Archive for March 2016
As a companion to the exhibition of the Australian and New Zealand Photobooks of the Year at Maud Gallery we developed and presented a workshop series on the Photobook.
Our next series of Photobook workshops are in the planning stage – if you are interested please get in contact with us by filling out the form at the bottom of this page….
- These workshops are ideally suited to people who want to know what is happening within the discipline
- How to DIY photobook projects within your studio workspace
- How to access and master online Print-on-Demand photobook-making services – their needs and products.
- One-on-one mentorships.
The program has the following 4 sessions:
DIY PHOTOBOOKS: YOU CAN MAKE IT FOR YOURSELF
Show and tell tips, tricks and secrets
Participants will engage in a lecture presentation that will develop a broader understanding of what a photobook can be—extending them beyond just a collection of photos into a resolved personal narrative of high technical and aesthetic values.
Wednesdays – 2.5 hours, 6pm-8.30pm
DIY PHOTOBOOK DESIGN and INKJET PRINTING
Demonstrate, share and do – tips, tricks and secrets
In participating in this workshop you will gain awareness and knowledge of how to create documents and templates, design, colour manage (for books), select papers, prepare files, print and output self-made photobooks.
$70 including materials (limited to 8 participants)
Saturdays – 3 hours 9.30am-12.30pm
MAKING IT – THE HANDMADE PHOTOBOOK
Demonstrations and Practical hands-on
- Folding, stitching and sewing
- Materials, methods and making
- The 8-page single sided fold booklet
- The 3-hole pamphlet stitch
- Concertina and snake books
$70 including materials (limited to 8 participants)
Saturdays – 3 hours 1.30pm-4.30pm
PHOTOBOOKS: THE ONLINE (PRINT-ON-DEMAND) + TRADE BOOKS
Demonstrate and share tips, tricks and downfalls
- Working with Print-on-Demand service providers
- Using Publishers and Trade Printers
- Coffee table books, Zines and Newspapers
- Colour management
- Selecting a provider
- The things that no one ever tells you…
Wednesday April 20, 2.5 hours, 6pm-8.30pm
BOOK HERE: http://photobookspod.eventbrite.com.au.
IN SITU: New Photodocumentary Work
At the end of 2015 I was the external assessor for the Queensland College of Art Bachelor of Photography Documentary stream. The work that I encountered from their recently completed documentary photography projects was inspiring. The projects that they had engaged in employed an ‘embedded’ methodology. Each photographer created stories expressing concepts and ideas that I felt deserved a wider audience. As some of the projects crossed-over into the slippery areas of art and concept documentation I felt that presenting the work in this context would encourage comment and discourse.
I sought support from Irena Prikryl, Director of Brisbane’s Maud Gallery, with my intention being to curate a show of selected works. Over a week I forwarded to Irena websites and links to the student’s works – each submission was met with a response – ‘these photos are awesome!’ Irena then offered an exhibition early in 2016. In discussions with students I found that one of them was interested in curating and gallery management – so an honorary internship was offered to Gillian Jones.
The rationale for exhibition is as follows:
Every photograph is a document. A photographic document may be about a friend’s smile, a family event, a dramatic storm cloud or a dent in a car door. But, what about those documentary images that tell us about the greater aspects of life in our times? These other photographs can encompass the tragedies of human suffering, of rituals and habits, of things that escape our casual view of the world and documents of hidden acts, a performances or a ‘happening’.
The documentary photographs in this exhibition are made by photographers not working as the casual iPhone snapshot ‘photographer’ of today, but rather individuals who embed themselves in human and natural environments to witness, to empathise and to document with a camera so a story can be shared.
The documentary photographers in this exhibition present their work as evidence of what they have seen, felt and been touched by. This work represents new photodocumentary practice and will place viewers in situ – surrounded by issues of contemporary life…
The exhibitors who accepted the invitation were:
Follow the links to the Maud Gallery website to see the projects (NOTE: Some links may now be inactive)
The show was opened by arts writer Louise Martin-Chew on March 9 who was to comment at the beginning of her address that:
I am not an expert on photo documentary: my interest is in art and artist stories. I’m interested in the way in which we may tell and share these stories most effectively, and it is the many narratives, often those that are hidden unless you are part of that experience, or sub culture, that is at the heart of this exhibition of new photography.
Well over 120 people attended the exhibition opening. A cash bar operated with the profits going to the Lyme Disease Association of Australia charity – associated with Elise Searson’s project’
Some views of the exhibition:
Over the course of the exhibition each of the photographers presented a floortalk at the gallery. One contributor was Thomas Oliver, who is currently studying overseas in Toronto, Canada presented a Skype session in the gallery before his work.
The exhibition concluded on the 20th March with a dinner for the exhibitors and gallery members within the white walled empty space of the gallery.
In my comments at the opening of the exhibition I stated that a documentary photograph does not exist until it is publically distributed. The exhibition, In Situ: New Photodocumentary Work, put this work and the stories it contains before an audience. Everyone seeing it may interpret this work differently; such is the nature of the photodocument. Perhaps the true value of photodocumentary work can be summed up in Louise martin-Chew’s closing statement:
The power of this collection of works by a very talented group is simply summed up I think: Art may not be able to save the world, but it has an unparalleled ability to help us understand the individuals that comprise a community, a country, a continent = the world. And that may be sufficient.
Thank you to Irena Prikryl and Maud Gallery, Gillian Jones, the contributing photographers and Louise Martin-Chew for a memorable and powerful photodocumentary exhibition of new works.
Dr Doug Spowart
Louise Martin-Chew’s opening address can be seen on her website: HERE
A catalogue of selected works from the show can be downloaded: NEW-DOC-CATALOGUE
Each of the photographer’s works can be seen on the Maud Gallery website under the participant’s names in the OUR ARTISTS menu – they can be purchased from the site as well.
Unless attributed otherwise all texts and photographs are ©2016 Doug Spowart
Recently Victoria’s ongoing research on the topic of montage in artists’ books was published. This paper discussed Peter Lyssiotis’ work and the use of photomontage.
‘Fractured Worlds’ (i) : Considering the photomontage work of Peter Lyssiotis
Photomontage is the cause before it becomes the picture. . . .
For me, ideas present themselves as a presence. Their full realization depends not so much on thinking them, but rather in making them…. (ii)
Spanning several decades of artists’ book production, Peter Lyssiotis’ work both openly probes contemporary political issues, while in many books, presents an enigmatic personal vision through his poetic visual narratives. Lyssiotis is a not only an artist and maker of books he is also a reader; he has an extensive knowledge of literature along with historical and contemporary thinking on art. Inspired by the political montage work of German artist John Heartfield, Lyssiotis brings to his photomontage compositions well researched and deeply considered thought processes. As he creates his montage work, Lyssiotis will often have metaphorical conversations with Heartfield. In a recent personal communication Lyssiotis poetically expressed this deep connection:
The shadow of John Heartfield always crosses the work I am making. Sometimes he’s so pleased he smiles and sometimes he gets so annoyed his shadow becomes pitch black. . . (iii)
In my research at the ALA, I look at Lyssiotis’ work not only for its content but also for the deeply considered and painstaking aesthetic work behind each montage production in image, page and book. In his statement in Products of wealth (cited in the epigraph) he discloses how the power of the work is developed through the making. It is this Material Thinking (iv) process that informs my ‘reading’ of the artists books I have chosen to engage with in this research. All artists’ books are invested with rich imagery drawn from the artist’s mind and hand, including computer or photo-mechanically generated and composed narratives.
As a reader of these books I now hold the object that represents the time spent problem solving, the years of knowledge in making and working with materials, the conceptual development of all elements that is the book–whether simple or complex, the aesthetic choices for image, page and text design, the many small or big decisions that are embodied in this work of art that is made to be held and considered by a reader. My challenge now is to find a way to share these insights with you as a distant reader who is unable to take in the necessary sensory and haptic experience of reading these works of art. In this blog I share my ruminations and questions that inspire me to read and read again many times these books of wondering and wandering, which are deeply poetic and sometimes melancholic.
I chose, Feather and Prey, for the deeply considered and poetic use of the page; the balance and arrangement of image, text and white space. Alternatively, Products Of Wealth has politically motivated photomontage prints tipped-in or glued onto the page. These are two very different ways of composing a narrative with photomontage and text and ultimately presented two different experiences for reading the montage.
Feather and Prey is bound in black leather with details of red leather on the spine and embossed images on the front and back covers.
These embossed images at the beginning and end importantly announce that the reading starts from the cover rather than from inside the book. Along with this distinctive book binding, the use of fine art papers and considered printing processes, suggests a reverence in the reading of each page.
The photo-elements in Lyssiotis’ montage narratives are no longer records of reality but now have emerged, through a process of poiesis, as visual codes with a new life and purpose:
In these images giant moths are nibbling away at the perfect mechanical reproduction that photography promises. They don’t rely on the traditional borders of a photograph to tell them when to start and where to finish. They don’t want to be a photograph; they would prefer to be maquettes for pieces of sculpture. (v)
These new hybrid images create a disturbance within the familiar routine of everyday practice and present an alternate way of perceiving and referring to the world. The visual semiotics of reality that photography represents is now channeling through montage–new spaces for imagining–a poetics of dreams.
But what characteristic does Lyssiotis identify in each element as he carefully separates them from their original contexts? Does this question really matter, as each fragment will be transformed having little relationship to its origin. These montaged elements are then fused together perhaps as a metaphorical act of transcendence and then placed or montaged within the page.
These fragments of images and text strategically appear across the white space in the book. In a short exegetic essay or artist’s statement on this book Lyssiotis discusses his intention for the white space in the book:
The white spaces here constitute something unassuming: a whiteness more like a whisper; something neutral.
In the whiteness there are things the photographic paper has not been allowed to reveal; these are not omissions, they are commissions … of sins, failed intentions, of habit. (vi)
I turn the pages and they ‘whisper’ of something hidden where only hints and clues are allowed through as the photomontage emerges through the white space. A cherub holds a curtain rope that reveals a narrow view of the sky behind.
Does the white space hide knowledge from the reader as if in a white out or a fog? Or is Lyssiotis creating a collaborative space with the reader to bring to the reading their own narrative or composition–a psychological montage of memory and life’s experience?
Lyssiotis’ texts are evocative, poetic and political and appear sparingly in different places on each page. The texts and their aesthetic placement on the page–a mise en page (vii) –add to the layering of the reading as a montage. In Feather and Prey Lyssiotis signals that perhaps there could be shifting meanings arising in the reading of the words and their visual placement on the page. In the book he writes:
Words always arrange themselves to tell
The same story: that things will change
But words are heretics and later,
In the fire they will deny it all.
In Products of Wealth the montages (viii) are not embedded in the page but rather pasted over the white space where the page becomes the carrier rather than part of the message.
These images become windows–looking into a montage hybrid world that may seem alien to us but paradoxically it is of us. Looking into the space of the image–rather than the page as in Feather and Prey–I am transported to a place where there is no space left to think… claustrophobic. The view shows the reader terrifying and perhaps even diabolic territories for consideration and reflection.
The edition consists of six separate books stored and presented in a bespoke box.
The books are bound using the simple pamphlet style, perhaps referencing the tradition of the political publication. The covers of the books are red and the box is covered in red and black cloth again suggesting the political nature of the reading. As I read, I notice that the 3D relief pattern of the letterpress texts (ix) seems to bite emphatically into the paper. Lyssiotis’ choice of font styles along with the red and black font colours also adds to the political tone that is invested in the photomontages and the binding. In book 6, Lyssiotis writes about the montage:
In these montages, the planet isn’t about to explode; the explosion has already happened. What is left is a fractured world
Finally, I find it interesting to note that these books were produced in the same year, 1997, and yet each have quite different approaches to the montage of image, text and page. Can these differences point to a deeper comprehension of the value in and values of visual reading? In this kind of reading the psychology and memory of the reader can be engaged in the transference of something more than knowledge and information.
So is the montage a space for questions rather than answers? Reading these artists’ books is in some way also a montage where the visual narrative and the artistic intention is adapted and interpreted by the memory and mind of the reader. Perhaps the nature of the montage hybrid including the page could be comprehended in terms of gestalt. As it is greater than the individual parts–the montage can be a holistic comment or reflection on the cultural and human questions of its historical location.
Victoria Cooper PhD
(i) Peter Lyssiotis, 1997, The Products of Wealth, Book 6: Political Photomonteurs Can Give You The Courage To Eat Bricks, Masterthief Enterprises, Melbourne.
(iii) Handwritten note sent by email to the author, February 23 2016. In this note, Lyssiotis presents an evocative and intriguing discussion on the montage works in his books Feather and Prey and The Products of Wealth. Although seemingly a dialogue between himself and Heartfield, it is more a self-critique informed by the Heartfield polemics and the political montage. This note will be published in full with the permission of Peter Lyssiotis in a future article I am writing on his work.
(iv) As presented in: Paul Carter 2004, Material Thinking, Melbourne University Publishing Ltd, Melbourne. In many ways this book is a philosophical discussion on the work and methodology of the artist including: the interaction with their materials, the intellectual nature of the artists’ visual research and their resulting art.
(v) In the ALA original Materials Archive there are several boxes of Peter Lyssiotis papers. This quote is cited from unpublished writing discussing his book “Feather and Prey” Call Number: item #29358/3 box # 13331.
(vii) This references the mise en scène in cinema theory.
(viii) The montages are black and white archival fibre-based silver gelatin photographic prints where Lyssiotis worked with Robert Colvin to print for this publication.
(ix) Texts were handset and printed by Nick Doslov, Renaissance Bookbinding