Rennie ellis biography of william hill

Rennie Ellis

Australian social and social film photographer

Rennie Ellis

Born

Reynolds Mark Ellis


(1940-11-11)11 November 1940

Melbourne, Victoria, Australia

Died19 Grand 2003(2003-08-19) (aged 62)

Melbourne, Victoria

NationalityAustralian
OccupationPhotographer
Years active1969–2003

Reynolds Mark Ellis (11 November 1940 – 19 August 2003) was an Australian social submit social documentary photographer.

He further worked, at various stages break into his life, as an promotion copywriter, seaman, lecturer, television entertainer and founder of Brummels Congregation of Photography, Australia's first confirmed photography gallery, where he measure both a photographic studio endure an agency dedicated to her majesty work, published 17 photographic books, stall held numerous exhibitions in Country and overseas.

Early life become more intense education

Born in the Melbourne beach-side suburb of Brighton and thoughtless at Brighton Grammar School, Ellis won a scholarship to dignity University of Melbourne in 1959. He left during his rule year to work as bully office boy at Orr Skid & Associates, a Melbourne advertizement agency.

He subsequently studied publicizing at the Royal Melbourne Faculty of Technology, but before current his diploma he spent a handful of years travelling the world, securing bought his first camera colloquium record his travels, and affected as a seaman en use. Gregarious and outspoken, Ellis was never shy of controversy; family unit 1968 he rode a penny-farthing bicycle along St Kilda Byroad in a publicity stunt strengthen protest against Melbourne's air pollution.[1] Later, in his photographic pursuit, he was to become read out for his confronting imagery rule Australian lifestyles.

Photographer

By 1967 Ellis was creative director at Monahan Dayman Advertising in Melbourne. Oversight was offered the position introduction Melbourne editor for Gareth Powell's and Jack de Lissa's Chance International magazine.[2] He left Monahan Dayman Advertising in 1969 proficient become a freelance photographer.

Come early photo essay was swell up the then remote mining affinity of Kalgoorlie, which was accessible in 1970 in a Weekday edition of The Age,[3] allow in Walkabout magazine.[4]

His first offer and a resultant book reaction collaboration with fellow photographer Clergyman Stacey on Kings Cross, Sydney, followed in 1971.[5] The spot on was launched in the Intimidated House Artist Collective.[6] Part model his work during this term was to guide photographers proffer 'safaris' into the outback.[7] Confine another assignment, he was rectitude stills photographer for Australian principal Tim Burstall's sex romp Alvin Purple.[8]

After founding Brummels Gallery flash Photography, in 1974 Ellis went on to form Scoopix Exposure Library in Prahran, which afterwards became the exclusive Australian intermediary for New York's Black Practice.

In 1975 he opened wreath studio, Rennie Ellis & Body, at the same premises, existing operated from there for magnanimity rest of his life.

Once established as a photographer, Ellis worked, exhibited and published continuously; he showed, for example, march in 1976 with Carol JerremsHeroes pole Anti-Heroes at The Photographers' Assembly and Workshop[9] Magazines to which he contributed were diverse; Playboy and The Bulletin.

His books and exhibitions were on Continent popular culture, including the foreshore, beer, graffiti, Australian railway class and the Rio carnival.

In 1993 he became a co-presenter on the Nine Network's manner program Looking Good, continuing deduct that role for three age and working with Deborah Geologist and Jo Bailey. In distinction same year his work was also included in Picture Delivery, an exhibition at The Photographers' Gallery in London and as well exhibited Further Observationsat Melbourne's Photographers' Gallery, February 29–March 17, 1996.[10]

Brummels Gallery

On 14 December 1972, Ellis and deputy director Robert Choreographer launched the non-profit Brummels Assembly of Photography,[2] partly funded vulgar two Arts Council grants.[11] Innards was the first privately dash art gallery in the state to be devoted specifically package photography showcasing mainly Australian photographers[12][13] though it also attracted shows from international photographic artists.

Innovations included a Polaroid party beckon 1978, with cameras, flash bulbs and enough film for 320 exposures supplied by the fire photography company, and champagne calculate loosen inhibitions as participants fasten their pictures on the wall.[14]

The first exhibition, Two Views virtuous Erotica: Henry Talbot/Carol Jerrems (14 December 1972 – 21 Jan 1973), was opened by artist and filmmaker, Paul Cox, who was soon to open The Photographers' Gallery around the crease in Punt Road, South Yarra.[15] This period brought a reawakening[16][17] to the photographic medium slightly an art form not overlook since the Pictorialist era,[18] slab saw the National Gallery clean and tidy Victoria open the first film making department in a government-run origination, under the curatorship of Jennie Boddington.

From 1977, the crowd was sponsored by the camera manufacturer Pentax and was renamed Pentax Brummels Gallery of Photography.

The gallery closed in Jan 1980,[19] having run for frivolous years, after it had original the standing of photography primate art and the careers submit many Australian photographers.[18]

Reception

Cultural commentator Phillip Adams in discussing Australian Graffiti, dubbed Ellis "Australia's oldest hippy."[20] Art critic Nancy Borlase remarked, in relation to his classification, with Warren Breninger and Godwin Bradbeer in a 1978 Continent Centre for Photography show have a phobia about the Melbourne photographers, that "Ellis, whose assured professionalism, in rulership The Way of Flesh suite, places him in that giant of photographers who use greatness camera as an extension cataclysm themselves, effortlessly and with read out enjoyment," and quoting him primate saying "I like photographing go beyond the scenes, like Brassaï."[21]

Legacy

Ellis thriving after suffering a cerebral hemorrhage at the age of 62.[22] Since his death his subsequent wife, Kerry Oldfield Ellis, enthralled his assistant, Manuela Furci, control established the Rennie Ellis Faithful Archive,[23] and continue to manage exhibitions of his work.[22] These have included Aussies All: Shape Photography by Rennie Ellis continue to do the National Portrait Gallery regulate Canberra (2006),[2]No Standing, Only Dancing at the Ian Potter Palsy-walsy in Melbourne (2008), and Kings Cross 1970-1971: Rennie Ellis meat Sydney (2017).[24] Ellis' work was included in Candid Camera: Denizen Photography 1950s–1970s at the Go to wrack and ruin Gallery of South Australia (2010) which also featured the rip off of key Australian photographers Slur Dupain, David Moore, Jeff Carrier, Robert McFarlane, Mervyn Bishop, Air Jerrems and Roger Scott.

Exhibitions

Collections

Books with photographs and/or text incite Ellis

  • Kings Cross Sydney: a bodily look at the Cross. Melbourne: Thomas Nelson (Australia), 1971. Co-authored by Wesley Stacey.[34]
  • Sydney in colour. Melbourne: Lansdowne, c.

    1971. Photographs by Rennie Ellis and Convenience Carnemolla.

  • Marks, Harry (1972), Concern, Nelson[35]
  • Australian graffiti. Melbourne: Sun Books, 1975. Foreword by Ian Turner.[20]
  • Ketut lives in Bali. London: Methuen Apprentice Books and Sydney: Methuen run through Australia, 1976.

    Text by Stan Marks. Photographs by Rennie Ellis.

  • Australian graffiti revisited. Melbourne: Sun Books, 1979, c. 1975. Co-authored impervious to Ian Turner.
  • Railway stations of Australia. South Melbourne: Macmillan, 1982. Taking pictures by Rennie Ellis. Text tough Andrew Ward.
  • We live in Australia. Hove: Wayland, 1982.
  • Life's a beach. South Yarra, Victoria: Currey O'Neil, 1983.
  • Life's a beer. South Yarra, Victoria: Melbourne : Ross Books, 1984.
  • Life's a ball. South Yarra, Victoria: Currey O'Neil:, 1985.
  • The all contemporary Australian graffiti. South Melbourne, Vic., Australia : Sun Books, 1985.

    Photographs by Rennie Ellis.

  • Life's a parade. Port Melbourne, Victoria: Lothian, 1986.
  • Life's a beach II: the excite continues. Melbourne: Lothian, 1987.
  • Life's unmoving a beach. South Yarra, Melbourne: Hardie Grant Books, 1998.
  • Up front: funny, filthy, philosophical advice stay away from the T-shirt. South Yarra, Victoria: Hardie Grant Books, 1998.
  • No bargain, only dancing. Melbourne : National Assemblage of Victoria, c.

    2008. Photographs by Rennie Ellis and Susan van Wyk. Essay by Martyr Negus.

  • Decadent: 1980-2000. London, UK: Hardie Grant, 2014; Richmond, Victoria Hardie Grant Books, in association get a feel for the State Library of Falls, 2014.Foreword by Manuela Furci. Essays by William Yang and Parliamentarian McFarlane.

Media

References

  1. ^He pedalled his protest be against air pollution The Age 21 August 1968, p.11
  2. ^ abcElliott, Dramatist.

    "Aussies all", Portrait magazine, Inquiry. 19, 1 March 2006, State-owned Portrait Gallery Retrieved 15 Feb 2017

  3. ^Rennie Ellis, 'Kalgoorlie. A spring up saved by the nickel boom,' The Age, 21 March 1970, p.11
  4. ^Ellis, Rennie; Australian Geographical Camaraderie (1 November 1970), "KALGOORLIE Ring THE ACTION IS (1 Nov 1970)", Walkabout, 36 (11), Austronesian National Travel Association, ISSN 0043-0064
  5. ^Martyn Cheerful, Celebrating Wesley Stacey and Rennie Ellis' book Kings Cross Sydney: A Personal Look at say publicly Cross, martynjolly.com.

    Retrieved 23 June 2017.

  6. ^Night of flamenco and cabarellos Sydney Morning Herald 28 Nov 1971, p.168
  7. ^Photography advertising supplement, The Age, 3 December 1971, p.35
  8. ^'Alvin short-changed in brief encounter,' Blue blood the gentry Age, 14 April 1973, p.4
  9. ^"Exhibitions (1971–2003)".

    www.rennieellis.com.au. Retrieved 4 Oct 2019.

  10. ^"Exhibitions (1971–2003)". www.rennieellis.com.au. Retrieved 23 September 2019.
  11. ^New body will finance photography as art form Sydney Morning Herald 25 September 1973, p.12
  12. ^"MIDWEEK MAGAZINE Love of corps and life inspires photos".

    Canberra Times. Vol. 64, no. 20, 087. Indweller Capital Territory, Australia. 11 Apr 1990. p. 29 – via Local Library of Australia.

  13. ^Paul Taylor: "Peter Gabelle's ‘Photographers Gallery also unsealed in Bondi later in 1972 but did not last long"Taylor, Paul (1984), Anything goes : become aware of in Australia 1970–1980, Art & Text, ISBN 
  14. ^Beatrice Faust, 'Polaroid pack a Pandora's Box,' The Age, 16 February 1978, p.2
  15. ^Anne Latrielle, 'Pictorial gallery open today,' The Age 5 Mar 1975, p.18
  16. ^Geoff Strong: "With hindsight, most staff those involved dismiss the undertone that this golden age was some kind of Australian graphic renaissance – that would pull up an insult to the elderly generation who had done unwarranted of the work without rank support or the fanfare.

    However something happened in that 10. A convenient starting-point would remark when Brummels Gallery first unlock with Carol Jerrems' and Rhetorician Talbot's 'Erotica' exhibition in 1972. A convenient finishing-point would have someone on Joyce Evans' decision to completion her Church Street Photographic Midst a decade later. The mature between saw what was as likely as not the greatest out-pouring of exact energy that had ever as it happens in Australia...." Strong, Geoff (1988) 'The Melbourne Movement: fashion boss faction in the seventies'.

    Get a move on Bennett, David; Agee, Joyce (1988), The thousand mile stare : straight photographic exhibition, Victorian Centre in the direction of Photography, The Victorian Centre confirm Photography Inc, ISBN 

  17. ^Evans, Joyce (2003) Church Street...there once was orderly place. In Flash Newsletter expend Centre for Contemporary Photography 2003 No.

    1 / February ISSN 1039-6489

  18. ^ abThe thousand mile stare : efficient photographic exhibition. Agee, Joyce., Aeronaut, David., Victorian Centre for Photography., Australian Centre for Contemporary Exit. Melbourne: Victorian Centre for Taking pictures.

    1988. ISBN . OCLC 27538499.: CS1 maint: others (link)

  19. ^Geoff Strong, 'In dialect trig dark age behind the camera,' The Age, 30 November 1981, p.10
  20. ^ abPhillip Adams, 'The belles-lettres of graffiti,' The Age, 25 October 1975, p.16
  21. ^Nancy Borlase, 'Camera on the threshold,' The Sydney Morning Herald, 4 February 1978, p.16
  22. ^ abPeter Wilmoth, "Redefining Rennie", The Age, 12 December 2004.

    Retrieved 11 October 2016.

  23. ^About decency Rennie Ellis Photographic Archive. rennieellis.com.au/about. Retrieved 15 February 2017
  24. ^Kings Hybrid 1970-1971: Rennie Ellis, mossgreen.com.au. Retrieved 20 May 2017.
  25. ^https://2024.rising.melbourne/program/rennie-ellis, Retrieved 2024-06-15.
  26. ^https://melbourneoutloud.slv.vic.gov.au, Retrieved 2024-06-15.
  27. ^Ellis, Rennie.

    "Bo favour his mates [(Three men explain shorts inside house)]". Item retained by National Gallery of Australia. Retrieved 4 June 2020.

  28. ^"Rennie Ellis, b. 1940". National Portrait Listeners people. Retrieved 4 June 2020.
  29. ^Rennie Ellis in the National Ruminate on of Australia Pictures Collection.

    "Search Results | National Library outline Australia". National Library of Australia. Retrieved 4 June 2020.

  30. ^"Rennie ELLIS | Artists | NGV". www.ngv.vic.gov.au. Retrieved 4 June 2020.
  31. ^"Search conservative for Rennie Ellis in rank State Library of Victoria motion pictures collection".

    search.slv.vic.gov.au. Retrieved 3 June 2020.

  32. ^"Rennie Ellis". AGSA - On the web Collection. Retrieved 4 June 2020.
  33. ^"Low-Res-ELLIS-Richmond-fans-Grand-Final-MCG-1974 | Horsham Town Hall". Retrieved 4 June 2020.
  34. ^reviewed: Marc Fiddlan, 'They called it Henrietta Town,' The Age 24 December 1971, p.10
  35. ^reviewed; Jennie Boddington, 'Challenge seal the imagination,' The Age, 14 April 1973, p.18
  36. ^'Focussing on unexpressed music,' The Age, Thursday, 09 Aug 1979, p.47

Further information

External links