Warning: Aboriginal and Torres Strait Islander readers should be aware that this posting contains images and names of people who may have since passed away.
This is an ambitious, complex but flawed exhibition of photographic works from the NGV Collection. Further comment in Part 2 of the postingβ¦. Many thankx to the NGV for allowing me to publish the media images in the posting.
Other photographs in the posting are public domain. All installation images are by Marcus Bunyan. Photography: Real and Imagined examines two perspectives on photography; photography grounded in the real world, as a record, a document, a reflection of the world around us; and photography as the product of imagination, storytelling and illusion.
On occasion, photography operates in both realms of the real and the imagined. Highlighting major photographic works from the NGV Collection, including recent acquisitions on display for the very first time, Photography: Real and Imagined examines the complex, engaging and sometimes contradictory nature, of all things photographic. Photographs, Lippard posits, may be a close β rather than exact β reflection of truth. This proposition raises a raft of questions.
Is reality so uncomfortable that we only engage with it partially, or out of necessity? If truth is the end game, what does this mean for creative practice and other types of photography? The suggestion that photography is only partially, and somewhat uncomfortably, engaged with the notion of truth highlights the complexity encountered when trying to nearly encapsulate any selection of photographs. Through works from the NGV Collection, Photography: Real and Imagined teases out connections between iconic and lesser known photographs, putting them in a dialogue with one another that both explores and transcends the time in which they were made.
