She was born on 11 July 1911 in Hornsby, Sydney. Her parents were Leo Cotton, a Professor of Geology at Sydney University, and Florence, a painter and pianist. Both of her parents were English immigrants. Her father, in his role as a geologist, took photographs of Sir Ernest Shackleton’s expedition to the Antarctic in 1907

Early Life

As a child, Cotton displayed a strong inclination towards art and enjoyed creating drawings and paintings. She was also captivated by the stunning natural scenery that enveloped her family’s farm, which later ignited her interest in photography. At 11 years old, her aunt bestowed upon her a Kodak No.0 Box Brownie camera, which she used to take her first black-and-white photos. Together with her father’s help, they converted their home laundry into a darkroom, where Cotton developed films and produced her earliest photographs.

Cotton attended the Methodist Ladies College in Burwood from 1921 to 1929. During her final year there, she became a member of the Photographic Society of NSW. She enrolled at Sydney University in 1930 and joined the Sydney Camera Club at around the same time. There, she received guidance and instruction from the renowned Pictorialist photographer Harold Cazneaux. While completing her Bachelor of Arts, with a focus on mathematics and English, she continued to pursue photography as an amateur. She graduated in 1934.

Marriage and Family

In mid-1934, she started working with Max Dupain, a photographer, at his studio located at 24 Bond St in Sydney. Although her official position was an “assistant,” she also focused on her own photography projects. Cotton and Dupain had been friends since childhood and used to spend their summer vacations taking pictures at Newport Beach. Their shared interest in photography cemented their friendship, and they eventually got married in 1939 and had two children. However, their marriage was short-lived and ended in separation in 1941. They officially divorced in 1944.

In 1938, Cotton joined the short-lived Contemporary Camera Group. She also tried her hand at fashion photography and worked in the commercial section of the Commemorative Salon, which was organised by the Photographic Society as part of the 150th-anniversary celebrations in Australia. It was during this period that Cotton and Dupain relocated their studio in Sydney to a more spacious one on Clarence Street.

Divorce and solo career

After her divorce in 1941, Cotton found work teaching mathematics at Frensham School, a progressive girl’s school in Mittagong, NSW. When Dupain left Australia to serve in the military from 1942 to 1945, Cotton managed his studio. Cotton received numerous commissions during this time, including creating wartime propaganda photographs for AWA, a wireless manufacturer. She also designed a mural for architect Sam Lipson’s modern house, which unfortunately was destroyed in the 1980s. The original mural measured 182.9 x 76.2 cm.

The only known print of a smaller version of the mural can be found at the National Gallery of Australia. The client had shown interest in ballet figures after seeing a mural created by Max Dupain. The brief for the mural was flexible, and it took Cotton over one hundred hours to complete. Cotton did not intend to make a Surrealist work but focused on using techniques to capture her desired image. Helen Ennis has documented the processes and techniques used by Cotton to create this piece in her entry for Heritage: The National Women’s Art Book.

Remarriage

She married Ross McInerney in 1944, and together, they relocated to Koorawatha, near Cowra. For the first three years of the marriage, they lived in a tent before buying ‘Spring Forest’ a two-room cottage. Later, they moved into the old barracks on the property.

The marriage produced two children. A daughter named Sally, born in 1946 (while they were still in the tent), and a son named Peter in 1948. Cotton quit her job as a professional photographer and returned to teaching.

From 1959 to 1963, Cotton was a mathematics teacher at Cowra High School. In 1964, she established a studio in Cowra where she specialised in professional photography services such as children’s portraits, wedding photography, and landscape photography using a Rolleiflex camera for her work.

Additionally, she ventured into uncharted territory by exploring alternative photographic techniques. These included photograms and camera-less photography, enabling her to craft dreamlike and unconventional visuals.

Later Life

Unfortunately, while at home, Cotton suffered a fall that resulted in a broken leg. She was hospitalized in Orange and later moved to a nursing home. In 2003, Cotton passed away at Cowra Hospital, aged 92, with her husband of 60 years, Ross McInerney, by her side.

Cotton’s photographic works are renowned for their meticulous attention to detail, use of natural light and sensitivity towards her subjects. One of her notable works is “Teacup Ballet,” which has become an iconic representation of Australian photography. The image was featured on the 1991 Australian postage stamp honouring the 150th anniversary of photography in Australia.

Olive Cotton’s work has been recognised through various retrospectives in Australia and globally. The Art Gallery of New South Wales hosted a significant exhibition in 2018 called “Olive Cotton,” displaying over 130 of her photographs. The exhibit featured a diverse range of Cotton’s career, including her experimental works, portraits, still lifes, and surreal images. Many of these works were rare and had never been seen before.

Posthumous Fame

The National Gallery of Australia in Canberra curated an exhibit in 2021 titled “Olive Cotton: A Life in Photography,” showcasing over 100 of her photographs. These delved into the themes of nature, domesticity, and the female perspective in her artistic vision. The exhibit also presented archival materials such as letters, notebooks, and personal photographs, offering a glimpse into Cotton’s life and creative process. In 1995, the National Library of Australia published a book chronicling her life and artistic oeuvre. Many of her works can be viewed at the Art Gallery of NSW

Cotton’s photography has gained global recognition through exhibitions at prestigious venues such as the International Center of Photography in New York and the Museum of Photographic Arts in San Diego. These retrospectives have solidified Cotton’s position in the esteemed group of Australian photographers and introduced her work to a new wave of enthusiasts and academics.

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