Archive for the ‘AIPP’ Category
On the 6th of February we will be presenting a breakout session at the annual AIPP Hair of the Dog Conference in Brisbane. Our presentation, entitled OPENING-UP THE PHOTOBOOK will provide a commentary on the contemporary photobook/artists book. Our spiel from the HOTD website states:
The photobook has emerged as a ubiquitous form of story telling. Now everyone makes these books to varying levels of expertise. Photobooks and albums have always been the domain of photographers. To maintain their leadership and innovation in this discipline, professional photographers need to be aware of the options available and emergent trends in the photobook. This Breakout session will present a contemporary view of the photobook in all its forms from simple photo-zines to print-on-demand productions and handmade artisan books.
We will be giving attendees a digital presentation to introduce the topic and a major show ‘n’ tell session will follow that will unpack the contemporary photobook/artists’ book. The books presented will come from our collection including some of our own works. A special part of this session will be inclusion of books from Australia’s best print on demand service providers ASUKABOOK, BLURB, MOMENTOPRO and PICPRESS who have given us examples of their most innovative books.
As a result of this session participants will be able to consider innovative and new commercial publishing products that will provide them with a point of difference from competitors and the general public.
Victoria Cooper and Doug Spowart are leaders in the fields of photobooks and artists’ books. Their books are held in major rare books and manuscript collections of the National Library of Australia, State Libraries and other significant public and private collections. In the last 10 years both have completed PhDs that related to the book and visual storytelling. They have both been awarded Research Fellowships at the State Library of Queensland. In the last 12 months Doug has presented lectures on photobooks at Photobook Melbourne, the Ballarat International Foto Biennale and the Auckland Festival of Photography.
FOR MORE INFORMATION VISIT:
Earlybird Rates (End January 15th, 2016)
AIPP Member 2 Days plus the Business Masterclass on Monday – Early Bird $420 After Early Bird $520
AIPP Member 2 Days Only (Sat & Sun) – Early Bird $290 After Early Bird $390
AIPP Member 1 Day (either the Sat or Sun) – Early Bird $200 After Early Bird $280
Student 2 Days plus the Business Masterclass Monday – $150
Student 2 Days (Sat & Sun) – $120
Student 1 Day (either the Sat or Sun) – $90
Non-Member 2 Days (Sat & Sun) – Early Bird $435 After Early Bird $585
Non-Member 1 Day (either the Sat or Sun) – Early Bird $300 After Early Bird $420
Respectfully Intruding by John Wiseman @ Maud Gallery, Brisbane
August 6 – September 13, 2014. The exhibition was opened by Ken Duncan on August 8.
John Wiseman’s photography exhibition Respectfully Intruding at Brisbane’s Maud Gallery presents an invitation to go on safari and peek over his shoulder while he observes and photographs wildlife on the African savannah or in the Costa Rican rainforest. Luckily for us his invitation is to the gallery and the trials and complexities of journeys to exotic places are made easy for us. He also saves us the trouble of waiting, waiting, fighting impatience and the agonies of cramped photography vehicles and observation hides. Dust, flies, mosquitoes, things that will sting or eat you are not part of Wiseman’s plan. We are also spared the burdens of travel, airports, border guards with guns and the grind of life in these exotic lands. What we are given are his photographs.
In the white spaces of Maud Gallery, a kind of ‘safari of wonder’ is encountered –as the visitor wanders through the exhibition of wildlife and flora images. Rhino, elephant, leopard and lion of Africa inhabit the front room. Then in contrast to the ochres, browns and blacks, there are birds, flowers, frogs and snakes in green, yellow and turquoise of the rainforest that inhabit the large inner gallery. The bridge between these two environments is the photography style and vision of John Wiseman.
We are no stranger to subjects like these as they have adorned National Geographic magazines, a thousand Attenborough ‘Life on Earth’ TV programs and countless coffee table books. We may have become so familiar with these subjects that these new works may just become just another ‘one of those’. But I would say look again. Wiseman is no quick snap wildlife shooter – his images exhibit careful consideration for subject and the moment captured. His arrangement and design of the image and concern for lighting takes images to the perfect moment that we think only Photoshop fakery could reveal. But these are real images from single exposures straight out of the camera without much post capture treatment.
Individual images stand out and draw your attention to the framed photograph – for those who love cats, a stunning image of a leopard with clear eyes will hold you in it’s mesmerising and piercing gaze. In another photograph entitled, ‘Family Portrait’, a lioness and four playful cubs look off camera with ears pricked up, attention aroused – for the viewer there is an ability to take in that frozen moment. Someone with an understanding of safari photography will wonder low long and what patience it took for Wiseman to get such an image.
In the Central American space humming birds dance and glide in many frames. Frozen in flight, something that is particularly difficult to photograph, these birds are like airborne jewels with iridescent colouring attracted to equally colourific blooms. Once again Wisemans mastery of technique gets the photo but his sense of design, moment of capture, concern for background and subject placement make these extraordinary photographs. A multiple electronic flash setup is used to create these images and in a few photos Wisemen has synchronised the flash with a slow shutter speed allowing a frozen moment, as in the other images, to be combined with the blur of the wings in the longer moment of capture. For me this tells the greater story of the little bird’s hovering capacity and the beauty of this feathered flight.
The Costa Rican rainforest also has its share of frogs that perform for Wiseman’s camera. Colours, backgrounds, movement and clarity once again reflect Wiseman’s fascination for the natural world. Other images that evoke response include a toucan in the rain, and the sinister shapes of snakes, the most beautiful of which hides camouflaged in the framework of a heliconia flower.
In an artist’s statement Wiseman states that he finds in his photography adventures: ‘The intoxicating excitement of the animals of Africa; the size, beauty and grace of these creatures and the love of the chase.’ And that most certainly is evident in the photographic works presented to us in this exhibition. And unlike many who venture, or have in the past, ventured into exotic lands in search of the hunt and big game with a gun – John Wiseman has been, and shot big and small game, and presented his trophies of the living things for us to observe and share his excitement and wonder of these things.
Doug Spowart 18 August 2014
Texts and installation photos © Doug Spowart 2014 Photographs from the exhibition © John Wiseman
As the end of the teaching/learning year draws to a close the annual assessment day for student folios draws near. This year 5 Brisbane photographers joined with local professional identity Syd Owen to provide this important industry connection with the Southern Queensland Institute of TAFE’s Photoimaging department’s students. The team was (left-right) Alison Ahlhaus, Syd Owen, Andy Cross, Mark Schoeman, AIPP Queensland President Jan Ramsay, Cam Attree and Ian Poole.
This year assessment consisted mainly of final folios from the Certificate IV in Photoimaging (CUV40403) and a Diploma of Photoimaging folio. The folio submission consists of 16-20 high quality 20×30.5 images from work made throughout the year as course work. Students also present a photobook for assessment. The photobook represents a major component for holistic assessment of a broad range of professional practice from image-making, optimisation and online output through print-on-demand book service providers. Importantly the photobook project necessitates the development of a conceptual body of work which the student melds into a personal narrative.
These photographs of the event provide some representation of assessment day activities. The Photoimaging Team, Alison Ahlhaus, Rachel Susa and myself greatly appreciate the special connection that this industry liaison provides for the college, the students and the ability it provides for our student work to be moderated against contemporary industry standards in photoimaging.
RUBY SPOWART: Art Photographer
Around 30 photographers gathered to hear about the life and photographic art of Ruby Spowart in Brisbane on June 13th. Now in her mid 80s, Ruby has over the years participated in a range of photographic pursuits that have led to some quite substantial achievements. She is a triple Master of Photography, Fellow and Honorary Fellow of the Australian Institute of Professional Photography; in her academic studies she has achieved a Certificate in Art from the Queensland College of Art and also an Associate Diploma of Visual Art from QUT. Recognised for her contribution in visual art she was awarded a Don Fraser Fellowship of QUT and, earlier in her career in the camera club movement she was awarded both an SSAPS and an APR Medal by the Australian Photographic Society. She co-founded Imagery Gallery in Brisbane that showed exhibitions of photography for fifteen years from 1980-1995. Her photographs have won major art photography awards in the 1980s and 90s including the Muswellbrook Photographic Award and the McGregor Prize for Photography and is held in major regional art collections and the Queensland Art Gallery and the National Gallery of Australia.
SEE Ruby’s curriculum vitae
Ruby has created an immense body of work in the following techniques:
- Polaroid 10”x8” colour photograms (1980s)
- Polaroid SX-70 multi-image (joiner-style works) (1980s)
- Massive pseudo-panorama landscapes (1980s & 90s)
- Camera toss mosaics (1980s & 90s)
- Large-scale photo mosaics (1980s & 90s)
- Artists’ books and photobooks (2000-2012)
Her most recognisable works, particularly from the AIPP APP Awards successes, comes from her work with Kodak High Speed Infrared film and a Leica M2. The images are usually of outback Australian landscapes and are heavily sepia toned. SEE a folio of works in Ruby’s Behance Folio
Queensland AIPP President Jan Ramsay enthusiastically introduced Ruby and Marianne Irvine (recently awarded AIPP Honorary Life Membership) who, we learned was to interview Ruby as part of the evening’s presentation. At first Ruby discussed her life and touched upon the following points;
- Her mother was a keen artist who painted in oils
- Her schooling was cut short by World War II, as she had to help out on the farm as her brothers had enlisted
- She had always done things with art-making; enamelling, ceramics, china painting, drawing
- Ruby joined the Numurkah Camera Club (in Victoria) and the Australian Photographic Society in the mid-1960s
- Had served as National Membership Officer in the APS
- Had participated in all levels of the camera club movement in Queensland in the 1980s
- Founded Imagery Gallery with son Doug in 1980 and was a director until the gallery closed its doors in 1995
- Exhibited extensively throughout the 1980s and 90s
- Founded Imagery Gallery Tours with Doug in 1982 and over 17 years undertook around 40 outback safari tours around Australia, as well as tours to New Zealand, Africa and South-Western USA. It was noted that Imagery Gallery Tours may well be the Australia’s first Photo Tour business.
- Ruby became involved with the AIPP and the APP Awards in the early 1990s and served as the administrator for many years
- In the early 2000s Ruby cared for her husband who was in ill health and she moved to the Gold Coast on his passing in 2006.
This presentation was illustrated by examples of artworks and personal images from these recollections. Marianne Irvine then led a lively discussion around the infrared work and travelling in the Australian outback. The concept of taking photographs with film was commented on as many in the audience did not have a significant connection with infrared film, processing, fine print making on fibre papers and the variations of the toning processes that were employed by Doug, who had printed most of Ruby’s work—although she did hold up for the audience to see an image that she announced as her last APPA Gold awarded print, and said that she, ‘had printed that one!’
Doug explained the infrared film process as it existed 20 years ago and connected his knowledge and skill in the darkroom with the prints before the audience. SEE: Doug Spowart’s infrared film ‘How To’
Ian Poole interjected that the images were masterworks made by the photographer Ruby, and the printer Doug, and that the APPA print scores and labels on the print backs provided a wonderful provenance for the work as high quality ‘vintage’ prints.
When asked about her beginnings in art photography Ruby explained the creative space that was created by Imagery Gallery’s presence within the Brisbane photography scene. During its 15 years of operation Imagery Ruby and Doug showed over 200 exhibitions of photography, they curated major exhibitions of Queensland photographers work, some of which were shown in China, New Zealand and Noumea. She had found, as she believed many others had as well, that Imagery Gallery had provided inspiration for new ideas and directions of photography, exploration of themes and the presentation of photography within the gallery context. SEE: IMAGERY GALLERY Biog
Questions from the floor enabled other insights into Ruby’s process and workflow to be revealed. The presentation concluded with everyone being presented with the Patterns in Time catalogue of Ruby’s work and an invitation to visit her on the Gold Coast to see more work from her extensive practice. Ruby advised that she was making her work available to interested purchasers and many attendees eagerly approached her at the conclusion of her presentation.
It’s not often that we can gather together and meet with photographers who have been a part of the recent history of the discipline and who in some way may have helped create that space and opportunities that we enjoy today—this occasion was certainly one of these. Thank you to Ruby for sharing her story and her art, to Marianne for her chairing the meeting, thanks also the AIPP Queensland Division and in particular Jan Ramsay for coordinating this and other events for the benefit of AIPP members and those interested in photography.
Doug Spowart with contributions from Vicky
Ian Poole is well placed to have an opinion about fine art photography and collecting photographs. He has been a major player in professional photography in Brisbane for nearly 40 years and is a respected AIPP judge with yearly invitations to also judge the New Zealand Institute of Professional Photography awards. Despite his professional photography connection he has been a part of a sector of the Queensland photographic art scene that extends from the early 1980s with Imagery Gallery, later with the Photographer’s Gallery and more recently with the Queensland Centre for Photography. He has completed a Graduate Diploma in Visual Arts from the Queensland College of Art and has been awarded an Australia Council residency in Tokyo. Adding to this he has curated photographic exhibitions in Japan (of Queensland photographers) and exhibitions in Australia (of local and Japanese photographers).
So when Poole offers commentary on aspects of the photographic art world of Brisbane and Queensland it should be something of an opportunity to connect with his extensive knowledge of the genre. Recently as part of the AIPP ‘On the Lounge’ lecture series Ian Poole presented to an assembled audience of around 40 a dissertation entitled, ‘Have you ever wanted to collect photographic art, or be collected as a photographic artist?’
Ian Poole began his presentation by reviewing recent art auction records for photographic artworks including those by Adams, Sexton and Dupain. Thousands, hundreds of thousands and even millions will change hands for well-known and rare works. The recent phenomena of Nick Brandt’s African work,which had been shown only weeks earlier in Brisbane, attracted some discussion. Perhaps some in the audience felt a little inspired by the possibility that, if they could enter the fine art field, that there was recognition and the possibility for a significant income to be made.
Poole introduced his collection of images that were hung on the walls and laid out on tables before the audience and discussed their histories and stories. For him the concept of ‘provenance’ elevated the importance of each work. A small Dupain image of the interior of the National Gallery in Canberra made during its construction was linked to his encounter with the work in a Brisbane gallery where it was purchased for a few hundred dollars. His most exuberant discussion related to a Joachim Froese diptych acquired when he swapped it with Joachim for a 4×5 enlarger. An expanded provenance trail led to it being loaned back to Joachim so that it could be displayed a QUT exhibition of his work.
A long-term friendship with north Queensland photographer Glen O’Malley presented some interesting provenance stories. O’Malley is not fully recognised for the significance of his practice in Queensland – he could probably claim to have had the first ‘photographic art’ exhibition in this state in the mid 1970s. Poole presented to the audience an image from O’Malley made as part of the Queensland Art Gallery’s 1988 Journeys North commission. The 20×24” black and white photograph showed a scene in Poole’s home where the O’Malleys were having dinner. The image was part of the accepted images for the Journeys North show and was subsequently published. Somehow Poole’s own life had become art photography itself.
Another photography collaborator presented by Poole was John Elliott. Well known for his documentation of country and western music and its heroes and doyens including Slim Dusty, Chad Morgan and Jimmy Little, Elliott is an enigmatic character of the photography scene. Ian spoke of John’s most recent show Gifted Country at the Caboolture Regional Art Gallery and his photobook publishing ventures. A recent journey to Townsville that Poole had shared with another of Queensland’s enigmatic photographers, Maris Rusis, resulted in a body of work by Rusis that dealt with the décor of budget north Queensland motel rooms. These small and fine gelatin silver fibre B&W prints presented to the audience the fact that traditional values remain key to some workers who continue to practice analogue photography in a digital world.
Question time brought up some difficult truths – Why does the Queensland Art Gallery/GOMA not seem to be collecting photography generated within this state? Did they ever collect? Some discussion related to the archival needs for conservation framing and presentation.
As a conclusion to the presentation Poole spoke of the way in which he and his photography acquaintances swapped and shared their works, and how much of his collection was built around the generosity of fellow photographers and their desire to share. He held a bundle of his own gelatin silver images up before the audience and made an offer that ‘you can have one of my prints this evening – and send a print to me as a swap. Start your collection this evening …’
While Ian Poole began his presentation with a review of the overtly mercantile auction scene, it seemed that his passion about photography, photographs, friends, shared experiences and the meaningfulness of the provenance of the works, that these things could not be commodified. He spoke of his collection of photos, books and ephemera as being an entity that would be bequeathed to his daughter Nicola, also a photographer and present at the talk. Through the audience he directed to Nicola to ‘treasure and look after these things … they were important, valuable – not only as the stories they depicted through their image on the front-side of the print, but also of the back-story of their origin and collection.’
There is no doubt that Ian Poole’s passion for photography and his understanding of how it operates at a personal and cultural level is something that was shared and communicated on this evening. And those present will be inspired to develop a new appreciation of what photographs are and what they can say about the human condition.
Doug Spowart May 20, 2012
An unusual meeting – Face-to-Face with an early portrait of one’s self – circa 1982 found in Poole’s collection