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film, landscape, photography, roadtrip

Australian Roadtrips

November 10, 2019

I am currently reading Rebecca Dagnall’s practice based research PhD entitled, Landscape photography and the imaginary of an Australian Gothic. It was done in 2017 at RMIT, and consists of  three photographic projects: In Tenebris, The road trip, and Absence and presence: states of being in the Australian landscape. This blog post refers to Dagnell’s research around Australian road trips.

Road trips is an interest of mine. I have been making them and photographing over a number of years. Previous posts on this topic are here and here. My work for the Mallee Routes project is structured around road trips into the Mallee country.

Dukes Highway, South Australia, 2019

Dagnall starts the research part with David Campany’s recent The open road — photography and the American road trip; a book that provides a history of photography on the road through featuring the work of twenty photographers to document how artists have pictured America since the decisive work of Robert Frank in the 1950s. She then turns her attention to road trips and photography in Australia.

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Adelaide, archives, black + white, critical writing, photography, publishing

Adelaide Art Photographers 1970-2000

October 23, 2019

Whilst I was working on the Mallee Routes photobook for the December exhibition at the Murray Bridge Regional Gallery I was also working with Adam Dutkiewicz to complete the Adelaide Art Photographers book –forementioned in blog posts here and here–for Moon Arrow Press. The book is nearly finished. Adam and I visited the printers —Openbook Howden— in Adelaide yesterday to sort out some technical details, obtain a quote, and have a sample print of the cover made to check the blacks and the appearance of the font.

There is still some fine tuning to be done, but we expect the pdf to be sent to the printers towards mid-November, with the book printed by Xmas. It will be launched in early March 2020 at an exhibition of photos in the book at the Royal South Australian Society of Arts in Adelaide. Copies can be purchased earlier through Moon Arrow Press.

This is the revised front cover of Adelaide Art Photographers with its referencing the 35mm Kodak film strips of the 20th century without its flap:

front cover

The book is a companion volume to the previously published Abstract Photography (2017) by Moon Arrow Press in 2017. The Adelaide Art Photographers book is around 180 pages. There are 20 photographers who have 6 pages for their portfolios and 1 page for their profiles. There is also an essay on aesthetics, which is understood in terms of a critical philosophy of art in the cultural context of the anti-aesthetic. The latter understood aesthetics to mean judgements of taste about the formal beauty of art; with the modernist autonomy of art being understood as a (negative) freedom of art from social determination in a capitalist society.

The anti-aesthetic movement in this period was reacting against Greenberg’s modernist reinterpretation of aesthetic autonomy into the task of medium self-definition through purification. This was via the transposition of the concept of aesthetic autonomy into a linguistic register in literary modernism–with T. S. Elliot being the main influence on Greenberg here. This modernism rejects the past, established art forms and their typical ways of being practiced in favour of some new manner of art making; it affirm this new manner as the uniquely appropriate way, of practicing a kind of art expressive of the modern world.

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New Zealand, photography, publishing, Wellington

Photobook-NZ

March 30, 2018

I made a quick  return  to Wellington just after my walking Wellington trip to take part in Photobook-NZ  book fair   that was organized by Photoforum in association with  the photography stream  of the College of Creative Arts at  Massey University and Te Papa.   I didn’t participate in the masterclass for   creating and publishing photobooks, nor did I submit a photobook for the New Zealand Photobook of the Year Awards.   I missed the talks by Bryan SchutmaatCarolle Bénitah and Athol McCredie at Te Papa  on the Saturday as I had to mind my little stall in the   book fair   at Te Papa. The books on my  stall included Edgelands, Abstract Photography and Mallee Routes: Photographing the Mallee 2018.  Surprisingly, the book of mine that  people were the most interested in was the Abstract Photography book.

I  attended the opening on Friday night at Te Papa, heard  the  Peter Turner Memorial Lecture given by Jem Southam   on the Saturday night,  spend the Sunday at Massey University listening to the talks and panel discussions, reconnected with Sally Jackman (an old friend who I hadn’t seen since my time in Melbourne in the 1970s) on  the Sunday night,  and photographed around Newton on Monday.  I  flew back to Adelaide on Tuesday. All in all it was a wonderful and fruitful weekend.

Whakatane, New Zealand

The highlight of the Sunday session  at Massey University for me was the  talk by Katrin Koenning, a German photographer now based in Melbourne. The talk centred around the ongoing  Indefinitely project, which is  about the space created by her  family’s migration. The notion underpinning this is  that this space is not a vacuum or a void, but rather the creator of new narratives. This grew out of an earlier project Near, which was about Koenning’s  migratory experience. What I found interesting in this body of work in her talk  was the emphasis on emotionality,  darkness, and strong contrasts between darkness and light  in her pictures. Continue Reading…

critical writing, exhibitions, photography

The National: New Australian Art 2017

May 23, 2017

The National: New Australian Art  exhibition is impressive. It is spread across three of Sydney’s major art institutions (the Art Gallery of New South Wales (AGNSW), the Museum of Contemporary Art Australia (MCA) and Carriageworks), and it  claims to provide a  major focus on Australian art of our time. ‘Our time’, presumably, is  the contemporary postindustrial era of digital media, global capitalism,  mass entertainment,  constant flux, culture of excess,  and the proliferation of screens. This is  a time  of a  profound shift in orientation and sensibility as 21st-century Australia seeks to reimagine itself and to secure its identity within an increasingly globalised and interconnected world.

This inter-institutional project of contemporary art continues Sydney’s claim to be the country’s leading centre of contemporary art. This  claim  had been  previously based on the Sydney Biennale, and then  the Australian Perspecta series  from  1981 to  1999  at the AGNSW.  The National in  Sydney–Australia’s global city–is a six year initiative, with  three editions  in 2017, 2019 and 2021,  and it  will profile a mix of emerging, mid-career and established artists from around the country and practising overseas.The websites of the above  three institutions say that the new and recently commissioned works encompasses a diverse range of mediums, including painting, video, sculpture, installation, drawing and performance.

There is no photography was  my immediate reaction. This is confirmed by going though all the artists exhibiting in 2017.  No  photographers or photo artists. The closest is video art.   Photography, one can infer,  is not a part of contemporary art in post colonial Australia.   Neither are artists working in South Australia. Or Tasmania for that matter. So why these exclusion? Do  photographers and  the contemporary artists in the two excluded states  lack intellectual sophistication, critical nous  and the requisite  knowledge of art history?

Mt Lyell open mine, Queenstown

The exclusion  of photography from this exhibition of contemporary art  suggests the obsolescence of photography. It is outmoded, like the juke box.

My understanding of contemporary  art—the works exhibited at international Biennali  or Documenta — is that it refers to that  period frequently characterised by an inherently decentred, cosmopolitan, digitalised and globalised world order. In Australia it would be the post conceptual art after the Australian  Bicentennial in 1988,  and in situating  itself reflexively within the  contemporary,  it  is  art  in which formerly peripheral Indigenous and Australian art now has a key role to play. There are  different forms of artistic agency – aesthetic, poetic, social, political—  in the present,  multiple perspectives on contemporary life in Australia as a country, nation and state, the emergence of repressed histories,  an archival impulse, and the turn away from medium specificities.

The   question is, given the importance of digital images  on the internet,  why are art photographers not seen as a part of the networking of mainstream contemporary art?  This is  one  that explores the fault lines in  any fixed notion of Australian national identity,   the  different issues of contemporary life,  and  the ruins of modernity?  It’s a puzzle, especially when you see this kind of Photography Festival; a puzzle that suggests the obsolescence of photography.  Continue Reading…