Rozalind Drummond: Difference between revisions
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== Education == |
== Education == |
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Drummond trained in fine art at [[Prahran College]] 1982-84, then over 1985–86 undertook a Post Graduate Diploma in Fine Art at the School of Art in the [[Victorian College of the Arts]]. In 1997 she was awarded a Samstag Scholarship to undertake an MA in Fine at [[Goldsmiths, University of London|Goldsmiths College]], London. Later in Australia she completed a Master of Arts (Art in Public Space), RMIT University, Melbourne in 2017. Since then she has exhibited nationally and internationally and her work is in major public collections. |
Drummond trained in fine art at [[Prahran College]] 1982-84, then over 1985–86 undertook a Post Graduate Diploma in Fine Art at the School of Art in the [[Victorian College of the Arts]]. In 1997 she was awarded a Samstag Scholarship to undertake an MA in Fine at [[Goldsmiths, University of London|Goldsmiths College]], London. Later in Australia she completed a Master of Arts (Art in Public Space), RMIT University, Melbourne in 2017. Since then she has exhibited nationally and internationally and her work is in major public collections. |
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== Practice == |
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Early in her career, in 1993, Drummond and painter Geoff Lowe were invited by curator Juliana Engberg to produce an exhibition involving collaboration with Vietnamese artists supported by [[Asialink]]'s Australian art to Asia project and hosted by the [[Hanoi]] School of Art. Choosing to show typical examples of their Australian contemporary art practice, Drummond took long contact proofs which could be unrolled and pinned to the gallery wall and reported that some of the Vietnamese artists were surprised she chose not to frame her photographs.<ref>{{Cite news|last=Lancashire|first=Rebecca|date=4 January 1993|title=Australian-Vietnamese art has arrived - by pedicab|page=12|work=The Age}}</ref> |
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== Reception == |
== Reception == |
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Reviewers recognise an elliptical gaze in Drummond's oeuvre. ''Canberra Times'' critic Helen Musa noted in 1992 that Drummond "uses photography to exploit the distance between the real and the fictional."<ref>{{Cite news|date=1992-12-20|title=Australian art for Vietnamese shown at Melbourne centre|work=Canberra Times|url=http://nla.gov.au/nla.news-article126963958|access-date=2021-12-15}}</ref> Stuart Koop qualified this response in comparing separate 1991 exhibitions by Drummond (at [[Australian Centre for Contemporary Art|Australian Centre for Contemporarv Art]]) and [[Wolfgang Sievers]] (at [[National Gallery of Victoria]]) to identify her... <blockquote>"...apparently total abdication of authorial responsibility in [ . . . ] a dependence on everything extrinsic to the photograph which has come to characterise the critical import of postmodern photography as some kind of institutional critique; this in contrast to the intrinsic formalism of modern photography," noting "[Sievers'] (perhaps naive) confrontation of power, capital, social control, or whatever, in the construction of aesthetic forms, [while Drummond], in retreat. hopes rather to spy a random trace of their omnipresence, poking the camera into a city's spaces for a glimpse of puissance. The difference is a capitulation of sorts before the unrelenting advance of "capital" manifest in theories such as [[Guy Debord|Debord]]'s."<ref>Koop, Stuart. Art & Text , Jan92, Issue 41, p98-99, 2p, 2 Black and White Photographs. Publisher: Foundation for International Art Criticism</ref></blockquote> |
Reviewers recognise an elliptical gaze in Drummond's oeuvre. ''Canberra Times'' critic Helen Musa noted in 1992 that Drummond "uses photography to exploit the distance between the real and the fictional."<ref>{{Cite news|date=1992-12-20|title=Australian art for Vietnamese shown at Melbourne centre|work=Canberra Times|url=http://nla.gov.au/nla.news-article126963958|access-date=2021-12-15}}</ref> Stuart Koop qualified this response in comparing separate 1991 exhibitions by Drummond (at [[Australian Centre for Contemporary Art|Australian Centre for Contemporarv Art]]) and [[Wolfgang Sievers]] (at [[National Gallery of Victoria]]) to identify her... <blockquote>"...apparently total abdication of authorial responsibility in [ . . . ] a dependence on everything extrinsic to the photograph which has come to characterise the critical import of postmodern photography as some kind of institutional critique; this in contrast to the intrinsic formalism of modern photography," noting "[Sievers'] (perhaps naive) confrontation of power, capital, social control, or whatever, in the construction of aesthetic forms, [while Drummond], in retreat. hopes rather to spy a random trace of their omnipresence, poking the camera into a city's spaces for a glimpse of puissance. The difference is a capitulation of sorts before the unrelenting advance of "capital" manifest in theories such as [[Guy Debord|Debord]]'s."<ref>Koop, Stuart. Art & Text , Jan92, Issue 41, p98-99, 2p, 2 Black and White Photographs. Publisher: Foundation for International Art Criticism</ref></blockquote> |
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Revision as of 08:14, 15 December 2021
Rozalind Drummond (born 1956) is an Australian photographic artist.
Education
Drummond trained in fine art at Prahran College 1982-84, then over 1985–86 undertook a Post Graduate Diploma in Fine Art at the School of Art in the Victorian College of the Arts. In 1997 she was awarded a Samstag Scholarship to undertake an MA in Fine at Goldsmiths College, London. Later in Australia she completed a Master of Arts (Art in Public Space), RMIT University, Melbourne in 2017. Since then she has exhibited nationally and internationally and her work is in major public collections.
Practice
Early in her career, in 1993, Drummond and painter Geoff Lowe were invited by curator Juliana Engberg to produce an exhibition involving collaboration with Vietnamese artists supported by Asialink's Australian art to Asia project and hosted by the Hanoi School of Art. Choosing to show typical examples of their Australian contemporary art practice, Drummond took long contact proofs which could be unrolled and pinned to the gallery wall and reported that some of the Vietnamese artists were surprised she chose not to frame her photographs.[1]
Reception
Reviewers recognise an elliptical gaze in Drummond's oeuvre. Canberra Times critic Helen Musa noted in 1992 that Drummond "uses photography to exploit the distance between the real and the fictional."[2] Stuart Koop qualified this response in comparing separate 1991 exhibitions by Drummond (at Australian Centre for Contemporarv Art) and Wolfgang Sievers (at National Gallery of Victoria) to identify her...
"...apparently total abdication of authorial responsibility in [ . . . ] a dependence on everything extrinsic to the photograph which has come to characterise the critical import of postmodern photography as some kind of institutional critique; this in contrast to the intrinsic formalism of modern photography," noting "[Sievers'] (perhaps naive) confrontation of power, capital, social control, or whatever, in the construction of aesthetic forms, [while Drummond], in retreat. hopes rather to spy a random trace of their omnipresence, poking the camera into a city's spaces for a glimpse of puissance. The difference is a capitulation of sorts before the unrelenting advance of "capital" manifest in theories such as Debord's."[3]
In a 1997 issue of ArtAsiaPacific,[4] Natalie King described the installation Peeping Tom (1995) by Drummond as, “A group of large format, toned photographs … haphazardly pinned to the gallery walls like an archive,” suggesting not an institution but the “archive” as a collection of related things (whether in subject or form).[5]
Penny Webb in reviewing Durmmond's 2007 collaborative show with Stuart Bailey, Carpetweed, at Victoria Park Gallery, Abbotsford, recognises that "an exchange is established between these two bodies of work - six photographs pinned around the space; six constructions on the floor: a meeting of minds, you might say. Rozalind Drummond has cast a dispassionate eye on piles of materials and objects, discarded or yet to be claimed, in the process of some sort of office move or domestic upheaval."[6]
Exhibitions
Drummond's exhibitions include:
Solo
- 2018: Process blue, nature trips, corduroy, pine shelving, Bundoora Homestead Art Centre
- 2018: Aries Rising, (with Anna White) The Alderman, Upstairs, Brunswick
- 2013: Black Mountain, PopUP Chiyodo, Asia Youth Centre Tokyo, Japan
- 2011: Black Mountain, (with Stuart Bailey) Margaret Lawrence Gallery, VCA
- 2009: How Fine the Air, Life Lab Building, pop-up Space, Docklands, Melbourne
- 2008: Low Level Week, (with Stuart Bailey) Project Space, RMIT, Melbourne
- 2008: Weather Everything, Canberra Contemporary Art Space, Canberra
- 2008: Carpetweed (with Stuart Bailey) Victoria Park Gallery, Melbourne[6]
- 2007, 27 April - 26 May: Rozalind Drummond : weather everything, Canberra Contemporary Art Space [7]
- 2004: Disordered Landscapes, Harry Siedler Apartment, Campbell, Canberra
- 2002: Wonderful Clouds, Centre for Contemporary Photography, Melbourne
- 2002: Branded, Cinch, Levi’s Flagship Store Gallery, Soho, London
- 2001: 48Hours, Bloomberg News European Headquarters, London
- 1998: Spiderbox, (with Lauren Berkowitz) Canberra Contemporary Art Space
- 1999: Hide and Seek screening Birmingham Cinema, United Kingdom
- 1999: Hide and Seek, exhibition Ikon Gallery Off-site Project
- 1999: Ozells Street, Primary School, Birmingham
- 1996: Bunny Rug, Pendulum Gallery, Surrey Hills, Sydney
- 1995: Peeping Tom, Project Room, Monash University Gallery, Melbourne
- 1995: Bunny Rug, 1st Floor, Fitzroy, Melbourne,
- 1991, 3 Oct–10 Nov: Rozalind Drummond: Scopic Territories, Australian Centre for Contemporary Art
Group
- 1986, 16 Oct–19 Nov: The Naked Image: The Nude in Recent Australian, Photography, Australian Centre for Contemporary Art
- 1992: 13 Nov–20 Dec: Location, Australian Centre for Contemporary Art
Curator
- 2014: Kaleidoscope, Platform Contemporary Art Space, Melbourne
- 2014: Wild Places, Motorworks Gallery, Melbourne[8]
- 2005: Deep Purple, Manning Clark House, Canberra
- 2004: Lost in Space, ANU, School of Visual Arts, Residency, Canberra
- 2002: Hard Candy, Galerie Wieland, Berlin, Germany
- 2002: Ways of Living, Tablet Gallery Notting Hill London, Project Space, RMIT University, Melbourne
Collections
- National Gallery of Victoria[9]
- Australian National Gallery [10]
- National Portrait Gallery, Canberra[11]
References
- ^ Lancashire, Rebecca (4 January 1993). "Australian-Vietnamese art has arrived - by pedicab". The Age. p. 12.
- ^ "Australian art for Vietnamese shown at Melbourne centre". Canberra Times. 1992-12-20. Retrieved 2021-12-15.
- ^ Koop, Stuart. Art & Text , Jan92, Issue 41, p98-99, 2p, 2 Black and White Photographs. Publisher: Foundation for International Art Criticism
- ^ Natalie King, “Peeping Tom.” ArtAsiaPacific 13, Jan/Feb/Mar, 1997
- ^ Masters, H., Chu, D., Tsai, S., Cohn, D. J., & Ko, H. (2016). "In Terms of Art." ArtAsiaPacific, 100, 98–109.
- ^ a b "Visual Arts." Sunday Age [Melbourne, Australia], 18 Feb. 2007, p. 38.
- ^ Drummond, Rozalind; Stanhope, Zara; Canberra Contemporary Art Space (2007), Rozalind Drummond : weather everything, CCAS 27 April - 26 May 2007, Canberra Contemporary Art Space, retrieved 15 December 2021
- ^ Backhouse, Megan (31 May 2014). "Plotlines". The Age. Melbourne. p. 14.
- ^ "Rosalind Drummond in the Collection, NGV". National Gallery of Victoria.
{{cite web}}: CS1 maint: url-status (link) - ^ Australian National Gallery (1990-06-30), "ACQUISITIONS (30 June 1990)", Annual report (233 of 1990), The Gallery: 93, ISSN 0314-9919
- ^ "Rozalind Drummond, b. 1956". National Portrait Gallery people. Retrieved 2021-12-15.