Viva Gibb: Documenting Melbourne’s Inner City Life (1970s-90s)

The work of Viva Jillian Gibb, a photographer who meticulously documented the lives of residents in North and West Melbourne between the mid-1970s and early 1990s, is being re-examined in a new exhibition, ‘On the street where I live’. The exhibition, curated by Savannah Smith, opens at the City Gallery in Melbourne on March 5th, 2026, and will run until August 7th, 2026. It draws upon a substantial donation of over 200 photographs made to the Melbourne Art Trust in 2025 by Gibb’s children, Sybil Gibb and Rupert Duffy, bringing a body of work largely unseen for three decades back into public view.

A Community Portrait in Transition

Gibb’s photographs aren’t grand statements about a city; they are intimate portraits of everyday life. She focused on the people who lived in these inner-city suburbs, capturing them in their homes and on the streets. Her work, grounded in “strong social and political convictions,” as described by the Public Galleries Association of Victoria (PGAV), offers a sympathetic and distinct portrayal of a community undergoing significant change. The period Gibb documented – the mid-1970s to the early 1990s – was a transformative era for Melbourne, marked by shifting demographics, economic pressures, and evolving social landscapes. The exhibition aims to re-introduce Gibb’s “sophisticated practice” to a new audience.

Viva Gibb: A Life Dedicated to Documentation

Details about Gibb’s life remain somewhat sparse in readily available sources, but her work speaks volumes about her commitment to documenting the lives of ordinary people. She wasn’t an outsider looking in; she lived on the streets she photographed, embedding herself within the community she sought to portray. A self-portrait from around 1975-78, taken at 64 Capel Street, West Melbourne, offers a glimpse into her personal life and artistic approach (The Age). This image, a silver gelatin print, is emblematic of the “jewel-like portraits” that characterize much of her work, as noted by the City of Melbourne (City of Melbourne).

The subjects of her photographs are diverse, ranging from local business owners – like Mr. Lindsay Williams, a barber and tobacconist on Errol Street – to residents like Colin Cheng and families like Penny with her twins Brooke and Trinity. These aren’t posed studio shots; they are candid glimpses into the lives of people going about their daily routines. Giuseppe Lanteri, known as ‘The Boss’ at Don Camillo Cafe, is another figure captured by Gibb, illustrating her interest in the social hubs of the community. The photographs offer a visual record of a specific time and place, preserving the faces and stories of those who lived there.

The Curator’s Vision and the Melbourne Art Trust

The exhibition’s curator, Savannah Smith, brings a wealth of experience to the project. Her background includes work at institutions like the National Galleries of Scotland and the Peggy Guggenheim Collection, as well as a role as gallery manager at Australian Galleries in Melbourne. Smith holds a master’s degree in art curatorship from the University of Melbourne and an honours degree in art history from the University of St Andrews in Scotland. Her expertise is crucial in contextualizing Gibb’s work and presenting it to a contemporary audience. The donation of Gibb’s photographs to the Melbourne Art Trust by her children was pivotal in making this exhibition possible, ensuring the preservation and accessibility of this important body of work.

The Significance of Place: North and West Melbourne

The choice of North and West Melbourne as the focus of Gibb’s work is significant. These suburbs, located close to the city center, were undergoing considerable change during the period she documented. They were, and continue to be, areas characterized by a mix of working-class communities, immigrant populations, and a vibrant cultural life. The area’s history is rooted in its industrial past, and the 1970s and 80s saw shifts in employment patterns and demographic changes. Gibb’s photographs capture this period of transition, offering a visual record of the people and places that defined these suburbs. The exhibition, isn’t just about photography; it’s about social history and the preservation of collective memory.

Beyond the Images: A Legacy Rediscovered

For nearly three decades, Gibb’s work remained largely unseen. The exhibition at the City Gallery represents a rediscovery of her artistic legacy. The photographs offer a valuable counterpoint to more conventional historical narratives, providing a ground-level perspective on a period of significant social and economic change. They remind us of the importance of documenting the lives of ordinary people and preserving their stories for future generations. The exhibition’s location within the Melbourne Town Hall – specifically the City Gallery on the ground floor – underscores the civic importance of this project. The gallery is easily accessible, with opening hours Monday to Friday from 9am to 5pm, and admission is free.

What’s Confirmed and What Remains Unclear

The confirmed details surrounding the exhibition are robust: the dates (March 5th – August 7th, 2026), the location (City Gallery, Melbourne Town Hall), the curator (Savannah Smith), and the source of the photographs (the donation from Sybil Gibb and Rupert Duffy to the Melbourne Art Trust). However, biographical information about Viva Gibb herself remains limited in publicly available sources. While her commitment to documenting her community is evident in her work, details about her motivations, artistic influences, and personal life are less well-documented. Further research may uncover more information about her background and artistic development.

Looking Ahead: Preservation and Future Research

The exhibition ‘On the street where I live’ is not just a retrospective; it’s a starting point for further research and engagement with Gibb’s work. The Melbourne Art Trust now holds a significant archive of her photographs, providing a valuable resource for scholars and researchers. Future projects could explore the broader social and historical context of her work, examining the lives of the people she photographed and the changes that were taking place in North and West Melbourne during the 1970s and 80s. The exhibition also raises important questions about the role of photography in documenting social change and preserving collective memory. The ongoing accessibility of these images, facilitated by the Melbourne Art Trust and the City Gallery, will ensure that Gibb’s legacy continues to inspire and inform future generations.