Browsing Tag

industry

architecture, landscape, Melbourne, ruins, topographics

drosscapes

October 12, 2018

Georgina Downey has usefully suggested that the collaborative   project of  photographing industrial Melbourne by  Stuart Murdoch and myself can be usefully framed as belonging to what landscape architects,  call drosscapes.  We have been photographing in and around waste urbanscapes that are different from edge lands  as it is a junkyard that is a by product of industrialisation and is in the process of being redeveloped.

The  concept of  drosscape was coined by Alan Berger (a landscape architect and associate professor at Harvard’s Graduate School of Design)  in 2006 in his book, Drosscape: Wasting Land in Urban America to refer to the waste landscapes. Berger proposed classifying a differentiation between waste landscapes (places that store, manage or process urban or industrial waste), wasted landscapes (polluted or abandoned sites), and wasteful landscapes (huge extensions of developed land with virtually no use for the community).

wasteland, Nth Melbourne

The idea of  drosscape applies to the industrial Melbourne site that Stuart and I have been photographing,  as this wasteland is currently being redeveloped as part of the extension of the Melbourne underground. Berger says that a  drosscape is:

“the creation of a new condition in which vast, wasted, or wasteful land surfaces are modeled in accordance with new programs or new sets of values that remove or replace real or perceived wasteful aspects of geographical space (i.e., redevelopment, toxic waste removal, tax revenues, etc.)”. As a verb, he sees the ‘drosscaping’ as the practice incorporating social programs and activities into the transformed waste landscape.”

He adds  that one must not commit the mistake to call an abandoned train station by itself a drosscape. In this instance, a drosscape would be the integration of new horizons onto the unused site, which by itself it is only dross. Continue Reading…

history, Melbourne, roadtrip, topographics, urban

Topographics and a changing Melbourne

April 20, 2018

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…

architecture, black + white, critical writing, history, landscape, South Australia, topographics

the spatial turn + topographic photography

August 25, 2017

The idea of linking  the spatial turn in the humanities to my 1980s photos emerged whilst I was exploring my   photographic archive for the proposed Adelaide Art Photography: 1970-80 book to be published by Moon Arrow Press.  Noticing  a shift in my photography  from street to topographics,  I started to make connections  in  my archive blog  to the spatial turn in the humanities in relation to the landscape and space that had emerged in the 1980s. This spatial  turn refers to  the landscape and space being  understood in terms of  them being socially constructed and continuously reshaped.

The factory in this photo, which was situated near the railway bridge  has long gone. So have the mangroves,  replaced by  a housing development that was designed to revitalise Port Adelaide.  This then is an urbanscape whose history is that of being continuously transformed by the power of capital since the 19th century.  It is not a landscape the traditional English sense of  a picture of natural inland scenery,  or  the Australian sense of a national landscape painting associated with Romanticism as in the Heidelberg School.     Landscape in this traditional sense  usually veils historically specific social relations behind the smooth and often aesthetic appearance of “nature. The tradition of the  landscape in the visual arts acts to “naturalize” what is deeply cultural,  social and economic.

mangroves, Port River estuary

The emphasis of the Port Adelaide  photography, which  is on place  and the mapping of place,  is a part of the tradition of chorography  that seeks to understand and represent the unique character of individual places. In chorography, the skills of the artist (painter and writer) were more relevant than those of the astronomer and mathematician, which were critical in geography.  Choreography is a part of the  pictorial topographic mapping tradition.  Continue Reading…

Art, colour, critical writing, digital

photographic gatekeeping’s framing

June 18, 2016

One of the  notable tendencies in contemporary photography is a closing of the ranks in responses to the digital revolution  that has transformed  photography’s technology,  seen digital photography  undeniably become  the pre-eminent means of imaging and photographers as a profession feeling beleaguered. Yhje response is the deployment of the frame  that separates the inside from the outside.John Szarkowski, past director of photography at MOMA, defines the photographic frame as “the central act of photography”–the line that separates in from out. Framing, according to this reading, delimits, controls, and encases meaning.

 Today the internet is filled with photos,  the internet is the realm of every person. Photography is now a means of expression common to everyone and exclusive to no one,   and we  mostly view images on a computer screen. Self-printing (eg., Blurb) has become more viable,   but it hits the mass distribution problem in getting the book  available in  the brick and mortar retail bookstores and on Amazon. The profession/industry is smaller and poorer.bThe photographic industry is beleaguered.

What emerges  from feeling beleaguered is a tacit form of  photographic gatekeeping in the form of  a  closing  of  ranks and the deployment of frames.  This  framing is most noticeable in the way the the art gallery encloses and displays. It cuts an inside from an outside, closing that inside on itself as pure interiority and surrounding it with value of art. The art Gallery—a museum?—  as frame is thus the constitution of the space that constitutes art by excluding what remains as other, its heterogeneity reduced to the status of nonart. The canonicity of the art gallery’s   collection is therefore haunted by a loss of  what is excluded –the trace of its other. Art history is built on these exclusions.

 However, what I also have in mind is a visual frame that takes the form of photographers  keeping their cards and contacts close to their chest,  and avoid sharing information with friends and colleagues for fear that someone else’s success might somehow come at their own expense.  By doing  this they are acting as gatekeepers within  the diffuse and informal distribution of power of  the networked and distributed nature of the photographic industry.
along Hall Creek Rd

along Hall Creek Rd

You can see this gatekeeping around photographic festivals,  as these are premised on inner and outer, core and fringe of photography as an art form.   The  competition is based on being on the inner or in the core. The means you have made it. You are successful. It’s good for your CV. Your career is on the up.  The outer or the fringe is for the hacks and amateurs. This gatekeeping  is understandable in the sense that art is a business and it has career potential.  So you must maximise your profile and marketing brings in commissions. Gatekeeping is necessary to stay ahead of one’s competitors.   Continue Reading…