Ruth Maddison Equal pay demo, Bourke Street Melbourne, 1985, pigment print from scanned negative, 39 x 58 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Last night I had the strangest dream (#1), 2020, pigment print, hand coloured and digitally enhanced, 64 x 70 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Prison Officers, Pentridge, 1985, pigment print from scanned negative (Print by Les Walkling), 50 x 50 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Untitled #18, 1979, from the series
Christmas holidays with Bob’s family. Mermaid Beach,
Queensland 1979, pigment print from scan, edition 1/1,
10.5 x 16.2 cm. Courtesy of the artist and the Centre
for Contemporary Photography.
Ruth Maddison Ponch Hawkes, Helen and Alice Garner, 1978/2018, pigment print from scanned negative, 22.6 x 15 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Keith Haring, 1985/2014, pigment print from scanned negative, hand-coloured and digitally enhanced, 40 x 40 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Equal pay demo, Bourke Street Melbourne, 1985, pigment print from scanned negative, 39 x 58 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Last night I had the strangest dream (#1), 2020, pigment print, hand coloured and digitally enhanced, 64 x 70 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Prison Officers, Pentridge, 1985, pigment print from scanned negative (Print by Les Walkling), 50 x 50 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Untitled #18, 1979, from the series
Christmas holidays with Bob’s family. Mermaid Beach,
Queensland 1979, pigment print from scan, edition 1/1,
10.5 x 16.2 cm. Courtesy of the artist and the Centre
for Contemporary Photography.
Ruth Maddison Ponch Hawkes, Helen and Alice Garner, 1978/2018, pigment print from scanned negative, 22.6 x 15 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Keith Haring, 1985/2014, pigment print from scanned negative, hand-coloured and digitally enhanced, 40 x 40 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Equal pay demo, Bourke Street Melbourne, 1985, pigment print from scanned negative, 39 x 58 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Last night I had the strangest dream (#1), 2020, pigment print, hand coloured and digitally enhanced, 64 x 70 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Prison Officers, Pentridge, 1985, pigment print from scanned negative (Print by Les Walkling), 50 x 50 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Untitled #18, 1979, from the series
Christmas holidays with Bob’s family. Mermaid Beach,
Queensland 1979, pigment print from scan, edition 1/1,
10.5 x 16.2 cm. Courtesy of the artist and the Centre
for Contemporary Photography.
Ruth Maddison Ponch Hawkes, Helen and Alice Garner, 1978/2018, pigment print from scanned negative, 22.6 x 15 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Keith Haring, 1985/2014, pigment print from scanned negative, hand-coloured and digitally enhanced, 40 x 40 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Equal pay demo, Bourke Street Melbourne, 1985, pigment print from scanned negative, 39 x 58 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Last night I had the strangest dream (#1), 2020, pigment print, hand coloured and digitally enhanced, 64 x 70 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Prison Officers, Pentridge, 1985, pigment print from scanned negative (Print by Les Walkling), 50 x 50 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Untitled #18, 1979, from the series
Christmas holidays with Bob’s family. Mermaid Beach,
Queensland 1979, pigment print from scan, edition 1/1,
10.5 x 16.2 cm. Courtesy of the artist and the Centre
for Contemporary Photography.
Ruth Maddison Ponch Hawkes, Helen and Alice Garner, 1978/2018, pigment print from scanned negative, 22.6 x 15 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Keith Haring, 1985/2014, pigment print from scanned negative, hand-coloured and digitally enhanced, 40 x 40 cm. Courtesy of the artist and the Centre for Contemporary Photography.
Ruth Maddison Equal pay demo, Bourke Street Melbourne, 1985, pigment print from scanned negative, 39 x 58 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
Click here to book your visit.
Ruth Maddison: It was the best of times, it was the worst of times is a significant survey exhibition focusing on Maddison’s social documentary practice from 1976 to the current day. Bringing together key historical works with a major new commission, this exhibition is a timely and focused look at one of Australia’s leading feminist photographers.
The exhibition features several key series, from Maddison’s earliest hand-coloured works Miss Universe (1979); her iconic Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1979); a selection of series focusing on women in the workforce (from 1979); The Beginning of Absence (1996) documenting her father’s mortality; photojournalistic works documenting political rallies and activism in Australia (1975–2015); to Maddison’s more recent projects documenting the people and industries of Eden, NSW (2002–2014).
These works are presented alongside Maddison’s documentation of the cultural milieu of Melbourne with a focus on the late 1970s and 1980s. Her portraits of Melbourne’s leading writers, artists, theatre makers and musicians include Helen Garner, Tracey Moffatt, Steven Cummings, Jenny Watson, Mickey Allen, Ponch Hawkes and the founders of Melbourne’s Circus Oz amongst others.
Maddison’s more recent projects documenting Eden’s people and industries illustrate the changing face of regional Australia and the societal pressures that have come to bear. The Eden teens captured in Maddison’s 2002 series have now splintered, with half leaving town for new opportunities and the other remaining. The two industries — fishing and timber — that have underpinned Eden’s economy for decades have been dramatically reduced. While the 2019 bushfires, followed by the COVID-19 pandemic have further economically ravaged a community trying to rebuild itself.
The newly commissioned work The Fellow Traveller (2020) is an immersive photographic installation exploring Maddison’s father’s radical political activities in Australia and overseas from the 1950s–1980s, which were under ASIO scrutiny. Combining archival material, footage and hand-coloured photographs among a sea of revealing and curious images, The Fellow Traveller presents the shifting nature of long held personal and historical truths at a time of increasing social and political urgency.
Delivered through the collaboration of Adam Harding CCP Director, Jack Willet CCP Curator, Ruth Maddison and independent Curator Olivia Poloni, with inceptive curatorial work from Linsey Gosper and Madé Spencer-Castle.
BIOGRAPHY
Ruth Maddison (b. Melbourne, 1945, lives and works in Eden) is one of Australia’s foremost senior feminist photographers. Best known for her hand-coloured series, Christmas Holidays with Bob’s Family, Mermaid Beach, Queensland (1977–78), for over 40 years Maddison has been exploring ideas surrounding relationships, working lives, and communities through portraiture and social documentary photography.
An entirely self-taught practitioner, Maddison shot her first roll of film in 1976 under the encouragement of longtime friend Ponch Hawkes, and has hardly put down a camera since. Maddison’s work is represented in major public collections, including the National Gallery of Australia, National Gallery of Victoria, the Museum of Contemporary Art, the National Library and the State Libraries of Victoria and New South Wales.
SUPPORTED BY
Ruth Maddison: It was the best of times, it was the worst of times has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
PUBLISHING PARTNER
PRESENTED AS PART OF
Ruth Maddison Equal pay demo, Bourke Street Melbourne, 1985, pigment print from scanned negative, 39 x 58 cm (image size). Courtesy of the artist and the Centre for Contemporary Photography.
EXHIBITION CATALOGUE
The exhibition catalogue is available for sale, at $15, both in the gallery & online at this link.
To celebrate this milestone publication, Ruth and CCP have produced 50 limited edition copies that come with a signed and editioned print representative of Maddison's diverse practice, while directly connecting to the major photographic installation The Fellow Traveller — Odessa, 1988/2020, archival inkjet print on Ilford Fibre pearl, 150mm x 212mm. This special edition is available at $100 and can be purchased in-gallery, or online at this link.
Q&A
Exhibition Curator Olivia Poloni talks with Ruth Maddison about her 40+ years of photographic practice. Read it here.
PUBLIC PROGRAM
Panel Talk — Timeless Documents: Collaborative Catalogues Presenting Multiple Todays to Help Reinvent Tomorrow
Presented as part of Melbourne Design Week, a community of creatives discuss their involvement in producing a selection of catalogues from CCP’s 35-year history. They will cover how the concepts contained within reflect the concerns of yesterday and today, which inevitably reframe tomorrow.
Saturday 27 March 2021, 3pm
PUBLIC PROGRAM
Catalogue Launch — Ruth Maddison: It was the best of times, it was the worst of times
Continuing our Melbourne Design Week programming, this event will see Shaune Lakin, Head Curator of International Art at the National Gallery of Australia, launch the catalogue for this significant Ruth Maddison exhibition, It was the best of times, it was the worst of times. Spanning close to 200 pages, this landmark publication sits alongside Maddison’s exhibition as a key survey of her social documentary practice from 1976 to the current day. This publication was created with the support of the Gordon Darling Foundation. Places are limited.
Saturday 27 March 2021, 4:30pm
PUBLIC PROGRAM
Panel Talk — The Photography of Ruth Maddison
Exhibition Curator Olivia Poloni hosts a talk with Ruth Maddison and her contemporaries discussing their diverse approaches to art, photography and social documentation. In reference to Ruth Maddison’s exhibition and their own individual practices, the panel will speak to topics such as representations of people and place, presenting new narratives and collaboration in image making.
Speakers include: Olivia Poloni, Ruth Maddison, Kate Golding, Hoda Afshar, Peta Clancy & Eliza Hutchison.
This event is free, but places are limited — booking is essential.
Sunday 18 April 2021, 3:00pm
IN THE MEDIA
The Guardian — The communist who raised me: photographer Ruth Maddison interrogates her father's Asio file
Journalist Alison Stieven-Taylor writes about Ruth Maddison practice and personal history. View the article here.
Exhibition images
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Ruth Maddison: It was the best of times, it was the worst of times, installation view Centre for Contemporary Photography, 2021. Documentation photography J Forsyth.
Centre for Contemporary Photography
404 George St, Fitzroy Victoria 3065, Australia
info@ccp.org.au
+61 39417 1549
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Gallery Hours
Wednesday—Sunday
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Seven nights after dark