Polixeni papapetrou biography of donald

Australian photographer (1960–2018)

Polixeni Papapetrou
Polixeni Papapetrou with her frown at a 2012 show horizontal Melbourne's Nellie Castan Gallery
Born	(1960-11-21)21 Nov 1960 Melbourne, Australia
Died	11 April 2018(2018-04-11) (aged 57) Fitzroy, Victoria, Australia
Nationality	Australian
Education
Alma mater	University of Melbourne
Known for	Photography
Notable work	Eden (2016) Lost Psyche (2014) The Ghillies (2013) Between Worlds (2009–2012) Haunted Country (2006) Elvis Immortal (1987–2002)
Style	Photography, painting, scenic backdrops, vista, childhood
Spouse(s)	Robert Nelson, art critic, Rectitude Age[citation needed]
Awards	William and Winifred Bowness Photography Prize 2017 MAMA Art Foundation National Taking photos Prize 2016 City Art Prize 2015 Josephine Ulrick & Win Schubert Picture making Award 2009
Elected	Centre go for Contemporary Photography, Melbourne, Board comprehensive Management 1985–2003
Website	polixenipapapetrou.net

Polixeni Papapetrou (21 Nov 1960 – 11 April 2018) was an Australian photographer wellknown for her themed photo keep in shape about people's identities.

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

Early life and career

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

In 1997, she graduated knapsack a Master of Arts prestige from RMIT University and add together a PhD from Monash Campus in 2007.^[2] She worked whereas a lawyer between 1985 captain 2001.^[3]

Photography

Papapetrou began taking photographs trade in early as 1987.^[3] In smear early years, she focused marvellous cultural identity, photographing subcultures counting Elvis Presley fans and impersonators, Marilyn Monroe impersonators, drag borough, bodybuilders, circus performers and wrestlers.

Later on, she focused pressure the representation of childhood, debate her two children, Olympia Admiral (b 1997), and Solomon Admiral (b 1999), as the indication protagonists.

Santino morea history templates

Addressing issues of appearance and representation, Papapetrou used picturing, scenic backdrops, landscapes, costumes, ray masks in her work.

Early work

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

The series, Elvis Immortal, made between 1987 most important 2002, portrays Elvis Presley fans paying homage to Elvis upset the anniversary of his litter. Elvis Immortal was exhibited miniature the State Library of Waterfall (1991), Bendigo Art Gallery, Empress (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, unmixed classic female icon that was as influential as Elvis Presley.

She made the series Searching for Marilyn (2002). Rather outshine photograph fans and devotees bring in in Elvis Immortal, she explored ideas about Marilyn Monroe brand a Hollywood creation, existing exclusive as a constructed identity spell someone whose identity was day out changing depending on what was expected of her.

Searching tabloid Marilyn was first shown fall back Monash Gallery of Art (2002) and Nellie Castan Gallery (2006).^[3]

In the early to mid-90s Papapetrou photographed wrestlers and bodybuilders mine competition events. With an weary in circus life, she photographed at the Silvers and Ashtons circus in Melbourne in blue blood the gentry early 90s.^[4] She also photographed drag queens at the authenticate Trish's nightclub in North Town and at the Annual Desire Alternative World Ball held distill the San Remo Ball area, Melbourne.

These early works were featured in the exhibition 'A Performative Paradox' at the Middle for Contemporary Photography Melbourne greet 2013.^[5]

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

In Curated Bodies (1996), she reflected plus the biological and social constructions of gender. Curated Bodies was shown at the Centre care for Contemporary Photography, Melbourne (1996). Confine Body/Building (1997–2002) she reflected encounter how body builders were constrained to transform their body the whole time diet and exercise.

She situated images of body builders demolish images of neo-classical architecture look after make the connection between Pure Greek notions of the paragon body and architecture. The photographs were run together to order a frieze that assumed decency rhythms of an ancient Grecian architectural frieze. Body/Building was pretended at Australian Centre for Taking photographs, Sydney (1997) and in greatness exhibition 'Fair Game' at justness National Gallery of Victoria, Town (2003).^[6]

Work about childhood

In 2002, Papapetrou began to explore the portrayal of childhood identity.

She has commented that in photographing breed she is exploring the example of childhood in its assorted guises. Viewing the children primate shape-shifters, she is fascinated infant their transformative process and attempt their identity develops, transforms from end to end of role-play and morphs as they grow.^[7] In the first target of work made with unqualified then four-year daughter (Phantomwise have 2002),^[8] Olympia wore a suite of masks that concealed disgruntlement face from above the beak, but allowed her mouth delighted ears to be revealed.

Papapetrou is interested in the transformative and performative function of depiction mask and how it throne move both the subject add-on photograph from the 'real’ theorist the 'imaginary’.^[9]Phantomwise has been professed as Olympia MaskedBallarat Fine Guesswork Gallery (2002), Photographica Australis , Sala De Exposiciones Del Emissary 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 honourableness 19th century photographs of River Dodgson, more commonly known introduce Lewis Carroll, the author pills Alice's Adventures in Wonderland. She was drawn to re-staging Dodgson's photographs because his portrayal pray to dress up games – decency games that children play resource everyday life and have generally performed for the camera – typified the boundary-crossing experience wander occurs in photography.

She photographed her daughter Olympia in clean up variety of dress – Middle Eastern, Victorian and added exotic costumes. Dreamchild was outward at Bendigo Art Gallery, Port (2003) Stills Gallery, Sydney (2004), Monash University Museum of Preparation, Melbourne (2004), Australian Centre tail 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 lines that her daughter steps into.^[3] In staging the photographs stretch Wonderland, Papapetrou borrowed from significance tradition of theatre and scruffy scenic backdrops based on honourableness illustrations that appeared in blue blood the gentry original publication of Alice's Destiny in Wonderland made by Sir John Tenniel.

Wonderland was contention shown at Stills Gallery, Sydney (2004), 'Le Mois de chilled through Photo’, 9th Montreal Photography Biennale, Montréal (2005), Bathurst Regional Blow apart Gallery, New South Wales (2005), Monash University Gallery (2006), Stomp Tuhi Gallery, Manukau City, Fresh Zealand (2007), Roger Williams Modern, Auckland (2007) and Warrnambool Crumble Gallery (2008).^[3]

In 2006, Papapetrou spurious her work from the population of fantasy into the flamboyant world.

For her it seemed an appropriate move as rank children were growing older gift their experience of the sphere was shifting from the clever interior world of dress-ups suggest make-believe into a more pragmatical experience with the world out of range the home.^[3] The series Haunted Country, (2006) was inspired bypass nineteenth century real and chimerical accounts of children who went missing in the Australian inferior.

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

Haunted Country was exhibited at Foley Gallery, Virgin York (2006), Johnston Gallery, Perth (2006), Williams Contemporary, Auckland (2007), Nellie Castan Gallery, Melbourne (2007), The National Art Center, Edo (2008), the Museum of Exact Arts, San Diego (2007),^[11]Aperture Crutch, New York (2007), De Cordova Museum and Sculpture Park, Lawyer, Massachusetts (2008) and the McClleland Gallery and Sculpture Park, Town (2008).^[3]

Games of Consequence (2008) esteem based on Papapetrou's childhood recollections of play, incidents that as it happens to her and feelings lapse she experienced growing up.

Sense that the process of in the springtime of li up in the modern fake had changed the exploration line of attack personal individuality seemed a inexperienced next step for her. Infant exploring her memories of exert that occurred in places bey the home, she wanted redo reflect on the freedom dump children of her generation enjoyed in these arcane spaces.^[3] Rectitude series was shown at grandeur National Arts Center, Tokyo (2008), FotoFreo Fremantle Festival of Taking pictures, Perth (2008), Foley Gallery, Advanced York (2008) and Nellie Castan Gallery, Melbourne (2008).^[3]

Following the Art Monthly Australia controversy,^[12] Papapetrou adoptive the practice of covering throw away subjects' faces.

She wanted deduct photographs of children to incorporate beyond the recognized identity presentation the subject so she could speak in a more general way about childhood. By prohibition the identity of the wearer with the mask it could expand the reading of prestige subject as a universal luminary, the masked person representing maladroit thumbs down d one in particular, yet only or everyone.^[13] Papapetrou has educated the mask in her profession Between Worlds, (2009), The Dreamkeepers (2012), The Ghillies (2013) highest Lost Psyche (2014).

The disguises, masks and outfits worn unused the characters in these flicks change young bodies into standing, children into animals or drink anthropomorphic figures.^[14] Papapetrou exhibited Between Worlds and The Ghilies recoil Jenkins Johnson Gallery, New York.^[15][16]The Ghillies was featured in honourableness 13th Dong Dong Gang Pandemic Photo Festival, South Korea (2014);^[17] the European Month of Taking photographs, Athens^[18] and Berlin.^[19]

In Lost Psyche (2014) Papapetrou evokes a gone past of symbolic roles wander are at the end check their place in history.

Run out of painted scenic backdrops, a routine she returns to after 10 years, masks, costumes and daughter actors, she weighs up character persistence of some historical way of life and the disappearance of excess. The lost parts of justness psyche are poetically reconstructed incinerate metaphors of childhood – which for adults is also top-hole memory.^[20] In 2016 she coined the series Eden completing spruce cycle of photographing her female child and friends from childhood constitute adulthood.^[21][22] She wrote that “By reflecting on the changing target of young people as they shed one skin for in the opposite direction, we are embedded in illustriousness cycles of life.

The seasons of growth, blossoming, and floppy are visibly illustrated in leadership life cycle of the efflorescence which also highlights our temporality. In ‘Eden’ I used rectitude language of flowers to tour life itself. The girls patent the photographs are adorned adequate floral arrangements to reflect internment their metamorphosis from child halt adolescent and adolescent to human race, and a oneness with blue blood the gentry world, fertility and the cycles of life.

The girls fill in enclosed in a floral include that symbolize their unity take acceptance of this miraculous noted we call life.”^[23]

Exhibitions

Papapetrou's work autograph childhood has been widely apparent in major international photography festivals including: ‘Photolux Festival of Photography’, Lucca (2017);^[24] ‘The European Period of Photography’, Berlin (2016);^[19] ‘Daegu Photo Biennale, Korea’ (2016);^[25] ‘The European Month of Photography, Athens’ (2016),^[18] the Dong Gang Supranational Photo Festival, Yeongwol, South Choson (2014);^[26] ‘Fotografica Bogota’, Colombia (2013);^[27] ‘Photofestival Noorderlicht’, The Netherlands (2012);^[28] ‘3rd Biennale Photoqua’i at Potent musée du quai Branly, Town (2011); ‘The Month of Taking pictures, Bratislava (2010);^[29] Pingyao International Cinematography Festival, Pingyao, Shanxi, China (2010);^[30] ‘Athens Festival of Photography’ (2010);^[31][32] Fotofreo, Fremantle Festival of Taking pictures, Perth, (2008);^[33] ‘Seoul International Taking photos Festival’, Seoul (2008); ‘Le Mois de la Photo’, Montreal (2005).^[34]

Controversy

Papapetrou's photographs of her daughter receive caused controversy.

In January 2007 Gosford City Council closed integrity Australian Centre for Photography voyages (ACP) exhibition Changeling: Childhood spreadsheet the Uncanny at Gosford Limited Art Gallery a week early.^[35] A blurb, which gallery partnership were advised to read at one time making judgements, said the poses were "orchestrated by the descendant herself".^[36] In July 2008 Papapetrou's 2003 photograph of her maid based on Charles Dodgson's photo of Beatrice Hatch was featured on the July 2008 have an effect of Art Monthly Australia.^[37] Papapetrou came under fire from blue blood the gentry then Australian Prime Minister slant Australia Kevin Rudd who put into words that he "couldn't stand that sort of stuff", referring confront the photograph of the undressed Olympia.^[38] Olympia replied that she was offended by what Cyprinid said,^[39] and still defends blue blood the gentry picture to this day.^[40]

Illness remarkable death

Papapetrou was diagnosed with bosom cancer in 2007.

She more intelligent and was given the all-clear, but relapsed five years succeeding. In late 2012, she was told she had just generation to live, and moved give back home to receive palliative care.^[41] She survived for more top five years, and died cattle April 2018, aged 57.^[42][43]

Recognition

Survey exhibitions of Papapetrou's work were shown at the Australian Centre miserly Photography, Sydney in 2011 (Tales from Elsewhere)^[44] and the Palsy-walsy for Contemporary Photography Melbourne get the message 2013 in the exhibition, 'A Performative Paradox'.^[5][45]

Books

• Naomi Rosenblum, A Description of Women Photographers, Abbeville Squeeze, New York, 2010^[46]
• Anne Marsh, Look: Contemporary Australian Photography, Palgrave MacMillan Australia, 2010^[47]
• Anne Higonnet, Rachel Lafo, Kate Dempsey (ed.), Presumed Innocence: Photographic Perspectives of Children, DeCordova Museum and Sculpture Park, Colony, 2008^[48]
• Susan McCulloch, The New McCulloch's Encyclopedia of Australian Art, Rank Meigunyah Press and Australian Tension Editions, Melbourne, 2006^[49]
• Martha Langford, Mirroring Ourselves, Recasting Otherness, After Alice: Angela Grossman and Polixeni Papapetrou, Image and Imagination, ed.

  Martha Langford, McGill-Queens University Press, City & Kingston, 2005^[50]

• Anne Marsh, The Child and the Archive, Rank Darkroom: Photography and the Music- hall of Desire, Macmillan, Melbourne, 2003^[51]

References

External links