WEBVTT

00:00:05.680 --> 00:00:07.439
hello everybody and welcome to another

00:00:07.439 --> 00:00:09.280
virtual tour with the national portrait

00:00:09.280 --> 00:00:10.479
gallery

00:00:10.479 --> 00:00:13.439
my name's Gill my pronouns are she her

00:00:13.439 --> 00:00:16.239
and i'm very very happy to be the host

00:00:16.239 --> 00:00:18.959
for this program this afternoon

00:00:18.959 --> 00:00:20.480
the national portrait gallery has a

00:00:20.480 --> 00:00:22.800
really strong commitment to increasing

00:00:22.800 --> 00:00:24.800
our accessibility across all of our

00:00:24.800 --> 00:00:26.400
programming

00:00:26.400 --> 00:00:28.400
but it's really fantastic and fitting

00:00:28.400 --> 00:00:31.520
that today's program is coinciding with

00:00:31.520 --> 00:00:33.920
the national week of deaf people and

00:00:33.920 --> 00:00:36.239
today is the international day of sign

00:00:36.239 --> 00:00:37.760
languages so

00:00:37.760 --> 00:00:40.400
we're very excited to have our wonderful

00:00:40.400 --> 00:00:42.400
auslan interpreter nick

00:00:42.400 --> 00:00:44.400
joining us today there's nick in the

00:00:44.400 --> 00:00:47.040
corner she's joining us from wa

00:00:47.040 --> 00:00:49.440
and the lands of the let me get this

00:00:49.440 --> 00:00:52.239
right manger good up peoples so

00:00:52.239 --> 00:00:54.080
thank you very much for joining us today

00:00:54.080 --> 00:00:57.360
nick a very warm welcome to you

00:00:57.360 --> 00:01:00.400
um i am actually not

00:01:00.400 --> 00:01:01.920
the smoke and mirrors sitting in front

00:01:01.920 --> 00:01:03.360
of my green screen at the national

00:01:03.360 --> 00:01:05.120
portrait gallery i'm actually sitting in

00:01:05.120 --> 00:01:07.680
my bedroom in canberra to broadcast

00:01:07.680 --> 00:01:09.280
today and i'm broadcasting from the

00:01:09.280 --> 00:01:11.599
lands of the nambrian nunawal peoples

00:01:11.599 --> 00:01:13.519
and i'd like to pay my respects to their

00:01:13.519 --> 00:01:16.159
elders past present and emerging and

00:01:16.159 --> 00:01:17.920
extend that same respect to any of the

00:01:17.920 --> 00:01:20.000
lands on which you are coming to us from

00:01:20.000 --> 00:01:22.239
today

00:01:22.239 --> 00:01:24.159
so if you haven't attended a national

00:01:24.159 --> 00:01:26.080
portrait gallery virtual program before

00:01:26.080 --> 00:01:27.519
and there may be some of you out there

00:01:27.519 --> 00:01:29.440
although i do see a lot of our regulars

00:01:29.440 --> 00:01:31.280
coming through the door today

00:01:31.280 --> 00:01:33.280
um we are very interactive here at the

00:01:33.280 --> 00:01:34.879
national portrait gallery and we love

00:01:34.879 --> 00:01:37.200
faces so if you feel comfortable it

00:01:37.200 --> 00:01:38.480
would be really terrific if you could

00:01:38.480 --> 00:01:40.239
leave your cameras on

00:01:40.239 --> 00:01:42.159
the way we interact with our presenters

00:01:42.159 --> 00:01:44.319
is that we type our questions or

00:01:44.319 --> 00:01:46.879
comments into the chat function in zoom

00:01:46.879 --> 00:01:49.440
or add a comment in facebook live and

00:01:49.440 --> 00:01:50.640
we'll try and get as many of your

00:01:50.640 --> 00:01:52.959
questions through to sandra today to

00:01:52.959 --> 00:01:55.120
answer um otherwise we also have robert

00:01:55.120 --> 00:01:57.120
who's managing our chat i'm sure many of

00:01:57.120 --> 00:01:58.400
you are familiar with robert from our

00:01:58.400 --> 00:02:00.640
previous programs

00:02:00.640 --> 00:02:03.040
all right so i'd like to hand over now

00:02:03.040 --> 00:02:04.720
to our director of exhibitions and

00:02:04.720 --> 00:02:06.959
collections sandra bruce and she's going

00:02:06.959 --> 00:02:09.280
to take us on a journey to explore

00:02:09.280 --> 00:02:11.280
another pick on the wall over to you

00:02:11.280 --> 00:02:14.280
sandra

00:02:17.120 --> 00:02:18.639
i just

00:02:18.639 --> 00:02:21.358
made the first major zoom

00:02:21.358 --> 00:02:22.560
faux pas

00:02:22.560 --> 00:02:24.800
for this week i started speaking while i

00:02:24.800 --> 00:02:27.680
was still on mute

00:02:27.919 --> 00:02:29.440
thank you so much Gill for the

00:02:29.440 --> 00:02:31.680
introduction and i'm so happy to be

00:02:31.680 --> 00:02:34.000
working with nick today it's lovely to

00:02:34.000 --> 00:02:35.759
meet you and i'm sure we're going to

00:02:35.759 --> 00:02:38.400
have a lovely time

00:02:38.400 --> 00:02:40.800
now we're um trying

00:02:40.800 --> 00:02:44.240
a new type of presentation today what i

00:02:44.240 --> 00:02:46.639
thought i'd do given that we're coming

00:02:46.639 --> 00:02:48.720
to you from lockdown Gill's in her

00:02:48.720 --> 00:02:52.160
bedroom i'm in my dining room i'm on an

00:02:52.160 --> 00:02:54.000
antique table so sometimes you get a bit

00:02:54.000 --> 00:02:56.080
of wobble on my screen

00:02:56.080 --> 00:02:59.520
because it's um lovely and old like that

00:02:59.520 --> 00:03:01.759
um

00:03:01.759 --> 00:03:05.039
i thought it would be really lovely to

00:03:05.039 --> 00:03:07.600
virtually come back to the gallery and

00:03:07.600 --> 00:03:10.000
look at one of the walls that we have on

00:03:10.000 --> 00:03:11.120
display

00:03:11.120 --> 00:03:12.800
it was one that we

00:03:12.800 --> 00:03:13.919
hung

00:03:13.919 --> 00:03:16.560
july so probably only about a month

00:03:16.560 --> 00:03:19.759
before canberra went into lockdown and

00:03:19.759 --> 00:03:22.240
why not take this opportunity today to

00:03:22.240 --> 00:03:24.000
have a look at these other picks on the

00:03:24.000 --> 00:03:24.960
wall

00:03:24.960 --> 00:03:28.240
and explore them from the perspective of

00:03:28.240 --> 00:03:30.080
what a curator is looking at when

00:03:30.080 --> 00:03:32.080
they're choosing um

00:03:32.080 --> 00:03:34.320
an arrangement how that exhibition

00:03:34.320 --> 00:03:35.919
designer

00:03:35.919 --> 00:03:37.840
works with the curators

00:03:37.840 --> 00:03:40.080
and what that means for how we might

00:03:40.080 --> 00:03:41.600
choose to view

00:03:41.600 --> 00:03:43.759
not just the portraits but also the

00:03:43.759 --> 00:03:46.800
artist's vision of how they've captured

00:03:46.800 --> 00:03:48.639
their subjects

00:03:48.639 --> 00:03:51.680
so to that end hector why don't we go to

00:03:51.680 --> 00:03:55.240
the first slide

00:03:58.720 --> 00:03:59.759
okay

00:03:59.759 --> 00:04:00.960
now

00:04:00.960 --> 00:04:03.120
we have

00:04:03.120 --> 00:04:05.919
this beautiful hang of

00:04:05.919 --> 00:04:08.400
works by peter bruben

00:04:08.400 --> 00:04:11.360
peter is a portrait photographer and

00:04:11.360 --> 00:04:14.880
he's quite well known in in circles

00:04:14.880 --> 00:04:17.600
around creating beautiful captured

00:04:17.600 --> 00:04:20.400
imagery of his subjects and we have five

00:04:20.400 --> 00:04:23.039
works on display in gallery one at the

00:04:23.039 --> 00:04:23.919
moment

00:04:23.919 --> 00:04:26.000
at the national portrait gallery if we

00:04:26.000 --> 00:04:27.680
were allowed to be there all the lights

00:04:27.680 --> 00:04:30.240
would be off the doors are closed but

00:04:30.240 --> 00:04:32.960
by virtue of green screen technology we

00:04:32.960 --> 00:04:34.840
get to enjoy them

00:04:34.840 --> 00:04:37.520
today gallery one is also known as the

00:04:37.520 --> 00:04:38.800
maryland

00:04:38.800 --> 00:04:41.840
darling gallery and uh

00:04:41.840 --> 00:04:43.840
it's it's an interesting space because

00:04:43.840 --> 00:04:44.720
it's

00:04:44.720 --> 00:04:46.720
got a huge impact for visitors when they

00:04:46.720 --> 00:04:49.120
first come into the building and what we

00:04:49.120 --> 00:04:50.639
decided to do

00:04:50.639 --> 00:04:53.440
was explore

00:04:53.440 --> 00:04:55.360
the portraiture of women that peter has

00:04:55.360 --> 00:04:56.960
captured that we're lucky enough to have

00:04:56.960 --> 00:04:58.880
in our collection

00:04:58.880 --> 00:05:01.280
peter actually studied painting and

00:05:01.280 --> 00:05:03.199
drawing at the south australian school

00:05:03.199 --> 00:05:06.080
of art and design before he got into

00:05:06.080 --> 00:05:07.919
photography and i think as we go through

00:05:07.919 --> 00:05:10.000
these portraits we're really going to

00:05:10.000 --> 00:05:12.160
see how that is born out in in his

00:05:12.160 --> 00:05:14.319
framing his composition

00:05:14.319 --> 00:05:16.479
and he what the way he approaches the

00:05:16.479 --> 00:05:19.840
artistic perspective of portraiture

00:05:19.840 --> 00:05:22.800
the next slide hector will have

00:05:22.800 --> 00:05:24.639
a little bit of a closer look at the

00:05:24.639 --> 00:05:26.880
wall and we can see

00:05:26.880 --> 00:05:29.199
that there are five works and we're

00:05:29.199 --> 00:05:31.440
going to talk about each of these

00:05:31.440 --> 00:05:33.680
the first one

00:05:33.680 --> 00:05:36.800
on the left is mem fox the renowned

00:05:36.800 --> 00:05:38.319
children's author

00:05:38.319 --> 00:05:41.199
next to her we have naomi watts

00:05:41.199 --> 00:05:42.560
the actor

00:05:42.560 --> 00:05:44.639
right in the middle there

00:05:44.639 --> 00:05:47.120
we have julia gillard

00:05:47.120 --> 00:05:49.120
former prime minister

00:05:49.120 --> 00:05:52.000
to her right we have another remarkable

00:05:52.000 --> 00:05:54.160
actor susie porter

00:05:54.160 --> 00:05:56.080
and rounding it out on the right hand

00:05:56.080 --> 00:05:57.120
side

00:05:57.120 --> 00:05:58.639
is

00:05:58.639 --> 00:06:00.479
award-winning director

00:06:00.479 --> 00:06:03.120
jane campion

00:06:03.120 --> 00:06:05.120
all right let's kick off

00:06:05.120 --> 00:06:07.520
and we'll start with the first portrait

00:06:07.520 --> 00:06:11.319
and that is the one of memphox

00:06:14.080 --> 00:06:16.160
now

00:06:16.160 --> 00:06:18.879
we worked with um we worked particularly

00:06:18.879 --> 00:06:21.599
with peter to have this portrait created

00:06:21.599 --> 00:06:22.960
and it's a very

00:06:22.960 --> 00:06:24.479
new acquisition

00:06:24.479 --> 00:06:26.560
it came into our collection

00:06:26.560 --> 00:06:28.400
earlier this year

00:06:28.400 --> 00:06:30.560
it was only shot earlier this year to be

00:06:30.560 --> 00:06:31.919
honest so it's a very contemporary

00:06:31.919 --> 00:06:33.520
portrait of men

00:06:33.520 --> 00:06:37.039
and as i mentioned mem is an author she

00:06:37.039 --> 00:06:38.958
writes children's books

00:06:38.958 --> 00:06:41.760
she's um written i don't know how many

00:06:41.760 --> 00:06:43.679
countless numbers of books i think over

00:06:43.679 --> 00:06:45.039
40.

00:06:45.039 --> 00:06:47.360
uh even though she grew up in zimbabwe

00:06:47.360 --> 00:06:49.600
she has been very much

00:06:49.600 --> 00:06:51.200
a part of

00:06:51.200 --> 00:06:53.600
the australian experience for so many

00:06:53.600 --> 00:06:55.920
generations growing up reading books

00:06:55.920 --> 00:06:57.920
like possum magic

00:06:57.920 --> 00:06:58.800
and

00:06:58.800 --> 00:06:59.680
like

00:06:59.680 --> 00:07:04.080
10 little fingers and 10 little toes

00:07:04.720 --> 00:07:05.600
and

00:07:05.600 --> 00:07:07.519
while we're looking at this portrait of

00:07:07.519 --> 00:07:08.839
men by

00:07:08.839 --> 00:07:12.000
peter try to keep that in mind because

00:07:12.000 --> 00:07:13.920
what we're going to do is we're going to

00:07:13.920 --> 00:07:16.480
now go to a shot of mem

00:07:16.480 --> 00:07:17.200
as

00:07:17.200 --> 00:07:19.040
she would sort of be seen on a

00:07:19.040 --> 00:07:21.360
day-to-day basis so let's go to the next

00:07:21.360 --> 00:07:24.680
slide hector

00:07:25.120 --> 00:07:26.399
and here

00:07:26.399 --> 00:07:28.640
now this is a shot from mem's youtube

00:07:28.640 --> 00:07:30.880
channel

00:07:30.880 --> 00:07:34.240
and i would probably if you're if you're

00:07:34.240 --> 00:07:37.200
a huge fan of mem's work i would suggest

00:07:37.200 --> 00:07:38.399
visiting

00:07:38.399 --> 00:07:41.040
this shot is from a reading she did of

00:07:41.040 --> 00:07:42.080
three of her books and they're

00:07:42.080 --> 00:07:44.560
absolutely beautiful experiences that

00:07:44.560 --> 00:07:47.200
men gives her online audiences

00:07:47.200 --> 00:07:49.680
but this is how

00:07:49.680 --> 00:07:50.959
mem

00:07:50.959 --> 00:07:53.200
is seen on a day-to-day basis this is

00:07:53.200 --> 00:07:56.720
this is mem the person and she has a

00:07:56.720 --> 00:07:59.600
lovely engaging smile she has a

00:07:59.600 --> 00:08:02.880
beautiful honest gaze um there's there's

00:08:02.880 --> 00:08:06.000
a look about her of joy and i think

00:08:06.000 --> 00:08:08.560
that's a lovely thing to see for someone

00:08:08.560 --> 00:08:09.680
who is

00:08:09.680 --> 00:08:12.320
so loved as being a big part of our

00:08:12.320 --> 00:08:15.760
children's growing up experiences

00:08:15.760 --> 00:08:19.040
so now we go from mem the person and

00:08:19.040 --> 00:08:22.079
we'll pop onto the next slide

00:08:22.079 --> 00:08:24.480
to have a look at mem

00:08:24.480 --> 00:08:28.240
the portrait subject by peter

00:08:28.320 --> 00:08:31.440
and on this slide i've also um

00:08:31.440 --> 00:08:33.920
we're quite fortunate often we're lucky

00:08:33.920 --> 00:08:35.920
enough to be able to speak to the

00:08:35.920 --> 00:08:37.760
artists and get

00:08:37.760 --> 00:08:39.519
some information from them about how

00:08:39.519 --> 00:08:41.120
they feel about the process and how

00:08:41.120 --> 00:08:42.880
particular

00:08:42.880 --> 00:08:44.640
sittings have gone

00:08:44.640 --> 00:08:49.040
and so here you can see that peter had a

00:08:49.040 --> 00:08:51.360
very defined vision of how he wanted to

00:08:51.360 --> 00:08:54.399
capture men and he talked to them about

00:08:54.399 --> 00:08:55.519
this

00:08:55.519 --> 00:08:57.760
and so here he says

00:08:57.760 --> 00:09:00.720
i created a stylized bush environment

00:09:00.720 --> 00:09:02.560
within the studio

00:09:02.560 --> 00:09:05.120
the inclusion of the doors in this set

00:09:05.120 --> 00:09:09.360
is a narnia-esque node

00:09:09.360 --> 00:09:11.519
like a symbolic doorway into the

00:09:11.519 --> 00:09:13.760
fabulously whimsical and passionately

00:09:13.760 --> 00:09:17.839
creative mind of men

00:09:17.839 --> 00:09:19.200
so

00:09:19.200 --> 00:09:21.519
heat is based in sydney and mem's in

00:09:21.519 --> 00:09:23.040
south australia

00:09:23.040 --> 00:09:23.839
and

00:09:23.839 --> 00:09:26.399
it meant that peter traveled two mem for

00:09:26.399 --> 00:09:28.720
this portrait and they were able to have

00:09:28.720 --> 00:09:31.360
a lot of really good strong

00:09:31.360 --> 00:09:33.519
keen conversations around how this

00:09:33.519 --> 00:09:35.760
portrait could come about

00:09:35.760 --> 00:09:37.519
and i think the thing that i really love

00:09:37.519 --> 00:09:39.360
about this work is

00:09:39.360 --> 00:09:44.320
that's that sort of hazy australian bush

00:09:44.320 --> 00:09:45.279
pallet

00:09:45.279 --> 00:09:46.240
that

00:09:46.240 --> 00:09:48.560
peter's managed to capture it's it's a

00:09:48.560 --> 00:09:50.480
little bit reminiscent of the early

00:09:50.480 --> 00:09:52.240
australian impressionist views of our

00:09:52.240 --> 00:09:55.120
bush whether it was

00:09:55.440 --> 00:09:57.839
arthur streeton

00:09:57.839 --> 00:10:00.959
maybe fred mccubbin

00:10:00.959 --> 00:10:03.279
and i'm just going to apologize to nick

00:10:03.279 --> 00:10:05.360
now because i'd promise not to throw in

00:10:05.360 --> 00:10:06.800
too many names that she had to

00:10:06.800 --> 00:10:10.240
fingerspell but there we have it

00:10:10.560 --> 00:10:12.880
and so isn't it interesting to see how

00:10:12.880 --> 00:10:13.839
peter

00:10:13.839 --> 00:10:15.839
really takes what is at the heart of the

00:10:15.839 --> 00:10:18.959
person and then when he looks at it

00:10:18.959 --> 00:10:21.519
through his artistic eye and through his

00:10:21.519 --> 00:10:24.560
camera's lens he creates

00:10:24.560 --> 00:10:26.959
an environment that speaks to what we

00:10:26.959 --> 00:10:28.399
might understand

00:10:28.399 --> 00:10:31.519
about men and the fact that her books

00:10:31.519 --> 00:10:34.240
not always but sometimes talk about our

00:10:34.240 --> 00:10:36.480
landscape talk about the australian

00:10:36.480 --> 00:10:38.639
experience and i think that's what makes

00:10:38.639 --> 00:10:41.040
this particular portrait so successful

00:10:41.040 --> 00:10:43.680
it's a woman that peter has put within

00:10:43.680 --> 00:10:47.200
one of her true worlds

00:10:47.200 --> 00:10:49.680
all right let's leave mem for a little

00:10:49.680 --> 00:10:51.600
while and we're going to pop on to our

00:10:51.600 --> 00:10:53.440
next subject on the wall and that's

00:10:53.440 --> 00:10:56.720
naomi what's the actress actor

00:10:56.720 --> 00:10:58.880
if you like

00:10:58.880 --> 00:11:00.399
now

00:11:00.399 --> 00:11:01.600
naomi

00:11:01.600 --> 00:11:04.240
has had a pretty extraordinary

00:11:04.240 --> 00:11:05.760
career

00:11:05.760 --> 00:11:08.000
i think we would probably all remember

00:11:08.000 --> 00:11:09.279
her from

00:11:09.279 --> 00:11:11.600
brides of christ back in the early 90s

00:11:11.600 --> 00:11:14.240
if if we're all old enough to remember

00:11:14.240 --> 00:11:15.279
that

00:11:15.279 --> 00:11:16.800
um

00:11:16.800 --> 00:11:19.600
she's she headed to hollywood pretty

00:11:19.600 --> 00:11:22.959
early and she was seen in david lynch's

00:11:22.959 --> 00:11:23.680
show

00:11:23.680 --> 00:11:27.440
movie mulholland drive

00:11:27.519 --> 00:11:28.880
and she

00:11:28.880 --> 00:11:30.959
came back to canberra uh sorry i came

00:11:30.959 --> 00:11:33.600
back to canberra came back to australia

00:11:33.600 --> 00:11:36.399
and she was one of the primary roles in

00:11:36.399 --> 00:11:38.000
ned kelly

00:11:38.000 --> 00:11:40.959
and you know she's gone on most recently

00:11:40.959 --> 00:11:43.600
to co-produce and star in that beautiful

00:11:43.600 --> 00:11:46.320
australian story penguin bloom

00:11:46.320 --> 00:11:48.639
that came out earlier this year

00:11:48.639 --> 00:11:51.600
and so this is uh peter's portrait of

00:11:51.600 --> 00:11:54.079
naomi from 2003

00:11:54.079 --> 00:11:56.000
and that was around the time that she

00:11:56.000 --> 00:11:58.399
was working on ned kelly

00:11:58.399 --> 00:12:00.320
and working with david lynch in

00:12:00.320 --> 00:12:02.240
hollywood

00:12:02.240 --> 00:12:04.480
so if we go to the next slide hector

00:12:04.480 --> 00:12:06.639
we'll have a look at

00:12:06.639 --> 00:12:09.760
who naomi as an actor was at around the

00:12:09.760 --> 00:12:11.680
time that pedo shot

00:12:11.680 --> 00:12:14.480
his portrait we've got a screen two

00:12:14.480 --> 00:12:16.959
screenshots of her to have a look at

00:12:16.959 --> 00:12:18.399
the one on the left

00:12:18.399 --> 00:12:21.360
is naomi in mulholland drive

00:12:21.360 --> 00:12:23.199
and the one on the right

00:12:23.199 --> 00:12:26.399
is naomi and ned kelly

00:12:26.399 --> 00:12:29.199
and so these are recognizable

00:12:29.199 --> 00:12:31.279
ways that we're used to seeing naomi

00:12:31.279 --> 00:12:34.079
again i mean as an actor she is very

00:12:34.079 --> 00:12:37.040
much in the popular culture vernacular

00:12:37.040 --> 00:12:38.000
we

00:12:38.000 --> 00:12:40.160
have a good understanding of who we

00:12:40.160 --> 00:12:42.240
think naomi the actor

00:12:42.240 --> 00:12:43.920
is and i think her character in

00:12:43.920 --> 00:12:45.680
mulholland dry for me

00:12:45.680 --> 00:12:48.160
is one of my strongest memories of one

00:12:48.160 --> 00:12:49.120
of her

00:12:49.120 --> 00:12:51.360
roles

00:12:51.360 --> 00:12:52.079
so

00:12:52.079 --> 00:12:55.440
what did peter want to get out of having

00:12:55.440 --> 00:12:58.880
a one-on-one shoot to capture naomi in a

00:12:58.880 --> 00:13:01.600
portrait if we go back sorry if we go

00:13:01.600 --> 00:13:04.959
forward hector we will revisit

00:13:04.959 --> 00:13:07.199
peter's portrait

00:13:07.199 --> 00:13:09.360
and again we're so lucky that peter's

00:13:09.360 --> 00:13:11.760
able to talk to us about this

00:13:11.760 --> 00:13:13.040
he also

00:13:13.040 --> 00:13:16.240
let us know that when he shot naomi in

00:13:16.240 --> 00:13:18.880
2003

00:13:18.880 --> 00:13:21.040
she had the flu so she wasn't feeling

00:13:21.040 --> 00:13:22.880
very well

00:13:22.880 --> 00:13:25.600
but regardless she soldiered on

00:13:25.600 --> 00:13:29.440
and peter was really keen to

00:13:29.440 --> 00:13:31.920
capture a sense of um

00:13:31.920 --> 00:13:34.399
the aesthetic of a victorian painting so

00:13:34.399 --> 00:13:36.720
we've got that romantic drama in this

00:13:36.720 --> 00:13:38.720
composition with the dark

00:13:38.720 --> 00:13:42.320
moody background the lush fabrics um the

00:13:42.320 --> 00:13:44.160
drape of the

00:13:44.160 --> 00:13:46.240
um that gorgeous semi

00:13:46.240 --> 00:13:50.079
translucent frock that naomi's wearing

00:13:50.079 --> 00:13:53.279
and the way he's captured naomi's

00:13:53.279 --> 00:13:54.240
face

00:13:54.240 --> 00:13:57.680
is probably a little bit unexpected

00:13:57.680 --> 00:14:00.320
it's um

00:14:00.320 --> 00:14:03.759
there's almost a a sense of

00:14:03.759 --> 00:14:06.560
extreme use to it she looks

00:14:06.560 --> 00:14:08.839
she looks like

00:14:08.839 --> 00:14:12.320
um she's still very young at heart and

00:14:12.320 --> 00:14:14.480
that maybe she she hasn't quite gotten

00:14:14.480 --> 00:14:16.800
out into the world yet so it's almost

00:14:16.800 --> 00:14:19.040
for me i feel as though maybe peter's

00:14:19.040 --> 00:14:21.839
bringing her back to her true inner

00:14:21.839 --> 00:14:22.880
um

00:14:22.880 --> 00:14:24.399
girl or

00:14:24.399 --> 00:14:27.279
young person if you like

00:14:27.279 --> 00:14:30.079
and it's really interesting uh in this

00:14:30.079 --> 00:14:32.399
quote from peter that

00:14:32.399 --> 00:14:34.480
there was a common understanding between

00:14:34.480 --> 00:14:37.120
him and the subject he says that he

00:14:37.120 --> 00:14:38.399
discovered

00:14:38.399 --> 00:14:41.839
that she was very very visually aware

00:14:41.839 --> 00:14:44.800
and understood his concept instantly

00:14:44.800 --> 00:14:47.199
and then got into a conversation and

00:14:47.199 --> 00:14:49.120
started discussing lighting choices and

00:14:49.120 --> 00:14:51.440
that sort of thing and that is probably

00:14:51.440 --> 00:14:53.680
very much speaks to her experience and

00:14:53.680 --> 00:14:56.720
her profession of being an actor and so

00:14:56.720 --> 00:14:58.160
for me

00:14:58.160 --> 00:14:59.360
it's forward

00:14:59.360 --> 00:15:02.160
you know more than 15 years and we find

00:15:02.160 --> 00:15:03.360
that she's now

00:15:03.360 --> 00:15:05.839
co-producing productions like penguin

00:15:05.839 --> 00:15:09.119
bloom so she has that um

00:15:09.119 --> 00:15:12.079
sensibility around her own craft and it

00:15:12.079 --> 00:15:13.760
sounds as though that really helped

00:15:13.760 --> 00:15:14.799
inform

00:15:14.799 --> 00:15:18.319
this portrait by peter

00:15:18.839 --> 00:15:22.799
okay we had an observation from amy in

00:15:22.799 --> 00:15:24.880
the zoom room who said it looks a little

00:15:24.880 --> 00:15:27.359
bit like she's uh just woken up from a

00:15:27.359 --> 00:15:29.679
dream or is still in a dream

00:15:29.679 --> 00:15:31.440
yes there's a bit of a sort of a sense

00:15:31.440 --> 00:15:33.120
of a nymph or something like that about

00:15:33.120 --> 00:15:35.520
it isn't there yeah it really is a

00:15:35.520 --> 00:15:37.120
there's something really gorgeous but

00:15:37.120 --> 00:15:38.880
also um

00:15:38.880 --> 00:15:41.280
not verging into gothic but it's truly

00:15:41.280 --> 00:15:44.720
romantic about this portrait

00:15:45.280 --> 00:15:47.440
thank you amy

00:15:47.440 --> 00:15:50.240
now the center piece of this wall we

00:15:50.240 --> 00:15:52.080
move out of the arts

00:15:52.080 --> 00:15:53.919
and we're going to get our first

00:15:53.919 --> 00:15:56.799
australian prime minister julia gillard

00:15:56.799 --> 00:15:59.440
thanks hector

00:15:59.840 --> 00:16:01.280
so

00:16:01.280 --> 00:16:03.760
julia gillard was our 27th prime

00:16:03.760 --> 00:16:05.360
minister

00:16:05.360 --> 00:16:08.160
and she had a background in law

00:16:08.160 --> 00:16:10.960
before she got into politics

00:16:10.960 --> 00:16:12.880
and

00:16:12.880 --> 00:16:15.280
ultimately this was the last formal

00:16:15.280 --> 00:16:18.799
portrait of gillard as prime minister

00:16:18.799 --> 00:16:21.039
right at the end of her term

00:16:21.039 --> 00:16:22.480
and so if we

00:16:22.480 --> 00:16:24.480
keep that in mind and you know we're

00:16:24.480 --> 00:16:26.080
going to just like we did with the first

00:16:26.080 --> 00:16:27.679
two portraits we're going to come back

00:16:27.679 --> 00:16:29.760
and have another look at this but let's

00:16:29.760 --> 00:16:31.600
go on to the next slide hector where we

00:16:31.600 --> 00:16:32.799
see

00:16:32.799 --> 00:16:35.280
gillard in her

00:16:35.280 --> 00:16:38.320
natural environment if you like

00:16:38.320 --> 00:16:41.679
so this is gillard during question time

00:16:41.679 --> 00:16:43.760
june 2013

00:16:43.760 --> 00:16:46.559
and that was about the time or that was

00:16:46.559 --> 00:16:49.039
almost immediately um

00:16:49.039 --> 00:16:51.039
the time when she

00:16:51.039 --> 00:16:52.160
um

00:16:52.160 --> 00:16:54.640
was no longer prime minister if you like

00:16:54.640 --> 00:16:56.320
when the spill happened

00:16:56.320 --> 00:16:57.760
and so this is the julia that we all

00:16:57.760 --> 00:17:00.400
know she's so recognizable her hair not

00:17:00.400 --> 00:17:02.400
just the color but the style

00:17:02.400 --> 00:17:04.240
um the glasses

00:17:04.240 --> 00:17:06.799
that um really determined

00:17:06.799 --> 00:17:08.720
look on her face you know she's on a

00:17:08.720 --> 00:17:11.120
mission she's always you know she's

00:17:11.120 --> 00:17:12.880
she's always um

00:17:12.880 --> 00:17:15.120
got that professional hat on

00:17:15.120 --> 00:17:16.480
and

00:17:16.480 --> 00:17:18.960
this is one of those abiding memories

00:17:18.960 --> 00:17:20.400
that we are absolutely going to have of

00:17:20.400 --> 00:17:22.320
this particular person this particular

00:17:22.320 --> 00:17:23.520
woman

00:17:23.520 --> 00:17:28.000
so let's revisit the portrait now

00:17:28.000 --> 00:17:30.160
and have a think about it from peter's

00:17:30.160 --> 00:17:32.080
perspective

00:17:32.080 --> 00:17:34.400
so here's what peter had to say about

00:17:34.400 --> 00:17:36.320
his portrait

00:17:36.320 --> 00:17:38.559
hector if you can pop there we go

00:17:38.559 --> 00:17:41.840
this image was taken on the monday of

00:17:41.840 --> 00:17:43.679
the june long weekend

00:17:43.679 --> 00:17:47.600
right when the grab for office began

00:17:47.679 --> 00:17:49.200
what must have been going through her

00:17:49.200 --> 00:17:51.679
mind at the time of this photograph

00:17:51.679 --> 00:17:55.200
but still to allow her vulnerability

00:17:55.200 --> 00:17:57.840
to show through it's quite remarkable

00:17:57.840 --> 00:18:01.280
and a true testament to her stoic nature

00:18:01.280 --> 00:18:03.120
so it's interesting there's a couple of

00:18:03.120 --> 00:18:06.320
things to take away from peter's

00:18:06.320 --> 00:18:08.480
words there one of them is that it's

00:18:08.480 --> 00:18:11.440
pretty clear that he

00:18:11.440 --> 00:18:14.480
uh has absolute empathy for his sitter

00:18:14.480 --> 00:18:16.880
and that he had he has developed a

00:18:16.880 --> 00:18:18.559
connection with gillard through the

00:18:18.559 --> 00:18:21.440
process of taking this portrait

00:18:21.440 --> 00:18:23.840
um i guess the other thing

00:18:23.840 --> 00:18:26.080
is that

00:18:26.080 --> 00:18:28.559
he may not have known what was going on

00:18:28.559 --> 00:18:31.360
with with the leadership and

00:18:31.360 --> 00:18:32.880
what was going on politically for

00:18:32.880 --> 00:18:34.799
gillard at the time

00:18:34.799 --> 00:18:37.360
um so it's really interesting to see how

00:18:37.360 --> 00:18:39.200
he has captured her

00:18:39.200 --> 00:18:40.159
and

00:18:40.159 --> 00:18:42.880
again all of these are done as part of a

00:18:42.880 --> 00:18:45.120
collaboration with the sitter it's rare

00:18:45.120 --> 00:18:46.720
that the sitter is ever going to put

00:18:46.720 --> 00:18:47.919
themselves in a position that they're

00:18:47.919 --> 00:18:49.440
not comfortable in

00:18:49.440 --> 00:18:52.799
so we have to expect that gillard is

00:18:52.799 --> 00:18:54.640
was quite comfortable going ahead with

00:18:54.640 --> 00:18:56.320
this shoot

00:18:56.320 --> 00:18:57.200
and

00:18:57.200 --> 00:18:58.240
she's

00:18:58.240 --> 00:18:59.760
she's looking at us with more

00:18:59.760 --> 00:19:02.000
vulnerability she is looking at us with

00:19:02.000 --> 00:19:06.159
um a more personal um repose

00:19:06.159 --> 00:19:09.280
she she's not wearing her glasses um

00:19:09.280 --> 00:19:10.960
she's

00:19:10.960 --> 00:19:13.440
she's in a posture that is speaking

00:19:13.440 --> 00:19:17.760
about a sense of intimacy and and um

00:19:17.760 --> 00:19:19.120
there's almost a sense that this is this

00:19:19.120 --> 00:19:22.559
is a bit of julia um as a private person

00:19:22.559 --> 00:19:24.240
i suppose

00:19:24.240 --> 00:19:25.919
one question we might have about the

00:19:25.919 --> 00:19:28.320
work is the light bulb above her head i

00:19:28.320 --> 00:19:30.320
mean was there any um

00:19:30.320 --> 00:19:32.240
symbolism that peter was trying to

00:19:32.240 --> 00:19:33.360
capture

00:19:33.360 --> 00:19:36.480
by having that in the composition

00:19:36.480 --> 00:19:38.720
but um maybe next time one of us is

00:19:38.720 --> 00:19:40.320
talking to him we can ask him that

00:19:40.320 --> 00:19:42.720
question

00:19:43.679 --> 00:19:46.000
we have had a few comments about people

00:19:46.000 --> 00:19:47.919
noting that light is very important in

00:19:47.919 --> 00:19:49.840
the portraits that we've seen so far in

00:19:49.840 --> 00:19:51.679
drawing attention to the subject a few

00:19:51.679 --> 00:19:53.760
of our facebook friends joining us on

00:19:53.760 --> 00:19:55.520
facebook have noticed that

00:19:55.520 --> 00:19:58.240
element of peter's work

00:19:58.240 --> 00:20:00.720
yeah it's interesting isn't it uh Gill

00:20:00.720 --> 00:20:02.400
it's

00:20:02.400 --> 00:20:04.799
i think it very much speaks to

00:20:04.799 --> 00:20:06.400
not just

00:20:06.400 --> 00:20:08.799
the amazing expertise that

00:20:08.799 --> 00:20:09.840
really

00:20:09.840 --> 00:20:12.320
good photographers have when it comes to

00:20:12.320 --> 00:20:14.480
knowing how to use their tools

00:20:14.480 --> 00:20:16.960
in a beautiful way but i think it also

00:20:16.960 --> 00:20:19.919
truly does speak to peter's background

00:20:19.919 --> 00:20:22.000
in first and foremost being a painter

00:20:22.000 --> 00:20:23.280
and a drawer

00:20:23.280 --> 00:20:24.320
before

00:20:24.320 --> 00:20:26.000
becoming a photographer

00:20:26.000 --> 00:20:28.799
and so he he would approach this craft

00:20:28.799 --> 00:20:31.760
his his mastercraft as a photographer

00:20:31.760 --> 00:20:34.640
with a sensibility around

00:20:34.640 --> 00:20:37.120
um almost turning his photographs into a

00:20:37.120 --> 00:20:39.120
canvas potentially

00:20:39.120 --> 00:20:40.880
and so yeah um

00:20:40.880 --> 00:20:42.480
you know some of some of our commenters

00:20:42.480 --> 00:20:44.480
are absolutely right there is drama that

00:20:44.480 --> 00:20:46.159
comes to bear

00:20:46.159 --> 00:20:48.159
by lighting choices

00:20:48.159 --> 00:20:52.960
and and how to create depth and drama

00:20:53.760 --> 00:20:56.480
all right hector let's move on to number

00:20:56.480 --> 00:20:57.520
four

00:20:57.520 --> 00:21:00.400
susie porter

00:21:01.840 --> 00:21:04.880
now susie's um

00:21:04.880 --> 00:21:06.880
similar generation to naomi really they

00:21:06.880 --> 00:21:08.240
were only born

00:21:08.240 --> 00:21:11.679
a couple of years apart and uh

00:21:11.679 --> 00:21:15.200
susie studied at nida in sydney

00:21:15.200 --> 00:21:18.159
and she was in some amazing australian

00:21:18.159 --> 00:21:21.679
shows like paradise road and

00:21:21.679 --> 00:21:22.880
performed

00:21:22.880 --> 00:21:24.559
opposite heath ledger

00:21:24.559 --> 00:21:28.159
in two hands back in 1999

00:21:28.159 --> 00:21:29.679
and actually i should mention that in

00:21:29.679 --> 00:21:32.400
ned kelly naomi was acting opposite ned

00:21:32.400 --> 00:21:33.200
uh

00:21:33.200 --> 00:21:37.200
opposite heath in the title role

00:21:37.280 --> 00:21:39.760
so what have we got in this portrait

00:21:39.760 --> 00:21:42.960
this is this is how peter captured susie

00:21:42.960 --> 00:21:44.960
in the year 2000

00:21:44.960 --> 00:21:47.520
now let's look at how we understand

00:21:47.520 --> 00:21:49.919
susie in some of her

00:21:49.919 --> 00:21:52.880
i guess better known roles of that time

00:21:52.880 --> 00:21:54.799
so the next slide hector

00:21:54.799 --> 00:21:57.200
we have again two screenshots or two

00:21:57.200 --> 00:21:59.440
stills i should say

00:21:59.440 --> 00:22:02.400
uh the one on the left is susie in two

00:22:02.400 --> 00:22:04.480
hands in 99

00:22:04.480 --> 00:22:06.400
and then a role that she

00:22:06.400 --> 00:22:07.440
or a

00:22:07.440 --> 00:22:09.039
film that she was in the following year

00:22:09.039 --> 00:22:11.919
better than sex in 2000 which is the

00:22:11.919 --> 00:22:13.200
year that

00:22:13.200 --> 00:22:15.520
peter shot her portrait

00:22:15.520 --> 00:22:18.000
she has such amazing um

00:22:18.000 --> 00:22:19.440
bone structure you know that that

00:22:19.440 --> 00:22:20.480
jawline

00:22:20.480 --> 00:22:21.520
um

00:22:21.520 --> 00:22:24.159
you know the the cheekbones again if we

00:22:24.159 --> 00:22:26.400
want to talk about lighting that's still

00:22:26.400 --> 00:22:28.640
from better than sex with the light just

00:22:28.640 --> 00:22:30.559
coming down and creating this sort of

00:22:30.559 --> 00:22:33.840
really dramatic

00:22:33.840 --> 00:22:35.440
if it was black and white we'd probably

00:22:35.440 --> 00:22:38.000
say film noir effect

00:22:38.000 --> 00:22:40.080
um really bringing her out of her

00:22:40.080 --> 00:22:42.320
background

00:22:42.320 --> 00:22:45.520
and so you know their dramatic roles she

00:22:45.520 --> 00:22:46.880
has this

00:22:46.880 --> 00:22:49.039
sense of being a very strong woman woman

00:22:49.039 --> 00:22:50.640
i think in both of

00:22:50.640 --> 00:22:51.919
these stills

00:22:51.919 --> 00:22:54.240
and hector if we go on to the next slide

00:22:54.240 --> 00:22:56.000
where we revisit

00:22:56.000 --> 00:22:58.559
susie as peter caught her

00:22:58.559 --> 00:23:00.840
in 2000

00:23:00.840 --> 00:23:03.360
um now he went to her apartment in

00:23:03.360 --> 00:23:06.080
sydney to shoot this

00:23:06.080 --> 00:23:09.279
and so it was a very um relaxed

00:23:09.279 --> 00:23:11.120
i i guess shoot

00:23:11.120 --> 00:23:12.080
and

00:23:12.080 --> 00:23:14.720
he notes that um he didn't take a crew

00:23:14.720 --> 00:23:17.520
with him no hair there was no makeup it

00:23:17.520 --> 00:23:20.640
was all just pure susie

00:23:20.640 --> 00:23:21.919
and

00:23:21.919 --> 00:23:24.320
he like peter says he loves these shoots

00:23:24.320 --> 00:23:26.640
that have minimal distraction

00:23:26.640 --> 00:23:28.960
and it meant that it was easier to

00:23:28.960 --> 00:23:31.360
connect with them and it helped him to

00:23:31.360 --> 00:23:33.840
find it that sort of minimal distraction

00:23:33.840 --> 00:23:36.559
helps him to find their essence quicker

00:23:36.559 --> 00:23:38.480
and Gill you and i were talking about

00:23:38.480 --> 00:23:40.640
this portrait the other day and um we

00:23:40.640 --> 00:23:42.640
were talking about how beautiful susie's

00:23:42.640 --> 00:23:46.080
freckles are it's just it really does

00:23:46.080 --> 00:23:47.279
speak to

00:23:47.279 --> 00:23:49.279
understanding who a person is at their

00:23:49.279 --> 00:23:51.919
very heart and who they are i guess in

00:23:51.919 --> 00:23:53.279
real life

00:23:53.279 --> 00:23:55.360
even though this was

00:23:55.360 --> 00:23:58.960
a formal portrait so it's an interesting

00:23:58.960 --> 00:24:01.520
juxtaposition between formal portraiture

00:24:01.520 --> 00:24:03.200
which the last three have absolutely

00:24:03.200 --> 00:24:05.760
been but then i guess documentary

00:24:05.760 --> 00:24:08.000
portraiture where you're catching a

00:24:08.000 --> 00:24:10.720
person in the moment

00:24:10.720 --> 00:24:13.120
and for that to that end it is

00:24:13.120 --> 00:24:14.960
absolutely beautiful and the black and

00:24:14.960 --> 00:24:15.919
white

00:24:15.919 --> 00:24:17.200
um

00:24:17.200 --> 00:24:18.640
mode

00:24:18.640 --> 00:24:19.600
helps

00:24:19.600 --> 00:24:21.679
give us that sense of in the moment

00:24:21.679 --> 00:24:24.559
documentary

00:24:25.440 --> 00:24:27.200
it's interesting sandra because we've

00:24:27.200 --> 00:24:28.799
had quite a few comments coming through

00:24:28.799 --> 00:24:30.799
and and i was very pleased to see some

00:24:30.799 --> 00:24:32.080
other people commenting about how

00:24:32.080 --> 00:24:34.159
gorgeous her freckles are but we've had

00:24:34.159 --> 00:24:36.240
some comments coming through on facebook

00:24:36.240 --> 00:24:37.520
um about

00:24:37.520 --> 00:24:40.320
vulnerability being a trait in

00:24:40.320 --> 00:24:42.320
portraiture of women but then there's

00:24:42.320 --> 00:24:44.320
been a lot of comments in zoom about all

00:24:44.320 --> 00:24:45.760
of the different portraits that you've

00:24:45.760 --> 00:24:47.840
been talking about so far about

00:24:47.840 --> 00:24:49.600
um the subjects appearing open and

00:24:49.600 --> 00:24:51.279
relaxed or

00:24:51.279 --> 00:24:54.000
um you know powerful and not sort of uh

00:24:54.000 --> 00:24:56.240
vulnerable at all so it those kind of

00:24:56.240 --> 00:24:58.080
that kind of um

00:24:58.080 --> 00:24:59.279
interesting that those comments are

00:24:59.279 --> 00:25:01.120
coming up

00:25:01.120 --> 00:25:03.520
yeah it is isn't it and i think all of

00:25:03.520 --> 00:25:05.520
those comments help us to remember that

00:25:05.520 --> 00:25:07.360
while these are absolutely about the

00:25:07.360 --> 00:25:09.600
person and about their story so they are

00:25:09.600 --> 00:25:13.279
very much biographical they are also

00:25:13.279 --> 00:25:14.320
equally

00:25:14.320 --> 00:25:16.400
artistic pieces you know they are

00:25:16.400 --> 00:25:19.440
artworks and whenever a viewer

00:25:19.440 --> 00:25:22.240
approaches an artwork they bring to it

00:25:22.240 --> 00:25:24.559
their own understanding and their own

00:25:24.559 --> 00:25:27.200
insights and

00:25:27.200 --> 00:25:29.039
when you study art for a little while or

00:25:29.039 --> 00:25:30.559
for a long while

00:25:30.559 --> 00:25:32.080
you learn that there's a recurring

00:25:32.080 --> 00:25:34.000
debate and that is

00:25:34.000 --> 00:25:36.960
what is most important um

00:25:36.960 --> 00:25:38.960
the artist's intent

00:25:38.960 --> 00:25:42.240
or the viewers understanding and so

00:25:42.240 --> 00:25:44.080
if we're ever fortunate enough to get

00:25:44.080 --> 00:25:46.640
hints of the artist's intent as we have

00:25:46.640 --> 00:25:48.960
with all five of these works that's a

00:25:48.960 --> 00:25:51.760
bonus but we can't forget that we always

00:25:51.760 --> 00:25:53.760
bring our own viewpoints

00:25:53.760 --> 00:25:55.360
when we're looking at it and engaging

00:25:55.360 --> 00:25:57.760
with a work and

00:25:57.760 --> 00:26:00.159
i am very happy to

00:26:00.159 --> 00:26:02.720
accept that some will see vulnerability

00:26:02.720 --> 00:26:04.399
and some will see strength

00:26:04.399 --> 00:26:06.320
and some people will see both

00:26:06.320 --> 00:26:08.000
you know there is

00:26:08.000 --> 00:26:09.760
if i was going to

00:26:09.760 --> 00:26:12.559
get into a friendly pub chat

00:26:12.559 --> 00:26:14.640
about it i'd probably say well why not

00:26:14.640 --> 00:26:15.520
both

00:26:15.520 --> 00:26:18.320
can you be can you be strong and offer

00:26:18.320 --> 00:26:20.720
some vulnerability at the same time and

00:26:20.720 --> 00:26:22.080
is there anything wrong with that if

00:26:22.080 --> 00:26:24.720
you're willing to put yourself out there

00:26:24.720 --> 00:26:26.799
portraiture is interesting particularly

00:26:26.799 --> 00:26:30.559
formal portraiture because

00:26:30.640 --> 00:26:32.159
these people are willing to share a

00:26:32.159 --> 00:26:33.919
little bit of their self themselves and

00:26:33.919 --> 00:26:36.399
put themselves out there um not knowing

00:26:36.399 --> 00:26:38.720
who is ever going to you know

00:26:38.720 --> 00:26:40.559
be on the receiving end of this

00:26:40.559 --> 00:26:44.559
presentation of themselves as a person

00:26:44.880 --> 00:26:45.679
um

00:26:45.679 --> 00:26:49.120
hecta let's check out someone that is

00:26:49.120 --> 00:26:53.120
also behind the camera we have j

00:26:54.080 --> 00:26:56.960
oh jane talk about a success story now

00:26:56.960 --> 00:26:57.760
she

00:26:57.760 --> 00:26:59.200
is the director

00:26:59.200 --> 00:27:01.200
um who won an academy award for the

00:27:01.200 --> 00:27:03.760
piano back in 93

00:27:03.760 --> 00:27:06.559
and um you know her career has just

00:27:06.559 --> 00:27:10.480
continued on and on and um

00:27:10.480 --> 00:27:11.840
you know one of my favorite movies of

00:27:11.840 --> 00:27:14.320
hers was bright star that was made in

00:27:14.320 --> 00:27:15.840
2009

00:27:15.840 --> 00:27:18.240
and most recently um

00:27:18.240 --> 00:27:20.399
you know she's been doing tv shows like

00:27:20.399 --> 00:27:22.000
top of the lake

00:27:22.000 --> 00:27:24.159
and uh

00:27:24.159 --> 00:27:26.159
she just released

00:27:26.159 --> 00:27:28.080
a new film this year first one in i

00:27:28.080 --> 00:27:30.399
think 10 years called the power of the

00:27:30.399 --> 00:27:31.600
dog

00:27:31.600 --> 00:27:33.760
so

00:27:33.760 --> 00:27:35.600
jane's a little bit different i guess to

00:27:35.600 --> 00:27:37.039
the other subjects we've talked about

00:27:37.039 --> 00:27:38.320
today because she is predominantly

00:27:38.320 --> 00:27:40.240
behind the camera so hector with our

00:27:40.240 --> 00:27:42.080
next slide that's how we're going to

00:27:42.080 --> 00:27:44.240
have a look at her

00:27:44.240 --> 00:27:45.600
um

00:27:45.600 --> 00:27:48.240
we have jane campion

00:27:48.240 --> 00:27:51.200
on the left on the set of the piano

00:27:51.200 --> 00:27:53.440
i love these behind the scenes shots

00:27:53.440 --> 00:27:55.120
because you've got especially for period

00:27:55.120 --> 00:27:57.679
drama on one hand you've got

00:27:57.679 --> 00:27:59.760
beautiful bonnets and frocks and gowns

00:27:59.760 --> 00:28:02.399
and stays and top hats

00:28:02.399 --> 00:28:04.320
and then on the other side you've got a

00:28:04.320 --> 00:28:06.159
modern woman in a leather jacket and

00:28:06.159 --> 00:28:07.840
they're all in the same scene together

00:28:07.840 --> 00:28:09.120
love it

00:28:09.120 --> 00:28:10.880
and then the one on the right that's

00:28:10.880 --> 00:28:14.000
jane uh shooting bright star

00:28:14.000 --> 00:28:17.360
in 2009 and again the reason why i went

00:28:17.360 --> 00:28:18.320
with that

00:28:18.320 --> 00:28:20.720
shot as the most recent is because

00:28:20.720 --> 00:28:24.240
hector when we go to the next slide

00:28:24.240 --> 00:28:25.600
excuse me

00:28:25.600 --> 00:28:26.960
um

00:28:26.960 --> 00:28:29.840
2009 was when peter shot

00:28:29.840 --> 00:28:32.159
jane here

00:28:32.159 --> 00:28:33.840
um

00:28:33.840 --> 00:28:36.320
now i automatically assumed before

00:28:36.320 --> 00:28:37.600
reading anything

00:28:37.600 --> 00:28:39.279
that he shot jane

00:28:39.279 --> 00:28:40.960
with a grand piano

00:28:40.960 --> 00:28:42.480
because that makes sense because we all

00:28:42.480 --> 00:28:44.960
know her for the piano but that's not

00:28:44.960 --> 00:28:47.200
what this is this is the shakespeare

00:28:47.200 --> 00:28:49.120
room at the state library of new south

00:28:49.120 --> 00:28:50.640
wales

00:28:50.640 --> 00:28:52.799
so that is a beautifully polished study

00:28:52.799 --> 00:28:57.039
desk but doesn't it look like a piano

00:28:57.039 --> 00:28:59.760
i think this is interesting and um

00:28:59.760 --> 00:29:03.120
peter talks about this a little bit

00:29:03.120 --> 00:29:04.880
in his um

00:29:04.880 --> 00:29:07.120
first person memory

00:29:07.120 --> 00:29:09.279
the thing that struck me when i had this

00:29:09.279 --> 00:29:11.600
session with her was her apparent

00:29:11.600 --> 00:29:14.080
shyness in front of the lens

00:29:14.080 --> 00:29:16.559
i proceeded to have a very calm almost

00:29:16.559 --> 00:29:18.720
nurturing shoot

00:29:18.720 --> 00:29:21.279
everything was very still and gentle

00:29:21.279 --> 00:29:22.720
which allowed me to create this

00:29:22.720 --> 00:29:25.200
incredibly calm portrait

00:29:25.200 --> 00:29:27.760
and i think

00:29:27.760 --> 00:29:29.440
when when you know that the person that

00:29:29.440 --> 00:29:31.200
you that you're wanting to capture a

00:29:31.200 --> 00:29:33.440
portrait of has spent their life on the

00:29:33.440 --> 00:29:35.279
other side of the camera on the same

00:29:35.279 --> 00:29:37.200
side of the camera as you

00:29:37.200 --> 00:29:39.519
you you probably almost make the

00:29:39.519 --> 00:29:41.440
assumption that they're not necessarily

00:29:41.440 --> 00:29:43.760
going to be comfortable

00:29:43.760 --> 00:29:46.080
facing the camera

00:29:46.080 --> 00:29:47.200
and i also thought it was really

00:29:47.200 --> 00:29:49.840
interesting that his focus on on working

00:29:49.840 --> 00:29:51.519
with jane on this

00:29:51.519 --> 00:29:54.399
project to get this portrait was that he

00:29:54.399 --> 00:29:56.399
talked about it being very calm and he

00:29:56.399 --> 00:29:58.480
mentioned that twice because one would

00:29:58.480 --> 00:30:00.840
think that the film set would be

00:30:00.840 --> 00:30:04.080
frenetic and um process driven

00:30:04.080 --> 00:30:06.640
and you know all about hard deadlines

00:30:06.640 --> 00:30:08.960
and so for him to create an environment

00:30:08.960 --> 00:30:10.720
that was about peace

00:30:10.720 --> 00:30:12.080
and focus

00:30:12.080 --> 00:30:15.440
and and just getting a good outcome

00:30:15.440 --> 00:30:17.840
without um you know a lot of things

00:30:17.840 --> 00:30:20.720
going on around

00:30:21.120 --> 00:30:23.600
i would say probably informs

00:30:23.600 --> 00:30:28.240
how jane felt being photographed

00:30:28.240 --> 00:30:30.399
again we've got the lighting here it is

00:30:30.399 --> 00:30:33.919
all about jane um the face the hands and

00:30:33.919 --> 00:30:36.080
the fact that the position of her hands

00:30:36.080 --> 00:30:38.480
against the side of her face and across

00:30:38.480 --> 00:30:41.039
the front of her body leads the eye down

00:30:41.039 --> 00:30:42.840
into the upside down

00:30:42.840 --> 00:30:45.919
reflection on the tabletop creates a

00:30:45.919 --> 00:30:48.320
beautiful sense of depth

00:30:48.320 --> 00:30:50.480
and if you want to talk about symbolism

00:30:50.480 --> 00:30:52.880
it echoes that idea of being behind the

00:30:52.880 --> 00:30:55.679
lens or behind the camera and in front

00:30:55.679 --> 00:30:58.840
of the camera

00:30:59.279 --> 00:31:00.799
all right hector let's go to the next

00:31:00.799 --> 00:31:03.200
slide which is one that we had

00:31:03.200 --> 00:31:06.320
at the beginning of the conversation

00:31:06.320 --> 00:31:08.399
i thought i'd come back to the wall

00:31:08.399 --> 00:31:10.880
because after all this is all about

00:31:10.880 --> 00:31:12.799
another pick on the wall

00:31:12.799 --> 00:31:13.840
and so

00:31:13.840 --> 00:31:16.000
when when we're approaching what we want

00:31:16.000 --> 00:31:17.919
to hang in the gallery

00:31:17.919 --> 00:31:22.720
what we're looking at is how to create

00:31:22.799 --> 00:31:25.200
connections or a flow of

00:31:25.200 --> 00:31:27.039
artworks a flow of

00:31:27.039 --> 00:31:29.360
people subjects

00:31:29.360 --> 00:31:31.200
that makes sense to

00:31:31.200 --> 00:31:33.039
an audience and that brink draws an

00:31:33.039 --> 00:31:34.240
audience in

00:31:34.240 --> 00:31:37.679
and for us with gallery one our curator

00:31:37.679 --> 00:31:39.600
joanna gilmore worked on this with our

00:31:39.600 --> 00:31:42.799
exhibition designer

00:31:42.880 --> 00:31:45.039
what joanna wanted to do was really

00:31:45.039 --> 00:31:47.039
celebrate

00:31:47.039 --> 00:31:49.039
some of the women in our collection by

00:31:49.039 --> 00:31:50.799
bringing them all up

00:31:50.799 --> 00:31:52.960
and having them all in the same space

00:31:52.960 --> 00:31:54.640
and quite literally all on the same

00:31:54.640 --> 00:31:56.640
level

00:31:56.640 --> 00:32:00.640
we have mem next to naomi next to julia

00:32:00.640 --> 00:32:02.720
next to susie

00:32:02.720 --> 00:32:05.519
next to jane

00:32:06.320 --> 00:32:08.640
you know we've got julia surrounded by

00:32:08.640 --> 00:32:11.120
creative

00:32:11.199 --> 00:32:14.000
we've got different generations

00:32:14.000 --> 00:32:17.599
and we've got very exciting stories

00:32:17.599 --> 00:32:20.480
and very exciting lives and women who

00:32:20.480 --> 00:32:23.280
are pushing themselves to be their best

00:32:23.280 --> 00:32:25.199
and offer elements of their selves to

00:32:25.199 --> 00:32:26.960
their communities and they're all

00:32:26.960 --> 00:32:28.960
sitting there having

00:32:28.960 --> 00:32:31.679
separate conversations but all being

00:32:31.679 --> 00:32:35.800
part of the same bigger conversation

00:32:36.960 --> 00:32:38.639
um i think

00:32:38.639 --> 00:32:40.399
i don't think i really wanted to go into

00:32:40.399 --> 00:32:42.159
it into any more detail than that i was

00:32:42.159 --> 00:32:44.800
really keen hopefully to hear what some

00:32:44.800 --> 00:32:47.199
of our audience might think about

00:32:47.199 --> 00:32:49.119
um

00:32:49.119 --> 00:32:50.480
whether or not

00:32:50.480 --> 00:32:52.320
when they come into a gallery do they

00:32:52.320 --> 00:32:54.079
ever take a step back and do they look

00:32:54.079 --> 00:32:57.119
at a group of works or is it very much

00:32:57.119 --> 00:32:59.359
more about deep diving into each subject

00:32:59.359 --> 00:33:01.280
as they come across them does anybody

00:33:01.280 --> 00:33:05.079
have any thoughts on that

00:33:05.200 --> 00:33:07.599
we'll then give people in uh the chat a

00:33:07.599 --> 00:33:09.200
bit of time to

00:33:09.200 --> 00:33:10.880
type out their responses to that but

00:33:10.880 --> 00:33:12.079
that's a very good question and it

00:33:12.079 --> 00:33:13.599
actually made me think a little bit

00:33:13.599 --> 00:33:14.720
about how

00:33:14.720 --> 00:33:15.760
i

00:33:15.760 --> 00:33:17.920
gallery

00:33:17.920 --> 00:33:19.839
rome when i roam around galleries and i

00:33:19.839 --> 00:33:22.560
think i think for me it's a bit of both

00:33:22.560 --> 00:33:25.119
so i might take in the wide shot for

00:33:25.119 --> 00:33:26.240
example

00:33:26.240 --> 00:33:28.800
and then start to zoom in or hone in on

00:33:28.800 --> 00:33:30.400
a particular work that really takes my

00:33:30.400 --> 00:33:33.119
fancy but it's always fascinated me this

00:33:33.119 --> 00:33:34.720
notion of um

00:33:34.720 --> 00:33:35.760
you know

00:33:35.760 --> 00:33:38.000
the way a curator will hang a particular

00:33:38.000 --> 00:33:40.720
wall and what shapes work with others

00:33:40.720 --> 00:33:43.359
and at one point very early on in my

00:33:43.359 --> 00:33:44.720
career at the portrait gallery i

00:33:44.720 --> 00:33:47.680
remember this discussion about which way

00:33:47.680 --> 00:33:49.760
when you're hanging on a wall subjects

00:33:49.760 --> 00:33:52.400
are supposed to face each other yes what

00:33:52.400 --> 00:33:54.640
it says if two people are looking away

00:33:54.640 --> 00:33:56.160
from each other as opposed to looking

00:33:56.160 --> 00:33:57.839
towards each other there's so many

00:33:57.839 --> 00:34:00.240
things to think about as a curator yeah

00:34:00.240 --> 00:34:02.960
you're absolutely right and to be honest

00:34:02.960 --> 00:34:05.680
our our beautiful new portrait of mem

00:34:05.680 --> 00:34:08.480
um causes us a little bit of yes no

00:34:08.480 --> 00:34:10.800
maybe in that face because her body is

00:34:10.800 --> 00:34:12.880
actually facing out of frame

00:34:12.880 --> 00:34:15.040
she's not facing her body in towards the

00:34:15.040 --> 00:34:16.960
other women we would have had to swap

00:34:16.960 --> 00:34:19.920
her and jane for that to happen

00:34:19.920 --> 00:34:21.920
um and so they'd be on different ends of

00:34:21.920 --> 00:34:24.800
the wall but because mem's body while

00:34:24.800 --> 00:34:26.560
it's facing away

00:34:26.560 --> 00:34:29.280
she's turned her shoulders towards us as

00:34:29.280 --> 00:34:32.000
the viewer and her her face is very much

00:34:32.000 --> 00:34:33.839
engaging with us

00:34:33.839 --> 00:34:36.400
it creates this interesting tension

00:34:36.400 --> 00:34:38.640
where she fits quite well

00:34:38.640 --> 00:34:39.760
um

00:34:39.760 --> 00:34:41.440
with her with her looking like she's

00:34:41.440 --> 00:34:43.599
trying potentially about to leave the

00:34:43.599 --> 00:34:45.680
wall if you like leave the room

00:34:45.680 --> 00:34:47.839
um and it gives us more options when it

00:34:47.839 --> 00:34:50.640
comes to how we might choose to hang her

00:34:50.640 --> 00:34:52.640
in a connection with

00:34:52.640 --> 00:34:56.520
the other subjects on the wall

00:34:56.880 --> 00:34:59.359
there's been a few comments um actually

00:34:59.359 --> 00:35:00.960
coming through that a few there's been a

00:35:00.960 --> 00:35:02.800
flood of comments coming through

00:35:02.800 --> 00:35:04.480
i'm reassured to see that a number of

00:35:04.480 --> 00:35:06.480
people actually take the same

00:35:06.480 --> 00:35:08.320
path that i do in terms of taking in the

00:35:08.320 --> 00:35:10.960
whole wall and then zooming in um

00:35:10.960 --> 00:35:12.880
an interesting comment by veda actually

00:35:12.880 --> 00:35:15.200
earlier on in these um comments was that

00:35:15.200 --> 00:35:17.839
she has made the point that you're often

00:35:17.839 --> 00:35:19.280
not alone in the gallery having these

00:35:19.280 --> 00:35:20.960
wonderful experiences

00:35:20.960 --> 00:35:22.720
you're often although virtually at the

00:35:22.720 --> 00:35:24.960
moment we can be alone and observe

00:35:24.960 --> 00:35:27.200
observe works by ourselves but often the

00:35:27.200 --> 00:35:28.480
number of people in the gallery can

00:35:28.480 --> 00:35:30.720
sometimes obscure obscure the wide shot

00:35:30.720 --> 00:35:31.440
and

00:35:31.440 --> 00:35:33.119
having that kind of

00:35:33.119 --> 00:35:35.280
obstacle can also change your experience

00:35:35.280 --> 00:35:37.520
of how the works are hung and

00:35:37.520 --> 00:35:38.720
yeah so that was i thought that was

00:35:38.720 --> 00:35:40.960
quite an interesting uh comment

00:35:40.960 --> 00:35:42.560
uh there's a question here from janine

00:35:42.560 --> 00:35:44.560
asking do you change frames or use an

00:35:44.560 --> 00:35:46.320
artist's choice how do they how do they

00:35:46.320 --> 00:35:48.640
want the works framed

00:35:48.640 --> 00:35:51.760
yes it varies um and we've got a

00:35:51.760 --> 00:35:54.079
combination of those on this wall

00:35:54.079 --> 00:35:55.280
at the moment

00:35:55.280 --> 00:35:56.800
um

00:35:56.800 --> 00:35:59.520
mem was what we call custom framed or

00:35:59.520 --> 00:36:02.000
bespoke framed uh peter had a very

00:36:02.000 --> 00:36:03.839
particular idea of

00:36:03.839 --> 00:36:04.560
the

00:36:04.560 --> 00:36:06.880
how he wanted the paper

00:36:06.880 --> 00:36:08.880
for the print to be

00:36:08.880 --> 00:36:11.359
worked normally it's

00:36:11.359 --> 00:36:13.680
just a pretty standard print but this

00:36:13.680 --> 00:36:17.440
time around because he was capturing

00:36:17.440 --> 00:36:18.560
a

00:36:18.560 --> 00:36:21.599
author he decided he wanted the edges of

00:36:21.599 --> 00:36:24.960
the paper to be torn very similar to any

00:36:24.960 --> 00:36:26.320
printmakers out there when you're

00:36:26.320 --> 00:36:28.079
working with edgings and those sorts of

00:36:28.079 --> 00:36:29.760
things you will know that generally that

00:36:29.760 --> 00:36:31.520
paper edges are torn

00:36:31.520 --> 00:36:34.720
and it kind of speaks to very very very

00:36:34.720 --> 00:36:36.960
early book binding

00:36:36.960 --> 00:36:38.240
techniques

00:36:38.240 --> 00:36:39.200
and so

00:36:39.200 --> 00:36:41.599
rather than covering the edges of mem's

00:36:41.599 --> 00:36:45.839
portrait with a mount a window mount

00:36:45.839 --> 00:36:47.760
mems work is actually floating so you

00:36:47.760 --> 00:36:49.599
can see the beautiful torn edges of the

00:36:49.599 --> 00:36:52.400
paper and we worked with

00:36:52.400 --> 00:36:56.240
our on-site framer to talk about

00:36:56.240 --> 00:36:58.480
the right color frame to go with with

00:36:58.480 --> 00:37:01.520
mem so mem's frame is a dark

00:37:01.520 --> 00:37:03.680
it's a wash but it's a dark charcoal

00:37:03.680 --> 00:37:05.599
kind of wash so again

00:37:05.599 --> 00:37:08.240
kind of referencing books and writing

00:37:08.240 --> 00:37:10.400
and all those sorts of things

00:37:10.400 --> 00:37:12.640
our other frames that you can see on

00:37:12.640 --> 00:37:15.040
this wall are our stock frames so

00:37:15.040 --> 00:37:17.520
they're frames that we can use to host a

00:37:17.520 --> 00:37:20.800
variety of works on paper and it means

00:37:20.800 --> 00:37:21.680
that

00:37:21.680 --> 00:37:23.680
photographs often that are in our

00:37:23.680 --> 00:37:25.040
collection

00:37:25.040 --> 00:37:27.200
when they're not on display they've been

00:37:27.200 --> 00:37:29.760
de-mounted and they're resting in plan

00:37:29.760 --> 00:37:32.480
drawers or map drawers

00:37:32.480 --> 00:37:35.040
and we bring them out and we frame them

00:37:35.040 --> 00:37:37.520
especially for a show with our supplier

00:37:37.520 --> 00:37:39.839
frames that we have available to us in

00:37:39.839 --> 00:37:41.359
different sizes

00:37:41.359 --> 00:37:44.480
so yeah it's a combination generally if

00:37:44.480 --> 00:37:47.280
we framed every photo we'd need a bigger

00:37:47.280 --> 00:37:49.920
story

00:37:50.960 --> 00:37:53.200
um and we should probably also mention

00:37:53.200 --> 00:37:55.839
that these aren't the only um amazing

00:37:55.839 --> 00:37:57.440
portraits by peter bruben in our

00:37:57.440 --> 00:37:59.119
collection

00:37:59.119 --> 00:38:01.119
no it's interesting i mean i think this

00:38:01.119 --> 00:38:02.480
speaks to

00:38:02.480 --> 00:38:05.200
exactly how how amazing he is as a

00:38:05.200 --> 00:38:08.160
portrait artist we have i think over 20

00:38:08.160 --> 00:38:11.040
portraits by peter now in the collection

00:38:11.040 --> 00:38:15.520
including sports people and politicians

00:38:15.520 --> 00:38:17.280
two of well

00:38:17.280 --> 00:38:19.440
one particular portrait that i really

00:38:19.440 --> 00:38:21.920
like is one of goth woodland

00:38:21.920 --> 00:38:23.440
which is absolutely stunning and i think

00:38:23.440 --> 00:38:25.440
that's from around 15 or 20 years ago as

00:38:25.440 --> 00:38:28.079
well maybe around 2005 or something like

00:38:28.079 --> 00:38:29.440
that

00:38:29.440 --> 00:38:32.160
and then most recently another recent

00:38:32.160 --> 00:38:35.680
acquisition is a beautiful dual portrait

00:38:35.680 --> 00:38:39.440
of david mcallister and wesley enoch an

00:38:39.440 --> 00:38:41.839
amazing creative duo that featured in

00:38:41.839 --> 00:38:43.760
our recent australian love stories

00:38:43.760 --> 00:38:44.960
exhibition

00:38:44.960 --> 00:38:46.400
and we acquired that work for the

00:38:46.400 --> 00:38:48.720
collection earlier this year too but yes

00:38:48.720 --> 00:38:51.359
if people go onto our website and our

00:38:51.359 --> 00:38:52.800
portrait

00:38:52.800 --> 00:38:53.680
search

00:38:53.680 --> 00:38:54.640
page

00:38:54.640 --> 00:38:57.200
if they type in peter's name they'll be

00:38:57.200 --> 00:38:58.720
able to see all of the works of his we

00:38:58.720 --> 00:39:01.520
have in the collection

00:39:03.200 --> 00:39:04.960
we do have

00:39:04.960 --> 00:39:07.839
somebody hiding in the chat in zoom who

00:39:07.839 --> 00:39:11.599
has pbb as their initials

00:39:11.760 --> 00:39:13.760
not 100 sure

00:39:13.760 --> 00:39:15.359
if that's who we think it is but if it

00:39:15.359 --> 00:39:16.800
is a big shout out

00:39:16.800 --> 00:39:19.040
to peter joining us today and if if

00:39:19.040 --> 00:39:21.040
peter at any chance at any time would

00:39:21.040 --> 00:39:23.520
like to unmute himself and have a chat

00:39:23.520 --> 00:39:25.520
that would be very welcome

00:39:25.520 --> 00:39:26.480
um

00:39:26.480 --> 00:39:28.560
if it is peter if it is peter we could

00:39:28.560 --> 00:39:29.920
ask him the question about the light

00:39:29.920 --> 00:39:31.760
bulb above julia gillard

00:39:31.760 --> 00:39:35.520
exactly exactly we certainly could

00:39:35.520 --> 00:39:38.000
um i think one other thing that um might

00:39:38.000 --> 00:39:40.720
be interesting to uh to just explore

00:39:40.720 --> 00:39:42.640
before in the last five minutes that we

00:39:42.640 --> 00:39:44.400
have for the program

00:39:44.400 --> 00:39:47.119
is that often um you know when you work

00:39:47.119 --> 00:39:49.440
for an art gallery curators consider the

00:39:49.440 --> 00:39:51.280
visual aesthetic when they're hanging so

00:39:51.280 --> 00:39:54.240
they consider shapes

00:39:54.240 --> 00:39:56.640
composition color all of these things

00:39:56.640 --> 00:39:59.440
feed in and that that too applies as a

00:39:59.440 --> 00:40:01.920
curator of portrait gallery but you're

00:40:01.920 --> 00:40:04.800
also considering biography and stories

00:40:04.800 --> 00:40:07.599
and how those particular people might

00:40:07.599 --> 00:40:09.040
speak to each other when they're hanging

00:40:09.040 --> 00:40:10.880
next to each other on the wall so it's

00:40:10.880 --> 00:40:12.560
quite a lot to consider when you create

00:40:12.560 --> 00:40:14.480
curating even just a simple wall like

00:40:14.480 --> 00:40:15.359
this

00:40:15.359 --> 00:40:17.839
yeah you're absolutely right and so to

00:40:17.839 --> 00:40:19.040
that end it's great to have an

00:40:19.040 --> 00:40:21.440
exhibition designer to work with as well

00:40:21.440 --> 00:40:24.319
and our exhibition designer aaron works

00:40:24.319 --> 00:40:25.920
beautifully with our curators to bring

00:40:25.920 --> 00:40:28.800
these walls together

00:40:28.800 --> 00:40:32.560
most it's it's not unusual in

00:40:32.560 --> 00:40:35.359
public institutions to see collections

00:40:35.359 --> 00:40:37.440
hung in a particular way

00:40:37.440 --> 00:40:39.520
often they're hung chronologically so

00:40:39.520 --> 00:40:42.160
you might have a 19th century room a

00:40:42.160 --> 00:40:44.800
20th century room a contemporary room or

00:40:44.800 --> 00:40:46.800
rooms obviously

00:40:46.800 --> 00:40:49.040
and we have done that quite a lot in the

00:40:49.040 --> 00:40:53.119
past and it is a nice way to be able to

00:40:53.119 --> 00:40:56.000
explore a collection by time period

00:40:56.000 --> 00:40:58.480
but what we've really embraced

00:40:58.480 --> 00:41:00.480
for the last 18 months or so and we'll

00:41:00.480 --> 00:41:02.720
continue to embrace into the future is

00:41:02.720 --> 00:41:04.800
to look at themes and to look at how we

00:41:04.800 --> 00:41:07.440
can find connections between people

00:41:07.440 --> 00:41:09.920
and their stories within our collection

00:41:09.920 --> 00:41:14.319
by how we choose to hang them together

00:41:14.319 --> 00:41:16.800
brilliant um well unless anyone else has

00:41:16.800 --> 00:41:18.560
any questions that they'd like to

00:41:18.560 --> 00:41:21.280
quickly throw in the chat for sandra

00:41:21.280 --> 00:41:23.680
um everybody has been so generous with

00:41:23.680 --> 00:41:26.560
their comments and questions um

00:41:26.560 --> 00:41:28.800
you see this afternoon there's certainly

00:41:28.800 --> 00:41:30.319
a lot of people who are very engaged

00:41:30.319 --> 00:41:31.680
with all of the portraits and there has

00:41:31.680 --> 00:41:33.599
been earlier on there was quite a little

00:41:33.599 --> 00:41:35.440
bit of discussion about the light bulb

00:41:35.440 --> 00:41:37.200
and what that might signify and the fact

00:41:37.200 --> 00:41:39.359
that julia was once um

00:41:39.359 --> 00:41:43.280
a uh industrial relations um

00:41:43.280 --> 00:41:45.040
uh in charge of industrial relations as

00:41:45.040 --> 00:41:46.480
well perhaps they had something to do

00:41:46.480 --> 00:41:48.079
with it i'm not sure

00:41:48.079 --> 00:41:50.480
so yeah there's uh there's certainly

00:41:50.480 --> 00:41:51.760
you've given us a lot to think about

00:41:51.760 --> 00:41:53.680
sandra and just looking at um five

00:41:53.680 --> 00:41:55.200
portraits hanging on the wall and

00:41:55.200 --> 00:41:56.800
gallery one

00:41:56.800 --> 00:41:59.599
oh my pleasure and i think um we might

00:41:59.599 --> 00:42:01.680
try this again soon we'll put we'll

00:42:01.680 --> 00:42:03.119
bring up another wall and have another

00:42:03.119 --> 00:42:04.480
conversation how does that oh we

00:42:04.480 --> 00:42:05.839
certainly will

00:42:05.839 --> 00:42:07.920
uh okay terrific look thank you so much

00:42:07.920 --> 00:42:09.680
to everybody joining us today a big

00:42:09.680 --> 00:42:11.200
shout out to the people joining us on

00:42:11.200 --> 00:42:13.040
facebook as well and thank you for all

00:42:13.040 --> 00:42:14.560
of the comments that you've had uh

00:42:14.560 --> 00:42:16.400
coming through the facebook chat and

00:42:16.400 --> 00:42:17.920
also the floods of comments coming

00:42:17.920 --> 00:42:19.599
through zoom we really i mean i'm

00:42:19.599 --> 00:42:21.839
struggling i'm obviously not as good as

00:42:21.839 --> 00:42:23.440
matt and robert are at this keeping up

00:42:23.440 --> 00:42:24.960
with the chat and the comments coming

00:42:24.960 --> 00:42:26.640
through it's been really delightful to

00:42:26.640 --> 00:42:28.640
see everybody engaged in a creative

00:42:28.640 --> 00:42:30.560
conversation this afternoon around

00:42:30.560 --> 00:42:32.319
curatorial practice

00:42:32.319 --> 00:42:34.319
um for those of you who would like to

00:42:34.319 --> 00:42:36.000
join in some more of our virtual

00:42:36.000 --> 00:42:38.240
conversations we are running during

00:42:38.240 --> 00:42:41.040
september and october and we are running

00:42:41.040 --> 00:42:44.000
twi bi-weekly virtual tours so our

00:42:44.000 --> 00:42:46.079
virtual highlights tours on tuesdays are

00:42:46.079 --> 00:42:48.560
continuing at 12 30 but we also have

00:42:48.560 --> 00:42:51.599
this new uh series on thursdays and

00:42:51.599 --> 00:42:52.800
we're really looking forward to

00:42:52.800 --> 00:42:54.960
introducing you to some of the uh other

00:42:54.960 --> 00:42:57.200
staff that we have hidden away at the

00:42:57.200 --> 00:42:59.440
national portrait gallery so hop on our

00:42:59.440 --> 00:43:01.839
website portrait.gov.edu to check out

00:43:01.839 --> 00:43:03.359
all of the different programs that we've

00:43:03.359 --> 00:43:05.520
got coming up for the families in

00:43:05.520 --> 00:43:08.480
lockdown who are you know are struggling

00:43:08.480 --> 00:43:10.560
to entertain young ones and my heart

00:43:10.560 --> 00:43:12.560
goes out to you because my son just ran

00:43:12.560 --> 00:43:14.880
in the door just now so i know

00:43:14.880 --> 00:43:16.560
what you're going through

00:43:16.560 --> 00:43:17.359
um

00:43:17.359 --> 00:43:19.280
please check out our website as well

00:43:19.280 --> 00:43:21.520
because we do have two kids programs

00:43:21.520 --> 00:43:24.480
coming up uh for the school holidays and

00:43:24.480 --> 00:43:26.319
we'd really like to help you give your

00:43:26.319 --> 00:43:29.040
kids some creativity during this time so

00:43:29.040 --> 00:43:31.280
thanks to everybody for joining us um

00:43:31.280 --> 00:43:33.920
and follow us on socials at portrait au

00:43:33.920 --> 00:43:35.440
if you're not already

00:43:35.440 --> 00:43:40.280
hope to see you next time and stay safe

00:44:04.160 --> 00:44:06.240
you