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ANNE ZAHALKA

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; revo-

lutionary; 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 specifi-

cally portraiture. With these more recent works Zahalka is less interested in presenting stereotypical artist represen-

tations 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 sub-

jects were often defined by their occupation: depicted surrounded by the tools and objects of their trade. The da-

guerreotype 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.

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 ex-hibitions 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 Leo-pold 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

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 seventeenth- century 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 Jan Van Eyck, The Arnolfini Wedding 1434 cibachrome photograph 97.0 x 88.0 cm

ANNE ZAHALKA

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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, 1995Bottom Left: Anne Zahalka Saturday, 5.18pm, 1995Bottom Right: The Cleaner (Marianne Redpath/performance artist) 1987 cibachrome photograph 80.0 x 80.0 cm

Anne Zahalka,Marriage of Convenience (Graham Budgett and Jane Mulfinger/artists) 1987 Jan Van Eyck, The Arnolfini Wedding 1434 cibachrome photograph 97.0 x 88.0 cm

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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 representa-tions 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 para-phernalia. They depict beach users of all ages, backgrounds and body types against an obviously painted back-drop. “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 freckle-skinned 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.

Australian Beach Pattern, Charles Meere, 1940. The Sunbather, Max Dupain, 1937

The Lifesaver, 1989 type C colour photographs 74 × 90cm Edition of 20

ANNE ZAHALKA

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The Surfers, 1989 [90cm x 74cm Type C print]

ANNE ZAHALKA

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.”

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The Surf Lifesaver 1989 Type C print

The Girls #2, Cronulla Beach (2007)

Naomi Cass, Director of the Centre of Contemporary Photography, in con-versation 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 pro-jected certain ideas about the sitter. A portrait made of a group or of an indi-vidual 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 primar-ily 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 por-traiture were informed by postmodernism and led to a questioning of repre-sentations 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 per-suade 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 preoc-cupied 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.

ANNE ZAHALKA

Anne Zahalka self portrait

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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 photo-graph. 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 compli-cated 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. In-deed, there is much pleasure in examining these works for their literate ref-erences. 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 Sev-enteenth 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 re-cord 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 paint-ings 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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ANNE ZAHALKA - QUESTIONS

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 exam- ple; List the title of the work; year produced and briefly describe how the artist has altered the original?

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ANNE ZAHALKA - QUESTIONS

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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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 Euro-

pean 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

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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

- Create a group portrait based on the composition of one of the following artworks

- YOU MUST COMPLETE THIS TASK IN GROUPS OF 3-5 STUDENTS.

- Use props, costumes and lighting to recreate the scenes being depicted in the paintings below

- Immitate gesture , facial expressions and viewpoint in the creation of your group portrait.

- 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.

- Larger versions of these are available at the back of this booklet (pgs 54-59)

DATE DUE:

1. Raffael Pope Leo X with two cardinals c. early 1500’s

2. Tintoretto, Peace with Minerva Driving Away Mars3. J. Jordaems, The Banquet of Cleopatra c1600

4. Salomon de Bray Jael, Deborah and Barak, 16355. Jan de Bray, The Discovery of Achilles among

the Daughters of Lycomedes, 16646. 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

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PRACTICAL ASSESSMENT TASK

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1. Using a digital still camera, tripod, lighting and props, complete PORTRAIT TASKS 1-3 outlined in this booklet.

PORTRAIT TASK 1 (Week 3) PORTRAIT TASK 2 (Week 7) PORTRAIT TASK 3 (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 takenb) 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 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.5.3 makes photographic and digital works informed by an understanding of how the frames affect meaning5.4 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.

Date Due:

To be handed in to: Your PDM Teacher

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POINTS CRITERION MARKS5 POT Student has thoroughly completed all portrait tasks outlined in their booklet and presented work neatly and

concisely in their process diary.

A18-20

5 TEC Sophisticated and highly successful use of lighting, focus,viewpoint and camera angles.

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.

B14-16

4 TEC Lighting, focus, viewpoint and camera angles have been considered. Some successful work evident.

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 character-istics 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.

C10-13

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 ma-nipulation 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 ges-ture, facial expression, costume and props.

2 POT Little attempt has been made to completed portrait tasks outlined in their booklets.

D6-9

2 COMP Little consideration has been given to lighting, focus, viewpoint and camera angles.

2 DMA Student has not demonstrated competence in the use the software packages utilised in the basic manipula-tion of digital images.

2 CHA Little / unsuccessful attempts have been made to represent the sitters characteristics.

0-1 POT No attempt has been made to completed portrait tasks outlined in their booklets.

E1-5

0-1 COMP No / little work has been presented, no attempt made to consider any type of compositional devices.

0-1 DMA Student has made little or no attempt to manipulate digital images using any software packages available.

0-1 CHA Little or no attempts have been made to represent the sitters characteristics.

COMMENTS: TOTAL MARK

YEAR 9 PHOTOGRAPHIC AND DIGITAL MEDIA MARKING CRITERIATERM 2/3 PRACTICAL WORK: PORTRAITURE

STUDENT NAME: ______________________________________ St Aloysius’ College Visual Arts Department

ASSESSMENT IS Technical Concerns:TEC Characteristics of Sitter: CHADERIVED FROM: Portrait Tasks: POT Digital Manipulation: DMA

5.1 - Develops range and autonomy in selecting and applying photographic and digital conventions and procedures to make photographic and digital works5.2 - 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

COURSE OUTCOMES REFERED TO:

5.3 - Makes photographic and digital works informed by an understanding of how the frames affect meaning

LORETTA LUX

“Hidden Rooms” 1

“The Drummer”

“The

Rose

Gar

den

”“T

he

Paper

Air

pla

ne”

“Lois

” 3

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LORETTA LUX

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LORETTA LUX

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“Megum 4” "Troll" 3

“Girl with Crossed Arms”“Dorothea”

“The Waiting Girl”

LORETTA LUX

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LORETTA LUX - NOTES

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