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*1992: 13 Nov–20 Dec: ''Location'', Australian Centre for Contemporary Art<ref name=":2">{{Cite news|date=11 December 1992|title=Pictures without the postcard view.|page=14|work=[[The Age]] [Melbourne, Australia],}}</ref>
*1992: 13 Nov–20 Dec: ''Location'', Australian Centre for Contemporary Art<ref name=":2">{{Cite news|date=11 December 1992|title=Pictures without the postcard view.|page=14|work=[[The Age]] [Melbourne, Australia],}}</ref>
*1986, 16 Oct–19 Nov: ''The Naked Image: The Nude in Recent Australian'', Photography, Australian Centre for Contemporary Art
*1986, 16 Oct–19 Nov: ''The Naked Image: The Nude in Recent Australian'', Photography, Australian Centre for Contemporary Art
*1998, 23 May–13 June: ''Mnemosyne or Do Humans Dream in Negative Strips'', [[Centre for Contemporary Photography]], Fitzroy<ref>{{Cite news|last=Schwartz|first=Larry|date=23 May 1998|title=Memories are made of these|page=2|work=[[The Age]] [Melbourne, Australia]}}</ref>

== Curator ==
== Curator ==


Revision as of 04:18, 16 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 of $30,000, plus airfares and fees, for a year of overseas study during which she took an MA in Fine at Goldsmiths College, London.[1] 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, taken from Super 8 film which had been made between 1960-65, which could be unrolled and pinned to the gallery wall either horizontally or vertically, allowing viewers' own interpretation of narrative, and reported that some of the Vietnamese artists were surprised she chose not to frame her photographs. The exhibition was shown in Australia as Vietnam at the Waverley City Gallery from 25 February to 28 March 1993.[2]

On her own work in the collaborative visual research project "Flows and Catchments" conducted at Lake Bolac 2012-14 while she was a lecturer at Deakin University,[3][4][5] Drummond concludes that the photograph acts as a 'signpost':

"Photography inevitably entails a certain characterization of reality. From being "out there" the world comes to be "inside" photographs -- a visual sliver, a grab, and an upload, a perpetual tumble cycle of extruded images existing everywhere yet nowhere. While the outside, the "out there" is brought within the frame of the photograph, I am interested rather in looking, through the viewfinder, to spaces that work the other way, which suggest the potential to locate a "non-space" -- where the inside suggests an outside or empty space [...] The viewer may well peer in and look for everything that appears to have been left out. Thus, the photograph becomes a recollection of what Roland Barthes calls "a disruption in the topography" -- we imagine a "beyond" that evokes a sense of melancholy or of irrevocably sliding toward it"[6]

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."[7]

Stuart Koop qualified such a response in comparing separate 1991 exhibitions by Drummond (Scopic Territories at Australian Centre for Contemporarv Art) and Wolfgang Sievers' industrial photographs (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."[8]

Rebecca Lancashire likewise, in reviewing Location, at Australian Centre for Contemporary Art in 1992, notes "Rozalind Drummond's black and white Melbourne scenes, deliberately out of focus: images of flux and uncertainty,"[9] and Zara Stanhope the following year, discussing Reflex also at ACCA, an exhibition of "bad" photography in which Drummond's work appeared with that of Susan Fereday, Graeme Hare, Les Walking and David Stephenson, described hers as "dynamic images;"

"Abstracting the real, the works in "Reflex" restage the classical struggle between the expressive and the descriptive, the subjectivity of the gaze and the indexical qualities of photographic reproduction. The electric neon lighls illuminating the form of Western and Eastern cities appear out of the night in Rozalind Drummond's...They provide the viewer with only a transitory glimpse, insufficient to discern the figure in the darkness, or to culturally position oneself."[10]

In a 1997 issue of ArtAsiaPacific,[11] 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).[12]

Penny Webb writing on Durmmond's 2007 collaborative show with Stuart Bailey, Carpetweed, at Victoria Park Gallery, Abbotsford, discerns "an exchange ... 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."[13] However, reviewing more conventional imagery in Perfect for Every Occasion at Heide Museum of Modern Art that year, critic Robert Nelson dismissed as "feeble" "happy snaps," her portraits of youths; "Even the scene where one girl touches another, which is given the dramatic title Now Everyone Knows, seems unmomentous."[14]

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[13]
  • 2007, 27 April - 26 May: Rozalind Drummond : weather everything, Canberra Contemporary Art Space [15]
  • 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[16][1]
  • 1995: Bunny Rug, 1st Floor, Fitzroy, Melbourne,
  • 1991, 3 Oct–10 Nov: Rozalind Drummond: Scopic Territories, Australian Centre for Contemporary Art

Group

  • 2009, from 22 July: The Black Show, C3 GALLERY at Abbotsford Convent[17]
  • 1992: 13 Nov–20 Dec: Location, Australian Centre for Contemporary Art[9]
  • 1986, 16 Oct–19 Nov: The Naked Image: The Nude in Recent Australian, Photography, Australian Centre for Contemporary Art
  • 1998, 23 May–13 June: Mnemosyne or Do Humans Dream in Negative Strips, Centre for Contemporary Photography, Fitzroy[18]

Curator

  • 2014: Kaleidoscope, Platform Contemporary Art Space, Melbourne
  • 2014: Wild Places, Motorworks Gallery, Melbourne[19]
  • 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[20]
  • Australian National Gallery [21]
  • National Portrait Gallery, Canberra[22]

References

  1. ^ a b "Arts diary". The Age [Melbourne, Australia]. 1 November 1996. p. 4.
  2. ^ Lancashire, Rebecca (4 January 1993). "Australian-Vietnamese art has arrived - by pedicab". The Age. p. 12.
  3. ^ "Lake Bolac College received". Stawell Times [Stawell, Australia]. 13 March 2012. p. 13.
  4. ^ "STONE wall construction, a documentary and poetry". Warrnambool Standard [Warrnambool, Australia]. 20 February 2013. p. 16.
  5. ^ "Lake Bolac - Flayed Identities is a new Australian". The Ararat Advertiser (Ararat, Australia). 18 March 2014.
  6. ^ Drummond, Rozalind; Keane, Jondi; West, Patrick (2012-08-14). "Zones of Practice: Embodiment and Creative Arts Research". M/C Journal. 15 (4). doi:10.5204/mcj.528. ISSN 1441-2616.
  7. ^ "Australian art for Vietnamese shown at Melbourne centre". Canberra Times. 1992-12-20. Retrieved 2021-12-15.
  8. ^ Koop, Stuart. Art & Text , Jan92, Issue 41, p98-99, 2p, 2 Black and White Photographs. Publisher: Foundation for International Art Criticism
  9. ^ a b "Pictures without the postcard view". The Age [Melbourne, Australia],. 11 December 1992. p. 14.{{cite news}}: CS1 maint: extra punctuation (link)
  10. ^ Stanhope, Zara (May 1994). "Reflex". Art & Text (48): 75.
  11. ^ Natalie King, “Peeping Tom.” ArtAsiaPacific 13, Jan/Feb/Mar, 1997
  12. ^ Masters, H., Chu, D., Tsai, S., Cohn, D. J., & Ko, H. (2016). "In Terms of Art." ArtAsiaPacific, 100, 98–109.
  13. ^ a b "Visual Arts." Sunday Age [Melbourne, Australia], 18 Feb. 2007, p. 38.
  14. ^ Nelson, Robert (24 March 2007). "Something rotten". The Age [Melbourne, Australia]. p. 19.
  15. ^ 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
  16. ^ "From the GODS". The Age [Melbourne, Australia]. 5 November 1995. p. 7.
  17. ^ Modra, Penny (22 July 2009). "The Space Visual Arts". The Age [Melbourne, Australia]. p. 14.
  18. ^ Schwartz, Larry (23 May 1998). "Memories are made of these". The Age [Melbourne, Australia]. p. 2.
  19. ^ Backhouse, Megan (31 May 2014). "Plotlines". The Age. Melbourne. p. 14.
  20. ^ "Rosalind Drummond in the Collection, NGV". National Gallery of Victoria.{{cite web}}: CS1 maint: url-status (link)
  21. ^ Australian National Gallery (1990-06-30), "ACQUISITIONS (30 June 1990)", Annual report (233 of 1990), The Gallery: 93, ISSN 0314-9919
  22. ^ "Rozalind Drummond, b. 1956". National Portrait Gallery people. Retrieved 2021-12-15.
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