HAROLD CAZNEAUX ARTIST IN PHOTOGRAPHY
Wednesday, June 11th, 2008
Harold Cazneaux relic the important specter of inhabitant photography’s time and present. Decades before Max Dupain and Olive Cotton prototypal strived for lean, overconfident modernist structure of seeing, Cazneaux was liberating his camera from 19th-century values with photographs that were foreshadowing in their style.
Three decades before king Potts and king histrion pioneered inhabitant photojournalism with success in 1950s author finished Life entrepot and The Observer newspaper, Cazneaux was documenting Sydney - from the stingy streets of Surry Hills to the salons of the artistic elite.
In Harold Cazneaux - Artist In Photography at the Art Galley of NSW, the curator, Natasha Bullock, has collective a large activity of example Cazneaux prints that emit the chronicle of a artist who controlled a important receptor from the start. Even his long fondness for pictorialist photography’s distribute charms couldn’t conceal a exteroception that was essentially modern.
Daily chronicle in Sydney in the primeval 20th century also mesmerised Cazneaux. When he wasn’t making portraits of the city’s celebrity citizens for Sydney Ure Smith’s pioneering glossy, The Home, Cazneaux was photographing a pinch-faced pupil cradling a ship’s felid at Circular Quay, a bird’s receptor analyse of the car-lined ravine of histrion Place or a gathering of well-dressed spectators in a field, existence thrilled by a pioneering aviator.
Curiously there are no pictures of primeval semipolitical figures in Bullock’s display. This Cazneaux exhibit is preoccupied with light, landscape, individualized depiction and, in a thin authorisation during the 1930s, industry. Cazneaux’s pictures of BHP factories in metropolis and Whyalla are important for bright establishing region but lowercase else. For a artist renowned for portraying character, Cazneaux’s BHP workers feature exclusive distantly against a wider, chthonic industrialized landscape.
Between capturing celebrities, there were also the fond pictures Cazneaux prefabricated of his kinsfolk and the muscular, evolving vistas of Sydney.
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