Destiny Deacon

Destiny Deacon is an Australian photographer born in 1957 in Maryborough, Queensland of the K'ua K'ua and Erub/Mer peoples.[1] She has exhibited photographs and films across Australia and also internationally, focusing on politics and exposing the disparagement around Indigenous Australian cultures.[2]

Destiny Deacon
Born1957 (age 62–63)
Maryborough, Queensland, Australia
NationalityAustralian
Known forPhotography, Video, Installation, Performance

Early life

Destiny Deacon relocated to Port Melbourne,[3] Victoria in 1959 with her mother Eleanor Harding then married to Destiny's father wharf labourer and unionist Warren Deacon. Soon after, Deacon's parents separated and she and her siblings were raised by her mother with the help of a close indigenous community.[4] Deacon's interest in photography started at a very early age.[5] However instead of pursuing photography Deacon decided to attend university and study politics, a field that her mother had been very interested and active within, with her involved with the United Council of Aboriginal Women. After attending the University of Melbourne and completing a Bachelor of Arts program in politics and obtaining a Diploma in teaching from La Trobe University, Deacon moved on to first become a history teacher across various community and secondary schools around Victoria, and then to a tutor and lecturer in Australian Writing and Culture, and Aboriginal and Torres Strait Islander Cultural Production at Melbourne University.[4] It wasn't until 1990[4] after a stint on community radio for 3CR[6] that she decided to move into professional photography after holding an exhibition with a few friends.[5]

Artistic development

Before her foray into professional photography Deacon became involved with indigenous activist Charles Perkins working from Canberra as a staff trainer, her strong interest in politics led her to become one of his 'Angels', this passion was the beginning of her artistic endeavors.[2]

Growing up Deacon and her family lived in various Melbourne inner suburbs including commission housing, which while often tough opened her eyes to a whole other world.[2]

Using what she had learnt about politics through Perkins, the 'Angels' and her upbringing Deacon started taking photographs of her culture using her trademark 'black dollies' and other kitsch items as props to expose racism and Australia's' sordid past.[7]

Aesthetics

Deacon said in an interview published in the Sydney Biennale 2000 "Photography is white people's invention. Lots of things seem really technical, for example the camera, the darkroom.. I've started taking the kind of pictures I do because I can't paint..and then I discovered it was a good way of expressing some feelings that lurk inside"[8]

Deacon works across a spectrum of different mediums including photography, video, installation and performance, but her most prominent is her use of dolls to convey her message about the racism that exists within Australia.[2] Deacon's photography polarizes popular Anglo culture against Indigenous existence creating satirical images, using Aboriginal imagery, found items, family members, and friends in very strange scenarios.[9] Where's Mickey? (2003) shows the large difference between how Indigenous people are perceived by the white Australian population and the reality of her family and friends lives.[2] Deacon has said about her work that the "Humour cuts deep. I like to think that there's a laugh and a tear in each."[2]

In Oz (1998) series[10] Deacon incorporates Koori kitsch dolls and shows the construction of identity is an old game that she can play too.[11] Using The wizard of Oz as a starting point for her re-presentation of Aboriginal culture and identity, she recognises the fictionalising of history, identity and nationhood in Australia’s past – a reminder that things are not always as they appear, nor what we have been made to believe; that history is written much similar to a story.[11]

Work and exhibitions

Deacon's first show, 'Pitcha Mi Koori', was a part of the Melbourne Fringe Festival, and in 1991, her work was included in 'Aboriginal Women’s Exhibition', at the Art Gallery of New South Wales in Sydney with her first solo exhibition, Caste Offs, held in 1993 at the Australian Centre for Photography in Sydney. Deacon's work began to be included in group exhibitions in 1994, including Blakness: Blak City Culture! at the Australian Centre for Contemporary Art in Melbourne, True Colours: Aboriginal and Torres Strait Islander Artists Raise the Flag at Bluecoat Gallery, Liverpool; South London Gallery, London; City Gallery, Leicester and Australia. Welcome to My Koori World (video) was shown at the Museum of Modern Art in New York in a show An Eccentric Orbit: Video Art in Australia which was also picked up by ABC TV for the Blackout series. In 1998 Deacon explored her mother's life by photographing her family in the Torres Strait Islands after her death two years previous, documenting it in a show titled Postcards from Mummy this journey "allowed her to come to come to terms with the loss of her mother and the importance of history, memory and place to identify."[12] Walk & don’t look blak was Deacon's first large retrospective held at the Museum of Contemporary Art, Sydney in 2004 encompassing the past 14 years of her work and practice. From there it toured the Ian Potter Museum of Art at Melbourne University, the Adam Art Gallery and the Wellington City Gallery in Wellington, New Zealand, the Tjibao Cultural Centre in Noumea, New Caledonia and the Tokyo Metropolitan Museum of Photography in Japan. For 2004: Australian Culture Now at The Australian Centre for the Moving Image in Melbourne, Deacon was commissioned to make a film for the programme Neighbours (the remix).[4]

Deacon's work has also been featured in numerous local and international exhibitions such as Perspecta (1993, 1999), Havana Biennial (1994), Johannesburg Biennale (1995), Brisbane’s Asia-Pacific Triennial of Contemporary Art (1996), Melbourne International Biennial (1999), Biennale of Sydney (2000), Yokohama Triennale (2001), Das Lied von der Erde (2001) and Documenta 11 (2002).[13]

In 2020 the National Gallery Of Victoria mounted a retrospective exhibition of her work curated by Indigenous curator Myles Russell-Cook. Russell-Cook also edited the mammoth DESTINY a monograph celebrating her art and life.

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References
  1. "Destiny Deacon". National Gallery of Australia. Retrieved 27 January 2015.
  2. "Destiny Deacon MCA" (PDF). Museum of Contemporary Art Australia. Retrieved 31 March 2015.
  3. "Arts Calls with Tracey Moffatt". Australian Broadcast Corporation. Retrieved 15 April 2015.
  4. "Destiny Deacon Biography". Design and Art Australia Online. Retrieved 11 April 2015.
  5. "Summer Series 6". Australian Broadcasting Corporation. Retrieved 11 April 2015.
  6. Perkins, Hettie; Jonestitle, Jonathan (2008). Half Light: Portraits of Black Australia. Art Gallery of New South Wales. p. 64.
  7. "Summer Series 6". Australian Broadcast Corporation Australia. Retrieved 31 March 2015.
  8. Waterlow, Nick (2000). Sydney Biennale 2000. Sydney Biennale LTD. p. 46.
  9. Lenman, Robin; Nicholson, Angela, eds. (2005). "Native Peoples and Photography". The Oxford Companion to the Photograph. Oxford Reference. ISBN 978-0-19-866271-6. Retrieved 31 March 2015.
  10. Deacon, Destiny (1998). "Works from the collective title Oz". AGNSW collection record. Art Gallery of New South Wales. Retrieved 6 April 2016.
  11. Deacon, Destiny (1998). "Under the spell of the poppies, from the series Oz". AGNSW collection record. Art Gallery of New South Wales Photography Collection Handbook (2007). Art Gallery of New South Wales. Retrieved 6 April 2016.
  12. Marsh, Anne (2010). Look: Contemporary Australian Photography since 1980. Macmillan Art Publishing. p. 32.
  13. Deacon, Destiny (1995). "Me and Virginia's doll". AGNSW collection record. Art Gallery of New South Wales. Retrieved 5 April 2016.
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