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What I went to see, Max Oettli: Visible Evidence, Photographs 1965–1975 (Week 5)
Today I went to see the Max Oettli show at Auckland art gallery, I hadn't heard of Oettli before so it was nice to view the work with no expectations or preconceptions.
EXHIBITION DETAILS, from Auckland Art Gallery Website.
"During a decade of massive urban and social change, Max Oettli worked as one of New Zealand’s most innovative contemporary photographers. Based in Auckland, this was a period when independent photography was developing rapidly. Oettli ensured that his camera was a creative mirror. Unlike local camera club artists, Oettli avoided traditional picture making, preferring the realism of expressive black and white photography. Motivated, committed and risk-taking, Oettli took photographs at all hours of the night and day. Using the amazing freedom and practicality of 35mm cameras, his ground-breaking photographs are relevant and revelatory about how we know place and time.
Including many unfamiliar photographs, Visible Evidence reveals the intersections between the private and public lives of Tāmaki Makaurau. This exhibition has been made possible through the artist’s generous gift of his vintage photographs."
DateSat 18 Dec 2021 — Sun 29 May 2022
Curated by Ron Brownson
Troops return (2), Gelatin Silver Print, 1973.
I really enjoyed the works, they were documentary photographs, mostly of Auckland, but were simultaneously quite abstract, even still the images held a feeling of familiarity. I don't think this familiarity was only felt as an Auckland native, The photographer is clearly familiar with these areas, which was translated through their images.
The images also felt quite observational, as apposed to interventional (something I've been speaking to Dave about in my individual supervision meetings.) in that they didn't seem to hold much of a bias, I didn't feel as though there was much of a message.\
I also thought the curator had done a good job with the show, it was a large selection of images, when I was walking through I thought "I'd hate to be the person curating this show" there was just so much! But for the most part the images were hung in a complementary manner.
[Left] Saint Paul's College Rugby Sheds, Gelatin Silver Print, 1973.
[Top Right] Night, Parnell, Gelatin Silver Print, 1972.
[Bottom Right] Freemans Bay, Midnight, Gelatin Silver Print, 1972.
[Left] Zack and the Lady, Kiwi Hotel, Gelatin Silver Print, 1970.
[Top Centre] Kiwi Hotel, Gelatin Silver Print, 1970.
[Bottom Centre] Department Store, Auckland, Gelatin Silver Print, 1972, printed 1976.
[Right] Civic Theatre, Gelatin Silver Print, Gelatin Silver Print, 1971.
Gretchen Albrecht, Gelatin Silver Print, 1972.
Freemans Bay, 2am, Gelatin Silver Print, 1972.
[Left] E. H. McCormick, Gelatin Silver Print, 1973.
[Top Centre] Chris Taylor, Gelatin Silver Print, 1971.
[Bottom Centre] Roger Tolloday, Gelatin Silver Print, 1974.
[Right] Leonard and Rover, Gelatin Silver Print, 1974 printed 2005.
Max Oettli bio from Auckland Art Gallery Website.
"Max Oettli was born in Switzerland in 1947; when he was 10 his parents immigrated to New Zealand in 1957 where his parents purchased a dairy far at Whatawhata near Hamilton.
As an admirer of the fellow photographer Henri Cartier Bresson he emulated the artist’s camera methodology of always travelling with a 35mm, both day and night. From 1965 until 1976, he undertook a style of photography which is intensely autobiographic.
Oettli enrolled in the University of Auckland, studying English to BA level. At the same time he became the photographer and illustrations editor of Craccum, the Auckland University Student’s Association weekly newspaper. Using the notion of ‘visible evidence’ he photographically documented every aspect of student’s lives; both at the University and off-site. His adherence to always being ever-ready with his camera give his images an astonishingly vibrancy and connectedness.
Certain themes recur during the 10 years Oettli was based in Auckland: street culture (shopping, protest, parties, night-life), the urban built environment undergoing change and renewal, and the human realities within private and public relationships. Rather than being obsessed with photographic technique, Oettli focussed on recording his emotional rapport with inner city urban life.
Oettli’s confident practice makes the images which he created at Auckland over a decade amongst the most personal visual diaries made by any post-war New Zealand photographer. There is nothing of received or polite behaviours in his photo-record of the period. He is honed on seeing what’s occurring in his immediate space rather than making it appear composed or ‘arty’. It was this spontaneity that drew Tom Hutchins’s attention. The Black Star photographer and Elam Lecturer in Photography invited Oettli to work as Elam’s first technical instructor in 1970. As a leader in the foundation of PhotoForum, Oettli influenced an entire generation of camera practitioners."
K Road, Gelatin Silver Print, 1971.
Cuba Street, Wellington, Gelatin Silver Print, 1970.
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Review: The Village Cafe, Whatawhata
A taste of… The Village Cafe, 1 Rothwell Lane, Whatawhata.
from Ellie NZ Rss http://www.stuff.co.nz/life-style/food-wine/96726500/Review-The-Village-Cafe-Whatawhata
from Ellie's Blog https://ellieplume83.wordpress.com/2017/09/26/review-the-village-cafe-whatawhata/
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