Olive Cotton was born in Sydney in 1911, daughter of Florence (pianist/painter) and Leo (geologist) both whom shared interest in photography (Australian Government, 2008). During early childhood, Cotton was privy to aspects of environment and developed a love of the world around her (Australian Government, 2008). At age 11, Cotton was given her first camera; her love of photography grew. In 1934, Olive Cotton graduated from the university of Sydney and began working in the studio of Australian photographer Max Dupain, who she later married then divorced after two years (Australian Government, 2008).
Her professional photographer status came with her acceptance of running Dupain’s studio during his three-year absence (Australian Government, 2008). Cotton spent this time developing her own work including many portraits; Cotton’s key feature was the element of light. Cottons work was inspired by various female photographers she came across whilst working under Dupain, and throughout the 1930’s, Cotton’s work featured in several exhibitions (Australian Government, 2008). In 1944, Cotton married Ross McInerney, had two children and settled on a farm in Spring Forest. In 1964, Cotton opened her own studio, producing portraits and capturing weddings, still working on personal photography (Australian Government, 2008).
As well as light, common elements of Cotton’s photographs included capturing images with specific focus on form and treating the subject of her work with equivalency (Australian Government, 2008). Cotton’s work is a tribute to nature in all its glory and exquisiteness, whilst encapsulating her previous interest in science and art. Cotton is described as a female pioneer of modernist photography in Australia (Australian Government, 2008).
Some of Cottons significant artworks include, ‘Only to taste the warmth, the light the wind’ (1939) and ‘Agapanthus’ (1955) (Australian Government, 2008). More works are shown within the Biography section of this website. Perhaps her most famous though, was ‘Teacup ballet’ (1935) (Australian Government, 2008). This story behind it gives interesting insight into the mind of Olive Cotton. After purchasing cheaps cups and saucers from Woolworths for coffee breaks at the studio, the arms reminded her of a particularly dance (Art Gallery NSW, 2007). After several re-arrangements and use of a spotlight, Cotton captured an image with an important focus on shadows, whose title she believed "suggested itself" (Art Gallery NSW). In honouring the 150th year of Australian photography, ‘Teacup ballet’ was issued on a stamp (Australian Government, 2008).
Cotton spent 1983 reprinting her collection of works spanning 40 years, many featuring in her first solo show in 1924 (Australian Government, 2008). Cotton has reappeared in publications and exhibitions and was awarded an Emeritus Fellowship from the Australia Council in 1993 (Australian Government, 2008). A retrospective exhibition was held in 2000 at the Art Gallery of New South Wales, featuring 68 of Cotton’s photographs (Australian Government, 2008). Olive Cotton passed away in 2003, after a long life pursuing her love of photography, or as she saw it, a form of self-expression and “drawing with light” (Australian Government, 2008).
Olive Cotton's life and works provide an interesting and useful teaching and learning resource for the creation of an in depth unit of work in the primary classroom, particularly upper primary, around the conceptual framework. Cottons photograph ‘Teacup ballet’ (1935), can be explored through art appreciation based on the interesting factors surrounding the artist herself, the era she grew up in, the background and surrounding motives to her later work. Subject can also be covered in terms of her love of nature, art, science and general observation of the world around her. These aspects lead directly into art practice and the elements behind her artwork such as light/shade and perspective and structure of her subject. Her subject matter projects the type of audience her works are intended for, ensuring the conceptual framework can be thoroughly investigated, understood and practiced.
References
Art Gallery NSW (2007). Photography Collection Handbook. Olive Cotton. Retrieved 31st March, 2012, from http://www.artgallery.nsw.gov.au/work/218.1980/
Australian Government (2008).Olive Cotton. Rachel Roberts Communications, Retrieved 31st March 2012 from http://australia.gov.au/about-australia/australian-story/olive-cotton
Olive Cotton [image] (1943) retrieved from http://www.tweed.nsw.gov.au/ArtGallery/Images/OliveCotttonImage.jpg