The conceptually based and low key Silo project is taking me a while to refine and to realize in spite of its simplicity. It has been refined to a minimal project that consists of photographing 15 silos on the Mallee Highway from Talem Bend to Piangil using one camera (an 8×10 Cambo monorail), one lens (a Schneider-Kreuznach Symmar 300mm f/5.6), one type of film (Ilford FP4 Plus) and one tripod (a Linhof Heavy Duty).The photographs, like those of the conceptual artists in the 1960s and early 70s (e.g., Ed Ruscha’s Twentysix Gasoline Stations), will be paired with words in the form of titles and published in book form. There is nothing complicated about this kind of project.
Despite this conceptual simplicity and clarity it is taking me quite a while to realize the idea behind the project. It started in 2016 on some road trips, but, to my surprise, I have discovered that getting it up and running has proved to be difficult. I initially thought that I would photograph in colour as well as black and white but that approach ended in confusion. I then encountered various problems using the camera, the coverage limitations of the initial lens I was using (a Schneider-Kreuznach Symmar 210mm f/5.6), and difficulties developing the 8×10 sheet film without my own darkroom.
silo, Mallee Highway, Victoria
I also thought that I could work on the Silo project whilst simultaneously working on the Mallee Routes one, given that I was frequently travelling up and down the Mallee Highway to go toad from the various Mallee Routes photo camps. However, I found that though I carried the 8×10 Cambo with with me whilst on the Mallee Routes road trips, I would never get around to using it to work on the silo project. I was too caught up in the Mallee Routes project. I eventually came to realise that these were two separate projects that required quite different approaches to photography. Continue Reading…
On my first night camping on the camel trek in the northern Flinders Ranges I experienced a culture shock due to the degraded-landscape around me. Our camp at Bend Well (a water point) was west of Arkaroola and just outside the edge of the northern tip of the Gammon Ranges and I was stunned at just how degraded the ecology of this landscape of this part of the northern Flinders was. It wasn’t the dryness of the landscape that shocked me. This is a semi-arid landscape given the minimal rainfall (roughly around 150mm) that is highly variable and the hot, dry desert climate with cool to cold winters, and the periods of drought.
We were camped on Umberatana Station south of the dingo or dog fence that runs roughly east-west across South Australia. To the south of the fence, dingoes (wild dogs) have been destroyed It is north of the dog fence sheep that grazing is unviable due to dingo predation. The main grazing pressure south of the dog fence is from sheep, a few cattle and unknown number of rabbits and kangaroos.
trough, Bend Well, Umberatana Station
What really shocked me was the condition of the land—the ecological devastation–that had been caused by the long history over stocking by the pastoralists, drought and the plagues of rabbits since the mid-nineteenth century with little signs of contemporary landcare. I couldn’t help but notice the loss of vegetation and the subsequent destruction of the soil surface. This is certainly a human altered landscape that had been changed by the pastoral industry.
I appreciate that these pioneer settlers underpinned the general prosperity of South Australia in the nineteenth and early twentieth centuries since the various attempts at mining in the Flinders Ranges usually fizzled out quite quickly. The pastoralists also opened up the interior of the continent. Continue Reading…
Prior to going on the camel trek to the northern Flinders Ranges I was in Melbourne for a photoshoot about old industrial Melbourne for an upcoming SALA exhibition at Atkins Photo Lab with Stuart Murdoch. We spent a part of Sunday afternoon walking along Kororoit Creek in Sunshine in Melbourne’s west. It was a pleasant afternoon walking for a couple of hours along the creek from Stuart’s place, even though I was suffering from a painful back that I’d damaged just prior to leaving Adelaide for Melbourne.
The creek features in Stuart’s Sunshine project–which is about place, lived experience and memory. Some of his photos made along the Kororoit Creek Trail had been included a recent exhibition he had in 2018. It was interesting walking with a fellow photographer in their own territory.
Kororoit Creek, Sunshine
Though Sunshine is generally regarded as one of the forgotten suburbs of Melbourne’s west, I find it to be a fascinating place, both photographically and sociologically. It is a low-density residential suburb that is close to Melboune’s CBD by rail; the Vietnamese migrants are rapidly changing this suburb from its old industrial and white working class base; it still has plenty of industrial sites; it is earmarked for redevelopment; and there are some well cared for public commons. It is a photographically rich suburb to walk around in. Stuart’s Sunshine project is a making sense of this place that is his home. Continue Reading…
One of the more noticeable characteristics of the contemporary photographic culture in Australia is the dearth of independent critical-writing or public criticism that endeavours to convince the wider public of the worth of art photography through the process of explicating, encouraging, elevating, supporting, critiquing. There is next to nothing icy way of photo criticism in Adelaide:—the Broadsheet Journal has closed down, whilst The Adelaide Review, Artlink and Tulpa basically overlook/ignore photographic exhibitions The consequence of this lack of cultural building blocks is that art photographers working on long term projects live in a critical vacuum, despite the shift online to a networked digital world.
Many traditional photographers would not be concerned about this vacuum in photography’s critical discourse as they have no real love for art criticism, but it is a depressing situation that we find ourselves in. Criticism is a crucial part of making and enabling a photographic culture, and photography has been at the centre of critical debates and themes throughout late twentieth and 21st century art photography’s and it has had a crucial impact on contemporary art in this period.
Royal Adelaide Hospital
This lack of a critical impulse and discourse about contemporary photography is reinforced by the lack of value around the arts in mainstream media and among the public more generally. The entire journalism industry has been going through a major phase of disruption, and arts coverage has been the first to go in the mainstream media. It has been decimated over the last decade, which makes the newspapers irrelevant.
The primary reason for this is that the arts are no longer a priority for the mainstream media that is still dependent on advertising and sales revenue. The shift to digital means that the emphasis is now all about what rates online in terms of the most clicks from readers. Since the reviews of exhibitions are not being read, other than by those immediately connected to them, so the media publishers stop publishing art reviews. As his well known, the advertising model is broken and people do not want to subscribe to the mainstream media. Arts coverage in the mainstream media is directly commensurate with the advertising dollars it brings in re the page’s profitability. This means that arts coverage is in its own silo – it survives off the strength of art-related advertisers only. Continue Reading…
As mentioned in the posts here and here on my low key Rethinking Documentary photography blog I am involved in a collaborative photographic project with Stuart Murdoch on changing Melbourne. An exhibition at the Atkins Photo Lab’s gallery in Adelaide during South Australia’s 2018 SALA Festival is the first public showing of this collaborative body of work.
Linfox, Footscray, Melbourne
Melbourne, like New York in the 1930s, is changing very fast and the currently existing parts of the historical, industrial Melbourne will be gone tomorrow. These are the familiar things a city that are overlooked until they are gone. Bernice Abbott’s well known 1930s large format photo project, Changing New York, is a historical reference point in spite of the truncated nature of the 1939 book. Many of Abbott’s photographs from this body of work are now in the public domain, as they have been made available online by the New York Public Library. These photos are a reference point for our photographing a changing Melbourne, even though there are big differences between the two cities and the photographic projects. Continue Reading…