Shooting Star
As her four-decade retrospective embarks on a national tour, convention-challenging Australian photographer Anne Zahalka is looking backwards to move forward.
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Anne Zahalka’s office is a museum-worthy cabinet of curiosities. Located on the first floor of the photographer’s terrace in Sydney’s inner city, next to a room that serves as a makeshift studio, it is replete with the standard ephemera and clutter of an artist’s lair. On the wall in front of her desk hangs a portrait (taken by Zahalka’s aunt, a fellow photographer) of her mother as a young woman and a shelf filled with CDs, floppy disks and other outdated technology; on another, mounted shelves heave under the weight of 40 years of project folders.
“Maybe it’s because I’m getting older,” Zahalka, now 68, says over tea while flicking through the pages of documentation from her first show in 1981, “but I’m feeling increasingly nostalgic, and these folders are invaluable. Being able to go back to the year the works were made and looking at the documentation and research is beyond helpful. I turn to them all the time.” Behind Zahalka’s desk, a bookshelf teems with magazines and publications she has been featured in and go-to reference books on everything from trompe l’oeil to Goya and portraiture.
The curated miscellany is not only an invaluable source of daily inspiration, but as a maquette on top of a filing cabinet suggests, it is also a focal point of a new exhibition. Running through October 19 at Sydney’s National Arts School (NAS) before a national tour, Zahalkaworld—An Artist’s Archive is the most comprehensive survey of the photographer’s work since she emerged in the early 1980s and bloomed into one of Australia’s most thought-provoking artists. At the heart of the exhibition is Kunstkammer, a life-size immersive recreation of Zahalka’s office—albeit a bit tidier than in reality. “It’s the centrepiece of the show,” says the softly spoken artist. “I like to be generous about how my work is made and the thinking behind it. People don’t get to see that often, and this is an opportunity to open that up and share where I have lived and worked.”
Staged over the two floors of the NAS Gallery, Zahalkaworld, which debuted at the Museum of Australian Photography in 2023, presents more than 100 original prints from 15 series over the years, and assorted curios and collectibles from her office and studio. Her initial reworkings of Old Master and Early Australian paintings presaged a fondness for collage and photomontage, working with found historical images to tell new stories about underrepresented members of society. In one of her most famous works, The Bathers (1989), a recreation of Charles Meere’s Australian Beach Pattern (1940), she recasts the all-white original with a diverse cast of characters she encountered in the late ’80s after returning to Australia from a Berlin residency. “I’m interested in how we are represented and in our national image,” she says. “My work often tries to decode and untangle that and come up with other figures not represented in the culture.”
The exhibition marks a poignant homecoming of sorts for Zahalka, having studied at the NAS in the late ’70s before returning a few years later to teach photo-media. Sharing pride of place alongside six of her works from the gallery’s collection are five recent works that deal with natural history and incorporate images of old museum dioramas in her sharp, often humorous criticisms of tourism and other environmental interferences wreaking havoc on the planet. Cast aways (2024) is set against the background of a 1939 diorama of Lord Howe Island at the Australian Museum. But in Zahalka’s reworking, pioneering conservationists (lifted from another painting) examine plastic pollution while planes fly overhead, and contrails replace clouds.
Something is comforting, she adds, about recreating and reimagining these historical scenarios, even if it is to comment on the consequences of ocean pollution. As for revisiting her past, what has looking in the rearview mirror revealed about herself and her work? “Some things, like making these disruptions on history to speak about the current place we’re in, have remained the same,” she says. “But if this whole process of preparing for the show has taught me anything, it’s that there are a lot of parts to me.” The studio may be messy, but nostalgia has never looked so fresh.
Visit NAS Gallery for all ZAHALKAWORLD showing until 19 October.
The exhibition at National Art School was developed for The Luminaries program at the Museum of Australian Photography.
Top image: Anne ZAHALKA, The Artist (self portrait) 1988, taken from the series Resemblance II. Silver dye bleach print, 50.0 x 50.0 cm. Image supplied courtesy of the artist, represented by ARC ONE Gallery (Melbourne) and Dominik Mersch Gallery (Sydney).
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