READING PASSAGE 3
Mark Strizic: A career of an Australian photographer
Mark Strizic, who passed away in December last year, was the last representative of a remarkable generation of European émigré photographers who settled in Australia after the Second World War. Alongside Wolfgang Sievers and Henry Talbot, Strizic contributed significantly to the visual culture of his adopted country. Yet, unlike many of his contemporaries, whose reputations were largely based on industrial or commercial photography, Strizic developed a career that was unusually complex. Over a span of five decades, he explored multiple photographic styles, experimented with new printing processes, engaged in book design, produced large-scale murals, and participated actively in teaching the next generation of photographers.
After his arrival in Melbourne from Zagreb in 1950, Strizic initially studied science, but soon turned to photography. From the mid-1950s he began to establish himself, not only through individual works but also through collaborations. One of his most enduring achievements was his partnership with the critic and historian David Saunders, with whom he produced Melbourne: A Portrait in 1960. The book was distinctive for its use of offset printing, a relatively new process at the time, which allowed photographs and text to be integrated seamlessly on the page. Strizic, as both photographer and designer, arranged his images so that one composition flowed into the next, often leaving areas of blank space or floating lines of text to balance the spreads. The result was a visually coherent book, which also carried an ambitious cultural agenda: Saunders' text was printed in Italian and German as well as English, suggesting an international readership. The book's bright and cheerful cover, designed by Leonard French, contributed to its appeal. In 1961 it was awarded Book of the Year, recognition not only of the photographs themselves but of the integrated design of the whole publication.
Strizic later admitted that the idea for Melbourne: A Portrait had been shaped by his father's earlier work. His father, an architect in Zagreb, had published Light and Shade in 1955, a reflective "city book" in the European style, which contrasted sharply with the more commercial boosterism of contemporary Australian publications. Strizic deliberately sought to emulate this contemplative approach, presenting Melbourne as a modern yet cultured metropolis.
During the 1960s and 70s, Strizic continued to photograph the rapid transformation of Melbourne. His distinctive technique often involved pointing the camera directly into the sunlight, creating stark contrasts in which buildings and figures were reduced to silhouettes. Many of his images juxtapose old Victorian facades with newly constructed skyscrapers, capturing a city in the midst of radical expansion. Cars, highways and office towers dominate the frame, while human figures are frequently marginalised, squeezed into the bottom corners or overshadowed by the built environment. By the late 1970s, Strizic's vision of Melbourne had grown darker. Using experimental methods, such as printing black-and-white negatives on colour paper or duplicating them onto high-contrast lithographic film, he produced cityscapes that glowed with intense, sometimes psychedelic colours, giving Melbourne an almost hallucinatory quality.
Collaboration remained central to Strizic's career. In 1967 he worked with Sun Books, a small but ambitious publishing house, on several innovative projects. For Tim Burstall's film 2000 Weeks he created a photo-roman, a paperback-sized publication in which his stills from the film were combined with dialogue. Although the film was produced in a European art-house style and tackled existential themes, it failed at the box office, and Strizic's book met a similar fate. Nevertheless, the project demonstrated his willingness to experiment with new formats.
A more prestigious venture was Involvement (1968), a limited-edition art book edited by Andrew Grimwade. The concept was to pair Strizic's photographic portraits with paintings by the artist Clifton Pugh. The accompanying text, written by Geoffrey Dutton, sought to place the collaboration in a grand cultural framework. Yet the book was widely regarded as unsatisfactory, largely because of its design. Unlike Melbourne: A Portrait, Strizic did not design the volume himself, and the layout by Les Gray failed to balance the colour plates of Pugh's paintings with the black-and-white photographs. Despite this, Strizic's portraits attracted attention for their originality. He employed experimental methods such as pushing his 35mm film to increase contrast and grain, and often shot his sitters against dominant backgrounds or with objects intruding into the foreground. The effect was to highlight their individuality and resistance to their surroundings. His portrait of Sir Charles Moses, head of the ABC, shows him through a haze of cigar smoke, while Barry Humphries appears surrounded by eccentric antiques in his London flat. These images were exhibited in 1968 at the National Gallery of Victoria under the title Some Australian Personalities, marking the institution's first solo exhibition devoted to photography.
Strizic's collaborative spirit extended into many other areas. He documented the sculptor John Davis and the furniture designer Schulim Krimper for monographs commissioned in the 1980s, but his connection with Krimper went back to 1959. He also worked with avant-garde artists such as Asher Bilu, producing the only surviving photographic record of Bilu's interactive electronic work Sculptron (1967). This task required considerable technical skill, since Strizic had to balance the exposure for glowing cathode-ray tubes with the surrounding sculptural elements.
In the field of murals, he developed large-scale photographic works for government buildings and corporate headquarters, sometimes combining his "photochromes" with paintings. A notable example was his collaboration with Stanislav Ostoja-Kotkowski in 1970 on a twelve-metre mural for the Ciba-Geigy building in Preston, which merged infrared photography with Strizic's experimental prints.
That same year, Strizic worked with the influential architect Robin Boyd on Living in Australia, a book which sought to articulate Boyd's design philosophy. Strizic's photography reinforced Boyd's arguments, presenting domestic architecture through dramatic diagonal compositions and sharp contrasts. The book was recently republished, confirming its continuing relevance. In later years, Strizic combined his artistic practice with teaching in Melbourne's new photography departments during the boom of the 1970s. In 1988 he returned to his earliest negatives of Melbourne, staging an exhibition that highlighted his long-standing interest in the city's changing urban landscape.
Since then, he has often been remembered as a nostalgic chronicler of "old Melbourne" or "disappearing Melbourne." Yet such a label oversimplifies his contribution. His career was marked by continuous experimentation, by fruitful collaborations with artists, writers and designers, and by a willingness to engage with both traditional and avant-garde practices. In this sense, he occupies a significant though sometimes under-recognised position in the development of Australian visual culture.
Note: You can highlight text in the passage by selecting it. The highlighted text will appear in yellow.
QUESTIONS 27-40
Questions 27–32
Look at the following statements (Questions 27–32) and the list of people below.
Match each statement with the correct person, A, B, C, D, E, or F.
Write the correct letter, A–F, in boxes 27–32 on your answer sheet.
NB You may use any letter more than once.
- Strizic worked with him to produce a book about Melbourne.
- He edited the art book Involvement.
- He designed the cover of Melbourne: A Portrait.
- His book on Zagreb inspired Strizic's Melbourne: A Portrait.
- He collaborated with Strizic to combine photochromes with infrared photography.
- He wrote the text for Involvement, which was considered pretentious.
List of People
- A. David Saunders
- B. Andrew Grimwade
- C. Leonard French
- D. Strizic's father
- E. Stanislav Ostoja-Kotkowski
- F. Geoffrey Dutton
Questions 33–37
Do the following statements agree with the claims of the writer in Reading Passage 3?
In boxes 33–37 on your answer sheet, write
YES – if the statement agrees with the claims of the writer
NO – if the statement contradicts the claims of the writer
NOT GIVEN – if it is impossible to say what the writer thinks about this
- 2000 Weeks and its accompanying photo-roman were successful with the public.
- Strizic's portraits in Involvement were exhibited at the National Gallery of Victoria in 1968.
- Strizic was one of the first to document the interactive artwork Sculptron.
- Strizic's photographic murals were produced with the help of advanced digital technology.
- Strizic is best remembered solely as a nostalgic photographer of Melbourne.
Here are the solutions for Questions 27–40 based on Reading Passage 3, complete with detailed explanations, passage locations, paraphrasing analysis, and key vocabulary.
Questions 27–32: Matching Information to People
27. Strizic worked with him to produce a book about Melbourne.
- Answer: A (David Saunders)
- Location: Paragraph 2: "One of his most enduring achievements was his partnership with the critic and historian David Saunders, with whom he produced Melbourne: A Portrait in 1960."
- Explanation: The passage directly states that Strizic partnered with David Saunders to create the book Melbourne: A Portrait.
- Paraphrase: "partnership... produced Melbourne: A Portrait" $\rightarrow$ "worked with him to produce a book about Melbourne."
28. He edited the art book Involvement.
- Answer: B (Andrew Grimwade)
- Location: Paragraph 6: "A more prestigious venture was Involvement (1968), a limited-edition art book edited by Andrew Grimwade."
- Explanation: Andrew Grimwade is explicitly named as the editor of Involvement.
- Paraphrase: "edited by Andrew Grimwade" $\rightarrow$ "He edited the art book Involvement."
29. He designed the cover of Melbourne: A Portrait.
- Answer: C (Leonard French)
- Location: Paragraph 2: "The book's bright and cheerful cover, designed by Leonard French, contributed to its appeal."
- Explanation: The passage clearly identifies Leonard French as the designer of the cover.
- Paraphrase: "cover, designed by Leonard French" $\rightarrow$ "He designed the cover..."
30. His book on Zagreb inspired Strizic's Melbourne: A Portrait.
- Answer: D (Strizic's father)
- Location: Paragraph 3: "Strizic later admitted that the idea for Melbourne: A Portrait had been shaped by his father's earlier work. His father, an architect in Zagreb, had published Light and Shade in 1955..."
- Explanation: Strizic’s father published a book on Zagreb (Light and Shade), which shaped and inspired Strizic's approach to Melbourne: A Portrait.
- Paraphrase: "idea... had been shaped by his father's earlier work [on Zagreb]" $\rightarrow$ "His book on Zagreb inspired..."
31. He collaborated with Strizic to combine photochromes with infrared photography.
- Answer: E (Stanislav Ostoja-Kotkowski)
- Location: Paragraph 8: "A notable example was his collaboration with Stanislav Ostoja-Kotkowski in 1970 on a twelve-metre mural... which merged infrared photography with Strizic's experimental prints."
- Explanation: Strizic collaborated with Stanislav Ostoja-Kotkowski to merge infrared photography with his photochrome prints.
- Paraphrase: "merged infrared photography with Strizic's experimental prints [photochromes]" $\rightarrow$ "combine photochromes with infrared photography."
32. He wrote the text for Involvement, which was considered pretentious.
- Answer: F (Geoffrey Dutton)
- Location: Paragraph 6: "The accompanying text, written by Geoffrey Dutton, sought to place the collaboration in a grand cultural framework."
- Explanation: Geoffrey Dutton wrote the accompanying text for Involvement. The passage mentions it tried to place the book in a "grand cultural framework" (which correlates to the idea of being pretentious/overly ambitious).
- Paraphrase: "accompanying text, written by Geoffrey Dutton, sought to place the collaboration in a grand cultural framework" $\rightarrow$ "wrote the text for Involvement..."
Questions 33–37: YES / NO / NOT GIVEN
33. 2000 Weeks and its accompanying photo-roman were successful with the public.
- Answer: NO
- Location: Paragraph 5: "...it failed at the box office, and Strizic's book met a similar fate."
- Explanation: The text states that both the film (2000 Weeks) and Strizic's book failed commercially, contradicting the statement that they were successful.
- Paraphrase: "failed at the box office / met a similar fate" $\leftrightarrow$ "were successful with the public" (Direct contradiction).
34. Strizic's portraits in Involvement were exhibited at the National Gallery of Victoria in 1968.
- Answer: YES
- Location: Paragraph 6: "These images were exhibited in 1968 at the National Gallery of Victoria under the title Some Australian Personalities..."
- Explanation: "These images" refers back to the portraits created for Involvement described earlier in the paragraph (e.g., Sir Charles Moses, Barry Humphries). They were exhibited at the NGV in 1968.
- Paraphrase: "These images [portraits] were exhibited in 1968 at the National Gallery of Victoria" $\rightarrow$ Matches the claim.
35. Strizic was one of the first to document the interactive artwork Sculptron.
- Answer: NOT GIVEN
- Location: Paragraph 7: "...producing the only surviving photographic record of Bilu's interactive electronic work Sculptron (1967)."
- Explanation: The passage states that Strizic's work is the only surviving photographic record, but it does not state whether he was one of the first people to document it.
36. Strizic's photographic murals were produced with the help of advanced digital technology.
- Answer: NO
- Location: Paragraph 8: "...combining his 'photochromes' with paintings... merged infrared photography with Strizic's experimental prints."
- Explanation: Strizic worked using darkroom analog methods, photochromes, and high-contrast lithographic films in 1970. Digital technology did not exist in this context, contradicting the claim.
- Paraphrase: Analog photochromes and chemical/infrared film prints $\leftrightarrow$ "advanced digital technology" (Direct contradiction).
37. Strizic is best remembered solely as a nostalgic photographer of Melbourne.
- Answer: NO
- Location: Paragraph 10: "Since then, he has often been remembered as a nostalgic chronicler of 'old Melbourne'... Yet such a label oversimplifies his contribution."
- Explanation: The writer explicitly states that reducing Strizic solely to a nostalgic photographer of Melbourne "oversimplifies his contribution," noting his broad career in continuous experimentation and diverse artistic mediums.
- Paraphrase: "such a label oversimplifies his contribution" $\leftrightarrow$ "best remembered solely as..." (Direct contradiction).
Questions 38–40: Matching Dates
38. Melbourne: A Portrait received the Book of the Year award.
- Answer: A (1961)
- Location: Paragraph 2: "In 1961 it was awarded Book of the Year..."
- Explanation: The passage explicitly dates the Book of the Year award for Melbourne: A Portrait to 1961.
39. Strizic collaborated with Robin Boyd on Living in Australia.
- Answer: C (1970)
- Location: Paragraph 9: "That same year [1970], Strizic worked with the influential architect Robin Boyd on Living in Australia..."
- Explanation: "That same year" refers back to 1970 mentioned in the previous paragraph (the Ciba-Geigy mural).
40. Strizic returned to his early negatives of Melbourne streets for an exhibition.
- Answer: D (1988)
- Location: Paragraph 9: "In 1988 he returned to his earliest negatives of Melbourne, staging an exhibition that highlighted his long-standing interest in the city's changing urban landscape."
- Explanation: The year 1988 is explicitly linked to Strizic returning to his earliest negatives for an exhibition.
Key Vocabulary List
- Émigré (noun): A person who has left their own country in order to settle in another, usually for political reasons.
- Juxtapose (verb): To place two or more things side by side, especially to compare or contrast them.
- Hallucinatory (adjective): Resembling or producing a sensory experience that feels real but is created by the mind/experimental effects.
- Photo-roman (noun): A visual novel format using photographs instead of drawn illustrations alongside text or dialogue.
- Emulate (verb): To match or surpass a person or achievement, typically by imitation.
- Chronicler (noun): A person who writes accounts of important or historical events.
- Oversimplify (verb): To simplify something so much that a distorted or inaccurate impression is given.
Here is the detailed breakdown specifically for Questions 38–40 with passage locations, step-by-step logic, paraphrasing analysis, and key vocabulary:
Questions 38–40: Matching Dates
38. Melbourne: A Portrait received the Book of the Year award.
- Answer: A (1961)
- Location: Paragraph 2: "In 1961 it was awarded Book of the Year, recognition not only of the photographs themselves but of the integrated design of the whole publication."
- Explanation: The passage explicitly states that Melbourne: A Portrait was awarded Book of the Year in the year 1961.
- Paraphrase: "it was awarded Book of the Year" $\rightarrow$ "received the Book of the Year award."
39. Strizic collaborated with Robin Boyd on Living in Australia.
- Answer: C (1970)
- Location: Paragraph 9: "That same year, Strizic worked with the influential architect Robin Boyd on Living in Australia, a book which sought to articulate Boyd's design philosophy."
- Explanation: "That same year" refers back to the year mentioned in the preceding sentence (Paragraph 8), which is 1970 ("A notable example was his collaboration with Stanislav Ostoja-Kotkowski in 1970...").
- Paraphrase: "worked with the influential architect Robin Boyd on Living in Australia" $\rightarrow$ "collaborated with Robin Boyd on Living in Australia."
40. Strizic returned to his early negatives of Melbourne streets for an exhibition.
- Answer: D (1988)
- Location: Paragraph 9: "In 1988 he returned to his earliest negatives of Melbourne, staging an exhibition that highlighted his long-standing interest in the city's changing urban landscape."
- Explanation: The passage explicitly links the year 1988 to Strizic revisiting his earliest negatives of Melbourne to stage a retrospective exhibition.
- Paraphrase: "returned to his earliest negatives... staging an exhibition" $\rightarrow$ "returned to his early negatives of Melbourne streets for an exhibition."
Key Vocabulary for Questions 38–40
- Articulate (verb): To express an idea or feeling fluently and coherently.
- Negative (noun - Photography): An exposed and developed film image where light areas appear dark and dark areas appear light, used to produce positive prints.
- Urban Landscape (noun): The visible physical elements and environment of a city or built environment.
- Integrated (adjective): Combined so that all constituent parts work together harmoniously.
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