Patrick Waterhouse United Kingdom, b. 1981
Front and Side Portraits 32, 2014 - 2018
Installation consisting of 32 individually framed photographs / acrylic paint on archival pigment prints
30,5 x 20,2 cm ea. / framed 48,5 x 38,2 cm ea.
Total width 355 cm, including 7 cm spacing in between (140 x 85 inch)
Total width 355 cm, including 7 cm spacing in between (140 x 85 inch)
Unique installation
Series: Restricted Images
PW 086
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Restricted with: Adrianna Nangala Egan, Angelina Nampijinpa Robertson, Judith Nungarrayi Martin, Julie Nangala Robertson, Marissa Napanangka Anderson, Sabrina Nangala Robertson, Tasha Nampijinpa Collins, Shanna Napanangka Williams, Tanya Nungarrayi Collins, Wilma...
Restricted with: Adrianna Nangala Egan, Angelina Nampijinpa Robertson, Judith Nungarrayi Martin, Julie Nangala Robertson, Marissa Napanangka Anderson, Sabrina Nangala Robertson, Tasha Nampijinpa Collins, Shanna Napanangka Williams, Tanya Nungarrayi Collins, Wilma Napangardi Poulson, Athena Nangala Granites, Dorothy Napurrurla Dickson, Lean Nampijinpa Sampson and Nathania Nangala Granites.
Patrick Waterhouse was born in the UK in 1981. The Restricted Images series is a collaboration between Waterhouse and the Warlukurlangu Art Centre. The works were made in the communities of Yuendumu and Nyirripi which are remote desert aboriginal communities in Central Australia.
The publication in 1899 of The Native Tribes of Central Australia caused a sensation in Europe. The book’s authors, telegraph-station master Francis J. Gillen and ethnologist W. Baldwin Spencer, had written in depth about the customs and traditions of the Aboriginal groups living near Alice Springs and also illustrated their texts with 119 photographs, many of which captured rituals and ceremonies. While the subject, quality and quantity of the images set a new standard for anthropological photography, the authors were largely oblivious to the impact they would have on the lives of the Aboriginals. The pictures revealed the gap in knowledge between the authors, whose goal was showing the exotic natives “in their natural state”, and the subjects, who were completely unaware of the new medium and how it could invade their privacy or reveal their secrets to a wider audience. Unwittingly or not, the authors also infringed upon Aboriginal cultural protocols by showing sacred sites and the dead.
Attitudes have changed since Gillen and Baldwin Spencer first ventured in the Central Desert with a camera and institutions have taken extensive measures to ensure that cultural sensitivity is respected. Today, photography within Aboriginal communities is limited and historical images are often “restricted”. Over the past four years, Patrick Waterhouse has taken photographs in the Yeundumu and Nyirrpi Aboriginal communities, and in the surrounding Warlpiri country. After making prints, he returned to Central Australia to work with artists and other members of those same communities at the Warlukurlangu Art Centre, so they could restrict and amend his photographs through the process of painting.
Waterhouse’s work has been exhibited internationally in institutions including FotoMuseum, Antwerpen (2019); Albuquerque Museum, Albuquerque (2018); Kunsthal, Rotterdam (2017); The Guggenheim Museum, Bilbao (2016); National Gallery of Art, Washington D.C (2015); The Photographers’ Gallery, London (2015); The National Galleries of Scotland, Edinburgh (2014); Le Bal, Paris (2014); Biennale de Lubumbashi, DR Congo (2013); The International Center of Photography Triennial, New York (2013); Liverpool Biennial, Liverpool (2012); The Museum für Gestaltung, Zürich (2011) and South African National Gallery, Cape Town (2010). His work is held in major public and private collections including Solomon R Guggenheim Museum, New York; San Francisco Museum of Modern Art, San Francisco; Centre Pompidou, Paris; The National Gallery of Art, Washington D.C and The Walther Collection, Neu-Ulm, Germany. Awards include the Discovery Award at Arles in 2011 and the Deutsche Borse Photography Prize in 2015 for Ponte City (with Mikhael Subotzky).
Patrick Waterhouse was born in the UK in 1981. The Restricted Images series is a collaboration between Waterhouse and the Warlukurlangu Art Centre. The works were made in the communities of Yuendumu and Nyirripi which are remote desert aboriginal communities in Central Australia.
The publication in 1899 of The Native Tribes of Central Australia caused a sensation in Europe. The book’s authors, telegraph-station master Francis J. Gillen and ethnologist W. Baldwin Spencer, had written in depth about the customs and traditions of the Aboriginal groups living near Alice Springs and also illustrated their texts with 119 photographs, many of which captured rituals and ceremonies. While the subject, quality and quantity of the images set a new standard for anthropological photography, the authors were largely oblivious to the impact they would have on the lives of the Aboriginals. The pictures revealed the gap in knowledge between the authors, whose goal was showing the exotic natives “in their natural state”, and the subjects, who were completely unaware of the new medium and how it could invade their privacy or reveal their secrets to a wider audience. Unwittingly or not, the authors also infringed upon Aboriginal cultural protocols by showing sacred sites and the dead.
Attitudes have changed since Gillen and Baldwin Spencer first ventured in the Central Desert with a camera and institutions have taken extensive measures to ensure that cultural sensitivity is respected. Today, photography within Aboriginal communities is limited and historical images are often “restricted”. Over the past four years, Patrick Waterhouse has taken photographs in the Yeundumu and Nyirrpi Aboriginal communities, and in the surrounding Warlpiri country. After making prints, he returned to Central Australia to work with artists and other members of those same communities at the Warlukurlangu Art Centre, so they could restrict and amend his photographs through the process of painting.
Waterhouse’s work has been exhibited internationally in institutions including FotoMuseum, Antwerpen (2019); Albuquerque Museum, Albuquerque (2018); Kunsthal, Rotterdam (2017); The Guggenheim Museum, Bilbao (2016); National Gallery of Art, Washington D.C (2015); The Photographers’ Gallery, London (2015); The National Galleries of Scotland, Edinburgh (2014); Le Bal, Paris (2014); Biennale de Lubumbashi, DR Congo (2013); The International Center of Photography Triennial, New York (2013); Liverpool Biennial, Liverpool (2012); The Museum für Gestaltung, Zürich (2011) and South African National Gallery, Cape Town (2010). His work is held in major public and private collections including Solomon R Guggenheim Museum, New York; San Francisco Museum of Modern Art, San Francisco; Centre Pompidou, Paris; The National Gallery of Art, Washington D.C and The Walther Collection, Neu-Ulm, Germany. Awards include the Discovery Award at Arles in 2011 and the Deutsche Borse Photography Prize in 2015 for Ponte City (with Mikhael Subotzky).
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