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GRACIA+LOUISE: A whisker of light @ Maitland Regional Art Gallery

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A Whisker of Light ………PHOTO:  a hold-up of a cut-out from the exhibition’s activity table

 

A Whisker of Light

An exhibition by Gracia Haby and Louise Jennison @ Maitland Regional Art Gallery March-April 2018

Along with the recent work of artists book shown in the vitrines, there was a few wall installations of Haby’s collages and Jennison’s pencil drawn birds.

The books are based on the layering of image fragments into a visual form of poetry and shown under glass much like museum specimens. These books when time is taken to ‘read’ can stir the imagination beyond the space of words.

The wall works, All breathing, all right, are a breathtaking 446 collages constructed on to antique postcards by Haby from 2006 to 2015. Overwhelming to take in on one visit these transformed postcards are regimented into columns that disrupt a formal ‘reading’ by left to right or of the entire work at once. Instead one discovers them individually, up close and at random bringing a kind of child play or ‘I spy’ to the engagement of this work.

Across the room in a free flowing formation is a flock of birds and one butterfly in flight, All flying, all right, drawn by the sensitive hand of Louise Jennison. Serendipitously, in the gallery space at certain times of the day, a streak of sunlight falls across the wall and seems to guide the birds as a reference to the exhibition title. In this gallery space these works form a kind of habit for the reimagining of the fragile relationship between humans and animals.

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All breathing, all right by Gracia Haby

Gracia Haby
All breathing, all right
2006–2015
Postcard collages

All breathing, all right (detail) by Gracia Haby

Gracia Haby
All breathing, all right (detail of 2 components)
2006–2015
Postcard collages

 

All flying, all right, by Louise Jennison

Louise Jennison
All flying, all right
2011–2014
Pencil on paper

 

3 books by Gracia Haby & Louise Jennison
Disrupted and rumpled
Dim wood, spark bright
A warmed pebble in my hand

 

For further information about Gracia & Louise’s exhibitions see:

http://gracialouise.com/a-whisker-of-light

http://gracialouise.com/all-breathing-in-heaven

http://gracialouise.com/unwinking-night

 

Maitland Regional Art Gallery

 

 

 

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THE EXPO 88 PHOTO SHOW – 30 years on

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First & Last EXPO PHOTO SHOW Poster

First & Last EXPO PHOTO SHOW Poster

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EXPO’88 – A conceptual photographer’s document

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At this time thirty years ago the people of Brisbane were beginning their EXPO’88 six-month adventure opportunity to encounter the world and its cultures and cuisine. EXPO’88 is often seen as a watershed in the transformation of Brisbane as a sleepy backwater into a vibrant cosmopolitan city of the world and, most certainly part of the 21st Century.

I had a season pass for EXPO’88 and created a personal body of work as a response to my experience of the event. As celebrations are beginning to hit the social media space I thought I would recollect on my EXPO’88 work.

 

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Here is the back-story behind my 1988 project … The First & Last EXPO PHOTO SHOW

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Ethyl Stevens (USA)

EXPO 88 Crowd Crush ………..PHOTO: Ethyl Stevens aka Doug Spowart

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In the EXPO’88 event I recognised an opportunity for the creation of a new body of work investigating emerging approaches to my work methodology. For varied reasons I had introduced to my practice the creation of alias identities to which my work was attributed. These identities were quite complete in that they had refined working styles, subject matter, presentation forms, a photographic portrait, signatures and artists statements. As a gallery director it was easy to slip the work of these ‘photographers’ into group shows for commentary and critical acclaim. These personae enable me to play a little game on a system that at times, from my perspective at times, was biased, exclusive, nepotistic and overly critical. It also enabled me to explore ideas and concepts relating to my photography and the presentation of photographs.

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When EXPO offered season passes I attended the passport portrait session with pair of fake glasses and a fictitious name, Eugene Xavier Pelham Owens, the initials and the signature spelled ‘EXPO’. The deception had begun. In time this project grew into an extensive body of work from 5 different personae all representing their manufactured personal responses to the EXPO experience. The exhibition was opened on April 1st 1989 (April Fools Day), it was reviewed positively in the Courier Mail and sales of work resulted from people who found the photographs reconnecting them with their experience of the event. The deception went undetected and after the exhibition the body of work passed into obscurity, as do so many exhibitions of photographs, and was slipped into archive storage boxes in my studio.

Whilst, at the time of the fieldwork on this project I called myself a ‘conceptual photographer’ as I felt that my work was driven by the overarching idea of personal experience documents rather than the photodocumentary reportage principles of truth and reality. I was aware of the term ‘conceptual artist’ and recognized that it had all kinds of baggage attached to it based on art theory and movements, however my work as a photographer at this time has simpatico with Sol Lewitt’s 1967 manifesto on conceptual art. He states:

In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. (Lewitt 1967)

Recently Melissa Miles has discussed the term ‘Conceptual Documentary’ in her 2010 paper The Drive to Archive: Conceptual Documentary Photobook Design. The discusses in reviewing the photobooks of Stephen Gill, Mathieu Pernot and Matthew Sleeth. She asserts that this mode of photography is based on a theory that photographers want to collect and respond to a kind of ‘archive impulse’, making and arranging image sequences of daily life into photobooks. What appeals to me is that, as a Conceptual Documentary photographer I, as Miles defines, ‘seek[s] out and frame[s] their subjects according to a pre-determined idea or scheme. Processes of repetition and categorization are central to Conceptual Documentary’ (Miles 2010:50). For me, what I was engaged in was to make a commentary from a personal viewpoint and to create a contemporary record for public presentation and, ultimately archiving. While Miles’ contemporary Conceptual Documentary practitioner including the likes of Martin Parr freely publish their photobooks in the 1980s trade published productions were beyond the reach of most photographers including myself.

What I find interesting now is that the 1980s was a particularly productive period for me as I created a trilogy of exhibitions: Tourists Facts, Acts, Rituals and Relics, Icons & Revered Australiana and The First & Last Photo Expo Show. These were essentially social documentary projects based on a personal directorial premise. I found that the limited opportunities for presentation of the framed exhibition format of these shows led me to initial experiments with boxed sets of images and ultimately to self-published photobooks, the first of which was completed in 1992.

These days I’m not so concerned about any tag as my work is often so interdiciplinarian it is hard to define. What for me is interesting is that at the time I made work that may now be able to be defined and categorized using contemporary terms and definitions. What is also important now is that the EXPO’88 photographs, some 5,000 of them, exist as an archive not necessarily as a document of the place but rather as a personal, conceptual documentary photographer’s response to the EXPO’88 experience.

Doug Spowart  December 26, 2013

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Lewitt, S. (1967). Paragraphs on Conceptual Art. Artforum 5: 8.
Miles, M. (2010) “The Drive to Archive: Conceptual Documentary Photobook Design.” Photographies 3, 49-68.

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HERE IS A SELECTION OF WORKS FROM MY EXPO’88 PSEUDONYMS

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John (Jack) Dorf (United Kingdom)

John (Jack) Dorf ………(United Kingdom)

John (Jack) Dorf (United Kingdom)

John (Jack) Dorf ………(United Kingdom)

Eugene Owens ......... (USA)

Eugene Owens …….(USA)

Eugene Owens (USA)

Eugene Owens …….(USA)

Malenky Davotchka (Russia)

Malenky Davotchka ……. (Russia)

EXPO 88 © Doug Spowart

Malenky Davotchka …….(Russia)

Y Regami (Japan)

Y Regami ……(Japan)

Y Regami (Japan)

Y Regami ……. (Japan)

Hanna Rhetzik (Czechoslovakia)

Hanna Rhetzik …….(Czechoslovakia)

Hanna Rhetzik (Chezekolvakia)

Hanna Rhetzik ……(Czechoslovakia)

Ethyl Stevens (USA)

Ethyl Stevens …….(USA)

Ethyl Stevens (USA)

Ethyl Stevens …….(USA)

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A PDF PRESENTATION CONTAINING MORE IMAGES IS AVAILABLE HERE: EXPO-SPOWART-v3

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First & Last EXPO PHOTO SHOW Poster

First & Last EXPO PHOTO SHOW Poster

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Images and text © Doug Spowart   Design of the Poster: Trish Briscoe

From the Doug Spowart Personal Art Archive 1953-2014

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

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National Works on Paper submission – not shortlisted

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NWOP-banner

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As an artist there is a need for affirmation and justification for one’s life in the activity and practice of artmaking. Artists prepare and curate their work in gallery exhibitions to present work – and then there are awards and competitions.  Each year, as the call for entries comes around, we like many artists around the country, look at recent work and consider its appropriateness for specific awards.

There are of course thoughts of winning an award but perhaps more importantly is the opportunity to be shortlisted for exhibition and considered for purchase or collection. Equally important for us is the opportunity to connect with fellow artists in the curated exhibition that represent the judge’s opinion of what constitutes the most relevant works based on the competition’s criteria.

This year I submitted to the National Works on Paper Award an artists’ book that I had made during our Skopelos Works on Paper workshop in Greece last year. The book is an exploration of the idea of a montage of light capturing the performance of reading a book. Simultaneously the reader, the location where the reading took place and the page-turning action of reading is imaged in light sensitive cyanotype on the watercolour pages of the book.

 

Doug Spowart opens SKOP PHOTO after its creation in Greece     PHOTO: Victoria Cooper

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Here’s an image of the book:

SKOP PHOTO artists’ book by Doug Spowart

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Other images of SKOP PHOTO folder, cover and details

 

ARTIST’S STATEMENT: SKOP PHOTO an artists’ book by Doug Spowart

This book is created using the cyanotype (sun print) process as part of the author’s ongoing investigation on the ontology of reading.

The book was folded into a concertina form to eventually allow for a variety of potential readings; either extended or page after page. The author then coated the light sensitive cyanotype emulsion onto the pages of the book.

The pages were slowly turned and extended over several minutes allowing the sunlight of the Greek island of Skopelos to strike the emulsion as author performed reading.

After washing in a bath of water, an image of the Aegean light was formed in Prussian blue on the pages of the book. Alternatively, where the light had not fallen on the page – there seemed to be no image formed. But this apparent absence was a “shadow” – a kind portrait of the artist reading the book in its moment of creation.

 

Today I received an email advising that my submission was not shortlisted..

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Not a big problem for me as only 1 in 16 artworks were accepted for the 2018 awards and those names on the list are a fine group of artists.

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If you are interested the 2018 National Works on Paper finalists were:
Raymond Arnold, Peter Atkins, Alec Baker, Martin Bell, Ray Besserdin, Solomon Booth, David Bosun, Godwin Bradbeer, Kate Briscoe, Jane Brown, Jon Campbell, Susanna Castleden, Danica Chappell, Hua Cun Chen, Sam Cranstoun, Lesley Duxbury, Robert Fielding, David Frazer, Ian Friend, Dana Harris, Katherine Hattam, Pei Pei He, Kendal Heyes, Mark Hislop, Deanna Hitti, Anna Hoyle, Natalya Hughes, Alana Hunt, Locust Jones, Jennifer Joseph, Noŋgirrŋa Marawili, Brian Martin, Georgie Mattingley, Mish Meijers, Viv Miller, Helen Mueller, John Nixon, Open Spatial Workshop, Elena Papanikolakis, Louise Paramor, Hubert Pareroultja, Jemima Parker, Riley Payne, Dan Price, Lisa Reid, Louise Rippert, Cameron Robbins, Brian Robinson, Elissa Sampson, Emily Sandrussi, Geoff Sargeant, Jo Scicluna, Liz Shreeve, William Smeets, Kylie Stillman, TextaQueen, James Tylor and Laura Wills, Trent Walter, Rosie Weiss, Mumu Mike Williams, Puna Yanima, Yvonne Zago, Tianli Zu.

 

Exhibition details at the Mornington Peninsula Regional Art Gallery:

The opening event and award presentations will take place on Saturday 21 July from 4-6pm. An electronic invitation will be sent to you closer to the date.

 

Now I’m looking forward to 2020

In the meantime I’ll be pursuing some more cyanotype documentations of the act of reading – maybe during our upcoming Bundanon Artists Residency in June…

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2018 WORLDWIDE PINHOLE DAY 29 April – Our images

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WPD-logo

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Round the [w]hole world on Sunday the 29th of April 2018 pinholers were out having fun – Making their images for the 2018 WPD. Far away from the darkroom (again) we’ve once again fitted a pin-prick in a piece of aluminium fitted to a body cap of our Olympus Pen EP-5 camera and we went on a cruise around the New South Wales town of Muswellbrook pinholing…

This is the 13th year we have supported the WPD project!

 

Bird bath by Victoria Cooper

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ABOUT VICKY’S PINHOLE IMAGE:

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Each day birds of all sizes come to drink from this and it is shared with the two cats who live here too… It is the driest April on record in this region of Australia.

The photo was taken with the intention of capturing the sun flare. Digital capture with hand-made hole on an Olympus EP5 on manual setting.

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Lest we forget – April 25th by Doug Spowart

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ABOUT DOUG’S PINHOLE IMAGE:

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Each year on April 25 Australian and New Zealand peoples commemorate ANZAC Day in recognition of the sacrifice made by soldiers from our country in the First World War. Floral tributes are laid at memorials all over the country. The message on most wreaths is the phrase ‘Lest we forget’.

The photomontage is made up of 5 images – each photo was taken on an Olympus EP5 digitally with a hand-made pinhole.

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Olympus Pen with hand pierced aluminum foil hole, Aperture exposure mode, ISO 1600.

Olympus Pen with hand pierced aluminum foil hole, Aperture exposure mode, ISO 800.

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Visit the WPD Site for details of other posted:  http://pinholeday.org/

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Our Past WPD images:

2016 Doug: http://www.pinholeday.org/index.php?id=1235

2016 Vicky: http://www.pinholeday.org/index.php?id=1540

2015  https://wotwedid.com/2015/05/04/april-26-worldwide-pinhole-day-our-contributions-for-2015/

2014  Vicky’s http://pinholeday.org/gallery/2014/index.php?id=1810&City=Toowoomba

2014  Doug’s http://pinholeday.org/gallery/2014/index.php?id=1811&City=Toowoomba

2013   https://wotwedid.com/2013/04/29/world-pinhole-photography-day-our-contribution/

2012   http://www.pinholeday.org/gallery/2012/index.php?id=1937&searchStr=spowart

2011    http://www.pinholeday.org/gallery/2011/index.php?id=924

HERE IS THE LINK to the 2011 pinhole video   http://www.youtube.com/watch?v=Yk4vnbzTqOU

2010   http://www.pinholeday.org/gallery/2010/index.php?id=2464&Country=Australia&searchStr=spowart

2006  http://www.pinholeday.org/gallery/2006/index.php?id=1636&Country=Australia&searchStr=cooper

2004 Vicky  http://www.pinholeday.org/gallery/2004/index.php?id=1553&Country=Australia&searchStr=cooper

2004 Doug  http://www.pinholeday.org/gallery/2004/index.php?id=1552&Country=Australia&searchStr=spowart

2003  http://www.pinholeday.org/gallery/2003/index.php?id=615&Country=Australia&searchStr=spowart

2002  http://www.pinholeday.org/gallery/2002/index.php?id=826&Country=Australia&searchStr=spowart

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 ©2018 Doug Spowart+Victoria Cooper
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Our photographs and words are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.http://creativecommons.org/licenses/by-nc-sa/2.5/au/..

A Spectrum: Photobook to Artists’ Book

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About 4 years ago during post doctural research I was involved with at the State Library of Queensland as a Siganto Foundation Research Fellow I submitted a paper concept to a call-out for contributions to a major book on photobooks being prepared by a significant contributor to the international photobook discipline at that time. Unfortunately the publishing project was never realised and the essay did not enter the critical discourse on photobooks.

Recently there has been much discussion about terminologies in photobooks and some aspects of the artists’ book are beginning to blur. I passed the paper on to a UK PhD candidate who found interest in the discussion that I raised and suggested that I self-publish the essay.  

So here it is…

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Spectrum

. A Photo Spectrum: Photobook to Artists’ Book 

.. [DRAFT@January 21, 2015]

 

The contemporary popularization of the ‘photobook’ is arguably attributed to the three published commentaries that have become seminal texts on the subject, the first of which: The Photobook: A History Volume I was released in 2004 by photographer and photobook maker Martin Parr, and photo historian Gerry Badger. Commentator and photographer Tim McLaughlin observes: ‘The term “photobook” which never really existed before Parr and Badger (most dictionaries still do not recognize it), would, within a few years, come to identify a growing industry…’(McLaughlin 2013). Interest in the photobook has never been greater. Digital technologies have emancipated photography and book publishing and now anyone can take photos and make their own photobooks. Accompanying this publishing revolution are awards, ‘books of the year’ lists, catalogues, and an auction market. Specialist online and bricks-and-mortar bookshops now service an ever-increasing buying and collector market.

Although photobook publications have aesthetic definitions for what a photobook is, the term has a lot of ground to cover. Photography writer and teacher David Campany recently noted in Aperture’s Photobook Review that: ‘The compound noun ‘photobook’ is a nifty little invention, designed to turn an infinite field (books with photographs in them) into something much more definable’(Campany 2014). But while the ‘infinite field’ may be ‘easily defined’ the term photobook can only serve as a generalised umbrella for the plethora of photobook products that shelter under it.

The definition of photobook today could include a roughly printed or photocopied zine-like object created by a child, to a blatantly over-designed limited edition book. In between these bookends lies a range of products: Print-on-demand and hand-made unique state, small editions, self-published or bespoke books, ephemeral items, newspapers, pamphlets and zines. Although many of these published forms may not have the universal distribution and commercial opportunities afforded a trade published book, they are, none the less, part of the broad practice of the contemporary photobook. Additionally many of these books occupy much of the emergent contemporary scene and tend to be overlooked as the critical discussion is usually focussed on the photobook exemplars from the past.

The boundaries of the photobook discipline are blurred by their intersection with a variety of other book genres including the expansive mediums of artists’ books and zines. As independent publishers of books, artists have for over 100 years communicated their ideas and stories using their chosen media in book form. Artists have embraced photography and the various forms of photography from found collaged photos, to screen-printing, photo etching and gravure, as well as actual silver gelatin, type C, inkjet or laser prints in their artists’ book works. Anne Thurmann-Jayes commented in the catalogue for ars photographica, an exhibition about artists and photographers and their photobooks, that: ‘In very general terms, it is possible to say that half of all artists’ books produced to date have been based on photographs’ (Thurmann-Jajes 2002:19). For that reason any discussion of the photobook needs to consider a broader range of contributors to the discipline as well as other forms of the book where photographs act as carrier of the visual communiqué.

In her essay Thurmann-Jajes also comments on the differences that she felt existed between the artist and the photographer in conceptual aspects of making a photobook. She states that:

The authors of photo books followed photographic tradition, according to which the photograph as such was decisive, becoming the bearer of meaning… By contrast to the photo book, the artists’ book is not the bearer, but the medium of the artistic message. (Thurmann-Jajes 2002:20)

In highlighting the differences in the way the photograph is used and considered by these two groups, Thurman-Jajes has identified a division may have always existed between the photographer and the artist using photography. Yet making books with the photograph as a ‘bearer of meaning’ or ‘message’ should not belong to any particular practitioner. If the photograph is therefore a universal and an open medium for all book makers then any questioning on what is and what can be a photobook requires consideration that embraces this diversity.

To ensure that the photobook remains vibrant and relevant, a flexible space for discourse and critique needs to be created that is inclusive of the broad range of authors and book forms in this medium. In 1998 artists’ book librarian, collector and curator Clive Phillpot suggested a metaphor for the artists’ book discipline as being ‘white light’ and the individual colors that made up white light as being the ‘many categories of the spectrum’ representing the broad nature of the practice. In this essay Phillpot’s ‘white light’ metaphor is now applied to the range of published forms that employ or contain photographs beyond that of the artists’ book. (Phillpot 1998:38)

Through an extension of Phillpot’s prism, this essay will propose a grouping of the various forms of the book from photobook through zines to artists’ books and their salient characteristics using individual colors (wavelengths of light). As the visible light spectrum has a rainbow of seven visible colors this proposition has seven as well. Although two additional ‘colors’, familiar to photographers, that of infrared and ultra-violet, have been added to recognise specific aspects of photography publishing at the extreme ends of the range. Each color and book form has specific characteristics and identifiers associated with it – it is recognized that many books may challenge attempts to place them within just one color in this spectrum.

The transition from the infrared to ultra-violet intentionally locates those books conceived and produced by photographers at the warmer end of the spectrum. Book forms in the cooler end of the spectrum would be principally books made by artists using photography. Placement within this spectral framework may create some interesting challenges including the divisions of ‘artist’ and ‘photographer’, and how practitioners describe themselves and their creative products.

The 9 colors and their identifiers are:

Infrared – The Deluxe Photobook

  • A book of monumental proportions approaching what bibliographers and librarians call ‘double elephant’ (up to 78cm tall for Helmut Newton’s Sumo);
  • Usually consists of a monograph styled ‘best of’, or, of a tightly thematic subject matter by a particular photographer;
  • Are limited editions, expensive to buy and have limited markets that center on private collectors and institutions; and
  • Are usually commissioned by a small number of specialist art publishing houses as opulent objects of art, design and packaging.

An exemplar:

Genesis, Sebastião Salgado, Taschen

Genesis, Sebastião Salgado, Taschen

Genesis

Sebastião Salgado, Taschen, Hardcover, 2 vols, with bookstand, 18.4 x 27.6 in., 704 pages, £ 2,500. https://www.taschen.com/pages/en/catalogue/photography/all/02613/facts.sebastio_salgado_genesis.htm

Viewed: April 6, 2018

 

Red – The ‘Classic trade’ Photobook

A book form in the tradition of Walker Evans’ American Photographs (1938), William Eggleston Eggleston’s Guide (1976), Robert Frank’s The Americans (1959), and John Gossage’s The Pond (1985). Characteristics of these books may include;

  • A single photograph per opening, the facing page blank and may sometimes contain a title or caption;
  • Sometimes it is a book co-published with an exhibition of the same title;
  • Simulation of the gallery experience of viewing photographs and therefore is sometimes referred to as an ‘exhibition in a book’;
  • Images in these books are carefully and purposefully sequenced to carry the narrative intended by the author; and
  • An essay relating to the work by the photographer, curator or writer often accompanies this book form – occasionally the essay may be of an obtuse content.

 

An exemplar:

 

A Road Through Shore Pine, Photographs by Robert Adams

A Road Through Shore Pine

Photographs by Robert Adams. Fraenkel Gallery, 2014. 42 pp., illustrated throughout, 9¾x11¾”. http://www.photoeye.com/bookstore/citation.cfm?Catalog=DS364

 

Orange – Design Photobook (collaboration)

The authors of this form consider that photobooks are an experience that can be enhanced by the influence of creative graphic design that may include:

  • Usually is a collaboration between the photographer and a designer so as to transform the photographs into a strident work of visual communication;
  • The presentation of photographs over double pages, or being montaged, or printed full-bleed as well as being scaled variably;
  • Inventive typography and layout design enhancements;
  • High quality book production, printing, finishing and packaging; and
  • A differentiation from other photobooks by the inventiveness of the design features and the surprise that is encountered by the reader in engaging with the physicality of the book and how it operates as a communicative device.

 

Exemplars:

Gold Coast, photography by Ying Ang, co-designed with Teun Van Der Heijden

Gold Coast, photography by Ying Ang, co-designed with Teun Van Der Heijden
Self-Published, 2014. 132 pp., 72 color illustrations, 9½x11¼”.

http://yingangphoto.com/page.cfm?id=34&subid=121

 

 

Iris Garden, photography by William Gedney and designed by Hans Seeger

 

Iris Garden, photography by William Gedney and designed by Hans Seeger

63 pages plus insert, 6.75 x 9.5 in. Heavy softcover with wraps & slipcase,

Little Brown Mushroom, 2013, in an edition of 1,000.

http://www.littlebrownmushroom.com/products/iris-garden/

 

 

Yellow – POD Photobook

  • These books are usually self-published;
  • They may emulate bookstore trade books from simple booklets to grand coffee table tomes;
  • They can be produced by anyone with minimal photography and computer skills and just require access to online photobook-service providers;
  • Single book or multiple copies can be made;
  • Affordable pricing considering the sophistication of the product;
  • POD services generally utilize templates for ease of use by clients of limited skill;
  • POD books may have designer input, but due to the limited range of options for special finishing or designed-in features; and
  • Many POD book users create book ‘dummies’ that may lead to a more trade-based publication at a later stage.

 

For exemplars see works offered in the photography category of http://www.Blurb.com.

 

On Approach by Daniel Milnor, BLURB Book

 

On Approach by Daniel Milnor, BLURB Book, 13x20cm, 26 pgs

http://www.photoeye.com/bookstore/citation.cfm?Catalog=ze462

http://www.smogranch.com/2012/09/26/cleveland-musuem-of-art-diy-photobooks/

 

 

Promised land by M Bruce Hall

 

Promised land by M Bruce Hall, Blue Sky Books/MagCloud. Standard 8.25″ x 10.75″. 56 pages, perfect-bound.

http://www.magcloud.com/browse/issue/815317

 

Green – Emergent – PhotoStream* [of Consciousness], Photozine*or Insta-photobook*, Imagistbooks*

This aspect of photobook publishing is occupied by a large number of DIY practitioners accessing a range of print technologies from desktop inkjet and laser printers to affordable digital press printing and binding technologies. Content of these books could be considered a visual form of imagist or concrete poetry – they exhibit and subject and assembly sensibility that could match ‘stream of consciousness’ approaches to art. Other aspects include:

  • Usually self-authored or collaborative publications;
  • Are made in limited numbers/editions, often hand sewn or stapled;
  • The books are sold through specialist popular culture bookshops or online;
  • Often these books may be the result of crowd sourced funding and may be derived from online image storage or social media platforms like Instagram; and
  • Their locale of popularity and distribution may be regional.

 

*Names considered to best describe these emergent forms

 

Exemplar:

Conflict Resolution by Louis Porter

Conflict Resolution by Louis Porter, published by Twenty Shelves (Melbourne/Australia), 164 Pages full color, Design by Pierre Hourquet, Section sewn paperback with de-bossed cover, 20 x 27 cm, Edition of 1000.

http://louisporter.com/twenty-shelves/

 

 

Blue – Photopapers* Photomag* (broadsheet / newspaper / magazine)

These emergent photobooks take their physical form and production values from conventional print media. Other aspects include:

  • Availability through POD service providers;
  • Print runs may be small and limited or quite extensive of 1,000 copies or more;
  • These works may parody existing newspaper or magazine titles as a form of activism or commentary on print media and society; and
  • They may provide a photographer with a larger-scale publication format at a low production cost.

 

*Names considered to best describe these emergent forms

 

Exemplars: Photopaper

 

LBM Dispatch #7: Georgia photography by Alec Soth and Brad Zellar, designed by Meredith Oberg

LBM Dispatch #7: Georgia photography by Alec Soth and Brad Zellar, designed by Meredith Oberg
Little Brown Mushroom, Publication Date, November, 2014
48 pages 11.25 inches x 15 inches, 50 lb newsprint paper, Edition of 2000
http://www.littlebrownmushroom.com/products/lbm-dispatch-7-georgia/

 

 

Exemplar: Photomag

 

PIGS Photography by Carlos Spottorno, designed by Carlos Spottorno and Jaime Narváez

 

PIGS

Photography by Carlos Spottorno, designed by Carlos Spottorno and Jaime Narváez based on a replica of The Economist magazine.

Published by: RM Verlag and Phree, Madrid, 2013

112 pages 27 x 19 cm
http://spottorno.com/web/pigs

 

 

Indigo – Innovative Artists’ Book

This genre of the book is based around the idea of the artist as author, publisher and maker, and forms of the book that represent innovation, creativity and exploration of the book form. Historically this book form has been the domain of the artist and the way photography finds its way into the book can be more about the photo as a record, a fact or a trace representing the world and society that created it. Rather than something representing the passion that photographers have for the photograph as the product of their special visual perception of the world. Characteristics of these books include;

  • Forms integral to the narrative expression and the artist will break rules and conventions to achieve their expectations for the book;
  • Books engineered in ways that demand interaction, both through the visual senses but also through the haptics of handling and reading – the turning of pages;
  • Books that may mix photographs and text or text over photographs, or text as photographs and photographs as text;
  • Multi-media productions where the photograph becomes a part of a larger interplay of media; and
  • Bespoke unique state or a work that is published as a limited edition.

 

It should be noted that the artists’ book discipline might encompass an equally diverse range of book forms

 

Artists’ Book exemplar:

 

Eleven, Marshall Weber et al.

Eleven, Marshall Weber 1960- ; Christopher Wilde; Sara Parkel; Alison E Williams; Isabelle Weber; Booklyn Artists Alliance. New York : Booklyn :c2002

http://www.booklyn.org/artists/Marshall%20Weber.php

 

 

 

Violet – ‘Artists’ Book’ Codex

Related to books that utilize the conventional codex form and may explore the narrative form, conceptual art ideas as well as artmaking techniques. These books may exhibit the following characteristics:

  • Codex book form;
  • A range of production values including artisan printers and binders;
  • Contain texts as well as graphic elements and photographs; and
  • Printing techniques such as silkscreen, photoetching and gravure, inkjet, digital press and alternative imaging techniques like cyanotype.

 

An exemplar:

Google vanitas : autobiography # 7 concept and design by Scott McCarney

Google vanitas : autobiography # 7 concept and design by Scott McCarney.

16, [2] p. : col. ill. ; 22 x 20 cm.

http://scottmccarneyvisualbooks.com/Pages/google%20vanitas.html

 

 

Ultra-Violet – ‘Book Arts’, Livre d’Artiste Book

Consistent with the production and aesthetic values of the ‘fine press’ with the following characteristics:

  • Texts are usually handset letterpress, photographs made by traditional photo etching or gravure techniques and binding and presentation in cloth and leather often with ‘book arts’ embellishments;
  • The books are limited editions and utilize artisan practitioners and specialists in the production of the work;
  • Often the book may be commissioned by an entrepreneurial publisher following the French tradition of the latter 19th century; and
  • These works are expensive to buy and have limited markets that center on private collectors and institutions.

 

An exemplar:

Extinguishing of stars Carolyn Fraser and Holly Morrison

Extinguishing of stars Carolyn Fraser and Holly Morrison

Idlewild Press, Cleveland, Ohio :2003. 61 p. : ill. ; 24 cm., in case 26 x 20 x 4 cm. Edition of fifty.

https://thedesignfiles.net/2011/03/interview-and-studio-visit-carolyn-fraser-of-idlewind-press/

http://www.carolynfraser.com/wp-content/uploads/2011/11/Issue4_Uppercase_Fraser.pdf

 

 

In any attempt to define creative book publishing caution needs to be exercised. The artists’ book discipline has for years been dogged by attempts to define ‘what is, and what isn’t an artists’ book’. In 2005 Johanna Drucker put forward a proposal for classification of artists’ books. Even though she predicted that her proposition would ‘… cause strife, competition, [and] set up a hierarchy, make people feel they are either included or excluded’, (Drucker 2005:3) it inspired worldwide debate and furore from artists and librarians and became known as ‘Druckergate’. Ultimately the angst cooled and the artists’ book field continued with qualified debate, in both academic literature and everyday conversation, thus creating a basis for ongoing questioning and commentary on the discipline.

More recently, in 2010, Sarah Bodman and Tom Sowden from the Centre for Fine Print Research at the University of the West of England sought to define the canon for the artists’ book in the 21st century. They did this by creating a survey of world practitioners of bookmaking by artists in every conceivable outcome, including the emergent eBook. They found that the hierarchical form of a tree diagram was ‘too rigid and too concerned with process’ (Bodman and Sowdon 2010:5). They discovered that their respondents wanted to alter the diagram to satisfy the, ‘cross-pollination that is often required by artists’ and added in, ‘connectors across, up and down to bring seemingly disparate disciplines together.’

Just as Bodman and Sowdon found from their research, this visual spectrum structure is open to challenge where practioners and commentators are encouraged to mix and augment new color palettes for the presence of the photograph within the book. So what is proposed is not a rigid structure, deeply rooted and immovable as in the tree trunk, branch and leaf, but rather one where books of similar characteristics can be grouped, blended and mixed.

The intention for this nomenclature is to bring visibility to the diversity of creative publishing forms using the photograph. It is offered as a potential tool that recognises this evolving and extended medium to: curators, judges, cataloguers preparing ‘the best books of the year’ lists and books for sale or auction, and commentators engaging in critical debate. Additionally the links with artists’ books and zines can also be acknowledged thus extending and enriching the discipline of the photobook.

In the debate surrounding the evolving photobook this photo-specific spectrum analysis is offered, as a non-hierarchical, flexible and creative nomenclature. The spectrum should be able to move with change and developments within the photo in the book and the ideas and the motivations behind those who create these communicative devices and their commentators and readers. Each constituent of the spectrum, although emanating its own ‘wavelength’ or ‘color’, forms a part of the “white light” that is the continuum of the photograph and its place in the book.

 

 

Dr Doug Spowart[1]

January 2015

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Bodman, S. and T. Sowdon (2010). A Manifesto for the Book: What will be the canon for the artist’s book in the 21st Century? T. S. Sarah Bodman. Bristol, England, Impact Press, The Centre for Fine Print Research, University of the West of England, Bristol.

Campany, D. (2014). “The ‘Photobook’: What’s in a name?” Aperture: The Photobook Review(#007).

Drucker, J. (2005). “Critical Issues / Exemplary Works.” The Bonefolder: An e-journal for the bookbinder and book artist 1(2): 3-15.

McLaughlin, T. (2013). “Classic – The Photobook: A History Vol 1.”   Retrieved 17 June 2014, 2014, from http://imageonpaper.com/2013/05/17/131/.

Phillpot, C. (1998). Books by artists and books as art. Artist/Author: Contemporary Artists’ Books. C. Lauf and C. Phillpot. New York, D.A.P./Distributed Art Publications Inc.

Thurmann-Jajes, A. (2002). ars photographica: Fotografie und Künstlerbücher. Weserburg, Bremen, Neues Museum

 

[1] This essay is informed by an ongoing and long term personal interest which involved a practice of making, observing and considering the position of photographs published in the creative book realm along with recent research into the intersection of photobooks, zines and artists’ books.

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TEXT © Doug Spowart 2018
Most of the images in this post are from the promotional websites for the books and some are by the author – copyright resides with the authors and the images here are used for the purpose of review and commentary. Source links are provided for the reader’s connection with the publication under discussion.

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IAN POOLE photographer: eulogy

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Poole by Poole 2006

 

IAN POOLE photographer: eulogy by Doug Spowart

 

I was over in Wellington New Zealand attending the Photobook NZ conference when our mutual friend Simon Woolf came to tell me that Ian had passed away. Vicky and I had visited Ian and Louise at the Mater Hospital a couple of weeks ago and while Ian was in a difficult place we shared some past experiences. We spoke excitedly about how Ian came out of hospital recently to open ‘Floating’ at Woolloongabba Art Gallery. It was an important occasion as the exhibition featured work by his long-term friends Glen O’Malley and Yoshiteru Asai as well as artworks by Yayu, Ken Yamane’s grand-daughter.

 

Ian Poole, Glen, Ruby, Asai, Joe and Doug at the opening of Floating

 

Ian Poole and I shared quite a chunk of history – On hearing the news whatever I was to do that day in Wellington, and my flight home to Brisbane, my thoughts were with Ian, Louise, Nicola and Denise. What follows is a fragment of our connections and things that I remember about the guy…

 

Pinhole portrait of Ian Poole 1993 by Doug Spowart

 

My earliest memory of Ian was in the mid 1970s when I met him as an employee of Kodak in Brisbane. Ian had formed a commercial photography partnership with Greg Minns and I served him in my early sales position behind a wholesale warehouse counter in the Fortitude Valley head office. Over time I was to learn of Ian’s pre-commercial work as a part-time wedding photographer for some of Brisbane’s significant studios.

Ian Poole went out on his own in 1976 with the business name ‘Ian Poole does Photography’. He shared a studio in an old church in Warren Street, Fortitude Valley with commercial photographer and AIPP devotee and then Federal President David McCarthy. From there good wine, cigars and Fiats were funded through a diverse range of commercial commissions.

Ian and Denise were married and soon after Nicola was born. A long-term relationship with documentary/art photographer Glen O’Malley strengthened along with his interest in photography beyond the ‘job’ – for him photography was more than just what you did to earn a living.

 

Ian Poole and the IAP and the AIPP

Ian joined the Institute of Australian Photography (now AIPP) in 1975. An interesting bit of information about Ian is that he entered the very first Merit Awards (APPA) in 1977, and was awarded a Merit for a high contrast photo of a fuzzy hairstyled, seated, saxophone player. I remember that photo well.

In reflection, I always remember Poole being involved with the AIPP in some capacity either at state division level and in the late 1980s on the National Board. During the 1980s I served with Ian on the Queensland Divisional Council and remember many council meetings at Imagery Gallery that finished with us discussing the meaning of life and photography. Together, we also contributed to the development of education and training for photography in Queensland and served on many Arts Industry Advisory Council and Curriculum development committees.

 

Anonymous Torsos exhibition at Imagery Gallery 1990

Early exhibitions of his work

His interest in personal photography, and in particular the female nude, led to his work being presented in exhibitions. In 1984 I curated an exhibition entitled ‘5 One man shows’ in Stephens Gallery in the Brisbane City Hall, which included a selection of Ian’s nudes. Later in 1990 his first solo exhibition ‘Anonymous Torsos’, was held in Imagery Gallery (a gallery run by myself and my mother Ruby). He also participated in many group shows in galleries in Australia and Japan.

 

Doug Spowart and Ian Poole with the poster for Shot from down under    PHOTO: Victoria Cooper

The Japanese connection

Ian made connections with Japanese photographers through his co-ordination of AIPP events in the early 1980s. This led to an exhibition of 13 photographers organised by Ian and hosted by artist Rick Everingham in his Brisbane studio during Expo 88. Poole followed up this exhibit with an exchange show, ‘A shot from down under’ at Design Expo in Nagoya, Diacolo Gallery in Osaka and amazingly in the Kodak Salon, the Ginza, Tokyo. Ian coordinated a tour for the participating Queensland photographers who spent about 3 weeks in Japan travelling with the exhibition, attending the openings, staying with the Japanese photographer’s families and experiencing Japanese life and landscape.

 

Poole+Spowart at QCP: Photo Adam Finch

Working for the Queensland Government

By the early 90s photography was changing and the Queensland Government reviewed all their departments that had employed staff photographers. They decided that only 3 photographer positions would be funded into the future. The 3 positions were advertised in the public domain and Ian, not only applied, but also won a position. It should be noted that Ian around that time completed by part-time study a Graduate Diploma of Visual Art at the Queensland College of Art. The topic of his research was portraits of artists.

 

Australia Council Residency and sessional teaching

Poole’s interest in the art of photography needed to be pursued alongside the day-to-day grind of professional work. After completing the Graduate Diploma he sought and was awarded and Australia Council Artist in Residency in Tokyo where he immersed himself in his passion for portraiture and Japanese culture.

 

Ian Poole and photobook made in a workshop with Simon Woolf with Vicky and I in 2005

 

Ian’s assistants, peers and mentorees

Ian always had assistants, mentored those seeking advancement of their skills, as well as sessional teaching at the Queensland College of Art and the Queensland University of Technology. His endorsement of professional practice meant that through his patronage and support many of the Institute’s significant photographers came into the AIPP fold.

 

Poole and the Australian Professional Photography Awards

Soon after I became Chairperson of the APPA’s in the 1990 I championed the development of judge training and the need for judges to have extended their understanding and appreciation of the art as well as professional practice.

Into this space I brought Ian Poole – he had the ideas, debating skills, knowledge and understanding of art to help with this aesthetic transformation of APPA. His dedication to ensuring that the entrant who made special works, in Ian’s opinion, got a fair hearing. I’ve spoken to many awards entrants, at all levels, and they have a story about Ian ‘going into bat’ for one of their works.

Ian skills as a judge and inspirational speaker were recognised by New Zealand Institute of Professional Photography and he became an Australian judging ambassador for the NZIPP Awards.

 

Ian Poole and others at Toowoomba TAFE doing final year assessments

 

Support for TAFE Toowoomba and Nicola’s study

As a teacher in the photography programs at the TAFE college in Toowoomba I was always privileged to have Ian and many other professional photographers and artists carry out the final holistic assessment of student work as well as endorse and support my institution.

Nicola Poole and Doug Spowart

When Ian’s daughter Nicola wanted to pursue photography Ian arranged to bring her to Toowoomba suggesting this is where she needed to be. She enrolled and over the next two years she completed her diploma studies in 2003 with the Graduating Student of the Year Award.

 

Team Foto Frenzy – an Impossible Project 10×8 Polaroid by Doug Spowart – RHS Ian photographs Doug

Foto Frenzy

When Ian formed Foto Frenzy with a small group of photography identities including Darren Jew, Tony Holden, Cam Attree and Susan Gravina from Brisbane Camera Hire I was honoured to open the enterprise. Later, Vicky and I were invited as Artists in Residence for a month in 2013. While we where at Foto Frenzy we participated in workshops, re-configured the premises into a camera obscura, made 10×8 Polaroid Impossible Project images and held an exhibition of our photobook and image work.

 

Ian Poole, Diane Byrne and Eric Victor at the State Library of Qld looking at prints by Richard Stringer

John Oxley Library donation

One of many things undertaken by Ian that many may not be aware of is his donation of his professional photography archive to the John Oxley Library at the State Library of Queensland. For quite a few years he has been going into the Library to unpack and catalogue the work so that it can be successfully searched and retrieved into the future. Now much of Brisbane’s cultural history from buildings to fashion, ballet and theatre, portraits of the rich and famous and those curious dated art-directed advertisements of the 1970s and 80s, are there as a document of our times.

I’ve been around professional photography for nearly 50 years and I’ve seen the disappearance of numerous professional photographers and their businesses – but what of their photographs? Lost? – Not Ian’s work, which he has given in an altruistic act for Queenslanders and their history.

 

In conclusion

I was always fascinated by Ian’s business name – ‘Ian Poole does photography’, we now know he did much more…

At this time I, and many others, will reflect on and remember Ian Poole

– his legacy will continue on in all of us.

 

Doug Spowart

NOTE: I hope that all this is correct – should their be any errors I am happy to make the corrections

 

What follows are some published works relating to Ian, some links and some other images…

Ian Poole’s website: https://poolefoto.wordpress.com/

Photo.Graphy Journal: Ian Poole Guest Editor

PHOTO.Graphy Journal – Ian Poole Guest Editor

 

QCP ALT Catalogue — Curated by Ian Poole

Ian Poole curated show at Qld Centre for Photography

 

f11 Magazine Ian Poole Folio

f11 Online magazine: Ian Poole folio

 

Ian Poole – On the lounge

https://wotwedid.com/2012/05/17/ian-poole-aipp-on-the-lounge/

 

 

Some images by or about Ian…

 

Ian Poole and Kev Hudson judging the 1982 Brisbane National Exhibition of Photography at Imagery Gallery

Doug Spowart in Imagery Gallery Darkroom by Ian Poole

 

Ian Poole moving out of Berry Street

Toula, Ian and Louise at the Photobook Club meeting at the Cobb & Co Museum Toowoomba

Ian and Doug at a Foto Frenzy opening

Ian Poole photographed by Wayne Radford at the exhibition End of the roid curated by Doug Spowart

Ian Poole at the opening of ICONS at the Cobb&Co Museum in Toowoomba

A Foto Frenzy opening

The opening of Foto Frenzy

An animated Ian Poole at an AIPP ‘On the lounge’

Foto Frenzy Polaroid group setup PHOTO: Victoria Cooper

 

 

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Ian Poole, Glen, Asai at the opening of Floating

 

Farewell Ian….

 

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NGV ART BOOK FAIR: See my books on the MomentoPro table

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NGV Art Book Fair webpage

 

SEE MY PHOTOBOOKS Channeling Harvey Benge and A Compendium of New Zealand and Australian Photobooks on the MOMENTOPRO table at the NGV Art Book Fair in Melbourne over March 16, 17 & 18, 2018.

MomentoPro printed my latest two books and they have them on their table as examples of the work that they do.

 

Libby Jeffery’s invitation to visit her table – just love the T-Shirts

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Book 1.  Channeling Harvey Benge

Channeling Harvey Benge book cover

The text from the colophon:

In 2015 I was invited to make a
presentation on photobooks at the
Auckland Art Gallery as part of the
Auckland Festival of Photography.
One of my photobook heroes is
Harvey Benge who was overseas
at the time and was unable to
attend the symposium.
I documented my attendance at
the Festival and created this
personal narrative relating to my
few days in New Zealand.
This little book also doubles as
homage to Benge’s book ‘A short
history of photography’.

A MomentoPro Preview of the book can be seen here: SPOWART-Channelling Harvey Benge-book

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Book 2. A Compendium of New Zealand and Australian Photobooks

The dual covers of the Photobook Compendium

 

A-D part of the Australian listing in the Compendium

Preface page of the COMPENDIUM

An events page in the COMPENDIUM

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Hope you can visit the ART BOOK FAIR and see my books …

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