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…
Prior to going on the camel trek to the northern Flinders Ranges I was in Melbourne for a photoshoot about old industrial Melbourne for an upcoming SALA exhibition at Atkins Photo Lab with Stuart Murdoch. We spent a part of Sunday afternoon walking along Kororoit Creek in Sunshine in Melbourne’s west. It was a pleasant afternoon walking for a couple of hours along the creek from Stuart’s place, even though I was suffering from a painful back that I’d damaged just prior to leaving Adelaide for Melbourne.
The creek features in Stuart’s Sunshine project–which is about place, lived experience and memory. Some of his photos made along the Kororoit Creek Trail had been included a recent exhibition he had in 2018. It was interesting walking with a fellow photographer in their own territory.
Kororoit Creek, Sunshine
Though Sunshine is generally regarded as one of the forgotten suburbs of Melbourne’s west, I find it to be a fascinating place, both photographically and sociologically. It is a low-density residential suburb that is close to Melboune’s CBD by rail; the Vietnamese migrants are rapidly changing this suburb from its old industrial and white working class base; it still has plenty of industrial sites; it is earmarked for redevelopment; and there are some well cared for public commons. It is a photographically rich suburb to walk around in. Stuart’s Sunshine project is a making sense of this place that is his home. Continue Reading…
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…
I have been reading Ming Thein’s recent post on The Rise and Decline of Popular Photography and connecting it to my recent experiences in continuing with my urban documentary style of photography in Melbourne. His observations on the current shifts in popular photography are interesting, and they help to put this low profile project of mine into a market and cultural context and, in doing so, highlights what is needed to continue to work on projects such as this.
A core point in Thein’s post is his insight that simple economics means that the business model of the professional photographer isn’t what it used to be, and that the incentive to invest in skill is lower. He says that we are seeing a number of studios going out of business and pros switching to doing other (non-photographic) things. The contemporary visual saturation means that as there are more images being made than ever, so it’s difficult to make an individual image stand out or to justify the time and effort (and cost) invested in its creation.
I am finding this to be the case with the 3 year+ Mallee Routes project. It requires a lot of time, effort and money to make the images for this project and then to exhibit them in a gallery. Similarly with the road trips project or the low key urban documentary work project in Melbourne:
Moonee Ponds Creek, West Melbourne
Take the latter as an example. The recent roadtrip to Melbourne and stay coincided with a spike in the summer temperatures. It was hot (40 degrees Centigrade), very humid and the light was terrible when I was out scoping the remains of industrial Melbourne in the West Melbourne area. So I was limited to scoping for a future session, even though I had the large format gear in the car. This meant that the scoping on this trip was just location searching–much like someone whose job it is to go out and scout or look for good locations for a movie film shoot. Having found the gritty, grimy location in West Melbourne I now need to make a return trip to Melbourne in the autumn. This is time, effort and money with no exhibition or book in sight. Continue Reading…
I had several days in Melbourne centred around working with Stuart Murdoch on Saturday editing the 80 or so images for the Bowden Archives book. Thanks to Stuart I now have a dummy of the book which I can show to various people to see how they react, their impressions and judgements.
Whilst in Melbourne I helped Helga Leunig set her stall up at the Other Art Fair at the Facility in Kensington; saw some Penelope Hunt’s images from her Remains to be Seen and Water Lilies projects at her stall in the Other Art Fair; managed to take a few snaps around Docklands; had some printing done at Magnet; heard about an upcoming Melbourne Photo Festival; saw the NGV’s Festival of Photography that featured Bill Henson and William Eggleston; meet up with both Eric Algra re the Mallee Routes project and friends from the Lajamanu trip; and was shown around Sunshine by Stuart Murdoch. I wasn’t able to make any photos for the Mallee Routes project on my way back from Melbourne to Adelaide.
However, late on Saturday afternoon Stuart and I went on a photo shoot on the Western Ring Road. It took us a while to access this location situated amongst the various freeways connected to the Western Ring Road for our topographical photo shoot:
Western Ring Rd, Melbourne
The photographic highpoint of the trip was this topographical photoshoot with Stuart even though it was very windy and the lovely afternoon autumn light had gone. We only had time to scope the location on this urban freeway corridor and to take a few photos with our medium format cameras. It’s a good location for a large format shoot with the right conditions: clouds, afternoon winter light and little in the way of a south westerly wind.
This brief photoshoot raised the question of a topographical approach to photography. What is it? In Andrew Sayer’s book Australian Art (2001) topographics refers to the colonial drawings that came out of naval and military culture and derived from the need got recognise coastlines. Often they are views from the water looking towards the shore. The standard reference point for contemporary Australian topographical photographers is the 1975 New Topographics: Photographs of a Man-Altered Landscape exhibition at the George Eastman House in Rochester, New York which was curated by William Jenkins, where the photographers were mapping the built environment of the late 20th century American western landscape with its motels, housing developments, office parks, and endless parking lots.
In the catalogue essay Jenkins interpreted the exhibition images of the American West and Midwest as being “reduced to an essentially topographical state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion and opinion”. The subsequent reframing and restating of the exhibition 40 years latter interpret it as reinventing the genre of the landscape as the photographers grappled with finding a new idiom through which to represent the built environment. Continue Reading…