https://prahranlegacy.org/2026/06/14/the-alumni-rozalind-drummond/Prahran Photographyen2026-06-14T06:09:43+00:00The Alumni: Rozalind DrummondGael Newton, Bill Henson, 1970s, Paul Torcello, Athol Shmith, Paul Cox, Ian Lobb, narrative, film, students, National Gallery of Victoria, 1988, The Age, Janina Green, Australian Centre for Contemporary Art, Carol Jerrems, 1999, Victorian College of the Arts, VCA, Fine Art, William Kelly, public collections, Cato, dismissed, 1986, 1979, Prahran, Caulfield campus, 2012, sculpture, Robert Imhoff, fashion, 2021, Arnold Newman, 1991, 2000, Greg Neville, National Portrait Gallery, Max Dupain, woman, A. D. Coleman, Olive Cotton, 000, Christine Adams, Stuart Koop, Rozalind Drummond, Julie Millowick, Polly Borland, Centre for Contemporary Photography, Monash University, Reflex, 1989, Gordon De’Lisle, Derrick Lee, Kim Corbel, Carolyn Lewens, Phil Quirk, London, Americans, review, Pat Brassington, Gough Whitlam, Australian National Gallery, construction, Anne Ferran, Art Gallery of South Australia, 1992, 1995, emotional, Privileged, Chris Köller, Brian Brandt, George Paton Gallery, Canberra Times, Natalie King, designers, New Zealand, fixation, Wolfgang Sievers, David Moore, Mark Strizic, Age, New Romantics, Les Gray, Beatrice Faust, Merryle Johnson, experience, organised, Ralph Gibson, Peter Turner, Chris Long, John Gollings, English, Art Australia, Dacre Stubbs, Harry Callahan, higher education, production, teacher, colleagues, catalogue, detail, Out There, Lake Bolac, audience, colour photographs, arrangement, nostalgia, institutional critique, West Germany, John Davis, Les Walkling, irony, powerful, hope, interpretation, Roland Barthes, mystery, assured, encounter, map, pattern, Freda Freiberg, Leah King-Smith, Deborah Ely, Bruce Postle, 13 December 2023, 1980s alumni, gravitational pull, charismatic lecturers, l Bryan Gracey, Head of Department John Cato, part-timers Yuri Sokol, Wayne Levy, Louise Hubbard, John Ruane, Les Rabinowicz, study leave, cinematographers, videographers, Russell Hurley, Ole Mynster, Tony Saad, guest lectures, Merryl Johnson, casual staff, 80s period, younger, prior experience in photography, free education, ’70s cohort, ‘second chance’, photo celebrities, Elliott Erwitt, editor of Creative Camera, Pete Turner, Glenn Busch, Werner Herzog, Australian professionals, David Lancashire, artists from other disciplines, Micky Allen, Graham Marchant, Robert Jacks, accountant Ian Howell, critic Beatrice Faust, art historians, anthropologists, Ulli Beier, naturalist Graham Pizzey, scriptwriter Bob Ellis, retoucher/conservator Annette Hall, holograpaher Paula Dawson, Deakin, Wikipedia entry, attended Prahran, 1982–84, aged about twenty-seven, much life experience, Australian Centre for Photography director, 80s student, acclaimed practitioner, Steve Lojewski, Janina Green and Christopher Koller, status, equal to, rivalling, Post Graduate Diploma, 1985–86, glowing review, “extremely beautiful colour pictures”, supervisor, influence of a 1970s Prahran alumnus on a 1980s graduate, Gary Catalano, described, first solo show, May 1985, remark, classical antiquity, single draped figure, black, directorial mode, nothing left to chance, carefully arranged images, quotation, Goethe, profoundly blue, music of antiquity, melancholy, allusive, poetic melancholy, Où Est La Femme?, 9–30 August 1989, Merilee Bennett, Louise Forthun, Dora McPhee, Lauren Williamson, Sue Wyers, curated by Juliana Engberg, George Paton Gallery archive, Assistant Director, 1986-88, Juliana Engberg, frequent commentator, mid-1987 show, Feminist Narratives, Debra Dawes, Andrea Paton, Leah MacKlnnon, Ann E. Wulff, catalogue essay alongside, Brenda Marshall, Jo Holder, Elizabeth Gertzsakis, landmark, ambiguously realist, neoclassicist, Scenes on the Death of Nature, cool antithesis, bloodied adolescents, Untitled 1983/84, Pinacotheca, Four Melbourne artists, IMA/George Paton Gallery exchange exhibition, Lecturer in Photography, 1987-89, 1990-91, embrace of postmodernist traits, Excursions into the Postmodern: Five Melbourne Photographers, New Acquisitions, “sketchy and trivial”, incoherent, melding, architectural, pornographic, optical, Illusion of Plans, City Gallery, apparently disconnected, urban progress, skyscraper, bridge, machinery, view of the city, across the water, narcissistic impulse, intention of the work, isolate, viewer’s attention, product, insinuate, dimension, urban planners, utopian, references, Russian revolutionary period, Australian women, Pat Holmes, urban domain, series of dramas, modernist plan, illusion, history of media, feminine possibilities, Fergus Armstrong, comparison, photographic mediation, architectural objects, wilful indifference, moment of aversion, ‘having-turned-away’, sees, erases, rules for living, built into, urban environment, darkly erotic vision, fallen, benighted world, elliptically scientific, play-work, minor theorising with the camera, fleeting, unconvinced, “order of things”, humanely “empathetic”, critic, Helen Musa, understood, exploit, distance between, real and fictional, hedges bets, Scopic Territories, industrial photographs, abdication of authorial responsibility, everything extrinsic to the photograph, critical import, postmodern photography, intrinsic formalism, modern photography, naive, confrontation of power, capital, social control, aesthetic form, in retreat, spy, random trace, omnipresence, poking, the camera, city’s spaces, glimpse, puissance, difference, capitulation, unrelenting advance, manifest, theories, Debord, new recognition of Australian photography as art, suspicious, fabrications, hybridisation, 90s practitioners, “artists who use photography”, cold, overstated, exercise, Post-Modern Academy style, impenetrable, accompanying video, interminable, curated by Koop, blurry night shots, encourage, undergraduate students, mixed reviews, did not discourage, critical attention, expanded, sharpened, installation, Peeping Tom, Michael Powell, Monash University Gallery, November 1995, February 1996, displayed, found photographs, large format, toned, haphazardly pinned, archive, vitrines, surreptitious peep, studied gaze, bodies, business of others, gaze back, professional peepers, play their game, play the sleuth, video screens, mediate, voyeuristically tracking, museum displays, live feed, exhibition space, viewer could see themselves, Perry Fowler, other, the gaze silences the woman, reducing her, inarticulate object, sum of parts, role of victim, aggressor, simultaneous, artificial’, cryptically narrated, masculinist subjectivity, psychoanalyst, ‘reading’ a patient, detective, decipher, story, ‘clues’, random, pathological perception, shallow, monochrome beauties, naively modeling, long-forgotten, amateurs, manipulated, enlarged, reconstituted femininity, postmodern perception, post-war sexuality, arm’s length, scrutinised, 1997 Samstag Scholarship, A$30, $62, 240.00, airfares, fees, MA in Fine Art, Goldsmiths College, invited, Scholarship co-recipient, painter Zhong Chen, Lyndal Jefferies, Steven Holland, Julie Gough, Birmingham, Ikon Gallery, Claire Doherty, conventional exhibition, Australians’ work, contextualisation, dialogue, alien territory, five artists, local groups, individuals, “Art into Action”, programme, off-site, over six months, local school, filming, idea of ‘lost childhood’, May 1998 group exhibition, Mnemosyne or Do Humans Dream in Negative Strips, Larry Schwartz, rough neighbourhood in Birmingham, innocence, a dangerous place to live, smiling forever, deeper aspect, memories, Hide and Seek, two showings, Birmingham Cinema, formative ‘alma mater’, reunion, Goldsmiths’ ’98 alumni, Ways of Living, DJ Simpson, Oliver Zwink, Edward Harper, Graham Little, Michael Raedecker, Tablet Gallery at the Tabernacle, Powis Square, Deakin visual arts researchers, 2012-2014, Flows and Catchments, lecturer at Deakin University, Zones of Practice: Embodiment and Creative Arts Research, momentary pause, outline of an image, signpost, characterisation of reality, “inside” photographs, looking, through the viewfinder, “non-space”, inside suggests an outside, peer in, left out, recollection, disruption in topography, a “beyond”, sense of melancholy, irrevocable sliding, restrict aesthetics, information, signs or ciphers, engaging, desire to see more, beyond the frame, potential affect, “Stay with me here”, Type C Digital Print, school corridor, closer inspection, young woman, school uniform, garment, seen and read, distinct, finely striped, wearer’s body, imprinted, grid, leitmotif, poetic, hair, looking away, looking forward, compositional framehttps://prahranlegacy.org/wp-content/uploads/2026/06/image-3.jpeg?w=150