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
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…
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…