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Adelaide, architecture, colour, critical writing

State of Hope: a review

April 8, 2017

The latest issue of  the Griffith Review is  no 55,  is called State of Hope and it is about contemporary South Australia.  It is edited by Julianne Schultz and Patrick Allington    and the issue consists of  short essays and memoir, fiction pieces and poetry, and photo stories.  Authors include Robyn Archer, John Spoehr, Peter Stanley, Angela Woollacott, Kerryn Goldsworthy, Chris Wallace, Dennis Atkins, Nicholas Jose, and Ali Cobby Eckermann. This is an Adelaide and South Australia as primarily  seen by those working within a literary culture that includes print journalists in the mainstream media (i.e. Murdoch’s Advertiser no less).

The Griffith Review is a  leading literary magazine in Australia that  sees itself as a “high quality, agenda-setting, quarterly publication, delivering insight into the issues that matter most in a timely, authoritative and engaging fashion”. Griffith  Review peer reviews the submissions  to its various issues and  nearly all of  the members of the expert panel academics in universities in the eastern states. Previous issues have been  devoted to Tasmania and Queensland.

What is presented in these texts is the public role of writers as public intellectuals. Writers, it seems,  have a role to  to challenge and arouse the nation–ie., to speak truth to power— given the pressures of  the new media technologies and the forces of globalisation on Australia’s  literary culture—and, thankfully,  the old split between between academe,  creative writer and critic  is absent.

The  market blurb to the  State of Hope text says that:

As the industrial model that shaped twentieth-century South Australia is replaced by an uncertain future, now more than ever the state needs to draw on the strengths of its past in order to move ahead. Now, on the cusp of change, the state needs to draw on its talent for experiment and innovation in order to thrive in an increasingly competitive world. State of Hope explores the economic, social, environmental and cultural challenges facing South Australia, and the possibilities of renewal and revitalisation.

This is a reasonable assessment.  South Australia is undergoing extensive de-industrialization that began in the 1970s and an uncertain  post-industrial  future does  loom. However,  South Australia is not alone in this–eg.,  witness Victoria. The process of de-industrialization  and an uncertain future also applies to Australia as a whole after the mining boom.   I also concur that the big shift to renewable energy in South Australia,  as  noted by some contributors,  is an indication of  the shape of a new future for the state.

One characteristic of State of Hope  that  I found   surprising was  the heavy doses of nostalgia with respect to the subjective memoirs of childhood and  youth remembered in Adelaide  in many of the literary contributions. This  nostalgia about the good times in South Australia’s past—-eg.,  when South Australia under Don Dustan could claim to lead the nation in politics, culture and civic virtue— does not engage with  the  contemporary revitalisation of urban life in the CBD.

construction, Franklin St, 2011

Contemporary Adelaide, which  is undergoing rapid change–not just decline– is overlooked  by the looking backwards to the golden days of cheerful,  suburban life in the 1960s and 1970s.  That is 40-50 years ago.  So what about now—everyday urban life in contemporary Adelaide?  Continue Reading…

architecture, Mallee, roadtrip, South Australia, topographics

contemporary Australian roadtrips

March 16, 2017

It is good to see that road trips –as distinct from the expedition,  the field trip or travel photography –have started to  become popular amongst  Australian  art photographers as distinct from the American road trip tradition, which  largely happened after 1945 with its myths about driving west in the car to The Promised Land.

We can begin to think in terms of a photographic tradition  of road trips in Australia as a genre:  one that is framed by the modernists  as the act of being  on the road;  the art of individuals–the lone photographer– producing discrete works;  and the photograph as a self-contained work of art.  The road trip is a part of a dream of being on the open road;   the  photography is an existential act of wrangling with an alien world, mastering it by anthologising it,  and giving unique insights into what lay behind everyday appearances. The road trip genre  tends to be biographical and personal.

A starting point for constructing this tradition, given the decline in the curatorial interest in photography in the 21st century,   would be the  2014  exhibition,  The Road: Photographers on the move 1970-85 exhibition at the Monash Gallery of Art,  even if it was confused about what constitutes a road trip–Robert Rooney photographing the same car  in different locations around Melbourne–with its reference to  the serial propositions of Ed Ruscha such as Twentysix Gasoline Stations (1962)—is not a road trip. The 1985 cut off  date meant that  the exhibition  did not include  the latter road trip work by Trent ParkeNarelle Autio  or the work of David Marks.

I am slowly working away on a road trip project  and posting the images on  my On the Road  Tumblr blog. There are some more from the 1980s on my  archival blog.  Even though it is envisioned  to be a book,  this  project is based on several trips and it currently has no title or theme.    Liquid Moments?  Oddly Squared?   No Maps, No Plans? Easy Roads?  Dark Lies the Road?

The image below of an altered landscape in the South Australian mallee  is  from the archives,  and it one of the earliest of my  road trip  photos.

silo + tractor, SA Mallee

The South Australian photographer  Che Chorley has a book in production from  his 2016 Land Sea You Me  road trip  (bike trip) from Eucla in Western Australia to Nelson on the Glenelg River in Victoria.   The Melbourne based  Nathan Stolz is on his  six months A Long and Winding Road  road trip to  explore and probe Australian identity and cultural difference in the the early 21st century. My work in  the  The Long Road to Lajamanu  works within the road trip tradition.

There may well be other art photographers who have archives  of road trip photos  and/or are working on contemporary road trip projects in Australia that I don’t know about.   Eric Algra comes to mind.    Continue Reading…

architecture, critical writing, history, Mallee

documentary photography: a note

February 26, 2017

Australian Photography: The 1980s was a photographic  exhibition curated by Helen Ennis at  the Australian National Gallery around 1988, the year of  Australia’s Bicentenary.    This event triggered debate on Australian national identity, Aboriginal rights, historical interpretation and multiculturalism.

This survey style exhibition focused on both new work by emerging artists, by which was meant a new generation of professionals trained in the art schools;  as well as recent work  by those artists who had began their careers in the mid to late 1970s,  and whose work has often addressed more traditional photographic concerns in the 1980s.

Carwell, Victorian Mallee

Carwarp, Victorian Mallee

In the catalogue Ennis observed that due to the centrality of photography’s position with postmodernism, some photographic work  has enjoyed as high profile in exhibitions of contemporary art. However, photographs displaying more traditional concerns, for example, those made in the photo documentary and formalist styles,  are rarely considered in the art world.

As an  example of  exhibitions of contemporary art that gave prominence to photographs Innes mentions Australian Perspecta and  the Biennale of Sydney exhibitions held at the Art Gallery of New South Wales. These were photos  that displayed clear links to works of art rather than photography  that seem to be derived from a particular knowledge of the medium and its history.  Australian Perspecta, which was  a biennial survey show to  showcase Australian contemporary art  ran from 1981 until 1999 and it is an example of the way in which the State Galleries  focused on the big national and international survey exhibitions as well as the  block-buster touring shows due to their  capacity to generate large amounts of revenue.

Continue Reading…

Adelaide, architecture, topographics, urban

place and memory

January 3, 2017

In an earlier post about  The Bowden Archives and Other Marginalia   project I mentioned that  the book increasingly looks to be about place and memory.

The places in the book are the Adelaide CBD, Bowden and Adelaide’s suburban beaches. They are places in the sense that memory is formed in and by place through experiential interactions and in turn, place triggers personal and collective memory  

Conroys, Bowden

Conroys, Bowden

Certainly my memories of these places are being triggered by the specific photographs that I have been selecting  from  my 1980s and 1990s  archives. Many of my memories  from this period have long been forgotten.  They are slowly returning as I reconstruct this period through photos and research material about the process of de-industrialization in South Australia. Continue Reading…

Adelaide, architecture, black + white, South Australia

Citi-Centre

December 19, 2016

2016 has ended with me in debt from 1 solo exhibition, three group exhibitions and  publishing  the Abstract Photography book  during the year.  So 2017 will necessarily be  low key,  as it is  primarily a year of paying off the debts incurred.  I have decided to  use the period of consolidation to  work through my 1980s and 1990  photographic archives to get material  for a book tentatively entitled The Bowden Archives and Other Marginalia.

Citi-Centre, Rundle Mall

Citi-Centre, Rundle Mall, Adelaide

Any photography that I do in 2017 will be primarily concentrated on the collaborative  Mallee Routes project  in order to  build up the images in  my digital and film galleries  so that there is material for  a second exhibition. One is tentatively being planned for in late 2017.

The 1980s in Adelaide witnessed a building boom of office development that was  fueled by the deregulation of the exchange rate and the financial system. By 1985 Australia had  become more integrated into a global market, partly because the internationalisation of the world’s capital and financial markets had already proceeded so far that it was more or less impossible for a small country like Australia to resist moving in the same direction. Deregulation in Australia by the Hawke-Keating Labor Government  created  culture of unrestrained growth a boom in property and tourist developments,   and speculative investment by managers unprepared and untrained for the consequences.

Continue Reading…