An Australian Photographic Tradition

By Benjamen Judd

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Whenever we are asked to describe what Australia is like, the first thing we do is show them Max Dupain’s famous photo of the sunbather. Then we show them really iconic stuff like Prisoner reruns while we force-feed them vegemite Sayos. But in all seriousness, the power of photography and the development of an Australian identity has been a long and intricate relationship and it is one that is on display at the Art Gallery of New South Wales and their latest exhibition, Australian Vernacular Photography.

In the Australian Photography Annual of 1947, photographer and director of the Art Gallery of NSW Hal Missingham wrote: ‘In a country supposedly occupied by people indulging in a vigorous outdoor life, where are the [photographic] records of beach and sport… where are the photographs of the four millions of people who live and work in our cities? What are they like – what do they do – what do they wear, and think?’

The family of man exhibition toured Australia in 1959 and was enormously influential, with its themes of birth, love and death common to all humanity. However, possibilities for Australian photographers to be noticed were rare until the 1970s due to the lack of institutional support. Nonetheless, photographers from David Moore and Robert McFarlane to the young Sue Ford forged on, trying to find their own vision of Australian life and how it could be represented photographically.

This exhibition looks at some of the photographers from then as well as those working more recently – such as Anne Zahalka, Trent Parke and Glenn Sloggett – to consider their various approaches to the depiction of modern Australian life.

Australian Vernacular Photography is now on display at the Art Gallery of New South Wales until May 18. Entry is free.