• SKUNKWORKS – Lockheed SR-71 Blackbird

Image courtesy of the artist and Tolarno Galleries, Melbourne

Rosemary Laing

SKUNKWORKS – Lockheed SR-71 Blackbird, 1998-1999
Type C photograph
50 x 113 cm (image)

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Originally trained as a painter, Laing constructs zones of nature and artifice, rendering the scenes photographically to create images that reflect on humankind's complex relationship to the natural environment. Internationally recognised as one of Australia's leading contemporary photo-based artists, Laing is the subject of a new monograph published by Prestel, New York in 2012. Written by Abigail Solomon-Godeau, the book offers a comprehensive survey of the artist's career-long exploration and reinvention of landscape photography.

Rosemary Laing was born in Brisbane in 1959, but has lived in Sydney for the past few decades. She has participated in various international biennials, including the Biennale of Sydney in 2008; Venice Biennale in 2007; Busan Biennale in 2004 and, the Istanbul Biennial in 1995. The Museum of Contemporary Art, Sydney staged a major survey of her work in 2005, and a year later the show travelled to Kunsthallen Brandts Klaedefabrik, Odense in Denmark. She has received several awards and grants, including the 1999 National Photographic Award and several Faculty Research Grants from the College of Fine Arts, University of New South Wales where she was a lecturer for a number of years. Rosemary Laing is represented in Australia by Tolarno Galleries and in New York by Galerie Lelong. Her work is held in numerous public and private collections in Australia and internationally. Rosemary Laing is represented by Tolarno Galleries, Melbourne.

Gitte Weise Gallery, Sydney
Private collection, Sydney

Another from the edition is illustrated in Abigail Solomon-Godeau, Rosemary Laing, Piper Press, Sydney, 2012, illus. p.80

'In Laing's work of the mid to late 1990s, flight, the airport and the NASA spaceport are ciphers for life lived at the interface of nature and technology....

Laing's NASA photographs are of technology beyond the realm of public experience. Yet even when unpeopled the photographs reference human gesture: machines of almost unimaginable capability have been anthropomorphised, nurtured lovingly as if wounded or vulnerable bodies.' (B. French, 'Rosemary Laing', Twelve Australian Photo Artists, Piper Press, 2009, p. 89)