The Institute for Australian and Asian Arts and Culture is honoured to present this very compelling exhibition showcasing selected photographic works by Sandy Edwards, a key figure in Australian photography. Emerging in the 1970s and 1980s, Sandy Edwards was instrumental in the feminist photography movement, using her documentary style to challenge traditional narratives, highlight issues of gender and identity, and question societal norms. Her work not only documents social conditions but also serves as a catalyst for dialogue and change, reflecting a profound commitment to feminist ideals.

About the Artist

Sandy Edwards is a prominent Australian photographer and curator renowned for her deeply personal approach to documentary photography, focusing on the portrayal of women and Aboriginal communities. After moving to Sydney from New Zealand in 1961, she received a BA in psychology from the University of Sydney in 1969 and later studied film at the Slade School of Fine Art in London from 1972 to 1973. Throughout the 1980s, she taught photography at Tin Sheds, the Sydney University Art Workshop.

In the 1970s and 1980s, Sandy emerged as a leading figure among progressive photographers dedicated to documenting social conditions with the intent to inspire change. Her work often draws from feminist ideals, critically examining media representations of women and exploring the portrayal of Aboriginal communities in Australia. Her sensitive and evocative photographs are taken with an intuitive response to feelings, people and place. She broadens the genre of portraiture to explore inter-relational themes such as trust, love and community.

Sandy was a founding member of the feminist photography collective "Blatant Image," established in 1979, alongside Helen Grace, Victoria Middleton, and Lyn Silverman. Together, they created photographic works that analysed and contrasted media representations of women.

Sandy has had many solo and group exhibitions in key Australian institutions, including the Art Gallery of New South Wales, the National Gallery of Australia, Queensland Art Gallery, Newcastle Art Gallery, as well as Sydney Writers Festival and Adelaide Festival. Her photographs are held in major collections such as the National Gallery of Australia, Art Gallery of New South Wales, Parliament House, and Monash Gallery of Art.

Beyond her photographic practice, Sandy has significantly contributed to the art community as a curator and mentor. She served as co-director and curator of Stills Gallery in Sydney from 1991 until its closure in 2017, one of Australia's foremost photographic galleries. In 2008, she founded Arthere, a new gallery model that provided services to photographers - consultation, mentoring, curating, exhibition production. Arthere has produced over 100 exhibitions.

Sandy's works continue to influence and inspire discussions around gender, identity, and community within the realm of documentary photography.

About the Exhibition

This exhibition features a selection of Sandy Edwards’ works from the 1970s, 1980s, and 1990s, serving as a snapshot of Australian feminism. The works are divided into nine sections: Shop Window Models (1976); Women on Television Screen (1960s and 1970s); Women and Advertising (1976); CSR Sugar Refinery Project (1978); Women Filmmakers (1977 - 1983); Friends’ Role Play (1970s); Photos of Sandy Edwards by Michael Snelling (1980s–1999); Taking a Nap from A Narrative with Sexual Overtones (1983); and Murawina: Australian Women of High Achievement (1993).