294:. Narelle Perroux and Stacey selected 114 photographs by twenty-nine photographers, juxtaposing copies from libraries and government agencies of Victorian-era anthropological photographs and early twentieth-century mission photographs, against images of contemporary First Nations' life, and their protests, from newspaper reports and from non-Indigenous photographers such as Michael Gallagher, the English photojournalist
195:...the quality of attention paid to the buildings and their sites, particularly in rural environments. He presents a range of viewpoints, contextualising the homesteads in tantalising long shots, using exterior and interior shots and providing wonderful close-ups of architectural details. Stacey takes particular pleasure in the forms of construction used see, for example, the photographs taken inside shearing sheds...
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the point of the exhibition." Only one of the photographers involved with the project, Langton, was
Indigenous, which Catherine De Lorenzo considers "is as much a reflection of unequal access to education and resources as it is evidence of strong commitment by sectors of the settler population toward a more equitable society;" Tweedie, Gemes,
302:(whose solo exhibition was then being shown at the Hogarth Galleries). The exhibition toured, first to Canberra's Woden Shopping Centre, then during National Aborigines Day Observance Committee (NADOC) Week at the Australian Institute of Aboriginal and Torres Strait Islander Studies which archives the imagery.
191:(1972) in photographs and text documented diverse and significant colonial buildings and conveyed an overview of the rich heritage of Australia's nineteenth-century buildings. The National Library later acquired all of the photographs for the publication. Helen Ennis distinguished in Stacey's photographs;
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The following year, the aboriginal activist Marcia
Langton edited a book of the exhibition, captioning it with what Palmer and Jolly call "a passionate text that ran in short staccato bites beneath the photographs," that, as Catherine De Lorenzo notes "was designed to leave no viewer wondering about
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explored the development of the traditional homestead type from earliest
Georgian times to High Victorian architecture and beyond. The book demonstrated the consistency of the vernacular model and how it responded to 'High' style influences. Historic Towns of Australia looked at the development of
170:
The book revealed that
Australia's heritage in the most rude and fundamental buildings invited comparisons to the cathedrals of Europe. Robust yet elegant; simple in concept yet complex; humble yet daunting: spatially, these structures were to have a profound effect on architects searching for a
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and in 1953 his parents separated and he lived with his father, grandmother and sister in
Cammeray. For three years he attended Trinity Grammar Boarding School from 1953-55 and while there, and encouraged by his mother and his cousin David Stacey, took up photography, constructing and using a
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documenting First
Nations' heritage sites and came to embrace the indigenous cause. The 1970s were a decade in which photographic departments started to be established in public galleries in the eastern states of Australia, and simultaneously some documentary photographers became engaged in
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in New York then visiting to advise on the establishment of The
Australian Centre for Photography regarded Stacey's work as "the most radical thing he had seen" in Australia, and it was declared a landmark work by both the Art Gallery of New South Wales curator of photography
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conducted a large-scale project promoting the preservation of
Australia's colonial architecture in rural and urban areas as part of a consciousness-raising by members of the National Trust around Australia engaging with the history of Australian architecture. The publication
206:
Moving to live on the lower south coast of New South Wales, Stacey photographed for the government South Coast
Advisory Committee on Woodchipping in public forests, and travelled throughout Australia photographing for publication and exhibition projects, including diaristic
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prints; two-hundred and eighty images shot one-handed from the driver's seat of Stacey's Kombi van on trips criss-crossing
Australia between 1973 and 1975 and joined like a film-strip into long horizontal sequences, organised chronologically or in themes.
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genuinely Australian character. Here was Australia's very own Doric architecture. This publication was the first of a series of books investigating Australian vernacular traditions, all completed in collaboration with the photographer Wesley Stacey.
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authored by Philip Cox and J M Freeland with Stacey's photographs centred on rural buildings built exclusively from timber, heroic structures such as the giant woolsheds of western New South Wales. Of the book and its sequels Cox remarks that;
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cross-cultural relationships with Aborigines who were politically aware in issues of self-determination, which challenged governments' paternalistic control of health, legal, housing, and other fundamental services; and
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newly introduced to Australia's amateur market in 1973. Exhibited at the Australian Centre for Photography in 1975, the installation comprised seventeen horizontal strips of snapshot-sized machine-printed
279:, Canberra, amongst regular land rights marches which newspaper and freelance photojournalists documented with the assent of Aboriginal leaders who knew the value of good images to their cause.
180:, which documented the history and restoration of the Georgian settlement of Kingston, originally built as a penal colony incorporating the most elementary Georgian Palladian architecture.
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950:
Landscape of Virtue:The Life and Work of Photographer Wesley Stacey; thesis written in partial requirement for the UNSW Bachelor Degree in Landscape Architecture
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graphic designer. After finishing his studies in 1962 he continued in design and photography work in Sydney and married Barbara (née Wilson) and rented in
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at Goldstein Hall in the University of New South Wales in June strongly evidenced his Christian faith and church activities and his interest in
114:'s expressionist Central Australian landscapes. In the autumn of 1964, and taking long service leave from the ABC, he and Barbara boarded the
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magazines in Sydney then until 1976 freelanced as a commercial photographer specialising in architecture, travel, environment and heritage.
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urban form, the evolution of the girded town plan with its main street and responses to the environment at large. Other books included
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1981 Mumbulla-Spiritual-Contact, Australian National Library, Canberra and Parliament House and The Australian Museum, Sydney
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in Sydney, New South Wales, to Australian-born Alice (née) Steele and Edward Wesley, a bank clerk who was English migrant and a
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102:. Aged twenty-three in 1964, held his first exhibition of photography; the thirteen large black and white prints on board in
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1134:. Daniel Palmer, Martyn Jolly, Printed by Wilco Art Books (First edition of 1000 ed.). Melbourne, Australia. 2021.
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De Lorenzo, Catherine (2015). "Agency And Authorship In Australian Photo Histories". In Sheean, Tanya (ed.).
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for monochrome and colour landscapes and skyscapes in Australia, Italy, Japan, Korea, Brittany and England.
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79:. For his final years of schooling 1954-6, Wesley went to Mosman Intermediate High school leaving with the
59:
1238:. Interfaces: Studies in Visual Cultures. Hanover, New Hampshire: Dartmouth College Press. p. 181.
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The photographs of Wesley Stacey : Gallery 4A, 23 February-12 May 1991, Australian National Gallery
319:
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served on the original committee to plan and establish the Australian Centre for Photography in Sydney.
22:(1941 – 9 February 2023) was an Australian photographer and photojournalist who was a co-founder of the
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existed between the first white settlers and the First Nations. That movement in 1972 mounted the
122:(1964–66), during which time he photographed the landscape and architecture of England and Wales.
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58:. His sibling Sandra was born two years later. The family moved house among northern suburbs of
969:. Helen Ennis, Chris Long, Australian National Gallery. Canberra: Australian National Gallery.
310:, and many others, with Stacey, were "forging a new visual poetics within activist politics."
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952:. New South Wales: Faculty of Arts, Design and Architecture, University of New South Wales.
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1975 The Edge, National Gallery of Victoria, Melbourne and Coventry Gallery, Sydney
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87:
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After the tent embassy : images of Aboriginal history in black and white photographs
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After the tent embassy : images of Aboriginal history in black and white photographs
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184:, meanwhile, gave guidelines to preservation and restoration of Australian architecture.
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1983 Decade of Australian Photography, Australian Centre for Photography, Sydney
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Mumbulla - spiritual contact : photographic show from the South Coast Aborigines
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Mumbulla - spiritual contact : photographic show from the South Coast Aborigines
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2000 Selected Panoramics, Australian Photographic Society Conference, Canberra
471:, Sydney and Gallery A, Melbourne / Friends, Brummels Gallery, Melbourne
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From 1993 Stacey continued to live on the far south east coast and took up use of a
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After the Tent Embassy: Images of Aboriginal History In Black and White Photographs
107:
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apprentice and in 1960 set up his own darkroom, and studied drawing and design at
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Wesley Stacey died at home on the New South Wales South Coast on 9 February 2023.
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1997 Site and Sensibility, Artbank selection, S.H. Ervine Gallery, Sydney
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Australian Institute of Aboriginal and Torres Strait Islander Studies, Canberra
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1995 On The Edge, Australian Photographers, San Diego Museum of Art, USA
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1993: Awarded Australian Artists Creative Fellowship by the Federal Government
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1999 What is this thing called photography?, Art Gallery of NSW, Sydney
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1987 Photography in the 1970s, National Gallery of Australia, Canberra
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1983 Recent Colour Photography, National Gallery of Australia, Canberra
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1981 New Colour Photography, Australian Centre for Photography, Sydney
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1979 The Law Comes From The Mountain, Aboriginal travelling exhibition
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1980 Australian Photographic Industry Collection, Festival of Sydney
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1981: Australia Council Grant to continue photographing on the South Coast
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and by David Moore. It paralleled the contemporaneous conceptual works of
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National Library of Australia; Thomas, Guboo Ted; Stacey, Wesley (1981).
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Installation view : photography exhibitions in Australia (1848-2020)
1085:
Intersections: Photography, History and the National Library of Australia
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National Library of Australia; Thomas, Guboo Ted; Stacey, Wesley (1981).
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1983 From Another Continent - The Dream and the Real, Paris, France
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1981 Sydney Focus I Melbourne Shift, Victorian College of the Arts
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717:. Wesley Stacey, Fay Bottrell. Crows Nest, N.S.W.: Jack Pollard. 1972.
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1983 Old Continent - New Building, travelling Europe and America
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1988 Shades Of Light, National Gallery of Australia, Canberra
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1985 CSR Photography Project, Queensland Art Gallery, Brisbane
1037:. Cocos (Keeling) Islands: Images Publishing Group. pp. 13–14.
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1993 Critic's Choice, Art Gallery of New South Wales, Sydney
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1981 Eureka!, Australian Artists, Serpentine Gallery, London
125:
In 1968 Stacey returned to "find his Australian roots" and joined
298:(concurrently showing at the ACP), and the activist photographer
1331:
McCaughey, Patrick (21 June 1967). "Art: Two views of anatomy".
1004:. Wesley Stacey, J. M. Freeland. London: Angus & Robertson.
573:. Wesley Stacey, J. M. Freeland. London: Angus & Robertson.
496:
1981 Land Marks, Victorian College of the Arts, Melbourne
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for which he used the inexpensive point-and-shoot 110 format
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Shades of light : photography and Australia, 1839-1988
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1983 Australian Perspecta, Art Gallery of NSW, Sydney
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1982 Australian Wilderness, University of NSW, Sydney
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Cox, Philip; Cox Sutton Architects & Planners (2008).
818:. Wesley Stacey. Bermagui South, N.S.W.: Williams/Stacey.
1087:. Australia: National Library of Australia. p. 218.
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The Artist craftsman in Australia, aspects of sensibility
789:. Wesley Stacey. Lilydale, Vic.: Pioneer Design Studio.
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1988 Images And Objects, Aeroporto di Roma, Italy
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1982 After The Tent Embassy, travelling exhibition
1312:(in English and Italian). Thubbul, NSW: Wesley Stacey.
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Thomas, Daniel (17 July 1975). "Art: New exhibitions".
760:. John, active Ross. South Melbourne, Vic.: Macmillan.
602:. Wesley Stacey. Melbourne: Thomas Nelson (Australia).
550:
1998 Cars and Cultures, Powerhouse Museum, Sydney
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1997 Practically Art, Mary Place Gallery, Sydney
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Sayers, Stuart (25 Jan 1969). "Writers and readers".
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in 1991, his work has been collected by the NGA, the
628:Kings Cross Sydney; a personal look at the Cross
490:1981 The Developed Image Gallery, Adelaide
391:, Royal Institute of British Architects, London
182:Restoring Old Australian Houses & Buildings
118:to sailed for England where he was employed by
847:. Clive Lucas. Melbourne: Lansdowne Editions.
286:, representing this groundswell of change was
282:Amidst vociferous land rights protests at the
8:
1261:"Rest in peace: Wesley Stacey (1941 - 2023)"
408:, Australian Centre for Photography, Sydney
1185:. Canberra: National Library of Australia.
1162:: CS1 maint: location missing publisher (
874:. Canberra: National Library of Australia.
256:Australian Institute of Aboriginal Studies
443::Shinsegae Dongbang Gallery, Seoul, Korea
422:, National Gallery of Australia, Canberra
1054:. Wesley Stacey. Melbourne: Lansdowne.
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689:. Wesley Stacey. Melbourne: Lansdowne.
660:. Wesley Stacey. Melbourne: Lansdowne.
450:: Christine Abrahams Gallery, Melbourne
429:, Christine Abrahams Gallery, Melbourne
384:, University of New South Wales, Sydney
365:National Gallery of Victoria, Melbourne
347:National Gallery of Australia, Canberra
246:Indigenous activism through photography
1310:Signing the land = segni sul paesaggio
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356:Art Gallery of New South Wales, Sydney
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925:Stacey, Wesley; Newton, Gael (1991).
362:Australian National Library, Canberra
86:From 1957 to 1959 'Wes' Stacey was a
26:. Exhibited widely, including at the
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350:National Portrait Gallery, Canberra
16:Australian photographer (1941–2023)
1001:Rude timber buildings in Australia
570:Rude timber buildings in Australia
415:, Canberra School of Art, Canberra
389:Australian Vernacular Architecture
163:Rude Timber Buildings in Australia
14:
929:. National Gallery of Australia.
464:, Gallery A, Sydney and Melbourne
24:Australian Centre for Photography
1289:National Portrait Gallery people
1236:Photography, History, Difference
844:Australian colonial architecture
420:The Photographs of Wesley Stacey
229:, curator of photography at the
104:A Showing of Photographic Panels
783:Williams, Eleanor Mary (1977).
436:: Kiyomizu Temple, Kyoto, Japan
32:Art Gallery of New South Wales
1:
1035:Cox Architects & Planners
631:. Wesley Stacey. : Nelson .
476:Recent Australian Photography
469:Kings Cross, The Yellow House
398:, Brummels Gallery, Melbourne
92:East Sydney Technical College
36:National Gallery of Australia
34:, and a retrospective at the
1259:Shipton, Will (2023-02-28).
40:National Gallery of Victoria
1383:Australian photojournalists
1048:Cox, Philip Sutton (1972).
841:Cox, Philip Sutton (1978).
686:Historic towns of Australia
683:Cox, Philip Sutton (1973).
654:Cox, Philip Sutton (1972).
596:Cox, Philip Sutton (1971).
353:Albury Regional Art Gallery
284:Brisbane Commonwealth Games
94:while working as assistant
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1113:The Sydney Morning Herald
152:Architectural photography
1378:Australian photographers
1285:"Wesley Stacey, b. 1941"
1196:Langton, Marcia (1983).
1051:The Australian homestead
879:Langton, Marcia (1983).
657:The Australian homestead
561:Co-Authored Publications
250:Stacey also worked with
189:The Australian Homestead
173:The Australian Homestead
81:Intermediate Certificate
1388:Journalists from Sydney
1308:Stacey, Wesley (1993).
754:Stacey, Wesley (1975).
599:Building Norfolk Island
396:Towards A Self Portrait
382:Photographic Expression
273:Aboriginal Tent Embassy
178:Building Norfolk Island
46:Early life and training
812:Williams, Max (1977).
745:: CS1 maint: others (
625:Ellis, Rennie (1971).
197:
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156:Stacey with architect
1166:) CS1 maint: others (
1083:Ennis, Helen (2004).
963:Newton, Gael (1988).
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998:Cox, Philip (1980).
567:Cox, Philip (1980).
448:Landscapes for Peace
441:Landscapes for Peace
434:Landscapes for Peace
231:Museum of Modern Art
144:In 1973 Stacey with
948:Cohen, Ziv (2003).
462:The Australian Nude
427:to the bright plain
28:Serpentine Gallery
1202:. : Valadon Pub.
1141:978-1-922545-00-8
885:. : Valadon Pub.
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