 |
Register Subscribe Login |
| 1. |  | David Moore 1942 Self portrait, Corio, Victoria [100 Photographs, pl. 001] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore's first camera was a Coronet Box, received when he was 11 years old. By the time of this self-portrait in a mirror, he had graduated to an old-fashioned Kodak folding pocket camera, which took 12 negatives on film. It could be focused manually and had a variable shutter speed as fast as 1/100th second. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 2. |  | David Moore 1947 Sydney Harbour Bridge 2 [100 Photographs, pl. 002] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 3. |  | David Moore 1947 (ca) Erskine Street and AWA tower [100 Photographs, pl. 003] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Of this photograph, Moore wrote: Perhaps any city is worth photographing on a calm winter morning. Yet few can be as benign and beautiful as Sydney with its harbour setting. The city possesses a special ambience in the early hours of a winter day. The harbour is a mirror and a soft, atmospheric mist separates the structural planes of the built environment. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 4. |  | David Moore 1947 Funnel of Orion [100 Photographs, pl. 004] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Harold Cazneaux reviewed this image, originally titled Composition in Curves, in Contemporary Photography, March-April 1948: A picture in a straightforward modern way - yet demonstrating good composition in the arrangement of curves and a few slanting straight lines that make up a splendid pattern that is exciting and pleasing to the eye. The bold striking light and shadow is decidedly clever. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 5. |  | David Moore 1947 Pyrmont Bridge, Sydney [100 Photographs, pl. 005] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate One of David Moore's favourite books was Poet's Camera, which he'd bought in 1948 and taken with him to London. In it was a Carl Sandburg poem entitled Fog, illustrated by a Bill Brandt photograph. In 1988, Moore recalled the words and thought they best described his life as an observer. The fog comes on little cat feet. It sits looking over harbour and city on silent haunches and then moves on. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 6. |  | David Moore 1948 Surry Hills boy 1 [100 Photographs, pl. 006] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate On one of his many forays into working class suburbs, Moore found this boy standing in a devastated landscape. The dark terrace houses, which had provided rented accommodation for generations of underprivileged families, were being demolished as councils replaced them with modern flats. The boy's upside down belt buckle bears the Boy Scout motto 'Be Prepared'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 7. |  | David Moore 1948 Surry Hills boy 2 [100 Photographs, pl. 007] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate A decade later, photographer Laurie Le Guay abhorred the fashionable fascination with slums. Young photographers everywhere seem drawn to slums like mice to cheese à Some of the results are outstanding and most have a sort of impact value; but if more of us saved a few shots for some of the more pleasant facets of life, future historians might be less likely to suppose that life à revolved around tenements and soup kitchens. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 8. |  | David Moore 1948 Surry Hills street [100 Photographs, pl. 008] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore spent his weekends in the depressed areas of Surry Hills and Redfern as an antidote to the artificiality of his advertising work at Max Dupain's studio. He remembered how this photograph required a little luck:Late afternoon sun gave the forms and elements graphic strength, but something else was needed. As if on cue, the small figure of a man appeared à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 9. |  | David Moore 1948 (ca) Orcades departure, Pyrmont [100 Photographs, pl. 009] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The departure of overseas liners was a ceremony accompanied by the parting of paper streamers held by the passengers and their relatives and friends on the wharf. The ship's siren sounded three times as it moved astern, breaking the bonds in a tangible and symbolic farewell. This colourful spectacle ceased with the introduction of air travel, but streamers are surprisingly still available. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 10. |  | David Moore 1949 (ca) PO corner, George Street, Sydney [100 Photographs, pl. 010] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In 1948, Martin Place was a cohesive boulevard à I felt it was important to photograph this essential hub of Sydney, so I spent time entering buildings, pushing the top floor lift button and scurrying up the last flight of stairs to the roof, hoping to avoid being spotted by the resident caretaker. In most cases the door was unlocked and the city was mine à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 11. |  | David Moore 1949 Redfern interior [100 Photographs, pl. 011] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Carrying a borrowed press camera in a Redfern lane, Moore was accosted by the woman on the right, who mistook him for a newspaper photographer. She wanted coverage of her family's impending eviction. Too shy to refuse, he complied. Later, feeling guilty about his intrusion, Moore wanted to destroy the negative, but was dissuaded by Max Dupain, who understood its importance to posterity. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 12. |  | David Moore 1949 (ca) Alexandria, Sydney [100 Photographs, pl. 012] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Dominated by a Kiwi boot polish advertisement, this stark photograph marks a transition for Moore from the modernism of Max Dupain to the realism of American documentary photography. One of his influences was Walker Evans, who wrote that:Art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 13. |  | David Moore 1949 (ca) Miners, Pacific Colliery, Hunter Valley [100 Photographs, pl. 013] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Influenced by the Farm Security Administration photography of Walker Evans and Dorothea Lange, which had recorded the predicament of poor farmers in the USA, Moore was attracted to record the plight of local coalminers. In June 1949, 23 000 coalminers across Australia went on strike for improved conditions, but a month and a half later, the Chifley Government retaliated with armed troops. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 14. |  | David Moore 1949 Martin Place, Sydney [100 Photographs, pl. 014] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate With its high viewpoint and strong raking light, this photograph of the Commonwealth Bank shows the modernist influence of Max Dupain. When it was built in 1928, the Government Savings Bank of NSW, now the Commonwealth Bank, was the most expensive building in Australia, costing é1.5m ($3m). Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 15. |  | David Moore 1949 Martin Place 5.10pm Sydney [100 Photographs, pl. 015] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Martin Place was a great source of images. My special time was near high summer, when the western sun illuminated the canyon like a studio spotlight as the early evening exodus from the offices began. Punctuated by the AWA radio tower piercing the western sky the chasm of the street was fertile and vital, expressing the essence of the city to my youthful eyes. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 16. |  | David Moore 1949 (ca) MLC Building, Martin Place, Sydney [100 Photographs, pl. 016] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In retrospect 40 years later, I consider the photographs I made to be a true reflection of what Sydney was proud of at that time. Sadly, I cannot be so sure that the alterations to Martin Place in the intervening years have preserved the grand character of the center of my city. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 17. |  | David Moore 1950 Himalaya and Fort Denison [100 Photographs, pl. 017] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate My first attempt at a photo story in the journalistic idiom was a coverage of the pristine new liner Himalaya in the Port of Sydney. This picture was made soon after I boarded the ship from the press boat. The tug is about to gently shepherd the liner to its dock in Pyrmont. The lone female figure on deck was an unexpected and welcome detail à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 18. |  | David Moore 1950 Painting the Himalaya, Sydney [100 Photographs, pl. 018] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate These Lascar seamen repainting the hull of the P&O Himalaya were photographed from the dock below the liner. For Moore, the raking light was irresistible. Light is the photographer's closest ally and pictures can be created between the play of light and shadow. These strong diagonals make interesting abstract shapes and the rivets appear as a pattern of stitches on a quilt of steel. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 19. |  | David Moore 1950 Cargo storage, Himalaya, Sydney [100 Photographs, pl. 019] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore photographed every activity concerned with the Himalaya, from the moment the liner docked until it sailed. I returned to the ship time and again to photograph English automobiles being unloaded, Lascar seamen holystoning the teak deck, painters swinging on gantries over the side, stewards polishing vast quantities of silverware, frozen lamb carcasses and bales of wool being loaded aboard, and much more. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 20. |  | David Moore 1950 Himalaya at dusk, Sydney [100 Photographs, pl. 020] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In a brief description of some of his stock photographs of Australia, which he sent to Life magazine, Moore described this scene from Pyrmont as: Under a soft evening sky, the liner Himalaya rests at the quayside against a background of the steel arch of the Sydney Harbour Bridge. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 21. |  | David Moore 1950 Departure of the Himalaya, Sydney [100 Photographs, pl. 021] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Dreaming of overseas adventure, David Moore used to observe passenger liners from Max Dupain's seventh floor studio in Clarence Street. Inspired by their exotic presence, his first photojournalism story was the turnaround of the P&O liner Himalaya. A year later, aged 24, Moore sailed for London and began his career as an international photojournalist, publishing the Himalaya story in The Sphere magazine. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 22. |  | David Moore 1952 Man in telephone booth, Lucerne, Switzerland [100 Photographs, pl. 022] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate This austere high-key image, with its hint of humanity, reflects Moore's preoccupation with design. He was always concerned that others should appreciate monochromatic images. Most newspapers, many books and exhibitions of photography continue to provide information without resorting to colour à We read the images quite clearly because of our familiarity with this essentially abstract medium. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 23. |  | David Moore 1952 (ca) St Pauls Cathedral from Bankside, London [100 Photographs, pl. 023] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore realised that his night photograph of Wren's masterpiece could not have been made a decade earlier, commenting: Some years before this picture was made, searchlights rather than floodlights swept the sky above London. During the Battle of Britain, German bombers destroyed much of the built environment surrounding St Paul's. The cathedral survived à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 24. |  | David Moore 1952 (ca) George Johnston, Fleet Street, London [100 Photographs, pl. 024] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate George Johnston headed the London bureau for the Australian Sun newspaper. He assigned me to cover various small stories à and I welcomed the opportunity to use my camera, knowing I would be paid for my work. One day when talking to him about where I wanted to go in photojournalism, he said, 'This town's not too big. You can lick it if you put your mind to it'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 25. |  | David Moore 1952 (ca) Pimlico street, winter, London [100 Photographs, pl. 025] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Having photographed children in the depressed suburbs of Sydney, Moore sought similar subjects in London. My hunting ground was Pimlico, Stepney and Bermondsey, with their endless rows of soot-blackened terrace housing. Cars shaped like hansom cabs and ancient gas-fired streetlights occupied the damp roadway where boys played cops and robbers. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 26. |  | David Moore 1952 (ca) Battersea Fun Fair, London [100 Photographs, pl. 026] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate When asked to describe his approach to photography in 1969, Moore replied: à a photographer can circle all around a subject, shoot in a multitude of ways, yet still only capture a superficial view. What I try for, is to move in close à not in the physical sense, but to bore right into the subject, achieve a degree of penetration in depth. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 27. |  | David Moore 1953 (ca) Fairground horses, UK [100 Photographs, pl. 027] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate These carousel figures with their flaring nostrils reminded Moore of living horses. He had come across them in a shed at Brighton while on assignment for The Observer newspaper. This was a time of photographic exploration for him. The mid-twenties of my life was a period of ambition. Being free and unattached, I saw the world as a place to be discovered. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 28. |  | David Moore 1953 Before the coronation, London [100 Photographs, pl. 028] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Abandoned musical instruments in Birdcage Walk mark the impending route of the Queen from Buckingham Palace to Westminster Abbey. The long awaited coronation had been delayed, partly because the Queen wanted summer sunshine for the crowds. However, it turned out to be the coldest June day in the century and rain bucketed down for most of the day. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 29. |  | David Moore 1953 Waiting for the coronation [100 Photographs, pl. 029] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Assigned by Life magazine to cover the coronation of Queen Elizabeth II, Moore decided to concentrate on the new queen's subjects. He thought of them as more than spectators. Whole families waited on footpaths throughout a depressingly wet night to witness the procession. This huddled group reminds me of a sculpture cast in bronze à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 30. |  | David Moore 1953 Coronation crowd, Trafalgar Square, London [100 Photographs, pl. 030] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Despite drenching overnight rain, this loyal crowd beneath Nelson's Column was exuberant at the arrival of the newly crowned queen. Moore had managed to join the 14-man team from Life magazine covering the coronation of Queen Elizabeth II. He spent the entire day photographing crowd scenes, but to his disappointment this image - his favourite - was not published. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 31. |  | David Moore 1953 (ca) Horse race, Epsom, UK [100 Photographs, pl. 031] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate This image appeared in Picture Post, with the caption: How can you most realistically photograph speeding sport? By 'stopping' the athlete in flight, so that he seems to stand still? Or by using a camera to emphasize the movement à ? DAVID MOORE took these pictures by swinging his camera with the moving subject and shooting at 1/10th of a second at f22. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 32. |  | David Moore 1953 (ca) Cycling, Herne Hill, UK [100 Photographs, pl. 032] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The Observer captioned this photograph: In this picture the photographer not only stimulates the imagination but also conveys the speed and rhythm of cyclists, racing at the N.C.U. Meeting of Champions at Herne Hill yesterday. David Moore, a young Australian photographer, is seeking to overcome the 'frozen' look of the ordinary action picture by developing this technique to produce a deliberately impressionist effect. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 33. |  | David Moore 1954 Diving suits, Menorca, Spain [100 Photographs, pl. 033] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate I was on assignment for the Royal Geographical Society's Geographical Magazine to cover the life and landscape of this charming Mediterranean island. The diving suits were used by local fishermen working from boats that crowded the splendid deep-water harbour.Moore photographed the drying suits because they looked ridiculous, reminding him of two boys practising handstands or marine creatures. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 34. |  | David Moore 1955 (ca) Christmas Day swim, the Serpentine, London [100 Photographs, pl. 034] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate A swimming race in London at Christmas was just one example of English eccentricity that Moore recorded for The Observer. He remembered shivering in his overcoat, as he waited for the race to start and thinking that 'Exposed human flesh in midwinter is seldom a pretty sight'. Despite the peculiarity of some assignments from the newspaper, he was grateful for the work. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 35. |  | David Moore 1955 (ca) Henry Moore, Sculptor, Much Hadham, UK [100 Photographs, pl. 035] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 36. |  | David Moore 1956 Bulganin and Khrushchev leaving Chequers, UK [100 Photographs, pl. 036] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate After the death of Stalin, Soviet leaders Khrushchev and Bulganin visited British Prime Minister Eden at his country residence in Buckinghamshire. Photographers were restricted to innocuous arrival and departure pictures of the motorcade, but Moore's humorous shot of two small boys with guns was published across two pages of Life magazine, with the caption 'BIG TROUBLE AHEAD FOR B AND K'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 37. |  | David Moore 1956 Sir Anthony Eden, London [100 Photographs, pl. 037] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The life of a photojournalist was not always exciting. In 1956, Moore was sent by Life to cover the Suez conference. He spent five days standing around waiting for something to happen. The Suez conference was held in closed session and there was little to photograph except arriving and departing delegates. We press photographers swarmed on the steps of the London mansion Lancaster House like parasitic limpets. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 38. |  | David Moore 1956 Sisters of Charity, Washington DC [100 Photographs, pl. 038] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate This group of nuns wearing traditional wimples was photographed from the mezzanine level of Washington National Airport, as they farewelled one of their order leaving for South America. The image is a visual puzzle, reminiscent of flowers or origami - until the hands are seen towards the bottom of the photograph. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 39. |  | David Moore 1956 Baseball fans, Yankee Stadium, New York [100 Photographs, pl. 039] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In New York, Moore photographed Americans at their favourite sport. To everyone's surprise, including his own, Life had issued him with a press pass to the World Series final at Yankee stadium. 'Like spectators on the Hill at the Sydney Cricket Ground, baseball fans in the bleachers are a mixed crowd.' Nevertheless, he was surprised at how well dressed they were, in comparison to their Sydney counterparts. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 40. |  | David Moore 1956 On the Staten Island ferry, New York [100 Photographs, pl. 040] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Lower Manhattan is best seen from the waters of New York Harbour. In 1956 a dime (10a) bought a remarkable value-for-money ferry trip from the Battery to Staten Island à The picture shows a quiet moment reflecting my belief that photojournalism's responsibility is to cover the simple things of life as well as extraordinary events. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 41. |  | David Moore 1956 John Foster Dulles, US Secretary of State, Washington DC [100 Photographs, pl. 041] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate à Dulles surprised me. Probably the most important individual I photographed in the USA, he opened the conversation with 'What do you want me for? The rogue's gallery?' à I settled down and started shooting à as I secretly wondered how the affairs of the world were getting along while I kept the United States Secretary of State from his duties. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 42. |  | David Moore 1956 Times Square, New York City [100 Photographs, pl. 042] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The Observer paid half of Moore's plane fare to New York (which he'd already halved by taking publicity images for the airline). There was a daunting list of 20 portraits for the magazine, including the Secretary General of the United Nations, but Moore had his own plans, including 'baseball fans at a World Series match in Yankee Stadium and the street life of Times Square'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 43. |  | David Moore 1956 Judges at the Dublin Horse Show [100 Photographs, pl. 043] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate By the mid 1950s, Moore had graduated away from the traditional medium format camera and his photographs appeared in the elongated 35 mm shape. After some months in London, Moore had written to Max Dupain about his enthusiasm for the new 35 mm camera: Have you experienced the delights of this somewhat playful instrument, the 35 mm camera? I feel so free and spontaneous handling it. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 44. |  | David Moore 1957 Len Howard, naturalist, UK [100 Photographs, pl. 044] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Musicologist Len Howard conducted an 11-year study of bird music from her cottage in the English countryside. She found that birds were individuals and their behaviour was variable and flexible. It wasn't an easy assignment. Moore had to photograph her from the bottom of the garden using a 300 mm telephoto lens, as she insisted his presence would disturb the birds. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 45. |  | David Moore 1958 Nuns at Lourdes Centenary, France [100 Photographs, pl. 045] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Photography thrives on the unexpected. I sensed that an interesting picture might result, when on assignment for The Observer, I followed these nuns into a trinket store in the provincial city of Lourdes. The nun is holding a toy camera that displays scenes from the site of the apparent miracle of Saint Bernadette. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 46. |  | David Moore 1958 Manly ferry and Unilever building, Circular Quay [100 Photographs, pl. 046] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate This photograph was taken for Pix magazine and reflected Moore's reaction to his home city after seven years away. I was interested to see the changes à Traffic had irrevocably altered Circular Quay with the building of the Cahill Expressway. New office accommodation was rising in the international architectural style of the time - the glass curtain wall. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 47. |  | David Moore 1959 Lifesavers at Manly [100 Photographs, pl. 047] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate On his return to Australia, Moore was represented by the Black Star agency in New York. They wrote to him in 1958, suggesting subjects: Australia has not until now been discovered for USA readers; there may be hundreds of interesting subjects: people, vacation life, industry and agriculture, traffic, modern architecture in big cities, education, fashion, a day of a working girl or housewife, and so on à send us prints of everything you shoot à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 48. |  | David Moore 1959 Aboriginal couple, Finnis Springs Mission, South Australia [100 Photographs, pl. 048] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore stayed with Black Star agency for 38 years. During an assignment photographing a Flying Doctor based at Broken Hill, he came across Finke Bob and his wife Jesse at the small community of Finnis Springs. When I requested permission to take their photograph, they agreed, and stood firm and proud in the face of the camera. They had few material possessions in life but a great deal of dignity. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 49. |  | David Moore 1960 William Dobell, painter, Potts Point, Sydney [100 Photographs, pl. 049] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore was a fan of Life photographer Alfred Eisenstaedt, known for his candid portraiture and often called the father of photojournalism. Eisenstaedt used no complex lighting set-ups - in fact, I think he used no light other than that which was available in the environments of his subjects. Yet the portraits revealed essential qualities à It was possible to feel you were indeed face to face with a person of greatness. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 50. |  | David Moore 1961 Bar, Betoota races, Queensland [100 Photographs, pl. 050] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate When Sports Illustrated asked him to find a sporting event that epitomised Australia, Moore turned to the bush. Betoota in southwest Queensland, with a population of 13 that swelled to 300 for the annual picnic races, was his choice. Anyone who has been to a country race meeting would understand. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 51. |  | David Moore 1962 Sun patterns within the Sydney Opera House [100 Photographs, pl. 051] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The construction of the Opera House provided a rich field for photography. Beneath the auditorium for the concert hall I discovered a most unusual play of light. Rectangular spaces, planned for future airconditioning ducting in the formed concrete, were left open à the sun projected dancing patterns of light - like the visual equivalent of modern music - on the walls and floor of the cavernous space. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 52. |  | David Moore 1962 Pole vault, Commonwealth Games, Perth [100 Photographs, pl. 052] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Life magazine reproduced this image as a double-page spread with the caption: Like poet Thomas Campbell's rainbow, that 'triumphal arch, that fill'st the sky,' the glass pole curved shimmering across the blue above Perth, Australia, as New Zealand pole vaulter Kevin Gibbons rode its whiplash towards the bar high above. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 53. |  | David Moore 1962 Rush hour, Circular Quay, Sydney [100 Photographs, pl. 053] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate This backlit view of Alfred Street is reminiscent of images Moore had taken earlier in his career, although his use of a telephoto lens to compress the perspective is more contemporary. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 54. |  | David Moore 1963 Pitjantjatjara children 1, South Australia [100 Photographs, pl. 054] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore photographed these children from Ernabella mission in the Musgrave Ranges for the Life World Library book Australia and New Zealand. Allowed by the mission to run around naked until puberty, the children were frolicking after a swim, trying to dry off. Before they stopped, Moore managed six or seven frames with his camera, capturing visual order in the chaotic scene. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 55. |  | David Moore 1963 Pitjantjatjara children with chair, South Australia [100 Photographs, pl. 055] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate I found these children totally delightful, totally unsophisticated of course, genuine, happy, really beautiful kids. The light à was superb, it was low bright sun and this accentuated this quality of fairness of hair that the children have and the hair is very similar in colour and texture to spinifex bushes which dot the landscape à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 56. |  | David Moore 1963 Billy tea, Mern Merna Station, South Australia [100 Photographs, pl. 056] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Mustering sheep is a long, slow process in the outback where few fences exist to contain the animals. I spent the day with John Spiers, his father Henry and Ian Stephenson to bring 1200 sheep for crutching. A pause for billy tea brewed on a small fire at mid-morning provided a welcome respite. Conversation was minimal and even the horses and dogs appeared weary. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 57. |  | David Moore 1963 Outback children, South Australia [100 Photographs, pl. 057] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate On a remote sheep station north of Hawker in South Australia, the Spiers family lived in virtual total isolation à Without television or other twentieth century entertainment, the children invented their own games. In the dusk light, three of the boys somersaulted off a partly demolished haystack. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 58. |  | David Moore 1963 Bar billiards, Lancelin, Western Australia [100 Photographs, pl. 058] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore recorded the details of every roll of film taken for Time-Life Books. His dope sheet for this essay on cray fishermen notes: Interior of Lancelin Hotel Bar showing two fishermen dressed in shorts playing bar billiards, some frames show Banks brothers sitting at bar watching. Men playing are Barry Matthews (thick set, balding) and Bill Johnson (slight build). Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 59. |  | David Moore 1963 Newcastle steelworks, New South Wales [100 Photographs, pl. 059] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In Newcastle I was shocked by the pall of acrid smoke belching over the near suburbs each afternoon when the north-east breeze developed. Setting my camera with a long lens on a tripod, I focused on the industrial complex when I noticed two boys on bicycles about to crest the hill. A quick shift of focus sharpened the boys and softened the background. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 60. |  | David Moore 1963 Cray fishermen, Lancelin, Western Australia [100 Photographs, pl. 060] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The 23-year-old cray fisherman Peter Banks with his brother Barry and father Ron haul crayfish pots aboard along the reef-bound coast 130 km north of Perth. Peter Banks, in the foreground, had obtained his coxswain's ticket immediately after leaving school at 16 and built his own 11-metre boat. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 61. |  | David Moore 1963 Sydney Cricket Ground from the Hill [100 Photographs, pl. 061] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Reminiscent of Henri Cartier-Bresson's Sunday on the Banks of the Marne, 1938, this photograph was taken during a mammoth 14-week pan-Australian assignment for Time-Life Books, which Moore undertook on his return from London. Like all photographers, he was influenced by Cartier-Bresson's credo of the 'decisive moment', but later followed a more intellectual approach to photography. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 62. |  | David Moore 1963 Sumo championship, Tokyo, Japan [100 Photographs, pl. 062] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In a letter written to Sports Illustrated, Moore tried to describe sumo. Its following in Japan is equal to that of baseball à Any suggestion by Western eyes of the ludicrous nature of these nearly-naked fat boys (Tahio weighs in at 330 lbs [150 kg]) trying to push one another out of a small circle is lost on the ardent sumo devotees of Japan. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 63. |  | David Moore 1965 Rolling Stones fans, Sydney [100 Photographs, pl. 063] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The Rolling Stones visited Australia six months after the Beatles and were soon rewarded with their first number one hit in Australia. Oddly enough, it was an Oz-only release of the Drifter's number one US song Under the Boardwalk. Jagger's huge 1965 international hits like (I Can't Get No) Satisfaction passed Australia by, as local hero Normie Rowe topped the charts with a 1956 Doris Day song, Que Sera Sera. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 64. |  | David Moore 1965 Sydney Opera House construction [100 Photographs, pl. 064] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore illustrated a magazine story by Don Moser, which began: The fact that Australia is not a great world center of culture is - while geographically understandable - a source of acute embarrassment so, a dozen years ago, the people of Sydney decided they wanted to build a proper opera house. What they had in mind à was something fairly modest. What Sydney has instead is one of the most implausible and ambitious buildings in history. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 65. |  | David Moore 1965 Placing roof section, Sydney Opera House [100 Photographs, pl. 065] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate On one of his many photographic excursions to Bennelong Point, Moore thought that the riggers and dogmen on the Opera House were: … almost like actors in a tableau à as they lower a roof section into place. The process called for absolute precision and timing. An unseen player in the drama was the crane operator who was responsible for lowering the massive form. The reality is that dogmen risked their lives for $44 a week. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 66. |  | David Moore 1966 Sydney Harbour from 16,000 feet [100 Photographs, pl. 066] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Photographers have to be flexible. A bird's-eye view of Sydney for National Geographic magazine was planned at 20,000 feet (6100 metres), but the pilot forgot to take oxygen, forcing a lower altitude. A hazy day compounded the problem, so Moore adopted a more easterly viewpoint, which revealed the sun reflecting off the water ' à as if the drowned valley was filled with mercury'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 67. |  | David Moore 1966 Contoured rice field, New South Wales [100 Photographs, pl. 067] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate This aerial image was one of many of the Murrumbidgee Irrigation Area, originally taken in colour for National Geographic. Only from the air can the richness of the area be fully appreciated, as the 600 acre farms stretch outward from the Murrumbidgee River to the horizon. Contour lines for equal water spread over the area weave through the paddocks and the lime yellow patches of the rice field stand out. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 68. |  | David Moore 1966 President Johnson and Prime Minister Holt at Canberra Airport [100 Photographs, pl. 068] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore recalled US President Johnson's visit to Australia during the Vietnam War. In the evening light, Johnson and Holt mounted the speakers' rostrum and the Prime Minister's first words were 'He's come. He's finally arrived.' It was a sycophantic welcome to the person Holt regarded as a Messiah. Johnson stepped to the microphone - with Holt two paces behind à That was my picture. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 69. |  | David Moore 1966 Migrants arriving in Sydney [100 Photographs, pl. 069] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The tide of migration from Europe to Australia was at its peak in 1966. I was engaged in making a detailed coverage of my home state New South Wales for National Geographic and I felt it was important to document the wave of new arrivals. As Galileo Galilei, a liner from Genoa, approached the dock at the Sydney Cove passenger terminal, people crowded the ship's rails à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 70. |  | David Moore 1966 Migrant Woman [100 Photographs, pl. 070] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Moore looked along the railing of the Galileo Galilei as it docked, searching for subjects. He saw 'Apprehension, doubt, excitement and even a little fear à expressed in the faces of passengers coming to a new land'. On this elderly woman's face was a gamut of expressions, captured in this triptych. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 71. |  | David Moore 1966 Sydney Opera House under construction [100 Photographs, pl. 071] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Over eleven years of construction, I photographed the Opera House for numerous publications and had the privilege of viewing the building from many angles à Unlike many contemporary structures, The Opera House seen from above is visually exciting à Surrounded on three sides by the harbour, the extraordinary forms and daring of the architectural concept are clearly visible. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 72. |  | David Moore 1967 Sydney Opera House [100 Photographs, pl. 072] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore loved photographing the Opera House, because it looked great from any angle. In most cases, the photographer must carefully select the precise angle of light and camera position to show architecture to best advantage. Choices tend to be limited because it's rare to find a modern building rich in possibilities. The Sydney Opera House is a happy exception. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 73. |  | David Moore 1969 Christo wraps the coastline, New South Wales [100 Photographs, pl. 073] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Time magazine commissioned Moore to photograph the environmental artist Christo wrapping the cliffs at Little Bay in 93,000 m2 of polypropylene fabric with the help of 125 workers and 11 architecture students. When it was near completion, a storm shredded the covering and it had to be redone. Moore took this shot from below, as wind lifted the fabric out over the cliff. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 74. |  | David Moore 1969 Fred Williams pulling an etching, Hawthorn, Victoria [100 Photographs, pl. 074] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Painter and etcher Fred Williams was one of 62 artists photographed for In the Making, a book about art in Australia and its creation. Written by Craig McGregor, it was illustrated by David Moore and David Beale. As McGregor noted: For someone who has been described as Australia's finest landscape painter, Fred Williams suffers from a surprising disadvantage: he doesn't like the bush. Or so he says. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 75. |  | David Moore 1972 Impossible Tree 2 [100 Photographs, pl. 075] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The contorted limbs of this Angophora tree defy our expectations of botanical symmetry. In the early 1970s, Moore built a timber retreat at Lobster Bay, just north of Sydney. He was entranced by the beauty of the bush around him and wrote that it was 'a period of peace and tranquillity that allowed me to condition my previous understandings of the photograph'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 76. |  | David Moore 1973 Snow fence, Wyoming, USA [100 Photographs, pl. 076] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate On the horizon a snow fence of superb delicacy stretched against the evening sky. The fence appeared to me as a visual equivalent to gentle music, perhaps played by a string quartet. Because of my love of classical music I frequently hear strains of it when I am dealing with beautiful subject matter. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 77. |  | David Moore 1973 Hotel room view, New York City [100 Photographs, pl. 077] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate After visiting the Museum of Modern Art in New York in 1973, Moore came to understand that in seeing there is a difference between emotional response and intellectual thought. Thinking of this in my hotel room, I looked up at the surrounding buildings and suddenly realized the power of inter-related, geometric shapes in tension with negative space sky. I took a camera and shot a picture. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 78. |  | David Moore 1973 Up in New York 12 [100 Photographs, pl. 078] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore's Hotel room view, New York City - 1973 gave rise to a whole series of images concerned with an intellectual approach to photography, which he titled Up in New York. Some were minimalist. The images sequentially pulled the theory out to an ever finer, and more minimal edge. I was interested to see how far the concept could be reduced while still retaining validity. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 79. |  | David Moore 1973 Landscape nude 1 [100 Photographs, pl. 079] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The suggestion of folded hills in this picture relates directly to a photograph by Edward Weston titled Panamints [a mountain range in Death Valley National Park]. I was fascinated when I saw this work in the book California and the West in the late 1940s à when I shot my Landscape Nude 1 perhaps my subconscious was directing the photography. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 80. |  | David Moore 1973 Landscape nude 2 [100 Photographs, pl. 080] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Female nudes have been photographed countless times by an army of photographers since the mid-nineteenth century. There have been some great pictures along with a growing pile of trite and questionable garbage. I did not want to repeat works by other photographers familiar to me so I decided to look at the body as a landscape and selected camera position and light accordingly. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 81. |  | David Moore 1973 Underwater nudes 3 [100 Photographs, pl. 081] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate For many years I've wanted to photograph the nude female form, but I never had until about a year ago and I started taking some nude pictures which I found quite fascinating in the possibilities that you have available to you. I never realized up until that time that the nude form is so infinite in its possibilities. His underwater photographs were made at Maitland Bay on the Central Coast. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 82. |  | David Moore 1973 Underwater nudes 1 [100 Photographs, pl. 082] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In the 1960s, the Nikonos 35 mm amphibious camera stimulated interest in underwater photography and gave Moore yet another field of photographic exploration. For him, photography had become: … a tantalisingly diverse creative practice in all its rich modes of expression à No longer does everything have to be simplified into a form of tunnel vision as was expressed by photojournalism in the mid part of the century à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 83. |  | David Moore 1973 Pacific surf, Tallow Beach 2, New South Wales [100 Photographs, pl. 083] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate One day while photographing near my coastal retreat at Lobster Bay, I decided to experiment with exposures à I fixed two neutral-density filters to my lens and used the smallest aperture available to achieve an exposure time of some four seconds in daylight. In the processed negative I was delighted to see that the ocean waves had been transformed into a swirling mist à Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 84. |  | David Moore 1974 Sheet series 2 [100 Photographs, pl. 084] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In the 1970s, Moore became involved in the growing 'art photography' market. In this series of images of a figure in bed, the sheet creates a sculptural relief concealing the body beneath. He was exploring the potential for ambiguity in photography, as he now believed that photography could ask questions of the viewer as well as answer them: 'à perhaps photography doesn't have to strive to be explicit'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 85. |  | David Moore 1974 Mannequin factory 2, Sydney [100 Photographs, pl. 085] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Despite his exploration of the intellectual response in photography the previous year, Moore could still be emotional. Discovering a collection of dismembered mannequins in a factory, Moore saw echoes of the holocaust. He no longer thought as a photojournalist: 'The world is a curious place, full of contradictions, and the medium now seems free to address this domain'. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 86. |  | David Moore 1974 Mannequin factory 5, Sydney [100 Photographs, pl. 086] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate No longer constrained by photojournalism, Moore felt this group of mannequins conjured up visions of the final transportation by rail of Jewish families to concentration camps. The ghostly figures came complete with identification numbers. à changes have occurred in my thinking which make the act of photography more complex à The simple joy of the process has been replaced by a desire to express deeper threads of meaning. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 87. |  | David Moore 1974 Lower Manhattan from New Jersey 3 [100 Photographs, pl. 087] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate By coincidence, Moore selected this image as one of his best 50 photographs, before 9/11. He'd taken it as a snapshot from his car, while stuck in traffic. Looking across to the Battery, I noticed the light reflecting off the World Trade Center towers. Narrow columns of intense light were framed by structures closer to the camera à recognizing such an image comes from years of experience. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 88. |  | David Moore 1975 Andre Kertesz, photographer, New York [100 Photographs, pl. 088] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Hungarian photographer André Kertész travelled to Paris in 1925, where his images appeared in the new illustrated magazines. During the 1930s he became an important influence on the coming of age of photojournalism and the art of photography. He later emigrated to America. At Sotheby's New York in October 2005, a Kertész photograph of Chez Mondrian (1926) sold for US$464,000. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 89. |  | David Moore 1976 Max Dupain, photographer, Sydney [100 Photographs, pl. 089] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Max Dupain was Moore's mentor and friend. Dupain clearly admired his protégé's work, when he wrote:What about the beautiful aerial of the nuns? I think this could be his masterpiece and there is mystery in those white paper boats floating in a somber sea - they are like a cluster of pious moths by moonlight. These pictures are unretractable [sic] statements like a strong chord of music. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 90. |  | David Moore 1979 Western Distributor forms 1, Sydney [100 Photographs, pl. 090] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Photographers are able to find subjects in unlikely places. Full of geometric riches, the freeway complex construction site at Ultimo was a magnet for Moore. On a still winter's day I made my first visit to the concrete forest, entering through a hole in the security fence. It was a Sunday and the place was deserted. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 91. |  | David Moore 1979 Western Distributor Forms 2, Sydney [100 Photographs, pl. 091] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate David Moore was able to show the Western Distributor in a different light. The more I photographed, working one form against another with bright edges and crisp shadow lines, the more I became involved. The range of pictures was unlimited as each pace I took revealed differing relationships. I returned three times, for each visit seemed to extend the possibilities. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 92. |  | David Moore 1979 Western Distributor multiple 3, Sydney [100 Photographs, pl. 092] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Over a period of weeks, Moore photographed the concrete forest of pylons and T-beams that were to support the Western Distributor roadway at Darling Harbour. He always shot when the sky was clear to avoid any romantic element. In my view, the strength of the forms, their relationship and the precise concrete finish is more aesthetically exciting than much museum or gallery sculpture. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 93. |  | David Moore 1979 Columbus Australia detail 1 [100 Photographs, pl. 093] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate The Columbus Line had commissioned me to make a collection of photographs for advertising campaigns à This image was made during time off from my assignment when I was looking at details on the upper deck. The picture celebrates the symmetry of a reef knot in the halyard used to hoist flags up the mast. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 94. |  | David Moore 1979 Robert Klippal, sculptor, Birchgrove, Sydney [100 Photographs, pl. 094] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Robert Klippel is one of Australia's most inventive and surprising sculptors. His work has been familiar to me since I first made portraits of him in 1963. Whether miniscule or imposingly large, his sculptures in metal and timber helped me to understand the way forms fit together. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 95. |  | David Moore 1981 Harbour Bridge steelwork 2, Sydney [100 Photographs, pl. 095] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Thirty-five years after he had first recorded the Sydney landmark, Moore returned to the Harbour Bridge with new eyes. Inevitably, I was conscious of Klippel's work when looking at the details of the Sydney Harbour Bridge. The forms, structure and textures reminded me of Klippel's use of typewriter parts to make tense, delicate assemblages. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 96. |  | David Moore 1985 Lloyd Rees at 90, Northwood, Sydney [100 Photographs, pl. 096] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate In his nineties, artist Lloyd Rees wrote about his beloved Sydney Harbour. One Monday I went down and sat on the seat by the wharf à The light came through so wonderfully. I got up to the ferry and got an outer seat at the back. I looked out upon it all and suddenly I thought: I don't want to go to Heaven because it can't be as beautiful as this. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 97. |  | David Moore 1986 Sixth Avenue, New York City [100 Photographs, pl. 097] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate From the thirtieth level of a 54th Street hotel room, I photographed the facades of buildings that house some of the largest and most powerful American corporations. Marching down the Avenue, the office towers form rectilinear patterns similar to a painting by Brigit Riley, concealing the fact that people work behind the curtain walls in cluttered offices. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 98. |  | David Moore 1988 Hunter River driftwood and slack water [100 Photographs, pl. 098] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate Moore had been looking forward to several weeks of photography at Belltrees in the Upper Hunter Valley. Unfortunately it rained. Weather conditions forced me to look for subject matter not dependent on bright sunshine. The river presented reflections, rocks and driftwood as in this image in which horizontal logs create a counterpoint to the curve of gathering froth on the slack water. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 99. |  | David Moore 1992 Monaro landscape with lake, New South Wales [100 Photographs, pl. 099] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate As a schoolboy boarder, I spent occasional holidays at Hazeldean, a station property in the Monaro, where my best friend James Litchfield lived à I decided to photograph the Monaro à On a summer day when magnificent clouds were gathering, I went to the edge of a shallow lake à a fortunate movement of clouds shadowed the hills while leaving the remaining landscape sunlit. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |
| 100. |  | David Moore 1997 Glebe Island Bridge with full moon [100 Photographs, pl. 100] Gelatin silver print David Moore Estate © Courtesy of the David Moore Estate As a personal project, Moore spent three and a half years photographing the construction of the now named Anzac Bridge. He knew it from every angle. From the head of Rozelle Bay, the bridge is seen in direct elevation across the water. At certain times of the year, the full moon appears in the center of the span over the illuminated city. Alan Davies, The State Library of NSW This photograph was included in the David Moore 100 Photographs series that toured the State Library of NSW (titled David Moore 100 photographs) in late 2005. The exhibition then travelled to Monash Gallery of Art, Melbourne, in 2006, changing its title to David Moore A Vision, 1927-2003; and then to Bendigo Art Gallery (2006), Shepparton Art Gallery (2006), Albury Regional Art Gallery (2007), Gold Coast City Art Gallery (2007), Wollongong City Gallery (2007), Mildura Arts Centre (2008), and finally to LaTrobe Regional Gallery (2008). A Limited Edition of the series was also produced. |