Hero or anti-hero? It's an ongoing argument. This exhibition sheds some new light on
the perennial question. An exhibition at the Museum of Sydney curated by Nicholas
Thomas and featuring the photographs of Mark Adams

Captain James Cook is commonly regarded as the greatest maritime explorer of all
time. Revered by many, his voyages were indeed extraordinary. Cook's voyages also
inaugurated contact with indigenous peoples across the Pacific and Cook is now
reviled by many as a colonizer whose arrival brought misery and disruption. It is
however a profoundly more complex and contradictory story.

Using a magnificent series of large format photographs Cook's sites documents the
places Cook came from and takes us on a tour of his discoveries that helped shape his
own life and that of 18th century Britain.

These contemporary works evoke the places central to Cook's life and voyages –
from the English port of Whitby where he began his sailing career, to the lava coasts
and Hawaiian temples of spectacular Kealakekua Bay where he met his dramatic end.
In between, we are taken to the remote and beautiful waters of Dusky Sound in New
Zealand, the luxuriant Tahitian tropics, and the beaches of northern Australia, with
many other stops along the way.

The exhibition features New Zealand photographer Mark Adams's images with texts,
documents and original ethnographic and scientific specimens that help to bring
Cook's momentous voyages to life. Curated by acclaimed writer and anthropologist
Nicholas Thomas, the exhibition addresses this fascinating but disturbing history in an
unexpected way. By using Adam's photographs to present the past and question it, the
thought provoking images show Cook's 'sites' to be multi-layered places with many
associations that have accumulated over the past 230 years.

The images also capture much of today's Cook commemoration in the form of
statues, monuments and signposts prompting us to think about how 'history' is made
and packaged. The viewer is presented with genuinely conflicting perspectives
allowing for personal judgments to be made of this historic period.

Including Indigenous perspectives into the exhibition, with works by Gordon Bennett,
Brenda Croft's photograph, Cook-oo, HJ Wedge's Captain Cook Con Man and Adam
Hill's Bennelong Time, forms an interesting parallel view to that presented by the
photographs.