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.
It has initially been constructed in the form of a Tumblr blog. The blog is here and the project starts from the bottom of p. 4. The impetus for the project was Photoforum NZ’s recent open call for submissions for their online gallery (images of the project only), and then their call for submissions the form of a pdf for their publications programme (text plus images).
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:
Massey Uni, Wellington
There is another outtake here. Another outake is here.
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…
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.
sand dunes, Largs Bay, Adelaide
My own portfolio is structured around my shift from street photography to topographics. This would exclude the landscape photographs, and it foreshadows my turn to, and latter embrace of, a topographical approach to still photography. The topographical turn, which was made during this period, with both the Port Adelaide series and the spatial interpretations of Adelaide, was largely shaped by using large format cameras. It was a foreshadowing in the sense of my not consciously relating this to the New Topographics tradition in the US, even though I was consciously photographing a human altered landscape. Continue Reading…
In starting to work on the Fleuriescapes project once again I can now see that it is more about place and homecoming, with the photographic style more in the form of poeticising. The project is about being at home in this particular place, and it is about exploring what that means through poeticising what is familiar and taken-for granted in our everyday, pre-reflective life.
After we left living in the CBD in Adelaide to shift down to Victor Harbor (ie., sea change) it slowly dawned on us that the southern Fleurieu Peninsula was our home Adelaide is now where we go to do business then leave to return home–it is a world of instrumental value and rushing about. Though we were once comfortably at home in the city’s everydayness and its local neighbourhoods we no longer are at home where we used to live.
We often dip in and out of the consumer society of the city; an urban life that is based on unending economic growth and gaining satisfaction from consumerism. We no longer miss living in the urban world of the city 0f Adelaide, with its coffee shops, entertainment, businesses, art galleries, film labs, corporate universities, people and politics. Our experience of the city is now akin to one of homelessness–a passing away of belonging to a world based on unlimited economic growth.
I have started going though my photographic archive to select photos that I have made in Tasmania for the Tasmanian Elegies project. I wanted to move beyond the ones in the website’s gallery as they are a lot more in the archives and I didn’t know what to do with them. So I have revamped an old Tumblr blog and turned it into a way of selecting the images from the archive. Hence we have Thoughtfactory’s Tasmanian Elegies blog.
This publishing platform will allow me to see the images in terms of a project; a project that can become a book, if the images hold up and look interesting together. Books, I am realising, have long lead times–a couple of years for me. The blog is the first step in constructing a text.
Mt Lyell mine landscape, 2012
One motivation for doing something with the images in the archives is the Griffith Review’s edition 39 on Tasmania–The Tipping Point, whose co-editor was Associate Professor Natasha Cica, the then director of the Inglis Clark Centre for Civil Society at the University of Tasmania. It consists of essays, articles, reviews and review articles on a wide range of cultural and media matters, as well as fiction and poetry’. The core argument is that Tasmania is in transition from a resource -based economy (logging and mining) to a ‘smart island’ focused around culture, food, and tourism.
This is a big shift for a small population (just over 500,000) still caught up in the battle between the environment and conservation and economic development and growth, and still experiencing a brain drain. Continue Reading…
My energies in the last month or so of 2016 have been directed in starting to put material –images and text—together for the photo-book that I have started working on. It is a form of memory work as it is an active seeking out and an interpretive and reconstructive approach to the past. The book is situated in the nexus of photography, archive and memory and it is a working through of personal and collective memory based on my photographic archive.
The first stage is going through the 1980s photography archive, selecting negatives from the contact sheets, scanning the selected images, and then digging around the internet for text to act as a commentary on this decade in Adelaide. The assembled material goes into a post on an old wordpress blog, which acts as a repository of selected material that I can then rework into an initial digital draft using InDesign. Or probably Scrivener, before I turn to InDesign, as I do need a word processor and project management tool that would allow me to compose and structure a difficult document.
newspaper boy, Adelaide
The book’s current working title is The Bowden Archives and Other Marginalia and, at this stage, it is composed of three main sections: Adelaide street images, the Bowden archival project, and pictures made away from the city–at the beach or on the road. I have primarily been working on the first two sections and these are looking okay. Continue Reading…