I have finally picked up working on the Adelaide Photography 1970-2000 book with Adam Dutkiewicz that is to be published by Moon Arrow Press. There has been more than a year’s break from the early stages of planning due to other book and exhibition commitments by Adam and myself. We have just called for submissions for the portfolios in the book, and we are now sitting back and waiting to see what comes in from the call out. Though it is not really clear at this early stage what kind of work will be submitted, the book’s explicit regional focus will fill one of the gaps in the art history of Australian photography that has traditionally been written around a cumulative teleology of styles and periods.
The design of the book is simple: each photographer will be given 6-8 pages to present their work from this period, and they will have a text to describe their work and their biography or profile. As there are currently around 20 photographers who expressed an interest in submitting a portfolio and there is some text, the book looks to be around 130 pages. The launch of the book will be at an exhibition of some of the prints in Adelaide early in 2020.
The year 2000 is a useful cutoff point for the book because this is when photography started to go global: the explosion of websites, art fairs, festivals, biennales, travelling museum exhibitions, catalogues, conferences, artist residencies etc associated with the international transmission of objects, ideas and photographers operating across the boundaries of nation states. If this meant that the hold that European and North American artists had over the production of contemporary art has been broken, that the art world has become more event-driven with biennials and art fairs in far-flung locations, then it also means the biennales are institutional sites whose ways of seeing contain an aesthetic regime of experience.
sand dunes, Largs Bay, Adelaide
My own portfolio is structured around my shift from street photography to topographics. This would exclude the landscape photographs, and it foreshadows my turn to, and latter embrace of, a topographical approach to still photography. The topographical turn, which was made during this period, with both the Port Adelaide series and the spatial interpretations of Adelaide, was largely shaped by using large format cameras. It was a foreshadowing in the sense of my not consciously relating this to the New Topographics tradition in the US, even though I was consciously photographing a human altered landscape. Continue Reading…
The Bowden Archives is is now in publication. I took the image files to the publisher–Wakefield Press— on Monday, the 17th July. I still have the text, or rather the three texts, to finish. I am currently struggling to get them into some short of shape. The overall argument is still very implicit and fuzzy, and the arguments of each of the texts are still hazy. I have another month to get the texts to flow, and once that is done I will finally have a draft of the book .
A book is the next stage after publishing the images online in Flickr and then a WordPress blog. It is very much a DIY project at a time when there is a substantial attack on knowledge, inquiry and, cultural memory caused by the austerity regime imposed by conservatives. This has seen ongoing public funding cuts to science authorities, universities, research programs, museums, archives, galleries and the public broadcaster along with a general dismissal of photography as a naïve, indulgent or downright irresponsible way to spend one’s time and energy.
Bowden kids, Adelaide
At this stage the preface is entitled ‘Living in Bowden‘, the second essay is entitled ‘Alternate Photographic Histories’ and the third text is entitled ‘Photography, Memory, Place’. The idea behind the book is to give a grounding to this style of regional photography; one that breaks with the positivist conception of documentary photography in the art institution by making the shift to hermeneutics and interpretation. This means that the photos are made rather than taken. It is a small and modest step to helping create a strong, critical visual culture to counter the latent anti-intellectualism directed at those people who want to talk/write about the ideas on which photography rests, as well as making images. Continue Reading…
I have been slowly plugging away on the Tasmanian Elegies project. I have been going through my film archives and posting selected images on the Tumblr blog. I am up to my 2012 visit, but I think that there is a gap of 4-5 years before I return to Tasmania on a phototrip. It looks as if the project is starting to come together and that I will have enough images to start thinking in terms of a book for this project after ‘The Bowden Archives: memory, text, place’ is done and dusted. This is a project with a long gestation period.
I will probably enough images but it is the text that is going cause me trouble. Tasmanian Elegies is at odds with the emphasis on landscape photography in Tasmania, and that branch of landscape photography known as wilderness photography.I am probably going to have to go to a university library to access, and read what Roslynn D. Haynes in her Tasmanian Visions: Landscapes in Writing, Art and Photography (2006) has to say.
water tanks, Mt Lyell Mine, Queenstown
This emphasis on wilderness by Tasmanian photographers is understandable given the large number of wilderness areas in Tasmania, the ongoing threat to wilderness from the mining and timber industries and the environmental movements defence of wilderness in the face of these threats. Photography has become the chief visual instrument of environmentalists endeavouring to increase an awareness of the natural beauty and sublimity of Tasmania’s wilderness. Wilderness here is usually understood as an unpeopled wilderness. Continue Reading…
We are in the process of planning a trip to Tasmania at the end of January for two weeks. In the first week Suzanne will walking in the Wall of Jerusalem National Park with friends and I will be photographing, probably on the West Coast. In the second week we will travel together around the island in a camper van and check out the Three Capes Walk in the south east of the island, visit Mona, and take in the Australian Wooden Boat Festival in Hobart.
Just by coincidence I came across an old roll of 120 film in an old bag–photos of Queenstown from a holiday in Tasmania that we had in February 2010. I remember taking the photos from this location, as I slid on the wet clay when I was coming down the slope to return to the car. I rolled down the hill and, in the process, damaged the film winding mechanism of the Rolleiflex SL66 that I was using. Lucky for me the Rolleiflex was able to be repaired back in Adelaide.
These were among the photos that I’d made before I started working on the Tasmania Elegies portfolio. Those portfolio photos of the Mt Lyell Mine and the King River were made on a subsequent trip to Tasmania, and they emerged out of the photos that I’d made in 2010. Continue Reading…
I have been bunkered down in the digital studio in front of the computer scanning the 1980s archival medium format negatives for The Bowden Archives and Other Marginalia book. With most of the scanning for the first two sections now done, I have started to scanning negatives for the third section. This one is based around my escaping from the confines of Bowden after I’d purchased a VW Kombi.
Some of these are photos of Adelaide’s suburban beaches (Glenelg, Larg’s Bay Semaphore and North Haven) during the heat of the summer, others are from day trips through the Adelaide Hills and Mt Lofty Ranges; some are from trips to Melbourne and there is one major road trip along the River Murray to the eastern seaboard. I wasn’t really aware of many of these photos that I’d taken. The negatives were developed, contact sheets made, filed away in a filing cabinet, then forgotten until now.
Mt Lofty Ranges
Though some of these photographs are concerned with urbanism, they are different from the Bowden section, which was very much concerned with the suburb being shaped by the spatial production of industrial capitalism; a fragmentary map of the suburb at a particular point in Adelaide’s urban history. Continue Reading…