Monthly Archive for April, 2010

An alien in the museum?

Not quite. Photographer Marinco Kojdanovski created this back-lit portrait of Cogs backstage before a performance in the Turbine Hall. Cogs is the other half of Zoe and Cogs, the museum’s mascots, He is not an alien, but a problem-solving robot. His companion, Zoe, is an inquisitive young girl who loves to visit him here at the Powerhouse where the two often embark on adventures. When he’s not performing, or standing in the shadows, Cogs occasionally undergoes a maintenance check in the museum’s workshop.

Photography by Marinco Kojdanovski
© All rights reserved

Statue of Industry

The improvements which have been made at the Centennial Park since the memorable day of dedication are marvellous. Today, the extensive grounds are covered with well-formed serpentine roads and pathways, encircling artificial lakes, and leading to what will eventually be grassy lawns and pleasant shrubberies…For the present, … the flowers exist only in the Imagination but one can see where they are to be and can, without difficulty, picture in his mind what a lovely sight will then present itself…Towards the Randwick side of the Park an area of about 20 acres as flat and level as a table has been cleared and trenched. The grass will soon spring up here and a fine expansive lawn it will be. Trees are also being planted over it…A statue in terra cotta, representing “Industry” has been allotted a pedestal, and others, representing Science and Art, the Four Seasons, etc., will be erected forthwith.
The Sydney Morning Herald, May 22, 1889, p.10.

The statue of the allegorical figure of Industry situated on her pedestal was first recorded in the 1890s. Judging from the bareness of her surrounds, this photograph may have been taken around the same time. Industry is believed to have been manufactured by Villeroy and Boch, and was located at the Randwick Gates of Centennial Park until 1971.

The original design of Centennial Park featured a total of 31 terracotta figures and statues. They were used to accentuate points of intersection and to add interest along the drives and in and around garden areas in the style of the grand gardens of Europe. Today, only five statues remain.

Originally a swamp and then set aside as land for the water source for Sydney, Centennial Park was reconstructed as a public park and opened in 1888.

Photography by Kerry & Co., Tyrrell Collection.
No known copyright restrictions

Frock Stars: inside Australian Fashion Week

This photograph was taken by Photography Manager Geoff Friend during the installation of the Frock Stars: inside Australian Fashion Week exhibition last week.

Working with the exhibition entrance architecture and available light Geoff has created an almost abstract image of angles and ghostly figures. The strong diagonals give the composition a dynamic quality and the red adds a dramatic touch of colour.

Visitors entering the exhibition walk along the red carpet to the sound of clicking of camera shutters.

To celebrate 15 years since the inaugural Rosemount Australian Fashion Week, Frock Stars will unveil the history, highlights, controversies and achievements of an event that has challenged and changed perceptions of the Australian fashion industry

Photography by Geoff Friend
© All rights reserved.

Leura railway station

Following on from the ‘Trainspotting’ photography competition, it would be good to take a trip down memory lane and revisit the beginnings of one of our beautiful railways. Located in the world heritage listed Blue Mountains, Leura was originally sparsely populated and relatively unknown. However between 1868 and 1885 a railway siding was built to transport coal from the Gladstone mines. Although Sydney has had access to a proper railway in neighbouring Katoomba since 1874; Leura railway station as we know it wasn’t constructed until between 1890 and 1891. Originally, the station was unmanned and passengers had to signal the driver if they wished to stop. However, despite this, land was bought up and the population expanded. Although coal trains still rumble past Leura station this expansion and Leura’s natural beauty have led it to become a popular tourist destination.

Post by Emma Bjorndahl, Volunteer

Photography by Kerry & Co, Tyrrell Collection
No known copyright restrictions

The 80s are back exhibition installation

During that mad bad period of the last minute arrangements for the incredible 80’s exhibition I had the rare opportunity to photograph behind the scenes. I was astounded by the magnitude of the preparations and the efficient co-operative manner in which people were working. There was a buzz of excitement that overwhelmed the underlying tension. I gazed on in awe as I saw the incredible amount of energy; resources and collaboration that were required to put together such a rich and dense exhibition. In this photograph the organised chaos is spread out as people are working hard, focussed on their task of bringing the exhibition to life.

Photography by Emma Bjorndahl
©All rights reserved
Post by Emma Bjorndahl

Anzac Day

This photograph depicts Geoffrey Hargrave, the son of the great engineer, explorer, inventor and pioneer aviator, Lawrence Hargrave (best known for his box kites), in WWI military uniform when he was around 22 years old. Like his father, Geoffrey took an interest in inventions and during his late teenage years he enrolled in an engineering course at the Sydney Technical College. He showed particular prowess in maritime technologies and sailing, as well as aeronautics, and he designed and constructed a number of models including the No 36 radial rotary engine.

Soon after the outbreak of WWI, Geoffrey was enlisted to the army in a mounted unit, but later transferred to the infantry as a machine gunner. At the beginning of 1915 he sailed for Egypt with the 2nd Australian Expeditionary Force (under the nickname ‘Stirrups’), but was transferred again to the Dardanelles in the same year. It was here that Geoffrey was killed in action on May 25, 1915.

Lest we forget.

No known copyright restrictions
Post by Melanie Pitkin, Assistant Curator

Frank Senior, Sculler

Professional sculling was a popular sport in England in the 1800’s. The love of sculling was transferred to Australia as it became incredibly popular until about 1907.

It is unsurprising that Frank with his distinctive stripes, open gaze and sinewy arms was considered a worthy subject for a photograph as sculling drew incredible crowds. At its peak, not only did sculling draw crowds of up to 100,000, but as bets were made it also became a big money earner for the growing gambling industry.

Post by Emma Bjorndahl

Photography by unattributed studio, Tyrrell Collection.
No known copyright restrictions.

Out of the ordinary…

Sometimes the most ordinary of objects, when photographed in an extraordinary way, can appear both mysterious and interesting. This big close up of a group of coat hangers, which transforms them into an intriguing abstract composition of wood and steel, was taken by Marinco Kojdanovski using a hand-held Canon EOS 1DS Mark 3 camera. Marinco was shooting at the studio of designer Nicola Finetti, on assignment for the current exhibition, Frock Stars: Inside Australian Fashion Week.

Photography by Marinco Kojdanovski
©All rights reserved

Frock Stars: inside Australian Fashion Week

The Museum has been a hive of activity this week leading up to the opening of Frock Stars: inside Australian Fashion Week. On Monday, Photography Manager Geoff Friend captured this behind the scenes installation shot that shows two conservators attaching an arm to a mannequin on the catwalk, the centrepiece of the exhibition.

To celebrate 15 years since the inaugural Rosemount Australian Fashion Week, Frock Stars , open from today, will unveil the history, highlights, controversies and achievements of an event that has challenged and changed perceptions of the Australian fashion industry.

Photography by Geoff Friend
© All rights reserved.

A sweet transvestite from Transsexual Transylvania

Australia was the third country in the world (after the UK and the USA) to produce The Rocky Horror Show play which was adapted into the movie The Rocky Horror Picture Show in 1975. The model in this photograph is actor Max Phipps who played the lead role of Dr Frank N. Furter for the play’s 18 month run in Melbourne from 1975 to 1977. Phipps is also known for playing The Toadie in the Mad Max 2 film released in 1981.

The dense black backdrop of this image, used by Bruno Benini in many of his photographic portraits, is a perfect contrast to the bright spotlight framing of the actor. This combination, along with the upward angle of the camera, effectively displays the power and drama of the moment, appropriate for a publicity shot for the opening of the play in Melbourne in October 1975. The photograph is part of the Bruno Benini photography archive acquired with funding assistance from the Australian Government through the National Cultural Heritage Account in early 2009.

Photography by Bruno Benini © Estate of Bruno Benini

Post by Clare Plascow, Curatorial volunteer