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:
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.
I have spent the last couple of months working on the Reconnections: Walking Wellington project. This is based on my walking Wellington around the time of Photobooks/NZ in 2018 and on my previous visits. These visits were designed for me to walk Wellington.
The blog was the easiest way for me to construct the project fragment by fragment, and it is also provides an accessible way for people to see the project in its embryonic form. The picture below is an outtake from the project:
If these submissions are not successful– I am assuming that they wont be, given both the nature of publishing in Australia and New Zealand and the strength and creativity of photography in New Zealand —then I have the basic draft for a new photobook. This time around I will submit the pdf to various book publishers. If I am not successful, then, and only then, will I consider publishing it on my own. I do need to explore the submissions route and experience the normal series of rejections. Continue Reading…
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…
I have spent some time in the last week or so contacting people to invite them to participate in the Adelaide Photography 1970-2000 book that is to be produced by Adam Dutkiewicz and myself for Moon Arrow Press. This book builds on, or is a development from, the Abstract Photography book that we published in 2016, which recovered what was left of the abstract modernist work produced in the 1960s. These are companion volumes so to speak.
The result to the initial email that has been sent out has been positive, in that the people who have been contacted so far have all said yes. Several others are rather slow in responding to that email. However, the main problem that I have encountered at this stage has been finding the contact details for some of the names of the relevant people that have mentioned. As a result some people who made art photographs during that period will not be included. They disappear from our visual history.
Harts Mill, Port Adelaide
Adelaide Photography 1970-2000 is designed to fill in one of the many gaps of the national histories and timelines of art photography in Australia that leave out Adelaide. This gap, silence or absence gives the wrong impression, as it implies that nothing of interest happened in South Australia in art photography during the last quarter of the 20th century. The inference is that South Australia is just a fly over state, and if any photographic work happened during this period, it is provincial, and so of little interest with respect to the national canon. Hence the idea of alternate histories–namely a rethinking of Australian photographic history that questions our understanding and interpretation of the past.
I have taken the plunge and started selecting the images I have made whilst on my coastal poodlewalks and putting them into a Lightroom folder as the next step towards constructing a photobook. I have been publishing some of these images on my Littoral Zone weblog, which I had set up in order to help me figure out what I am doing with the photographs that have been made almost on a daily basis. These are simple, low key photographs of humble things and fleeting moments encountered on my various poodle walks.
Venus Bay, Eyre Peninsula, SA, 2013
Since the photos in the poodlewalks blog were images-in-text, the concept behind the photobook is a visual poetics, or more accurately a photo-poetics; one that explores word image (textual-pictorial) relations. The book as a photo-text breaks with both the idea of the photographic image as a record of objects or events in the real world as in photojournalism’s narratives, and the standard conception of the photobook being images with minimal or no text. It is part of what Liliane Louvel, the French theoriest, calls an iconotext in which text and image merge in a pluriform fusion.
Such an approach breaks with a formalist modernism, as that held held that the literary and visual arts are substantially different and mutually exclusive; a view that reaches back to Lessing’s Laocoon with its distinction between the literature as a temporal art and the visual as a spatial art. With the decay of formalist modernism these rigid boundaries were breached with many theorists and artists positioning themselves against Lessing’s rigid borders. The mutual interdependence of images and words and the impure and mixed mediality of visual as well as verbal artifacts are now widely accepted in our visual culture. Photography-in-text is a hybrid product that gives rise to a hybrid textual genre–an intermedial photo-text. Continue Reading…