Charles GREEN

Melbourne, Victoria, Australia born 1953

Lyndell BROWN

Melbourne, Victoria, Australia born 1961

Ghost 2013 Place made: Victoria, Australia
Materials & Technique: photographs, oil on digital print Support: Duraclear
Edition: Unique

Edition Notes: From an email from Charles Green to Shaune Lakin, 5 August 2016: 'The Klein is an image of his first anthropormetrie performance (1960).' 'The landscape is from a photograph taken by us. It was taken in Iraq outside the wire on a journey between bases on a road where there had been attacks, and were about to be a week after we left, on the military armoured vehicles. Every car is a potential threat and the soldiers were extremely edgy and tense. The location is in Nasariyeh province, a Shia-dominated province, and was there more dangerous that Australians were ever told. It was calm simply because it was controlled by hostile militia.' 'The RH side image is Munch’s photograph Rosa Meissner at the Hotel Rohn in Warnemünde, and the central image is a Victorian-era silhouette of two men playing chess inside its Victorian era frame. We own that piece.' 'The image [at left] is of a Tibetan deity connected with death. It’s a Yama (a demon of death) dance mask on a dancer at a ceremony in Tibet. This is a painting of a photograph I bought from a Tibetan trader in 1984. He had photographed all across Tibet and far Western China in the 1930s and I bought about 10 photos from him in 1984 when I spent a year in the Himalayas. I was about to take a local bus to a monastery a day or so away to attend a similar ceremony over 2 or 3 days. We set it and the Munch photo up in a little diorama of crumpled paper (resembling drapery in effect) and photographed our little table-top diorama. It is very Fischli and Weiss. We often set up little table top installations and photograph them.'
Dimensions: framed 111.0 h x 114.0 w cm
Acknowledgement: Purchased 2016
Accession No: NGA 2016.485
  • Purchased 2016
  • Brown and Green have worked together for almost thirty years, producing photographs and paintings in a personal and professional partnership. Their work has consistently engaged with what they call 'the constructed world of memory'-our collective account of culture and history, one informed by and embedded in an archive of pictorial 'ghosts' from the past. Their archive involves fragments and images drawn from art history, popular culture, ethnographic and scientific inquiry and reportage. For Brown and Green, these half-remembered images bear witness to the survival of the past in the present.

    Text © National Gallery of Australia, Canberra