In early March I spent a week walking Wellington, New Zealand as well as photographing in the city, whilst Suzanne walked the Grand Traverse, Queenstown way with her Adelaide walking friends. I had studio apartment in the Aro Valley courtesy of Air bnb, and I spent about 8 hours a day walking the city in a Situationist mode. I drifted through central Wellington with two camera bags on my shoulders: one containing a Rolleiflex (TLR) a Leica M4-P rangefinder whilst the other held my newly acquired Sony Alpha A7r111, which I was slowly learning how to use.
2 houses, Wellington
I loved Wellington. It’s a funky, vibrant cultured city. I was so at home being there. Even though Wellington is a much smaller city than Adelaide in population terms, it is so much more alive in an urban sense. Despite the revitalisation since 2013 of the central city and the liquor-licensing reforms Adelaide remains a doughnut city. Wellington was much more alive than it was when I worked there in the 1970s as an economist in the public service. Then it was empty of life at the centre with little in the way of depth of character. The central city is a much better place these days.
Wellington also has a strong art photography culture which, unlike Australia, is connected to, and a part of, a literay culture. There is also a vibrant café culture with excellent coffee scattered amongst the Wellington ‘walkability’. The funky changes in the urban culture happened in the 1990s apparently, but I am not sure what the driving forces for the city’s transformation were, given that Wellington is largely a public service town. Was the emergence of a lively urban culture caused by the acceleration of diverse migration flows? 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…
The key idea behind the LBM Dispatch, named for and printed by Alex Soth’s limited-run publishing house, Little Brown Mushroom, is a reimagining of the iconic American roadtrips photography book as a series of small newspapers, each of which chronicles a quick trip Brad Zellar and Alex Soth have taken through a different state or territory of the USA. Previous Dispatches have covered Michigan, Ohio, and California’s “Three Valleys—Silicon, San Joaquin, and Death” and the Texas Triangle.
They pretend to be newspapermen and in the course of these road trips they end up in places that might well have been foreign countries. Little townships, small town service clubs and fraternal organizations, church dances, crime scenes, small business expos all quite different from the bland development of corporate America.
The Mallee is similar. Once you get off the highways and into the heart of the heart of the country you find that the historical notions about regional Australia’s cultural life and values are still out there. Sure, they’re under siege with the economic hardship and alcohol but there is a strong local culture, community, social life and sense of place. The Mallee, judging from my Hopetown photo road trip, has a strong and deeply rooted regional identity. Continue Reading…
The ‘contemporary’ in contemporary art often suggests a qualification of the modernity rather than a counter to the modern. The counter to a now historical (Greenberg-style) modernism was postmodernism, with postmodernism marking a critical distance from modernism. For some reason postmodernism died into history’s dustbin, and it has been replaced by contemporary art, which is what now regulates the division between the past and present in the present.
What then is contemporary art, and where does photography fit?
Some say that it is art works produced now that offer a fresh perspective and point of view, and often employing new techniques and new media. The fresh perspective is that contemporary art challenges what was before and hints that there is more to come. It should confront prevailing notions as well as being seen as interesting, exciting, significant and fresh.
Mt. Lyell mine, Gormanston
The term ‘contemporary art’ is usually associated with the break with the prevailing object-based and medium specific art that emerged in the 1960s and the sheer diversity of forms after the end of the Cold War in 1989. It draws on the legacy of the conceptual art of the 1960, whose historical significance was its rejection of the over-valuation of the aesthetic dimension of art in Greenbergian formalism, but it is post-conceptual in that it understands both that art is necessarily conceptual and that its aesthetic dimension is ineliminable because its materiality means that it exists in time and space.
Contemporary art also exceeds or ruptures the historically received conventions that had previously defined the various artistic mediums, and the emergence of the global transnationalization of the biennale as an exhibition form. Hence the idea of the de-bordering of arts as medium and the de-bordering of the national spaces of art.