Destiny Deacon

Oz Games - Under the spell of the Tall Poppies, 1998-2003
light jet print from Polaroid
100.0 x 80.0 cm
signed, dated, titled and numbered (lower margin) 12 from an edition of 15

SOLD

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Provenance
Roslyn Oxley9 Gallery, Sydney
Acquired from the above by the present owner in 2003

Another example of this image is in the collection of the Art Gallery of New South Wales, Sydney

Exhibited
Another example of this image was exhibited in:
'd-tour', Roslyn Oxley9 Gallery, Sydney, 14 August - 6 September 2003
'Destiny Deacon: Walk & don't look blak', Museum of Contemporary Art, Sydney, 26 November 2004-30 January 2005; Cultural Centre Tjibaou, Noumea, New Caledonia 1 June - 28 August 2005; ADAM Art Gallery, Victoria University of Wellington, New Zealand 2005; Tokyo Metropolitan Museum of Photography, 29 April - 11 June 2006; Ian Potter Museum of Art, University of Melbourne, Melbourne 2006

Literature
Another example of this image is illustrated in:
E Macgregor, N King, B Croft, L Reihana, D Mundine, M Langton, R Bell, H Perkins, 'Destiny Deacon: Walk & don't look blak', exhibition catalogue, MCA, Sydney, 2005 (illus. front cover & p. 67)
B French & D Palmer, 'Twelve Australian Photo Artists', Piper Press, Sydney, 2009, illus. p.44

"Dorothy lies inert, perhaps delirious, on a lion's lap, resplendent in a red costume with tiny sparkly shoes and a bow in her hair. Deacon's rendition of the Judy Garland Technicolor classic - 'The Wizard of Oz' (1939) - replaces the enchantment of the dazzling land of Oz with the TIn Man holding an axe adjacent to a dishevelled Scarecrow. This is no Emerald City. Positioned below a row of poppies, Deacon's title alludes to 'tall poppies' and an Aussie version of this famous road movie. Here traits are exposed, feelings and mixed emotions uncovered in a parodic setting. Characters seem to be acting up and acting out." (N King, 'a laugh and a tear in every photo', ''Destiny Deacon: Walk & don't look blak', exhibition catalogue, MCA, Sydney, 2005, p. 18)

  • Oz Games - Under the spell of the Tall  Poppies

Image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney


View artist profile

Destiny Deacon was born in 1957 of K'ua K'ua and Erub/Mer peoples in Maryborough, Queensland. She is a photo artist, video maker, performer, writer and broadcaster who stimulates ideas about Aboriginal politics. She began to practice as an artist in 1990 after completing a Bachelor of Arts in Politics at The University of Melbourne in 1979 and a Diploma of Education at La Trobe University, Melbourne in 1981 and, working as a history teacher. Her first solo exhibition, 'Caste Offs' was held at the Australian Centre for Photography, Sydney in 1993.

Her major solo exhibitions include 'Doing Time...', Spare Room Gallery, R.M.I.T. University Gallery, Melbourne, 2010; the 2005 retrospective 'Walk & don't look blak' held by the Museum of Contemporary Art, Sydney and touring to the Metropolitan Museum of Photography in Tokyo, the Tjibao Cultural Centre, Noumea, New Caledonia and Wellington City Gallery, New Zealand; and, 'My Boomerang Won't Come Back', Contemporary Art Centre of South Australia, Adelaide and touring to Artspace, Auckland, New Zealand and CSA Gallery, Christchurch, New Zealand in 1994.

Important group exhibitions for Deacon include 'Melbourne Now', National Gallery of Victoria, Melbourne, 2013; 'Art + Soul', Art Gallery of New South Wales, Sydney, 2010; 'Culture Warriors: The National Indigenous Art Triennial '07', National Gallery of Australia, Canberra, and touring Art Gallery of Western Australia, Perth; Gallery of Modern Art at Queensland Art Gallery, Brisbane and The Katzen Arts Center at American University, Washington D.C., U.S.A., 2007; 'Points of view: Australian photography 1985-95', Art Gallery of New South Wales, Sydney, 2006; '2nd Sight Australian Photography in the National Gallery of Victoria', National Gallery of Victoria, Melbourne, 2002; Documenta 11, curated by Okwui Enwezor, Kassel, Germany, 2002; 'Photography is Dead! Long Live Photography!', Museum of Contemporary Art, Sydney, 1996; 'Mistaken Identities: Africus - the 1st Johannesburg Biennale', Museum Africa, Johannesburg, South Africa, 1995; 'Blak City Culture!' at the Australian Centre for Contemporary Art, Melbourne, 1994; 'An Eccentric Orbit: Electronic Media Art from Australia' at the Museum of Modern Art, New York, 1994; 'Urban Focus: Aboriginal and Torres Strait Islander Art from the Urban Areas of Australia' at the National Gallery of Australia, Canberra and Tyerabarrbowaryaou II, as part of the 5th Havana Biennial, Cuba, 1994; 'Can't See for Lookin' - Koori Women Educating at the Access Gallery', National Gallery of Victoria, Melbourne and 'Australian Perspecta 1993' at the Art Gallery of New South Wales, both in 1993; 'Aboriginal Women's Exhibition' at the Art Gallery of New South Wales, Sydney and 'Kudjeris', at Boomalli Aboriginal Artists Co-operative, Sydney both in 1991.