GST: Now that we have a broad understanding of your project in relation to Melbourne photography I thought that we might zoom in on some particular photos. Could you select 2-3 photos that are an important/significant to you in this project, and then talk about how you came to see, how you approached making it and why it is significance for your project. The kind of photo that I have in mind is one that represents a hurrah moment—ie., I’ve stopped stumbling around, its coming together and this photo points the way, or gives me confidence to continue working on the project in isolation.
SM: The way I now work means those hurray moments are few and far between. Picture choices in the early days were based on pictorial strengths and merits alone. Dipping back into my archive has proved fruitful and it helps me to look forward to attempt to capture changes before they occur. The subject matter that I pursue has not really changed in 30+ years of working with cameras, only the spaces themselves. Now in the 21st century revisiting these sites is important as they are markers of Melbourne’s development along with my own as a visual creative.
The photo of St Albans (circa 1990) has had a significant impact on my work:
I literally stopped the cab I was driving and pulled my kit out of the boot. I did this on occasion, on weekend day shifts in particular. While this image echoed aspects of Robert Adams’ work, it was for me a uniquely Melbourne suburban picture. By the way the site has radically altered in some way but is still the same in others.
Grass fires in suburban Melbourne, and I’m sure in other large cities too, are a common thing. Especially in parts of the city close to the edge as was St. Albans in those days. So this picture has always held a prominent position in my mind. For all the elements captured, and the signs and signifiers it carried. The burnt grass, the powerlines the vehicular tracks, all these signs/man made marks demonstrated a use of the space and land that was and remains contemporary. It continually draws me back in even after nearly 30 years of looking at it as a contact image. I still on occasion drive past it, the changes are significant, but the space is still empty, and now near a major Arterial road, the M8 ring road.
We were on the return leg of the roadtrip and stayed a couple of nights with the standard poodles at some upmarket seaside cottages near Johanna Beach that overlooked a farm. It was a short walk through the campsite and the sand dunes to the surfing beach, and a small drive across the Great Ocean Road to the edge of the forest along the Old Ocean Rd.
The new and the old. Looking forward and looking back. Struggling with the new and nostalgic about the old.
These are limbo moments during the living with Covid-19. There is a now a ring of steel around Melbourne. What initially appeared to be a temporary time of a suspension of everyday life is now becoming a new normal. With the virus calling the shots, anxiety rises as the veneer of control to contain the spread of Covid-19 vanishes, whilst fear emerges about the capacity to deal with the subsequent economic fallout. The scars, we realize are going to last a generation.
How do we live well with a pandemic, the massive global disruption and closed state borders? The structural inequalities mean that some people clearly won’t be able to live well during the forthcoming era of transformation. What happens then? Will there be a shift to sustainability?
The new is the newsletter, the online gallery, the first exhibition and the forthcoming corner store.This is how I have initially kept myself busy during the Covid-19 lockdown. The next exhibition is on walking/photography and it is a part of the 2020 SALA Festivalin South Australia. The third exhibition is entitled Abstraction: Different Interpretations. This new is my initial response to self-isolation, living with the pandemic, and adjusting to the new normal of increasing untraced community transmission of Covid-19. It probably only a matter of time before it enters South Australia, despite its closed borders.
The old is the studio. Returning to what was. Looking inwards to the archive. Is this the start of a process of reflection and self-awareness as part of the process of gaining a different perspective on everyday life when the ground under our feet is shifting?
The picture above of the Leucosperum pincushion flower from our garden at Victor Harbor is from the archives. It was made with a Rolleiflex 6006 with close up lenses in the studio space at our home in Encounter Bay. The downstairs space had good natural light. Unfortunately, that space is no longer available for studio photography, and the studio equipment has been moved into a storeroom off the garage.
There is still some fine tuning to be done, but we expect the pdf to be sent to the printers towards mid-November, with the book printed by Xmas. It will be launched in early March 2020 at an exhibition of photos in the book at the Royal South Australian Society of Arts in Adelaide. Copies can be purchased earlier through Moon Arrow Press.
This is the revised front cover of Adelaide Art Photographers with its referencing the 35mm Kodak film strips of the 20th century without its flap:
The book is a companion volume to the previously published Abstract Photography (2017) by Moon Arrow Press in 2017. The Adelaide Art Photographers book is around 180 pages. There are 20 photographers who have 6 pages for their portfolios and 1 page for their profiles. There is also an essay on aesthetics, which is understood in terms of a critical philosophy of art in the cultural context of the anti-aesthetic. The latter understood aesthetics to mean judgements of taste about the formal beauty of art; with the modernist autonomy of art being understood as a (negative) freedom of art from social determination in a capitalist society.
The anti-aesthetic movement in this period was reacting against Greenberg’s modernist reinterpretation of aesthetic autonomy into the task of medium self-definition through purification. This was via the transposition of the concept of aesthetic autonomy into a linguistic register in literary modernism–with T. S. Elliot being the main influence on Greenberg here. This modernism rejects the past, established art forms and their typical ways of being practiced in favour of some new manner of art making; it affirm this new manner as the uniquely appropriate way, of practicing a kind of art expressive of the modern world.
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.