anne zahalka - PDM Year 9

ANNE ZAHALKA
ARTIST’S BACKGROUND
Anne Zahalka was born in Sydney in 1957 where
she currently lives and works.
The artist completed a Bachelor of Visual Arts
in 1979 and a Post Graduate Diploma in 1989,
both at Sydney College of the Arts. In 1994 she
gained her Master of Fine Arts, at the College of
Fine Arts, University of New South Wales. Anne
Zahalka is one of Australia’s most prolific and
recognised artists working in photomedia. Since
the early 1980s she has exhibited extensively in
Australia, Europe and Asia, holding over twenty
solo exhibitions. Recent international group exhibitions include Supernatural Artificial (2004)
at the Metropolitan Museum of Photography in
Tokyo and Photographica Australis (2003), which
was exhibited in Madrid, Spain, and then toured
to Asia. In 2005 she was the recipient of the Leopold Godowsky Photography Award, Boston.
Anne Zahalka is represented by Roslyn Oxley9
Gallery, Sydney and Arc One Gallery, Melbourne
The artist’s website is: www.zahalkaworld.com
REPRESENTATIONS OF ARTISTS
Since its inception in the mid 19th century the photographic portrait has been a source of enduring fascination and
intrigue. The egalitarian nature of photography is easily understood and the act of taking portraits or photographing
family and friends continues to be a popular pursuit.
For the ongoing Artists series, commenced in 1989, Anne Zahalka continues a long tradition in art history of artists
making portraits of their artistic colleagues. With a focus on exploring stereotypical representations of artists Anne
Zahalka photographed a number of her artistic contemporaries including representations of the artist as hero; revolutionary; inventor; magician; alchemist; gambler and game player. More recently Zahalka has taken photographs of
a new generation of artists whom she knows or admires: many of them working with photomedia and more specifically portraiture. With these more recent works Zahalka is less interested in presenting stereotypical artist representations and more concerned with setting the subjects against their own domestic or working environments so that
they come to resemble one of their own photographic characters.
Zahalka’s Artists series refer to early styles of portrait photography including the daguerreotype in which the subjects were often defined by their occupation: depicted surrounded by the tools and objects of their trade. The daguerreotype was an early photographic process that used polished metal as the surface for image creation. In the
exhibition catalogue Daniel Palmer writes of portrait photography: ‘…we are still sway to the intoxicating fantasy
that photographic portraits offer us an insight into the truth of a person’s character, just as we like to think that
camera images truthfully reflect the world.’
Anne Zahalka’s photographic practice has been an ongoing investigation into the process of image making and the
apparent veracity of the medium. In Anne Zahalka’s photographic portraits the settings can reveal as much about the
subject as the subjects themselves. In portraiture often it is the objects that the subject is depicted with that are as
important as the subject themselves. To create each of her artist portraits Zahalka has collaborated closely with her
subjects and the portraits are designed around the subject’s interests and artistic practice. Each artist portrait gives
clues as to the personal interests of the artist, and/or their subject matter and style.
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AN NE ZAHALKA
RESEMBLANCE
Restaging, reinventing and referencing
“…the idea that appearances can be deceptive has been central to Zahalka’s practice. Often conflating reality with fiction,
she has appropriated or re-staged iconic images and simulated period styles as part of an ongoing enquiry into the nature of
image making, and the representation of the world in which we live.”
Anne Zahalka created the Resemblance series during a residency in Berlin in 1987. The artist meticulously staged each
of the portraits in this series in her Berlin studio, often incorporating the same table, stool, fabrics and other props that she
sourced from local flea markets and including her friends and acquaintances as the subjects. Referencing seventeenthcentury Dutch genre paintings, in particular the works of Vermeer, for each portrait the artist created an interior where
the subject is identified by their occupation and is posed surrounded by the tools of their trade, for example The Cook
(Michael Schmidt/architect) 1987 and The Cleaner (Marianne Redpath/performance artist) 1987.
There is an established tradition in art history of artists copying existing artworks as a way of paying respect or homage
to the original artist. Reproducing the works of another artist also allows artists to learn much about the style or technique
of the artist they are mimicking. More recently as a device of postmodernism, many artists have been interested in
appropriating or re-working existing images in order to create a dialogue between them; often with an interest in
parodying or subverting an idea or stereotype depicted in the original image. While making this series the artist was asking
herself the following questions: “Was it possible to make anything new? Are we speaking through the pictures of the past?
Is this paying homage to the old masters, or is it a continuation of a way of picturing people.”
Anne Zahalka is aware of the history of traditional portraiture and the way in which it can be used to present the sitter and
project their position in society. With her contemporary portraits and re-staging of existing images she works with these
established representational codes to explore new ways of presenting her subjects.
Whilst directly referencing Jan van Eyck’s painting The Arnolfini Portrait (1434), by mimicking the style, subject matter and
composition, Zahalka’s work Marriage of Convenience encourages us to speculate on the motive for the marriage. Despite
references to the past, the present intrudes into each photograph in the series via the artist’s insertion of both personal
and contemporary references. For example Zahalka has posed her male and female subjects either side of a circular
mirror in the exactly the same position and pose as the van Eyck original, but here she includes her own portrait reflected
in the mirror. In Marriage of Convenience a radio/cassette player is visible on the table; a set of headphones hangs around
the subject’s neck in The Cleaner.
Anne Zahalka,Marriage of Convenience (Graham Budgett and Jane Mulfinger/artists) 1987
cibachrome photograph 97.0 x 88.0 cm
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Jan Van Eyck, The Arnolfini Wedding 1434
ANNE ZAHALKA
Top Left: The Cook (Michael Schmidt/architect) 1987 cibachrome photograph 80.0 x 80.0 cm
Top Right: Anne Zahalka Saturday, 5.18pm, 1995
Bottom Left: Anne Zahalka Saturday, 5.18pm, 1995
Bottom Right: The Cleaner (Marianne Redpath/performance artist) 1987 cibachrome photograph 80.0 x 80.0 cm
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AN NE ZAHALKA
BONDI: PLAYGROUND OF THE PACIFIC
In Bondi: Playground of the Pacific (1989) Anne Zahalka continues her interest in appropriating, referencing and
restaging art historical images. In this series she focuses on national mythologies and stereotypical representations of identity, using humour and parody as a means of subverting existing myths and stereotypes. Zahalka
was born in Sydney to a Czech Catholic father and Austrian Jewish mother who had immigrated to Australia
in 1949, and from early in her career she has been interested in questioning stereotypical representations of
identity.
Most of the photographs in this series were staged in the studio, with imported sand, furniture and beach paraphernalia. They depict beach users of all ages, backgrounds and body types against an obviously painted backdrop. “The Australian beach has long been regarded as a national symbol that signifies the apparently relaxed
lifestyle and easy physicality of its inhabitants”. In this series Anne Zahalka responds to and questions existing
art historical representations of the beach as a democratic, inclusive space peopled with idealised bronzed
Australian ‘types’. As the artist says: “People have an image of Australia through places like Bondi … I set out to
add the cultural differences and to look at the stereotypes.”
In The Bathers (1989) Anne Zahalka takes as her inspiration Charles Meere’s idealised image of Australian
beach culture, Australian beach pattern (1940). While Zahalka’s work loosely mimics the stylized neo-classical
poses of Meere’s original painting, in place of his idealised subjects she inserts a more representative range of
body types and cultural backgrounds to
reflect contemporary Australian society.
Max Dupain’s photograph of a muscular and tanned sunbather, Sunbaker (1937), an iconic representation
of Australian beach culture, is referenced in Zahalka’s The Sunbather #2. Zahalka questions the veracity of
Dupain’s representation through the re-staging of Dupain’s sun-bronzed sunbaker as a pale, slight and freckleskinned redhead. Similarly in The Sunbather #1 Zahalka plays with both the conventions of art history and
gender by restaging the Dupain image with a female subject.
The Lifesaver, 1989 type C colour photographs 74 × 90cm Edition of 20
The Sunbather, Max Dupain, 1937
Australian Beach Pattern, Charles Meere, 1940.
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ANNE ZAHALKA
The Surf Lifesaver 1989 Type C print
The Surfers, 1989 [90cm x 74cm Type C print]
SCENES FROM THE SHIRE
In Scenes from the Shire Anne Zahalka has returned to photographing the beach and its occupants. This series was
made in response to the 2005 racial conflict around Sydney’s Cronulla Beach where cultural groups fought over their
perceived ‘right’ to occupy this space. The Girls #2, Cronulla Beach (2007) shows three young Muslim women posed
against a semi-deserted Cronulla Beach wearing brightly coloured ‘burqinis’ (a combination of burqa and bikini).11
The girls pose – arms folded and legs akimbo – echoing the typical masculine stance of the lifesaver; and at the same
time powerfully asserting their right to occupy this space. Anne Zahalka creates an image where: “cultural identity is
defiantly represented against a landscape marked by the memory of violence and intolerance.”
The Girls #2, Cronulla Beach (2007)
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AN NE ZAHALKA
Naomi Cass, Director of the Centre of Contemporary Photography, in conversation with Anne Zahalka
While much of your work is peopled, not all of your work is portraiture. How
would you distinguish between a photograph with people and a portrait?
It's difficult to distinguish today between a portrait and a photograph of a
person. The lines have been blurred - anything can pass for a portrait if the
artist says it's one.
Traditionally portraiture has been subject to a number of strict conditions
that artists adhered to. It was usually made as an image of pride and projected certain ideas about the sitter. A portrait made of a group or of an individual attempts to define the sitter(s) - who they are and what they represent.
In the works of mine you are referring to, I am not primarily interested in the
individual but more with what they represent. For example, my portrait of
The lifesaver is not about who he is, but rather what he stands for as a sign
of Australian masculinity and as a symbol of the beach or even of the nation.
I don't consider this to be a portrait but rather it represents a type. In other
works I may provide a generic title such as 'artist' and in brackets their name.
This is to emphasise that it is the figure of the artist with which I am primarily concerned. In the series Resemblance, the titles are generic, such as The
cook, The cleaner, The writer, and in brackets I have included their name and
occupation. In some cases it supports the role they are playing and in others
not. In this way it raises questions about the very nature of portraiture - when
is a picture of someone a portrait and what is it that defines it as such?
Can you speak about the idea that the function of portraiture is to capture
the inner life of the subject, indeed that it is possible for an artist, particularly
a photographic artist to capture what lies beneath superficial appearances,
namely the essence of the sitter?
I am deeply cynical about the idea that a portrait can reveal or capture the
inner life of a subject. I want to raise questions about what portraits mean
and what are the conventions governing them. My earlier approaches to portraiture were informed by postmodernism and led to a questioning of representations and historical conventions. I constructed my photographs so that
the sitter is arranged in, or against a setting that provides a context for
them. Surrounded by possessions, or against a location they are purposefully
placed, it is a way of building up meaning about them. In a photo shoot many
expressions pass across the sitter's face and only one image is selected to
stand in for all. Sometimes there may be an expression captured that does
suggest something deeper, but it is the viewer who interprets this. We project
onto portraits what we want to see. There is no intention on my part to persuade the viewer they are being shown anything deeper than what lies on the
photographic surface.
Your portraits look quite performative. For example, none of your subjects
are smiling, although none appear unhappy. What is the role of performance
in your work and your role in establishing this performance?
I encourage my subjects to perform themselves playing a role. Often we are
self-conscious when the camera is turned on us - how do we want to appear,
what do we want to project? It's easier to play a role rather than try to appear
oneself. We can assume an identity, put on a mask and perform ourselves
acting a part. It's also easier for me to direct a person when they feel they are
playing a role. If I want them to look heroic, proud, contemplative or preoccupied they are assuming the part. For example, in my photograph of three
Burqini-clad Muslim girls they take up a strong, almost masculine pose whilst
mimicking the stance of lifesavers or guardians of morality on the beach.
Their expressions are a mask of this position.
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Anne Zahalka self portrait
ANNE ZAHALKA
In Charles Meere's idealised and celebratory painting of the beach, no one is
smiling, although they look like they are having fun in a contrived way. My
multicultural group, based on the same image, appear happily content to
be sharing close quarters with others on one of our most contested national
sites - the beach. They perform the same exaggerated gestures in an ironic
way to assert their right to be there and to belong.
Some of my sitters have asked why I won't let them smile in their photograph. For me it doesn't make sense to be smiling - what are they smiling
about? Traditionally, in painted portraits people are rarely shown smiling,
so why should a photographic portrait depict the sitter smiling. It's complicated by the fact that photographs depict moments and can capture people
in a spontaneous and natural way. But within a formal portrait it becomes
more about this moment captured and preserved for others to see.
In Resemblance you have created elaborate settings for your sitters, replete
with quotations from seventeenth-century Northern European painting. Indeed, there is much pleasure in examining these works for their literate references. However, the series is far from a slavish impersonation of the past,
playful conceits and contemporary references also abound. Is this series an
homage to the past?
I have a deep affection and admiration for these paintings from the past.
They are embedded in my cultural memory and are part of my history. I
have grown up with these works through the institutions I attended and
they resonate strongly with me. I also studied them in secondary school
and later re-read them through the discourse of postmodernism and the
writings of Svetlana Alpers in The Art of Describing, Dutch Art in the Seventeenth Century, amongst others. Many of these influences have informed
the making of this work and I should pay homage to them all. The works of
Vermeer continue to be studied, analysed, copied, written, are the subject
of films and continue to be adored by audiences everywhere.
For me it is the camera that bears witness to what lies before the lens
and what painters painstakingly struggled to capture. It is its ability to record the surface of things, capture light, delineate textures and draw faces
seamlessly, all filtered through the lens. But it is the painter's way of seeing
and organising pictorial space that has provided the greatest influence and
to whom I am most indebted.
In thinking about Resemblance where, it seems, as much can be learnt
about the sitter from his or her surroundings as from their physiognomy,
what are you saying about the ability of the camera to capture a portrait?
Can you speak about the series Gesture, where surprisingly the face has
been removed?
My Gesture series was made through scanning and erasing details of paintings from the canons of portraiture. Within portraiture the face has always
been a privileged signifier of the soul, spirit and personality. By denying
the significance of the face through its erasure, I wanted to show how the
body, hands and objects continue to project character, power and meaning.
This involved a stripping away so that the gesture might exist as a 'sign'.
These transplanted gestures retain their meaning in submerged and hidden
ways. The disembodied hands riven from the gesturing subject enable an
intervention with history and its representations in order to examine the
codes by which identity, status, power, wealth and gender are defined. The
erasure of the face allows the gesturing body to speak.
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AN N E Z AH ALKA - QU ESTIONS
GLOSSARY
Appropriation
To take something for your own use. As a term in art history and criticism appropriation refers to the strategy of
taking an existing image for one’s own use. Appropriation in art raises questions of originality, authenticity and
authorship.
Daguerreotype
A photograph made by an early method on a plate of chemically treated metal or glass.
Homage
Anything given or done to show reverence, honour etc. In artistic terms it is typically used to denote a reference in
a work of art or literature to another.
Parody
A composition imitating the style of another artist’s work.
Portrait
A representation of an individual. A portrait can be a literal representation or it can represent a person symbolically.
Postmodernism
A late twentieth-century concept in architecture and the arts that represents a departure from modernism, and is
characterised by a general distrust of grand theories and ideologies.
Self-portrait: An individual’s representation of him - or herself.
Studio photograph
A photograph staged and taken in the artist’s studio as opposed to in a journalistic or documentary manner.
1. Find three examples of Zahalka’s work where the artist has appropriated images from the past. For each example; List the title of the work; year produced and briefly describe how the artist has altered the original?
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AN N E Z AHA LKA - QU ESTIONS
2.Give two reasons why Zahalka uses the artistic device of ‘appropriation’ in her work?
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3. Why is Zahalka ‘deeply cynical about the idea that a portrait can reveal or capture the inner life of a subject’. Give
reasons for your response?
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POINTS FOR DISCUSSION
i) What evidence is there that The Bathers (1989) and The Surfers (1989) are studio-based photographs? Why
do you think the artist staged these photographs in the studio as opposed to taking them on the beach? What
might the artifice of the backdrop allude to?
ii) How does Anne Zahalka’s contemporary re-staging of Charles Meere’s Australian Beach Pattern (1940)
challenge ideas related to Australian life, culture and identity that are presented in the original artwork?
Compare the way in which Australian people have been represented in both images. What range of cultural
backgrounds can be seen? What values and ideas are expressed in each of the pictures? Which groups of
people are not shown? Why might the artists have left out certain groups? Which of these images is a more
inclusive view of national identity?
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AN N E ZAHALKA
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SHOICHI AOKI
Shoichi Aoki began documenting street fashion in Tokyo’s fashionable Harajuku area in the mid 1990s
when he noticed a marked change in the way young people were dressing. Rather than following European and American trends, people were customising elements of traditional Japanese dress - kimono,
obi sashes and geta sandals - and combining them with handmade, secondhand and alternative designer
fashion in an innovative ‘DIY’ approach to dressing.
Read through pages
in your text book and answer the questions on the following page.
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SHOICHI AOKI
1) What elements of Western Culture inspired the subjects Aoki’s photos to dress in their particular style?
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2) Describe the function of Aoki’s photographs in FRUiTS Magazine?
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3) What ideas is the artist communicating through his practice?
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3) How are Aoki’s subjects posed? Describe Aoki’s approach to photographing subjects?
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PORTRAIT TASK 3
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Create a group portrait based on the composition of one of the following artworks
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YOU MUST COMPLETE THIS TASK IN GROUPS OF 3-5 STUDENTS.
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Use props, costumes and lighting to recreate the scenes being depicted in the paintings below
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Immitate gesture , facial expressions and viewpoint in the creation of your group portrait.
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Your photographs do not need to be historically accurate reproductions of the paintings, rather,
they need to be contemoporary, photographic, reconstructions of the original versions.
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Larger versions of these are available at the back of this booklet (pgs 54-59)
DATE DUE:
1
2
3
4
5
1. Raffael Pope Leo X with two cardinals
c. early 1500’s
2. Tintoretto, Peace with Minerva Driving Away Mars
3. J. Jordaems, The Banquet of Cleopatra c1600
4. Salomon de Bray Jael, Deborah and Barak, 1635
5. Jan de Bray, The Discovery of Achilles among
the Daughters of Lycomedes, 1664
6. Caravaggio Supper at Emmaus c. 1600-0
7.Valentine de Boulogne, Christ Driving the Money
Changers out of the Temple c. 1618
8. Caravaggio The Incredulity of Saint Thomas1601
6
7
8
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P RACTI CAL A SSESSMENT TA SK
1.
Using a digital still camera, tripod, lighting and props, complete PORTRAIT TASKS 1-3 outlined
in this booklet.
PORTRAIT TASK 1
PORTRAIT TASK 2
PORTRAIT TASK 3
(Week 3)
(Week 7)
(Week 10)
2. Print out colour thumbnails or ‘proof sheet’ of all the photgraphs you have taken. Place a copy in your Process
Diary. Annotate your record of each photo shoot, documenting:
a) where and when the photgraphs were taken
b) which potographs were more succesful and why.
c) which photographs were least successful and why.
Consider: Composition, Point of View, Cropping, how well your photographs explore the characteristics of the
sitter, colour, lighting and focus.
3.
Select 3-6 Images for your final submission. (at least 1 photograph from each of the Portrait
Tasks you have completed)
a)
On an A4 sheet of paper, present thumbnails of your final photographs.
b)
Submit your final six photographs to the classroom teacher electronically,
either by USB drive or via the network.
5. Update your electronic portfolio using iWeb and import the photos you have selected for final submission.
COURSE OUTCOMES REFERED TO:
5.1
5.2
5.3
5.4
5.6
develops range and autonomy in selecting and applying photographic and digital conventions
and procedures to make photographic and digital works.
makes photographic and digital works informed by their understanding of the function of and
relationships between artist–artwork–world–audience.
makes photographic and digital works informed by an understanding of how the frames affect meaning
investigates the world as a source of ideas, concepts and subject matter for photographic and
digital works.
selects appropriate procedures and techniques to make and refine photographic and digital works.
Date Due:
To be handed in to: Your PDM Teacher
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STUDENT NAME: ______________________________________
St Aloysius’ College
Visual Arts Department
YEAR 9 PHOTOGRAPHIC AND DIGITAL MEDIA MARKING CRITERIA
TERM 2/3 PRACTICAL WORK: PORTRAITURE
COURSE OUTCOMES REFERED TO:
5.1 - Develops range and autonomy in selecting and applying
photographic and digital conventions and procedures to make
photographic and digital works
5.2 - Makes photographic and digital works informed by their
understanding of the function of and relationships between
artist–artwork–world–audience.
5.4 - Investigates the world as a source of ideas, concepts
and subject matter for photographic and digital works
5.6 - Selects appropriate procedures and techniques to make
and refine photographic and digital works
5.3 - Makes photographic and digital works informed by an understanding of how the frames affect meaning
ASSESSMENT IS
DERIVED FROM:
POINTS
Technical Concerns:TEC
Portrait Tasks: POT
Characteristics of Sitter:
Digital Manipulation:
CHA
DMA
CRITERION
Student has thoroughly completed all portrait tasks outlined in their booklet and presented work neatly and
concisely in their process diary.
5
POT
5
TEC
5
DMA
Student has demonstrated a high level of competence in the use of software packages utilised in the basic
manipulation of digital images.
5
CHA
Student has produced a highly resolved work which successfully represents their exploration of the sitters
characteristics with careful thought given to gesture, facial expression, costume and props.
4
POT
Student has completed all portrait tasks outlined in their booklet and presented work in their process diary.
4
DMA
Student has demonstrated competence in the use of software packages utilised in the basic manipulation of
digital images.
4
CHA
Student has produced a resolved work which adequately represents their exploration of the sitters characteristics with some thought given to gesture, facial expression, costume and props.
3
POT
Student has completed some of the portrait tasks outlined in their booklets.
3
TEC
Lighting, focus, viewpoint and camera angles have been considered, but poorly executed in final
submissions.
3
DMA
Student has demonstrated some competence in the use of the software packages utilised in the basic manipulation of digital images. Technical proficiency in work is limited.
3
CHA
Student has made an attempt to explore the the sitters characteristics with little consideration given to gesture, facial expression, costume and props.
2
Little attempt has been made to completed portrait tasks outlined in their booklets.
2
POT
COMP
2
DMA
2
CHA
Student has not demonstrated competence in the use the software packages utilised in the basic manipulation of digital images.
0-1
POT
No attempt has been made to completed portrait tasks outlined in their booklets.
DMA
Student has made little or no attempt to manipulate digital images using any software packages available.
4
0-1
0-1
0-1
TEC
COMP
CHA
Sophisticated and highly successful use of lighting, focus,viewpoint and camera angles.
Little consideration has been given to lighting, focus, viewpoint and camera angles.
No / little work has been presented, no attempt made to consider any type of compositional devices.
Little or no attempts have been made to represent the sitters characteristics.
COMMENTS:
A
18-20
Lighting, focus, viewpoint and camera angles have been considered. Some successful work evident.
Little / unsuccessful attempts have been made to represent the sitters characteristics.
MARKS
B
14-16
C
10-13
D
6-9
E
1-5
TOTAL MARK
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“The Rose Garden”
LORETTA LU X
“Lois” 3
“The Paper Airplane”
“Hidden Rooms” 1
“The Drummer”
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L ORETTA LU X
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L O RETTA LU X
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LORETTA LU X
“Girl with Crossed Arms”
“Dorothea”
"Troll" 3
“Megum 4”
“The Waiting Girl”
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L ORE T TA LU X - NOTES
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