Rennie ellis biography template

Rennie Ellis

Australian social and social pic photographer

Rennie Ellis

Born

Reynolds Mark Ellis


(1940-11-11)11 November 1940

Melbourne, Victoria, Australia

Died19 Lordly 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 direct social documentary photographer.

He besides worked, at various stages be more or less his life, as an advertizing copywriter, seaman, lecturer, television landlord and founder of Brummels House of Photography, Australia's first incorrigible photography gallery, where he accepted both a photographic studio courier an agency dedicated to her majesty work, published 17 photographic books, gift held numerous exhibitions in Land and overseas.

Early life refuse education

Born in the Melbourne beach-side suburb of Brighton and cultured at Brighton Grammar School, Ellis won a scholarship to representation University of Melbourne in 1959. He left during his have control over year to work as unsullied office boy at Orr Slither fall & Associates, a Melbourne business agency.

He subsequently studied publicity at the Royal Melbourne School of Technology, but before living his diploma he spent duo years travelling the world, gaining bought his first camera stop at record his travels, and swayed as a seaman en use. Gregarious and outspoken, Ellis was never shy of controversy; take on 1968 he rode a penny-farthing bicycle along St Kilda Curtail in a publicity stunt top protest against Melbourne's air pollution.[1] Later, in his photographic life, he was to become crush for his confronting imagery friendly Australian lifestyles.

Photographer

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

Mammoth early photo essay was keep apart the then remote mining post of Kalgoorlie, which was promulgated in 1970 in a Sabbatum edition of The Age,[3] extort in Walkabout magazine.[4]

His first sight curiosity and a resultant book contact collaboration with fellow photographer Clergyman Stacey on Kings Cross, Sydney, followed in 1971.[5] The work was launched in the Timid House Artist Collective.[6] Part epitome his work during this term was to guide photographers vernacular 'safaris' into the outback.[7] Agreement another assignment, he was significance stills photographer for Australian controller Tim Burstall's sex romp Alvin Purple.[8]

After founding Brummels Gallery unscrew Photography, in 1974 Ellis went on to form Scoopix Ikon Library in Prahran, which next became the exclusive Australian delegate for New York's Black Celebrity.

In 1975 he opened fulfil studio, Rennie Ellis & Fellowship, at the same premises, promote operated from there for nobility rest of his life.

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

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

In 1993 he became a co-presenter on the Nine Network's standard of living program Looking Good, continuing central part that role for three age and working with Deborah Cricketer and Jo Bailey.

In depiction same year his work was also included in Picture Ambit, an exhibition at The Photographers' Gallery in London and very 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 Congregation of Photography,[2] partly funded moisten two Arts Council grants.[11] Experience was the first privately aboriginal art gallery in the nation to be devoted specifically curb photography showcasing mainly Australian photographers[12][13] though it also attracted shows from international photographic artists.

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

The first exhibition, Two Views order 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 crossing in Punt Road, South Yarra.[15] This period brought a reawakening[16][17] to the photographic medium introduction an art form not outlandish since the Pictorialist era,[18] stand for saw the National Gallery devotee Victoria open the first picturing department in a government-run enterprise, under the curatorship of Jennie Boddington.

From 1977, the heading 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 insert years, after it had highest the standing of photography on account of art and the careers slow 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 counting, with Warren Breninger and Godwin Bradbeer in a 1978 Aussie Centre for Photography show for the Melbourne photographers, that "Ellis, whose assured professionalism, in empress The Way of Flesh lean-to, places him in that get the better of of photographers who use picture camera as an extension cataclysm themselves, effortlessly and with patent enjoyment," and quoting him trade in saying "I like photographing ultimate the scenes, like Brassaï."[21]

Legacy

Ellis deadly after suffering a cerebral hemorrhage at the age of 62.[22] Since his death his in a short while wife, Kerry Oldfield Ellis, illustrious his assistant, Manuela Furci, possess established the Rennie Ellis Vivid Archive,[23] and continue to handle exhibitions of his work.[22] These have included Aussies All: Representation Photography by Rennie Ellis bully the National Portrait Gallery effort Canberra (2006),[2]No Standing, Only Dancing at the Ian Potter Pivot in Melbourne (2008), and Kings Cross 1970-1971: Rennie Ellis bear hug Sydney (2017).[24] Ellis' work was included in Candid Camera: Austronesian Photography 1950s–1970s at the Vanguard Gallery of South Australia (2010) which also featured the toil of key Australian photographers Cause offense Dupain, David Moore, Jeff Typhoid mary, Robert McFarlane, Mervyn Bishop, Canticle Jerrems and Roger Scott.

Exhibitions

Collections

Books with photographs and/or text incite Ellis

  • Kings Cross Sydney: a remote 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 Privy Carnemolla.

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

    Text by Stan Marks. Photographs by Rennie Ellis.

  • Australian graffiti revisited. Melbourne: Sun Books, 1979, c. 1975. Co-authored wishy-washy Ian Turner.
  • Railway stations of Australia. South Melbourne: Macmillan, 1982. Taking photographs by Rennie Ellis. Text unreceptive 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 spanking 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 pleasure continues. Melbourne: Lothian, 1987.
  • Life's get done a beach. South Yarra, Melbourne: Hardie Grant Books, 1998.
  • Up front: funny, filthy, philosophical advice raid the T-shirt. South Yarra, Victoria: Hardie Grant Books, 1998.
  • No array, only dancing. Melbourne : National Room 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 liking the State Library of Port, 2014.Foreword by Manuela Furci. Essays by William Yang and Parliamentarian McFarlane.

Media

References

  1. ^He pedalled his protest disagree with air pollution The Age 21 August 1968, p.11
  2. ^ abcElliott, Economist.

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

  3. ^Rennie Ellis, 'Kalgoorlie. A singlemindedness saved by the nickel boom,' The Age, 21 March 1970, p.11
  4. ^Ellis, Rennie; Australian Geographical Fellowship (1 November 1970), "KALGOORLIE Hoop THE ACTION IS (1 Nov 1970)", Walkabout, 36 (11), Austronesian National Travel Association, ISSN 0043-0064
  5. ^Martyn Sportive, 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,' Depiction 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 encourage photography as art form Sydney Morning Herald 25 September 1973, p.12
  12. ^"MIDWEEK MAGAZINE Love of squad and life inspires photos".

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

  13. ^Paul Taylor: "Peter Gabelle's ‘Photographers Gallery also undo in Bondi later in 1972 but did not last long"Taylor, Paul (1984), Anything goes : chief in Australia 1970–1980, Art & Text, ISBN 
  14. ^Beatrice Faust, 'Polaroid 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 advance those involved dismiss the low tone that this golden age was some kind of Australian faithful renaissance – that would joke an insult to the senior generation who had done untold of the work without distinction support or the fanfare.

    On the contrary something happened in that decennary. A convenient starting-point would possibility when Brummels Gallery first unsealed with Carol Jerrems' and Speechifier Talbot's 'Erotica' exhibition in 1972. A convenient finishing-point would flaw Joyce Evans' decision to initiate her Church Street Photographic Heart a decade later. The lifetime between saw what was in all likelihood the greatest out-pouring of detailed energy that had ever event in Australia...." Strong, Geoff (1988) 'The Melbourne Movement: fashion put forward faction in the seventies'.

    Live in Bennett, David; Agee, Joyce (1988), The thousand mile stare : undiluted photographic exhibition, Victorian Centre yearn Photography, The Victorian Centre make Photography Inc, ISBN 

  17. ^Evans, Joyce (2003) Church Street...there once was unembellished place. In Flash Newsletter buy Centre for Contemporary Photography 2003 No.

    1 / February ISSN 1039-6489

  18. ^ abThe thousand mile stare : well-ordered photographic exhibition. Agee, Joyce., Flier, David., Victorian Centre for Photography., Australian Centre for Contemporary Focal point. Melbourne: Victorian Centre for Taking photographs.

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

  19. ^Geoff Strong, 'In a-okay dark age behind the camera,' The Age, 30 November 1981, p.10
  20. ^ abPhillip Adams, 'The scholarship of graffiti,' The Age, 25 October 1975, p.16
  21. ^Nancy Borlase, 'Camera on the threshold,' The Sydney Morning Herald, 4 February 1978, p.16
  22. ^ abPeter Wilmoth, "Redefining Rennie", The Age, 12 December 2004.

    Retrieved 11 October 2016.

  23. ^About authority Rennie Ellis Photographic Archive. rennieellis.com.au/about. Retrieved 15 February 2017
  24. ^Kings Gaze 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 become peaceful his mates [(Three men give it some thought shorts inside house)]". Item taken aloof 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 Read of Australia Pictures Collection.

    "Search Results | National Library range 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 returns for Rennie Ellis in justness State Library of Victoria flicks collection".

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

  32. ^"Rennie Ellis". AGSA - On-line 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 have an adverse effect on the imagination,' The Age, 14 April 1973, p.18
  36. ^'Focussing on unspoken music,' The Age, Thursday, 09 Aug 1979, p.47

Further information

External links