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Rozalind Drummond

January 01, 1970

Rozalind Drummond (born 1956) is a photographic artist and an early exponent of postmodernism in Australia.[1]

Education edit

Drummond trained initially at Prahran College 1982-84, an institution which Australian Centre for Photography director Deborah Ely recognised in 1999 as producing "some of the country's most acclaimed practitioners" including Drummond amongst them, beside "Bill Henson, Carol Jerrems, Steve Lojewski, Janina Green and Christopher Koller".[2] From 1985–86 she undertook a Post Graduate Diploma in Fine Art at the School of Art in the Victorian College of the Arts where Bill Henson, as noted by Max Dupain,[3] was her supervisor.

In 1997 she was awarded a Samstag Scholarship of A$30,000, plus airfares and fees, for a year of overseas study during which she took an MA in Fine Art at Goldsmiths College, London.[4] Co-recipients were Zhong Chen, Lyndal Jefferies, Steven Holland, and Julie Gough.[5] 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.

From 1986-88 Drummond was Assistant Director at George Paton Gallery, University of Melbourne,[6] and she has held academic positions as Lecturer in Photography, Victorian College of the Arts, School of Art, Melbourne 1987-89, Lecturer in Photography, School of Art and Design, Monash University, Caulfield Campus 1990-91 and Lecturer in Photography, School of Arts and Education, Deakin University, Burwood Campus until 2014.

Practice edit

Drummond first showed solo in 1985 at George Paton Gallery (where she was to become assistant director the following year).[6]

Less than ten years into 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,[7] the nation's first contemporary art contact with Vietnam.[8] 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,[9] 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 she made 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."[10]

Drummond's Peeping Tom (named from Michael Powell’s film) was shown at Monash University Gallery, November 1995 to February 1996. Beside found photographs it included three video screens; one showing Powell's 1960 movie; another voyeuristically tracking a woman as she weaves through museum displays; and a third with a live feed of the exhibition space in which the viewer can see themselves recorded. The sum of these parts places the audience in the role of victim and aggressor simultaneously. It is a frequently referenced work,[11][12] early on by artist and writer Perry Fowler;

"Drummond has created an ‘artificial’, cryptically narrated, masculinist subjectivity. Like a psychoanalyst ‘reading’ a patient or a detective investigating a mystery, the viewer deciphers the story through ‘clues’ provided at random.The story reveals an arguably pathological perception of the feminine. Drummond’s women are shallow, monochrome beauties, naively modeling for long-forgotten amateurs. Manipulated and enlarged, they become images of a reconstituted femininity; a postmodern perception of a post-war sexuality."[13]

Reception edit

Reviewers recognised an allusive[14] and elliptical gaze in Drummond's oeuvre from early on in her career, with Max Dupain in 1986 describing as "intensely introverted" her imagery in The Melbourne Stage: Photographs by four post-graduates at the Australian Centre for Photography, Sydney;

"Rozalind Drummond shows 16 extremely beautiful colour pictures. As a group they are intensely poetic and charged with a very personal sense of mystery and sometimes unrelenting despair. Subdued yet passionate, delicate and sombre, thought-provoking and slightly awesome, they could all be shifting shadows of the same person. I return to these pictures again and again. In ordinary terminology they have depth. It is heartening to know that photography can thus rise so superior to actuality."[3]

Drummond's embrace of postmodernist traits prompted mixed reviews. 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."[15] Canberra Times critic Helen Musa by contrast understood in 1992 that Drummond "uses photography to exploit the distance between the real and the fictional."[16] Stuart Koop ambiguously qualified such a response in comparing separate 1991 exhibitions by Drummond (Scopic Territories at Australian Centre for Contemporary 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."[17]

Greg Neville in The Age however dismissed Scopic Territories as "a cold and overstated exercise. In that at least it is a good example of the current, Post-Modern Academy style," its catalogue as "impenetrable" and the accompanying video as "interminable,"[18] and dismissed a reshowing of the images in Reflex at the Centre for Contemporary Photography, curated by Koop, as "blurry night shots of the city, such as one expects (but does not encourage) in undergraduate students."[19]

Rebecca Lancashire more positive 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,"[20] and Zara Stanhope addressing Reflex as an exhibition of ironically "bad" photography, in which Drummond's work accompanied 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."[21]

Drummond has applied a feminist visual critique to gender.[22] 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."[23] 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),[24] inviting, as Freda Freiberg remarked, "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."[25] 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."[26]

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."[27]

Selected exhibitions edit

Drummond's exhibitions include:

Solo edit

  • 2018: Process blue, nature trips, corduroy, pine shelving, Bundoora Homestead Art Centre[28][29]
  • 2011: Black Mountain, (with Stuart Bailey) Margaret Lawrence Gallery, VCA[30]
  • 2010, 16 Jun – 30 Jun: While We Were Shopping, West Space gallery[31]
  • 2009: How Fine the Air, Life Lab Building, pop-up Space, Docklands, Melbourne[32]
  • 2008: Weather Everything, Canberra Contemporary Art Space, Canberra[33]
  • 2008: Carpetweed (with Stuart Bailey) Victoria Park Gallery, Melbourne[27]
  • 2007, 27 April - 26 May: Rozalind Drummond : weather everything, Canberra Contemporary Art Space [34]
  • 1998: Spiderbox, (with Lauren Berkowitz) Canberra Contemporary Art Space[35]
  • 1999: Hide and Seek screening Birmingham Cinema, United Kingdom[36]
  • 1999: Hide and Seek, exhibition Ikon Gallery Off-site Project[37]
  • 1995-6: Peeping Tom, Project Room, Monash University Gallery, Melbourne[38][4][25][39]
  • 1995: Bunny Rug, 1st Floor, Fitzroy, Melbourne[23]
  • 1995, 5–23 July: Faktura, Kate Daw, Troy Framstead, Elka Varga and Dana Last, Stop 22, St Kilda[40]
  • 1993: Pool, Karyn Lovegrove Gallery, Prahran[41]
  • 1991, 3 Oct–10 Nov: Rozalind Drummond: Scopic Territories, curated by Juliana Engberg, Australian Centre for Contemporary Art[42][18]
  • 1991: Shadow Zone: Rosalind Drummond, Contemporary Art Centre of South Australia[43][22]
  • 1988: Faite urbaine, Hobart[44]
  • 1985, May: George Paton Gallery, University of Melbourne[14]

Group edit

  • 2020, 12–19 December: Hell n' Back, fundraiser Caves gallery, Melbourne[45]
  • 2020: Small Mercies, Bushfire Art Fundraiser, Melbourne[46]
  • 2020, 15 February–15 March: Art Aid, Gippsland Art Gallery, Victoria[47]
  • 2019: The Look, National Portrait Gallery Canberra[48]
  • 2018: Express Yourself, National Portrait Gallery Canberra[49]
  • 2016, 15 July to 16 October: Tough and Tender, Robert Mapplethorpe, Larry Clark, Nan Goldin, Collier Schorr, Chris Burden, Rozalind Drummond and Warwick Baker, National Portrait Gallery, Australian Capital Territory[50]
  • 2012, Face to face : Deakin University creative artists respond to the Deakin University art collection, Deakin University Art Gallery[51]
  • 2009, from 22 July: The Black Show, C3 GALLERY at Abbotsford Convent[52]
  • 1998, 15–31 October: Respond Red or Blue, with Lauren Berkowitz, Pat Brassington, Tara Gilbee, Marion Harper, Deborah Ostrow, Nicola Loder, Royal Melbourne Hospital[53]
  • 1998, 23 May–13 June: Mnemosyne or Do Humans Dream in Negative Strips, Centre for Contemporary Photography, Fitzroy[54][55]
  • 1997, Ikon in the City Program, Ozells Street, Primary School, Brindleyplace Birmingham[56]
  • 1997, August: M CP Leica Documentary Photography Exhibition, Centre for Contemporary Photography, Fitzroy.[57]
  • 1993, December: Reflex, Rozalind Drummond, Susan Fereday, Graeme Hare, Les Walking and David Stephenson, curated by Stuart Koop, Centre for Contemporary Photography, Fitzroy[19][21]
  • 1992: 13 Nov–20 Dec: Location, Australian Centre for Contemporary Art[20][58]
  • 1991: From the empire´s end – nine australian photographers : On the shadow line – ten Spanish photographers, with Sue Ford; Peter Elliston; Tracey Moffatt; Linda Dement; Bill Henson; Adrian Hall; Judith Ahern; Hellen Grace; Javier Vallhonrat; Chema Madoz; Toni Catany; Néstor Torrens; Gonzalo Careaga; Koldo Chamorro; Antonio Bueno; Tomy Ceballos; Ramón David; Paco Salinas, Círculo de Bellas Artes, Madrid[59]
  • 1986, 16 Oct–19 Nov: The Naked Image: The Nude in Recent Australian, Photography, Australian Centre for Contemporary Art[60]
  • 1987, 25 August–13 September: Survey of Contemporary Australian Photography, with Polly Borland, Graeme Hare, Phillip Le Measurier, Fiona McDonald, Kevin Wilson, curated by Anna Weis and Luba Bilu, Linden Gallery, St Kilda, Victoria[61]
  • 1986, February/March: The Melbourne Stage: Photographs by four post-graduates, with Cassandra Lehman, Scham Ali-Elias and Fiona Macdonald, curated by Martyn Jolly, Australian Centre for Photography, Sydney[3]
  • 1985: Material Pleasures, touring exhibition of fashion from the Fashion Design Council with photographs by Jacqui Henshaw, Ashley Evans, Philip Masurier, Rozalind Drummond and Kate Gollings. McClelland Gallery, Langwarrin to 17 August; Westpac Gallery, Victorian Arts Centre, 19 August to 15 September; Benalla Art Gallery, 20 September to 3 October; Shepparton Arts Centre 8 October to 22 October; La Trobe Valley Arts Centre, Morwell, 26 October to 14 November; Sale Regional Arts Centre, 15 November to 7 December.[62]

Curator edit

  • 2014: Kaleidoscope, Platform Contemporary Art Space, Melbourne
  • 2014: Wild Places, Motorworks Gallery, Melbourne[63]
  • 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[64][65]

Collections edit

  • National Gallery of Victoria[66]
  • Australian National Gallery [67]
  • National Portrait Gallery, Canberra[68][69]

References edit

  1. ^ Williams, Donald (1996). Art now: contemporary art post-1970. Book two. New York: McGraw-Hill. ISBN 978-0-07-470277-2. OCLC 1231689147.
  2. ^ Ely, Deborah (1999). "The Australian centre for photography". History of Photography. 23 (2): 118–122. doi:10.1080/03087298.1999.10443810. ISSN 0308-7298. OCLC 5722249596.
  3. ^ a b c Dupain, Max (17 February 1986). "Thoughtful postgraduate photographs". The Sydney Morning Herald (Sydney, New South Wales, Australia). p. 17.
  4. ^ a b "Arts diary". The Age [Melbourne, Australia]. 1 November 1996. p. 4.
  5. ^ Lloyd, Tim (1 November 1996). "Chen brushes up art scholarship". The Advertiser [Adelaide, South Australia, Australia]. p. 13.
  6. ^ a b Vivian, Helen; George Paton Gallery; Ewing Gallery (2008). When you think about art--: the Ewing and George Paton Galleries, 1971-2008. Melbourne, Vic.: Macmillan Art Pub. ISBN 978-1-921394-02-7. OCLC 271749145.
  7. ^ Broinowski, Alison (17 August 1994). "A slow drift towards Asia". The Sydney Morning Herald. p. 24.
  8. ^ McCulloch, Alan; McCulloch, Susan; McCulloch Childs, Emily (2006). The new McCulloch's encyclopedia of Australian art. p. 56. ISBN 978-0-522-85317-9. OCLC 80568976.
  9. ^ Lancashire, Rebecca (4 January 1993). "Australian-Vietnamese art has arrived - by pedicab". The Age. p. 12.
  10. ^ Stanhope, Zara (1993). "Vietnam". Art & Text (45): 76.
  11. ^ a b Natalie King, “Peeping Tom.” ArtAsiaPacific 13, Jan/Feb/Mar, 1997
  12. ^ American Bibliographical Center (1998). Artbibliographies modern [Druckausg.] 29,2.1998. 29,2.1998. OXFORD: CLIO PR. OCLC 1073861597.
  13. ^ "Rozalind Drummond's peeping tom". www.artdes.monash.edu.au. Retrieved 18 December 2021.
  14. ^ a b Catalano, Gary (22 May 1985). "Art: Classical antiquity is strong in Antipodes". The Age. p. 14.
  15. ^ Faust, Beatrice (12 October 1988). "Photography". The Age. p. 14.
  16. ^ "Australian art for Vietnamese shown at Melbourne centre". Canberra Times. 20 December 1992. Retrieved 15 December 2021.
  17. ^ Koop, Stuart. Art & Text , Jan92, Issue 41, p98-99, 2p, 2 Black and White Photographs. Publisher: Foundation for International Art Criticism
  18. ^ a b Neville, Greg (24 October 1991). "A patchy pot-pourri of artists' camera work". The Age. p. 14.
  19. ^ a b Neville, Greg (15 December 1993). "Conditioned reflex, but students lively". The Age. p. 17.
  20. ^ a b "Pictures without the postcard view". The Age [Melbourne, Australia]. 11 December 1992. p. 14.
  21. ^ a b Stanhope, Zara (May 1994). "Reflex". Art & Text (48): 75.
  22. ^ a b Marsh, Anne (2021). Doing Feminism Women's Art and Feminist Criticism in Australia. Melbourne: Melbourne University Publishing. pp. 134–6. ISBN 978-0-522-87759-5. OCLC 1285168275.
  23. ^ a b James, Bruce (2 August 1996). "Galleries". The Sydney Morning Herald (Sydney, New South Wales, Australia). p. 14.
  24. ^ Masters, H., Chu, D., Tsai, S., Cohn, D. J., & Ko, H. (2016). "In Terms of Art." ArtAsiaPacific, 100, 98–109.
  25. ^ a b Freiberg, Freda (7 February 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.
  26. ^ Nelson, Robert (24 March 2007). "Something rotten". The Age [Melbourne, Australia]. p. 19.
  27. ^ a b "Visual Arts." Sunday Age [Melbourne, Australia], 18 Feb. 2007, p. 38.
  28. ^ "Rozalind Drummond | Process Blue, Nature Trips, Corduroy, Pine Shelving - Bundoora Homestead". www.bundoorahomestead.com. Retrieved 16 December 2021.
  29. ^ . www.darebinarts.com.au. Archived from the original on 8 April 2018.
  30. ^ Bailey, Stuart; Drummond, Rozalind; University of Melbourne; Faculty of the Victorian College of the Arts and Music; Margaret Lawrence Gallery (2011). Black mountain. OCLC 858569616.
  31. ^ "West Space". westspace.org.au. Retrieved 19 December 2021.
  32. ^ Drummond, Rozalind (2009). How fine the air. Melbourne, Vic.: Digital Harbour. OCLC 494620520.
  33. ^ Drummond, Rozalind; Stanhope, Zara; Canberra Contemporary Art Space (2007). Rozalind Drummond: weather everything, CCAS 27 April - 26 May 2007. Braddon, A.C.T.: Canberra Contemporary Art Space. OCLC 301847378.
  34. ^ 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
  35. ^ Berkowitz, Lauren; Drummond, Rozalind; Canberra Contemporary Art Space (1998). Spiderbox. Braddon, A.C.T.: Canberra Contemporary Art Space. ISBN 978-1-875526-46-8. OCLC 39840057.
  36. ^ Doherty, Claire (1998). "Parachuting postponed: Australian artists in Birmingham". Artlink. 18 (4): 48–50. ISSN 0727-1239. OCLC 7128713304.
  37. ^ Drummond, Rozalind; Ikon Gallery (1997). Hide and seek. Ikon Gallery. ISBN 978-0-907594-54-3. OCLC 1193510685.
  38. ^ "From the GODS". The Age [Melbourne, Australia]. 5 November 1995. p. 7.
  39. ^ Drummond, Rozalind; King, Natalie; Monash University; Department of Visual Arts; Exhibition Gallery (1995). Project Room: Rozalind Drummond, Peeping Tom : [exhibition catalogue. Clayton, Vic.: Monash University Gallery. ISBN 978-0-7326-0632-9. OCLC 38392839.
  40. ^ "Opening". The Age (Melbourne, Victoria, Australia). 5 July 1995. p. 19.
  41. ^ Noonan, David; Drummond, Rozalind; Karyn Lovegrove Gallery (1993). Pool. Prahran, Vic.: Karyn Lovegrove Gallery. OCLC 836760405.
  42. ^ Drummond, Rozalind; Australian Centre for Contemporary Art (1991). Scopic territories. Melbourne: Australian Centre for Contemporary Art. ISBN 978-0-947220-10-5. OCLC 27629079.
  43. ^ "Shadow Zone: Rosalind Drummond :: event at :: at Design and Art Australia Online". www.daao.org.au. Retrieved 16 December 2021.
  44. ^ Drummond, Rozalind; Chameleon Inc (1988). "Faite urbaine": an exhibition. Hobart: Chameleon. OCLC 220822083.
  45. ^ "CAVES". cavesgallery.com. Retrieved 19 December 2021.
  46. ^ "'Small Mercies' - an exhibition for bushfire victims". Helga Salwe. Retrieved 19 December 2021.
  47. ^ "Art Aid Gippsland". Gippsland Art Gallery. Retrieved 19 December 2021.
  48. ^ "The Look". National Portrait Gallery exhibition. Retrieved 19 December 2021.
  49. ^ "Express Yourself". National Portrait Gallery exhibition. Retrieved 19 December 2021.
  50. ^ "Tough & Tender". National Portrait Gallery exhibition. Retrieved 18 December 2021.
  51. ^ Willis, Sam; Deakin University Art Gallery (2012). Face to face: Deakin University creative artists respond to the Deakin University art collection. Burwood, Vic.: Deakin University. ISBN 978-0-9872954-0-8. OCLC 809156379.
  52. ^ Modra, Penny (22 July 2009). "The Space Visual Arts". The Age [Melbourne, Australia]. p. 14.
  53. ^ "Visual Arts - listings". The Age (Melbourne, Victoria, Australia). 18 July 1998. p. 294.
  54. ^ Schwartz, Larry (23 May 1998). "Memories are made of these". The Age [Melbourne, Australia]. p. 2.
  55. ^ McQuire, S., Deftereos, G. (1998). Mnemosyne, Or Do Humans Dream in Negative Strips?. Australia: Centre for Contemporary Photography.
  56. ^ Preece, R. J. (1997). "Ikon in the City Program". World Sculpture News. 3 (4): 55.
  57. ^ Freiberg, Freda (5 August 1997). "Documentary tradition survives technology". The Age. p. 28.
  58. ^ Asialink; Drummond, Rozalind (1993). Asialink -- linking Australia and Asia for the 21st century. Carlton, Vic.: Asialink Centre, University of Melbourne. OCLC 221590592.
  59. ^ Ford, Sue; Elliston, Peter; Moffatt, Tracey; Dement, Linda; Henson, Bill; Drummond, Rozalind; Hall, Adrian; Ahern, Judith; Grace, Hellen (1991). Desde el fin del imperio nueve fotografos australianos=From the empire's end nine australian photographers; En la linea de sombra diez fotografos espanoles=On the shadow line ten spanish photographers (in Spanish). Madrid: Circulo de Bellas Artes. OCLC 1186958312.
  60. ^ Rrap, Julie; Australian Centre for Contemporary Art (1986). The naked image: the nude in recent Australian photography. OCLC 221447497.
  61. ^ "Advertising". The Age (Melbourne, Victoria, Australia). 29 August 1987. p. 22.
  62. ^ O'Sullivan, Kay (14 August 1985). "New Breed: A different perspective on the invisible art form". The Age (Melbourne, Victoria, Australia). p. 22.
  63. ^ Backhouse, Megan (31 May 2014). "Plotlines". The Age. Melbourne. p. 14.
  64. ^ Sumpter, Helen (4 May 2000). "Ways of Living". Evening Standard. p. 129.
  65. ^ Ellis, Pate; McCarthy, Caroline; Drummond, Rozalind; RMIT University; Project Space (1999). Ways of living. Carlton, Victoria: RMIT University, Project Space. OCLC 222766985.
  66. ^ "Rosalind Drummond in the Collection, NGV". National Gallery of Victoria.
  67. ^ Australian National Gallery (30 June 1990), "ACQUISITIONS (30 June 1990)", Annual Report (233 of 1990), The Gallery: 93, ISSN 0314-9919
  68. ^ "Rozalind Drummond, b. 1956". National Portrait Gallery people. Retrieved 15 December 2021.
  69. ^ "Subtle emotion". Portrait magazine. Retrieved 18 December 2021.

January 01, 1970
rozalind, drummond, born, 1956, photographic, artist, early, exponent, postmodernism, australia, contents, education, practice, reception, selected, exhibitions, solo, group, curator, collections, referenceseducation, editdrummond, trained, initially, prahran,. Rozalind Drummond born 1956 is a photographic artist and an early exponent of postmodernism in Australia 1 Contents 1 Education 2 Practice 3 Reception 4 Selected exhibitions 4 1 Solo 4 2 Group 5 Curator 6 Collections 7 ReferencesEducation editDrummond trained initially at Prahran College 1982 84 an institution which Australian Centre for Photography director Deborah Ely recognised in 1999 as producing some of the country s most acclaimed practitioners including Drummond amongst them beside Bill Henson Carol Jerrems Steve Lojewski Janina Green and Christopher Koller 2 From 1985 86 she undertook a Post Graduate Diploma in Fine Art at the School of Art in the Victorian College of the Arts where Bill Henson as noted by Max Dupain 3 was her supervisor In 1997 she was awarded a Samstag Scholarship of A 30 000 plus airfares and fees for a year of overseas study during which she took an MA in Fine Art at Goldsmiths College London 4 Co recipients were Zhong Chen Lyndal Jefferies Steven Holland and Julie Gough 5 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 From 1986 88 Drummond was Assistant Director at George Paton Gallery University of Melbourne 6 and she has held academic positions as Lecturer in Photography Victorian College of the Arts School of Art Melbourne 1987 89 Lecturer in Photography School of Art and Design Monash University Caulfield Campus 1990 91 and Lecturer in Photography School of Arts and Education Deakin University Burwood Campus until 2014 Practice editDrummond first showed solo in 1985 at George Paton Gallery where she was to become assistant director the following year 6 Less than ten years into 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 7 the nation s first contemporary art contact with Vietnam 8 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 9 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 she made 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 10 Drummond s Peeping Tom named from Michael Powell s film was shown at Monash University Gallery November 1995 to February 1996 Beside found photographs it included three video screens one showing Powell s 1960 movie another voyeuristically tracking a woman as she weaves through museum displays and a third with a live feed of the exhibition space in which the viewer can see themselves recorded The sum of these parts places the audience in the role of victim and aggressor simultaneously It is a frequently referenced work 11 12 early on by artist and writer Perry Fowler Drummond has created an artificial cryptically narrated masculinist subjectivity Like a psychoanalyst reading a patient or a detective investigating a mystery the viewer deciphers the story through clues provided at random The story reveals an arguably pathological perception of the feminine Drummond s women are shallow monochrome beauties naively modeling for long forgotten amateurs Manipulated and enlarged they become images of a reconstituted femininity a postmodern perception of a post war sexuality 13 Reception editReviewers recognised an allusive 14 and elliptical gaze in Drummond s oeuvre from early on in her career with Max Dupain in 1986 describing as intensely introverted her imagery in The Melbourne Stage Photographs by four post graduates at the Australian Centre for Photography Sydney Rozalind Drummond shows 16 extremely beautiful colour pictures As a group they are intensely poetic and charged with a very personal sense of mystery and sometimes unrelenting despair Subdued yet passionate delicate and sombre thought provoking and slightly awesome they could all be shifting shadows of the same person I return to these pictures again and again In ordinary terminology they have depth It is heartening to know that photography can thus rise so superior to actuality 3 Drummond s embrace of postmodernist traits prompted mixed reviews 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 15 Canberra Times critic Helen Musa by contrast understood in 1992 that Drummond uses photography to exploit the distance between the real and the fictional 16 Stuart Koop ambiguously qualified such a response in comparing separate 1991 exhibitions by Drummond Scopic Territories at Australian Centre for Contemporary 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 17 Greg Neville in The Age however dismissed Scopic Territories as a cold and overstated exercise In that at least it is a good example of the current Post Modern Academy style its catalogue as impenetrable and the accompanying video as interminable 18 and dismissed a reshowing of the images in Reflex at the Centre for Contemporary Photography curated by Koop as blurry night shots of the city such as one expects but does not encourage in undergraduate students 19 Rebecca Lancashire more positive 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 20 and Zara Stanhope addressing Reflex as an exhibition of ironically bad photography in which Drummond s work accompanied 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 21 Drummond has applied a feminist visual critique to gender 22 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 23 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 24 inviting as Freda Freiberg remarked 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 25 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 26 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 27 Selected exhibitions editDrummond s exhibitions include Solo edit 2018 Process blue nature trips corduroy pine shelving Bundoora Homestead Art Centre 28 29 2011 Black Mountain with Stuart Bailey Margaret Lawrence Gallery VCA 30 2010 16 Jun 30 Jun While We Were Shopping West Space gallery 31 2009 How Fine the Air Life Lab Building pop up Space Docklands Melbourne 32 2008 Weather Everything Canberra Contemporary Art Space Canberra 33 2008 Carpetweed with Stuart Bailey Victoria Park Gallery Melbourne 27 2007 27 April 26 May Rozalind Drummond weather everything Canberra Contemporary Art Space 34 1998 Spiderbox with Lauren Berkowitz Canberra Contemporary Art Space 35 1999 Hide and Seek screening Birmingham Cinema United Kingdom 36 1999 Hide and Seek exhibition Ikon Gallery Off site Project 37 1995 6 Peeping Tom Project Room Monash University Gallery Melbourne 38 4 25 39 1995 Bunny Rug 1st Floor Fitzroy Melbourne 23 1995 5 23 July Faktura Kate Daw Troy Framstead Elka Varga and Dana Last Stop 22 St Kilda 40 1993 Pool Karyn Lovegrove Gallery Prahran 41 1991 3 Oct 10 Nov Rozalind Drummond Scopic Territories curated by Juliana Engberg Australian Centre for Contemporary Art 42 18 1991 Shadow Zone Rosalind Drummond Contemporary Art Centre of South Australia 43 22 1988 Faite urbaine Hobart 44 1985 May George Paton Gallery University of Melbourne 14 Group edit 2020 12 19 December Hell n Back fundraiser Caves gallery Melbourne 45 2020 Small Mercies Bushfire Art Fundraiser Melbourne 46 2020 15 February 15 March Art Aid Gippsland Art Gallery Victoria 47 2019 The Look National Portrait Gallery Canberra 48 2018 Express Yourself National Portrait Gallery Canberra 49 2016 15 July to 16 October Tough and Tender Robert Mapplethorpe Larry Clark Nan Goldin Collier Schorr Chris Burden Rozalind Drummond and Warwick Baker National Portrait Gallery Australian Capital Territory 50 2012 Face to face Deakin University creative artists respond to the Deakin University art collection Deakin University Art Gallery 51 2009 from 22 July The Black Show C3 GALLERY at Abbotsford Convent 52 1998 15 31 October Respond Red or Blue with Lauren Berkowitz Pat Brassington Tara Gilbee Marion Harper Deborah Ostrow Nicola Loder Royal Melbourne Hospital 53 1998 23 May 13 June Mnemosyne or Do Humans Dream in Negative Strips Centre for Contemporary Photography Fitzroy 54 55 1997 Ikon in the City Program Ozells Street Primary School Brindleyplace Birmingham 56 1997 August M CP Leica Documentary Photography Exhibition Centre for Contemporary Photography Fitzroy 57 1993 December Reflex Rozalind Drummond Susan Fereday Graeme Hare Les Walking and David Stephenson curated by Stuart Koop Centre for Contemporary Photography Fitzroy 19 21 1992 13 Nov 20 Dec Location Australian Centre for Contemporary Art 20 58 1991 From the empire s end nine australian photographers On the shadow line ten Spanish photographers with Sue Ford Peter Elliston Tracey Moffatt Linda Dement Bill Henson Adrian Hall Judith Ahern Hellen Grace Javier Vallhonrat Chema Madoz Toni Catany Nestor Torrens Gonzalo Careaga Koldo Chamorro Antonio Bueno Tomy Ceballos Ramon David Paco Salinas Circulo de Bellas Artes Madrid 59 1986 16 Oct 19 Nov The Naked Image The Nude in Recent Australian Photography Australian Centre for Contemporary Art 60 1987 25 August 13 September Survey of Contemporary Australian Photography with Polly Borland Graeme Hare Phillip Le Measurier Fiona McDonald Kevin Wilson curated by Anna Weis and Luba Bilu Linden Gallery St Kilda Victoria 61 1986 February March The Melbourne Stage Photographs by four post graduates with Cassandra Lehman Scham Ali Elias and Fiona Macdonald curated by Martyn Jolly Australian Centre for Photography Sydney 3 1985 Material Pleasures touring exhibition of fashion from the Fashion Design Council with photographs by Jacqui Henshaw Ashley Evans Philip Masurier Rozalind Drummond and Kate Gollings McClelland Gallery Langwarrin to 17 August Westpac Gallery Victorian Arts Centre 19 August to 15 September Benalla Art Gallery 20 September to 3 October Shepparton Arts Centre 8 October to 22 October La Trobe Valley Arts Centre Morwell 26 October to 14 November Sale Regional Arts Centre 15 November to 7 December 62 Curator edit2014 Kaleidoscope Platform Contemporary Art Space Melbourne 2014 Wild Places Motorworks Gallery Melbourne 63 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 64 65 Collections editNational Gallery of Victoria 66 Australian National Gallery 67 National Portrait Gallery Canberra 68 69 References edit Williams Donald 1996 Art now contemporary art post 1970 Book two New York McGraw Hill ISBN 978 0 07 470277 2 OCLC 1231689147 Ely Deborah 1999 The Australian centre for photography History of Photography 23 2 118 122 doi 10 1080 03087298 1999 10443810 ISSN 0308 7298 OCLC 5722249596 a b c Dupain Max 17 February 1986 Thoughtful postgraduate photographs The Sydney Morning Herald Sydney New South Wales Australia p 17 a b Arts diary The Age Melbourne Australia 1 November 1996 p 4 Lloyd Tim 1 November 1996 Chen brushes up art scholarship The Advertiser Adelaide South Australia Australia p 13 a b Vivian Helen George Paton Gallery Ewing Gallery 2008 When you think about art the Ewing and George Paton Galleries 1971 2008 Melbourne Vic Macmillan Art Pub ISBN 978 1 921394 02 7 OCLC 271749145 Broinowski Alison 17 August 1994 A slow drift towards Asia The Sydney Morning Herald p 24 McCulloch Alan McCulloch Susan McCulloch Childs Emily 2006 The new McCulloch s encyclopedia of Australian art p 56 ISBN 978 0 522 85317 9 OCLC 80568976 Lancashire Rebecca 4 January 1993 Australian Vietnamese art has arrived by pedicab The Age p 12 Stanhope Zara 1993 Vietnam Art amp Text 45 76 a b Natalie King Peeping Tom ArtAsiaPacific 13 Jan Feb Mar 1997 American Bibliographical Center 1998 Artbibliographies modern Druckausg 29 2 1998 29 2 1998 OXFORD CLIO PR OCLC 1073861597 Rozalind Drummond s peeping tom www artdes monash edu au Retrieved 18 December 2021 a b Catalano Gary 22 May 1985 Art Classical antiquity is strong in Antipodes The Age p 14 Faust Beatrice 12 October 1988 Photography The Age p 14 Australian art for Vietnamese shown at Melbourne centre Canberra Times 20 December 1992 Retrieved 15 December 2021 Koop Stuart Art amp Text Jan92 Issue 41 p98 99 2p 2 Black and White Photographs Publisher Foundation for International Art Criticism a b Neville Greg 24 October 1991 A patchy pot pourri of artists camera work The Age p 14 a b Neville Greg 15 December 1993 Conditioned reflex but students lively The Age p 17 a b Pictures without the postcard view The Age Melbourne Australia 11 December 1992 p 14 a b Stanhope Zara May 1994 Reflex Art amp Text 48 75 a b Marsh Anne 2021 Doing Feminism Women s Art and Feminist Criticism in Australia Melbourne Melbourne University Publishing pp 134 6 ISBN 978 0 522 87759 5 OCLC 1285168275 a b James Bruce 2 August 1996 Galleries The Sydney Morning Herald Sydney New South Wales Australia p 14 Masters H Chu D Tsai S Cohn D J amp Ko H 2016 In Terms of Art ArtAsiaPacific 100 98 109 a b Freiberg Freda 7 February 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 Nelson Robert 24 March 2007 Something rotten The Age Melbourne Australia p 19 a b Visual Arts Sunday Age Melbourne Australia 18 Feb 2007 p 38 Rozalind Drummond Process Blue Nature Trips Corduroy Pine Shelving Bundoora Homestead www bundoorahomestead com Retrieved 16 December 2021 Rozalind Drummond Process Blue Nature Trips Corduroy Pine Shelving Darebin Arts www darebinarts com au Archived from the original on 8 April 2018 Bailey Stuart Drummond Rozalind University of Melbourne Faculty of the Victorian College of the Arts and Music Margaret Lawrence Gallery 2011 Black mountain OCLC 858569616 West Space westspace org au Retrieved 19 December 2021 Drummond Rozalind 2009 How fine the air Melbourne Vic Digital Harbour OCLC 494620520 Drummond Rozalind Stanhope Zara Canberra Contemporary Art Space 2007 Rozalind Drummond weather everything CCAS 27 April 26 May 2007 Braddon A C T Canberra Contemporary Art Space OCLC 301847378 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 Berkowitz Lauren Drummond Rozalind Canberra Contemporary Art Space 1998 Spiderbox Braddon A C T Canberra Contemporary Art Space ISBN 978 1 875526 46 8 OCLC 39840057 Doherty Claire 1998 Parachuting postponed Australian artists in Birmingham Artlink 18 4 48 50 ISSN 0727 1239 OCLC 7128713304 Drummond Rozalind Ikon Gallery 1997 Hide and seek Ikon Gallery ISBN 978 0 907594 54 3 OCLC 1193510685 From the GODS The Age Melbourne Australia 5 November 1995 p 7 Drummond Rozalind King Natalie Monash University Department of Visual Arts Exhibition Gallery 1995 Project Room Rozalind Drummond Peeping Tom exhibition catalogue Clayton Vic Monash University Gallery ISBN 978 0 7326 0632 9 OCLC 38392839 Opening The Age Melbourne Victoria Australia 5 July 1995 p 19 Noonan David Drummond Rozalind Karyn Lovegrove Gallery 1993 Pool Prahran Vic Karyn Lovegrove Gallery OCLC 836760405 Drummond Rozalind Australian Centre for Contemporary Art 1991 Scopic territories Melbourne Australian Centre for Contemporary Art ISBN 978 0 947220 10 5 OCLC 27629079 Shadow Zone Rosalind Drummond event at at Design and Art Australia Online www daao org au Retrieved 16 December 2021 Drummond Rozalind Chameleon Inc 1988 Faite urbaine an exhibition Hobart Chameleon OCLC 220822083 CAVES cavesgallery com Retrieved 19 December 2021 Small Mercies an exhibition for bushfire victims Helga Salwe Retrieved 19 December 2021 Art Aid Gippsland Gippsland Art Gallery Retrieved 19 December 2021 The Look National Portrait Gallery exhibition Retrieved 19 December 2021 Express Yourself National Portrait Gallery exhibition Retrieved 19 December 2021 Tough amp Tender National Portrait Gallery exhibition Retrieved 18 December 2021 Willis Sam Deakin University Art Gallery 2012 Face to face Deakin University creative artists respond to the Deakin University art collection Burwood Vic Deakin University ISBN 978 0 9872954 0 8 OCLC 809156379 Modra Penny 22 July 2009 The Space Visual Arts The Age Melbourne Australia p 14 Visual Arts listings The Age Melbourne Victoria Australia 18 July 1998 p 294 Schwartz Larry 23 May 1998 Memories are made of these The Age Melbourne Australia p 2 McQuire S Deftereos G 1998 Mnemosyne Or Do Humans Dream in Negative Strips Australia Centre for Contemporary Photography Preece R J 1997 Ikon in the City Program World Sculpture News 3 4 55 Freiberg Freda 5 August 1997 Documentary tradition survives technology The Age p 28 Asialink Drummond Rozalind 1993 Asialink linking Australia and Asia for the 21st century Carlton Vic Asialink Centre University of Melbourne OCLC 221590592 Ford Sue Elliston Peter Moffatt Tracey Dement Linda Henson Bill Drummond Rozalind Hall Adrian Ahern Judith Grace Hellen 1991 Desde el fin del imperio nueve fotografos australianos From the empire s end nine australian photographers En la linea de sombra diez fotografos espanoles On the shadow line ten spanish photographers in Spanish Madrid Circulo de Bellas Artes OCLC 1186958312 Rrap Julie Australian Centre for Contemporary Art 1986 The naked image the nude in recent Australian photography OCLC 221447497 Advertising The Age Melbourne Victoria Australia 29 August 1987 p 22 O Sullivan Kay 14 August 1985 New Breed A different perspective on the invisible art form The Age Melbourne Victoria Australia p 22 Backhouse Megan 31 May 2014 Plotlines The Age Melbourne p 14 Sumpter Helen 4 May 2000 Ways of Living Evening Standard p 129 Ellis Pate McCarthy Caroline Drummond Rozalind RMIT University Project Space 1999 Ways of living Carlton Victoria RMIT University Project Space OCLC 222766985 Rosalind Drummond in the Collection NGV National Gallery of Victoria Australian National Gallery 30 June 1990 ACQUISITIONS 30 June 1990 Annual Report 233 of 1990 The Gallery 93 ISSN 0314 9919 Rozalind Drummond b 1956 National Portrait Gallery people Retrieved 15 December 2021 Subtle emotion Portrait magazine Retrieved 18 December 2021 Retrieved from https en wikipedia org w index php title Rozalind Drummond amp oldid 1216110941, wikipedia, wiki, book, books, library,

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