I have increasingly been turning towards the layers of history in my project orientated photography of the present. The presence of history in the present is a complex relationship, and in exploring it I have come face to face with the historical, foundational narratives in Australia.
These colonial setter narratives contribute to the creation of national myth of heroic solo-endeavour and human tragedy within a ‘harsh’, intractable and unforgiving environment in which only the bravest and boldest could survive.
For instance, the western historiography of heroic exploration in colonial Australia is generally understood within the grand narrative of struggling heroically against adversity’ in the search for more land for further settler expansion and settlement.
This is a fundamental part of colonial occupation and imperial expansion premised on the elimination of the aboriginal people and the wholesale appropriation of their land. The primary motive for elimination is access to territory. Territoriality is settler colonialism’s specific, irreducible element.
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…
A common argument in photographic theory is that the triumph of the digital image as the contemporary form of photography forces a reevaluation of the traditional assumption of correspondence between the image and some form of reality of which it is said to be an imprint. The argument is that digital images that begin their life as binary data and are driven by algorithms cannot be comprehended through the conventional trinity of representation, the index and the punctum. A major shift has taken place with the emergence of the networked image.
As a photographer I understand the digital image to be an evolution from analogue photography: to all intents and purposes a digital image made with a digital camera is little different to the one that is made with an analogue camera. I situate myself in the world in the act of photographing, and then I use these working tools to construct visual representations. The Sony a7R111 digital camera is an automated, computational and pre-programmed tool compared to the entirely manual Leica M 4-P analogue camera that was made in the 1970s. The trajectory in digital photography is towards the expensive professional high end. This means increased automation, a pre-programmed apparatus, and more and more AI being built into the post processing software in order to counter the competition from the increasingly sophisticated cameras in smart phones.
Here is a digital image made with a digital Sony-a7 R111 camera:
Here is the analogue photograph made with the all manual Leica M 4-P analogue camera. The negative has been scanned into a digital file and then processed in Lightroom.
The differences between the two technologies within this logic of representation are minimal when they are viewed on a computer screen after being edited with Lightroom software. The object —ie., the quartz and creek in the two images –is known to us as a representation of the object. Photography is a process that mediates the world with the agency of light to produce legible images.
From my perspective as a working photographer the main difference between the two technologies is evolutionary. The digital technology is more convenient to use and it offers greater flexibility for hand held photograph in low light situations–eg., at dawn. As a photographer I continue to work within the trinity of representation, the index and the punctum, with both digital and analogue cameras. However, I do realise that the image on the computer screen made with a digital camera resembles the look of a traditional photograph because the computational processes are currently designed by the manufacturers to make these data packages look familiar to those working within the photograhic tradition.
The Tate exhibition basically re-inserts the history of photography into the well-writ narrative of art history to make a necessary point: – that photography merits serious consideration within the category of abstract art, and that the camera’s attraction to the shape of light rather than the shape of solid form as we perceive it, changed the way images of all kinds were composed. It also suggests that there has been a fruitful dialogue between abstract painting (Miro, Riley, Braque, Mondrian, Pollock, Kandinsky) and photography over the last hundred years.
This raises a question: has this kind of dialogue come to an end in the 21st century rather than being continued?
King’s Head abstraction
The curators place the 20th century’s avant-garde’s photographic experimentations (ie., abstraction) in the context of wider developments in art, with examples of cubism, abstract expressionism, Bauhaus and op art providing benchmarks. The curatorial argument is that abstract photography has evolved in step with painting and that there is a shared history. The relationship between painting and photography has been a symbiotic one, a close mutualist relationship that has benefited both art forms.
An alternative interpretation is that abstract photography followed behind abstract painting, in that abstract painters influenced the way photographic artists understood image and that the photos are the monochrome equivalents of paintings. This interpretation reinforces the culturally conservative position of the supremacy of painting. This conservative interpretation overlooks the way that both Rodchenko and Lazlo Moholy-Nagy challenged the supremacy of painting by refusing to see any medium as more important than another and by working in fields as diverse as film, graphic and theatre design, sculpture, painting and light shows. The common tendency in the Australian art institution is to adopt the conservative interpretation. Continue Reading…
I have finally picked up working on the Adelaide Photography 1970-2000 book with Adam Dutkiewicz that is to be published by Moon Arrow Press. There has been more than a year’s break from the early stages of planning due to other book and exhibition commitments by Adam and myself. We have just called for submissions for the portfolios in the book, and we are now sitting back and waiting to see what comes in from the call out. Though it is not really clear at this early stage what kind of work will be submitted, the book’s explicit regional focus will fill one of the gaps in the art history of Australian photography that has traditionally been written around a cumulative teleology of styles and periods.
The design of the book is simple: each photographer will be given 6-8 pages to present their work from this period, and they will have a text to describe their work and their biography or profile. As there are currently around 20 photographers who expressed an interest in submitting a portfolio and there is some text, the book looks to be around 130 pages. The launch of the book will be at an exhibition of some of the prints in Adelaide early in 2020.
The year 2000 is a useful cutoff point for the book because this is when photography started to go global: the explosion of websites, art fairs, festivals, biennales, travelling museum exhibitions, catalogues, conferences, artist residencies etc associated with the international transmission of objects, ideas and photographers operating across the boundaries of nation states. If this meant that the hold that European and North American artists had over the production of contemporary art has been broken, that the art world has become more event-driven with biennials and art fairs in far-flung locations, then it also means the biennales are institutional sites whose ways of seeing contain an aesthetic regime of experience.