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, 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.
Whilst working through my archives of the photography that I did in the 1980s when I lived in Bowden, Adelaide I came across this outtake from the Mallee Routes exhibition that Eric, Gilbert and I had at Atkins Photo Lab in October/November 2016. It was an outtake since I eventually decided that I didn’t want to exhibit any large format black and white photos in this particular exhibition.
ruins, Mantung, SA
In looking back to this period I relaxed that I came to Adelaide in the 1970s in an attempt to escape from the influence of the high seriousness of American modernism that was then sweeping through the newly established photographic galleries. The modernist aesthetic in the US and Australia was established as the “institutional art” supported by the political establishment and championed by cultural conservatives, and thus the antithesis to the avantgardism that closely accompanied modernism’s diffusion in Europe. The post-modern movement in the US can be interpreted as the American version of the avantgarde when it began to take shape in the 1970s and it suggested “new directions and new vistas” for artists in cultural politics.
This period was the tail end of formalist modernism and industrial capitalism. If it was prior to the emergence of postmodernism
in Australia it was the beginning of the new era of postmodernity, then marked by the Reagan/Thatcher era, the process of de-industrialization, the advent of economic deregulation, the new salience of globalisation, the emergence of finance capitalism and a neo-liberal mode of governance.