Age, Biography and Wiki

Micky Allan was born on 1 April, 1944 in Melbourne, Australia, is an Australian photographer (born 1944). Discover Micky Allan's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 79 years old?

Popular As N/A
Occupation N/A
Age 79 years old
Zodiac Sign Aries
Born 1 April, 1944
Birthday 1 April
Birthplace Melbourne, Australia
Nationality Australia

We recommend you to check the complete list of Famous People born on 1 April. She is a member of famous photographer with the age 79 years old group.

Micky Allan Height, Weight & Measurements

At 79 years old, Micky Allan height not available right now. We will update Micky Allan's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

She is currently single. She is not dating anyone. We don't have much information about She's past relationship and any previous engaged. According to our Database, She has no children.

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Micky Allan Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Micky Allan worth at the age of 79 years old? Micky Allan’s income source is mostly from being a successful photographer. She is from Australia. We have estimated Micky Allan's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
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Source of Income photographer

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Timeline

1944

Micky Allan (born 1944) is an Australian photographer and artist whose work covers paintings, drawings, engraved glass overlays, installations and photography.

Allan was born in Melbourne in 1944.

1950

From the age of two, she lived in Japan, before her family moved back to Melbourne in 1950.

1961

Allan attended the Melbourne Church of England Girls Grammar School, in South Yarra, where she received an American Field Service Scholarship allowing her to study in the U.S. Allan was heavily involved in painting as a teenager and attended a girls school in Kansas City in 1961.

The school held Allan's first solo exhibition when her paintings were displayed in a national art contest.

1963

After returning from Kansas, Allan studied Fine Arts at the University of Melbourne under Joseph Burke in 1963.

1965

She commenced a full-time Diploma of Painting course at the National Gallery of Victoria Painting School in 1965.

1970

Allan has become an influential public speaker and has been invited to be a part of many discussions on feminist politics and present a number of speeches held in galleries across Australia about art photography during the 1970s.

She relocated to Sydney in the late 1970s, focusing on her own individual work as opposed to working on collective projects.

She produced a series of hand-coloured monochrome photographic prints in the mid 1970s, as did other Australian women artists.

This is a technique that was used to 'colour' black-and-white portraits and wedding photos up to the 1970s before the availability of cheap C-type prints from logout negatives, and revived by artist-photographers in the early 2000s.

Hand-colouring involved manually adding colour to a black-and-white photograph, through the materials and techniques of painting and the use of dyes.

This extended the longevity of any existing colours in the image and personalized the work, and made the photograph a means of creative expression.

1974

However she felt it was impossible to make a living off art and only began taking photographs in 1974 after joining a feminist collective in Melbourne, and was taught how to process photos by housemate Virginia Coventry.

In 1974 she joined a feminist collective at Melbourne's experimental arts and theater space, the Pram Factory.

She began working on sets, costumes and designing posters for the performances held there and then photographed the performances.

Though it was not until her housemate Coventry had taught Allan how to take and print photographs later that year that she started to take photographs devotedly.

From then on, Allan took photographs for magazines and began to emerge as a well-known female photographer.

In 1974, The Pram Factory held her first show of black-and-white photographs.

1975

Allan's first handcoloured works were a series of her friend Laurel in 1975.

The following year she worked on a series titled Babies which became an ongoing series concerned with life cycles.

The photographs are portraits of babies with the face filling the frame and pencil colours in small areas.

The work was displayed in the National Gallery of Australia.

The series My Trip recorded Allan's 17-day road trip through rural Victoria, in 1975.

In this publication she approaches people, recording their conversations and portrays them in their natural state through photography.

Allan decided to travel alone, recording photographically what she saw and experienced.

Having finished a body of work in the darkroom, she felt she need to go on a holiday and decided to use her camera to arbitrate her interactions with the strangers that she came across.

The series become a documentation of how women were perceived when travelling alone during the years of second-wave feminism.

1978

Allan's fascination with age cycles continued with her 1978 the series, Old Age.

In close-up photographs of elderly people, Allan highlighted the physical ageing process which can be regarded as unattractive by society.

Allan's work raised humanist concerns and the work has been displayed in many galleries across Australia.

Allan's career as a photographer includes commissioned projects around Australia.

1980

Since then, Allan returned to painting as her primary medium in the early 1980s.

Allan's work in 1980 explored the juxtaposition of nature and the industrialization around Botany Bay.

The black-and-white photographs consisted mainly of views near the bay, with some more general views of the area including hand-painted images of flowers, with an emphasis on the contrast between the industrial and natural world.

The body of this work, exhibited at the NGV in 1980 by curator Jennie Boddington, focused on the industrial devastation of the coastline, raising awareness of the impact it has on daily life.

2010

In 2010, Allan returned to Botany Bay with a partner, Steenus von Steensen, to find that not a lot had changed from her first visit in 1980, instead the area appeared more dire and grim than it had before.

Botany Bay 2010 is a follow up to the 1980 series, but using colour photography with some minimal colour painting.

2014

She completed her studies for the Doctor of Philosophy, Painting, at the Australian National University of Arts in 2014.

Before taking up photography, Micky Allan practiced painting.