Adelaide. The date is a guess, although it would have been after the exhibition at the Festival of Perth. |
| |
|
| 11-Aug-67 |
Mildura Arts Centre displays "A Time to Love",(Photovision '65), together with drawings and sculptures of Henri Gaudier-Brzeska. The Director of the Arts Centre was Thomas G. McCullough. |
| |
|
| 10-Sept-67 |
The Sunraysia shows the Director of the Mildura Art Centre with Lady Bawden inspecting some of the work of "A Time to Love" which took up the whole of the Centre's ground floor. |
| |
|
| 18-Sept-67 |
Photograph in the Sunraysia showing a visitor viewing "A Time to Love". The exhibtion was part of the Mildura Wintersun Festival. |
| |
|
| 10-Apr-68 |
The Age art critic, Patrick Mccaughey discusses photography and the "Photographer's Eye". |
| |
|
| 7-Jan-70 |
The Australian Women's Weekly announces that the National Gallery of Victoria is to have a permanent photography collection. Eric Westbrook is quoted as saying, "Photography is a visual art. It is a development of the 20th century, not an art inherited - like sculpture, painting and drawing - from our forebears." |
| |
|
| 9-Mar-87 |
The Age, reporting Sir Samuel Moggs had been painted blue. |
| |
|
| 10-Mar-87 |
The Age, Bob Millington's column discussing Sir Samuel Moggs. |
| |
|