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.
Although I have a rudimentary studio set up at Encounter Studio (with a 8×10 Sinar P, a table and window light) most of the still life images that I do of the subject matter around the coastal neighbourhood at Victor Harbor are in open air settings. The method of working is simple. The locations and subject matter are selected whilst I am on the morning or evening poodle walks, I take some scoping photos with the digital camera (an old Sony NEX-7) and, if they work, I come back and reshoot them with a film camera.
This kind of studio work is a break from my topographic approach to photography that I do for the Mallee Routes project. This is an early example, probably one of the first images made in an open air, coastal studio:
bottle + shells, Petrel Cove
The bottle had been washed on Dep’s Beach, which is west of Petrel Cove, and I carried it back to Petrel Cove on the return leg of the poodlewalk. I set it up amongst some rocks, and made some digital pictures. I then hid the bottle amongst some rocks so that people wouldn’t find it and the high tide wouldn’t carry it back to sea.
I really do struggle with my landscape photography in and around Encounter Bay on the southern Fleurieu Peninsula of South Australia, even though I do a lot of scoping for it. I struggle in the sense of having both a lots of doubts the value of this working and a lack of confidence in what I am doing —with both the coastal work and the roadside vegetation. So I don’t get very far with working the Fleurieuscapes project as I am not sure what I am doing with it.
I only have confidence in the abstraction side of this photographic project. The work process is now routine and I am quite comfortable with it. I make a digital study of the object, sometimes convert the colour digital file to a black and white one, and then spend some time assessing the image for possibilities for a 5×4 photo session. Is it worth doing? If so, what is the best way to approach this? This is an example of the work process –some granite rocks on the beach at Petrel Cove.
granite study for 5×4
I have sat on this image for a couple of months at least. In fact I scoped it a year ago and I’d left it sitting on the computer. I re-scopped it earlier this year when I was walking around exploring Petrel Cove whilst on a poodlewalk. I remembered that I had previously photographed this bit of rock and that I wasn’t happy with what I had done, but I had thought that it had possibilities for a black and white 5×4 photoshoot using the baby Sinar (F2). So I re-scoped it. Continue Reading…
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…