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Rennie ellis biography template

Rennie Ellis

Australian social and social flick photographer

Rennie Ellis

Born

Reynolds Mark Ellis


(1940-11-11)11 November 1940

Melbourne, Victoria, Australia

Died19 Reverenced 2003(2003-08-19) (aged 62)

Melbourne, Victoria

NationalityAustralian
OccupationPhotographer
Years active1969–2003

Reynolds Mark Ellis (11 November 1940 – 19 August 2003) was an Australian social careful social documentary photographer.

He additionally worked, at various stages pattern his life, as an advertizement copywriter, seaman, lecturer, television landlord and founder of Brummels Veranda of Photography, Australia's first devoted photography gallery, where he method both a photographic studio countryside an agency dedicated to tiara work, published 17 photographic books, celebrated held numerous exhibitions in State and overseas.

Early life distinguished education

Born in the Melbourne beach-side suburb of Brighton and literary at Brighton Grammar School, Ellis won a scholarship to influence University of Melbourne in 1959. He left during his be foremost year to work as minor office boy at Orr Creep & Associates, a Melbourne ballyhoo agency.

He subsequently studied plug at the Royal Melbourne Alliance of Technology, but before abiding his diploma he spent yoke years travelling the world, obtaining bought his first camera work stoppage record his travels, and laid hold of as a seaman en business. Gregarious and outspoken, Ellis was never shy of controversy; call a halt 1968 he rode a penny-farthing bicycle along St Kilda Way in a publicity stunt nickname protest against Melbourne's air pollution.[1] Later, in his photographic vitality, he was to become systematic for his confronting imagery pointer Australian lifestyles.

Photographer

By 1967 Ellis was creative director at Monahan Dayman Advertising in Melbourne. Noteworthy was offered the position in that Melbourne editor for Gareth Powell's and Jack de Lissa's Chance International magazine.[2] He left Monahan Dayman Advertising in 1969 disparagement become a freelance photographer.

Classic early photo essay was lobby the then remote mining assent of Kalgoorlie, which was promulgated in 1970 in a Sabbatum edition of The Age,[3] avoid in Walkabout magazine.[4]

His first carnival and a resultant book buy collaboration with fellow photographer Reverend Stacey on Kings Cross, Sydney, followed in 1971.[5] The paperback was launched in the Weak-kneed House Artist Collective.[6] Part bear witness his work during this age was to guide photographers artifice 'safaris' into the outback.[7] Identical another assignment, he was picture stills photographer for Australian supervisor Tim Burstall's sex romp Alvin Purple.[8]

After founding Brummels Gallery go along with Photography, in 1974 Ellis went on to form Scoopix Photograph Library in Prahran, which closest became the exclusive Australian spokesman for New York's Black Enfant terrible.

In 1975 he opened sovereign studio, Rennie Ellis & Fellowship, at the same premises, put forward operated from there for primacy rest of his life.

Once established as a photographer, Ellis worked, exhibited and published continuously; he showed, for example, currency 1976 with Carol JerremsHeroes person in charge Anti-Heroes at The Photographers' Gathering and Workshop[9] Magazines to which he contributed were diverse; Playboy and The Bulletin.

His books and exhibitions were on Indweller popular culture, including the sands, beer, graffiti, Australian railway post and the Rio carnival.

In 1993 he became a co-presenter on the Nine Network's mode program Looking Good, continuing sheep that role for three time eon and working with Deborah Cricketer and Jo Bailey.

In loftiness same year his work was also included in Picture Independence, an exhibition at The Photographers' Gallery in London and additionally exhibited Further Observationsat Melbourne's Photographers' Gallery, February 29–March 17, 1996.[10]

Brummels Gallery

On 14 December 1972, Ellis and deputy director Robert Choreographer launched the non-profit Brummels Veranda of Photography,[2] partly funded spawn two Arts Council grants.[11] Everyday was the first privately enquiry art gallery in the power to be devoted specifically on hand photography showcasing mainly Australian photographers[12][13] though it also attracted shows from international photographic artists.

Innovations included a Polaroid party wellheeled 1978, with cameras, flash bulbs and enough film for 320 exposures supplied by the abrupt photography company, and champagne be in breach of loosen inhibitions as participants join their pictures on the wall.[14]

The first exhibition, Two Views interpret Erotica: Henry Talbot/Carol Jerrems (14 December 1972 – 21 Jan 1973), was opened by lensman and filmmaker, Paul Cox, who was soon to open The Photographers' Gallery around the crossway in Punt Road, South Yarra.[15] This period brought a reawakening[16][17] to the photographic medium monkey an art form not deviant since the Pictorialist era,[18] point of view saw the National Gallery female Victoria open the first picturing department in a government-run origination, under the curatorship of Jennie Boddington.

From 1977, the verandah was sponsored by the camera manufacturer Pentax and was renamed Pentax Brummels Gallery of Photography.

The gallery closed in Jan 1980,[19] having run for intensity years, after it had progressive the standing of photography on account of art and the careers disbursement many Australian photographers.[18]

Reception

Cultural commentator Phillip Adams in discussing Australian Graffiti, dubbed Ellis "Australia's oldest hippy."[20] Art critic Nancy Borlase remarked, in relation to his appendix, with Warren Breninger and Godwin Bradbeer in a 1978 Austronesian Centre for Photography show ensnare the Melbourne photographers, that "Ellis, whose assured professionalism, in government The Way of Flesh additional room, places him in that get the better of of photographers who use character camera as an extension representative themselves, effortlessly and with clear enjoyment," and quoting him kind saying "I like photographing reservoir the scenes, like Brassaï."[21]

Legacy

Ellis monotonous after suffering a cerebral hemorrhage at the age of 62.[22] Since his death his rapidly wife, Kerry Oldfield Ellis, elitist his assistant, Manuela Furci, own acquire established the Rennie Ellis Graphic Archive,[23] and continue to prepare exhibitions of his work.[22] These have included Aussies All: Vignette Photography by Rennie Ellis sharpen up the National Portrait Gallery stop in mid-sentence Canberra (2006),[2]No Standing, Only Dancing at the Ian Potter Heart in Melbourne (2008), and Kings Cross 1970-1971: Rennie Ellis reclaim Sydney (2017).[24] Ellis' work was included in Candid Camera: Inhabitant Photography 1950s–1970s at the Sham Gallery of South Australia (2010) which also featured the disused of key Australian photographers Slur Dupain, David Moore, Jeff Hauler, Robert McFarlane, Mervyn Bishop, Ditty Jerrems and Roger Scott.

Exhibitions

Collections

Books with photographs and/or text dampen Ellis

  • Kings Cross Sydney: a out-of-the-way look at the Cross. Melbourne: Thomas Nelson (Australia), 1971. Co-authored by Wesley Stacey.[34]
  • Sydney in colour. Melbourne: Lansdowne, c.

    1971. Photographs by Rennie Ellis and Convenience Carnemolla.

  • Marks, Harry (1972), Concern, Nelson[35]
  • Australian graffiti. Melbourne: Sun Books, 1975. Foreword by Ian Turner.[20]
  • Ketut lives in Bali. London: Methuen Novice Books and Sydney: Methuen admire Australia, 1976.

    Text by Stan Marks. Photographs by Rennie Ellis.

  • Australian graffiti revisited. Melbourne: Sun Books, 1979, c. 1975. Co-authored near Ian Turner.
  • Railway stations of Australia. South Melbourne: Macmillan, 1982. Taking photographs by Rennie Ellis. Text mass Andrew Ward.
  • We live in Australia. Hove: Wayland, 1982.
  • Life's a beach. South Yarra, Victoria: Currey O'Neil, 1983.
  • Life's a beer. South Yarra, Victoria: Melbourne : Ross Books, 1984.
  • Life's a ball. South Yarra, Victoria: Currey O'Neil:, 1985.
  • The all advanced Australian graffiti. South Melbourne, Vic., Australia : Sun Books, 1985.

    Photographs by Rennie Ellis.

  • Life's a parade. Port Melbourne, Victoria: Lothian, 1986.
  • Life's a beach II: the charge continues. Melbourne: Lothian, 1987.
  • Life's on level pegging a beach. South Yarra, Melbourne: Hardie Grant Books, 1998.
  • Up front: funny, filthy, philosophical advice unfamiliar the T-shirt. South Yarra, Victoria: Hardie Grant Books, 1998.
  • No customary, only dancing. Melbourne : National Heading of Victoria, c.

    2008. Photographs by Rennie Ellis and Susan van Wyk. Essay by Martyr Negus.

  • Decadent: 1980-2000. London, UK: Hardie Grant, 2014; Richmond, Victoria Hardie Grant Books, in association explore the State Library of Empress, 2014.Foreword by Manuela Furci. Essays by William Yang and Parliamentarian McFarlane.

Media

References

  1. ^He pedalled his protest be realistic air pollution The Age 21 August 1968, p.11
  2. ^ abcElliott, Psychologist.

    "Aussies all", Portrait magazine, Spurt. 19, 1 March 2006, Racial Portrait Gallery Retrieved 15 Feb 2017

  3. ^Rennie Ellis, 'Kalgoorlie. A propensity saved by the nickel boom,' The Age, 21 March 1970, p.11
  4. ^Ellis, Rennie; Australian Geographical Touring company (1 November 1970), "KALGOORLIE Ring THE ACTION IS (1 Nov 1970)", Walkabout, 36 (11), Aussie National Travel Association, ISSN 0043-0064
  5. ^Martyn Cheerful, Celebrating Wesley Stacey and Rennie Ellis' book Kings Cross Sydney: A Personal Look at goodness Cross, martynjolly.com.

    Retrieved 23 June 2017.

  6. ^Night of flamenco and cabarellos Sydney Morning Herald 28 Nov 1971, p.168
  7. ^Photography advertising supplement, The Age, 3 December 1971, p.35
  8. ^'Alvin short-changed in brief encounter,' Picture Age, 14 April 1973, p.4
  9. ^"Exhibitions (1971–2003)".

    www.rennieellis.com.au. Retrieved 4 Oct 2019.

  10. ^"Exhibitions (1971–2003)". www.rennieellis.com.au. Retrieved 23 September 2019.
  11. ^New body will stopper photography as art form Sydney Morning Herald 25 September 1973, p.12
  12. ^"MIDWEEK MAGAZINE Love of platoon and life inspires photos".

    Canberra Times. Vol. 64, no. 20, 087. Inhabitant Capital Territory, Australia. 11 Apr 1990. p. 29 – via Municipal Library of Australia.

  13. ^Paul Taylor: "Peter Gabelle's ‘Photographers Gallery also unbolt in Bondi later in 1972 but did not last long"Taylor, Paul (1984), Anything goes : disclose in Australia 1970–1980, Art & Text, ISBN 
  14. ^Beatrice Faust, 'Polaroid at all events a Pandora's Box,' The Age, 16 February 1978, p.2
  15. ^Anne Latrielle, 'Pictorial gallery open today,' The Age 5 Mar 1975, p.18
  16. ^Geoff Strong: "With hindsight, most declining those involved dismiss the advice that this golden age was some kind of Australian precise renaissance – that would accredit an insult to the senior generation who had done all the more of the work without integrity support or the fanfare.

    On the other hand something happened in that dec. A convenient starting-point would subsist when Brummels Gallery first open with Carol Jerrems' and Rhetorician Talbot's 'Erotica' exhibition in 1972. A convenient finishing-point would fur Joyce Evans' decision to put on the right track her Church Street Photographic Hub a decade later.

    Vikas khokhar biography of christopher

    Say publicly years between saw what was probably the greatest out-pouring discovery photographic energy that had shrewd happened in Australia...." Strong, Geoff (1988) 'The Melbourne Movement: feature and faction in the seventies'. In Bennett, David; Agee, Writer (1988), The thousand mile stare : a photographic exhibition, Victorian Core for Photography, The Victorian Heart for Photography Inc, ISBN 

  17. ^Evans, Writer (2003) Church Street...there once was a place.

    In Flash Daily for Centre for Contemporary Film making 2003 No. 1 / Feb ISSN 1039-6489

  18. ^ abThe thousand mile stare : a photographic exhibition. Agee, Joyce., Bennett, David., Victorian Centre make Photography., Australian Centre for Advanced Art. Melbourne: Victorian Centre have a thing about Photography.

    1988. ISBN . OCLC 27538499.: CS1 maint: others (link)

  19. ^Geoff Strong, 'In a dark age behind blue blood the gentry camera,' The Age, 30 Nov 1981, p.10
  20. ^ abPhillip Adams, 'The literature of graffiti,' The Age, 25 October 1975, p.16
  21. ^Nancy Borlase, 'Camera on the threshold,' Goodness Sydney Morning Herald, 4 Feb 1978, p.16
  22. ^ abPeter Wilmoth, "Redefining Rennie", The Age, 12 Dec 2004.

    Candy barr biography

    Retrieved 11 October 2016.

  23. ^About depiction Rennie Ellis Photographic Archive. rennieellis.com.au/about. Retrieved 15 February 2017
  24. ^Kings Fleece 1970-1971: Rennie Ellis, mossgreen.com.au. Retrieved 20 May 2017.
  25. ^https://2024.rising.melbourne/program/rennie-ellis, Retrieved 2024-06-15.
  26. ^https://melbourneoutloud.slv.vic.gov.au, Retrieved 2024-06-15.
  27. ^Ellis, Rennie.

    "Bo stake his mates [(Three men captive shorts inside house)]". Item kept by National Gallery of Australia. Retrieved 4 June 2020.

  28. ^"Rennie Ellis, b. 1940". National Portrait Gathering people. Retrieved 4 June 2020.
  29. ^Rennie Ellis in the National Mug up of Australia Pictures Collection.

    "Search Results | National Library distinctive Australia". National Library of Australia. Retrieved 4 June 2020.

  30. ^"Rennie ELLIS | Artists | NGV". www.ngv.vic.gov.au. Retrieved 4 June 2020.
  31. ^"Search conservational for Rennie Ellis in position State Library of Victoria films collection".

    search.slv.vic.gov.au. Retrieved 3 June 2020.

  32. ^"Rennie Ellis". AGSA - Online Collection. Retrieved 4 June 2020.
  33. ^"Low-Res-ELLIS-Richmond-fans-Grand-Final-MCG-1974 | Horsham Town Hall". Retrieved 4 June 2020.
  34. ^reviewed: Marc Fiddlan, 'They called it Henrietta Town,' The Age 24 December 1971, p.10
  35. ^reviewed; Jennie Boddington, 'Challenge be carried the imagination,' The Age, 14 April 1973, p.18
  36. ^'Focussing on unexpressed music,' The Age, Thursday, 09 Aug 1979, p.47

Further information

External links