Olive Cotton (1911–2003) is regarded as one of the pioneers of Australian modernist photography. Cotton’s lifelong obsession with photography began with the gift of her first camera, a Kodak Box Brownie, when she was eleven. She was a childhood friend of Max Dupain’s, and in 1934 she joined his photographic studio, where she made her best-known work, the angular composition Teacup Ballet in 1935. The common threads of Cotton’s work are her use of light and form, keen observation skills and equal treatment of subject matter. Between 1939 and 1941 Dupain and Cotton were married, and she photographed him often; her work, Max After Surfing is frequently cited as one of the most sensuous Australian portrait photographs.

Cotton’s iconic photograph Teacup Ballet taken in 1935 reappeared in Gael Newton’s 1980 publication, Silver and Grey: Fifty years of Australian photography 1900-1950. The following year, her work was included in the travelling exhibition, Australian Women Photographers 1840-1960. In 1983 she reprinted 40 years worth of negatives. Sixty-six of these were exhibited in her first solo show, Olive Cotton – photographs 1924-1984. In 1991, Tea cup ballet was issued on a stamp to mark the 150th anniversary of photography in Australia. In 1993, Cotton was awarded an Emeritus Fellowship from the Australia Council. In 2000, the Art Gallery of New South Wales held Cotton’s first retrospective exhibition. It featured 68 photographs ranging from vintage prints, such as Beachwear fashion shot (1938), Max after surfing (1938) and Only to taste the warmth, the light, the wind (1939), to her early 1990s works. Olive Cotton died in 2003 aged 92. The annual Olive Cotton Award is dedicated in memory of her role as one of Australia’s leading twentieth century photographers.

Olive Cotton’s work Pepperina shot in 1985 from the Badger & Fox Collection will be showing at Home@735 Gallery in our June exhibition. Sydney artist Alice Couttoupes has created a ceramic piece in response to the photograph. The two works will be show alongside one another in the exhibition.

Teacup Ballet by Olive Cotton


40 Rue Cortambert by Jacques Henri Lartigue will be on show at Home@735 Gallery opening on Thursday June 15th. One of 9 artworks from the Badger & Fox Collection, the photograph taken in 1903 will hang alongside a painting by Tom Polo responding to Lartigue’s print.

Jacques-Henri Lartigue (1894-1986) was a French photographer and painter noted for the spontaneous photographs he took beginning in his childhood and continuing throughout his life. Lartigue’s boyhood photographs were almost always candid images taken of his family and friends. Lartigue studied painting at the Académie Julian in Paris from 1915 to 1916. Born into privilege, Lartigue’s father was a banker, and the family belonged to the upper French bourgeoisie. He was afforded time to build race cars, oil paint, and learn the mechanics of photography from an early age.

Lartigue photographed everyone he came in contact with. His most frequent muses were his three wives, and his mistress of the early 1930s, the Romanian model Renée Perle. His photographic work came into art world prominence in 1962 when a meeting with curator John Szarkowski led to a retrospective at the Museum of Modern Art in New York. The importance of the work was immediately recognized, and numerous exhibitions and publications followed.

During his life, he was friends with influential artists such as Jean Cocteau, Pablo Picasso and Kees van Dongen, and has served as an important influence to later filmmakers, notably Wes Anderson. Lartigue’s work can be found in the collections of the Art Institute of Chicago, the Musée d’Orsay in Paris, the National Gallery of Art in Washington, D.C., and the Los Angeles County Museum of Art, among others. Lartigue was made a chevalier of the Legion of Honour in 1975. A collection of his work, Diary of a Century, was published in 1970 (reprinted 1978). Later collections of Lartigue’s work include Les Femmes aux cigarettes (1980; Women Holding Cigarettes) and Les Autochromes de J.-H. Lartigue, 1912–1927 (1980; The Autochromes of J.H. Lartigue, 1912–1927). He continued to photograph into his 90s.

40 Rue Cortambert by Jacques Henri Lartigue


Madeleine and I walked down Bourke Street yesterday to Artspace for a studio visit with Sydney artist Tom Polo. Tom gave us the lowdown on his Brett Whiteley Travelling Art Scholarship and his 3 months at the cité. Tom also generously gave Madeleine a few ideas on how to navigate her AGNSW residency at the cité later this year. We also got a preview of new works for Tom’s upcoming show at Station Gallery in Melbourne.

We are thrilled that Tom will be painting a response to the Jacques-Henri Lartigue photograph titled 40 Rue Cortambert taken in 1903 for Home@735 Invitational. The two works will be shown alongside one another. The Lartigue photograph is one of 9 artworks from the Badger & Fox Collection we will be exhibiting – the show opens on Thursday the 15th of June.

artworks by Tom Polo


Eating at the Velodrome, circa 1932 by Brassai will be showing in Home@735 Invitational opening on Thursday the 15th of June. This is one of 9 works from The Badger & Fox Collection we will be exhibiting including photography by Brassai, Lartigue, Kertesz, Max Dupain and Bill Henson.

Sydney artist Nick Collerson will be painting a response to Brassai’s ’Eating at the Velodrome’. The two works will be shown alongside one another in Home@735 Invitational opening in June.

Born Gyula Halász (1899 – 1984), the French photographer Brassai took his name from his hometown of Brassó in Transylvania – now Brasov in Romania. Brassai studied art at the academies of Budapest and Berlin before coming to Paris in the mid-twenties.

Brassaï’s love affair with Paris started at Montparnasse. The pulsating heart of art in Paris, the district was also known as one of its most colourful; its night-time population a kaleidoscope of petty criminals, hoodlums, streetwalkers and pleasure seekers. Brassaï’s first project seized the essence of nocturnal Paris in a series of grainy, textured pictures which set the basis for early street photography. Published in 1933 with the title ‘Paris de nuit’, this portfolio remains the most famous exploration of the city’s hidden underbelly and is considered a classic of early street photography. His series of photo-books of Paris graffiti have also been hugely influential.

One of the most renowned photographers of the interwar period, Brassaï’s reputation was built on contributions to both commercial and avant-garde photography. His long-time friend, the author Henry Miller, nicknamed him “The Eye of Paris” for his devotion to the city.

He was close to many artists including Dali, Picasso, Matisse and Giacometti – many of whom are portrayed in his collection ‘The Artists of My Life’  published in 1982. His relationship with Picasso produced many famous portraits of the artist, as well as important publications including ‘Conversations with Picasso’. The book is a compilation of the photographer’s diary entries in which the image of wartime Paris stands alongside unknown aspects of the personality of Picasso himself. Unable to wander the city streets under the curfew imposed by the German occupiers, Brassaï dedicated the early ‘40s to photographing the works of Picasso in his studio, creating a unique photo-chronicle of the artist’s creative output.

Eating at the Velodrome, circa 1932 by Brassai (1899-1984).


I had a very enjoyable studio visit yesterday with Sydney artist Nick Collerson. Apart from a sneak preview of his compelling new works for his upcoming solo exhibition, ‘Mix’ at Liverpool Street Gallery, we talked about Nick’s motivations for making art, critique, art education, Benjamin and a few of the issues our world will have to deal with in the near future. Along with his paintings, Nick’s studio has a drum kit and a Fender Thinline guitar – we finished the visit off with a jam on a few songs…perfect morning really.

Nick will be painting a response to a photographic work by Brassai from the Badger & Fox Collection titled ’Eating at the Velodrome’ taken in 1932. The two works will be shown alongside one another in Home@735 Invitational opening on June 15th.

new work by Nick Collerson for his upcoming solo exhibition at Liverpool Street Gallery


Sydney-based artist Kate Mitchell will be exhibiting her video work ‘Hypnotised Into Being’ in Home@735 Invitational opening on Thursday the 15th of June. For this work Mitchell enlisted a hypnotist to induce her into a sub-conscious state and prompt her to respond to a selection of statements that she had earlier provided. Initially approaching the session with a degree of cynicism, the artist was later amazed that she had indeed been induced into a subliminal state. Mitchell physically enacts various prompts related to art history, critical discourse and her own practice, as if playing a game of charades in a hypnotised state. ‘Hypnotised Into Being’ will be showing in our video booth alongside paintings by Patrick Hartigan, Mclean Edwards, Brett Whiteley and photography by Bill Henson.

Selected exhibitions include In Time, Anna Schwartz Gallery, Melbourne (2015); Magic Undone, Artspace, Sydney (2012); and Future Fallout, Chalk Horse, Sydney (2014), Primavera, Museum of Contemporary Art, Sydney (2012); Contemporary Australia: Women, Gallery of Modern Art, Brisbane (2012); The Grip / La Mainmise, Kadist Art Foundation, Paris (2010); and The Horn of Plenty: excess and reversibility, Para Site, Hong Kong (2009).

Kate Mitchell is represented by Anna Schwartz Gallery in Melbourne and Chalk Horse Gallery in Sydney.

Kate Mitchell, video still from Hypnotised Into Being, (A Self Portrait) 2016, HD digital video 16:9, colour, no sound, Edition of 3 + 2 AP.


Sydney based artist Sarah Goffman will be exhibiting in Home@735 Invitational opening on Thursday June the 15th. Sarah will be creating a still life assemblage in response to the Andre Kertesz photograph, Untitled (Still life on painted bureau), circa 1970, silver gelatin print – available at Badger & Fox Gallery

“…I make what I want to own. And of course, I try to make what I want to see.  Sometimes I make work in reaction to other people’s works, or in response to a time, a place, a substance and sometimes in response to myself.  When I consider a space, I try to find the perfect response, the response that will highlight the past and it’s tension with today…”

Sarah Goffman’s current exhibition,  I am a 3-D Printer at the Wollongong Art Gallery runs till June 18th. Pictured is Plastic Arts, 2009, The Good, The Bad, The Muddy, Mori Gallery photo: Mike Myers.

André Kertész (2nd July 1894 – 28th September 1985) was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and his efforts in developing the photo essay. His ability to compose lyrical images, infused with wit and insight would remain a constant throughout his career. Neither a surrealist or a strict photojournalist, Kertész combined a street photographer’s dry humour and eye for the moment with the formal aesthetic of a modernist in his black and white photography. In addition to the street life of Paris, he also photographed many famous artists including Chagall and Mondrian. In 1964 his photography was featured in a solo show at the Museum of Modern Art. The work of Kertész was featured in many exhibitions throughout the world, exhibiting into his early nineties. Pictured is Untitled (Still life on painted bureau), circa 1970, silver gelatin print available at Badger & Fox Gallery www.badgerandfoxgallery.com

For more information about Home@735 Invitational check out my blog at http://www.anthonybautovich.com/curatingwriting/

Sarah Goffman, Plastic Arts, 2009, The Good, The Bad, The Muddy, Mori Gallery photo: Mike Myers.
Andre Kertesz, Untitled (Still life on painted bureau), circa 1970, silver gelatin print


Born in New York in 1928 where he lived and worked much of his life, street photographer Garry Winogrand was lauded for his portrayal of American life and its social issues in the mid-20th century. He received three Guggenheim Fellowships to work on personal projects, a fellowship from the National Endowment for the Arts, and published four books during his lifetime. He was one of three photographers featured in the influential New Documents exhibition at the Museum of Modern Art in New York in ’67 and had solo exhibitions at MOMA in 1969, 1977 and 1988. In 2013 the San Francisco Museum of Art staged a major retrospective exhibition with over 160 photographs of Winogrand’s work. The exhibition was shown at venues including the National Gallery of Art in Washington D.C., The Metropolitan Museum of Art, Jeu de Paume in Paris and Fundacíon MAPFRE in Madrid, Spain.

Winogrand’s output was prodigious. At his death, he left behind 2500 undeveloped rolls of 36-exposure 35mm film, 6,500 rolls of film that had been developed but not printed and 300 unedited 35mm contact sheets – that’s at least 300,000 images – equal to at least two life’s work for other photographers. Garry Winogrand died at the age of 56.

Women Are More Beautiful Than Men, Silver gelatine print by Garry Winogrand from the Badger & Fox Gallery Collection will showing in the Home@735 Invitational exhibition opening on June 15th. For more details on the show, check out me blog at http://www.anthonybautovich.com/curatingwriting/ 

Garry Winogrand, (American, 1928-1984), Women Are More Beautiful Than Men, Silver gelatine print


Andrea Chen, Lynda Draper, Isaac Nixon, Lucienne West, Paul Williams

 By Rebecca Gallo

Perhaps it’s the home gallery context, but there seems to be a thread of domestic materials, relationships and contexts running through Home@735’s first show for 2017.

Paul Williams infuses patterned surfaces with intimacy and nostalgia. He gives depth to the seemingly superficial, evoking a sense of warmth and homeliness through simulated wood veneer and intersecting lines. A check pattern echoes throughout his latest paintings, a riff sampled from the wallpaper of his home studio but also the shirts of tradies and hipsters, and maybe some ancestral memory of kilts. A highlight is his work Interior/Exterior, where broad green checks on a pink background give way to a view of the top few floors of a spare apartment building, marooned in a sea of sky. A cold exterior is viewed through the frame of the warm, saturated interior. A reminder, perhaps, of the layers of idiosyncratic memory and history that amass behind every blank suburban blank façade.

Lynda Draper’s ceramic sculptures are abstracted self-portraits where the head becomes a moveable, changeable system. Her head-vessels appear light-hearted and playful; the faces are abstracted and the glazes are bright. The expressions, however – or lack thereof – seem quiet and serious. The external self is a crowd pleaser, but an introvert is not far beneath the surface. In Self Portrait Hair Up or Down, a handle of hair protrudes from a lumpen head like a pitcher. In Self Portrait Hair Up, a two-tiered up-do becomes a trophy cup, with multiple strands organised as handles, as if the whole team could grab one and drink from the winnings. The idea of competition contrasts with the slowness of the medium, which bears the time-stamped indentations of the artist’s hand.

Isaac Nixon’s works are formal explorations what might constitute – or substitute – a surface and a medium for painting. A recent National Art School painting graduate, Nixon sculpts small, painting-shaped objects from non-art materials: tiles, scrunched masking tape, a doona cover. Some are coated in paint or gesso, turning the materials of tape and cotton into the support in lieu of canvas or board; in the case of Tile Piece, mosaic tiles become the painted surface atop a timber support. Sensation and association are built up through the materials themselves rather than through a painted image. Domestic mosaic tiles, utilitarian packing tape, comforting bed linen. Some are soft and pliant, others rigid and unyielding, evident in their willingness or lack thereof to conform to the rectangular motif.

The etchings of Lucienne West, also a recent National Art School graduate, channel early-twenties angst through a DIY fanzine aesthetic. Words and phrases like song lyrics wend around moody portraits: ‘Time ain’t gonna cure you honey’, ‘To forget I’m missing you’. A cigarette hanging from lips, a listless figure in bed. Fragmented words and figures seem to recur between the prints, creating an instant sense of déjà-vu and complementing the nostalgic aesthetic. Etching is a gradual, cumulative process, and its combination of velvety tones and fine line detail suits the diaristic tone of this series.

Andrea Chen, a recent graduate from UNSW Art & Design, combines oral family history with animation and a documentary approach in her video work, Yi. A record of her grandparents’ experiences during the Sino-Japanese war, Yi combines archival images with hand-drawn animations that reconstruct the traumatic scenes described. In an imaginative twist, there are passages where her elderly grandparents’ faces and hands are sketched, moving in time with their recorded voices. The result is a sense of time passing, of reflection and also of the vagaries and complexities of memory. The work is specific, personal and intimate, but it also acts a historical document. This fluctuation between the personal and the universal, the intimate and the external, underpins the diverse works in this show.

artist talks


Still life painting by Queensland based artist Helene Grove will be showing at Home@735 Gallery in our Invitational exhibition. White Teapot, 2006, synthetic polymer on board is one of works from the Badger & Fox Collection – https://badgerandfoxgallery.com – we will be exhibiting opening on June 15th. Helen Grove won the Portia Geach Prize in 2013 and has been a finalist in the Moran, Wynne, Archibald and Dobell Drawing Prize.

For more information on Home@735 Invitational exhibition check my blog at http://www.anthonybautovich.com/curatingwriting/

White Teapot, 2006, synthetic polymer on board by Helene Grove.


One of the artworks from the Badger & Fox Collection we will be exhibiting in our June exhibition is Max Dupain’s Roadside Stall Princes Highway. The show opens on Thursday the 15th of June, join us for drinks from 6-8pm.

Max Dupain is one of Australia’s most revered photographers. He developed an influential style of commercial photography that emphasised the geometric forms of his architectural and industrial subjects. Born in Sydney in 1911, he lived there all his life, photographing the city from the late 1930s.

For many Australians, Dupain’s photographs define beach culture, and it was the beach that was the inspiration for his most famous and enduring images. A dedicated patriot, he believed in clearly and simply showing Australia’s way of life. His 1937 photograph ‘The Sunbaker’, shot at Bondi Beach, became an icon that enjoyed worldwide recognition.

His early work was fairly conventional pictorial imagery, but by the mid-1930s he had broken away and taken up a Modernist, realist style, experimenting with light and formal composition.

From the 1950s Dupain specialised in architectural photography, which is the finest of his professional work. He developed a close working relationship with prominent architects including Harry Seidler, Philip Cox and Glenn Murcutt.

Dupain’s philosophy could be summed up in two words, simplicity and directness. Dupain remained an adherent of black and white photography, he believed that colour was restricting in its objectivity and that nothing was left for individual interpretation.

In 1939, Dupain married photographer and childhood friend Olive Cotton, but they divorced soon after. A decade later, Dupain married Diana Illingworth and subsequently they had a daughter Danina and a son Rex, who also became a photographer. Dupain was given an OBE in the New Year’s honours list, 1981. His photographs are held in most of the major galleries around Australia and as well by private collectors world-wide. Dupain continued working until his death in 1992 aged 81.

Max Dupain (1911-1992), Roadside Stall Princes Highway, Vintage Silver Gelatin Photograph from The badger & Fox Collection.


Had a great studio visit yesterday with Sydney artist Mclean Edwards. We are thrilled to be exhibiting two of Mclean’s compelling portraits in our Invitational exhibition opening on Thursday the 15th of June.

McLean Edwards studied at the Canberra School of Art. Since that time he has exhibited his work in numerous group and solo shows including the Archibald Prize at the AGNSW in 2004, 2006, 2007, 2010 and 2013. His artworks are held in collections including 1346 Venice Collection, Australian War Memorial Museum, Canberra, Newcastle Region Art Gallery, Newcastle, Allens Arthur Robinson, Germanos Collection, Sydney, Artbank, Bond University, BHP Collection, Deutsche Bank, Hong Kong investors, PT Kodel (Indonesia), University of Queensland Art Museum and private Collections in Australia, New Zealand, UK and U.S.A.

Mclean Edwards is represented by Olsen Gallery Sydney.

Check out available paintings by Mclean Edwards at Olsen Gallery website at http://www.olsengallery.com/available.php?artist_id=630

For further information on Home@735 Invitational exhibition, check out me blog at http://www.anthonybautovich.com/curatingwriting/

Mclean Edwards’ studio in Sydney