Browsing Tag

film

architecture, black + white, film, roadtrip, South Australia

a photocamp at Wallaroo

August 12, 2017

The picture below of silos at Wallaroo on the north-west of York Peninsula in South Australia was made  whilst on my first photocamp with Gilbert Roe  in 2016. I had realised that day trips into the Mallee would not work  for  the Mallee Routes project   since I photograph in the early morning or late afternoon light. So  for the road trips to work  I needed to  camp in a specific location and work from there for several days. I need to get to know the area, the subject matter and the lighting conditions.

Wallaroo was a test run to check out our  old camping equipment that we hadn’t  used since the 1990s. I needed  to see what still worked,  what  needed to be replaced  to make a  photo camp successful, and to judge whether or not I was still up for camping.  Much to my surprise, the camp  at Wallaroo worked a treat, and  I thoroughly enjoyed it.

silo, Wallaroo, York Peninsula

My various experiences  at the subsequent  photo camps at Ouyen, Hopetoun, Loxton and Hopetoun  have  resulted in the acquisition of a new tent, a new stove and  a  portable fridge. The battery and  the solar panels to keep the fridge running at the photo camp whilst I am out exploring the local region  during the day are the next  necessary items to acquire. Then camping on a phototrip  is no longer a hardship.
Continue Reading…

critical writing, history

the modest vocation of photography?

June 26, 2017

I joined the library at Flinders University of South Australia as an alumni so as to  gain access to books that could help with my research for some of my photographic projects, such as  the  Tasmania Elegies and the Mallee Routes ones.  I also wanted to see how  photography had been incorporated into the  recent histories of the Australia visual arts after the boom in the 1980s and the postmodern revisions of modernism.   Was it now on a par with the traditional mediums of the visual arts within their  autonomous sphere,  and was it accorded the same art-historical tenets in the context of the coexistence of the multiplicity of styles and tendencies?

I started reading Christopher Allen’s  book Art in Australia: From Colonisation to Postmodernism that was  published in 1997.  Allen is currently a national art critic for The Australian, and if  he is currently working  as a conservative art critic,  his 1997 text acknowledges that  Australian culture has received its styles from elsewhere. There have been  Australian impressionists, post-impressionists, cubists, surrealists, abstractionists, pop artists and postmodernists.

Allen’s argument is that no visual style is simply received: the history of Australian art, so far as it merits a history of its own, is the history of our adaptation of these foreign styles to our own unique purposes.  This grounds Australian art deep in the broader currents of Australian history. Art becomes part and parcel of the history of our coming to terms with our unique physical, social and political environment. Whatever you do, you inevitably implicate yourself in a specifically Australian set of concerns,  and  to deny these implications is simply to implicate yourself further.

Wentworth Forest, Tasmania

No photographers are included in the colonial period and Max Dupain, Ponch Hawkes and Sue Ford are  mentioned in passing.   In   his  last chapter on postmodernism Allen says that postmodern photographers, such as Anne Zahalka, Fiona Hall and Bill Henson were unlike those photographers:

 who work grew out of of the observation and documentation of their social environment –which is after all perhaps photography’s  real, though modest vocation–these artists made picture of elaborately, prepared subjects….The most prominent of the photographer’s is, however, without a doubt, Bill Henson, if only because he achieves what is hardest for  the photographer–that is to construct an imaginary world: in his case it is a night-world of naked bodies, ruins and disaster.

Fair enough.   Yet there are no examples of a photography that is based on observation and documentation in his history.   Nor is there any consideration   of  the changing views of what constitutes observation and documentation in relation to visual composition and  the broader currents of Australian history;  or to the way that photography  represents  how Australians have come  to terms with their  unique physical, social and political environment.

So we can infer that, for Allen,   photography has a peripheral presence in  terms of the visual arts. Photography is not listed in the index of the text.  The core of the visual art in  Allen’s aesthetic rationality  is painting and photography is not considered to be  on a par  with the traditional mediums of the visual arts.  Continue Reading…

archives, critical writing, Tasmania, topographics

Tasmanian Elegies: antecedents

June 8, 2017

I have been slowly plugging away on the Tasmanian Elegies project. I have  been going through my film archives  and posting selected images on the Tumblr blog. I am up to my  2012 visit,   but I think that there is a gap of 4-5 years before I return to Tasmania on a phototrip. It looks as if the project  is starting to come together and that I will have enough images  to start thinking in terms of  a book for this project  after ‘The Bowden Archives: memory, text, place’    is done and dusted.  This is a project with a long gestation period.

I  will probably  enough images but it is the text that is going cause me trouble. Tasmanian Elegies  is at odds with the  emphasis on landscape photography   in Tasmania,  and that branch of landscape photography known as wilderness photography.I am probably going to have to go to a university library to access, and read  what Roslynn D. Haynes in her   Tasmanian Visions: Landscapes in Writing, Art and Photography (2006) has to say.

water tanks, Mt Lyell Mine, Queenstown

This emphasis on wilderness by Tasmanian photographers is understandable given the large number of wilderness areas  in Tasmania,  the ongoing threat to wilderness  from the mining and timber industries and the environmental movements defence of wilderness in the face of these threats.  Photography has become the chief visual instrument of environmentalists endeavouring to increase an awareness of the natural beauty and sublimity of Tasmania’s wilderness. Wilderness here  is usually  understood as  an unpeopled wilderness. Continue Reading…

colour, exhibitions, film, history, Indigenous, landscape

The Lumen Seed: Questions for a Conversation

March 20, 2017

The  questions below were written by myself  in order to facilitate  a  conversation at the launch of Judith Crispin’s The Lumen Seed  book at the Atkins Photo Lab  gallery in Adelaide  on  Friday,  17th March  2017. The questions  were  structured around  The Lumen Seed book,   and they were designed to give some background to the construction of the text for the audience.   They place the emphasis  on Judith’s  photography rather than her poetry,  given that the space for the launch  at the Atkins Photo Lab  is a photography gallery. The audience pretty much took over once we got the conversation rolling.

The images in the post are mine and they were made whilst I was at  Lajamanu.  There  has been one review  of the book so far: –namely, this  review of  The Lumen Seed at the F-Stop photography magazine.  

Lajamanu 

1. Since few people in the audience would have been to either the Tanami Desert or Lajamanu we will start the conversation  here. Lajamanu is 4000 kilometres from Sydney and around 800 kilometres north west of Alice Springs. It’s remote and difficult to get to. So the first question is  why Lajamanu Judith?

2. Remote indigenous communities have a negative  profile in the mainstream media,  and those on the conservative side of politics want to close them down and shift people to the bigger towns. This is  currently happening in Western Australia with support from the Federal Government which has withdrawn funds for essential services including the supply of power, water and management of infrastructure.

When I was at Lajamanu I was surprised at how well the Warlpiri community was functioning. This indicated that  more is going on here  than Tony Abbott’s lifestyle choice. From my brief stay I gained the impression that the life of the community was premised on a synthesis of tradition and modernity.

Is that impression right? If so,  can you tell us how the Warlpiri are succeeding and what they are trying to do? Can you answer in terms of the Warlpiri’s conception of their relationship to Australian modernity.

3. What  do you think is the biggest threat to the Warlpiri’s future at Lajamanu?  Is it  the impact of climate change on the Tanami in the form of more droughts and floods? Or would it be the failure of the younger generation to continue to walk the difficult line  between tradition and modernity?

Trunk + bone

 

Photography book

My experience when I was at  Lajamanu in 2016 was one of being a cultural tourist. I was very uncomfortable in that role, and I wasn’t sure how to step beyond being a cultural tourist to photograph what I was seeing.

4. So Judith, was that your initial experience as a photographer at Lajamanu?  When did you start moving away from  being a cultural tourist to begin to  formulate the ideas behind the Lumen Seed project?

5. Why did you decide to incorporate the broader historical context around the Warlpiri and Central Australia into your photographic project?

Most photography books adopt a similar format: a series of photos in the form of a visual narrative with a brief, written introduction, usually written by someone other than the photographer. The emphasis is on the images. The Lumen Seed, in contrast, is much more multilayered and intertextual.

6. Can you tell us why you took this approach to a photography book?  Continue Reading…

abstraction, critical writing, Melbourne

Unless You Will, 2017

February 20, 2017

I was unable to participate in the Unless You Will conference or symposium  at RMIT in  Melbourne that  took place during 17-19th February 2017. This was unfortunate  for me,  since the symposium was designed as a physical meeting place for art photographers, but it was one  without an online conversational dimension. So I am currently in the dark about what took place or what the key ideas that were presented and debated.

Though I know that Unless You Will was founded by Heidi Romano, who also directed the inaugural Photobook Melbourne festival, I am out of the loop.  For example, I failed to submit my Abstract Photography: re-evaluating visual poetics in Australian modernism and contemporary practice   book  for the 2017 Australian Photobook of the Year Award.  I just didn’t know about the award. I felt that I should have, given my shift away from exhibitions towards producing photobooks.

Lyonville abstract

Lyonville abstract, 2016

 

The blurb  for the Unless You Will  conference  says that this symposium seeks to cultivate interaction and connection within photography:

As  a kind of visual meeting place or think-tank it provides  is an opportunity for the photographic community to share different practices, gain insights into other artists’ work and inspire critical discussion around emerging trends and ideas in photography and visual culture….The aim of the symposium is  to search for avenues beyond the traditional in presenting photography.

The central aim  of the  Unless You Will project is to connect Australian photo creatives with their overseas counterparts around visual storytelling. That suggests  that the photographers involved with, or connected to  Unless You Will, are working within the tradition of long-form documentary storytelling.  Continue Reading…