For that reason assistants are something I don’t feel necessary in my work.

I have a 13 year old daughter who would make a perfect model for Bill, but I would never agree to it. In the last two rooms of the survey show we encounter desolate, broken-down urban environments located at the edge of the city, where seedy-looking, vulnerable teenage figures wander about lost in a twilight world, and where skies are illuminated by artificial and natural effects. But it's the thing that links them all for me. It keeps things interesting. There is way too much noise in some of these recent digital prints. endobj It's not everyday you get the opportunity to interview Bill Henson. books to the tip.

– Agnès Varda, 1984, In his first solo exhibition at the National Gallery of Melbourne in 1975, Bill Henson arrived on the Australian art scene much like a fully-formed, twenty year old, Orson Welles-like figure, a creative genius exhibiting an art of dark beauty, decadence and melancholy. I never really had that thought of ‘what will I do’. Bill Henson: early work from the Monash Gallery of Art collection, travelling exhibition: Broken Hill Art Gallery, Broken Hill, NSW, Wangaratta Exhibitions Gallery, Wangaratta, VIC (Solo), Bill Henson: early work from the Monash Gallery of Art collection, travelling exhibition:Grafton Regional Gallery, Grafton, NSW, Swan Hill Regional Art Gallery, Swan Hill, VIC, Anne and Gordon Samstag Museum of Art, Adelaide, SA (Solo), Bill Henson: early work from the Monash Gallery of Art collection, travelling exhibition: Albury Art Gallery, Albury, NSW, Burrinja Gallery, Upwey, VIC, Dubbo Regional Gallery, Dubbo, NSW (Solo), Bill Henson, Roslyn Oxley9 Gallery, Sydney (Solo), Zurich Film Festival Exhibition, Christophe Guye Galerie, Zurich, Switzerland, Teen City, Musee de l'Elysee, Lausanne, Switzerland, curated by Nathalie Herschdorfer, People and Places: Selections from the Allen Thomas Jr. From his earliest photographs, Henson has been involved with photographing the human face in close-up and with low-key lighting, allowing him to suggest or inject nuances of fragility, horror, sadness and pathos into his art. Recent photographs taken at the Hermitage Museum in St Petersburg, Russia imply the influence of Classical painting and sculpture on his practice, yet Henson explores the dissolution of the body to the extent that the direction of glances and gestures become almost abstract. Sorry to state the obvious, but what stunning use of tone and composition. Well I never work to an exhibition, and I have never worked to a particular date.

Contrary to the more glib response of disdain to Henson’s erotic suggestiveness and, in general, his characteristic painterly depiction of the body, there is, as Peter Craven correctly states, a sustained and resonant critique of the slick pictorial conventions of the Vogue-style photography that is endemic in our mass media. There is  a gathering sense of disbelief when you experience really interesting artwork, because part of you is going ‘how is this possible?’.

See available photographs, and prints and multiples for … Fascinating reading.

The images of baroque palaces, paintings by old European masters in galleries, and naked junkie children lost in their suffering, when exhibited in the familiar diptych and triptych forms and from floor to ceiling, not only have a powerful emotional impact, they dramatically challenge the viewer’s imagination. You could almost say that everything in the universe runs on attraction, whether it’s 2 molecules in a vacuum or an episode of Home and Away.

He is right about one thing though, the The great Danish director Carl T. Dreyer once said, “Nothing in the world can be compared to a human face. One of my absolute favourite artists. Second hand music shops that sell vinyl and CDs I find really interesting too. Bill Henson is one of Australia’s greats. [2] Peter Craven, catalogue essay, in Mnemosyne Bill Henson, Salo, Zurich–Berlin–New York, Art Gallery of New South Wales, Sydney, 2005, pp. Immense thanks to Bill Henson, Kym Elphinstone and Roslyn Oxley9 Gallery for facilitating this interview.

I had the image in my head, I knew the sort of still active volcano I wanted to photograph, sticking out of the Mediterranean, and there was no way around going there and getting the pictures.

June - July (Solo), A Constructed Reality, National Gallery of Victoria. The insights into this artist’s mind are all supplied by him and his publicity machine. It’s such an engaging read about a fascinating person. It was quite an honour to interview him by phone this week - and a little daunting I must admit! In the so-called 'Mahler’ series and the Paris Opera Project there is a sense of space enclosed, while in his pictures of the late 1990s and 2000s the spaces are more ambiguous, honouring Henson’s deep and ongoing interest in the workings of the imagination and how this may be represented. Recent photographs taken at the Hermitage Museum in St Petersburg, Russia imply the influence of Classical painting and sculpture on his practice, yet Henson explores the dissolution of the body to the extent that the direction of glances and gestures become almost abstract. Here we seem to have been placed in the urban nightlife of Martin Scorsese’s red-hot expressionist film Taxi Driver (1976), one the first films to initiate neo-noir cinema. Paddington

[7] Chris Marker, A Day in the Life of Andrei Arsenevitch, Artificial Eye, The Andrei Tarkovsky Companion, DVD release, 2007. Negotiating materials physically acts as an automatic editing or filtering device – in many cases this automatically kind of filters out the things that are not essential. January - February, Strangers in Paradise, Contemporary Australian Art, National Museum of Contemporary Art, Korea, November - December, Sights of the Imagination: Contemporary Photographers View Melbourne and Its People, National Gallery of Victoria, September, Group Show, Roslyn Oxley9 Gallery, December, Bill Henson Photographies, Les Ateliers Nadar, Marseille (France), March (Solo), Bill Henson, Peter McCleavey Gallery, Wellington, June (Solo), Des De El Fin Del Imperio, Circulo De Bellas Artes, Madrid, March, The Corporeal Body, Australian National Gallery, Canberra, April - May, Corriger Les Lieux, Apres La Photographie De Voyage, Maison de la Culture, Frontenac, Montreal, April - May, Photodeath, Australian National Gallery, Canberra, April - June, Egypt From the Nineteenth Century Until Now, Montpellier Museum, France, May - June, Sphinx: Bathazar Burckhard, Bill Henson, Thomas Ruff, & Susan Wides, Galerie Pierre Bernard, Nice, May - June, Peuples En Image: Weegee, Bill Henson, Roy Arden, Raymonde April and Anne Favrat, Le Lieu Galerie de Photographies, Lorient (France), November - December, Elegia de la Mirada, Raymonde April, Bill Henson, Patrick Tosani, Thomas Ruff, Jeff Wall, Sala de Arte la Recova, Santa Crus de Tenerife, November - December, Bill Henson Installation 1985/86, Urbi et Orbi, Paris, November 1989 - January 1990 (Solo), Bill Henson Photography, Denver Art Museum, December 1989 - May 1990 (Solo), Bill Henson Photography, Marta Cevera Gallery, New York, March - April (Solo), Bill Henson, Nathalie Karg Gallery, New York (Solo), Bill Henson, Glendash Gallery, Los Angeles, July (Solo), Bill Henson Photographs, Bibliotheque Nationale, Paris, September-November (Solo), Bill Henson Untitled 1977/87, Milburn+Arte, Brisbane, March (Solo), Bill Henson, Images from 'Untitled 1987/88', Roslyn Oxley9 Gallery, Sydney, March - April (Solo), Bill Henson Photographs 1974 - 84, Garry Anderson Gallery, Sydney, March -April (Solo), Edge 90, Newcastle upon Tyne, Glasgow, London, May - June, Twenty Contemporary Australian Photographers 'From the Hallmark Cards, Passages De L'Image, Centre George Pompidou, Paris, September-November, Wexner Art Centre, Colombus, (Ohio, USA), July - October, San Francisco Museum of Modern Art, December 1991 - February, Fundacio Caixa de Pensions, Barcelona, February - March, Bill Henson Fotografien, Museum Moderner Kunst, Palais Liechtenstein, Vienna, February - March (Solo), Bill Henson Photographs 1974 - 1984, Deutscher Gertrude Street, Melbourne, June (Solo), Bill Henson, Untitled 1987/88, Realities, Melbourne, November (Solo), I.C.I.

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