Skip to content

Update from the Gallery regarding COVID-19

The Art Gallery of New South Wales is open. We are observing strict physical distancing and hygiene measures to protect the health of visitors and staff and minimise the spread of COVID-19 (coronavirus). Read the latest visit information




Australian art


View More:


Pyrmont silos

1933, printed later


Max Dupain


22 Apr 1911 - 27 Jul 1992


‘Pyrmont silos’ is one of a number of photographs that Dupain took of these constructions in the 1930s. In all cases Dupain examined the silos from a modernist perspective, emphasising their monumentality from low viewpoints under a bright cloudless sky. Additionally, his use of strong shadows to emphasise the forms of the silos and the lack of human figures celebrates the built structure as well as providing no sense of scale. Another photograph by Dupain in the AGNSW collection was taken through a car windscreen so that the machinery of transport merges explicitly with industrialisation into a complex hard-edge image of views and mirror reflections. There were no skyscrapers in Sydney until the late 1930s so the silos, Walter Burley Griffin’s incinerators and the Sydney Harbour Bridge were the major points of reference for those interested in depicting modern expressions of engineering and industrial power.

Dupain was the first Australian photographer to embrace modernism. One of his photographs of the silos was roundly criticised when shown to the New South Wales Photographic Society but Dupain forged on regardless with his reading, thinking and experimentation. Some Australian painting and writing had embraced modernist principles in the 1920s, but as late as 1938 Dupain was writing to the ‘Sydney Morning Herald’:
Great art has always been contemporary in spirit. Today we feel the surge of aesthetic exploration along abstract lines, the social economic order impinging itself on art, the repudiation of the ‘truth to nature criterion’ … We sadly need the creative courage of Man Ray, the original thought of Moholy-Nagy, and the dynamic realism of Edouard [sic] Steichen. 1

1. Dupain M 1938, ‘Letter to the editor’, ‘Sydney Morning Herald’, 30 Mar

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



1933, printed later

Media category


Materials used

gelatin silver photograph


26.2 x 19.6 cm image/sheet; 44.0 x 35.0 cm original board

Signature & date

Signed and dated l.r. image and u.c. verso original board, pencil "Max Dupain '33".


Purchased 1976


Not on display

Accession number


Artist information

Max Dupain

Works in the collection


Shown in 9 exhibitions

Exhibition history

Referenced in 8 publications


Judy Annear, Sydney moderns: art for a new world, 'Modernist photography: the machine age in Sydney', pg.184-191, Sydney, 2013, 187 (illus.).

Judy Annear, Photography: Art Gallery of New South Wales Collection, 'Australian modernism', pg.131-149, Sydney, 2007, 136, 138 (illus.).

Natasha Bullock (Curator), Soft shadows and sharp lines: Australian photography from Cazneaux to Dupain, Sydney, 2002. no pagination or catalogue numbers

Helen Ennis, Photography and Australia, London, 2007, 74 (illus.). fig.40

Brian Ladd and Alan Krell, The Artist & the City, Sydney, 1983, , 17 (illus.). 16

Ursula Prunster, Seeing is believing: the art in photography, Sydney, 1985, 15 (illus.), 18. 100

Michael Wardell, My city of Sydney, Sydney, 2000. no pagination or catalogue numbers

John Williams, Quarantined Culture: Aust Reactions to Modernism, Sydney, 1995, 85, 197, 210, 211, 246.