Helen Ennis
Helen Ennis FAHA is an Australian photography curator, historian, critic and art writer. She undertakes curatorial work, academic research, and biography. Trained as an assistant curator at the National Gallery of Australia, Canberra in 1981, she delivered numbers of lectures there on international and Australian photography, then served as Curator of International and Australian Photography 1985–1992. Ennis pioneered major exhibitions of contemporary work including Australian Photography - The 1980s and published on Australian photographic history.
From 1991 Ennis contributed reviews of craft and photography exhibitions and book reviews for the Canberra Times, and after leaving the National Gallery she undertook independent research, writing on Sue Ford, Peter Peryer, Harold Cazneaux and Olive Cotton and curated Pictograms: Aspects of Contemporary Australian Photographic Practice, which toured nationally.
Ennis lectured in Art Theory at the Australian National University School of Art & Design 1996–2018, and convened the School's Graduate Research program. She intensified her research with the 2006 publication Intersections: Photography, History, and the National Library of Australia; her 2007 Photography and Australia reached an international audience; as curator Ennis organised Reveries: photography & mortality a touring exhibition for the National Portrait Gallery, Canberra, and wrote its catalogue; and other diverse exhibitions; Mirror with a Memory: Photographic Portraiture in Australia ; a retrospective of Olive Cotton's photographs ; In a New Light: Australian Photography 1850s-2000 ; European émigré photographer Margaret Michaelis's work ; and Things: Photographing the Constructed World. In 2008 with the National Library of Australia Ennis provided international online access to an exhibition of Charles Bayliss's nineteenth-century photographs of early Sydney. She was promoted to a professorship in 2014 and served as the director of the Centre of Art History and Art Theory in the Sir William Dobell Chair of Art History until 2018.
Professor Ennis has written numerous essays and chapters, and since 2000 has been sole author of more than fifteen significant books including biographies of women in Australian photography; Margaret Michaelis and Olive Cotton, which received major literary awards, and has written on the life of Max Dupain and the career of Wolfgang Sievers.
A Fellow of the Australian Academy of the Humanities Ennis's research and curatorships for major institutions are recognised for their influence in raising the standing and significance of Australian photography in international contexts.
Career
Art critic
Following her curatorial role at the National Gallery, Ennis contributed reviews for a column on craft in The Canberra Times from November 1991, when in the early nineties there were but five women in such a role amongst twice as many men. When a correspondent questioned her credentials, the editor responded fulsomely in her defence. In Max Dupain, a Portrait, she quotes Baudelaire's comment that 'criticism must be partial, passionate, political.'Until 1996 she also wrote critique on photography for the newspaper; on exhibitions that included Who Do You Take Me For? contemporary British and Australian Photography at the Canberra School of Art Gallery;Embodied: Six Canberra Photographers, Canberra Contemporary Art Space; The Felix H. Man Memorial Prize; Max Dupain–Dreams: Sensuous and Surreal, National Gallery of Australia, about which she expressed her unease 'with Dupain's reincarnation as a surrealist'; Kodak Fund 10th Anniversary Show, National Gallery of Australia, in which she surveyed 10 years of acquisitions through the fund; Beyond Recognition: Contemporary International Photography, National Gallery of Australia; BlOhazard: Melita Dahl and Benita Tunks at Canberra Contemporary Art Space; From the Empire's End: Nine Australian Photographers, Drill Hall Gallery; Christopher Meder, Polish Ex-Servicemen's Association Club; Dressed to Kill: 100 Years of Fashion, NGA; Images of Work and Leisure, Parliament House; Queerography, Canberra Contemporary Art Space; The Brides: Tracing a Modern Odyssey, ANU Drill Hall Gallery; Heidi Smith, The Canberrans: A Vintage Selection, Legislative Assembly Building; Taken to Heart: Recent Documentary Photography. NGA; About Face. Aspects of Australian Portraiture, c.1770-1993, National Portrait Gallery; with items on specific photographers including Werner Bischof, Axel Poignant, Bill Henson, Hedda Morrison; and book reviews. She also used her platform in the Canberra newspaper to promote the activities of the local community group PhotoAccess.
Independent scholar
Ennis established herself in this period as an independent curator and writer specialising in Australian photographic practice and biography.In 1990, writing for an exhibition of photographic works by Australians, five artists and twenty filmmakers at Presentation House Gallery, North Vancouver and other galleries, 7 April 1990 – 3 March 1991, Ennis surveyed developments in Australian art photography, its socio-cultural influences, and challenges. She noted the paucity of written photographic histories before 1970 and the dominance of American photography shaping global perceptions. The 1970s revival of photography as an art form she credited to conceptual artists from other disciplines experimenting with photography, which a younger generation embraced it as a modern, socially relevant medium free from restraints of traditional art media, as did Carol Jerrems. Despite enthusiasm, Australian art photography faced market barriers of limited growth in a small population and collector resistance, state galleries commenced collecting in the 1980s, while only the Australian National Gallery developed a comprehensive program. Support from the Australia Council provided grants for community-based projects, but commercial galleries struggled. The late 1980s brought multiculturalism and cultural identity shifts through contributions from migrant and Aboriginal photographers like Tracey Moffatt. However, Australia's engagement with Asian photography remained limited despite geographical proximity. Ennis advocated for dialogue between regional centres like Australia and Canada for mutual understanding and appreciation of their unique photographic identities.
Ennis wrote catalogue essays in 1993; for Sue Ford's exhibition at the Canberra School of Art Gallery From Van Diemens Land to Video Land: Colour laser prints by Sue Ford; and for a survey of New Zealand photographer Peter Peryer, in whose work she finds 'thingness' loved without distinction between 'species or substances, all are given the same rapt attention'. That year she wrote for the popular National Gallery touring exhibition Surrealism: Revolution by Night, suggesting that the success of Rayogram was achieved by transformation of the object's physicality into abstraction, for a 'revelation of an unknown universe.'
Ennis contributed an introduction for Harold Cazneaux: the quiet observer, published in 1994, an extract from which appeared in the press. Funded that year by a $10,000 writer's project grant from the Literature Board of the Australia Council, she made early investigations of the previously overlooked professional colleague and first wife of Max Dupain, Olive Cotton, welcomed by reviewer Holt as offering persuasive 'evidence of Cotton’s stylistic versatility and exploration of continuities throughout Cotton’s life and work: her love of nature, fascination with light and space, responsiveness to her chosen subjects, dedication and inventiveness.' Ennis returned to these themes in a more extensive biography of Cotton that she was to publish in 2019. She returned to curating with an exhibition of 'post-photography', including digital imaging by nine artists from around Australia and New Zealand titled Pictograms: Aspects of Contemporary Australian Photographic Practice, at the Nolan Gallery, which toured nationally.
Academia
From 1996 to 2018. Ennis lectured in Art Theory at the Australian National University School of Art & Design, driven by a sense that 'we still have a great deal to do: identifying and retrieving objects from the past that must be kept', to undertake, according to Moore, an holistic, collective photographic project inspired by novelist David Malouf's vision of a 'dream history', 'a myth history, a history of experience in the imagination.'Reviewing Ennis's 2006 Intersections: Photography, History, and the National Library of Australia, Catherine de Lorenzo characterises the author's approach as 'wearing her historical knowledge lightly' while favouring subjective, shifting interpretations. She critiques the notion of the 'expert' voice and instead foregrounds the diversity of cultures in Australia.
During this period Ennis wrote the history Photography and Australia for a series on national photographies, and Reveries: photography & mortality for the National Portrait Gallery, Canberra, supporting an exhibition of that name which toured the University of Queensland Art Museum and the Mornington Peninsula Regional Gallery. She presented at a conference 'Love & Desire: Literature and the Intimate' held 23–24 September 2006 at the National Library of Australia, and in 2008 at the Ballets Russes Symposium at the University of Adelaide on Australians who photographed the Ballets Russes, concentrating on Max Dupain's images in the National Library's Pictures Collection. The National Library of Australia's venture into digitisation of its collection provided Ennis with the opportunity to provide international access to Charles Bayliss's nineteenth-century photographs of early Sydney through an online catalogue of the exhibition she curated at the Library 11 July–26 October 2008. In A Modern Vision: Charles Bayliss, Photographer, 1850-1897, as Clark notes, Ennis represents Bayliss as a modernist, distinct from the naturalist representations of Charles Kerry, J. W. Lindt and Nicholas Caire, in being concerned with poeticising place 'rather than depicting a nostalgia for the pioneering past. Through his photography Bayliss depicted an escape from the ‘toil of city life’, and it is this, Ennis argues, that sets Bayliss apart as a modernist visionary.'