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Max Dupain
The ABR Podcast
Released every Thursday, the ABR podcast features our finest reviews, poetry, fiction, interviews, and commentary.
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Episode #183
'The Neighbour's Beans'
By Gregory Day
In this week’s ABR podcast we feature one of the winners of the 2011 ABR Elizabeth Jolley Short Story Prize. Gregory Day’s ‘The Neighbour’s Beans’ was joint winner of the prize that year with Carrie Tiffany’s ‘Before He Left the Family’. Gregory Day commented at the time that ‘the short story form encourages an intense display of the writer’s craft whilst being a potent vehicle for the compression of emotion’. Gregory Day is a novelist, poet, and composer from the Eastern Otways region of southwest Victoria. Listen to Gregory Day’s ‘The Neighbour’s Beans’, published in the October 2011 issue of ABR.
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The Australian modernist photographer Max Dupain is commonly known for his sweltering photograph Sunbaker, which offered the nation one of its most iconic beach images. In today’s episode, Helen Ennis reads her essay ‘Max Dupain’s dilemmas’, which was commended in the 2021 Calibre Essay Prize. It explores the breadth of Dupain’s work beyond Sunbaker, as well as his own grapplings with self-doubt and his complicated perspectives on life and travel.
Helen Ennis is Emeritus Professor at the ANU Centre for Art History and Art Theory and a past ABR Fellow. She is an independent photography curator and writer specialising in the area of Australian photographic practice. She is currently writing a biography of Max Dupain.
... (read more)
Max Dupain, one of Australia’s most accomplished photographers, was filled with self-doubt. He told us so – repeatedly – in public commentary, especially during the 1980s, in the last years of his life. It is striking how candid he was, how personal, verging on the confessional, and how little attention we paid to what he said, either during his lifetime or since (he died in 1992, aged eighty-one).
... (read more)On the door to Olive Cotton’s room there is a Dymo-tape label with the name ‘N. Boardman’. Boardman has no relevance whatsoever to Olive’s life story. His name is there because Olive and her husband Ross McInerney’s home – what they always called the ‘new house’ – was previously a construction workers’ barracks. Boardman was one of the occupants, along with Ken Livio and Chris Parris, whose names appear on the doors to adjacent rooms. Olive and Ross, who lived in the ‘new house’ for nearly thirty years, never removed the labels or modified their bedrooms, bathroom, or living areas. This fascinates and perplexes me. Why wouldn’t you erase the signs of those who lived there before you? Why keep them in your most personal, intimate space, your home? What does it mean to live like this? These questions are part of a much larger set arising from my desire to better understand Olive’s life and work, especially during the years when she and Ross lived in country New South Wales, mostly on the property they named ‘Spring Forest’. For much of this time, Olive was invisible to the photography world.
... (read more)Max Dupain’s Australia by Max Dupain & Max Dupain’s Australian Landscapes by Max Dupain
