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Gerrit Fokkema’s photographs of everyday Sydney and Canberra in the early 1980s are examples of Australian photography becoming more self-aware. These decisive snapshots of suburban life reveal an irony and conjure Fokkema’s own history growing up in Queanbeyan. Though captured in seemingly banal settings, the images intrigue, pointing to issues beyond what is represented in the frame. The housewife watering the road and a young tattooed man in front of a car are both depicted alone within a sprawling suburban landscape, suggesting the isolation and boredom in the Australian dream of home ownership. The sense of strangeness in these images is consciously sought by Fokkema, aided by his embrace of the glaring and unforgiving ‘natural’ Australian light. Purchased 1986 © Gerrit Fokkema

Australian Vernacular Photography offers a look at our reality

Opening this week, Art Gallery NSW’s latest exhibition, Australian Vernacular Photography, explores the Australian photographic landscape of the late 20th century. Hal Missingham, photographer and director…
Modern Australian exhibitions, like the recent “Turner from the Tate” exhibition, shows just how spoilt Australian audiences are. J.M.W. Turner's Regulus, 1828, reworked 1837. AAP Image/Supplied by the Art Gallery of South Australia

Art out of the wilderness: Turner exhibition shows how far we’ve come

When visitors come to the Turner from the Tate exhibition at the National Gallery of Australia, the experience is to travel through time and space to early 19th century Britain. It was a time of social…
Monet’s Garden has already proved popular but why does it take so long for “new art” to be accepted and understood? AAP Image/David Crosling

Making an Impression: why does art take so long to be accepted?

As the curtains rise on the National Gallery of Victoria’s (NGV) latest blockbuster, Monet’s Garden, it is a good time to reflect on a connection between this acclaimed modernist painter and the art world…

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