- Media category
- Materials used
- type C photograph mounted on aluminium
- 75.0 x 50.0 cm image/sheet
- Signature & date
Not signed. Not dated.
- Purchased with funds provided by John Swainston, Sydney 2000
- Not on display
- Accession number
- © Justene Williams
- Artist information
Works in the collection
Justene Williams’s early photographs and installations from the 1990s engaged with the mundane and everyday. They included stark realist shots of suburban places and people and blurred, painterly shots, often the result of using the limited technology of cheap disposable cameras and the developing facilities of one-hour photo labs. As part of her process she allowed for photographic mistakes, making the transformations – the distortions, uneven light and bad focus – a strong and continuing theme. Her reflection: ‘There is no such thing as a bad picture’, typifies her approach.1 Williams has talked of her enjoyment of poring over photos, saying of the results: ‘the less accurate or more amateur the camera, the better in a way.’2 In a recent work, ‘Eye spy with my little eye’ 2006, she has shared her obession with these processes by distributing or ‘gifting’ books of her images as part of its public event, with one effect being their prompting for consideration ‘what we spend our time looking at and why’.3
‘Bunny boy 12’ is from a series of 13 unique photographs of a man, made-up and partly costumed and performing for the camera. Alternatively mock and serious, his masculinity is in uneasy relationship to his attire. He appears, in his soft pink ears, painted face and nails and with arms crossed, to exude a resigned pathos, sadly self-aware in his half-dressed state of the complexities of identity and its sometimes problematic processes of construction, negotiation and performance. In its symbolism the bunny costume is often associated with a highly sexualised objectification of femininity, however here the signs are less clear. Bunny boy’s makeshift costume and vulnerable pose highlights an uncertain embrace of identity. His obvious ambivalence, particularly between a seemingly dumb acceptance and considered intention is strongly engaging; a dynamic which also marks the wider processes of Williams’s work.
1. Michael L ed 1997, ‘Photography is dead! Long live photography!’, Museum of Contemporary Art, Sydney p 36
2. Palmer D 2006, ‘Eye spy with my little eye – a gift from Justene Williams’, ‘+ plus factors’, Australian Centre for Contemporary Art, Melbourne p 58
3. ibid p 59
© Art Gallery of New South Wales Photography Collection Handbook, 2007
Shown in 1 exhibition
Space YZ, Campbelltown Arts Centre, Campbelltown, 16 Jan 2021–14 Mar 2021
Referenced in 1 publication
Bronwyn Clark-Coolee, Photography: Art Gallery of New South Wales Collection, 'Time - memory - people', pg.246-265, Sydney, 2007, 264.
Other works by Justene Williams
See more works