Sandy Edwards

Last updated

Sandy Edwards
Born
Sandra Edwards

1948
Bluff, New Zealand
NationalityNew Zealand
Education1972-1973, 1972-1973 Slade School Fine Art, London Psychology Major, 1969 Faculty of Arts, University of Sydney, NSW
Notable workParadise is a Place (Random House 1997), the CSR project (1978)
StyleDocumentary

Sandra Edwards (born 1948) is an Australian photographer. [1] Edwards specialises in documentary photography and photographic curation. Born in Bluff, New Zealand in 1948 Edwards arrived in Sydney in 1961. [2] Edwards was at the forefront of a group of progressive photographers in the 1970s and 80s who were driven to create documentary work that recorded social conditions and had the intent to change these conditions. Edwards' work largely drew from feminist ideals and the media's representation of women as well as the portrayal of Aboriginal communities in Australia. [3]

Contents

Education

Edwards majored in psychology in 1969 at the University of Sydney NSW. She went on to study film at the Slade School of Fine Art in London between 1972 and 1973. [4]

Feminism

Edwards, along with Helen Grace, Victoria Middleton and Lyn Silverman, formed the group "Blatant Image". Together they collaborated on photographic works that analysed the media's representation of women and created new works that contrasted these ideals. [5]

Edwards' interest in the portrayal of women began when she was a teenager; collecting photos from magazines in the late 1960s, she began to see discrimination within the imagery. Another source was the movies of the 1930s and 1940s. Edwards was interested in these worlds of fantasy and in particular the construction of female sexual identity within them.

These influences pushed feminist views as a major point of her works, becoming most evident in A Narrative With Sexual Overtones (1983), which addressed the idea that no pleasure could be gained from the representation of women by the media, particularly film. [6] The work was seen as a historical bridge between Marxist-feminist-semiotics and what would become feminist postmodernism further into the 1980s. [7]

Notable works

Edwards has participated in a wide array of photographic exhibitions throughout her career. Notable exhibitions include What’s in a face?: Points of View, AGNSW (2005-6); Close Relations, ACP (1998); and Shades of Light: Photography in Australia 1939-1988, NGA (1988). Her Sleep Late work of 2005-2006 was featured on a Melbourne billboard. Her body of work Paradise is a Place was highly acclaimed in the photographic community. [8]

The CSR project

The CSR photography project (1978) was a commissioned body of work that looked into a range of social issues including both women's roles in the workplace and cultural differences in working environments. [9] A range of Australian photographers participated in the project, including Max Dupain, Ed Douglas, Bill Henson and Debra Phillips. Each artist took a different approach to their work.

Edwards demonstrated the tedious and repetitious nature of women's work through sequential prints of women performing their daily routine. The photographs were taken in a sugar refinery and were titled "192 cubes", "Sugar in the morning", "4:00pm time to go home...", "Sook is from Korea", "Beti and Maria", and "Beti is from Yugoslavia, Sook is from Korea." The titles and work itself emphasised the monotony of the workplace for women as well as the cultural challenges. [10] Each of her works was compiled of a series of images printed as gelatin silver prints in black and white. [11]

Paradise is a Place

Paradise is a Place (1997) was a body of work published by Random House in collaboration with writer Gillian Mears. Edwards' photography was accompanied by Mears' non-fiction reminiscences of her childhood. The work looked into childhood on a broad spectrum. Edwards' photography portrayed the vulnerability and innocence of a young girl on the South Coast, New South Wales as she progresses from youth into adulthood. [12] As well as being a published work, the images were exhibited as a solo exhibition printed as black and white silver gelatin prints displayed at the Royal Botanic Gardens, Sydney, Australia, 23 February through 31 March 1996. [13]

Current work

Sandy Edwards is still a practicing documentary photographer with over twenty years of experience in the field. [14] She has also curated a number of major photographic exhibitions, including Sydney Airport 2000 Art Project, and Sydney Looking Forward; Art and about (2003). [15]

In 2012 Edwards opened the ArtHere Exhibition space in Redfern, which held seventeen exhibitions in its first year. She has also curated Stills Gallery in Sydney since 1991, [16] a highly recognised and well established exhibition space which represents photographers such as Trent Parke, Anne Ferran and William Yang. [17]

Edwards' most recent exhibition titled "Indeniable" was a retrospective displayed at Stills Gallery in 2004. The exhibition was compiled of large Type C photographic prints. The series was shot in colour and the photographs were taken over a period of ten years. The exhibition gave a vibrant insight into Edwards' life and the lives of those around her. [18]

Recognitions

Edwards' work has received awards from the following organizations:

[19]

Exhibitions

Photographic

20 April 2010 – 21 May 2010 - UTS Gallery, Sydney
2010 - Viscopy Contemporary Artspace, Sydney
2010 - Manly Art Gallery, Sydney
2004 - Stills Gallery, Sydney
2004 - Art Gallery of New South Wales, Sydney
2001 - Gallery East, Clovelly, NSW. This joint exhibition with Stephen Jones exhibited a set of photographic series of Jones' time in Japan. [20]
2000 - Stills Gallery, Sydney
1999 - Australian Centre for Photography, Sydney
1996 - Royal Botanic Gardens, Sydney
1996 - Australian Centre for Photography, Sydney
1993 - Sydney, NSW - a slide show on notions of family in 'Writing Through the Lens' session at Sydney Writers Festival
1992 - Vigado Gallery, Hungary
1990 - L'Otel, Sydney
1990 - Tin Sheds Gallery, University of Sydney, NSW. This joint exhibition with Joe Hurst was opened by Aboriginal artist, poet and activist Kevin Gilbert.
1989 - Richard King Gallery, Sydney, NSW. This exhibition was part of the Bulletin Photography competition.
1988 - Roar Two, Melbourne
1988 - Gary Anderson Gallery, Sydney
1988 - S.H. Ervin Gallery, Sydney, NSW [21]
1988 - Australian National Gallery, Canberra
1987 - National Gallery of Australia, Canberra
1987 - Australian Centre for Photography, Sydney
1986 - Drill Hall, Canberra
1985 - Queensland Art Gallery. The exhibitions were the regional tour for the CSR project.
1984 - Australian Centre for Photography, Sydney, NSW. This was a joint exhibition with Ann Graham and Grace Cochrane.

[22]

Curatorial

1991 - Stills Gallery, Sydney
1991 - Ivan Dougherty Gallery, Sydney, NSW
1991 - Josef Lebovic Gallery, Sydney

Related Research Articles

<span class="mw-page-title-main">Harold Cazneaux</span> Australian photographer

Harold Pierce Cazneaux was an Australian pictorialist photographer; a pioneer whose style had an indelible impact on the development of Australian photographic history. In 1916, he was a founding member of the Pictorialist Sydney Camera Circle. As a regular participator in national and international exhibitions, Cazneaux was unfaltering in his desire to contribute to the discussion about the photography of his times. He created some of the most memorable images of the early twentieth century.

<span class="mw-page-title-main">Olive Cotton</span> Australian photographer (1911–2003)

Olive Cotton was a pioneering Australian modernist photographer of the 1930s and 1940s working in Sydney. Cotton became a national "name" with a retrospective and touring exhibition 50 years later in 1985. A book of her life and work, published by the National Library of Australia, came out in 1995. Cotton captured her childhood friend Max Dupain from the sidelines at photoshoots, e.g. "Fashion shot, Cronulla Sandhills, circa 1937" and made several portraits of him. Dupain was Cotton's first husband.

<span class="mw-page-title-main">Henri Mallard</span> Australian photographer

Henri Marie Joseph Mallard, was an Australian photographer.

Gael Newton BFA is an Australian art historian and curator specializing in surveys and studies of photography across the Asia-Pacific region. Newton was formerly the Senior Curator of Australian and International Photography at the National Gallery of Australia (NGA) in Canberra. National Gallery of Australia (NGA) in Canberra.

Robert McFarlane was an Australian photographer and photographic critic.

Micky Allan is an Australian photographer and artist whose work covers paintings, drawings, engraved glass overlays, installations and photography. Allan has become an influential public speaker and has been invited to be a part of many discussions on feminist politics and present a number of speeches held in galleries across Australia about art photography during the 1970s.

Ruth Maddison is an Australian photographer born in 1945. She started photography in the 1970s and continues to make contributions to the Australian visual arts community.

Anne Ferran is an Australian photographer.

<span class="mw-page-title-main">John Cato</span> Australian photographer and teacher

John Chester Cato was an Australian photographer and teacher. Cato started his career as a commercial photographer and later moved towards fine-art photography and education. Cato spent most of his life in Melbourne, Australia.

Jon Rhodes is an Australian photographer who has been described as a "pioneer" in "the development of a collaborative methodology between high art photography and [Australian] Aboriginal People living in remote communities". Rhodes' work is represented in all major Australian collections and at the J Paul Getty Museum, Los Angeles.

<span class="mw-page-title-main">Alice Mills (photographer)</span>

Alice Mills (1870–1929) was an influential professional photographer from Australia, active from 1900 to 1929. She established her name among the top photographers in Melbourne after seven years of work. After her death she stayed within that group for thirty more years.

<span class="mw-page-title-main">Frederick Frith</span> English painter and photographer

Frederick Frith (1819-1871) was an English painter and photographer. He began his career in England but later moved to Australia where he lived in Hobart and Melbourne.

Gerrit Fokkema Born in Port Moresby, Papua New Guinea in 1954 and moved to Australia in 1958.

Virginia Coventry is an Australian photographer. Her photography includes pictures of environmental protests, such as the nuclear power industry and also of land usage in Australia. She is also credited as the main editor for "Critical Distance: Work with Photography/Politics/Writing".

<span class="mw-page-title-main">Barcroft Capel Boake</span>

Barcroft Capel Boake was an Australian photographer. He is most famous for his mosaic of the New South Wales Contingent produced in 1885 which represents the soldiers returned from the war in Sudan.

Debra Phillips is an Australian artist. Her main practice is photography but she also works across other forms such as sculpture and moving image. She has been an exhibiting artist since the 1980s, is a part of many collections, and has won multiple awards for her work. Phillips resides in Sydney and is a senior lecturer at The College of Fine Arts, University of New South Wales.

Ponch Hawkes is an Australian photographer whose work explores intergenerational relationships, queer identity and LGBTQI+ rights, the female body, masculinity, and women at work, capturing key moments in Australia's cultural and social histories.

Louisa Elizabeth How (1821–1893) was the first woman photographer in Australia whose works survive.

Philip Quirk is an Australian photographer, photojournalist and educationist, known for his specialist imagery of landscape, geographic and documentary photography, and as a founding member of the Wildlight agency.

Wesley Stacey was an Australian photographer and photojournalist who was a co-founder of the Australian Centre for Photography. Exhibited widely, including at the Serpentine Gallery, London, Art Gallery of New South Wales, and a retrospective at the National Gallery of Australia in 1991, his work has been collected by the NGA, the National Gallery of Victoria and the AGNSW.

References

  1. ↑ Newton, Gael (1988). Shades of Light. Canberra: Australian National Gallery. p. 156. ISBN   0642081522.
  2. ↑ Design & Art Australia Online. "Sandy Edwards Bio". www.daao.org.au.
  3. ↑ Newton, Gael (1988). Shades of Light. Canberra: Australian National Gallery. p. 339. ISBN   0642081522.
  4. ↑ DAAO. "Sandy Edwards Personal Details". Design & Art Australia Online. Retrieved 18 April 2015.
  5. ↑ Willis, Anne-Marie (1988). Picturing Australia: a history of photography. Angus and Robertson. ISBN   0207155992.
  6. ↑ Coventry, Virginia (1986). The Critical Distance: Work with photography, politics, writing. Sydney: Hale and Iremonger. ISBN   0868062340.
  7. ↑ Newton, Gael (1988). Shades of Light. Canberra: Australian National Gallery. ISBN   0642081522.
  8. ↑ Stills. "Stills Gallery-Sandy Edwards Bio". Stills Gallery. Retrieved 18 April 2015.
  9. ↑ "Sandy Edwards". Art Gallery NSW. Retrieved 21 April 2015.
  10. ↑ "Sandy Edwards CSR". Art Gallery NSW. Retrieved 21 April 2015.
  11. ↑ "EDWARDS, Sandy". NGA. Retrieved 21 April 2015.
  12. ↑ "Paradise is a Place". National Library Of Australia. Retrieved 21 April 2015.
  13. ↑ "Paradise is a Place". Art Gallery NSW. Retrieved 21 April 2015.
  14. ↑ DAOO. "Sandy Edwards Bio". Design & Art Australia Online. Retrieved 18 April 2015.
  15. ↑ Stills. "Sandy Edwards Bio". Stills Gallery. Retrieved 19 April 2015.
  16. ↑ "Sandy Bio". 10x8 gallery. Retrieved 21 April 2015.
  17. ↑ "Stills Artists". Stills Gallery. Retrieved 21 April 2015.
  18. ↑ "Indeniable". Stills Gallery. Retrieved 21 April 2015.
  19. ↑ "Edwards recognitions". DAAO. Retrieved 21 April 2015.
  20. ↑ "conVerge - Stephen Jones". www.adelaidebiennial.com. Archived from the original on 22 July 2002.
  21. ↑ A Changing relationship: Aboriginal themes in Australian art c.1938-1988. S.H. Ervin Gallery, National Trust of Australia (NSW). 1988. ISBN   9780947137724.
  22. ↑ Design & Art Australia Online. "Sandy Edwards bio". www.daao.org.au. Retrieved 27 December 2017.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.