Frank Ockenfels 3

Frank Ockenfels

That rules do not have a place in photography is part of Frank Ockenfels’ working philosophy. Decades spent harnessing his feverish imagination as a photographer and director have resulted in a wealth of fantastic imagery that, by his own intention, defies any one style. Recognised as one of the world’s leading portrait photographers, Ockenfels’ work is regularly seen in magazines such as Time, New York Magazine and Rolling Stone. His work has crossed over into every category; he has photographed countless TV advertising campaigns, and has shot for shows such as Mad Men, The Walking Dead, Breaking Bad, Sons of Anarchy and House of Cards. Ockenfels has also shot major movie posters for the likes of Harry Potter, Thor, 50 Shades of Grey and Eternal Sunshine of the Spotless Mind.

Ockenfels’ unorthodox philosophy permeates his entire process, from his tactile experimentation in his journals, to his eclectic collection of lenses – often embracing their defects as points of difference in his work -- to the range of personalities he captures, including actors, musicians, politicians and athletes. Ockenfels unsettles the typical notion of the iconic portrait photographer whose style is instantly recognisable. His work exists on a spectrum that is entirely his own making, often bouncing from the eerie depths of surrealism to the hazy glow of Hollywood glamour in one sitting.

Frank Ockenfels
While Ockenfels’ oeuvre is diverse, his portraits are united by their creator’s audacity. Among his list of high profile subjects (Barack Obama, David Bowie, Hilary Clinton and George Clooney), Ockenfels’ style is both unexpected and provoking, he approaches each subject with the same respect, along with the intent to create images that are well crafted, sometimes beautiful, sometimes bizarre, but never boring. Combined with his belief in collaborating and his skills in adapting to difficult situations (something he takes relish in), Ockenfels’ exhibition transforms our perspective on faces and places we’ve all seen before.
Frank Ockenfels
  • Organised by: Black Eye Gallery
  • Contact name: Katherine Bennett

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May

Melbourne: Until March 2027. Rehearsing the City presents archival photographs from Victoria’s government collections, alongside new work by contemporary street photographers.

June

Sydney: Until 7 Feb 2027. From his archive of more than 200,000 images, Close Up celebrates the historic moments and pivotal people he famously captured.

Brisbane: until 18 October 2026. Known affectionately as the ‘Cool Cat of journalism’ Wayne moved effortlessly among the greats, between the media and community, treating every encounter as part of his day’s work behind the lens.

August

Melbourne: Until 15 November 2026. This exhibition will present the most comprehensive survey of the work of the eminent Hungarian-born, French photographer Brassaï yet to be seen in Australia.

Sydney: 24 August 2026 – 18 July 2027. Featuring almost 200 images and original prints personally selected by Dupain for magazine and book publishers, the exhibition reveals the extraordinary breadth of his work.

September

Melbourne: Until 19 February 2027. Spanning 55 years from 1971, Chapman’s visual journey began aboard the ‘Green Bus’ from Elsternwick to Melbourne’s city centre – chronicling the evolution of Australian life along the way.

Melbourne: Multiple exhibitions including – Bowness Photography Prize 2026 + Sarah Rhodes | The Inner Sky. Both until 8 November 2026.

October

Perth: Until 31 January 2027. The Art Gallery of Western Australia (AGWA) presents No night is long enough for us to dream twice, a major exhibition of contemporary photography and video, bringing together more than 100 works by seven living artists and one artist duo from across South West Asia, North Africa and its many diasporas.

Sydney: Until 17 October 2026. Roslyn Oxley9 Gallery.

Sydney: 10 October – 14 November 2026. Metropolis: Street Photography 1985–2025 displays over four decades of life within the modern human environment. The work transitions from the tough, film-noir streets of 1980’s New York to the time surrounding the fall of the Berlin Wall – to the modern colour saturated, hard-shadowed geometry of contemporary Australian streets.