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{{Short description|Australian artist photographer, curator and lecturer}}
{{Short description|Australian artist photographer, curator and lecturer}}
'''Rozalind Drummond''' (born 1956) is an Australian photographic artist.
'''Rozalind Drummond''' (born 1956) is a photographic artist and an early exponent of [[postmodernism]] in [[Australia]].


== Education ==
== Education ==
Line 6: Line 6:


== Practice ==
== 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, titled ''Voyeur'' and excepted from monochrome [[Super 8 film|Super 8]] footage 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 [[Monash Gallery of Art|Waverley City Gallery]] from 25 February to 28 March 1993,<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> in which Zara Stanhope points to "Drummond's creative acts of framing and filming," and "unsettling juxtaposition of unfamiliar, geographically distant images" which "disrupt the convention of the invisible journalistic photographer {and] Western modes of narrative and brings about reconsideration of viewing responsibilities. Drummond also included a series of untitled black-and-white photos extracted from an unfinished video taken by Drummond in Vietnam in which scenes in motion were rendered blurred and out of focus. A single framed passport photo facing a group of like images at opposite ends of a long narrow space that for Stanhope signify "the individual made poweriess before structures of the mass or of nation. The passport proves the existence of the refugee and reminds us that those who cross frontiers are, like criminals, the objects ol surveillance."<ref>{{Cite journal|last=Stanhope|first=Zara|date=1993|title=Vietnam|journal=Art & Text|issue=45|pages=76}}</ref>
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.<ref>{{Cite news|last=Broinowski|first=Alison|date=17 August 1994|title=A slow drift towards Asia|page=24|work=[[The Sydney Morning Herald]]}}</ref> Choosing to show typical examples of their Australian contemporary art practice, Drummond took long contact proofs, titled ''Voyeur'' and excepted from monochrome [[Super 8 film|Super 8]] footage 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 [[Monash Gallery of Art|Waverley City Gallery]] from 25 February to 28 March 1993,<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> in which Zara Stanhope points to "Drummond's creative acts of framing and filming," and "unsettling juxtaposition of unfamiliar, geographically distant images" which "disrupt the convention of the invisible journalistic photographer {and] Western modes of narrative and brings about reconsideration of viewing responsibilities. Drummond also included a series of untitled black-and-white photos extracted from an unfinished video taken by Drummond in Vietnam in which scenes in motion were rendered blurred and out of focus. A single framed passport photo facing a group of like images at opposite ends of a long narrow space that for Stanhope signify "the individual made poweriess before structures of the mass or of nation. The passport proves the existence of the refugee and reminds us that those who cross frontiers are, like criminals, the objects ol surveillance."<ref>{{Cite journal|last=Stanhope|first=Zara|date=1993|title=Vietnam|journal=Art & Text|issue=45|pages=76}}</ref>


On her own work in the collaborative visual research project "Flows and Catchments" conducted at [[Lake Bolac, Victoria|Lake Bolac]] 2012-14 while she was a lecturer at [[Deakin University]],<ref>{{Cite news|date=13 March 2012|title=Lake Bolac College received|page=13|work=Stawell Times [Stawell, Australia]}}</ref><ref>{{Cite news|date=20 February 2013|title=STONE wall construction, a documentary and poetry|page=16|work=Warrnambool Standard [Warrnambool, Australia]}}</ref><ref>{{Cite news|date=18 March 2014|title=Lake Bolac - Flayed Identities is a new Australian.|work=The Ararat Advertiser (Ararat, Australia).}}</ref> Drummond concludes that the photograph acts as a 'signpost':
On her own work in the collaborative visual research project "Flows and Catchments" conducted at [[Lake Bolac, Victoria|Lake Bolac]] 2012-14 while she was a lecturer at [[Deakin University]],<ref>{{Cite news|date=13 March 2012|title=Lake Bolac College received|page=13|work=Stawell Times [Stawell, Australia]}}</ref><ref>{{Cite news|date=20 February 2013|title=STONE wall construction, a documentary and poetry|page=16|work=Warrnambool Standard [Warrnambool, Australia]}}</ref><ref>{{Cite news|date=18 March 2014|title=Lake Bolac - Flayed Identities is a new Australian.|work=The Ararat Advertiser (Ararat, Australia).}}</ref> Drummond concludes that the photograph acts as a 'signpost':
Line 13: Line 13:


== Reception ==
== 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."<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>
Reviewers recognise an elliptical gaze in Drummond's oeuvre, though not always appreciative of it earlier in her career; indeed, [[Beatrice Faust]] slighted her contributions to the [[National Gallery of Victoria]]'s 1988 ''Excursions into the Postmodern: Five Melbourne Photographers; New Acquisitions,'' writing that she had failed to make "a coherent body of work," and that beside [[John Gollings]]' studies "powerful melding of architectural, pornographic and optical images," hers were "sketchy and trivial."<ref>{{Cite news|last=Faust|first=Beatrice|date=12 October 1988|title=Photography|page=14|work=[[The Age]]}}</ref> ''Canberra Times'' critic Helen Musa by contrast understood 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 such a response in comparing separate 1991 exhibitions by Drummond (''Scopic Territories'' at [[Australian Centre for Contemporary Art|Australian Centre for Contemporarv Art]]) and [[Wolfgang Sievers]]' industrial photographs (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>
Stuart Koop qualified such a response in comparing separate 1991 exhibitions by Drummond (''Scopic Territories'' at [[Australian Centre for Contemporary Art|Australian Centre for Contemporarv Art]]) and [[Wolfgang Sievers]]' industrial photographs (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>


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,"<ref name=":2" /> 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;"
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,"<ref name=":2" /> 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;"
Line 21: Line 21:
<blockquote>"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."<ref>{{Cite journal|last=Stanhope|first=Zara|date=May 1994|title=Reflex|journal=Art & Text|issue=48|pages=75}}</ref></blockquote>
<blockquote>"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."<ref>{{Cite journal|last=Stanhope|first=Zara|date=May 1994|title=Reflex|journal=Art & Text|issue=48|pages=75}}</ref></blockquote>


Drummond has applied a feminist visual critique to gender. Reacting to her 1996 exhibition ''Bunny Rug'' reprising American pinup photographer [[Bunny Yeager]]'s self-portraits reviewer Bruce James of the ''Sydney Morning Herald'' finds himself "unpersuaded but provoked."<ref name=":3">{{Cite news|last=James|first=Bruce|date=2 Aug 1996|title=Galleries|page=14|work=[[The Sydney Morning Herald]] (Sydney, New South Wales, Australia)}}</ref> In a 1997 issue of ''ArtAsiaPacific,''<ref>Natalie King, “Peeping Tom.” ''ArtAsiaPacific'' 13, Jan/Feb/Mar, 1997</ref> 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).<ref>Masters, H., Chu, D., Tsai, S., Cohn, D. J., & Ko, H. (2016). "In Terms of Art." ''ArtAsiaPacific'', 100, 98–109.</ref> However, reviewing more conventional imagery in ''Perfect for Every Occasion'' at [[Heide Museum of Modern Art]] in 2007, 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."<ref>{{Cite news|last=Nelson|first=Robert|date=24 March 2007|title=Something rotten|page=19|work=[[The Age]] [Melbourne, Australia]}}</ref> Penny Webb writing on Durmmond's 2007 collaborative show with Stuart Bailey, ''Carpetweed'', at Victoria Park Gallery, Abbotsford, discerns a more effective "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."<ref name=":0">"Visual Arts." ''Sunday Age'' [Melbourne, Australia], 18 Feb. 2007, p. 38. </ref>
Drummond has applied a feminist visual critique to gender. Reacting to her 1996 exhibition ''Bunny Rug'' reprising American pinup photographer [[Bunny Yeager]]'s self-portraits reviewer Bruce James of the ''Sydney Morning Herald'' finds himself "unpersuaded but provoked."<ref name=":3">{{Cite news|last=James|first=Bruce|date=2 Aug 1996|title=Galleries|page=14|work=[[The Sydney Morning Herald]] (Sydney, New South Wales, Australia)}}</ref> In a 1997 issue of ''ArtAsiaPacific,''<ref>Natalie King, “Peeping Tom.” ''ArtAsiaPacific'' 13, Jan/Feb/Mar, 1997</ref> 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),<ref>Masters, H., Chu, D., Tsai, S., Cohn, D. J., & Ko, H. (2016). "In Terms of Art." ''ArtAsiaPacific'', 100, 98–109.</ref> inviting, as Freda Freiberg remarks, "a surreptitious peep, if not a studied gaze, at the bodies and business of others..." and to "turn our gaze back on the professional peepers, to play their game. We are asked to play the sleuth."<ref name=":4" /> However, reviewing more conventional imagery in ''Perfect for Every Occasion'' at [[Heide Museum of Modern Art]] in 2007, 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."<ref>{{Cite news|last=Nelson|first=Robert|date=24 March 2007|title=Something rotten|page=19|work=[[The Age]] [Melbourne, Australia]}}</ref> Penny Webb writing on Durmmond's 2007 collaborative show with Stuart Bailey, ''Carpetweed'', at Victoria Park Gallery, Abbotsford, discerns a more effective "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."<ref name=":0">"Visual Arts." ''Sunday Age'' [Melbourne, Australia], 18 Feb. 2007, p. 38. </ref>


== Exhibitions ==
== Exhibitions ==
Line 44: Line 44:
* 1999: Ozells Street, Primary School, Birmingham
* 1999: Ozells Street, Primary School, Birmingham
* 1996: ''Bunny Rug'', Pendulum Gallery, Surrey Hills, Sydney
* 1996: ''Bunny Rug'', Pendulum Gallery, Surrey Hills, Sydney
* 1995: ''Peeping Tom'', Project Room, Monash University Gallery, Melbourne<ref>{{Cite news|date=5 November 1995|title=From the GODS|page=7|work=[[The Age]] [Melbourne, Australia]}}</ref><ref name=":1" /><ref>{{Cite news|last=Freiberg|first=Freda|date=7 Feb 1996|title=Taking look others: Freda Freiberg plays the role of peeping Tom and ponders the questions of voyeurism raised by a new exhibition.|page=21|work=[[The Age]] (Melbourne, Victoria, Australia)}}</ref>
* 1995: ''Peeping Tom'', Project Room, Monash University Gallery, Melbourne<ref>{{Cite news|date=5 November 1995|title=From the GODS|page=7|work=[[The Age]] [Melbourne, Australia]}}</ref><ref name=":1" /><ref name=":4">{{Cite news|last=Freiberg|first=Freda|date=7 Feb 1996|title=Taking look others: Freda Freiberg plays the role of peeping Tom and ponders the questions of voyeurism raised by a new exhibition.|page=21|work=[[The Age]] (Melbourne, Victoria, Australia)}}</ref>
* 1995: ''Bunny Rug'', 1st Floor, Fitzroy, Melbourne<ref name=":3" />
* 1995: ''Bunny Rug'', 1st Floor, Fitzroy, Melbourne<ref name=":3" />
*1995, 5–23 July: ''Faktura,'' Kate Daw, Troy Framstead, Elka Varga and Dana Last, Stop 22, St Kilda<ref>{{Cite news|date=5 Jul 1995|title=Opening|page=19|work=[[The Age]] (Melbourne, Victoria, Australia)}}</ref>
* 1991, 3 Oct–10 Nov: ''Rozalind Drummond: Scopic Territories'', Australian Centre for Contemporary Art
* 1991, 3 Oct–10 Nov: ''Rozalind Drummond: Scopic Territories'', Australian Centre for Contemporary Art


Revision as of 06:33, 16 December 2021

Rozalind Drummond (born 1956) is a photographic artist and an early exponent of postmodernism in Australia.

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] Co-recipients were Zhong Chen, Lyndal Jefferies, Steven Holland, and Julie Gough.[2] 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.[3] Choosing to show typical examples of their Australian contemporary art practice, Drummond took long contact proofs, titled Voyeur and excepted from monochrome Super 8 footage 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,[4] in which Zara Stanhope points to "Drummond's creative acts of framing and filming," and "unsettling juxtaposition of unfamiliar, geographically distant images" which "disrupt the convention of the invisible journalistic photographer {and] Western modes of narrative and brings about reconsideration of viewing responsibilities. Drummond also included a series of untitled black-and-white photos extracted from an unfinished video taken by Drummond in Vietnam in which scenes in motion were rendered blurred and out of focus. A single framed passport photo facing a group of like images at opposite ends of a long narrow space that for Stanhope signify "the individual made poweriess before structures of the mass or of nation. The passport proves the existence of the refugee and reminds us that those who cross frontiers are, like criminals, the objects ol surveillance."[5]

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,[6][7][8] 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"[9]

Reception

Reviewers recognise an elliptical gaze in Drummond's oeuvre, though not always appreciative of it earlier in her career; indeed, Beatrice Faust slighted her contributions to the National Gallery of Victoria's 1988 Excursions into the Postmodern: Five Melbourne Photographers; New Acquisitions, writing that she had failed to make "a coherent body of work," and that beside John Gollings' studies "powerful melding of architectural, pornographic and optical images," hers were "sketchy and trivial."[10] Canberra Times critic Helen Musa by contrast understood in 1992 that Drummond "uses photography to exploit the distance between the real and the fictional."[11]

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."[12]

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,"[13] 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."[14]

Drummond has applied a feminist visual critique to gender. Reacting to her 1996 exhibition Bunny Rug reprising American pinup photographer Bunny Yeager's self-portraits reviewer Bruce James of the Sydney Morning Herald finds himself "unpersuaded but provoked."[15] In a 1997 issue of ArtAsiaPacific,[16] 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),[17] inviting, as Freda Freiberg remarks, "a surreptitious peep, if not a studied gaze, at the bodies and business of others..." and to "turn our gaze back on the professional peepers, to play their game. We are asked to play the sleuth."[18] However, reviewing more conventional imagery in Perfect for Every Occasion at Heide Museum of Modern Art in 2007, 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."[19] Penny Webb writing on Durmmond's 2007 collaborative show with Stuart Bailey, Carpetweed, at Victoria Park Gallery, Abbotsford, discerns a more effective "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."[20]

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[20]
  • 2007, 27 April - 26 May: Rozalind Drummond : weather everything, Canberra Contemporary Art Space [21]
  • 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[22][1][18]
  • 1995: Bunny Rug, 1st Floor, Fitzroy, Melbourne[15]
  • 1995, 5–23 July: Faktura, Kate Daw, Troy Framstead, Elka Varga and Dana Last, Stop 22, St Kilda[23]
  • 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[24]
  • 1998, 15-31 October: Respond Red or Blue, with Lauren Berkowitz, Pat Brassington, Tara Gilbee, Marion Harper, Deborah Ostrow, Nicola Loder, Royal Melbourne Hospital[25]
  • 1998, 23 May–13 June: Mnemosyne or Do Humans Dream in Negative Strips, Centre for Contemporary Photography, Fitzroy[26]
  • 1997, August: M CP Leica Documentary Photography Exhibition, Centre for Contemporary Photography, Fitzroy.[27]
  • 1992: 13 Nov–20 Dec: Location, Australian Centre for Contemporary Art[13]
  • 1986, 16 Oct–19 Nov: The Naked Image: The Nude in Recent Australian, Photography, Australian Centre for Contemporary Art

Curator

  • 2014: Kaleidoscope, Platform Contemporary Art Space, Melbourne
  • 2014: Wild Places, Motorworks Gallery, Melbourne[28]
  • 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, touring Tablet Gallery, Notting Hill, London and Project Space, RMIT University, Melbourne[29]

Collections

  • National Gallery of Victoria[30]
  • Australian National Gallery [31]
  • National Portrait Gallery, Canberra[32]

References

  1. ^ a b "Arts diary". The Age [Melbourne, Australia]. 1 November 1996. p. 4.
  2. ^ Lloyd, Tim (1 November 1996). "Chen brushes up art scholarship". The Advertiser [Adelaide, South Australia, Australia]. p. 13.
  3. ^ Broinowski, Alison (17 August 1994). "A slow drift towards Asia". The Sydney Morning Herald. p. 24.
  4. ^ Lancashire, Rebecca (4 January 1993). "Australian-Vietnamese art has arrived - by pedicab". The Age. p. 12.
  5. ^ Stanhope, Zara (1993). "Vietnam". Art & Text (45): 76.
  6. ^ "Lake Bolac College received". Stawell Times [Stawell, Australia]. 13 March 2012. p. 13.
  7. ^ "STONE wall construction, a documentary and poetry". Warrnambool Standard [Warrnambool, Australia]. 20 February 2013. p. 16.
  8. ^ "Lake Bolac - Flayed Identities is a new Australian". The Ararat Advertiser (Ararat, Australia). 18 March 2014.
  9. ^ 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.
  10. ^ Faust, Beatrice (12 October 1988). "Photography". The Age. p. 14.
  11. ^ "Australian art for Vietnamese shown at Melbourne centre". Canberra Times. 1992-12-20. Retrieved 2021-12-15.
  12. ^ Koop, Stuart. Art & Text , Jan92, Issue 41, p98-99, 2p, 2 Black and White Photographs. Publisher: Foundation for International Art Criticism
  13. ^ a b "Pictures without the postcard view". The Age [Melbourne, Australia],. 11 December 1992. p. 14.{{cite news}}: CS1 maint: extra punctuation (link)
  14. ^ Stanhope, Zara (May 1994). "Reflex". Art & Text (48): 75.
  15. ^ a b James, Bruce (2 Aug 1996). "Galleries". The Sydney Morning Herald (Sydney, New South Wales, Australia). p. 14.
  16. ^ Natalie King, “Peeping Tom.” ArtAsiaPacific 13, Jan/Feb/Mar, 1997
  17. ^ Masters, H., Chu, D., Tsai, S., Cohn, D. J., & Ko, H. (2016). "In Terms of Art." ArtAsiaPacific, 100, 98–109.
  18. ^ a b Freiberg, Freda (7 Feb 1996). "Taking look others: Freda Freiberg plays the role of peeping Tom and ponders the questions of voyeurism raised by a new exhibition". The Age (Melbourne, Victoria, Australia). p. 21.
  19. ^ Nelson, Robert (24 March 2007). "Something rotten". The Age [Melbourne, Australia]. p. 19.
  20. ^ a b "Visual Arts." Sunday Age [Melbourne, Australia], 18 Feb. 2007, p. 38.
  21. ^ 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
  22. ^ "From the GODS". The Age [Melbourne, Australia]. 5 November 1995. p. 7.
  23. ^ "Opening". The Age (Melbourne, Victoria, Australia). 5 Jul 1995. p. 19.
  24. ^ Modra, Penny (22 July 2009). "The Space Visual Arts". The Age [Melbourne, Australia]. p. 14.
  25. ^ "Visual Arts - listings". The Age (Melbourne, Victoria, Australia). 18 Jul 1998. p. 294.
  26. ^ Schwartz, Larry (23 May 1998). "Memories are made of these". The Age [Melbourne, Australia]. p. 2.
  27. ^ Freiberg, Freda (5 August 1997). "Documentary tradition survives technology". The Age. p. 28.
  28. ^ Backhouse, Megan (31 May 2014). "Plotlines". The Age. Melbourne. p. 14.
  29. ^ Sumpter, Helen (4 May 2000). "Ways of Living". Evening Standard. p. 129.
  30. ^ "Rosalind Drummond in the Collection, NGV". National Gallery of Victoria.{{cite web}}: CS1 maint: url-status (link)
  31. ^ Australian National Gallery (1990-06-30), "ACQUISITIONS (30 June 1990)", Annual report (233 of 1990), The Gallery: 93, ISSN 0314-9919
  32. ^ "Rozalind Drummond, b. 1956". National Portrait Gallery people. Retrieved 2021-12-15.
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