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Polixeni papapetrou biography channel

Polixeni Papapetrou

Australian photographer (1960–2018)

Polixeni Papapetrou

Polixeni Papapetrou with her totality at a 2012 show surprise victory Melbourne's Nellie Castan Gallery

Born(1960-11-21)21 Nov 1960

Melbourne, Australia

Died11 April 2018(2018-04-11) (aged 57)

Fitzroy, Victoria, Australia

NationalityAustralian
Education
Alma materUniversity of Melbourne
Known forPhotography
Notable work
  • Eden (2016)
  • Lost Psyche (2014)
  • The Ghillies (2013)
  • Between Worlds (2009–2012)
  • Haunted Country (2006)
  • Elvis Immortal (1987–2002)
StylePhotography, painting, scenic backdrops, perspective, childhood
Spouse(s)Robert Nelson, art critic, Birth Age[citation needed]
AwardsWilliam and Winifred Bowness Photography Prize
2017
MAMA Art Foundation National Taking photographs Prize
2016
Dynasty Art Prize
2015
Josephine Ulrick & Win Schubert Taking photographs Award
2009
ElectedCentre miserly Contemporary Photography, Melbourne, Board admit Management 1985–2003
Websitepolixenipapapetrou.net

Polixeni Papapetrou (21 Nov 1960 – 11 April 2018) was an Australian photographer well-known for her themed photo suite about people's identities.

Photo mound she has made include Elvis Presley fans, Marilyn Monroe impersonators, drag queens, wrestlers and bodybuilders and the recreation of photographs by Lewis Carroll, using deduct daughter as a model.

Early life and career

Papapetrou was natural in 1960 into a Hellene immigrant family in Melbourne.[1] She attended the University of Town, graduating with a degree interpose Arts and Law in 1984.

In 1997, she graduated constant a Master of Arts rank from RMIT University and wrestle a PhD from Monash Forming in 2007.[2] She worked chimp a lawyer between 1985 station 2001.[3]

Photography

Papapetrou began taking photographs type early as 1987.[3] In an added early years, she focused look at cultural identity, photographing subcultures with Elvis Presley fans and impersonators, Marilyn Monroe impersonators, drag borough, bodybuilders, circus performers and wrestlers.

Later on, she focused slackness the representation of childhood, pertain to her two children, Olympia Admiral (b 1997), and Solomon Admiral (b 1999), as the marketplace protagonists. Addressing issues of have an effect on and representation, Papapetrou used picturing, scenic backdrops, landscapes, costumes, sports ground masks in her work.

Early work

Although known for her outmoded about childhood identity, Papapetrou has explored other representations of unanimity. Between 1987 and 2005 Papapetrou photographed Elvis Presley fans weather impersonators paying homage to Elvis Presley on the anniversary pay money for his death at the Town General Cemetery.

The series, Elvis Immortal, made between 1987 avoid 2002, portrays Elvis Presley fans paying homage to Elvis bulk the anniversary of his dying. Elvis Immortal was exhibited draw back the State Library of Empress (1991), Bendigo Art Gallery, Town (1997), Old Treasury, Melbourne (1998), Nellie Castan Gallery, Melbourne (2006) and RMIT Gallery, Melbourne (2007).[3] Her interest in Elvis Presley extended to Marilyn Monroe, great classic female icon that was as influential as Elvis Presley.

She made the series Searching for Marilyn (2002). Rather elude photograph fans and devotees significance in Elvis Immortal, she explored ideas about Marilyn Monroe importation a Hollywood creation, existing unique as a constructed identity stomach someone whose identity was forever changing depending on what was expected of her.

Searching chaste Marilyn was first shown filter Monash Gallery of Art (2002) and Nellie Castan Gallery (2006).[3]

In the early to mid-90s Papapetrou photographed wrestlers and bodybuilders silky competition events. With an put under in circus life, she photographed at the Silvers and Ashtons circus in Melbourne in class early 90s.[4] She also photographed drag queens at the bolster Trish's nightclub in North Town and at the Annual Depend upon Alternative World Ball held virtuous the San Remo Ball time, Melbourne.

These early works were featured in the exhibition 'A Performative Paradox' at the Midst for Contemporary Photography Melbourne be grateful for 2013.[5]

Between 1995 and 2002, Papapetrou was interested in constructions admire identity based on body illustrious dress and explored this notion with images of drag borough and body builders.

In Curated Bodies (1996), she reflected arraign the biological and social constructions of gender. Curated Bodies was shown at the Centre sense Contemporary Photography, Melbourne (1996). Bolster Body/Building (1997–2002) she reflected schoolwork how body builders were humourless to transform their body curvature diet and exercise.

She located images of body builders surface images of neo-classical architecture forbear make the connection between Elegant Greek notions of the standard body and architecture. The photographs were run together to collapse a frieze that assumed greatness rhythms of an ancient Hellene architectural frieze.

Body/Building was ostensible at Australian Centre for Picturing, Sydney (1997) and in decency exhibition 'Fair Game' at leadership National Gallery of Victoria, Town (2003).[6]

Work about childhood

In 2002, Papapetrou began to explore the protocol of childhood identity. She has commented that in photographing breed she is exploring the proviso of childhood in its assorted guises.

Viewing the children considerably shape-shifters, she is fascinated shy their transformative process and increase their identity develops, transforms attachй case role-play and morphs as they grow.[7] In the first protest of work made with pass then four-year daughter (Phantomwise encroach 2002),[8] Olympia wore a entourage of masks that concealed be involved with face from above the wind, but allowed her mouth abstruse ears to be revealed.

Papapetrou is interested in the transformative and performative function of illustriousness mask and how it glance at move both the subject give orders to photograph from the 'real’ harmony the 'imaginary’.[9]Phantomwise has been manifest as Olympia MaskedBallarat Fine Blow apart Gallery (2002), Photographica Australis , Sala De Exposiciones Del Discpatcher De Isabel II, Madrid, Espana (2002),[10]National Gallery of Thailand, Port (2003) and Singapore Art Museum, Singapore (2003).

Papapetrou's series Dreamchild (2003) was based on influence 19th century photographs of River Dodgson, more commonly known pass for Lewis Carroll, the author run through Alice's Adventures in Wonderland. She was drawn to re-staging Dodgson's photographs because his portrayal promote to dress up games – illustriousness games that children play put back everyday life and have frequently performed for the camera – typified the boundary-crossing experience go off occurs in photography.

She photographed her daughter Olympia in clean up variety of dress – Asian, Middle Eastern, Victorian and all over the place exotic costumes. Dreamchild was apparent at Bendigo Art Gallery, Port (2003) Stills Gallery, Sydney (2004), Monash University Museum of Occupy, Melbourne (2004), Australian Centre care Photography, Sydney (2005) and 'Le Mois de la Photo’, Ordinal Montreal Photography Biennale, Montréal (2005).[3]

In the series Wonderland (2004), Papapetrou explored the psychological and carnal presence in the fictive duty that her daughter steps into.[3] In staging the photographs aim for Wonderland, Papapetrou borrowed from rank tradition of theatre and stirred scenic backdrops based on description illustrations that appeared in say publicly original publication of Alice's Opulence in Wonderland made by Sir John Tenniel.

Wonderland was decay shown at Stills Gallery, Sydney (2004), 'Le Mois de indifferent Photo’, 9th Montreal Photography Biennale, Montréal (2005), Bathurst Regional Stamp Gallery, New South Wales (2005), Monash University Gallery (2006), Mime Tuhi Gallery, Manukau City, Another Zealand (2007), Roger Williams Virgin, Auckland (2007) and Warrnambool Convey Gallery (2008).[3]

In 2006, Papapetrou troubled her work from the state of fantasy into the counselor world.

For her it seemed an appropriate move as grandeur children were growing older extra their experience of the globe was shifting from the capable interior world of dress-ups wallet make-believe into a more businesslike experience with the world ancient history the home.[3] The series Haunted Country, (2006) was inspired emergency nineteenth century real and fancied accounts of children who went missing in the Australian chaparral.

Papapetrou went to the sites of the most notorious disappearances where she staged and photographed scenes proposing what the secular and psychological circumstances may control been like for these departed and wandering children.[3]

Haunted Country was exhibited at Foley Gallery, Newborn York (2006), Johnston Gallery, Perth (2006), Williams Contemporary, Auckland (2007), Nellie Castan Gallery, Melbourne (2007), The National Art Center, Yeddo (2008), the Museum of Vivid Arts, San Diego (2007),[11]Aperture Essential, New York (2007), De Cordova Museum and Sculpture Park, Attorney, Massachusetts (2008) and the McClleland Gallery and Sculpture Park, Falls (2008).[3]

Games of Consequence (2008) anticipation based on Papapetrou's childhood experiences of play, incidents that precedent to her and feelings deviate she experienced growing up.

Intellect that the process of green up in the modern terra had changed the exploration noise personal individuality seemed a patent next step for her.

Karen vardanyan spanutyun erevanum kasmetikayi

By exploring her memories pray to play that occurred in seating beyond the home, she required to reflect on the area that children of her hour enjoyed in these arcane spaces.[3] The series was shown cutting remark the National Arts Center, Yedo (2008), FotoFreo Fremantle Festival be a witness Photography, Perth (2008), Foley Onlookers, New York (2008) and Nellie Castan Gallery, Melbourne (2008).[3]

Following representation Art Monthly Australia controversy,[12] Papapetrou adopted the practice of veil her subjects' faces.

She needed her photographs of children concord move beyond the recognized likeness of the subject so she could speak in a modernize universal way about childhood. Chunk concealing the identity of primacy wearer with the mask site could expand the reading an assortment of the subject as a ubiquitous figure, the masked person object of no one in particular, thus far anyone or everyone.[13] Papapetrou has used the mask in breather work Between Worlds, (2009), The Dreamkeepers (2012), The Ghillies (2013) and Lost Psyche (2014).

Loftiness disguises, masks and outfits irreconcilable by the characters in these pictures change young bodies jerk old, children into animals revolve into anthropomorphic figures.[14] Papapetrou outward Between Worlds and The Ghilies at Jenkins Johnson Gallery, Additional York.[15][16]The Ghillies was featured importance the 13th Dong Dong Organization International Photo Festival, South Peninsula (2014);[17] the European Month decay Photography, Athens[18] and Berlin.[19]

In Lost Psyche (2014) Papapetrou evokes keen lost past of symbolic roles that are at the space of their place in portrayal.

Using painted scenic backdrops, out practice she returns to rear 1 10 years, masks, costumes attend to child actors, she weighs upgrade the persistence of some sequential conditions and the disappearance spick and span others. The lost parts gaze at the psyche are poetically reconstructed through metaphors of childhood – which for adults is very a memory.[20] In 2016 she created the series Eden complementary a cycle of photographing weaken daughter and friends from youth to adulthood.[21][22] She wrote lose concentration “By reflecting on the cool body of young people orangutan they shed one skin tight spot another, we are embedded cloudless the cycles of life.

High-mindedness seasons of growth, blossoming, distinguished wilting are visibly illustrated rejoicing the life cycle of description flower which also highlights evenhanded mortality. In ‘Eden’ I hand-me-down the language of flowers quick explore life itself. The girls in the photographs are bespangled with floral arrangements to mirror on their metamorphosis from infant to adolescent and adolescent achieve adult, and a oneness challenge the world, fertility and significance cycles of life.

The girls are enclosed in a patterned embrace that symbolize their sameness and acceptance of this inconceivable thing we call life.”[23]

Exhibitions

Papapetrou's take pains on childhood has been overseas exhibited in major international film making festivals including: ‘Photolux Festival cataclysm Photography’, Lucca (2017);[24] ‘The Denizen Month of Photography’, Berlin (2016);[19] ‘Daegu Photo Biennale, Korea’ (2016);[25] ‘The European Month of Taking photographs, Athens’ (2016),[18] the Dong Brood International Photo Festival, Yeongwol, Southern Korea (2014);[26] ‘Fotografica Bogota’, Colombia (2013);[27] ‘Photofestival Noorderlicht’, The Holland (2012);[28] ‘3rd Biennale Photoqua’i repute Le musée du quai Branly, Paris (2011); ‘The Month bring into play Photography, Bratislava (2010);[29] Pingyao Ubiquitous Photography Festival, Pingyao, Shanxi, Chinaware (2010);[30] ‘Athens Festival of Photography’ (2010);[31][32] Fotofreo, Fremantle Festival come close to Photography, Perth, (2008);[33] ‘Seoul Universal Photography Festival’, Seoul (2008); ‘Le Mois de la Photo’, Metropolis (2005).[34]

Controversy

Papapetrou's photographs of her female child have caused controversy.

In Jan 2007 Gosford City Council at an end the Australian Centre for Taking photographs touring (ACP) exhibition Changeling: Infancy and the Uncanny at Gosford Regional Art Gallery a workweek early.[35] A blurb, which congregation visitors were advised to develop before making judgements, said excellence poses were "orchestrated by ethics child herself".[36] In July 2008 Papapetrou's 2003 photograph of minder daughter based on Charles Dodgson's photograph of Beatrice Hatch was featured on the July 2008 cover of Art Monthly Australia.[37] Papapetrou came under fire punishment the then Australian Prime Track of Australia Kevin Rudd who said that he "couldn't unintelligible this sort of stuff", referring to the photograph of picture naked Olympia.[38] Olympia replied turn she was offended by what Rudd said,[39] and still defends the picture to this day.[40]

Illness and death

Papapetrou was diagnosed restore breast cancer in 2007.

She recovered and was given blue blood the gentry all-clear, but relapsed five life-span later. In late 2012, she was told she had fair days to live, and awkward back home to receive alleviator care.[41] She survived for spare than five years, and dreary in April 2018, aged 57.[42][43]

Recognition

Survey exhibitions of Papapetrou's work were shown at the Australian Middle for Photography, Sydney in 2011 (Tales from Elsewhere)[44] and nobility Centre for Contemporary Photography Town in 2013 in the put on show, 'A Performative Paradox'.[5][45]

Books

  • Naomi Rosenblum, A History of Women Photographers, Abbeville Press, New York, 2010[46]
  • Anne Fen, Look: Contemporary Australian Photography, Poet MacMillan Australia, 2010[47]
  • Anne Higonnet, Wife Lafo, Kate Dempsey (ed.), Presumed Innocence: Photographic Perspectives of Children, DeCordova Museum and Sculpture Grounds, Massachusetts, 2008[48]
  • Susan McCulloch, The Original McCulloch's Encyclopedia of Australian Art, The Meigunyah Press and Aussie Art Editions, Melbourne, 2006[49]
  • Martha Langford, Mirroring Ourselves, Recasting Otherness, Sustenance Alice: Angela Grossman and Polixeni Papapetrou, Image and Imagination, whacked.

    Martha Langford, McGill-Queens University Quell, Montreal & Kingston, 2005[50]

  • Anne Quagmire, The Child and the Archive, The Darkroom: Photography and high-mindedness Theatre of Desire, Macmillan, Town, 2003[51]

References

  1. ^"Polixeni Papapetrou Personal Details".

    Base and Art Australia Online. 1 January 2008. Retrieved 5 June 2015.

  2. ^"Polixeni Papapetrou Biography Data". Pattern and Art Australia Online. 1 January 2008. Retrieved 5 June 2015.
  3. ^ abcdefghijkl"Polixeni Papapetrou Biography".

    Start and Art Australia Online. 1 January 2008. Retrieved 5 June 2015.

  4. ^"Polixeni Papapetrou in conversation pertain to Natalie King". Polixeni Papapetrou. Retrieved 12 June 2015.
  5. ^ ab"Polixeni Papapetrou A Performative Paradox". Centre unjustifiable Contemporary Photography.

    Archived from greatness original on 19 March 2018. Retrieved 12 June 2015.

  6. ^"Fair Affair Art & Sport". NGV Country. Retrieved 12 June 2015.
  7. ^Lynn, Waterfall. "Revelations of the Third Person: Polixeni Papapetrou". Art and Continent. Retrieved 14 June 2015.
  8. ^"Phantomwise".

    Polixeni Papapetrou. Retrieved 14 June 2015.

  9. ^Moore, Ross. "Olympia, faciality and say publicly punctal play of darkness". Polixeni Papapetrou. Retrieved 14 June 2015.
  10. ^Foster, Alasdair; Newton, Gael (2002). Photographica Australis : Sala de exposiciones draw Canal de Isabel II.

    Dweller Centre for Photography. ISBN . Retrieved 14 June 2015.

  11. ^Pincus, Robert. "'Tell Me a Story' finds photographers doing just that". U-T San Diego. Retrieved 14 June 2015.
  12. ^"Australian Prime Minister Re-ignites Debate Walk around Nude Child Photography".

    Blouin Artinfo. Retrieved 14 June 2015.

  13. ^Wyma, Chloe. "The Kids Are Alright: Polixeni Papapetrou Mixes Costume, Camouflage existing Child's Play". Blouin Artinfo. Retrieved 14 June 2015.
  14. ^"Unless You Disposition Issue 25"(PDF). Tales of Light. pp. 56–73.

    Retrieved 14 June 2015.

  15. ^"Polixeni Papapetrou". Wall Street International. 16 May 2013. Retrieved 14 June 2015.
  16. ^Meyers, William (1 June 2013). "Views on the beach, Swindle Paris, With Masks". The Spin Street Journal: A20.
  17. ^Rule, Dan (5 April 2013).

    "Your weekend: appearance the galleries". The Age. Retrieved 14 June 2015.

  18. ^ ab"Polixeni Papapetrou". Athens Photo Festival. Retrieved 16 November 2017.
  19. ^ ab"Human as Nature".

    European Month of Photography Berlin. Retrieved 16 November 2017.

  20. ^Bunyan, Marcus (23 November 2014). "'Polixeni Papapetrou: Lost Psyche' at Stills Listeners, Sydney". ArtBlat. Retrieved 14 June 2015.
  21. ^"Beyond Eden: Polixeni Papapetrou". Monash Gallery of Art.

    20 Oct 2016. Retrieved 16 November 2017.

  22. ^"Polixeni Papapetrou photographs youth, beauty become more intense blooms". The Sydney Morning Herald. 19 August 2016. Retrieved 16 November 2017.
  23. ^"Polixeni Papapetrou". aint—bad. 16 May 2017. Retrieved 14 Revered 2023.
  24. ^"Risultati ricerca per: polixeni papapetrou".

    Photo Lux Festival. Retrieved 16 November 2017.

  25. ^"6th Daegu Photo Biennale 2016". Photography Now. Retrieved 16 November 2017.
  26. ^"Selected exhibition: Dong Crowd International Photography Festival". Artand. Retrieved 14 June 2015.
  27. ^Foster, Alasdair (7 March 2013).

    "Fotográfica Bogotá 2013". Cultural Development Consulting. Retrieved 14 June 2015.

  28. ^"Terra Cognita". Noorderlicht. Retrieved 14 June 2015.
  29. ^"Polixeni Papapetrou". Slash. Retrieved 14 June 2015.
  30. ^Foster, Alasdair (25 September 2010).

    "China: Pingyao International Photography Festival 2010". Cultural Development Consulting. Retrieved 14 June 2015.

  31. ^"Athens Photo Festival: Under honesty Bridge". Culture Now (in Greek). 19 December 2010. Retrieved 14 June 2015.
  32. ^Τύπου, Δελτίο. "UNDER Character BRIDGE στο Athens Photo Feast 2010".

    Mixtape (in Greek). Retrieved 14 June 2015.

  33. ^"Games of Consequence". Design & Art Australia Online. Retrieved 14 June 2015.
  34. ^"After Alice". Design & Art Australia Online. Retrieved 14 June 2015.
  35. ^"Polixeni Papapetrou, photographs". National Coalition Against Censorship.

    Retrieved 14 June 2015.

  36. ^McCarthy, Joanne (17 January 2007). "Off limits: storm over artist's images have a high opinion of her daughter". The Sydney Cockcrow Herald. Retrieved 14 June 2015.
  37. ^O'Riordan, Maurice. "To dream a child". Art Monthly. Retrieved 14 June 2015.
  38. ^Edwards, Lorna (8 July 2008).

    "I'm offended by Rudd, says girl in latest nudity storm". The Sydney Morning Herald. Retrieved 14 June 2015.

  39. ^"Turning The Upon – Transcript". Australian Story. Retrieved 14 June 2015.
  40. ^Nelson, Olympia (27 July 2022). "An image nuts mother took of me during the time that I was a young youngster sparked a national debate".

    Retrieved 14 August 2023.

  41. ^"Increasing demand renews calls to expand palliative siren services". ABC News. 17 Nov 2016. Retrieved 11 April 2018.
  42. ^Cuthbertson, Debbie (11 April 2018). "Photographic artist Polixeni Papapetrou dies express 57". The Sydney Morning Herald. Retrieved 11 April 2018.
  43. ^Genzlinger, Neil (27 April 2018).

    "Polixeni Papapetrou, Photographer With an Eerie Optic, Dies at 57". The Different York Times. Retrieved 14 Honoured 2023.

  44. ^"Australian Centre for Photography – Past Exhibitions". Australian Centre backing Photography. Retrieved 15 June 2015.
  45. ^Rule, Dan. "Dan Rule reflects make fast a significant Australian career: Polixeni Papapetrou – A Performative Paradox".

    Raven. Retrieved 15 June 2015.[permanent dead link‍]

  46. ^"A History of Corps Photographers 3rd Edition". Abbeville Press. Retrieved 15 June 2015.
  47. ^"Look: Recent Australian Photograph". Palgrave MacMillan. Retrieved 15 June 2015.
  48. ^"Presumed Innocence: Graphic Perspectives of Children".

    De Cordova Museum. Retrieved 15 June 2015.

  49. ^"McCulloch's Encyclopedia of Australian Art". McCulloch & McCulloch. Retrieved 15 June 2015.
  50. ^"Image & Imagination by Langford, Martha". Biblio. Retrieved 15 June 2015.
  51. ^"The Darkroom".

    Palgrave Macmillan. Retrieved 15 June 2015.

External links