The Photographers' Gallery and Workshop

For the London gallery, see The Photographers' Gallery.

The Photographers' Gallery and Workshop (1973–2010) was an Australian photography gallery established in South Yarra, Melbourne, and which ran almost continuously for nearly 40 years. Its representation, in the 1970s and 1980s, of contemporary and mid-century, mostly American and some European original fine prints from major artists was influential on Australian audiences and practitioners, while a selection of the latter's work sympathetic to the gallery ethos was shown alternately and then dominated the program.

Other uses

An unrelated space also called "The Photographers' Gallery" ran for three years from 1989–1992 in Brisbane;[1] another, the Photographer's Gallery [sic], was operating in Sydney in the c.1993-2000s at 96 Reserve Road, Artarmon,;[2] and the 2006 Head-On Portrait Prize Exhibition was held in Balmain, also in Sydney at a short-lived venue called "The Photographers Gallery".[3]

History

William Heimerman director of The Photographers' Gallery and Workshop at the door of the gallery, photographed by Jeff Busby, c.1980

Paul Cox, Ingeborg Tyssen, John F. Williams[4] and Rod McNicol[5] founded[6] The Photographers' Gallery and Workshop in 1973[7] at 344 Punt Road, South Yarra[8] in an 1888 two-storey fruiterer's shop and dwelling (originally a bootmaker's) in the 'Sharp's Buildings' terrace,[9][10] rented since 1965 as a photographer's studio and accommodation by Paul Cox,[11] who from 1969–c.1980 taught cinematography at Prahran College.[12]

It was the second gallery devoted to photography to be established in the city after Rennie Ellis' and Robert Ashton's Brummels Gallery, which was started in 1972 less than a kilometre away,[13] and before the Church Street Photography Centre run by Joyce Evans in neighbouring Richmond (1976).[8]

Gallery

Ian Lobb,[14][15][16] an Australian born in 1948, who had undertaken workshops with Ansel Adams and Paul Caponigro,[13][17] took over the Gallery in late 1974.[18] Also that year, Lobb was teaching photography at Coburg Technical School with Carol Jerrems,[19] and they met American Bill Heimerman (born 13 January 1950) who was teaching English at the same institution and was renting rooms above the gallery; the two inspired Heimerman's interest in photography. Lobb mounted his first exhibition as director at the beginning of 1975. He and Heimerman became co-directors of the gallery from the beginning of 1976. Beside some government funding and sales, both financially supported their roles through teaching, Heimerman being next employed at Brighton Technical College, where he and other staff members established a photography program, and then at the Council of Adult Education. Critic and photography lecturer Tony Perry noted Heimerman's 'detached, informed view of photography'.[20]

Lobb and Heimerman showed some local work, but pursued high profile international, mainly American and some European, photographers for exhibitions.[21] The first exhibition of international photography at the gallery was that of Paul Caponigro in 1975 which sold 22 prints, after which success the gallery was closed for renovations and while Heimerman made a trip to the US to secure more shows. After the refurbishment Melbourne Times critic Wendy Harmer described the space as "an oasis of pristine white walls and warm, polished wood.[22]

Workshop

As well as exhibitions, and from the outset, workshops were held in the gallery building from which part of the funding for the enterprise was derived. The two floors of the terrace building accommodated a two-person darkroom available for film development and printing, and a demonstration room with 6-8 student capacity. Printing for exhibitions was offered. Technical instruction for beginners and in the Zone System for those more advanced was provided at first by Australian photographer Steven Lojewski in 1976. Evening classes ran for ten weeks. By 1977 Heimerman and Lobb had organised the first workshop to be conducted in Australia by an American photographer, Ralph Gibson, and sponsored another, of 6 days by William Clift in May 1978 (costing participants $200),[23] before Lobb left to pursue his own photography later that year. Jeff Busby, who also exhibited at the gallery, took over later as Heimerman's assistant.[22]

Among the more recent workshops was 'How Joshua Greene Saved Marilyn Monroe: Techniques to Rehabilitate Ageing Photographs and the Art of Digital Printing', held on 26 November 2002 by the son of Milton H. Greene who photographed Monroe.

In addition to its activities at its own premises was the Gallery's organisation and sponsorship of seminars by international photographers, which began with Ralph Gibson's on 11 August 1977 at Prahran College, then that of Harry Callahan, held on 20 November 1979 at the Prahran Recreational Centre, 147 High Street with also a workshop at the Gallery.[24]

Ethos

By showcasing the silver gelatin 'fine print' Lobb and Heimerman hoped to improve Australian work by example,[25] as Lobb observed,

"From 1975, every second show was an international show [. . .][26] The initial philosophy was simply to let people see the physical difference between the production of prints overseas and locally."[25]

In 1981 however, The Age newspaper listed the gallery's aims as being;

"to show international photography as well as supporting young Australians who are exploring new areas of creative and conceptual photography.[27]

Reception

Curator Joyce Agee in 1988 noted that, with feminist photography on the ascendant, the gallery's ambitions irritated some Australian women photographers;

In the 1970s, Micky Allan, the late Carol Jerrems, Ruth Maddison, Sue Ford and Ponch Hawkes, reacting against the technocratic and patriarchal American West Coast 'fine print' tradition then being promoted by The Photographers' Gallery in Melbourne, began to use photography as an intimate expression of their individual concerns.[28]

Nevertheless, Jerrems[29] was amongst the first exhibitors at the Gallery, showing there four times before her premature death in 1980. Noted women's activist Beatrice Faust, who reviewed many of the gallery's shows from 1976-88 in The Age newspaper, was supportive in her critiques, and in September 1987 hosted Beatrice Faust Curates: From Boubat to Fereday at the gallery featuring male and female photographers.[30][31]

Certainly women exhibiting were outnumbered by men in a ratio of nearly 10:1 until the 90s, after which they appear on a more equal footing (see below).

The Gallery's concentration on American photography in its early years was not in isolation and was prompted as much by interest in international photography amongst Australians as by Heimerman's own contacts in the US, and paralleled international touring exhibitions of Bill Brandt in 1971, and the French Foreign Ministry's major exhibition of Henri Cartier-Bresson in 1974. Joyce Evans' Church Street also presented work by American's Minor White, Jerry Uelsmann, Les Krims and others.[32]

In mid-1978, the gallery extended a call in the pages of the magazine Light Vision to Australian photographers to submit work for a survey that was to be a traveling exhibition. The final selection, featured in the journal in a double number, 6 and 7, titled 'Special Australian Edition', issued October 1978 with two samples across double-page spreads of each of 21 photographers, many represented and selected by the Photographers Gallery, among them a number who were also 'Correspondents' for Light Vision at the time.[33] Editor Jean-Marc Le Pechoux acknowledged the cooperative nature of the venture in his editorial, and in her introduction Memory Holloway emphasised the breadth of the selection; "...a plurality of techniques, ideologies and styles; social documentary; pictorial, surreal landscapes; nudes; portraits; straight photography." Four of the 21 contributors were women, but the exercise marked a shift in the program toward a gender-inclusive representation of Australian photographers of diverse styles and often radical attitudes to picture-making and photographic printing and presentation.[34]

Tony Perry, who reviewed shows there 1978-80, was complimentary of contributions by William Heimermann and the 'Photographers Gallery' to Australian Photography in his article 'Australia: looking for a photographic identity',[35] as was Peter Turner's interview with Paul Cox in Light Vision.[36]

In 1981, The Age newspaper critic Geoff Strong, in reporting on the imminent closure of Joyce Evans' Church Street gallery, noted that The Photographers' Gallery was also facing tough times during a recession,[37] rising unemployment[38] and a general downturn in the fortunes of art galleries;

"Across the river in Punt Rd., South Yarra, Bill Heimerman sits in a back room of his Photographers' Gallery. He has just mounted an exhibition from the Dutch surrealist photographer Paul De Nooijer but it remains in darkness five days a week because he says, he cannot afford the electricity bills. He says his phone had been disconnected and he is looking for a job as a night janitor or a checkout operator in a Seven-Eleven store so he can pay the rent and keep the place open."[39]

The status and purpose of the Photographers' Gallery over its long tenure continued to evolve. Critic Beatrice Faust, a supporter of the gallery since its inception, in The Age in January 1990 observed;

"For several years now, Artist's Space has taken over the role established by the Photographers' Gallery; to provide a space for the exhibition of photographers' photographs–as distinct from the painterly kind."[40]

Nevertheless, the Gallery was to survive for another twenty years.

Closure

The gallery was closed in 2010 and sold in 2015,[41] and after a period of failing health, Bill Heimerman died on 1 October 2017.[26][42]

Legacy

In the 1970s, with the decline of the pictorial magazines and a consequent crisis in photojournalism and documentary photography,[43][44] a revival of the pre-WW2 interest in photography as a fine art was a world-wide phenomenon, as it was in Australia.[45] In 1972, Beatrice Faust, in reviewing Two Views of Erotica: Henry Talbot/Carol Jerrems at Brummels Gallery in Nation Review urged;

"There is no reason why photographs cannot be sold like prints, in numbered editions, and the trend to do this is worldwide. New York's Museum of Modern Art has had a section for photographic art for years, and a couple of these have found their way to Melbourne's National Gallery, which is the only one in Australia to have a department of photography.[46]

The Photographers' Gallery and Workshop, because of its policy of sourcing and promoting established international work of a high standard, was well placed when percipient private collectors were entering the market in fine photographic prints, and major Australian institutions were initiating collections of photography.

The inaugural curator of the new photography department Jennie Boddington at the newly (1968) re-housed National Gallery of Victoria; Alison Carroll and Ian North of the Art Gallery of South Australia[47] (which had begun to collect photography as a distinct discipline from the mid-1920s, its building expanded in 1962, refurbished 1979); and David Moore and Wes Stacey at the Australian Centre for Photography (est. 1973); all purchased from the Photographers' Gallery, with special interest in American and European works, along with the National Gallery of Australia, which though not built and opened until 1982, had started a photography collection in 1972.[48][49] Its director James Mollison turned the sponsorship of the tobacco company Philip Morris International to the acquisition of Australian photography.[50][51][52] These sales contributed significantly to the standing and survival of the Gallery, particularly in its early years of the 1970s and 1980s.^[citation needed] An archive of The Photographers' Gallery and Workshop is maintained by Heimerman's partner, Barbara Derrick.^[citation needed]

Exhibitions

• 2006, 24 November – 1 December: Tom Putt Photographic Workshops Annual Exhibition
• 2006, 21 October – 19 November: Rotation II
• 2005, 24 August – 9 September: Lynton Crabb, The Boy From PNG[53]
• 2005: Defining the Fine Print
• 2004, 15 June – 2 July: Greg Sims, Up the Road
• 2004, 13–28 May: Najda Sue Macdermid, Karen Rawady, Gina Milicia, Jacquie Winder, Gaynor Manning. Presented as part of the Next Wave Festival
• 2004, January–February: Peter Leiss, War Fever: 50 Images of Urban America, 1992–1994
• 2003, 3–20 April: Neil Howe: Bodyscapes II[54][55]
• 2003, 13–23 March: Serendipity
• 2002, 2–22 December: Derrick Lee and Ray Moles The Rainforest and Beyond
• 2002, 31 October – 1 December: Marilyn Monroe: Sixty images by Milton Green[56]
• 2002, 10–27 October: Protection: combined works by Francesca Golotta and Maurizio Golotta
• 2002, July; Joel Meyerowitz: After 11 September: Images from Ground Zero[57][58]
• 2002, 23 April – 12 May: Craig Roberts, Foundations
• 2002, 4–21 April: Rob Love, Water Sky and Flowers[59]
• 2002, 7–24 March: David Tatnall, Himalaya[60]
• 2002: The Salon Show
• 2001, 6–23 December: Works In Transition Artists: Steve Petrov, Diane Kitanowski, Roland Lawrence, Zoran Vasileveski, Robin Rosenfeldt
• 2001, 20 November – 2 December: Tulsi Jones, Gujarat: Stories from the Earthquake
• 2001: 19 July – 5 August: Robyn Rosenfeldt, Cuba[61]
• 2001, 3–20 May: Konrad Winkler and Julie Goodwin: Baby Blues and Housewife Hues: Photographs and Drawings[62]
• 2001, 7–31 March: Still Moments
• 2000 Neil Howe: Bodyscapes[54]
• 2000, 12–29 October: The Nature of Things. Artists: Nigel Clements, Myer Bloom, Mick Sirianni, Gayle Slater, Gay Clarke, Kevin Birks, Stuart Murdoch, John Muller, Virginia Stobart, Chris Manteris, Gillian Martin, Gavin Liddle
• 2000, 28 September – 8 October: Jeremy Angerson presents Dreamasaurus. Photographers: Allison Adamson, Kata Bayer, Chris Beck, Eric Blaiche, Bournou Photography Designs, Andrew Chapman, Andy Dunbar, Josh Ellis, Rennie Ellis, John Gollings, Vanessa Hall, Grant Hancock, David Johns, Tard Johnston, Stuart Kerne, Ian Lawrence, Jason Lucas, Katherine Mandie, David Marks, Mercury Megaloudis, Ned Meldrum, Pru Miller, Gerard O'Conner, Lesley O'Donnell, James Pepino, Peter Rozetsky, Marco Sacchi, Jason South, Rod Stewart, Leanne Temme, Serge Thomann, Andy Vuksova, Dale Wright, Taek Yang, Yatzek, Jack Zarafian[63]
• 2000, 14–24 September: Circles of Confusion: a photographic exhibition Artists: Evan Collins, John Muller, Chloe Holder, Livia Milazzo, Mirjana Josik, Hedy Ritterman, Virginia Stobart[64]
• 2000, 3–20 August: Melissa McVeigh, Kashgar Market
• 2000, 13–30 July: Juan Carlos D'Abrera Syncytium[65]
• 2000, 26 May – 11 June: Chelsea Anne Fitzgerald, Night Queens[66]
• 2000, 12–29 April: Nathan Miller, Here, There and Everywhere
• 2000, 23 March – 9 April: Lisa Saad: Ex: the Exhibition[67][68]
• 2000: 10–27 February: Millennium.com: Thirty Contemporary Australian Photographic Artists Point and Shoot at the New Millennium[69]
• 1999, 4–21 November: Zoe Ali, Mozambique
• 1999, 24 September – 10 October: Ellie Young, For Lylee[70]
• 1999 Stuart Murdoch: Sight Insight Site[71]
• 1999, 12–29 August: Mary Fennessy, Julie Marchant, Suzanne Neale and Pamela Young, Transitions[72]
• 1999, 22 July – 8 August: Nudes, incl. photographers Gordon Bunyan and Martin Barrie
• 1999, 10–27 June: Roxanne Oakley Scratching the Surface[73][74]
• 1999, 20 May – 6 June: La Trobe University, Bendigo, Photography and Photojournalism. Irene Brereton, Jodie Clough, Jade Denton, Harry Palmer, Matthew Wickham, Ron Brown, Tom Campbell, Glenda Hooper, Name Salmon, Brad Wileman, Michael Harkin, Amanda Parker
• 1999, 29 April – 16 May: Gayle Slater, Continuum
• 1999, 8–25 April: Debra Pleuckhahn
• 1999, 18 March – 4 April: Andrea Paton, The Red Tent
• 1999, 25 February – 14 March: Synergy. Artists: Chris Lim, Deanna Ross, Susan Grdunac, Ellie Young, Bronwen Hyde, Marryanne Christodoulou, Kalli Karvelas, Berenger Marin Dubuard, Roxanne Oakley
• 1998, 1—20 December: Deanna Ross The Street is a Stage
• 1998, 12–29 November: Matthew Sleeth Roaring Days exhibition and book Launch
• 1998, 22 October – 8 November: Contemporary Australian Artists, The William Heimerman Collection. Artists: Amy Barker, Peter Barker, Robert Besanko, John Billan, Tiffany Bishop, Warren Brenninger, Marcus Bunyan, Francis Busby, Jeff Busby, Kerry Clark, Christine Cornish, Daniella Donate, Rennie Ellis, Greg Elms, Francesca Golotta, Fiona Hall, Kylie Hamill, William Heimerman, Bill Henson, Carol Jerrems, Christopher Koller, Peter Leiss, Jean Marc Lepechoux, Ian Lobb, Rosemary Mckeoun, Denise Moore, Paul Nadalin, Harry Nankin, Susan Purdy, Karen Rawady, Katherine Reeves, Kaye Rentil, Allison Ross, Mic Siranni, Gayle Slater, Anke Stacker, Virginia Stobart, Colin Vickery, Les Walkling, Konrad Winkler[75]
• 1998, 1–19 October: G.A.S.: La Trobe University, Bendigo Media Arts students
• 1998, 17–27 September: Photographic Imaging Centre Annual Staff Exhibition.
• 1998, 20 August – 6 September: Second Series: Photographs by Konrad Winkler
• 1998: 30 July – 16 August: Three Suites: Colin Vickery, Susan Purdy, John Billan
• 1998: 13–29 July, the Gallery was closed for renovations
• 1998: 12, 1 July:00pm–5:00pm: Photographs by graduates of the 1998 M.33 Linden Documentary Workshop: The Blue Tak Show[76]
• 1998, 28 May – 14 June: Carolyn Cliff, Natures[77]
• 1998, 7–24 May: Virginia Stobart[78]
• 1998, 20 April – 3 May: Marcus Bunyan, Kim Lawler, Andrew McLaughlin, Jane McLennan, Darkness/Colour[79]
• 1998: 28 March – 16 April: Cassandra Tombs, 365
• 1998, February–1 March: Charmaine Hardy and Tanya Sarkies She's Lovely[80]
• 1997, 27 November – 14 December: Denise Moore, Journey From Antiquity, Italy, 1997, A folio of Impressions
• 1997, 25 September – 13 October: Photographic Imaging College staff show
• 1997, 21 August – 7 September: Essence: Transcendental Works by Colin Vickery[81][82]
• 1997, 31 July – 17 August: Kay Rintel, Flowerings
• 1997, 28 May – 15 June: Philip Quirk[83]
• 1997, 29 May – 15 June, Kerry Clarke, Yemen: Images of the Middle East[84]
• 1997 8–25 May, Konrad Winkler, Family and Friends
• 1997, 17 April – 4 May, Peter Leiss, Prague: Identification by Blood
• 1997, 27 March – 13 April, John Cato Retrospective^[citation needed][85]
• 1997, 6–23 March Konfir Kabo, Ordinary Dreams
• 1996, 28 November – 15 December: Stuart Murdoch: ...as a log book stands to a journey[71]
• 1996, 7–24 November: 20th Anniversary Exhibition Ralph Gibson, Ian Lobb, Marcus Bunyan, Harry Callahan, Christopher Koller, Aaron Siskind, Gayle Slater, Paul Caponigro, Francis Busby, Hans Namuth, Les Walkling, Lisette Model, Greg Elms, Larry Clark, Kylie Hamill, Wyn Bullock, Rosemary McKeoun, William Clift, Jeff Busby, Duane Michals, Rennie Ellis, Karen Rawady, Edouard Boubat, Carol Jerrems, Eikoh Hosoe, John Cato, Peter Leiss, William Eggleston, Robert Besanko, Paul Nadalin, John Divola, Colin Vickery, Eliot Porter, Warren Brenninger, Emmet Gowin, Bill Henson.
• 1996, 5–22 September, Marcus Bunyan, All Natural Fibres[86]
• 1996, 2–19 September: The Big Picture: a photographic exhibition by the staff of Photographic Imaging College. Artists; Daniel Bacon, Peter Barker, Kevin Birks, Myer Bloom, Gay Clarke, Nigel Dements, Chris Manteris, Stuart Murdoch, Mick Siranni, Gayle Slater[71]
• 1996, 15 August – 1 September: Salon '96: a collection of photographers showing trends from the 70s, 80s and 90s
• 1996, 25 July – 11 August, Allison Ross, The Union of Psyche and Eros[87]
• 1996, 4–21 July, Photographs by David Showler and Glenn Sloggett, co-curator: Louisa Ragas.[88][89]
• 1996, 23 May – 9 June, Maxienne Young, Experiences in Time
• 1996, 9–19 May, Moses Tan, Journey to Jerusalem
• 1996, 11–28 April, Lyn Pool, Bloom[90]
• 1996, 21 March – 7 April, Colin Vickery: Presence[81][91]
• 1996, 29 February – 17 March, Rennie Ellis: Further Observations[92]
• 1996, 8–28 February: Marion E. Hill, Bearing the breast: photographic images of breast cancer[93]* 1996, 8–25 February, Marion Hill
• 1995, 30 November – 17 December: Glenn Guy, Ancient Images[94][95]
• 1995, 2–12 November: Kylie Hamill, Into the Looking Glass
• 1995, 8–22 October: The public Bar: Three photographers' documentation of the public bar in North Melbourne[96]
• 1995, 7 September – 1 October; Jeff Busby[97]
• 1995, 17 August – 3 September: Harry Nankin: Acts of Ritual[98][99]
• 1995, 20 July – 6 August: Francis Busby
• 1995, 29 June – 16 July: Sandra Taylor, Labyrinth
• 1995, 8–25 June : Kathryn Reeves Reeves 95
• 1995, 18 May – 4 June: Daniela Donati, Restoration
• 1995, 27 April – 14 May: A Collector's Choice
• 1995, 30 March – 23 April: Peter Leiss
• 1994, 27 October – 13 November: Marcus Bunyan, Inevolution
• 1994, 7–24 July: Michael Goldsmith 6,7,8,
• 1994, 21 April – 8 May: Francesca Golotta, In Bocca Al Lupo: In Good Faith
• 1994, 31 March – 17 April: Paul Nadalin Platinum Prints
• 1994: The Collection
• 1993 Greg Wayn, In Industrial Light[100]
• 1993, 21 October – 28 November: Christopher Groenhout[101]
• 1993, 7–17 October, Marcus Bunyan: The naked man fears no pickpockets.[102]
• 1993, August: Brighton Bay graduate exhibition, Separate Distractions Pt.1[103]
• 1992, 4–19 December: Peter Leiss, The Romper Stomper Series[104]
• 1992: First year photography, RMIT Bundoora, Points Of Departure[105][106]
• 1991, 27 September – 6 October: Myopia: The Photographic Imaging Centre's Staff Exhibition Artists; Peter Barker, Kevin Birks, Myer Bloom, Gay Clarke, Werner Hammerstingl, Carolyn Deutsher, Chris Manteris, Stuart Murdoch, Mick Siranni, Gayle Slater
• 1991, 16 May – 9 June: John Werrett
• 1990: Next Wave Festival show
• 1989, November: Unconscious Collective: works by graduates of Melbourne University Institute of Education[107]
• 1989, 20 July – 27 August: Jacqueline Mitelman, Jeff Busby, Greg Elms, Peter Leiss, Resurgence
• 1989, 25 May – 24 June: Benefit Exhibition
• 1988, December: Peter Leiss, Regression[108][109][110]
• 1988, 11–19 November: Dean Petti, Landscapes of the Lancefield Region[111]
• 1988 Rod McNicol[112]
• 1987, 5–15 November: M.C.A.E Final Year Photography Students Peter McDougall, Celina Loren-Rymaszewska, Barbara Syme, Rosemary Connors, Marina Grubelich, Parallax
• 1987 Warren Breninger[113]
• 1987, 13 September – 4 October: Beatrice Faust Curates: Boubat to Fereday
• 1987, 9 July – 1 August: Francis Busby
• 1986, 31 July – 24 August: Nicholas Nixon[114]
• 1986, 3–27 July, Australian group show[114]
• 1986, 5–29 June: Reece Vogel[114]
• 1986, 1–25 May: John Gollings[114]
• 1986, 3–27 April: Emmet Gowin[114][115]
• 1986, 7–28 February: Three Views, Grant Matthews, Paul Murphy, Paul Torcello[116]
• 1984, 28 November – 16 December: Christopher Köller, Zen Zen Chigau[117][118]
• 1984, 13 October – 4 November: Jeff Busby, Dance Photographs[119]
• 1984, 10 May – 3 June: Jeff Busby, Photographs[120]
• 1984, April: Francis Busby[121]* 1984 Tim Handfield: Australian Colour Photographs[122][123]
• 1983 Warren Breninger There is No Escape 1971–1983[113][124]
• 1983, 15 September – 16 October: Ian Lobb, Photographs 1979-1983
• 1983, July; David Blount[125]
• 1983, 24 March – 24 April: Steven Lojewski, Sydney Photographs 1981–1983[126][127]
• 1983: Peter Leiss, Metropolis[128]
• 1982, 15 October – 7 November: Tony Perry
• 1982, 17 September – 9 October: Tim Handfield[129]
• 1982, 6–29 August: Jeff Busby[130][123]
• 1982, to 23 May: Les Walkling[131]
• 1982, 12 March – 13 April: Hans Namuth, Jackson Pollock[132]
• 1981, to 13 December: Paul De Nooijer[133]
• 1981, 25 September – 1 November: August Sander[134][135][136][137]
• 1981, 24 July – 13 September: Duane Michals[138]
• 1981, July: Lin Bender[139][140]
• 1981, 16 April – 13 May: American Photographers: Lisette Model, William Eggleston, Ralph Gibson, Larry Clark[141]
• 1981, 5–29 March: Christopher Köller[142]
• 1980, 28 November – 14 December: Don Sharpe, Vietnam Revisited[143][144]
• 1980, 31 October – 23 November: Graham Howe[145][146]
• 1980, 15 October – 7 November: Tony Perry
• 1980, August: Lisette Model[147]
• 1980 John Divola[148]
• 1980, 10 July – 8 August: Tim Handfield, Colour Photographs[149]
• 1980, 6 June – 6 July: Lee Friedlander[150]
• 1980, 25 April – 25 May: John Divola, Zuma[151]
• 1980, 21 March – 20 April: Édouard Boubat[152]
• 1980, 7 February – 8 March: Tony Perry[153]
• 1979 Greg Wayn[100]
• 1979, 16 November – 16 December: Eikoh Hosoe, Ordeal by Roses[154]
• 1979, 12 October – 11 November: Ian Lobb
• 1979, September–October: Larry Clark[155][156]
• 1979, August: William Eggleston[157]
• 1979 Tim Handfield: Recent Work
• 1979, 25 May – 24 June: Benefit Exhibition. Photographers: Greg Wayn, Brett Weston, Les Walkling, Paul Caponigro, Edna Bullock, Wynn Bullock, Aaron Siskind, John Cato, Ralph Gibson, Robert Besanko, Boone Morrison.[20]
• 1979, 13 April – 20 May: Franco Fontana
• 1979, 9 March – 8 April: Paul Caponigro[158]
• 1979, 8 February – 4 March: Nigel Clark
• 1978, 16 November – 17 December: Jerry Uelsmann
• 1978, 19 October – 12 November: Robert Cumming
• 1978, 21 September – 15 October: Les Walkling
• 1978, 17 August – 17 September: Harry Callahan[159][160]
• 1978, 20 July – 13 August: New Australian Work. Artists: Gerard Groenveld, Bill Henson, Vivienne Hale, David Ellis, Fiona Hall, Ian Cerchi, Stephen Roach, Penny Malone, Peter Charuk, John Adair, Rod McNicol, Jon Macmichael, Christine Cornish, Frank Busby, Greg Wayn, Rod Trinca, Paul Krieg, Geoff Strong, Wayne Fimeri, Sandy Edwards[161]
• 1978, 15 June – 16 July: Ralph Gibson: Colour Work
• 1978, 18 May – 11 June: Four Australian Women: Carol Jerrems, Christine Godden, Christine Cornish and Jenny Aitken[162][163]
• 1978, 13 April – 14 May: Emmet Gowin
• 1978, 9 March – 9 April: Eliot Porter[164]
• 1978, 2 February – 6 March: Robert Besanko[165][166][167]
• 1978 Carol Jerrems[168]
• 1978 Christine Godden[169]
• 1977, 17 November – 12 December: Aaron Siskind[170]
• 1977, 20 October – 13 November: Oliver Gagliani
• 1977, 22 September – 16 October: William Clift[171]
• 1977, 25 August – 18 September John Cato^[citation needed]
• 1977, 29 July – 22 August: Ralph Gibson[172]
• 1977, 1–25 July: Boone Morrison
• 1977, June: Paul Hill[173]
• 1977 Wynn Bullock (1977),[174]
• 1976, 2 September—10 October: Steven Lojewski Slender is the Thread[175]
• 1976, August: Paul Caponigro
• 1976/7, December–January Rennie Ellis and Carol Jerrems: Heroes and Anti-Heroes[176][177]
• 1976, November: Brett Weston[178][179]
• 1976 Marion Hardman[180]
• 1976: Jon Rhodes and Peter Leiss, Images of India
• 1975 Carol Jerrems[168][181]

The Gallery under the management of Cox, Williams, McNicol and Thyssen held exhibitions including

• 1975, March: Human Still Lives, Paul Cox[6]
• 1973, October: Gerard Groeneveld[182]

Other solo or group exhibitions at the Gallery[21][183] presented photographers Paul Hopper and Ingeborg Tyssen. In 1982 The Photographers' Gallery presented Aaron Siskind at Reconnaissance in Fitzroy in a joint venture.[184]

References

1. "The Photographer's Gallery". ARI Remix: Living Archives, Artist-Runs 1980 to NOW. 2 October 2015. Retrieved 4 December 2019.
2. Sydney Morning Herald 28 July 2000 page 66
3. "About Sally McInerney, citing her winning of the 2006 Head-On Photography Prize". sallymcinerney.com. Retrieved 4 December 2019.
4. Williams, J. F.; McFarlane, Robert; Newton, Gael (2004), Line zero, photo-reportage 1958-2003, University of New South Wales Press, ISBN 978-0-86840-487-5
5. McNicol gives the year of establishment as 1975 in McNicol, Roderick (2014), The existential portrait, Monash Gallery of Art, ISBN 978-1-876764-45-6
6. Anne Latrielle 'Pictorial gallery open today,' in The Age, Wed, 5 March 1975, Page 18
7. "Fotograaf wint met inzending tocht rond de wereld". Dutch Australian Weekly. Vol. 23, no. 4. New South Wales, Australia. 26 October 1973. p. 2. Retrieved 20 November 2019 – via National Library of Australia.
8. Paul Taylor and Sebastian Costanzo, 'A Melbourne Gallery Guide,' The Age, Friday 7 August 1981, p.45
9. "Advertising". Jewish Herald. Vol. XVI, no. 407. Victoria, Australia. 30 September 1895. p. 13. Retrieved 20 November 2019 – via National Library of Australia.
10. "Family Notices". Leader. No. 30[?]2. Victoria, Australia. 4 July 1914. p. 60. Retrieved 20 November 2019 – via National Library of Australia.
11. Cox, Paul (1998), Reflections : an autobiographical journey, Currency Press, pp. 76–82, ISBN 978-0-86819-549-0
12. Cox, Paul (1969), No title (Elderly woman smoking), retrieved 20 November 2019
13. Geoff Strong, 'The Melbourne Movement: fashion and faction in the 1970s'. In Bennett, David; Agee, Joyce (1988), The thousand mile stare : a photographic exhibition, The Victorian Centre for Photography, ISBN 978-0-7316-2054-8
14. Crombie, Isobel; Byron, Sandra (1990), Twenty contemporary Australian photographers : from the Hallmark Cards Australian Photographic Collection, National Gallery of Victoria, ISBN 978-0-7241-0142-9
15. Lobb, Ian (1900), [Ian Lobb : Art & Artist Files (Australia and New Zealand)], retrieved 23 September 2019
16. "Ian LOBB". ngv.vic.gov.au. Retrieved 23 September 2019.
17. Ennis, Helen (2007), Photography and Australia, Reaktion Books, p. 115, ISBN 978-1-86189-323-9
18. Crombie, Isobel; Davidson, Kate; Ennis, Helen (1987), Living in the 70s : Australian photographs, Gallery 11, 13 June to 13 September 1987, Australian National Gallery, retrieved 23 September 2019
19. "Bill And Ian by Carol Jerrems, Aust on Josef Lebovic Gallery". Josef Lebovic Gallery. Retrieved 23 September 2019.
20. Tony Perry, 'Striking quality from 22 top photographers.' In The Age, Friday, 15 June 1979, p.2
21. Robert Deane, 'FOREIGN INFLUENCES iN AUSTRALIAN PHOTOGRAPHY 1930-80', A lecture delivered at APSCON, National Gallery of Australia 10 October 2000, Canberra
22. Wendy Harmer, 'Life through the lens.' In The Melbourne Times, 24 February 1982, p.11
23. Gallery brochure, 1978
24. "Timeline: Curating Photography". Retrieved 10 November 2019.
25. "Timeline | Curating Photography". Retrieved 22 September 2019.
26. Tony Perry, 'Australia: Longing for a photographic identity'. In Print Letter No.25 Jan/Feb. 1980 Vol 5 N0.1 p.8- 9
27. Brigid Cole-Adams, 'Dealing in the world of Asian and tribal art, The Age, Tuesday 10 Feb 1981, p.18
28. Joyce Agee, 'Introduction'. In Bennett, David; Agee, Joyce (1988), The thousand mile stare : a photographic exhibition, The Victorian Centre for Photography Inc, ISBN 978-0-7316-2054-8
29. Jerrems, Carol (1974), Fraser, Virginia (ed.), A book about Australian women, Outback Press, ISBN 978-0-86888-007-5
30. Wolfe, Ross (1995), Samstag : the 1995 Anne & Gordon Samstag International Visual Arts Scholarships, University of South Australia, ISBN 978-0-86803-134-7
31. Moorhouse, Kaye (1990), Palimpsest, University of Tasmania, ISBN 978-0-85901-455-7
32. Deane, Robert (10 October 2000). "Foreign Influences in Australian Photography 1930-80: A lecture delivered at APSCON, Canberra" (PDF). Photo-web.
33. Hammerstingl, Werner (2007). "Social Politics in Australian Photography". Olinda. Retrieved 6 February 2020.
34. Light vision, combined issues 6 and 7, Light Quest Publications, October 1978, ISSN 0314-867X
35. Print Letter, M. Misani, 1976 No.25, Vol.5 No.1
36. Light Vision No.2, pp 24-29.
37. Gittins, Ross (5 December 2014). "The lessons we have learned on recession". The Sydney Morning Herald. Retrieved 8 February 2020.
38. Parkinson PSM, Dr Martin (5 December 2014). "Reflections on Australia's era of economic reform. Address to the European Australian Business Council" (PDF).
39. Geoff Strong, 'In a dark age behind the camera,' in The Age, Monday, Nov 30, 1981, page 10
40. Beatrice Faust, 'A year of garlic and sapphires: Photography flourished in 1989 but not as a paying artform, says BEATRICE Faust,' in The Age Friday 5 Jan 1990, p.10
41. "344 Punt Road, South Yarra VIC 3141". realestateVIEW.com.au. Retrieved 23 September 2019.
42. Bradley, Louise (30 January 2018). "Photographer brought excellence to gallery". The Sydney Morning Herald. Retrieved 23 September 2019.
43. Allan, Stuart, ed. (2017), Photojournalism and citizen journalism : co-operation, collaboration and collectivity, Routledge, p. 320, ISBN 978-0-415-79246-2
44. Cookman, Claude Hubert (2009), American photojournalism : motivations and meanings, Medill School of Journalism, Northwestern University Press, ISBN 978-0-8101-2358-8
45. Ennis, Helen (2007), Photography and Australia, Reaktion Books, pp. 99, 116, 118, ISBN 978-1-86189-323-9
46. Beatrice Faust, "Erotica", Nation Review, 15–22 December 1972, p. 288.
47. admin-GAG. "IAN NORTH". GAGPROJECTS ADELAIDE / BERLIN. Retrieved 10 November 2019.
48. Newton, Gael (June 2012). "Occasional papers: Department of International and Australian Photography" (PDF). National Gallery of Australia.
49. National Gallery of Australia; Green, Pauline (2003), Building the collection, National Gallery of Australia, ISBN 978-0-642-54196-3
50. Mollison, James (1979), Australian photographers : the Philip Morris Collection, Philip Morris (Australia)Ltd, ISBN 978-0-9500941-1-3
51. Besanko, Robert (1980), Aspects of the Philip Morris Collection : four Australian photographers, Regional Development Program, Visual Arts Board, Australia Council, ISBN 978-0-908024-33-9
52. Crombie, Isobel; Philip Morris (Australia) (1983), A decade of Australian photography 1972-1982 : Philip Morris Arts Grant at the Australian National Gallery, Galleries 11 and 11A, Saturday 8 October 1983 to Sunday 29 January 1984, Australian National Gallery, retrieved 10 November 2019
53. Clarke, Anthony. "Beyond Blue; Sydney Special - Rural Escape." The Age [Melbourne, Vic] 20 August 2005.
54. Howe, absolutearts com, Neil. "Neil Howe Free Artist Website". absolutearts.com. Retrieved 4 October 2019.
55. "Neil Howe: Digital conceptual appropiation [sic] art (Artist)". Archived from the original on 5 November 2019.
56. "Marilyn, as One Gentleman Preferred." Herald Sun [Melbourne, Vic] 28 October 2002
57. Norris, Sally. "Zeroing in on Horror." Herald Sun [Melbourne, Vic] 27 June 2002. Web.
58. "Beauty shines through Ground Zero destruction". The Age. Retrieved 23 September 2019.
59. "Exhibitions". Rob Love Photographic Art. Retrieved 13 November 2019.
60. Tatnall, David. "David Tatnall Photographer". David Tatnall Photographer. Retrieved 4 October 2019.
61. "Friday 20 JULY." The Age [Melbourne, Vic] 20 July 2001.
62. "Curriculum Vitae Julie Goodwin". juliegoodwinartist.com. Retrieved 4 October 2019.
63. Megan Backhouse, 'Photos for children in need', The Age, Wednesday 27 September 2000, p.42
64. "Hedy Ritterman exhibitions". hedyritterman.com. Retrieved 4 October 2019.
65. reviewed The Age, Friday, 28 July 2000, Page 55
66. Heasley, Andrew. "Tuesday 30 MAY." The Age [Melbourne, Vic] 30 May 2000.
67. "Lisa Saad Exhibitions". Retrieved 4 October 2019.
68. "Thursday 30 MARCH." The Age (Melbourne, Australia) 2000: 1.
69. "Exhibitions". colinvickery.com. Retrieved 4 October 2019.
70. Marino, Melissa. "Thursday 30 SEPTEMBER." The Age [Melbourne, Vic] 30 September 1999.
71. "Stuart Murdoch's Curriculum Vitae". stunik.com. Retrieved 4 October 2019.
72. Listing, The Age Friday 20 August 1999, p.55
73. Walker, Emma. "10 THINGS TO DO; WEEKEND." The Age [Melbourne, Vic] 12 June 1999.
74. Listing, The AgeFriday 25 June 1999, p.61
75. Listing, The Age, Friday, 30 October 1998, p.58
76. Listing, The Age, Friday, 10 July 1998, p.48
77. Listing, The Age, Friday 29 May 1998, p.57
78. "PICTURE SHOW." Herald Sun (Melbourne, Victoria, Australia) 1998: 106. Web.
79. Listings, The Age, Friday, 24 April 1998, p.63
80. Listing, The Age Friday 20 February 1998, p.60
81. "Colin Vickery Exhibitions". colinvickery.com. Retrieved 4 October 2019.
82. Listing, The Age Sunday 31 August 1997, p.40
83. The Age, Friday, 23 May 1997, p.62
84. Listing, The Age, Friday 13 June 1997, p.60
85. Freda Freiberg 'The combinations of creation'. The Age Friday, 11 April 1997 Page 27
86. Freiberg, Freda. "Classic Chic Shots; Photography." The Age [Melbourne, Vic] 17 September 1996.
87. Freda Freiberg, 'Blatant Celebration of Graceful Gods'. In The Age, Wednesday, 31 July 1996, Page 33
88. "Front up." The Age (Melbourne, Australia) 1996: 12. Web.
89. "Mad Gallery: David Showler". Mad Gallery.
90. Listing, The Age Friday 19 April 1996, p.55
91. "KANE'S FIRE ROLE HAS LOST ITS SPARK." Herald Sun (Melbourne, Victoria, Australia), 20 March 1996.
92. "Exhibitions (1971–2003)". rennieellis.com.au. Retrieved 23 September 2019.
93. [Marion E. Hill : Australian Art and Artists file], retrieved 18 November 2019
94. "Glenn Guy". Quadrant Gallery. Retrieved 4 October 2019.
95. Listing, The Age Friday 15 December 1995, p.43
96. The Age, Sunday 8 October 1995, p.48
97. Freda Freiberg, 'Poetry in Neglect: in this exhibition Jeff Busby shows another facet of his versatile talent,' in The Age Thursday 28 September 1995, p.14
98. "Harry Nankin Curriculum Vitae" (PDF).
99. Listing, The Age, Friday, 1 September 1995, p.46
100. Wayne, Greg. "CV - Exhibitions". gregwayn.com. Retrieved 23 September 2019.
101. Listing, The Age, Friday 19 November 1993, p.43
102. Bunyan, Marcus; Photographers Gallery (Melbourne, Vic.) (1993), The naked man fears no pickpockets : images by Marcus Bunyan : the Photographers Gallery 1993, The Gallery, retrieved 4 October 2019
103. Listing, The Age, Sunday 8 August 1993, p.26
104. Listing, THe Age Friday 11 December 1992, p.37
105. "Kim Percy – Central Highlands ArtsAtlas". Retrieved 4 October 2019.
106. Listing, The Age, Friday 13 November 1992, p.34
107. Listing, The Age Friday 24 November 1989, p.42
108. [Peter Leiss : Australian Art and Artists file], retrieved 18 November 2019
109. Kathleen Devine, 'The photographs of Peter Leiss', In The Melbourne Times, December 1988
110. Beatrice Faust, 'Differences show in photography.' In The Age, Friday 16 December 1988
111. Listing, The Age, Friday 18 November 1988, p.50
112. Faust, Beatrice. 'Deconstructing the mugshot'. In Island Magazine, No. 36, Spring 1988: 30-40
113. "Warren Breninger - Exhibitions". warrenbreninger.com.au. Retrieved 23 September 2019.
114. Sponsorship for this program of five Phillip Institute Media students curated shows was provided by the Victorian Ministry for the Arts, Phillip Institute, and the United States Information Service. See: Unknown. "Emmet Gowin Photographer's Gallery, Melbourne". Item held by National Gallery of Australia. Retrieved 23 September 2019.
115. The Age, Friday 11 April 1986, p.14
116. Sophie Arnold (1986) 'Three views on display,' The Age, Tuesday 11 February 1986
117. Beatrice Faust, 'From Japan, an Exhibition of Images to Haunt the Memory', Age, 10 December 1984, 14., cited in Miles, Melissa; Gerster, Robin (2018), Pacific exposures : photography and the Australia-Japan relationship, ANU Press, ISBN 978-1-76046-255-0
118. Beatrice Faust, 'Ignore the camera, watch the picture,' in The Age, Tuesday 23 February 1988, p.14
119. Beatrice Faust, 'Dark powerful homage to dancing bodies.' In The Age, 24 September 1984
120. Anthony Clarke, 'Excitement in black and white.' In The Age, 25 May 1984
121. Anthony Clarke, 'Subtle message in bold form.' In The Age, Tuesday 17 April, p.14
122. "Tim Handfield Curriculum Vitae" (PDF).
123. Geoff Strong, "Tough times highlight domestic failure", The Age, Monday 3 January 1983, p.10
124. Anthony Clarke: 'Artistic statements free of gimmickry.' In The Age, Friday 13 May 1983, p.12
125. Geoff Strong, 'Ham-fisted humour mars potential.' In The Age Thursday, 7 July 1983, Page 14
126. "Untitled (Opera House, Sydney), (1981) by Steven Lojewski". artgallery.nsw.gov.au. Retrieved 10 November 2019.
127. Anthony Clarke, 'A rooftop view of city life.' In The Age, Monday, 11 April 1983, p.14
128. Anthony Clarke, 'New life through imaginative eye.' In The Age, Thursday 10 March 1983, p.14
129. Geoff Strong, Best of the US, apart from Regan'. In The Age, 7 October 1982, p.14
130. Geoff Strong, A cut above average.' In The Age 26 August 1982
131. Geoff Strong, 'The popularity test.' in The Age, Monday, 10 May 1982, p.10
132. Wendy Harmer, 'Life through the lens.' The Melbourne Times, 24 February 1982, p.11
133. Geoff Strong, 'In a dark age behind the camera,' in The Age, Monday, 30 November 1981, page 10
134. Louise Bellamy,'Magnificent Obsessions'. In The Melbourne Times, 7 October 1981, p.13
135. Anthony Clarke, 'Germany: the potent truth'. In, The Age, Thursday, 8 October 1981, Page 10
136. Beatrice Faust and Bernard Boles, 'Yesterday's Monuments: Beyond Humanitarian Clichés', Nation review, Incorporated Newsagencies, 1971 15 October 1981
137. Geoff Strong, 'Germany's social types portrayed', The Age, 1981
138. Helen Ennis, 'If I don't deal with my life...I don't do good photographs.' In Lot's Wife, 7 September 1981, p.17
139. The Age, Thursday, 16 July 1981, p.10
140. "National Gallery of Australia collection: Lin Bender". artsearch.nga.gov.au. Retrieved 22 November 2019.
141. Tony Perry, Exhibition only mildly interesting.' The Age, Tuesday 14 April 1981, p.10
142. Tony Perry, 'Bewitched by Bresson', The Age, March 1981
143. Ted Doyle, 'Exorcising some demons.' In, The Melbourne Times, 3 December 1980
144. Tony Perry, 'Images of that war.' In The Age, Wednesday, 10 December 1980, p.10
145. "[Exhibition poster for Graham Howe, The Photographers' Gallery, South Yarra, Australia]". International Center of Photography. 24 February 2016. Retrieved 10 November 2019.
146. Brigid Cole-Adams, 'An extraordinary breed puts art of camera on show.' The Age, November 1980
147. Model, Lisette. "Lisette Model fonds: Finding Aid". gallery.ca. Retrieved 4 October 2019.
148. Kismaric, Susan; Museum of Modern Art (New York, N.Y.) (1989). California photography : remaking make-believe. Museum of Modern Art. ISBN 978-0-87070-183-2.
149. Tony Perry: 'Handfield changes direction', The Age, 31 July 1980, p.10
150. Tony Perry, 'Moore wins recognition,' in The Age, Monday, 23 June 1980, p.10
151. Tony Perry, 'Vandalism hits home as art.' The Age, Thursday, 1 May 1980, p.10
152. Tony Perry, 'Boubat bond'. In The Age, Tuesday 15 April 1980, p.10
153. Colin Abbott, 'Humour, and geometry, space out the nudes.' The Age, 1980
154. Colin Abbott, 'Simple perfection.' In The Melbourne Times, December 1979
155. "Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang". screeningthepast.com. Retrieved 23 September 2019.
156. Tony Perry, 'Life in the raw vernacular.' The Age, 1979
157. Tony Perry, 'Eggleston mirrors urban life.' The Age, Tuesday, 28 August 1979, p.2
158. Peter Perry, Caponigro captures Stonehenge enigma', in The Age Friday 23 March 1979, p.2
159. Tony Perry, 'Poetry of a private reality', The Age, 1978
160. Unpublished Photographers' Gallery stock book lists works sold to Australian Centre for Photography (3) Art Gallery of South Australia (2), National Gallery of Victoria (5), Australian National Gallery (2).
161. Tony Perry, 'Still room for improvement,' The Age, Wednesday, 9 August 1978, p.2
162. Listing, The Age, Friday, 12 May 1978, p.39
163. Beatrice Faust, 'Fragments of a world as women see it,' in The Age, Saturday 27 May 1978, p.2
164. Beatrice Faust, 'Porter a genius on nature,' in The Age, Tuesday 21 March 1978, p.2
165. "Robert Besanko". Eastgate Jarman. Retrieved 23 September 2019.
166. The Bulletin, 15 August 1978
167. "Photography". Tharunka. New South Wales, Australia. 6 June 1978. p. 17. Retrieved 19 January 2020 – via Trove.
168. Helen Ennis, 'Jerrems, Carol Joyce (1949–1980)'. In Australian Dictionary of Biography, Volume 14, (MUP), 1996
169. "Christine Godden - Exhibitions". christinegodden.com.au. Retrieved 23 September 2019.
170. Beatrice Faust, 'The shutter is down on reality', In The Age, 1977
171. Beatrice Faust, 'Clift's flawless pearls of grey.' In The Age, n.d.
172. "Milestones in the history of photographic practice in Australia". olinda.com. Retrieved 23 September 2019.
173. Paul HIll biography at Centre for British Photography https://britishphotography.org/artists/73-paul-hill/biography/
174. "Wynn Bullock - SELECTED EXHIBITIONS AND DATES". wynnbullockphotography.com. Retrieved 23 September 2019.
175. Beatrice Faust, 'Getting warmer against the grain' In Nation Review, 24-30 September 1976
176. "Exhibitions (1971–2003)". rennieellis.com.au. Retrieved 4 October 2019.
177. Jerrems, Carol; Clark, Larry; Goldin, Nan; Yang, William (2010), King, Natalie (ed.), Up close : Carol Jerrems with Larry Clark, Nan Goldin and William Yang, Heide Museum of Modern Art : Schwartz City, p. 170, ISBN 978-1-86395-501-0
178. Maureen Gilchrist, 'Photography in focus.' In The Age, Wednesday 17 November 1976, p.2
179. The Age, Friday 19 November 1976, p.28
180. "China: A Selection" (PDF). University of Tasmania.
181. Jerrems, Carol (1974), Fraser, Virginia (ed.), A book about Australian women, Outback Press, ISBN 978-0-86888-007-5
182. "Fotograaf wint met inzending tocht rond de wereld". Dutch Australian Weekly. Vol. 23, no. 4. New South Wales, Australia. 26 October 1973. p. 2. Retrieved 20 November 2019 – via National Library of Australia.
183. Bunyan, Dr Marcus. "The Photographers Gallery Melbourne". Art Blart. Retrieved 23 September 2019.
184. Geoff Strong, 'Focusing on flat planes and pinballs', The Age, 1982

37.841472°S 144.985983°E / -37.841472; 144.985983