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==Early work==
==Early work==
Evans was presented with a [[Leica Camera|Leica]] camera by her wealthy father and her earliest surviving photography is from 1949-1951 and record marches, demonstrations and youth events including the 1949 May Day March; the World Festival of Youth and Students for Peace and Friendship, [[Budapest]], 1949;<ref>{{Cite book|title=We had such high hopes : student activism and the peace movement 1949-1952 : a photographic memoir|author1=Evans, Joyce|author2=Harmsen, Andrew, (author.)|publisher=Australian Scholarly Publishing|isbn=978-1-925801-85-9|publication-date=2019}}</ref><ref>{{Citation|last=Evans|first=photographer.), Joyc|title=Joyce Evans' photograph collection of demonstrations and youth events, 1949-1951|date=1949|url=https://trove.nla.gov.au/version/204366519|access-date=2019-09-07}}</ref> and the [[University of Melbourne|Melbourne University]] [[Labour Students|Labor Club]] participating in demonstrations in 1951.
Evans was presented with a [[Leica Camera|Leica]] camera by her wealthy father and her earliest surviving photography is from 1949-1951 and record marches, demonstrations and youth events including the 1949 May Day March; the World Festival of Youth and Students for Peace and Friendship, [[Budapest]], 1949;<ref>{{Cite book|title=We had such high hopes : student activism and the peace movement 1949-1952 : a photographic memoir|author1=Evans, Joyce|author2=Harmsen, Andrew, (author.)|publisher=Australian Scholarly Publishing|isbn=978-1-925801-85-9|publication-date=2019}}</ref><ref>{{Citation|last=Evans|first=photographer.), Joyc|title=Joyce Evans' photograph collection of demonstrations and youth events, 1949-1951|date=1949|url=https://trove.nla.gov.au/version/204366519|access-date=2019-09-07}}</ref> and the [[University of Melbourne|Melbourne University]] [[Labour Students|Labor Club]] participating in demonstrations in 1951. She studied painting with [[John Olsen (Australian artist)|John Olsen]] at the Bakery Art School, Sydney in 1967–68,<ref>{{Cite web|url=https://www.thecultureconcept.com/joyce-evans-photographer-of-influence-and-outstanding-merit|title=Joyce Evans: Photographer of Influence and Outstanding Merit|last=McDowall|first=Carolyn|website=The Culture Concept Circle|language=en-US|access-date=2019-09-07}}</ref> but much later 'fell in love' with photography at the [[Basel]] Art Fair,<ref name=":0" /> which led first to a career as a [[Art dealer|gallerist]], then as a practicing photographer.


== Church Street Photographic Centre ==
== Church Street Photographic Centre ==
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== Professional photography ==
== Professional photography ==
After closing the Church Street Gallery, Evans enrolled at [[Photography Studies College]] in 1982,<ref>{{Cite web|url=https://michaels.com.au/blogs/news/an-interview-with-joyce-evans-photographer-educator-valuer-commercial-photographic-gallery|title=An Interview With Joyce Evans - Photographer - Educator - Valuer - Commercial Photographic Gallery|last=digital|first=michaels camera video|website=michaels camera video digital|language=en|access-date=2019-09-03}}</ref> then took up photography professionally, undertaking portraiture, documentary and landscape. The latter includes an extended photo essay on roadside verges where she found wildlife road kills and fatalities. Completed between 1988 and 1996, Evans made the shots with a [[Widelux]] F7 35mm panoramic camera held in a vertical orientation and she often rotated the camera about the axis of its swivelling lens to produce distortion.<ref>{{Cite web|url=https://artblart.com/2013/10/20/review-joyce-evans-edge-of-the-road-at-the-monash-gallery-of-art-melbourne/|title=Review: ‘Joyce Evans: Edge of the road’ at the Monash Gallery of Art, Wheelers Hill, Melbourne|last=Bunyan|first=Dr Marcus|date=2013-10-20|website=Art Blart|language=en|access-date=2019-09-07}}</ref> The photo-book ''Only One Kilometre'' was made by Evans in the small Balcombe Estuary Reserve at [[Mount Martha, Victoria|Mt Martha]] on the [[Mornington Peninsula]], the photographs presented with poetry and literary contributions from Graeme Kinross-Smith, Pat Raison and [[Chris Wallace-Crabbe]].<ref>{{Citation | author1=Evans, Joyce | title=Only one kilometre | publication-date=2003 | publisher=Lothian Books | isbn=978-0-7344-0583-8 }}</ref> She also photographed in the [[Dandenong Ranges]]; along the [[Hume Highway|Hume Hwy]]; in the [[Deserts of Australia|Central Desert]] and outback Australia, most notably [[Oodnadatta]], [[Oodla Wirra, South Australia|Oodlawirra]], [[Menindee, New South Wales|Menindee]], and [[Lake Mungo]]; vineyards and rural villages in the [[Southern France|South of France]]; and the old Jewish cemetery in the centre of [[Prague]].
After closing the Church Street Gallery, Evans enrolled at [[Photography Studies College]] in 1982,<ref name=":0">{{Cite web|url=https://michaels.com.au/blogs/news/an-interview-with-joyce-evans-photographer-educator-valuer-commercial-photographic-gallery|title=An Interview With Joyce Evans - Photographer - Educator - Valuer - Commercial Photographic Gallery|last=digital|first=michaels camera video|website=michaels camera video digital|language=en|access-date=2019-09-03}}</ref> then took up photography professionally, undertaking portraiture, documentary and landscape. The latter includes an extended photo essay on roadside verges where she found wildlife road kills and fatalities. Completed between 1988 and 1996, Evans made the shots with a [[Widelux]] F7 35mm panoramic camera held in a vertical orientation and she often rotated the camera about the axis of its swivelling lens to produce distortion.<ref>{{Cite web|url=https://artblart.com/2013/10/20/review-joyce-evans-edge-of-the-road-at-the-monash-gallery-of-art-melbourne/|title=Review: ‘Joyce Evans: Edge of the road’ at the Monash Gallery of Art, Wheelers Hill, Melbourne|last=Bunyan|first=Dr Marcus|date=2013-10-20|website=Art Blart|language=en|access-date=2019-09-07}}</ref> The photo-book ''Only One Kilometre'' was made by Evans in the small Balcombe Estuary Reserve at [[Mount Martha, Victoria|Mt Martha]] on the [[Mornington Peninsula]], the photographs presented with poetry and literary contributions from Graeme Kinross-Smith, Pat Raison and [[Chris Wallace-Crabbe]].<ref>{{Citation | author1=Evans, Joyce | title=Only one kilometre | publication-date=2003 | publisher=Lothian Books | isbn=978-0-7344-0583-8 }}</ref> She also photographed in the [[Dandenong Ranges]]; along the [[Hume Highway|Hume Hwy]]; in the [[Deserts of Australia|Central Desert]] and outback Australia, most notably [[Oodnadatta]], [[Oodla Wirra, South Australia|Oodlawirra]], [[Menindee, New South Wales|Menindee]], and [[Lake Mungo]]; vineyards and rural villages in the [[Southern France|South of France]]; and the old Jewish cemetery in the centre of [[Prague]].


Evans's portrait photographs were taken mainly in black and white, at close range, and were usually [[Environmental portrait|environmental portraits]] that emphasise the psychological connexion between the sitter and his or her own space. They form a diverse cross-section of Australian society from anonymous sitters to intelligentsia and personalities,<ref>{{Citation | author1=Evans, Joyce | title=Exhibition prints from the Joyce Evans collection, 1951-2012 | publication-date=1951 | url=https://trove.nla.gov.au/work/191397001 | accessdate=7 September 2019 }}</ref> among them Marianne Baillieu; [[Barbara Blackman]]; Baron Avid von Blumenthal; [[Tim Burstall]]; Dur-e Dara; [[Robert Dessaix]]; [[Germaine Greer]]; [[Elena Kats-Chernin]]; Joan Kerr; Ellen Koshland; [[David Malouf]]; [[Dame Elisabeth Murdoch]]; [[Lin Onus]]; Jill Reichstein; and [[Chris Wallace-Crabbe]]<ref>{{Citation | author1=Evans, Joyce | title=Exhibition prints from the Joyce Evans collection, 1991-2011 | publication-date=1991 | url=https://trove.nla.gov.au/work/191323733 | accessdate=7 September 2019 }}</ref>
Evans's portrait photographs were taken mainly in black and white, at close range, and were usually [[Environmental portrait|environmental portraits]] that emphasise the psychological connexion between the sitter and his or her own space. They form a diverse cross-section of Australian society from anonymous sitters to intelligentsia and personalities,<ref>{{Citation | author1=Evans, Joyce | title=Exhibition prints from the Joyce Evans collection, 1951-2012 | publication-date=1951 | url=https://trove.nla.gov.au/work/191397001 | accessdate=7 September 2019 }}</ref> among them Marianne Baillieu; [[Barbara Blackman]]; Baron Avid von Blumenthal; [[Tim Burstall]]; Dur-e Dara; [[Robert Dessaix]]; [[Germaine Greer]]; [[Elena Kats-Chernin]]; Joan Kerr; Ellen Koshland; [[David Malouf]]; [[Dame Elisabeth Murdoch]]; [[Lin Onus]]; Jill Reichstein; and [[Chris Wallace-Crabbe]]<ref>{{Citation | author1=Evans, Joyce | title=Exhibition prints from the Joyce Evans collection, 1991-2011 | publication-date=1991 | url=https://trove.nla.gov.au/work/191323733 | accessdate=7 September 2019 }}</ref>

Revision as of 08:02, 7 September 2019

Joyce Olga Evans OAM, B.A., Dip. Soc. Stud., (21 December 1929, Elsternwick, Australia; died 20 April 2019[1], Melbourne, Australia), Australian photographer, artist, gallery director, curator, art collector, and lecturer.

Early work

Evans was presented with a Leica camera by her wealthy father and her earliest surviving photography is from 1949-1951 and record marches, demonstrations and youth events including the 1949 May Day March; the World Festival of Youth and Students for Peace and Friendship, Budapest, 1949;[2][3] and the Melbourne University Labor Club participating in demonstrations in 1951. She studied painting with John Olsen at the Bakery Art School, Sydney in 1967–68,[4] but much later 'fell in love' with photography at the Basel Art Fair,[5] which led first to a career as a gallerist, then as a practicing photographer.

Church Street Photographic Centre

In 1976 Evans opened Church Street Photographic Centre, a specialist photography gallery and bookshop in Church Street, Richmond, Victoria, Vic. It was the third commercial photographic gallery in 1970s Melbourne to open after Brummels (1972) and The Photographers Gallery (1975)[6][7][8] and showcased both Australian and International 19th and 20th Century photography;[9] exhibiting works by significant practitioners including Berenice Abbott, Eugène Atget, Julia Margaret Cameron, Henri Cartier-Bresson,[10] Max Dupain, Rennie Ellis, Bill Henson, Fiona Hall, Frank Hurley, André Kertész, David Moore, Arnold Newman, Alfred Stieglitz, Paul Strand and Brett Weston.[11]

The gallery also housed a bookshop stocked a range of local and international books on photography and the latest specialist photographic periodicals and supplied Melbourne's schools, colleges and tertiary institutions. In 1980 her inventory of books and magazines became a foundation for[citation needed] 'The Printed Image' bookshop, which also specialised exclusively in photography.

The gallery space was also used for photographic workshops, tutored by photographers and writers of the era including Pete Turner, editor of Creative Camera, UK; Jean-Marc Le Pechoux, publisher/editor of Light Vision; John Cato; and Ian Cosier.[11]

Church Street also housed a photographic darkroom and framing facilities (which were used by artists and photographers, notably by German artist Herbert Zangs during his Australian visit in 1981).[11]

Evans closed the Church Street premises in 1982, and relocated the gallery's collection and inventory to a private studio, from which she continued to operate. In 1978 she was appointed Approved Commonwealth Valuer for Australian and International photography from the 19th Century to the present day for the Australian Government's Cultural Gifts Program.[citation needed] Evans continued acting as a specialist adviser on photography for a number of public institutions and prominent private collectors in Australia.

Professional photography

After closing the Church Street Gallery, Evans enrolled at Photography Studies College in 1982,[5] then took up photography professionally, undertaking portraiture, documentary and landscape. The latter includes an extended photo essay on roadside verges where she found wildlife road kills and fatalities. Completed between 1988 and 1996, Evans made the shots with a Widelux F7 35mm panoramic camera held in a vertical orientation and she often rotated the camera about the axis of its swivelling lens to produce distortion.[12] The photo-book Only One Kilometre was made by Evans in the small Balcombe Estuary Reserve at Mt Martha on the Mornington Peninsula, the photographs presented with poetry and literary contributions from Graeme Kinross-Smith, Pat Raison and Chris Wallace-Crabbe.[13] She also photographed in the Dandenong Ranges; along the Hume Hwy; in the Central Desert and outback Australia, most notably Oodnadatta, Oodlawirra, Menindee, and Lake Mungo; vineyards and rural villages in the South of France; and the old Jewish cemetery in the centre of Prague.

Evans's portrait photographs were taken mainly in black and white, at close range, and were usually environmental portraits that emphasise the psychological connexion between the sitter and his or her own space. They form a diverse cross-section of Australian society from anonymous sitters to intelligentsia and personalities,[14] among them Marianne Baillieu; Barbara Blackman; Baron Avid von Blumenthal; Tim Burstall; Dur-e Dara; Robert Dessaix; Germaine Greer; Elena Kats-Chernin; Joan Kerr; Ellen Koshland; David Malouf; Dame Elisabeth Murdoch; Lin Onus; Jill Reichstein; and Chris Wallace-Crabbe[15]

Evans worked as an honorary photographer for the Department of Aboriginal Affairs in Central Australia and for over ten years documented Australian country towns and events for the National Library of Australia.

Education and lecturing

Evans was Early Childhood Education Advisor at Shire of Lillydale from 1970s to 1980s.[16] She later played an educational role in Australian photography. She taught history of photography at Melbourne's RMIT University; was appointed inaugural assistant director of Waverley City Gallery (now Monash Gallery of Art), 1990–91, the first municipal public collection in Melbourne to specialise in photography; inaugurated a course on the History of Photography taught by Daniel Palmer and was appointed Research Fellow at the University of Melbourne, 1997–2010.[17] Evans continued conducting lectures and photographic workshops, predominantly in Melbourne and regional Victoria.

Exhibitions

Solo

Public galleries

  • Musée de la Photographie, Mougins, France
  • Monash Gallery of Art
  • Horsham Regional Art Gallery
  • Queen Victoria Women’s Centre, Melbourne
  • Albury Regional Art Gallery
  • National Trust Gallery, Melbourne.[17]

Commercial exhibitions

  • 1986: Realities Gallery, Toorak
  • Wiregrass Gallery, Eltham, Vic
  • Fitzroy Gallery, Melbourne, Vic
  • Gallery 482, Fortitude Valley, Brisbane
  • Oak Hill Gallery, Mornington, Vic
  • Gold Street Studios, Collingwood, Vic
  • 2007: Dickerson Gallery, 4 July - 5 August
  • Obscura Gallery, St Kilda East, Vic.[17]

Group

Awards

Collections

Tapestry

In 1995, one of Evans' iconic images, Selby Daffodils (Cotswald Farm), was made into a tapestry by the Australian Tapestry Workshop, Melbourne.

Publications

Books

  • Evans, Joyce (2003), Only one kilometre, Lothian Books, ISBN 978-0-7344-0583-8
  • Kinross-Smith, Graeme, 1936-; Evans, Joyce; Deakin University (1987), Window to Australia : photographs, Deakin University, ISBN 978-0-7300-0498-1{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  • Evans, Joyce; Harmsen, Andrew, (author.) (2019), We had such high hopes : student activism and the peace movement 1949-1952 : a photographic memoir, Australian Scholarly Publishing, ISBN 978-1-925801-85-9 {{citation}}: |author2= has generic name (help)CS1 maint: multiple names: authors list (link)

Published photographs

  • Studio International (199: 1015, 1986–87)
  • Silvershotz (2010)
  • The Interior (1:1, May 1991)
  • Focus on New Zealand (William Collins, 1986)
  • Colour and Transparency (Melbourne: National Gallery of Victoria, 1986).

Bibliography

  • Evans, Joyce; Dickerson Gallery (Melbourne, Vic.) (2007), Joyce Evans : my Australia, Dickerson Gallery, retrieved 7 September 2019
  • Joyce Evans: Imaging the Spiritual 1980–2010, exhib. cat., Melbourne: Obscura Gallery, 2010[20]
  • McCulloch's Encyclopaedia of Australian Art (Alan and Susan McCulloch, eds, 2006);[21]
  • Dictionary of Australian Women Artists (Max Germaine, 1991)
  • Who's Who of Australian Women (1982, 2007)
  • The World's Who's Who of Women (1986).

References

  1. ^ "Vale Joyce Evans Photographer". Retrieved 12 May 2019.
  2. ^ Evans, Joyce; Harmsen, Andrew, (author.) (2019). We had such high hopes : student activism and the peace movement 1949-1952 : a photographic memoir. Australian Scholarly Publishing. ISBN 978-1-925801-85-9. {{cite book}}: |author2= has generic name (help)CS1 maint: multiple names: authors list (link)
  3. ^ Evans, photographer.), Joyc (1949), Joyce Evans' photograph collection of demonstrations and youth events, 1949-1951, retrieved 7 September 2019{{citation}}: CS1 maint: multiple names: authors list (link)
  4. ^ McDowall, Carolyn. "Joyce Evans: Photographer of Influence and Outstanding Merit". The Culture Concept Circle. Retrieved 7 September 2019.
  5. ^ a b digital, michaels camera video. "An Interview With Joyce Evans - Photographer - Educator - Valuer - Commercial Photographic Gallery". michaels camera video digital. Retrieved 3 September 2019.
  6. ^ Bradley, Louise (30 January 2018). "Photographer brought excellence to gallery". The Sydney Morning Herald. Retrieved 7 September 2019.
  7. ^ Grace, Helen (11 August 2016). "Obituraries—John Williams: Self-taught photographer captured Sydney's 'rough' side". Sydney Morning Herald.{{cite web}}: CS1 maint: url-status (link)
  8. ^ Bradley, Derrick and Leiss, Louise, Barbara, Peter (9 February 2018). "RIP William Heimerman 1950-2017". ProCounter Australia.{{cite web}}: CS1 maint: multiple names: authors list (link) CS1 maint: url-status (link)
  9. ^ McCulloch's Encyclopedia of Australian Art, 2006 ed, 409
  10. ^ "An Early Christmas Present". Retrieved 7 September 2019.
  11. ^ a b c Church Street Photographic Centre Archives, 1976–1982
  12. ^ Bunyan, Dr Marcus (20 October 2013). "Review: 'Joyce Evans: Edge of the road' at the Monash Gallery of Art, Wheelers Hill, Melbourne". Art Blart. Retrieved 7 September 2019.
  13. ^ Evans, Joyce (2003), Only one kilometre, Lothian Books, ISBN 978-0-7344-0583-8
  14. ^ Evans, Joyce (1951), Exhibition prints from the Joyce Evans collection, 1951-2012, retrieved 7 September 2019
  15. ^ Evans, Joyce (1991), Exhibition prints from the Joyce Evans collection, 1991-2011, retrieved 7 September 2019
  16. ^ Book - Australian Early Childhood Resource Booklets, softcover book, owned by Joyce Evans, 1979, retrieved 7 September 2019
  17. ^ a b c d e Joyce Evans: Imaging the Spiritual 1980–2010, exhib. cat. Melbourne: Obscura Gallery, 2010
  18. ^ McArdle, James; Horsham Regional Art Gallery (2001), Phiction : lies, illusion and the phantasm in photography : Stories, truth or fiction?, Horsham Regional Art Gallery, ISBN 978-0-9579962-0-5
  19. ^ "Joyce Olga Evans". honours.pmc.gov.au. Retrieved 10 June 2019. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  20. ^ Barilo von Reisberg,, Eugene. "PUBLICATIONS & CREATIVE WORKS" (PDF). BvR Arts Management.{{cite web}}: CS1 maint: extra punctuation (link) CS1 maint: url-status (link)
  21. ^ McCulloch's Encyclopedia, 2006, op. cit, 409

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Joyce_Evans_(photographer)&oldid=914400444"