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cosmopolitan Australians enjoying art shows and sporting events juxtaposed with images of spectacular Australian nature (figure 3).”? The book also received international coverage from the US Look magazine as well as the UK Queen magazine and other European journals. Goodman reported to his corporate investors that the value of this free publicity alone for Australia was worth three million dollars.*° 29 — Ann Stephen and Philip Goad, ‘Good Evening America: Australia’s Pavilion Diplomacy’, in Modern Times: The Untold Story of Modernism in Australia, ed. Ann Stephen, Philip Goad and Andrew McNamara, Melbourne: The Miegunyah Press 2008, 183. 30 — Newman, ‘Manufacturing Industry Plays Key Role’, 12; and H. Strasburger, ‘Goodman’s Australia’, The Australian (24 September 1966), 11.

Figure 3 cosmopolitan Australians enjoying art shows and sporting events juxtaposed with images of spectacular Australian nature (figure 3).”? The book also received international coverage from the US Look magazine as well as the UK Queen magazine and other European journals. Goodman reported to his corporate investors that the value of this free publicity alone for Australia was worth three million dollars.*° 29 — Ann Stephen and Philip Goad, ‘Good Evening America: Australia’s Pavilion Diplomacy’, in Modern Times: The Untold Story of Modernism in Australia, ed. Ann Stephen, Philip Goad and Andrew McNamara, Melbourne: The Miegunyah Press 2008, 183. 30 — Newman, ‘Manufacturing Industry Plays Key Role’, 12; and H. Strasburger, ‘Goodman’s Australia’, The Australian (24 September 1966), 11.

Related Figures (15)

Figure 1. Mark Strizic, Outside Flinders Street Station, ca. 1960. From Melbourne: A Portrait, Melbourne: Georgian House 1961, 18-19.
Figure 1. Mark Strizic, Outside Flinders Street Station, ca. 1960. From Melbourne: A Portrait, Melbourne: Georgian House 1961, 18-19.
Figure 4. Robert Goodman, Immigrant Arrivals, Sydney Harbour, ca. 1964. From The Australians, Adelaide: Rigby 1966, 124-25
Figure 4. Robert Goodman, Immigrant Arrivals, Sydney Harbour, ca. 1964. From The Australians, Adelaide: Rigby 1966, 124-25
Figure 5. Robert Goodman, Russell and Maise Drysdale in his studio, Sydney, New South Wales, ca. 1964. From The Australians, Adelaide: Rigby 1966, 218- 19.
Figure 5. Robert Goodman, Russell and Maise Drysdale in his studio, Sydney, New South Wales, ca. 1964. From The Australians, Adelaide: Rigby 1966, 218- 19.
Figure 6. Robert Goodman, Lady Spectators, Melbourne Cup, ca. 1964. From The Australians, Adelaide: Rigby 1966, 256-57
Figure 6. Robert Goodman, Lady Spectators, Melbourne Cup, ca. 1964. From The Australians, Adelaide: Rigby 1966, 256-57
Figure 7. David Beal and Donald Horne, Southern Exposure front and back covers, ca. 1966. From David Beal and Donald Horne, Southern Exposure, Sydney: Collins 1967.
Figure 7. David Beal and Donald Horne, Southern Exposure front and back covers, ca. 1966. From David Beal and Donald Horne, Southern Exposure, Sydney: Collins 1967.
Figure 8. David Beal, ‘Pokies’, St George Leagues Club, ca. 1966. From David Beal and Donald Horne, Southern Exposure, Sydney: Collins 1967, 60-61.
Figure 8. David Beal, ‘Pokies’, St George Leagues Club, ca. 1966. From David Beal and Donald Horne, Southern Exposure, Sydney: Collins 1967, 60-61.
Figure 9. David Beal, First Night, Adelaide, ca. 1966. From David Beal and Donald Horne, Southern Exposure, Sydney: Collins 1967, 124-25.
Figure 9. David Beal, First Night, Adelaide, ca. 1966. From David Beal and Donald Horne, Southern Exposure, Sydney: Collins 1967, 124-25.
Figure 14. Jeff Carter, untitled, ca. 1967. From Jeff Carter, Outback in Focus, Adelaide: Rigby 1968, 28-29
Figure 14. Jeff Carter, untitled, ca. 1967. From Jeff Carter, Outback in Focus, Adelaide: Rigby 1968, 28-29
Figure 15. David Moore and David Beal, Peter Sculthorpe, ca. 1968. From Craig McGregor, Australian Art and Artists: In the Making, Melbourne: Thoma Nelson 1969, 64-65. Copyright permission courtesy Estate of David Moore.
Figure 15. David Moore and David Beal, Peter Sculthorpe, ca. 1968. From Craig McGregor, Australian Art and Artists: In the Making, Melbourne: Thoma Nelson 1969, 64-65. Copyright permission courtesy Estate of David Moore.
Figure 16. Wesley Stacey and Rennie Ellis, untitled, ca. 1970. From Kings Cross Sydney: A Personal Look at the Cross, Melbourne: Thomas Nelson 1971, 32- 33. Nonetheless, a series of smaller though still significant photobooks were also published in the 1970s. While often driven by the photographers themselves and focusing on specific aspects and subcultures within Australian life, these photo- books continued the broad discussion initiated in the mid-1960s. For instance, Kings Cross in Sydney, the equivalent to London’s Soho, had grown in cultural importance with the influx of US Servicemen on leave from the Vietnam War and wit Kin too h the rise of the counterculture in Australia. In Wes Stacey and Rennie Ellis’s gs Cross Sydney: A Personal Look at the Cross (1971) the young photographers k the reader into the strip-club dressing rooms and hippy pads of the area, using dynamic and tight picture groupings and pungently personal text, as Strizic had done eleven years earlier, to graphically illustrate the complete surface of each double-page spread. For instance, in one double-page spread a group of twenty differently sized images are clustered centrifugally, from largest to smallest, across bot h pages (figure 16).°”
Figure 16. Wesley Stacey and Rennie Ellis, untitled, ca. 1970. From Kings Cross Sydney: A Personal Look at the Cross, Melbourne: Thomas Nelson 1971, 32- 33. Nonetheless, a series of smaller though still significant photobooks were also published in the 1970s. While often driven by the photographers themselves and focusing on specific aspects and subcultures within Australian life, these photo- books continued the broad discussion initiated in the mid-1960s. For instance, Kings Cross in Sydney, the equivalent to London’s Soho, had grown in cultural importance with the influx of US Servicemen on leave from the Vietnam War and wit Kin too h the rise of the counterculture in Australia. In Wes Stacey and Rennie Ellis’s gs Cross Sydney: A Personal Look at the Cross (1971) the young photographers k the reader into the strip-club dressing rooms and hippy pads of the area, using dynamic and tight picture groupings and pungently personal text, as Strizic had done eleven years earlier, to graphically illustrate the complete surface of each double-page spread. For instance, in one double-page spread a group of twenty differently sized images are clustered centrifugally, from largest to smallest, across bot h pages (figure 16).°”
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