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Collection

An image of The Boney twins at Doreen McHughes wedding, Brewarrina by Sandy Edwards

Sandy Edwards

(New Zealand, Australia 1948 – )

Title
The Boney twins at Doreen McHughes wedding, Brewarrina, from the series Brewarrina
Year
1986
printed 1991
Media category
Photograph
Materials used
gelatin silver photograph
Dimensions

26.7 x 39.4 cm image; 40.8 x 50.3 cm sheet

Signature & date
Signed and dated l.l. verso, pencil "... 1986/ Sandy Edwards 1991".
Credit
Purchased with funds provided by the J.S. Watkins Memorial fund 1991
Accession number
261.1991
Copyright
© Sandy Edwards
Location
Not on display
Further information

In the hands of Sandy Edwards, photo-documentary is both deeply personal and clearly political. Her work, including her portraiture, is based on close observation, made possible by the development of trust between the photographer and her subject. Of this, she has said: ‘The role of a documentary photographer is a difficult one … For me it is necessary to have some degree of intimacy with the person I am photographing.’1

Edwards is an engaged practitioner and has written in substantial ways about her practice, its development and context, and the role of photo-documentary. She has consistently brought a level of social awareness to her work with a particular commitment to the representation of women fostered by her involvement with the Women’s Art Movement and the Sydney Filmmakers Co-op in the 1970s. Edwards has worked as a freelance photographer since 1977 and was involved in such commissions as the CSR Photography Project in 1978, where her sequences are evocative of a range of social issues, including the monotony of women’s work and the challenges of cultural difference in the workplace. She was also involved in the ‘After 200 years’ project in 1988, where she worked with the Aboriginal people in Brewarrina, New South Wales, on a representation of their community and culture. ‘The Boney twins at Doreen McHughes wedding, Brewarrina’, compelling in its capture of the dynamic of an extended family gathering, is from this series. Edwards has described these photographs as ‘mostly a form of informal portraiture … [documenting] the strong family life and other social connections apparent through the Brewarrina community … [combined with] other more political issues.’2

1. Edwards S 2000, ‘Peer pressure: practising politics in the 1970s’, in McDonald E & Annear J eds, ‘What is this thing called photography?: Australian photography 1975–1985’, Pluto Press, Sydney pp 37–47
2. Edwards S 1994, ‘Photographing the Aboriginal community in Brewarrina’, in Phillips S ed, ‘Racism, representation and photography’, Inner City Education Centre Cooperative, Sydney p 100

© Art Gallery of New South Wales Photography Collection Handbook, 2007

Bibliography (2)

Judy Annear, Points of view: Australian photography 1985-95, Sydney, 2005, (illus.). no catalogue numbers

Bronwyn Clark-Coolee, Photography: Art Gallery of New South Wales Collection, 'Time - memory - people', pg.246-265, Sydney, 2007, 252, 259 (illus.).

Exhibition history (4)

Recent Acquisitions - Australian Photography, Art Gallery of New South Wales, Sydney, 10 Oct 1992–06 Dec 1992

We Are Family, Art Gallery of New South Wales, Sydney, 15 Oct 1994–20 Nov 1994

Points of view: Australian photography 1985-95, Art Gallery of New South Wales, Sydney, 19 Nov 2005–29 Jan 2006

What's in a face? aspects of portrait photography, Art Gallery of New South Wales, Sydney, 24 Sep 2011–05 Feb 2012