Untitled 1987/88, from the series Untitled 1987/88
In the late 1980s Henson began to explore a new way of presenting his photographs. Instead of creating one work composed of sequential images, he 'internalised' these multiple elements into one picture. In 1987 he produced his first large-scale 'cut-screen', using the subject matter of the metropolis with its nightlife and violence, its cold neons and implicit despair. The beauty of these images is disrupted when they are cut; they are then pinned and taped onto plywood screens. Most of the works are composed of a life-size central image surrounded by fragments of other photographs, often taken at different times or in different locations.
extract from Isobel Crombie, first published Bill Henson, 46th Biennale of Venice, Australian Exhibitions Touring Agency Ltd, Melbourne 1995, republished Bill Henson: Mnemosyne, Scalo, Zurich/AGNSW, Sydney 2005 p 383
type C photograph on marine ply
240.0 x 180.0 cm
Signature & date
Signed and dated u.l. verso, black felt tip "Bill Henson 1987/88".
Rudy Komon Memorial Fund 1990
Not on display
© Bill Henson. Courtesy Roslyn Oxley9 Gallery
Shown in 4 exhibitions
Bill Henson. Images from 'Untitled 1987/88', Roslyn Oxley9 Gallery, Paddington, 21 Mar 1990–17 Apr 1990
Strangers in Paradise:
- National Museum of Modern and Contemporary Art, Seoul 05 Nov 1992–04 Dec 1992
- Art Gallery of New South Wales, Sydney 23 Jul 1993–12 Sep 1993
From the Street - Photographs From the Collection, Art Gallery of New South Wales, Sydney, 27 Apr 1996–14 Jul 1996
Referenced in 4 publications
Victoria Lynn, Strangers in Paradise - Contemporary Australian Art to Korea, 'Dark Mirrors. The Photographs of Bill Henson', pg. 38-41, Seoul, 1992. cat.no. 8
Mnemosyne, Sydney, 2005, 352 (colour illus.).
From the street: photographs from the collection, Sydney, 1996, (illus.). no catalogue numbers
The eighth Biennale of Sydney: the readymade boomerang: certain relations in 20th century art., Sydney, 1990, 421 (colour illus.). cat.no. 209