Browsing Tag

South Australia

abstraction, coastal, critical writing, digital, publishing

towards a photobook as photo-text

September 3, 2017

I have taken the plunge and started selecting the images  I have made whilst on my coastal poodlewalks   and putting them into a Lightroom  folder as the next step towards constructing a photobook.   I have been publishing some of these images on my  Littoral Zone weblog, which I had set up in order to help me figure out what I am doing with the photographs that have been made almost on a daily basis.   These are  simple, low key photographs of humble things and fleeting moments encountered  on my  various poodle walks.

Venus Bay, Eyre Peninsula, SA, 2013

Since the photos in the poodlewalks blog were images-in-text, the concept behind the  photobook is a visual  poetics,  or more accurately  a photo-poetics; one that explores word image (textual-pictorial)  relations.  The book as a photo-text   breaks with both the idea of the photographic image as a record of objects or events in the real world as in photojournalism’s narratives,    and the standard conception of  the  photobook being images with minimal or no  text. It is part of what   Liliane Louvel, the French theoriest, calls  an iconotext in which  text and image merge in a pluriform fusion.

Such an approach breaks with a formalist modernism, as that held   held  that the literary  and visual arts are substantially different and mutually exclusive; a view that reaches back to Lessing’s Laocoon  with its distinction between the literature  as a temporal art and the visual as a spatial art. With the  decay of formalist modernism these rigid boundaries were breached with many theorists and artists  positioning themselves against Lessing’s  rigid borders.  The mutual interdependence of images and words and the impure and mixed mediality of visual as well as verbal artifacts are  now widely accepted in our visual culture.  Photography-in-text is  a hybrid product that gives rise to a hybrid textual genre–an intermedial photo-text.   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…

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…

Adelaide, architecture, colour, critical writing

State of Hope: a review

April 8, 2017

The latest issue of  the Griffith Review is  no 55,  is called State of Hope and it is about contemporary South Australia.  It is edited by Julianne Schultz and Patrick Allington    and the issue consists of  short essays and memoir, fiction pieces and poetry, and photo stories.  Authors include Robyn Archer, John Spoehr, Peter Stanley, Angela Woollacott, Kerryn Goldsworthy, Chris Wallace, Dennis Atkins, Nicholas Jose, and Ali Cobby Eckermann. This is an Adelaide and South Australia as primarily  seen by those working within a literary culture that includes print journalists in the mainstream media (i.e. Murdoch’s Advertiser no less).

The Griffith Review is a  leading literary magazine in Australia that  sees itself as a “high quality, agenda-setting, quarterly publication, delivering insight into the issues that matter most in a timely, authoritative and engaging fashion”. Griffith  Review peer reviews the submissions  to its various issues and  nearly all of  the members of the expert panel academics in universities in the eastern states. Previous issues have been  devoted to Tasmania and Queensland.

What is presented in these texts is the public role of writers as public intellectuals. Writers, it seems,  have a role to  to challenge and arouse the nation–ie., to speak truth to power— given the pressures of  the new media technologies and the forces of globalisation on Australia’s  literary culture—and, thankfully,  the old split between between academe,  creative writer and critic  is absent.

The  market blurb to the  State of Hope text says that:

As the industrial model that shaped twentieth-century South Australia is replaced by an uncertain future, now more than ever the state needs to draw on the strengths of its past in order to move ahead. Now, on the cusp of change, the state needs to draw on its talent for experiment and innovation in order to thrive in an increasingly competitive world. State of Hope explores the economic, social, environmental and cultural challenges facing South Australia, and the possibilities of renewal and revitalisation.

This is a reasonable assessment.  South Australia is undergoing extensive de-industrialization that began in the 1970s and an uncertain  post-industrial  future does  loom. However,  South Australia is not alone in this–eg.,  witness Victoria. The process of de-industrialization  and an uncertain future also applies to Australia as a whole after the mining boom.   I also concur that the big shift to renewable energy in South Australia,  as  noted by some contributors,  is an indication of  the shape of a new future for the state.

One characteristic of State of Hope  that  I found   surprising was  the heavy doses of nostalgia with respect to the subjective memoirs of childhood and  youth remembered in Adelaide  in many of the literary contributions. This  nostalgia about the good times in South Australia’s past—-eg.,  when South Australia under Don Dustan could claim to lead the nation in politics, culture and civic virtue— does not engage with  the  contemporary revitalisation of urban life in the CBD.

construction, Franklin St, 2011

Contemporary Adelaide, which  is undergoing rapid change–not just decline– is overlooked  by the looking backwards to the golden days of cheerful,  suburban life in the 1960s and 1970s.  That is 40-50 years ago.  So what about now—everyday urban life in contemporary Adelaide?  Continue Reading…

architecture, Mallee, roadtrip, South Australia, topographics

contemporary Australian roadtrips

March 16, 2017

It is good to see that road trips –as distinct from the expedition,  the field trip or travel photography –have started to  become popular amongst  Australian  art photographers as distinct from the American road trip tradition, which  largely happened after 1945 with its myths about driving west in the car to The Promised Land.

We can begin to think in terms of a photographic tradition  of road trips in Australia as a genre:  one that is framed by the modernists  as the act of being  on the road;  the art of individuals–the lone photographer– producing discrete works;  and the photograph as a self-contained work of art.  The road trip is a part of a dream of being on the open road;   the  photography is an existential act of wrangling with an alien world, mastering it by anthologising it,  and giving unique insights into what lay behind everyday appearances. The road trip genre  tends to be biographical and personal.

A starting point for constructing this tradition, given the decline in the curatorial interest in photography in the 21st century,   would be the  2014  exhibition,  The Road: Photographers on the move 1970-85 exhibition at the Monash Gallery of Art,  even if it was confused about what constitutes a road trip–Robert Rooney photographing the same car  in different locations around Melbourne–with its reference to  the serial propositions of Ed Ruscha such as Twentysix Gasoline Stations (1962)—is not a road trip. The 1985 cut off  date meant that  the exhibition  did not include  the latter road trip work by Trent ParkeNarelle Autio  or the work of David Marks.

I am slowly working away on a road trip project  and posting the images on  my On the Road  Tumblr blog. There are some more from the 1980s on my  archival blog.  Even though it is envisioned  to be a book,  this  project is based on several trips and it currently has no title or theme.    Liquid Moments?  Oddly Squared?   No Maps, No Plans? Easy Roads?  Dark Lies the Road?

The image below of an altered landscape in the South Australian mallee  is  from the archives,  and it one of the earliest of my  road trip  photos.

silo + tractor, SA Mallee

The South Australian photographer  Che Chorley has a book in production from  his 2016 Land Sea You Me  road trip  (bike trip) from Eucla in Western Australia to Nelson on the Glenelg River in Victoria.   The Melbourne based  Nathan Stolz is on his  six months A Long and Winding Road  road trip to  explore and probe Australian identity and cultural difference in the the early 21st century. My work in  the  The Long Road to Lajamanu  works within the road trip tradition.

There may well be other art photographers who have archives  of road trip photos  and/or are working on contemporary road trip projects in Australia that I don’t know about.   Eric Algra comes to mind.    Continue Reading…