Centre for Contemporary Photography 2018 Annual Report - …€¦ · Audience members enjoy the City Gallery Wellington exhibition John Stezaker: Lost World presented at CCP as part

Centre for Contemporary Photography2018 Annual Report

Centre for Contemporary Photography2018 Annual Report

Publisher

Centre for Contemporary Photography404 George Street, Fitzroy VIC 2065, Australia+61 3 9417 1549 | [email protected] | www.ccp.org.au

© Centre for Contemporary Photography and the authors, 2019

Staff

Adam Harding DirectorEric Nash General ManagerMadé Spencer-Castle Curator, ExhibitionsLinsey Gosper Curator, EngagementAdelina Onicas Communications ManagerSarah McKechnie Gallery ManagerHugh Hirst-Johnson Assistant Gallery ManagerFore Edge Business Services Bookkeeper

Board of Management

Jane Hodder ChairJane Grover Deputy ChairGeraldine Ilott TreasurerPeter Lovell SecretaryGenevieve BranniganPatrick PoundJudy WilliamsMichael McCormack

Centre for Contemporary Photography404 George Street, Fitzroy VIC 3065, Australia+61 3 9417 1549 | [email protected] | www.ccp.org.auTW @CCP_australia IG @ccp_australiaFB @centreforcontemporaryphotography

Cover: Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth(exhibition opening), photo: J Forsyth

Contents

Mission and Profile

Chair’s Introduction

Director’s Report

Statistical Snapshot

Performance Review

Board

Staff, Volunteers and Interns

ExhibitionsExhibition Advisory Committee

Exhibition Program

Exhibitions in Focus

Touring and Off Site Exhibitions

Education and Public Programs

Membership

Marketing and Promotion

In Response

Public Feedback

Financial Statements

Sponsors

Patrons and Donors

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Centre for Contemporary Photography 2018 Annual Report

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Centre for Contemporary Photography (CCP) is the leading contemporary arts space in Australia dedicated to photography, video and related fields.

Exhibiting and promoting work by local, national and international artists, CCP is a not-for-profit membership based organisation that was established in 1986 by the photographic community. Entry to CCP galleries is free, encouraging visitation from all sections of the community.

Positioned as a key generator of contemporary visual thinking and located in the inner Melbourne suburb of Fitzroy—surrounded by creative producers, artists and artisan cafes—CCP is a progressive, dynamic organisation responding creatively to changes in technology, visual communication and world events.

CCP occupies a unique place within the Australian contemporary arts sector; a place where emerging photo-based artists can gain a formative experience in the development and staging of exhibitions; where practicing photographers can find new audiences; and established artists can experiment with new directions.

Core activities of the Centre for Contemporary Photography include the exhibition, commissioning, education, and appraisal of contemporary practice as well as advocacy, publishing and artwork sales.

Mission and Profile

Audience members enjoy the City Gallery Wellington exhibition John Stezaker: Lost World presented at CCP as part of the Melbourne International Arts Festival, photo: J Forsyth

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Chair’s Introduction

2018 has been a regenerative year for the Centre for Contemporary Photography. As art photography, and the world at large, continue to change around us, so too CCP adapts with an eye to a bright future, extending our position as Australia’s premier gallery dedicated to the exhibition of contemporary photography and video.

In wrapping up 2018’s achievements I must begin by paying tribute to CCP’s long-time Director, Naomi Cass, who left the organisation in 2018 having overseen many pivotal moments in the gallery’s history, including the move to our current iconic George Street premises, and having steered our stellar creative program over 14 years of incredible service.

CCP warmly welcomed new Director, Adam Harding, in September. Harding brings a wealth of experience to the position, having been the Director of photography-focused Horsham Regional Art Gallery for a number of years, and also as the current Chair of National Exhibitions Touring Support (NETS) Victoria. CCP’s Board looks forward to working closely with Harding and the team to implement a series of new initiatives that align with the organisation’s core photographic purpose.

The year saw CCP maintain its established reputation for the development and presentation of a diverse range of incredible exhibitions, in doing so engaging with a community of over 130,000 people.

Highlights included a mid-career survey of Victorian artists Sonia Leber and David Chesworth, Architecture Makes Us, which included the commission of a new 8-channel video work, Geography Becomes Territory Becomes (2018). This multi-screen installation was developed during an Australia Council for the Arts residency in Helsinki. The exhibition was supported by a beautifully designed publication, and will tour to UNSW Galleries in Sydney (January) and Griffith University Art Museum in Brisbane (March) in 2019.

Continuing a close relationship with the Melbourne International Arts Festival, CCP was the Australian-exclusive venue for the exhibition John Stezaker: Lost World, developed by City Gallery Wellington. Audiences were seduced by over 40 years of Stezaker’s collage works, and even more so by the rare opportunity to hear directly from the London-based artist at a series of public programs.

I would like to acknowledge our major funders for enabling us to achieve such great successes, particularly the Victorian Government’s valuable support through Creative Victoria; and the Australian Government through the Australia Council for the Arts’ VACS program, and project funding for Architecture Makes Us.

While incurring a deficit in 2018, CCP’s Board is confident the organisation is well placed for success in the future. I would like to pay tribute to my fellow Board Members for actively contributing to the organisation, particularly in governance, finance, fund raising, relationship building and artistic programming, throughout a period of significant change. I also thank outgoing Board Member, John Gollings, for his significant contribution.

I acknowledge the vision and generosity of CCP’s sponsors and partners who continue to offer pivotal support. In addition to our government funders, we were thankful for the uplifting support of the Gordon Darling Foundation, ILFORD, and Milieu Property across a series of projects in 2018.

Once again, I recognise the committed team of regular volunteers who work at CCP, extending the capacity of the organisation greatly. Finally, I would like to acknowledge the commitment of our CCP team and thank them for their focus and effective work throughout 2018.

Jane HodderChairCentre for Contemporary Photography


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It’s with great pleasure that I pen the Director’s Report for the 2018 CCP Annual Report. Having commenced with the gallery in September, following a long and warm association in my previous role as the Director of Horsham Regional Art Gallery, I acknowledge the work of my predecessor Naomi Cass, and the whole CCP team of Board members, staff (past and present), interns and volunteers who largely combined to deliver such amazing successes in 2018.

Through both solo and curated exhibitions, CCP remained the gallery at which photographers aspired to exhibit their work. We worked with and exhibited Victorian, Australian, and internationally acclaimed artists; continued to play a valuable role in advancing the careers of emerging artists; and undertook in-depth surveys of the oeuvre of important mid-career artists.

Exhibitions explored notions of space and place, identity, communication and our reading of images. At a local level, Christine McFetridge and Rod McNicol explored the City of Yarra community, capturing private moments through historical and contemporary portraits in McNicol’s Portraits from my Village, and exploring public interactions at Citizens Park in McFetridge’s residency and exhibition.

That connection to place was further interrogated in Talia Smith’s curated exhibition I can see for miles, delving into the physical and emotional toll of distance and longing. Jacob Raupach took us across country in Folding the Periphery, examining liminal spaces along the 960km rail corridor between Sydney and Melbourne.

Sonia Leber and David Chesworth, in a landmark survey supported by the Australia Council for the Arts, offered a rich exploration of the way society is impacted by the geographical, technological and architectural influences that surround us. Works pointed towards the architecture of our world in the broadest sense, examining structures both physical and invisible.

Touching on the way we both communicate and read images, Laura Lantieri’s curated exhibition Figuratively Speaking brought together seven artists to explore the body as a medium for language; Olga Bennett delved into the CCP archive to posit how our historical records may shift and change through processes of digitisation; while Emma Hamilton’s Indirect Image also gave pause for thought as to where the object stops and the image begins—a result of an iterative and layered method of image making stemming from a residency in Paris re-photographing photographs by the sculptor Brancusi from the Pompidou Centre archives, as well as Brancusi’s studio, preserved behind glass.

CCP engaged meaningfully on an international, national, and local level. The gallery was privileged to present works by leading international practitioners, notably through The Art of Publishing: An Exhibition of MACK Books; Dr Kristian Häggblom’s curated exhibition Tsuka: An Exhibition of Contemporary Japanese Photography, bringing together 23 talented artists; and Entre Nous: Claude Cahun and Clare Rae, in which Rae explored the performative photography, feminism and self-representation dialogues present in her own practice, and that of Cahun, a significant queer avant-garde artist and writer.

My first week at CCP fortuitously coincided with the installation and launch of John Stezaker: Lost World, a refined City Gallery Wellington touring exhibition presented as part of the Melbourne International Arts Festival. The art of collage is deceptively simple, yet in the hands of this great artist the juxtaposition of images gave rise to illuminating new meanings. For more than 40 years the self-confessed ‘vandal and thief’ has been collecting photographs and subjecting them to all kinds of treatment—cutting and slicing, grafting them in uncanny or provocative ways—and along the way has reinvented the art of collage.

Director’s Report

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Adam Harding addresses guests at the launch of the ILFORD CCP Salon 2018 - supported by Milieu, photo: Pippa Samaya


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Most impressively, Stezaker also took a slice out of his busy schedule to visit Australia, generously participating in symposia and programs to give our community direct access.

Rounding out the year, it was somewhat overwhelming but ultimately thrilling to stage the largest ever ILFORD CCP Salon, supported generously by our peers in the gallery and photographic sectors.

Looking ahead, while CCP can only exhibit on average 12-15 shows from its annual Expressions of Interest process, in 2018 we received 252 applications from photographers competing for this opportunity. Photographers hailed from around the country, and also internationally, including from New Zealand, the United States, Indonesia, Philippines, Finland, the United Kingdom, Belgium, Taiwan, France, and Singapore.

CCP continued to provoke and engage in conversations, extending the public’s understanding and appreciation of photography through a dynamic public program, and encouraging the next generation of practicing photographers through an extensive schools program. 2018’s public and education program saw CCP deliver 49 public programs for 4,575 guests, and 24 schools programs for 659 students.

CCP understands and embraces its role in inspiring creativity and prompting new ways of thinking in the next generation of artists. In 2018, this included the continued management of key annual programs: Fitzroy Art Spaces Tour enabled VCE Studio Arts students to experience various approaches to exhibiting contemporary art; and the Rotary Youth Arts Project was delivered over numerous weeks as 2-hour photography lessons for youth-at-risk students.

2018 resulted in an operational deficit, and I’ve welcomed productive discussions with the CCP Board, staff, and our many stakeholders to ensure this is proactively managed in future years, ensuring CCP continues to make an incredible impact for many years to come.

I gratefully acknowledge the support of our major partners, particularly the State of Victoria through Creative Victoria for funding granted through the Organisations Investment Program, and the Commonwealth Government through the Australia Council for the Arts, for funding granted through the Visual Arts and Crafts Strategy, an initiative of the Australian and State and Territory Governments.

A number of partnerships enable CCP and its artists to flourish, and we gratefully acknowledge: ILFORD; Milieu Property; Tint Design; Bodriggy Brewing Company; Colour Factory; Melbourne International Arts Festival; Department of Education and Training; Gordon Darling Foundation; Virgin Australia Melbourne Fashion Festival; MACK Books and Perimeter Books; City of Yarra; Austrian Federal Ministry for Educations, Arts and Culture, and Hilton Sevel of Artists’ Courier Service; The Besen Family Foundation; Archisle: the Jersey Contemporary Photography Programme; Image Science; Art Guide Australia; ACMI; The Saturday Paper; The Monthly; Communications Collective; Cope Williams; Leica; Dyad Artisans; Canson; The Japan Foundation, Sydney; Ross Lake and Helen Vivian; Photography Studies College; Horsham Regional Art Gallery; CCA Galleries International (UK); Australian Centre for Photography; Australian Institute of Professional Photography; ARTEN; Borge’s Imaging; Deakin University; FINI Frames; Format Scan; The Fox Darkroom and Gallery; Hillvale; JCP Studios; Kayell Australia; Lowepro; Momento Pro; NCAT Photography; SOFI Spritz; Strange Neighbour; SUNSTUDIOS; Thirds Fine Art Printing; United Measures; Vanbar Imaging; Vanguard; and Zetta Florence.

CCP’s generous donors provide critical financial support and encouragement, for which we are grateful.

My thanks and congratulations to our exhibiting and teaching artists throughout 2018, who have kept CCP at the forefront of contemporary photographic practice.

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Our Members and Salon entrants enthusiastically engage with our organisation, and in doing so help us to achieve our ambitious aims. I look forward to continuing to form relationships with you as 2019 unfolds.

2018 of course saw notable changes to CCP’s team, and I thank and acknowledge the work of Naomi Cass, Christina Apostolidis, Pippa Milne, Michelle Mountain, and Jack Loel. I have already enjoyed working with many of you in your new and impressive roles, partnerships which I hope continue into the future.

CCP’s Board, staff, interns and volunteers power this small organisation to achieve beyond what could be imagined, and I commend you all.

Adam HardingDirectorCentre for Contemporary Photography


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26exhibitions

849artists exhibited

381CCP members

3,112volunteer hours donated

36artist talks, lectures, symposia and public programs

30education talks and seminarspresented to school groups

31practical photographyworkshops

1community youth arts projectand exhibition

125,839visitors to on site exhibitions and programs

8,867touring and off site visitors

1exhibition catalogue

60,746CCP website visitors

38,936unique CCP website visitors

16,635CCP Facebook fans

7,985CCP email subscribers

5,440CCP Twitter followers

19,500CCP Instagram followers

1,475CCP Tumblr followers

Statistical Snapshot

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John Stezaker Marriage CXIII 2012Collage, 25.9 x 20.3 cmAP-STEZJ-02489


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Performance Review

PARTICIPATION

Exhibitions — On site 120,605

Exhibitions — Touring / Off site 8,867

Education and Public Programs 5,234

Total 134,706

2018 was another highly successful year for CCP, particularly with respect to the continued excellence achieved through exhibitions and education offerings.

On site visitation to CCP’s exhibitions notably increased to 120,605 in 2018 - a 29.8% improvement on the number of attendees to CCP’s premises in 2017.

Simultaneously, CCP maintained its impressive record of touring, taking shows to regional Victoria, while Entre Nous: Claude Cahun and Clare Rae was exhibited at CCA Galleries International (Jersey, UK) by the artist following its CCP debut.

CCP also continued to expand and diversify the artists it was able to exhibit and promote, with 849 artists featuring in the 2018 program, a 41% increase on the previous year.

The gallery was again generously supported by a dedicated and talented team of volunteers, who collectively provided an astonishing 3,112 hours of service to the organisation in a variety of capacities. The successes of the organisation are due in no small part to these tireless individuals.

Engagement in CCP’s Education and Public Program was particularly pleasing, with 5,234 participants recorded. This is a 153% improvement on 2017’s reported participation, and is evidence of CCP’s commitment not only to the development and presentation of photographic arts, but also to extending the public’s understanding and appreciation, and encouraging the next generation of practicing photographers.

CCP continued to be a strong media performer, having its dynamic program of exhibitions featured in key arts and general media, across digital, print, and radio. In 2018, exhibitions were regularly featured in or discussed on The Guardian, The Age, Triple R, Broadsheet, Art Guide Australia, international photography publications, and blogs.

With constrained resources, CCP is highly reliant on its engagement with online audiences, and the gallery again performed strongly, achieving an annual audience growth of 7.58% across all of its social platforms. CCP’s email subscriber list grew to 7,985 in 2018, with an average open rate of 31.35% across all communications, more than 5% above the industry average.

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Appreciating works at the launch of the ILFORD CCP Salon 2018 - supported by Milieu, photo: Pippa Samaya


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Jane HodderChairSubcommittees: Premises; Finance

Jane Hodder is a partner in the real estate group of Herbert Smith Freehills. Jane has a depth of commercial experience in professional services and holds a Bachelor of Arts (Hons) and a Bachelor of Law from Monash University. Jane has expertise serving on boards (including governance protocols and procedures). In addition to being a Board Member for the Centre for Contemporary Photography, she is also the Chair of St. Catherines’ Girls School, and a member of the Queen Victoria Market Board. Jane is also a former member of the Herbert Smith Freehills Global Board and formerly the Chair of the Monash Law School Foundation Board.

Jane GroverDeputy ChairSubcommittee: Fundraising

As Chief Executive Officer of the Southern Metropolitan Cemeteries Trust (SMCT), Jane Grover is charged with ensuring day to day operations and overall leadership for the organisation is in line with SMCT’s Rolling Strategic Plan. A key focus of her role is deepening the understanding of SMCT customers, pursuing strategic opportunity and developing organisational capability.

Jane holds a Graduate Diploma in Business Administration, is a Fellow of the Vincent Fairfax Centre for Ethical Leadership (Ormond College, Melbourne University), a Williamson Fellow and a Fellow of the Australian Institute of Company Directors.

Jane is Deputy Chair for the Centre of Contemporary Photography and is a member of the Gender Equity Steering Committee with the Essendon Football Club.

Most recently Jane completed the ‘Oxford’ Advanced Leadership and Executive Development Programme at the Said Business School.

Geraldine IlottTreasurerSubcommittee: Finance

Geraldine is the Business Manager at Fintona Girls’ School in Balwyn having spent 20 plus years in business management in the education sector. She spent 13 years on the Victorian Board of ASBA (Business Managers’ Association) including a term as President and is an Honorary Life Member. She also served two terms on the National Board of the Association as a Director and Honorary Treasurer. Geraldine has an MBA from Deakin University; is a Fellow of the Governance Institute of Australia (FGIA); and is a Graduate of the Australian Institute of Company Directors (GAICD).

Geraldine enjoys her work as Honorary Treasurer at CCP, taking pleasure in the company of board members and management, and in supporting the talented and diverse artists with the breadth and depth of their work displayed so creatively throughout the year.

Peter Lovell SecretarySubcommittees: Premises; Finance

Peter Lovell is a Director of Lovell Chen, Architects and Heritage Consultants. He is an Honorary Fellow of the Australia Institute of Architects, and a long standing member of Australia ICOMOS and a past member of the executive committee. He is an active participant in the design and construction industry with a focus on heritage buildings and their conservation and reuse. In this role he provides advice to government and the private sector. He is a past board member and President of the Melbourne Athenaeum Library, and a long standing patron of a number of arts organisations.

Board

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Patrick PoundSubcommittees: Exhibition Advisory;

Finance

Patrick Pound is a practicing artist and Associate Professor, Art and Performance at Deakin University. He has a doctorate in the History of Photography. His artwork is held in numerous public collections including: National Gallery of Australia, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, Museum of New Zealand and Auckland Art Gallery. In 2017 the National Gallery of Victoria presented The Great Exhibition; a survey of Pound’s work.

Pound’s work with photography has been included in four key surveys of Australian Photography: Defining Place/Space: Contemporary Photography from Australia, the Museum of Photographic Arts, San Diego, curated by Deborah Klochko; The Art of the Photograph, 2013, Art Gallery of New South Wales, and Queensland Art Gallery, Brisbane, curated by Judy Annear; Episodes, Dong Gang Photography Museum, Korea, curated by Natalie King and Yong Mi Park; and Perfect for Every Occasion: Australian Photography Today, Heide Museum of Art, 2007, curated by Zara Stanhope.

Judy WilliamsSubcommittee: Fundraising

Judy Williams brings extensive arts management experience to the Board, having previously worked at the National Gallery of Victoria (NGV) for almost two decades. This tenure included serving as the Head of Foundation and Fundraising from 2004 - 2014, where she was responsible for the development and implementation of the NGV’s fundraising strategy, including bequests, legacies and annual giving, and developing and implementeing the NGV’s 150th Anniversary fundraising campaign – Masterpieces for Melbourne.

Genevieve BranniganSubcommittee: Fundraising

Genevieve Brannigan is the Director of Communications Collective, an agency focused on delivering intelligent, culturally relevant campaigns that have the power to shape brands, establishing them as opinion leaders while positively enhancing the bottom line. Genevieve provides strategic communications and business counsel for clients spanning the public, private and not-for-profit sectors. She has built a reputation for delivering award-winning campaigns with innovative approaches that positively shape public image and grow brands’ market share. Driven by her strong passion for cultural and community initiatives, Genevieve is actively involved in Australia’s arts community.

MEMBER ELIGIBLE ATTENDED

Jane Hodder 7 5

Jane Grover 7 4

Geraldine Ilott 7 4

Peter Lovell 7 6

Genevieve Brannigan 7 6

John Gollings 3 2

Patrick Pound 7 4

Judy Williams 7 5

MEETINGS OF DIRECTORS

During the year, eight meetings were held. Attendance by each Director was as follows:


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director Naomi Cass (until July 2018)

director Adam Harding (from September 2018)

general manager - development Christina Apostolidis (until October 2018)

general manager

Eric Nash

curator

Pippa Milne (until March 2018)

curator, exhibitions

Madé Spencer-Castle (from March 2018)

program manager

Michelle Mountain (until May 2018)

curator, engagement

Linsey Gosper (from September 2018

gallery manager

Linsey Gosper (until October 2018)

gallery manager

Sarah McKechnie (from November 2018)

assistant gallery manager Sarah McKechnie (until November 2018)

assistant gallery manager Hugh Hirst-Johnson (from November 2018)

design and communications coordinator Jack Loel (until July 2018)

communications manager

Adelina Onicas

bookkeeper

John Paxinos & Associates (until March 2018)

bookkeeper

Fore Edge Business Services (from March 2018)

special projects, education officer for fast

Melissa Bedford

CCP team, photo: Jorge De La Cruz

Staff, Volunteers and Interns

STAFF

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INTERNS

CCP would like to thank its many talented volunteers and interns who assisted in 2018. We gratefully acknowledge all of you.

salon intern Susie Britt

curator intern Sarah Shepherd

gallery manager intern

Hugh Hirst-Johnson

salon design intern

Ian Bunyi

press archive interns

Jade MulvaneyAmber ter HeddeCecilia Baker

VOLUNTEERS

Abbey Roccisano, Adélaïde Gandrille, Alexander Linger, Alex Klages, Alexandra Nielsen, Alice Francis, Alison Zhu, Amanda Whiteside, Amber ter Hedde, Amy Toy, Angel Fuchs, Angela Cornish, Angela Rook, Anna-Lena Muller, Annabel Blue Devere, Anne Dribbisch, Anne McCallum, Annika Kafkaloudis, Antoine Loncle, Ashleigh Holmes, Bec Coyle, Bella Johnson, Belladetta Peresa, Benedetta Martini, Bianca Valenti, Caitlin Wight, Carla Serrano, Carolina Campos, Caroline Marta, Cecilia Baker, Chloé Hazelwood, Courtney Black, Dani Marano, Danielle Fusco, Darren Tan, Dylan Dimivoski, Dylan Reilly, Eirini Tzavara, Elroy Rosenberg, Emily Shannon, Emily Shumborski, Emma Mills, Emma Trewhella, Emmaline Zanelli, Flävia Dent, Freda Chang, Georgia Smedley, Giulia Cattaneo, Grace Spence, Greta Costello, Hannah Perrins, Helen Sakkas, Hugh Hirst-Johnson, Ian Bunyi, Isabella Wang, Jade Mulvaney, Jake Sawyer, James Boyle, Jessie Turner, Jetsarisd Intalak, Jing Yi Zhang, Jivan Simons Mistry,Jody Tuvel, Joel Kram, Jordan Bailey, Kaitlyn Church,Karl Halliday, Katalia Pribadi, Kate McHugh, Ken Smith, Kevin Luong, Kinski Shabilla, Lauren McNeill, Lisa Jacomos, Lisa Linton, Liv Mroz,Lucie McGough, Madi Sherburn, Manon Opazo, Marisa Ho, Martin Nahon, Matthew Jones, Meline Samson, Michael Morris-Thompson,Michaela Thompson, Michelle Guo, Michelle Leong, Monica Willmott, Monika Pedzinski, Moon Blaha-Carrat, Nadia Gabriel, Nathan Stolz,Noah Thompson, Oxana Sitchuk, Phoebe Thompson, Pia Gonzalez, Pierre Michel-Lafforgue, Rachel Doughty, Rita Sus, Robet Albie, Sally Kaack, Sam Forsyth-Gray, Sarah Shepherd, Shelby Eade,Simon Aubor, Sinéad Cuffe, Sofie McClure, Sonia Jude, Stephanie Symington, Steven Smith, Sue Neal, Susie Britt, Suzie Liu, Suzy Huang, Tash McCammon, Taylor Kane, Thorsteinn Cameron, Tim Fenby, Tom Hvala, Trudi Treble, Valentina Seveke, Veronica Tucci, Walter Bakowski, Wandi Cao, Winnie Tsang, Xander Linger, Yask Desai


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In 2018, the Centre for Contemporary Photography was kindly assisted in the development of its future Exhibition Program by its Exhibition Advisory Committee:

Patrick Pound (Chair)CCP Board Member; Artist; and Senior Lecturer, Photography, Course Director, Creative Arts Honours, Master of Creative Arts, School of Communication and Creative Arts, Deakin University

Madé Spencer-CastleCurator, Exhibitions

Linsey GosperCurator, Education and Programs

Lou HubbardArtist; and Senior Lecturer in Art, Victorian College of the Arts, University of Melbourne

Adam HardingDirector, Horsham Regional Art Gallery

Guests viewing works at the launch of I can see for miles curated by Talia Smith

Exhibition Advisory Committee

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22 DECEMBER 2017— 31 JANUARY 2018

NIGHT PROJECTION WINDOW

Tania SmithUntitled (walking)

6 JANUARY—21 JANUARY 2018

GALLERIES 1 AND 2

The Art of Publishing: An Exhibition of MACK Books

2 FEBRUARY—11 MARCH 2018

GALLERY 1

Jacob RaupachFolding the Periphery

GALLERY 2

Kirsten LyttleDigital Mana

GALLERY 3

Ross Coulter, Laura Hindmarsh, Mira Loew, Gabriella Mangano and Silvana Mangano, Mira Oosterweghel, Eugenia Raskopoulos, Curator: Laura LantieriFiguratively Speaking

GALLERY 4

William Henry Fox Talbot, Nicolaas Henneman, James Tylor, Killian Breier, Lewis Rutherfurd, NASA, Justine Varga, Man Ray, Thomas Barrow, Marion Hardman, Anne Ferran, Andreas Müller-Pohle, Alison Rossiter, Shaun Waugh, Danica Chappell, Ben Cauchi and Ghazaleh Hedayat, Curators: Justine Varga and Geoffrey Batchen Runes: Photography and Decipherment


Irene Proebsting and Barry BrownIndustrial Nocturne No. 2

23 MARCH—6 MAY 2018

GALLERIES 1, 2 AND


Claude Cahun and Clare RaeEntre Nous

GALLERY 3

Magali Duzant, Clare Weeks, Harry Culy, Ella Condon, Julia Rochford, Ellen Dahl, Rebecca Najdowski and Aaron Claringbold, Curator: Talia SmithI can see for miles

GALLERY 4

Christine McFetridgeCitizens of the Park

18 MAY—27 MAY 2018

ALL GALLERIES

2018 CCP Fundraiser The Art of Collecting

8 JUNE—15 JULY 2018

GALLERY 1

Olga Bennett Untitled_ccp_archive.jpg

GALLERY 2

Rod McNicolPortraits from my Village

GALLERY 3

Risaku Suzuki, Kazuma Obara, Tomoki Imai, Kenji Chiga, Mayumi Hosokura, Chikako Enomoto, Hiroshi Hatate, Daisuke Morishita, Mayumi Suzuki, Hajime Kimura, Yusuke Yamatani, Go Itami, Yoshinori Mizutani, Asako Narahashi, Shingo Kanagawa, Yuji Hamada, Hiroyuki Takenouchi, Hiromi Kakimoto, Yoshikatsu Fujii, Masako Tomiya, Kosuke Okahara, Keiko Nomura and Yasutaka Kojima, Curator: Dr. Kristian HäggblomTsuka: An Exhibition of Contemporary Japanese Photography

GALLERY 4

Emma HamiltonIndirect Image


Cigdem Aydemir Whirl

27 JULY—9 SEPTEMBER 2018

ALL GALLERIES

Sonia Leber and David ChesworthArchitecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth

21 SEPTEMBER—11 NOVEMBER 2018

GALLERIES 1, 2, 3 AND 4

A City Gallery Wellington touring exhibitionJohn Stezaker: Lost World


JavrilReverse Wild Bunch

17 NOVEMBER—25 NOVEMBER 2018

ALL GALLERIES

Presented by PSC at CCP:In Light

7 DECEMBER—22 DECEMBER 2018

ALL GALLERIES

2018 ILFORD CCP Salon—Supported by Milieu

24 DECEMBER 2018— 30 JANUARY 2019


Curators: Abbra Kotlarczyk and Madé Spencer-CastleQueer Economies

Exhibition Program


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Untitled (walking)Tania Smith22 December 2017—31 January 2018Night Projection Window

Untitled (Walking) depicted a woman in high heels trudging back and forth over a range of surfaces—rocky cliffs, sand dunes, or indoor spaces such as offices and bathrooms. Each surface created its own set of challenges for the faceless woman and we watched the continual march of the figure across the screen. The work conveyed the artist’s interest in mimetic gestures (after philosopher Luce Irigaray), and the world of silent cinema, in particular comedy and slapstick.

The Art of Publishing: An Exhibition of MACK Books6 January—21 January 2018Galleries 1 and 2

A major exhibition of MACK books, presented by Perimeter (Melbourne) with CCP, The Art of Publishing traced the history of revered London-based photographic and art book publisher MACK. The exhibition included more than 200 books, editions and related objects. The books, including Adam Broomberg and Oliver Chanarin, Holy Bible (2013); Paul Graham, A shimmer of possibility (2011); Alec Soth, Gathered Leaves (2015); John Warwicker, The Floating World (2009); and Collier Schorr, Jens F. (2005), were, in most cases, presented as physical objects to be held, handled and read.

Exhibitions In Focus

Tania Smith Untitled (walking) 2017, video still. Camera assistant: Kubota Fumikazu.

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The Art of Publishing: An Exhibition of MACK Books installation documentation, and being enjoyed by visitors, photos: J. Forsyth


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Folding the Periphery Jacob Raupach2 February—11 March 2018Gallery 1

Folding the Periphery traced the 960km expanse of rail corridor between Sydney and Melbourne, examining liminal spaces along the line that house and support extractive industries and link them to the global economic market. Mapping these in-between spaces, Folding the Periphery condensed and collapsed the complex material, economic and industrial relationships between regional and metropolitan areas into a mesh of images, videos and sculptures within the gallery space.

Digital ManaKirsten Lyttle 2 February—11 March 2018Gallery 2

This project explored issues of materiality for Pacific diaspora customary artists living outside of their ancestral homeland. ‘Digital Mana’ is a phrase coined by Lyttle, combining English and Te Reo Māori (the Māori Language), in order to question the compatibility of digital media (digital image capture, process and print production) and a fundamental Māori concept of Mana; importance, status and spiritual power. The concept of this project was to use the physical surface of the photograph as a site for making customary Māori woven artworks.

Lyttle explained, “For Māori, the highest prestige garment that can be woven is the kahu huruhuru (feather cloak). My kahu huruhuru (feather cloak) is made from photographs of feathers of Australian native birds such as emu, and constructed using customary kākahu Māori (Māori cloak weaving) techniques.”

Digital Mana was presented as part of the Virgin Australia Melbourne Fashion Festival.

Jacob Raupach Folding the Periphery installation documentation, photo: J. Forsyth

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Kirsten Lyttle Blue Princess Parrot [detail] 2018, Archival Digital Print on Kodak Lustre Paper, 59.4 x 84.1 cm, courtesy the artist.


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Figuratively Speaking Artists: Ross Coulter, Laura Hindmarsh, Mira Loew, Gabriella Mangano and Silvana Mangano, Mira Oosterweghel, Eugenia RaskopoulosCurator: Laura Lantieri2 February—11 March 2018Gallery 3

In Figuratively Speaking, seven artists explored themes of the body as a medium for language across lens-based media. Looking at form and gesture, the body as a tool for expression, and the historical relation between performance and the camera, the exhibition investigated the ways in which contemporary artists drew on the body as a linguistic and legible device. Whether as archival document, a call to action, a tool for translation, or as a mode of language itself, Figuratively Speaking considered how our bodies communicate without words.

Figuratively Speaking was supported by the City of Yarra, Austrian Ministry for Art and Culture, and Hilton Sevel of Artists’ Courier Service.

Runes: Photography and DeciphermentArtists: William Henry Fox Talbot, Nicolaas Henneman, James Tylor, Killian Breier, Lewis Rutherfurd, NASA, Justine Varga, Man Ray, Thomas Barrow, Marion Hardman, Anne Ferran, Andreas Müller-Pohle, Alison Rossiter, Shaun Waugh, Danica Chappell, Ben Cauchi and Ghazaleh Hedayat, Curators: Justine Varga and Geoffrey Batchen2 February—11 March 2018Gallery 4

Playing on the ambiguity of its pronunciation, Runes featured small photographic works that rupture or ruin any clear distinction between legibility and illegibility.

Although sometimes abstract in appearance, these works were nevertheless all indexical traces of specific phenomena or actions; despite appearances, they were, in other words, insistent manifestations of the real. This confrontation of realism and abstraction was joined by other, equally striking oppositions: intimacy and scale, vernacular and fine art, old and new, chance and deliberation, instantaneity and duration, obscurity and insight. The aspirations of science joined the alchemy of photography and the logic of drawing to inspire the gathering of this enigmatic conglomeration of objects. Fascinating as individual works, the diverse components of Runes collectively asked viewers to reflect on the activity of decipherment in relation to photographs, making the exhibition a critical rumination on inscription, meaning and knowledge.

Runes: Photography and Decipherment installation documentation, photo: J. Forsyth

Eugenia Raskopoulos Diglossia #4 2009, Archival pigment print, 140 x 93.5 cm, Edition of 5

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Industrial Nocturne No. 2 Irene Proebsting and Barry Brown2 February—11 March 2018Night Projection Window

Industrial Nocturne No. 2 examined class, identity and ideological fabrication via fractured auras and strategic abstractions and was concerned with (i) the absence of full and meaningful employment; (ii) the intransience of capital to formulate sustainable organisational modes, and; (iii) post-industrial alienation.

The video amalgamated archival photographs from the former State Electricity Commission Victoria, Super 8 freeze frames of the decaying (now demolished) Yallourn E Power Station and recent black and white stills of disused power utility infrastructure. The industrial images were augmented by ambivalent agitprop intertitles and miscellaneous snapshots.

Industrial Nocturne No. 2 documentation, photo: J. Forsyth

Figuratively Speaking exhibition launch documentation, photo: J. Forsyth


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Entre Nous Claude Cahun and Clare Rae23 March—6 May 2018Galleries 1, 2 and Night Projection Window

A two-person exhibition of photographs by esteemed Australian photographic artist Clare Rae and French artist, writer and activist, Claude Cahun (1894-1954), Entre Nous premiered at CCP in March.

Displayed across three exhibition spaces, the project presented a conversation between two performative practices some 70 years apart.

Rae explained, “Claude Cahun was a queer avant-garde artist and writer associated with the Parisian surrealist movement in the1920s, before she relocated with her female partner Marcel Moore to the island of Jersey, UK in the 1930s. Since her rediscovery inthe 1980s, Cahun’s subversive self-portrait photographs and texts have become highly influential for artists dealing with questions of gender identity and representation of the female body.”

“In 2017 I undertook an artist’s residency with Archisle: the Jersey Contemporary Photography Programme to research the archive of Claude Cahun works held by Jersey Heritage. During my time there I began capturing a series of photographs alongside my research, starting with the sites inhabited and imaged by Cahun on the island, from the 1910s until her death in 1954, and moving into the spaces that house her work now—the reading rooms and storage stacks.”

“Like Cahun’s, my photographs depict my body in relation to place; in these instances sites of coastal geography and Jersey’sNeolithic ritual monuments. I enact a visual dialogue between the body and these environments, and test how their photographic histories impact upon contemporary engagements.”

The exhibition was accompanied by an Artist’s book of Clare Rae’s photographic project, captured in Jersey whilst Clare undertook her research residency in response to the Claude Cahun archive held on the island. The project explored the dialogues present among both artist’s work, relating to performative photography, feminism and self-representation.

The exhibition was supported by Creative Victoria, The Besen Family Foundation, Archisle: the Jersey Contemporary Photography Programme, RMIT, and Ilford.

Above: Claude Cahun Autoportait 1927, courtesy of the Jersey Heritage CollectionsOpposite, top: Clare Rae Les Blanche Banques 2017, courtesy of the artist

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Clare Rae and guests at the launch of Entre Nous, photo: J. Forsyth


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I can see for milesArtists: Magali Duzant, Clare Weeks, Harry Culy, Ella Condon, Julia Rochford, Ellen Dahl, Rebecca Najdowski and Aaron Claringbold, Curator: Talia Smith23 March—6 May 2018Gallery 3

I can see for miles presented the work of artists from Australia, New Zealand and New York whose practices explore the language of distance—both physical and emotional.

The exhibition was curated by Talia Smith, an artist and curator from New Zealand and now based in Sydney whose curatorial practice engages with photographic and time-based mediums in order to examine notions of time, memory and ruin.

The exhibition took inspiration from Rebecca Solnit’s Field guide to getting Lost, which used the faded blue distance on thehorizon line as an elegy for a profound yearning which would see us stare out at the yawning distance, and in doing so discover some kind of beauty in the quiet moments that meet us there.

Solnit described how the colour blue of thatdistance between you and the horizon represents an emotion, a kind of solitude and desire for what was and what could be.

Citizens of the ParkChristine McFetridge23 March—6 May 2018Gallery 4

Inner city parks have complex lives. These hard-won public spaces are sites of multiple uses and values: from children playing, dog walking and community exercise through to competitive sport. Sometimes the lives of the park are harmonious, sometimes contested. Citizens Park (Richmond) has a long public history including the adjacent market, which was established in 1873.

Citizens of the Park documented its life; through it use, its communities and controversies. As photographer-in-residence at Citizens Park, Christine McFetridge acquainted herself with the seasons and transformations of the park, its history and its present, exploring not only communities who use the park but also its legal, environmental and social value. Specifically she sought to engage with the recreational aspects of park life, and, in doing so, aimed to emphasise the significance of park space to communities in increasingly populated and gentrifying areas.

CCP and the artist acknowledge the Wurundjeri people of the Kulin Nation as the traditional owners of the land on which Citizens Park and Centre for Contemporary Photography stand. We respectfully recognise Elders past, present and future.

The exhibition was kindly supported by the City of Yarra, Image Science, and Ilford.

Above: Harry Culy, Untitled seascape #45 (pastel dusk) 2015, The Gap, Vaucluse, Sydney, courtesy the artistRight: Christine McFetridge Untitled (from the series Citizens of the Park) 2017, dimensions variable, archival inkjet print, courtesy of the artist and M.33, Melbourne

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Audiences at the launches of I can see for miles and Citizens of the Park, photos: J. Forsyth


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The Art of Collecting2018 CCP Fundraiser18 May—27 May 2018All Galleries

“To collect photography is to collect the world”—Susan Sontag, On Photography (1977)

For the 2018 CCP Fundraiser, the gallery presented 45 works by leading contemporary Australian and international artists, and invited the community to build their photography collection.

CCP believes photography is the central medium of the information age—reaching across all platforms.

CCP is responsive to artists and the ever-changing nature and uses of this magical medium. From emerging through to established artists; from vintage prints, analogue, digital and alternative technologies; for enthusiasts entering the market to established collectors; The Art of Collecting featured work for everyone to desire and to purchase.

The exhibition was kindly supported by Tint Design, Bodriggy, Art Guide Australia, ACMI, The Saturday Paper, The Monthly, Communications Collective, Cope Williams, Leica, and Dyad Artisans.

CCP also conveys its heartfelt appreciation to the artists, listed opposite, and their representatives who so generously made the Fundraiser possible.

Artists:Hoda AfsharBrook AndrewOlga BennettAndrew BrowneJane BrownMohini ChandraMaree ClarkSimryn GillJohn Gollings AMLinsey GosperEmma HamiltonJoe HamiltonSiri HayesAndrew HazewinkelTim HillierKatrin KoenningMac LawrenceSonia Leber and David ChesworthHoney Long and Prue Stent Kirsten LyttleJordan MadgeGeorgie MattingleyChristine McFetridgeRod McNicolTracey MoffattPhuong NgoAnne NobleRobert OwenNik PantazopoulosPolixeni PapapetrouDrew PettiferEmma PhillipsRosslynd PiggottPatrick PoundShannon May PowellClare RaeJacob RaupachDavid RosetzkyJon SetterUtako ShindoTania SmithValerie SparksAbigail VarneyRudi Williams

2018 Annual Report

Tracey Moffatt speaks at the launch of The Art of Collecting

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Katrin Koenning Untitled 5 from Seven Views of MacKenzie Falls 2015, courtesy the artist and East Wing, Dubai


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Untitled_ccp_archive.jpgOlga Bennett8 June—15 July 2018Gallery 1

Olga Bennett worked directly with CCP’s archive of imagery in the presentation of this exhibition. For an institution without a collection, like CCP, the record of its exhibition history takes on an undeniable significance.

The artist explained, “I could say, it identifieswhat CCP is. I am curious as to what will happen to the CCP archive comprised of slides, brochures, exhibition catalogues, announcements.”

“It is not unlikely that at some point in the near future it will be digitised. How will it change in the process? Guarded by the steel of the cabinets and institutional walls, the archive is, nevertheless, in a precarious position. It has little defence against interpretation: what my hand pulls from theshelf, what my eye draws out from the pages—these choices are particular to me.”

The exhibition “portray[ed] a possibility ofwhat a CCP exhibition archive might look like, when digitised.”

The exhibition was kindly supported by Ilford.

Portraits from my VillageRod McNicol8 June—15 July 2018Gallery 2

Forty years ago, in 1978, Rod McNicol moved into an old warehouse space on Smith Street, Fitzroy that was being vacated by the then infamous Nightshift Theatre Group. Rod then set about transforming this warehouse theatre into a unique daylight studio home.

Right from his very first introduction to photography several years earlier at Prahran College, Rod had been drawn to a certain genre of photographic portraiture, one that was quiet and very direct to the camera. “I was obsessed by the self-conscious stare back to the camera so evident in 19th century photography.”

For four decades, Rod—who still lives and works in the same studio—has produced many differing series of these brazen yet tender portraits, always drawing his subjects from the rich subcultural life around him, in that vibrant inner city area he terms his ‘urban village’. This CCP exhibition included works both new and old.

The exhibition was kindly supported by the City of Yarra and Canson.

Olga Bennett Untitled_ccp_archive_030.jpg 2018, courtesy the artist

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Right: Rod McNicol A 2017, archival inkjet prints, courtesy the artistBelow: Audiences taking in Rod McNicol’s portraits at the exhibition launch, photo: J. Forsyth


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Tsuka: An Exhibition of Contemporary Japanese PhotographyArtists: Risaku Suzuki, Kazuma Obara, Tomoki Imai, Kenji Chiga, Mayumi Hosokura, Chikako Enomoto, Hiroshi Hatate, Daisuke Morishita, Mayumi Suzuki, Hajime Kimura, Yusuke Yamatani, Go Itami, Yoshinori Mizutani, Asako Narahashi, Shingo Kanagawa, Yuji Hamada, Hiroyuki Takenouchi, Hiromi Kakimoto, Yoshikatsu Fujii, Masako Tomiya, Kosuke Okahara, Keiko Nomura and Yasutaka Kojima, Curator: Dr Kristian Häggblom8 June—15 July 2018Gallery 3

The Japanese term ‘Tsuka’ has several meanings; the most common being a mound or hill, a pile of dirt, created through human intervention. These physical pilings are usually associated with burial and entombment. Another interpretation refers to the mound as an ‘atonement tombstone’ for animals or objects that humans have discarded or mistreated for their own purposes. These ‘tsuka’ sites scatter Japan and act as physical totems and metaphoric signifiers for empathy, alleviation and possible subsequent atonement. ‘Tsuka’ therefore act as a space to project invisible human aspirations, hopes and guilt.

Tsuka was an exhibition of contemporary Japanese photography and a selection of associated photobooks, curated by Dr. Kristian Häggblom. The project used these ‘tsuka’ monuments as the starting point for visual investigations by a selection of artists that work with still and moving photography and the photobook. The artists who participated in the project make both literal and lateral responses to the notion of ‘tsuka’, ultimately addressing the question: is the act of taking, making and exhibiting photographs a form of ‘tsuka’ in its own right?

The Tsuka Exhibition Public Engagement Project was supported by The Japan Foundation, Sydney. The project would not have been possible without the valued support of Ross Lake and Helen Vivian.

Indirect ImageEmma Hamilton8 June—15 July 2018Gallery 4

During a residency in Paris, Emma Hamilton re-photographed photographs by the sculptor Brancusi from the Pompidou Centre archives, as well as Brancusi’s studio, preserved behind glass. Each instance a mediated view of his work.

Hamilton later photocopied small prints of her photographs at the Pompidou’s Bibliothèque Kandinsky, holding the photographs in her hands while the photocopier calibrated images from above.

The different layers of the work: Brancusi’s photographic documentation of his sculptures, Hamilton’s photographs of his images and the mediation of the photocopier, operated in tandem with the reflections of light from the photographed surfaces. They formed a three-dimensional space within the photocopied page, complicating the distinctions between object and image.

While both photography and the photocopy are ordinarily means of infinite reproduction, in this exhibition each image was singular. Each photocopy scaled and cropped by a machine, each hand gesture of a moment.

This project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Emma Hamilton Indirect Image exhibition documentation, photo: J. Forsyth

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Go Itami photocopy 9 2018, courtesy the artist


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Whirl Cigdem Aydemir8 June—15 July 2018Night Projection Window

Cigdem Aydemir is a Sydney-based artist working in the mediums of installation, performance and video art. Her socially and politically engaged art practice investigates possibilities for intersubjective and transcultural communication with an interest in post-colonial and feminist issues.

Whirl centred on spirituality as a force that exists both in its own right, and as something that can be (mechanically) produced—like a simulacral spirituality. Aydemir positioned herself in-between the undulating veil and the hairdryer that represented her will. Both constantly moving, and being moved.

Architecture Makes Us: Cinematic Visions of Sonia Leber and David ChesworthSonia Leber and David Chesworth27 July—9 September 2018All galleries

A major mid-career survey of thecinematic video works of Australianartists Sonia Leber and David Chesworth,developed and presented by CCP,bringing together six video works bythe collaborative duo. This includedcommissioning Geography BecomesTerritory Becomes, an 8-channel videoinstallation.

Architecture Makes Us offered a richexploration of the way society is impactedby the geographical, technological andarchitectural influences that surround us.

Architecture Makes Us was the fourthmid-career survey curated by CCP,following major exhibitions focusing onthe work of Anne Zahalka (2008), SimrynGill (2009) and David Rosetzky (2013).

The exhibition was supported by apublication, and series of public programsincluding artist talks and sound walks inconjunction with Melbourne Art Week.

Cigdem Aydemir Whirl 2015, courtesy the artist

Architecture Makes Us launch documentation, photos: J. Forsyth

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Architecture Makes Us exhibition documentation, photos: Zan Wimberley

Architecture Makes Us launch documentation, photos: J. Forsyth


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John Stezaker: Lost WorldA City Gallery Wellington Touring Exhibition21 September—11 November 2018Galleries 1, 2, 3 and 4

Curated by Robert Leonard, this major survey of renowned British conceptual artist, John Stezaker: Lost World, was presented throughout the entirety of CCP. The exhibition formed a prominent component of the 2018 Melbourne International Arts Festival visual arts program.

This large, in-depth exhibition represented a unique opportunity to reach into both the heart of the arts sector and into the imagination of the general community through an artist of international standing and popular appeal.

In addition to some forty collages, John Stezaker: Lost World featured poignant found-object sculptures (a selection of old mannequin hands, offering a repertoire of gestures) and the film Crowd (presenting thousands of film stills of crowd scenes, each for one frame only, in a bewildering blur).

There is an underlying eroticism in Stezaker’s work. His source images come from a pre-feminist age, when gender was more defined and constrained—especially in the movies. Stezaker both revels in and defies stereotypes, making them dance to his own tune. As the British critic David Campany says, he “is drawn to that very slim space between convention and idiosyncrasy.”

A graduate of the Slade School and having taught at the Royal College, London, for many years, Stezaker is highly respected as an academic, curator and writer. Stezaker is famous for his distinctive, often deceptively simple, collages. Hugely influential, he has been making art since the 1970s. In 2011, he had a retrospective at the Whitechapel Gallery, London, and in 2012 he won the Deutsche Börse Photography Foundation Prize.

John Stezaker: Lost World was supported by Milieu and Tint Design.

John Stezaker Tabula Rasa LII 2012.Courtesy The Approach, London.

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John Stezaker: Lost World launch documentation, photos: J. Forsyth


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Reverse Wild BunchJavril21 September—11 November 2018Night Projection Window

Javril, a Sydney-born, Paris-based artist who uses photo and video to probe the world around her, presented Reverse Wild Bunch in CCP’s Night Projection Window.

The work emerged from the desire to visually depict a miracle: someone passing not from life to death, but rather from death back into life. A reverse death. Cinema, as a locus of fantasy, is an appropriate medium to explore this impossible scenario. Reversing the famous shootout scene from Sam Peckinpah’s 1969 Western classic, Reverse Wild Bunch depicted dozens of soldiers on the Mexico–USA border, being riddled with bullets in a dramatic conflict. Through this simple cinematic strategy, the miraculous occured: bullets flew back into the barrels of guns, fatal wounds were magically healed and soldiers came back to life.

In LightArtists: Jordan Bailey, Walter Bakowski, Elli Bardas, Percy Caceres, Carolina Campos, Jorge Checa, Kaitlyn Church, Ian Crick, Nerida Davern, Jane Davies, Josh De Felice, Yask Desai, Shelby Eade, Thomas Edward, Alexandra Fink, Angel Fuchs, Hunter Griffin, Lachie Hill, Marisa Ho, Sally Kaack, Meryem Koyu, Bruce Langdon, Kloe Lee-Smith, Antoine Loncle, Anne McCallum, Alex McLaren, Leah Mitchell, Eddy Nardozzi, Ainsley O’Connor, Daffyd Owen, Robert Palmer, George Poulakis, Sian Reardon, Clara Robson, Francesca Siska, Darren Tanny Tan, Michaela Thompson, Noah Thompson, Jody Tuvel, Kristina Valdez, Candice Watson, Chad Weerasinghe, Caitlin Wight, Monica WillmottPresented by Photography Studies College at Centre for Contemporary Photography 17 November—25 November 2018All galleries

Graduating students from the Fine Art, Photojournalism and Commercial majors at Photography Studies College presented highlights from their final year of study.

PSC were supported in the presentation of the exhibition by Foreigner Brewing Co.

Javril Reverse Wild Bunch 2015, video stills, courtesy the artist

In Light exhibition launch, photo: PSC

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2018 ILFORD CCP SalonSupported by MilieuAustralia’s largest open-entry photography exhibition7 December—22 December 2018All galleries

The 2018 ILFORD CCP Salon—supported by Milieu—extended upon the exhibition’s proud history of exceptionally high quality presentation. The exhibition featured a staggering 780 works by 465 entrants, eclipsing the entry record set in the previous year, with the works impressively arranged within the space to achieve a stunning colour gradation.

2018’s exhibition was representative ofthe broad scope of practice evident amongCCP’s members, within Melbourne, andacross the nation’s photographic community,with works ranging from the traditional to thehighly experimental.

The exhibition was opened by CCP’s Director, Adam Harding, who announced the Prize Winners to an enthusiastic crowd of over 1,000 attendees.

CCP thanks this year’s judges, whogenerously gave their time and contributedtheir discerning eye to compile the list ofwinners—no mean feat with so many highquality works on display.

Over $20,000 worth of prizes across more than 37 categories were awarded.

Demonstrating a variety of approaches toimage making and print types, the 2018 ILFORD CCP Salon presented an array ofprocesses and materials, offering acelebration of diversity and exploring themultiple levels on which contemporaryphotography is practiced.

The 2018 iteration attracted positivemedia response, featuring prominently in theSpectrum section, ‘Things to do’, in theweekend edition of The Age.

As part of CCP’s new partnership with Milieu, a dedicated broadsheet featuring selected works from the exhibition was also produced, extending CCP’s championing of the photographic medium in the wider community.

JUDGES

Rohan Hutchinson, Artist

Kirsten Lyttle, Artist

Adam Harding, Director, CCP

Sarah McKechnie, Gallery Manager, CCP (non-voting Chair)

Jennifer Jones Market Lunch 2017, ILFORD Excellence in Photomedia Award

In Light exhibition launch, photo: PSC


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Queer EconomiesCurators: Abbra Kotlarczyk and Madé Spencer-Castle24 December 2018—30 January 2019Night Projection Window

Queer Economies at the Centre for Contemporary Photography formed part of a multi-site exhibition and public program series, which took its cue from the handmade artworks and objects that queer artist and activist David McDiarmid gifted to friends and loved ones during his lifetime. Following in McDiarmid’s generous logic, Queer Economies explored the non-monetary, in-kind economies that emerge within LGBTQIA+ communities, in order to foster resilience, love and connection.

Queer Economies at CCP presented a series of contemporary video works by Australian LGBTQIA+ artists, visible on the Night Projection Window seven nights a week after dark. Engaging with artists working across digital media and the moving image, Queer Economies at CCP activated the public sphere to explore the social and political potentialities of a ‘queer economy’.

Following from the highly divisive public discussions around LGBTQIA+ lives in Australia in 2017, these video works gathered around enunciations of queer subjectivity to infiltrate and co-opt the public commons.

Presented by Midsumma Festival in association with Bus Projects, Abbotsford Convent and the Centre for Contemporary Photography, the project received support from Perimeter Editions and the David McDiarmid Estate.Queer Economies was supported by the Victorian Government through Creative Victoria and was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

The curators gratefully acknowledge the immense generosity of the individuals, communities and organisations that converged to produce Queer Economies.

Callum McGrath River Torrens [still] 2017, single channel digital video, 6:00min looped. Courtesy of the artist

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CCP regularly tours its exhibitions to regional Victorian, interstate and international venues, contributing significantly to the quality of exhibition content able to be enjoyed by a variety of communities, and expanding respect and recognition for Australian photographers at home and abroad.

Throughout 2018, CCP toured Rod McNicol’s Portraits from my Village, Andrea Grützner’s Erbgericht, and Hoda Afshar’s Behold to Horsham Regional Art Gallery (VIC), while the exhibition Entre Nous: Claude Cahun and Clare Rae—which premiered at CCP—was then presented by the artist at CCA Galleries International (Jersey, UK).

Other off site activations included curating a presentation of Anne Ferran artworks into a Milieu Open House, and a one-night-only exhibition of artworks resulting from the Rotary Youth Arts Project at the Fitzroy Town Hall.

Further, plans were developed to present 2018’s major mid-career survey, ArchitectureMakes Us: Cinematic Visions of Sonia Leber and David Chesworth, to interstate audiences at UNSW Galleries (Sydney, NSW) and Griffith Art Museum (Brisbane, QLD) in 2019.

Touring and Off Site Exhibitions

Andrea Grützner’s Erbgericht presented at Horsham Regional Art Gallery, 8 March—14 May 2018


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CCP engages with a broad cross section of the community through far more than the presentation of exhibitions—extending the public’s understanding and appreciation of photography through a dynamic public and education program.

The curated program of artist talks and symposia, such as 2018’s Cutting through to the Lost World: a John Stezaker Symposium, provided access to incredible speakers such as Stezeker himself, Patrick Pound, and Kyla McFarlane.

2018’s public and education program saw CCP deliver 49 public programs for 4,575 guests, and 24 schools programs for 659 students.

PRACTICAL WORKSHOPS

One-on-one Book Proposal ReviewMichael Mack and Dan Rule7 January 2018Attendance: 18An opportunity for emerging and established local artists to gain personal access to and feedback from a prominent international publisher.

Photography Courses and IntensivesDr Les Walkling and Andrey WalklingDates variousAttendance: 205In 2018, digital photography workshops were presented by distinguished lecturer and artist Les Walkling, and his son Andrey Walkling. The courses included the popular Knowing and Loving Your Digital Camera, a short foundational course providing a thorough introduction to participants’ digital cameras; and a series of weekend intensives including On Landscape Photography; Capturing and Processing Images; Understanding and Curating Pictures; and Photoshopping and Printing Images.

Artist Books and Self-PublishingRohan Hutchinson30 June 2018Attendance: 11This workshop coincided with the exhibition Tsuka curated by Kristian Häggblom. Rohan brought his extensive knowledge of making artist books, self-publishing, working as a researcher and practising artist to this workshop to give an overview of the creative, constructive and marketing concerns of artist book making and publishing. Rohan guided participants through the details of photo-book formats, typography and design. The workshop concluded with a group portfolio review and sequencing options for participant’s work.

The Photographic PortraitRod McNicol7 July 2018Attendance: 7This workshop coincided with the exhibition Portraits from my Village by Rod McNicol, and was presented in his Smith Street studio. This unique workshop and studio visit offered the rare opportunity to gain insight into Rod McNicol’s portraiture practice, while exploring his extraordinary home studio in the heart of Fitzroy. Rod has worked in this studio for over three decades and it is the location and backdrop for many of his portraits. The class began with a presentation by Rod on his process, influences, and long-standing practice, followed by conversation over a cup of coffee and ending with a round table discussion and review of participants’ work with Rod and CCP Gallery Manager and artist, Linsey Gosper.

Education and Public Programs

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Narrative and Place: Toward New Visual ImaginariesKatrin Koenning18—19 August 2018Attendance: 22Over the course of two consecutive days, Katrin guided participants along photographic thinking and exploration of our physical and emotional connection to place and environment, and to that which surrounds us. Studying a variety of narrative histories as well as theoretical and practical methodologies and challenges to land and place-based image making, the course drew on notions of photographic practice as a ‘being-in-the-world’. Katrin provided in-depth insight into her own working processes and influences as well as intensive portfolio reviews of each participant’s individual work.

New Documentary Form: the image as evidenceHoda Afshar8—9 September 2018Attendance: 12The documentary image: by embracing its reality as a fiction—by announcing its own presence—what it becomes is a sign. A sign that traces its own history. An evidence.In this workshop, Hoda Afshar drew on her experience as both a documentary and art photographer, as well as a researcher and teacher to explore questions about the nature and possibilities of documentary image-making today.

Architectural Photography John Gollings AM27 October 2018Attendance: 10Renowned architectural photographer, John Gollings offered an exceptional opportunity to garner and hone skills in architectural photography in a one day CCP Workshop. The day comprised a lecture, location shoot (both interior and exterior) and post production and workflow demonstration. With John, participants discussed broad issues facing professional photographers today as well as their own work.

Participants at Katrin Koenning’s Artist Books and Self Publishing workshop


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ARTIST TALKS

Artist talks were staged to coincide with each round of exhibitions at CCP

3 February 2018Attendance: 35

24 March 2018Attendance: 44

9 June 2018Attendance: 71

28 July 2018Attendance: 26

13 December 2018Attendance: 86

Images from Artist Talks, 3 February 2018

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PUBLIC PROGRAMS

A Serpentine ProgressionLecture by Michael Mack6 January 2018Attendance: 130A lecture by Michael Mack—a rare opportunity for the community to hear from an internationally-respected artbook publisher, making a significant contribution to critical discourse on Photobooks.

Entre Nous Public Programs and Book LaunchClare Rae, Lyndal Walker, Gareth Syvret5 April 2018Attendance: 58Mirrors, Selfies and the Female Gaze, a presentation in which Berlin-based artist Lyndal Walker discussed how the female gaze remains undefined and so poses an exciting opportunity. Gareth Syvret, Photographic Archivist at the Société Jersiaise, St Helier, Jersey, UK, presented The Altered Insular: Claude Cahun in Jersey.Following these discussions Clare Rae’s book Never standing on two feet (Perimeter Editions) was launched.

Queering the Image: Slippages, Identification and DesireDr Drew Pettifer26 April 2018Attendance: 21Queer representations are slippery and ambiguous. It has been argued that the queer gaze denies wholeness and embraces spectatorial fluidity. In turn, queer modes of looking serve to destabilise the heteronormative, male gaze. This lecture explored the complex power dynamic between gazer and gazed in these viewing contexts as they oscillate between identification and objectification. The presentation included an overview of Clare’s project Never standing on two feet.

Departed Acts: Lineages of Queer PracticeArchie Barry, Jeremy Eaton, Clinton Hayden, Amy SpiersPresented by Bus Projects in partnership with CCP3 May 2018Attendance: 84Departed Acts: Lineages of Queer Practice was one in a performance-lecture series, inviting four queer Australian practitioners to recall an encounter with a pivotal artist, exhibition or experience, that had influenced their practice. For this iteration of Departed Acts presented at CCP, practitioners were asked to explore the potential histories, lineages and trajectories of queer artistic practice, both within their own practices and within a broader socio-political context.

Close Reading Club16 June and 25 August 2018Attendance: 20In 2018, CCP launched a new ongoing Member’s program, the Close Reading Club, which gives Members the opportunity to present and participate in a dialogue around photography in a friendly, supportive and enquiring environment. Members are invited to select a favourite photograph, either their own or another photographer’s, to discuss with the group.

Close Reading Club, 16 June 2018


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Sound WalksSonia Leber and David Chesworth4 August, 25 August and 1 September 2018Attendance: 69Guests were invited to join artists Sonia Leber and David Chesworth on a sonic walk-through of the Melbourne Art Fair precincts, culminating in a discussion of the experience of sound in art. The Sound Walk was re-presented on two further occasions to take in the public surrounds of CCP.

Sound is an elusive yet integral component of many time-based, new-media artworks. As artists with a rigorous engagement with sound, Leber and Chesworth were ideal guides in this experience of absorbing and understanding sound on a new level. This program coincided with Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth, a major mid-career survey shown concurrently at CCP.

Dinner with John Stezaker within his Lost World21 September 2018Attendance: 44An intimate dinner with renowned British conceptual artist John Stezaker, including a private viewing of the major survey exhibition John Stezaker: Lost World, and an in-conversation between the artist John Stezaker and Melbourne-based artist, academic, and CCP Board member Patrick Pound.

Cutting through to the Lost World: a John Stezaker Symposium22 September 2018Attendance: 86A graduate of the Slade School and having taught at the Royal College, London, for many years, Stezaker is highly respected as an academic, curator and writer. The symposium featured the presentationsHiding In Plain Sight by Stezaker; Light Touches by Dr Kyla McFarlane; Screen seeing: looking through photography by Dr Patrick Pound; and a conversation between the artist, presenters, and Robert Leonard (the Lost World exhibition curator: City Gallery Wellington). The event was chaired by Patrick Pound.

It’s a (Christmas) wrap22 December 2018Attendance: 51In the last hours of the show, CCP encouraged audiences to purchase a Salon photograph to take home as a wrapped gift.

Sound Walk, 25 August 2018

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FLOOR TALKS AND EXHIBITION TOURSFloor talks and exhibition tours were provided by CCP staff and participating artists for schools and community groups:

13 January 2018Attendance: 40 from New Cardigan

11 April 2018Attendance: 23 from RMIT University

12 April 2018Attendance: 24 from Photography Studies College

2 May 2018Attendance: 11 from Sirius College, East Meadows

26 May 2018Attendance: 3 from Meet Up group

13 June 2018Attendance: 13 from local men’s group

22 June 2018Attendance: 30 from Damascus College Ballarat

28 June 2018Presented in collaboration with Bus Projects and Gertrude ContemporaryAttendance: 48 volunteers

30 June 2018Attendance: 20 from Caroline Chisholm Catholic College

1 July 2018Attendance: 16 from ACG Strathallan, Auckland, NZ

5 July 2018Attendance: 22 from Woolooware High School, Woolooware, NSW

7 JulyAttendance: 12 community members

14 JulyAttendance: 13 community members

10 August 2018Attendance: 15 from Thornbury High School

29 August 2018Attendance: 7 from Victorian College of the Arts

30 August 2018Attendance: 20 from Victorian College of the Arts

4 September 2018Attendance: 4 from La Trobe University, Bendigo

7 September 2018Attendance: 17 from Monash University

22 September 2018Attendance: 5 from Meet Up group

1 October 2018Attendance: 14 from RMIT University

4 October 2018Attendance: 21 from Photography Studies College

17 October 2018Attendance: 20 from Carey Baptist Grammar

25 October 2018Attendance: 11 from Photography Studies College


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SCHOOL PROGRAMS

Fitzroy Art Spaces Tour (FAST)Dates variousAttendance: 209

FAST is a CCP initiative designed to give young people a new pathway to explore contemporary art. Evolving out of a creative collaboration between four of Fitzroy’s most exciting galleries, the program includes walking tours and a dedicated website. The program was developed with art education consultant, Melissa Bedford, who also conducts the tours. In 2018 six tours were conducted for students and secondary school teachers.

FAST is delivered in consultation with registered teachers through support from the Department of Education and Training via its Strategic Partnerships Program (SPP). The program supports the delivery of the Art Industry aspect of the VCE Studio Arts curriculum and was developed in consultation with the Victorian Curriculum and Assessment Authority (VCAA).

Rotary Youth Arts Project (RYAP)Domas RukusDates variousAttendance: 216

CCP presented its thirteenth annual photography workshop for Collingwood College youth in 2018. The Rotary Youth Arts Project (RYAP) is a Dancehouse Community Outreach Project in collaboration with Centre for Contemporary Photography, supported by the City of Yarra and local Rotary Clubs.

Working with Domas Rukus, students were exposed to a vast range of photographic, historic and artistic experiences—mastering natural light, how to compose in a visually engaging way, and how to capture moments that otherwise would have been lost. Students documented their experiences in their own chosen style and pace, growing together and mapping themselves in the present moment. This course resulted in an informal paste-up exhibition on Kerr Street in Fitzroy and an exhibition at Fitzroy Town Hall, and was documented through tumblr.

2018 RYAP student participants

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EXHIBITION LAUNCHES

The Art of Publishing: An Exhibition of MACK Books5 January 2018Attendance: 278

Jacob Raupach: Folding the Periphery Kirsten Lyttle: Digital ManaFiguratively SpeakingRunes: Photography and DeciphermentIrene Proebsting and Barry Brown: Industrial Nocturne No. 2 1 February 2018Attendance: 355

Entre Nous: Claude Cahun and Clare Rae I can see for milesChristine McFetridge: Citizens of the park22 March 2018Attendance: 248

The Art of Collecting: 2018 CCP Fundraiser17 May 2018Attendance: 347

Olga Bennett: Untitled_ccp_archive.jpgRod McNicol: Portraits from my VillageTsuka: An Exhibition of Contemporary Japanese PhotographyEmma Hamilton: Indirect ImageCigdem Aydemir: Whirl7 June 2018Attendance: 442

Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth27 July 2018Attendance: 244

Rotary Youth Arts ProjectFitzroy Town Hall19 September 2018Attendance: 120

John Stezaker: Lost WorldJavril: Reverse Wild Bunch20 September 2018Attendance: 267

In Light: Presented by PSC at CCP17 November 2018Attendance: 495

2018 ILFORD CCP Salon—supported by Milieu7 December 2018Attendance: 1,031


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Appreciating works at the launch of the ILFORD CCP Salon 2018 - supported by Milieu, photo: Pippa Samaya

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CCP Members enjoy an edition of the Close Reading Club

CCP Members are able to connect with a community and join exclusive events and previews; support Australian artists and their exposure on a national scale; and help CCP achieve its aims and continue to grow its services and programs.

CCP Members enjoy a growing list of professional and lifestyle benefits and discounts, including:

• discounts on CCP workshops and photography courses

• reduced artist entry price to annual award exhibition, CCP Salon

• access to exclusive online resources including the Members (Only) Gallery and Glossary of Photography Terms

• discounts on CCP portfolio reviews conducted by industry professionals

• 10% off purchases at the CCP shop• a variety of engagement and

exposure opportunities for emerging artists, academics and enthusiasts

Key among the programs delivered for CCP Members in 2018 was the launch of the Close Reading Club, staged in June and August. The Close Reading Club provided Members the opportunity to present and participate in a dialogue around photography in a friendly, supportive and enquiring environment. Members were invited to select a favourite photograph (either their own or another photographer’s) to discuss with the group.

The program enhanced Members engagement, with participants commenting on their enjoyment of the connection, and that discussions continued among the Members outside of the program and CCP.

In 2018, CCP’s community of Members grew to 381, an 11.7% increase on the previous year’s participation.

The growth of the CCP membership is partly attributable to a successful drive staged in June, and supported by the Australian Centre for the Moving Image (ACMI). New and renewing CCP Members in June were also offered an Individual Membership to ACMI, valued at $60.

Membership

PARTICIPATION

CCP Members 381


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The aims of CCP’s marketing and communications efforts in 2018 were to:

— Promote exhibitions, education and public programs, memberships and the CCP Shop through targeted digital marketing efforts;

— Strengthen brand recognition and awareness of CCP’s history and significance by optimising marketing communications, maximising media exposure and reaching new audiences; and

— Engage and grow audiences through improvements in digital communications

DIGITAL COMMUNICATIONS

CCP continues to develop rich content across its social and digital media platforms, ensuring inclusivity and accessibility—around our exhibition program, our education programs and public programs—to the widest possible audience.

Our digital media platforms function as spaces for extending quality audience engagement. Social media-specific projects in 2018 included the ILFORD CCP Salon Instagram Project. This project involved 10 prominent photography-based Instagram artists responding to weekly prompts in the lead up to CCP Salon. The project also engaged our Instagram followers, encouraging them to upload their own responses to the prompts.

Email marketing remained an effective and direct communication tool, and was used for regular news updates, exhibition invitations and targeted mailings.

Significantly, CCP’s new and improved website was launched in 2018, containing a wealth of archival content while effectively communicating the gallery’s current activities. The new website greatly improves upon the user experience, and was used by high volumes of visitors.

Social media channels continue to play an important role in CCP’s marketing and communications, reaching an ever-increasing and engaged audience.

Full reach statistics are provided below:

WEBSITE60,746 visits(38,936 Unique Visits)

EMAIL7,985 CCP email subscribers31.35% open rate(26.03% industry average)

FACEBOOK16,635 CCP fans (327,899 total reach)

TUMBLR1,475 CCP followers(RYAP specific)

TWITTER5,440 CCP followers (81,400 total impressions)

INSTAGRAM19,500 CCP followers(66,226 post interactions)

— 7.6% annual growth of audience across social platforms

MEDIA COVERAGE

CCP remained a strong media performer in 2018; its dynamic program of exhibitions featuring in key arts and general media, across digital, print, and radio.

CCP activities gained regular coverage in The Guardian (National), The Age (Melbourne), Triple R (Melbourne), Broadsheet (Melbourne), Art Guide Australia (National), international photography publications and blogs, and many others.

Marketing and Promotion

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Beyond positive reviews of our shows, as provided overleaf in the In Response section, here’s what the media said about CCP’s impact in 2018:

“CCP is an organisation that punches above its weight; it is clearly invested in the critical understanding and interrogation of the nature and consumption of photography and images, from emerging to established practitioners and scholars.”

— OBJEKTIV

“...the calendar of exhibitions, workshops and events has played an integral role over the past few decades in defining the city’s photographic offering.”

— THE MONOCLE TRAVEL GUIDE

Additionally, in partnership with Milieu, a broadsheet featuring select works from the ILFORD CCP Salon 2018 was produced and distributed locally.

O’Brien, Kerrie. ‘My art is a way of trying to create cosmos out of chaos, says John Stezaker.’ The Sydney Morning Herald, September 2018.

‘The Faces of Fitzroy – In Pictures.’ The Guardian, 7 July 2018.


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“[Kirsten] Lyttle’s framed photographs, presented in a series of ten 60 x 80cm prints, are simply exquisite. Shot in extreme close up, they capture the full sensual tactility of their subject: the supple spring and snap of the flight feathers, their minute striations and lustrous sheen, the downy tendrils at their base... Lyttle’s effort to reconceive digital photography as haptic—something to be touched or even worn—aspires to endow the medium with the mana reserved for people and objects integrated into the relational and geneological framework known as whakapapa.”

— ANNA PARLANEMemo Review, February 2018

“The Centre for Contemporary Photography in Melbourne, Australia, has recently mounted a number of exhibitions that engage critically with pressing questions around the nature of curating photography, and the contemporary status of the ‘image’.”

— KATE WARRENObjektiv, February 2018

“Excellent show, emblematic of the value CCP adds to visual culture in Melbourne.”

— @RANDOM_RE_REVIEW Instagram review of Laura Lantieri’sexhibition, March 2018

“This exhibition [I can see for miles, curated by Talia Smith, 2018] discusses the language of distance. How do we navigate both visible and invisible borders? Where is home and who gets to feel at home?”

— THANH HANG PHAM3CR Community Radio – Women On The Line, March 2018

“Through the process of scanning, rephotographing, rescanning Olga Bennett has captured the quirks of CCP’s material archive as well as those quirks that arise from the process itself.”

— RICHARD WATTSTriple R FM Radio – Smart Arts,June 2018

“Sound artists who have been collaborating since 1996, David Chesworth and Sonia Leber, present a seamless and suave body of work in this mid-career survey exhibition hosted by CCP. An abiding interest in sonic experiences – spanning the dulcet to the discordant, surveillance systems, obsolete technologies and remote landscapes – make for overlapping correspondences that tether the discrete works into a consonant whole.”

— SOPHIE KNEZICFrieze, July 2018

“There’s a sense around image culture that they are so visible that we don’t see them. I think that we don’t see current consumer objects or images in their circulatory immediacy. We see through them, and we don’t look at them. To me, art is a question of trying to find a position looking at, in a culture of looking through.”

— THE SYDNEY MORNING HERALDInterview with John Stezaker, September 2018

In Response


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Public Feedback

Further evidence of the quality of the work CCP undertook in 2018 is the feedback we received directly from our audience. Here’s a selection of comments our visitors made about our exhibitions last year:

2 FEBRUARY—11 MARCH 2018

“Beautiful. Enigmatic. Warrants repeated examination.”

“Kirsten, the layout and sense of rhythm of this show is beautiful. Such an interesting way of working.”

23 MARCH—6 MAY 2018

“I really enjoyed the collection and its varying representation of women. I loved it! Thanks. - Sarah”

“Congratulations Clare! Fantastic show. I will be thinking about what I’ve seen here for a while. Very Moving. Thank you! - Tanja”

8 JUNE—15 JULY 2018

“Absolutely fabulous! Japanese photographers are something else! Milly”

“Beautifully curated space. Thank you!”

27 JULY—9 SEPTEMBER 2018

“Impressive! Gives you different perspectives on life. Michael M.”

“Incredible show! Congratulations Sonia + David”

21 SEPTEMBER—11 NOVEMBER 2018

“Like a waterfall in my brain. So playful, took me to a thousand worlds.”

“Challenges your perception of reality. Has a mask been put on or taken off? Which is the real world?”

7—22 DECEMBER 2018

“An amazing show! What a great opportunity for artists. Thank you CCP”

“Lots of great photographs to see and powerful imagery. Amazing work by everybody!”

Audience members listening to speeches at The Art of Collecting, photo: J Forsyth


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Sonia Leber and David Chesworth Universal Power House: In the Near Future [still, detail] 2017. HD video. Courtesy the artists. Commissioned by Campbelltown Arts Centre

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Financial Statements

Independent Auditor’s Report to the members of Centre for Contemporary Photography Inc

OPINION:

We have audited the financial report of Centre for Contemporary Photography Inc. (the Association), which comprises the statement of financial position as at 31 December 2018, the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies and the officer’s declaration.

In our opinion, the accompanying financial report of Centre for Contemporary Photography Inc. is in all material aspects, in accordance with the Associations Incorporation Reform Act 2012 and with Division 60 of the Australian Charites and Not-for-profits Commission Act 2012, including:

a) giving a true and fair view of the Association’s financial position as at 31 December 2018 and of its financial performance and cash flows for the year then ended on that dated and;b) complying with Australian Accounting Standards to the extent described in Note 1 and Division 60 the Australian Charities and Not-for-profits Commission Regulation 2013 and Victorian legislation; the Association Incorporated Reform Act 2012 and associated regulation’s,

BASIS FOR OPINION:

We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of our report. We are independent of the Company in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other responsibilities in accordance with Code.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

EMPHASIS OF MATTER-BASIS OF ACCOUNTING AND RESTRICTION ON DISTRIBUTION AND USE:

Without modifying our conclusion, we draw attention to Note 1 to the financial statements, which describe the basis of accounting. The financial statements are prepared to assist Centre for Contemporary Photography Inc. to comply with the financial reporting of the Associations Incorporation Reform Act 2012 and Australian Charities and the Not-forprofits Commission Act 2012. As a result, the financial statements may not be suitable for another purpose. Our report is intended solely for Centre for Contemporary Photography Inc. and should not be distributed to or used by parties other than Centre for Contemporary Photography Inc.

RESPONSIBILITIES OF OFFICERS’ FOR THE FINANCIAL REPORT:

The officers of the association are responsible for the preparation of the financial report that gives a true and fair view and have determined that the basis of preparation described in Note 1 to the financial report is appropriate to meet the requirements of the ACNC act and needs of the members. The officers’ responsibility also includes such internal control as the officers determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error.

In preparing the financial report, officers are responsible for assessing the Association’s ability to continue as a going concern, disclosing, as applicable, matters relating to going concern and using the going concern basis of accounting unless management either intends to liquidate the Association or have no realistic alternative to do so.


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AUDITOR’S RESPONSIBILITIES FOR THE AUDIT OF THE FINANCIAL REPORT

Our objectives are to obtain reasonable assurance about whether the financial report as a whole is freefrom material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes ouropinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conductedin accordance with the Australian Auditing Standards will always detect a material misstatement when itexists. Misstatements can arise from fraud or error and are considered material if, individually or in theaggregate, they could reasonably be expected to influence the economic decisions of users taken on thebasis of this financial report.

As part of an audit in accordance with the Australian Auditing Standards, we exercise professional judgmentand maintain professional scepticism throughout the audit. We also:

— Identify and assess the risks of material misstatement of the financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.

— Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Association’s internal control.

— Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by the officers.

— Conclude on the appropriateness of the officers’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the Associations ability to continue as a going concern. If we conclude that a material uncertainty exists, we are required to draw attention in our auditor’s report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify our opinion. Our conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the Association to cease to continue as a going concern.

— Evaluate the overall presentation, structure and content of the financial report, including the disclosures, and whether the financial report represents the underlying transactions and events in a manner that achieves fair presentation.

We communicate with the officers regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that we identify during our audit.

LOREN DATTRegistered Company AuditorRegistration: 339204

Date: 29 March 2019

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Centre for Contemporary Photography Inc Officers’ Declaration 31 December 2018

IN THE OFFICERS’ OPINION:

— the incorporated association is not a reporting entity because there are no users dependent on general purpose financial statements. Accordingly, as described in note 1 to the financial statements, the attached special purpose financial statements have been prepared for the purposes of complying with the Australian Charities and Not-for-profits Commission Act 2012 and Victorian legislation the Associations Incorporation Reform Act 2012 and associated regulations;

— the attached financial statements and notes comply with the Accounting Standards as described in note 1 to the financial statements;

— the attached financial statements and notes give a true and fair view of the incorporated association’s financialposition as at 31 December 2018 and of its performance for the financial year ended on that date; and

— there are reasonable grounds to believe that the incorporated association will be able to pay its debts as and when they become due and payable.

On behalf of the officers

GERALDINE ILOTTDirector

13 March 2019


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Note 2018 $ 2017 $

Revenue

Interest revenue calculated using the effective interest method

3

650,698

4,555

712,629

8,051

Expenses

Employee benefits expense

(397,075)

(443,064)

Depreciation and amortisation expense (7,259) (4,872)

Administration expense (70,318) (79,110)

Occupancy expense (108,736) (102,323)

Program expense (132,522) (121,728)

Deficit before income tax expense

(60,657)

(30,417)

Income tax expense — —

Deficit after income tax expense for the year attributable to the

members of Centre for Contemporary Photography Inc

(60,657)

(30,417)

Other comprehensive income for the year, net of tax

—

—

Total comprehensive income for the year attributable to the

members of Centre for Contemporary Photography Inc.

(60,657)

(30,417)

Centre for Contemporary Photography Inc.Statement of profit or loss and other comprehensive incomeFor the year ended 31 December 2018

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Note 2018 $ 2017 $

Assets Current assets Cash and cash equivalents

4

163,454

102,576

Trade and other receivables 5 97,439 106,449

Inventories 6 — 2,198

Other financial assets 7 201,625 365,876

Other 8 10,301 20,033

Total current assets 472,819 597,132

Non-current assets Property, plant and equipment

9

37,677

35,965

Other 10 5,097 5,097

Total non-current assets 42,774 41,062

Total assets

515,593

638,194

Liabilities Current liabilities Trade and other payables

11

58,571

70,320

Employee benefits 12 7,869 50,708

Other 13 126,520 132,855

Total current liabilities 192,960 253,883

Non-current liabilities Employee benefits

14

1,540

2,561

Total non-current liabilities 1,540 2,561

Total liabilities

194,500

256,444

Net assets

321,093

381,750

Equity Retained surpluses

321,093

381,750

Total equity

321,093

381,750

Centre for Contemporary Photography Inc.Statement of financial positionAs at 31 December 2018

The above statement of financial position should be read in conjunction with the accompanying notes


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Retained profits $ Total equity $

Balance at 1 January 2017

412,167

412,167

Deficit after income tax expense for the year (30,417) (30,417)

Other comprehensive income for the year, net of tax — —

Total comprehensive income for the year

(30,417)

(30,417)

Balance at 31 December 2017

381,750

381,750

Retained profits $ Total equity $

Balance at 1 January 2018

381,750

381,750

Deficit after income tax expense for the year (60,657) (60,657)

Other comprehensive income for the year, net of tax — —

Total comprehensive income for the year

(60,657)

(60,657)

Balance at 31 December 2018

321,093

321,093

Centre for Contemporary Photography Inc.Statement of changes in equityFor the year ended 31 December 2018

The above statement of changes in equity should be read in conjunction with the accompanying notes

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Note 2018 $ 2017 $

Cash flows from operating activities Receipts from members, customers and grants

724,778

797,643

Payments to suppliers and employees (823,735) (818,195)

(98,957)

(20,552)

Interest received 4,555 310

Net cash used in operating activities

18

(94,402)

(20,242)

Cash flows from investing activities Payments for property, plant and equipment

(8,971)

(21,211)

Net cash used in investing activities

(8,971)

(21,211)

Cash flows from financing activities Draw down on term deposit

90,000

—

Term deposit due to mature within three months 74,251 —

Net cash from financing activities

164,251

—

Net increase/(decrease) in cash and cash equivalents

60,878

(41,453)

Cash and cash equivalents at the beginning of the financial year 102,576 144,029

Cash and cash equivalents at the end of the financial year

4

163,454

102,576

Centre for Contemporary Photography Inc.Statement of cash flowsFor the year ended 31 December 2018

The above statement of cash flows should be read in conjunction with the accompanying notes


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Centre for Contemporary Photography Inc.Notes to the financial statements31 December 2018

Note 1. Significant accounting policies

The principal accounting policies adopted in the preparation of the financial statements are set out below. These policies have been consistently applied to all the years presented, unless otherwise stated.

NEW OR AMENDED ACCOUNTING STANDARDS AND INTERPRETATIONS ADOPTED

The incorporated association has adopted all of the new or amended Accounting Standards and Interpretations issued by the Australian Accounting Standards Board (‘AASB’) that are mandatory for the current reporting period.

Any new or amended Accounting Standards or Interpretations that are not yet mandatory have not been early adopted.

COMPARATIVESWhen required, comparative figures have been adjusted to conform to changes in presentation for the current financial period.

BASIS OF PREPARATIONIn the officers’ opinion, the incorporated association is not a reporting entity because there are no users dependent on general purpose financial statements.

These are special purpose financial statements that have been prepared for the purposes of complying with the Australian Charities and Not-for-profits Commission Act 2012 and Victorian legislation the Associations Incorporation Reform Act 2012 and associated regulations. The officers have determined that the accounting policies adopted are appropriate to meet the needs of the members of Centre for Contemporary Photography Inc..

These financial statements have been prepared in accordance with the recognition and measurement requirements specified by the Australian Accounting Standards and Interpretations issued by the Australian Accounting Standards Board (‘AASB’) and the disclosure requirements of AASB 101 ‘Presentation of Financial Statements’, AASB 107 ‘Statement of Cash Flows’, AASB 108 ‘Accounting Policies, Changes in Accounting Estimates and Errors’, AASB 1048 ‘Interpretation of Standards’ and AASB 1054 ‘Australian Additional Disclosures’, as appropriate for not-for profit oriented entities.

Historical cost conventionThe financial statements have been prepared under the historical cost convention, except for, where applicable, the revaluation of financial assets and liabilities at fair value through profit or loss, financial assets at fair value through other comprehensive income, investment properties, certain classes of property, plant and equipment and derivative financial instruments.

Critical accounting estimatesThe preparation of the financial statements requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the incorporated association’s accounting policies. The areas involving a higher degree of judgement or complexity, or areas where assumptions and estimates are significant to thefinancial statements, are disclosed in note 2.

REVENUE RECOGNITIONThe incorporated association recognises revenue as follows:

Grant incomeGrant revenue and other contributions are recognised when the Association obtains control of the contribution or right to receive the contribution and it is probable that the economic benefits comprising the contributions will flow to the association. Grants auspiced on a project basis are held in the statement of financial position and accounted for in income or expenditure as project progresses.

Donations and bequestsDonations and bequests are recognised as revenue when received.

InterestInterest revenue is recognised as interest accrues using the effective interest method. This is a method of calculating the amortised cost of a financial asset and allocating the interest income over the relevant period using the effective interest rate, which is the rate that exactly discounts estimated future cash receipts through the expected life of the financial asset to thenet carrying amount of the financial asset.

Other revenueOther revenue is recognised when it is received or when the right to receive payment is established.

INCOME TAXAs the incorporated association is a tax exempt institution in terms of subsection 50-10 of the Income Tax Assessment Act 1997, as amended, it is exempt from paying income tax.

CURRENT AND NON-CURRENT CLASSIFICATION

Assets and liabilities are presented in the statement of financial position based on current and non-current classification.

An asset is classified as current when: it is either expected to be realised or intended to be sold or consumed in the incorporated association’s normal operating cycle; it is held primarily for the purpose of trading; it is expected to be realised within 12 months after the reporting period; or the asset is cash or cash equivalent unless restricted from being exchangedor used to settle a liability for at least 12 months after the reporting period. All other assets are classified as non-current.

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Note 1. Significant accounting policies (continued)

CASH AND CASH EQUIVALENTSCash and cash equivalents includes cash on hand, deposits held at call with financial institutions, other short-term, highly liquid investments with original maturities of three months or less that are readily convertible to known amounts of cash and which are subject to an insignificant risk of changes in value.

TRADE AND OTHER RECEIVABLESTrade receivables are initially recognised at fair value and subsequently measured at amortised cost using the effective interest method, less any allowance for expected credit losses. Trade receivables are generally due for settlement within 30 days.

Collectability of trade receivables is reviewed on an ongoing basis. Debts which are known to be uncollectable are written off by reducing the carrying amount directly. A provision for impairment of trade receivables is raised when there is objective evidence that the incorporated association will not be able to collect all amounts due according to the original terms of the receivables.

INVENTORIESStock on hand is stated at the lower of cost and net realisable value. Cost comprises of purchase and delivery costs, net of rebates and discounts received or receivable.

Net realisable value is the estimated selling price in the ordinary course of business less the estimated costs of completion and the estimated costs necessary to make the sale.

PROPERTY, PLANT AND EQUIPMENTPlant and equipment is stated at historical cost less accumulated depreciation and impairment. Historical cost includes expenditure that is directly attributable to the acquisition of the items.

Depreciation is calculated on a reducing balance basis to write off the net cost of each item of property, plant and equipment (excluding land) over their expected useful lives as follows:

Leasehold improvements 10 yearsPlant and equipment 5-10 years

The residual values, useful lives and depreciation methods are reviewed, and adjusted if appropriate, at each reporting date.

Leasehold improvements and plant and equipment under lease are depreciated over the unexpired period of the lease or the estimated useful life of the assets, whichever is shorter.

An item of property, plant and equipment is derecognised upon disposal or when there is no future economic benefit to the incorporated association. Gains and losses between the carrying amount and the disposal proceeds are taken to profit or loss. Any revaluation surplus reserve relating to the item disposed of is transferred directly to retained profits.

TRADE AND OTHER PAYABLESThese amounts represent liabilities for goods and services provided to the incorporated association prior to the end of the financial year and which are unpaid. Due to their short-term nature they are measured at amortised cost and are not discounted. The amounts are unsecured and are usually paid within 30 days of recognition.

EMPLOYEE BENEFITSShort-term employee benefits

Liabilities for wages and salaries, including non-monetary benefits, annual leave and long service leave expected to be settled wholly within 12 months of the reporting date are measured at the amounts expected to be paid when the liabilities are settled.

Other long-term employee benefitsThe liability for annual leave and long service leave not expected to be settled within 12 months of the reporting date are measured at the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to expected future wage and salary levels, experience of employee departures and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currency that match, as closely as possible, theestimated future cash outflows.

GOODS AND SERVICES TAX (‘GST’) AND OTHER SIMILAR TAXES

Revenues, expenses and assets are recognised net of the amount of associated GST, unless the GST incurred is not recoverable from the tax authority. In this case it is recognised as part of the cost of the acquisition of the asset or as part of the expense.

Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the tax authority is included in other receivables or other payables in the statement of financial position.

Cash flows are presented on a gross basis. The GST components of cash flows arising from investing or financing activities which are recoverable from, or payable to the tax authority, are presented as operating cash flows.

Commitments and contingencies are disclosed net of the amount of GST recoverable from, or payable to, the tax authority.

NEW ACCOUNTING STANDARDS AND INTERPRETATIONS NOT YET MANDATORY OR EARLY ADOPTED

Australian Accounting Standards and Interpretations that have recently been issued or amended but are not yet mandatory, have not been early adopted by the incorporated association for the annual reporting period ended 31 December 2018. The incorporated association has not yet assessed the impact of these new or amended Accounting Standards and Interpretations.

Notes to the financial statements


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Note 2. Critical accounting judgements, estimates and assumptions

The preparation of the financial statements requires management to make judgements, estimates and assumptions that affect the reported amounts in the financial statements. Management continually evaluates its judgements and estimates in relation to assets, liabilities, contingent liabilities, revenue and expenses. Management bases its judgements, estimates andassumptions on historical experience and on other various factors, including expectations of future events, management believes to be reasonable under the circumstances. The resulting accounting judgements and estimates will seldom equal the related actual results. The judgements, estimates and assumptions that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities (refer to the respective notes) within the next financial year are discussed below.

Estimation of useful lives of assetsThe incorporated association determines the estimated useful lives and related depreciation and amortisation charges for its property, plant and equipment and finite life intangible assets. The useful lives could change significantly as a result of technical innovations or some other event. The depreciation and amortisation charge will increase where the useful lives are less than previously estimated lives, or technically obsolete or non-strategic assets that have been abandoned or sold will be written off or written down.

Employee benefits provisionAs discussed in note 1, the liability for employee benefits expected to be settled more than 12 months from the reporting date are recognised and measured at the present value of the estimated future cash flows to be made in respect of all employees at the reporting date. In determining the present value of the liability, estimates of attrition rates and pay increases through promotion and inflation have been taken into account.


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Note 3. Revenue


2018 $ 2017 $

Sales revenue Creative Victoria Marketing Innovation Funding

(10,000)

13,500

Creative Victoria Organisations Investment Program Funding 168,630 168,630

Sponsorship and fundraising 72,389 128,323

Other operating revenue 206,583 209,642

Other grants 42,964 18,600

Australia Council Project Funding for Development of Sonia Leber and David Chesworth exhibition

45,989 —

Australia Council Funding for Visual Arts & Craft Strategy 83,081 81,934

Australia Council for the Arts project funding for ‘An Unorthodox flow of images’

— 38,220

609,636 658,849

Other revenue Other revenue

41,062

53,780

Revenue

650,698

712,629

Note 4. Current assets - cash and cash equivalents

2018 $ 2017 $

Cash at bank

89,203

102,576

Term deposit due to mature within three months 74,251 —

163,454 102,576

Note 5. Current assets - trade and other receivables

2018 $ 2017 $

Trade receivables

97,439

106,449


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Note 6. Current assets - inventories


2018 $ 2017 $

Stock on hand - at cost

—

2,198

Note 7. Current assets - other financial assets

2018 $ 2017 $

Term deposits with over three months to maturity

201,625

365,876

Note 8. Current assets - other

2018 $ 2017 $

Prepayments

10,301

19,853

Security deposits — 180

10,301 20,033

Note 9. Non-current assets - property, plant and equipment

2018 $ 2017 $

Leasehold improvements - at cost

476,041

476,041

Less: Accumulated depreciation (476,041) (476,041)

— —

Plant and equipment - at cost 96,985 88,013

Less: Accumulated depreciation (59,308) (52,048)

37,677 35,965

37,677 35,965

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Note 10. Non-current assets - other


2018 $ 2017 $

Security deposits

5,097

5,097

Note 11. Current liabilities - trade and other payables

2018 $ 2017 $

Trade payables

10,728

26,797

GST payable 21,527 13,210

Other payables 26,316 30,313

58,571 70,320

Note 12. Current liabilities - employee benefits

2018 $ 2017 $

Employee benefits

7,869

50,708

Note 13. Current liabilities - other

2018 $ 2017 $

Deferred revenue

126,520

132,855

Note 14. Non-current liabilities - employee benefits

2018 $ 2017 $

Employee benefits

1,540

2,561


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Note 15. Contingent assets and liabilities

There are no contingent assets or contingent liabilities as at balance date


2018 $ 2017 $

Within one year

117,500

95,000

One to five years 281,250 23,750

398,750 118,750

Note 15. Contingent assets and liabilities

Lease commitments - operatingCommitted at the reporting date but not recognised as liabilities, payable:

Note 17. Events after the reporting period

No matter or circumstance has arisen since 31 December 2018 that has significantly affected, or may significantly affect the incorporated association’s operations, the results of those operations, or the incorporated association’s state of affairs in future financial years.

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Note 18. Reconciliation of deficit after income tax to net cash used in operating activities


2018 $ 2017 $

Deficit after income tax expense for the year

(60,657)

(30,417)

Adjustments for: Depreciation and amortisation

7,259

4,872

Change in operating assets and liabilities:

Decrease in trade and other receivables 9,010 13,751

Decrease in inventories 2,198 —

Decrease/(increase) in other operating assets 9,732 (21,944)

Decrease in trade and other payables (11,749) (4,997)

Increase/(decrease) in employee benefits (43,860) 17,920

Increase/(decrease) in other operating liabilities (6,335) 573

Net cash used in operating activities (94,402) (20,242)


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SponsorsGOVERNMENT PARTNERS

PRESENTATION PARTNERS

Centre for Contemporary Photography is supported by the Victorian Government through Creative Victoria, and is assisted by the Australian Government through the Australia Council, its principal arts funding and advisory body. Centre for Contemporary Photography is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, state and territory governments. CCP acknowledges the support of the Department of Education Training, Victoria, through the Strategic Partnerships Program. CCP is a member of CAOA Contemporary Arts Organisations of Australia.

2018 PROGRAM PARTNERS

ACMI Archisle: the Jersey Contemporary Photography Programme ArtenArt Guide AustraliaAustralian Centre for PhotographyAustralian Institute of Professional PhotographyAustrian Ministry for Art and Culture and Hilton Sevel of Artists’ Courier Service Besen Family Foundation Borge’s ImagingCansonCCA Galleries InternationalCity of Yarra Collingwood CollegeCommunications CollectiveCope WilliamsDancehouseDeakin UniversityDyad ArtisansFINI Frames

Format ScanGertrude GlasshouseGordon Darling Foundation HillvaleHorsham Regional Art GalleryImage ScienceJCPKayell AustraliaLeicaLoweproMACK Books Melbourne International Arts Festival Momento ProNCAT PhotographyPerimeter BooksPhotography Studies CollegeRoss Lake and Helen VivianRotary Clubs of Richmond and CollingwoodSEVENTH GallerySOFI SpritzStrange NeighbourSUNSTUDIOS

The Fox DarkroomThe Japan Foundation SydneyThe MonthlyThe Saturday PaperThirds Fine Art PrintingThis Is No Fantasy & Dianne Tanzer GalleryVirgin Australia Melbourne Fashion FestivalUnited MeasuresVanbar ImagingVanguardZetta Florence

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Patrons and DonorsGALLERY DONORS

2018 PATRONS

Helen Macpherson Smith TrustNaomi Milgrom and John KaldorIn Memory of Morry Bardaa Victor Smorgon Charitable FundVisy Lasica Family Trust

Andrew Huynh Eli BardasFrank PollioJane HodderJudy WilliamsLovell Chen Pty Ltd

2018 DONORS

Anne DaviesBernard IlottBill and Natasha BownessBill GilliesBob WeisCathy ApostolidisDeb TegoniElly FinkEric NashGenevieve BranniganGeorge ApostolididsGeraldine IlottGertie WagnerGlenn PetruschHedy RittermanJane GroverJane HaymanJulia CoxJuliet FrizzellJuliette PoundDr Kate GrahamKim Shepherd

Lachie HillLisa MacleodMalcolm ThorntonIn Honour of Margaret Riddle: Daniel Palmer, Helen Dixon, Jane Brown, Karolien Vanhee, Kirsty Riddle, Lisa Riddle, Mary Hannebery, Matthew Riddle, Michael Nott, Norma Bergoe, Scott Riddle, Sue Preston Marianne Hay Michael McCormackMurray Were Murray WhiteNick ApostolidisNikos PapastergiadisPascal Gomez McnabPatrick PoundPatty HodderPeter WilliamsRichenda VermeulenRobert Nelson

Sarah McKechnieSerena BentleySimon HaymanSimon WebbStephen GroverStephen WhitingSusan Hamilton-GreenTania SmithVictoria LynnWalter Wagner

Documents

Centre for Contemporary Photography 2018 Annual Report - …€¦ · Audience members enjoy the City Gallery Wellington exhibition John Stezaker: Lost World presented at CCP as part