jerrems carol (4 Ergebnisse)

Paperback. Zustand: Very Good. First Edition. Melbourne, Outback Press, 1974. Quarto, 144 pages with 131 illustrations (including the cover illustrations). Pictorial card covers lightly rubbed at the extremities and a little bumped at the top corners (impacting unobtrusively on the textblock); small tape stain on the plain verso of the front cover (where the publisher's small complimentary 'review copy' slip was originally attached - now loosely inserted); overall, an excellent copy. The National Portrait Gallery, Canberra, posted the following observations (on 7 December 2024) in advance of its exhibition 'Carol Jerrems: Portraits': 'In 1974, on the eve of the United Nations' International Women's Year, Carol Jerrems and writer Virginia Fraser published "A book about Australian women". This earnest and timely collaboration was conceived as a "collective portrait" of Australian women, and captures a significant period of change and activism. The book was launched by the very first Women's Advisor to an Australian Federal Government, Elizabeth Reid, which drew what might otherwise have been a niche cultural object into mainstream discourse. It remains one of the most important photobooks made in Australia'. The introductory comments by Carol Jerrems in the book are worth quoting in full: 'The photographs are mostly portraits of artists . painters, sculptors, writers, poets, filmakers [sic], printmakers, photographers, designers, dancers, musicians, actresses and strippers. Others include women's liberationists, Aboriginal spokeswomen, activists, revolutionaries, teachers, students, drop-outs, mothers, prostitutes, lesbians and friends. Each portrait is honest. Some are extended in the form of a sequence, with between four and sixteen images, which like an individual photograph reads as a "whole"; the interrelated "parts" flow from left to right. The women are not intended as an elitist minority group, like a who's who; some are well known, others are not; each is of equal importance. It is difficult to exist as an artist, being almost impossible to live off one's "art" alone. It is more difficult for a woman. And if her tool of creative expression is a camera, there is yet another struggle because photography is not fully recognised as being an art form in Australia. There is so much beauty around us if only we could take the time to open our eyes and perceive it. And then share it. Love is the key word'. Carol Jerrems (1949-1980) died of illness shortly before her 31st birthday.

Melbourne : Young Women's Christian Association of Australia, 1975. Quarto, illustrated wrappers (cover image by Laurie Wilson), lightly marked and rubbed; pp. 160, b/w photographic illustrations throughout; foreword by Stella C. Watson, introduction by Jennie Boddington; front free-endpaper inscribed 'Mrs and Mr Annita Connor - for your contribution to International Women's Year - Catherine 1975'; internally very good. 'A permanent record of the exhibition of photographs entitled Woman, which was the contribution made towards International Women's year, 1975, by the Young Women's Christian Association of Australia'. The artists included in the exhibition and catalogue include Sue Armstrong, Ian Dodd, Rennie Ellis, Fiona Hall, Carol Jerrems, Roger Scott, Peter Tyndall, Laurie Wilson and numerous others. Scarce.

Edited by Natalie King. Quarto, illustrated wrappers, pp. xiv, 241, illustrated. A fine copy. Published to accompany the exhibition of the same title held at the Heide Museum of Modern Art, Melbourne, 3 August - 31 October 2010. 'Up Close traces the significant legacy of Australian photographer Carol Jerrems (1949?1980) and situates her work alongside that of other photo-based artists ? Larry Clark and Nan Goldin from New York and William Yang from Sydney. Sharing an interest in subcultural groups and individuals on the margins of society, each artist candidly portrays bohemian life of the 1970s and early 1980s. Their intimate depictions of people, places and events provide glimpses of semi-private worlds, amplifying the emotional tenor of the times. Includes an interview with filmmaker Paul Cox (who taught Carol Jerrems); a text on Carol Jerrems by photographer Roger Scott. Preface by Jason Smith, director of Heide Museum of Modern Art; afterword by Ken Jerrems, brother of Carol Jerrems." - publisher.

A collection of approximately 100 original vintage prints (b/w and colour) spanning the period from the late 1950s to the early 2000s, in various formats up to 250 x 200 mm, plus several later copy prints, all unmounted in individual archival sleeves, and housed in an archival album; the sleeves have briefly captioned labels affixed (written by Manuela Furci of the Rennie Ellis Archive) supplying basic information identifying the photographer and either a location or context, and usually also giving an approximate date; the constant subject in all of these photographs is Rennie Ellis himself, and the majority of the collection comprises a kaleidoscopic mix of private and candid shots of Rennie at work and at play, taken by Rennie (self-portraits) and his circle of friends (often using Rennie's own camera), all talented photographers in their own right and including (most prominently) Robert Ashton, William Yang, Carol Jerrems, Ian Dodd, John Ogden, Ian Macrae, and Peter Milne; the balance of the collection is made up of a smaller number of more formal posed portraits; the condition of the prints is generally very good, with only a few exhibiting some surface damage, cropping marks or other minor blemishes. Some key images in the archive: Carol Jerrems (attributed, using Robert Ashton's camera). Rennie Ellis and Robert Ashton posing in front of a wall of Carol Jerrems' photographs (including Vale Street) at Jerrems' Philip Morris Arts Grant Exhibition, Adelaide, 1978. [anon.] Rennie Ellis in a London street, 1963. The Art Department (Melbourne). "Look Big" portraits, 1960 (series). Rennie Ellis. Contact sheet of self-portraits, 1968. Robert Ashton (attributed). Rennie Ellis holding ad. for "Rennies" indigestion tablets, 1970s. [anon.] Robert Ashton and Rennie Ellis bare-chested, 1970s. Robert Ashton. Rennie Ellis at home in Raleigh Street, Windsor, 1975 (series). William Yang. Portrait of Rennie Ellis, 1980s (signed by Yang). [John Ogden?]. Life's a Beach book launch, 1983. John Ogden. Life's a Beer book launch, 1984 (series). John Ogden. Life's a Parade book launch contact sheet, 1986. Ian Macrae. Rennie Ellis in Bevagna, Italy, 2000. Ian Dodd. Rennie Ellis in his office, 2002 (pair signed by Dodd).