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Title

Pyrmont silos

1933, printed later

Artist

Max Dupain

Australia

22 Apr 1911 – 27 Jul 1992

  • Details

    Date
    1933, printed later
    Media category
    Photograph
    Materials used
    gelatin silver photograph
    Dimensions
    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".

    Credit
    Purchased 1976
    Location
    Not on display
    Accession number
    112.1976
    Copyright

    Reproduction requests

    Artist information
    Max Dupain

    Works in the collection

    448

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  • About

    ‘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

  • Exhibition history

    Shown in 9 exhibitions

  • Bibliography

    Referenced in 8 publications

Other works by Max Dupain

See all 448 works