Archive for the ‘Exhibitions’ Category
HEAD-ON Exhibition in SYDNEY to include Victoria COOPER + Ruby SPOWART
Headon Logo
I’m excited to announce that the two women in my life VICTORIA Cooper and my mother RUBY Spowart have both been selected as one of the LOUD and LUMINOUS curated 100 AUSTRALIAN WOMEN PHOTOGRAPHERS exhibition to be shown at the 2019 HEAD-ON PHOTO FESTIVAL. It is an amazing and powerful exhibition of contemporary photography brought together by the dynamic duo Hilary Wardhaugh and Melissa Anderson.
Here’s the story…
ABOUT LOUD & LUMINOUS – from the web page
The Loud and Luminous mission is to recognise and celebrate the contribution of contemporary women in the photographic arts in Australia. We believe this project is unique and important in identifying the extensive cultural contribution women photo-based artists and photographers have made in this country. This project is designed to empower the girls and women of today and tomorrow to chase in their dreams. This is a timely project and one that hopes will help educate and inspire many women of all ages.
Vicky’s photograph is based on an important Tasmanian issue…
Listening …
VICKY’s ARTIST’S STATEMENT
My ancestors are European…. but I am removed by generations from these origins and have always sought to understand my place in this altered land. Over recent years I have spent time in Tasmania. I have come to know of Aboriginal stories that tell of women that lived and survived through the colonial invasion of their land and the resulting massive change to their lives and the future of their culture. I found Putalina, in Palawa kani, a place for reflection on the story telling that has highlighted the strength and power of past Aboriginal women including Truganini and Fanny Cochrane Smith.
Ruby’s work related to where she now lives and a reflection on her mother’s amateur painting…
My mother painted floral arrangements
RUBY’s ARTISTS STATEMENT:
My mother painted floral arrangements.
Before getting married and having children on a farm in central Victoria in the early 1900s my mother painted in oils. I never saw her paint – having children and the hard life on the farm meant that there was no time for art. Her paintings, mainly of floral subjects, however lived on and now are cherished by the family generations that followed.
If there is an art gene then my mother passed it to me. In my life I have practiced many art mediums from enamelling to china painting and ceramics as well as photography. Despite having three children and working with my husband in a family business I persisted with my art making. It has rewarded me and enriched my life.
Now in my 90s I photograph with my iPhone and these flower photographs come from the gardens that my neighbours and I nurture. In this work I feel that I am making the flower ‘paintings’ that my mother was never able to…
Venue / Date / Times
From the Headon website
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THE HIDDEN ART OF DRAWING – REVEALED: JADA 2018
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Artists fill notebooks with drawings using a range of mark-making methods from burnt sticks (charcoal), lead and coloured pencils to ink pens and colour washes. These can be renderings that replicate the subject in ways that a camera might. They can be of details and juxtapositions of elements. Or they can be quick-made glimpses full of emotion and movement that come not so much from the subject itself but rather from the artist’s response to the inspiration created by what they witness.
Later in the artmaking process the artist retrieves these references and in the studio space with the grander media of canvas, metal or expanses of paper the drawing’s trace is carefully made and through the application of pigments applied by brush and palette knife or engraved, etched, inked and pressed. Here a ‘real’ artwork is made. Yet, underneath the final artwork the reference drawing resides – hidden.
The secret hidden ‘art’ of the artist’s drawing has for 30 years been the focus of the biennial Jacaranda Acquisitive Drawing Award (JADA) at the Grafton Regional Gallery (GRG). In this award the drawing is revered not as an aide-mémoire for the artist’s later work but rather as the product of a deliberate creative and expressive artmaking activity.
The gallery has as it’s rationale for JADA and the GRG Drawing Collection the following statements:
The award seeks to encourage and promote innovation and excellence and plays a vital role in fostering Australian drawing practice.
The … collection exemplifies the developments and changing parameters of contemporary drawing since 1988. The collection explores the way that drawing resonates as a contemporary medium, demonstrating the relevance and strength of drawing. Works in the collection offer a varied and extensive overview of drawing ranging from highly resolved articulate works to spontaneous expressive works that are mostly retained on the conventional support of paper.
… the collection has attractively developed through the tastes, opinions and approaches of the various judges into a collection that is compelling, thought provoking, innovative, exuberant, and diverse.
JADA 2018 Grafton Regional Gallery installation
For those interested in artists in their practice of drawing a visit to the GRG will reveal all. In 2018 fifty-five artworks were selected from 498 entries by a pre-selection panel of suitably qualified persons. The selection of the major JADA award as well as acquisitions for the gallery’s drawing collection were adjudicated by Anne Ryan, Curator of Drawing, Prints and Watercolours from the Art Gallery of New South Wales.
What is surprising in the JADA selection is the way in which the techniques and media of drawing the can lead to such a diverse and stimulating variety of artworks. There are works that:
- Emulate photographs in their fine detail and tonal rendition
- Are exquisite in the draughtsmanship expressed
- Show the artist’s use of the drawing to ‘find the edge’ and give shape and form to the subject
- The emergent use of computer software, digital output, and digital media animation screen presented time-based artworks
- Express the textural nature of the drawing media on the receiving surface
- The passing of time in a stilled framed work
- Explore caricatures
- Play with simple gestural lines and equally simple ideas
The winner of the $30k 2018 JADA award was Todd Fuller, a Sydney based artist with his work titled Ode to Clarence as described in the Gallery’s website as: a hand drawn and painted animation, created during a residency at Grafton Regional Art Gallery.
The work deals with the current issues in Grafton associated with the building of a new bridge connecting the city with the highway. Through a digitally presented narrative relating to the disruption to the community caused by the terraforming, street changes and house demolitions caused by the bridge building. The work is created as a continuous drawing in parts.
Some may question how this work is classified as a ‘drawing’ as we usually encounter a drawing as a static artwork in a notebook, on paper or in a frame. As such time-based digital media presentations and other such works present a challenge to the traditional paradigm. These digital media ‘drawings’ may be documentation of drawing projects or of performances commenting on the concept of drawing. As we know there is a significant history of animated drawings presented as moving picture films. It should also be acknowledged that documentation by video might also make visible a drawing work in transformation. Though it might be asked how do these works ‘fit’ with the term ‘drawing’? And when does a drawing cease being a ‘drawing’ and become a work in the discipline of animation or digital media?
Interestingly Fuller’s drawing work uses a technique similar to that used by the artist Blu in his famous street graffiti video documentary MUTO. Blu describes his work as: …a seven minute animated mural.
Thoughts such as these will no doubt occupy the minds of many visitors to the JADA exhibition as it travels around the eastern seaboard over the next two years. Whatever the outcome for such thoughts ultimately JADA has provided an important biennial review and space for critical commentary and reflection on the discipline and has stimulated this enquiry. The award also reveals and makes visible the work of artists, it shares their stories and ideas through the discipline of drawing – perhaps the oldest of all human creative endeavours.
Dr Doug Spowart
With thanks to Dr Cooper for editorial support
JADA 2018 Grafton Regional Gallery installation
FOOTNOTE:
Other works acquired for the Grafton Regional Gallery Collection with their $10k allocation are:
- David Fairbairn Portrait of T.J.K No 1,
- Kedal Gear Haze,
- Nicci Haynes Drawing Dancing (an animation),
- Noel McKenna Silent Assassin and
- Claire Primrose Assembled Landscape 3.
An illustrated catalogue of the JADA entries can be downloaded here: 2018_JADA_Finalists_Catalogue
Apart from the Gallery exhibition in late 2018 the JADA will tour regional galleries over the next two years to the following venues; Manning Regional Gallery, Hervey Bay Regional Gallery, University of the Sunshine Coast Gallery, Griffith Regional Art Gallery, Latrobe Regional Gallery and the Tamworth Regional Gallery.
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Text ©2018 Doug Spowart Photographs of gallery ©2018 Doug Spowart. Copyright of artworks is retained by the artist
Many artworks have been photographed to show the nature of the framing and matting of the work.
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Slowing time in the temple, the darkroom and in the gallery
KEIKO GOTO’s Zen in 35mm
Tacit Art Galleries 7 November – 2 December, 2018
In the contemporary society all aspects of life are on hyper speed, every human endeavour is intensified and condensed into sound bites, vision-bites, 3D, in-the-moment, hyper-experiential consumeristic bliss. In this space the photographs by Keiko Goto are a complete anathema. Goto’s photographs don’t shout at the viewer, they don’t profess to demand a political viewpoint and they don’t leave us with demands for us to feel concerned or ambivalent for the subjects in the pictures.
Tacit Gallery installation: Zen in 35mm
Keiko Goto’s photographs are viewed in the context of a white walled gallery on entering the room they appear as small darkly toned windows. When approaching the photographs, perhaps with knowledge of the accompanying artist’s statement and the eloquent catalogue essay by Kerrilee Ninnis, an enveloping quietness descends, and a story is revealed in a sequence of low key black and white photographs.
Embraced by Soft Spring Light
The exhibition is entitled Zen in 35mm and presents a series of vignettes, each a moment in the life of a Japanese monk in the Kichijyoji temple in Tokyo. The view that each photograph shows is from a distanced viewpoint – she is a trusted observer in his space. Her photographs are nearly all quite dark with a spotlight delineating, by chiaroscuro the shape of the monk’s form, a head or a profile, from the dark ground. Other images are of the temple place and the monk’s sparse accoutrements.
Silent Chanting
Goto is in tune with with the ways of Zen through her Japanese cultural background and the experience that comes from her attendance at the temple over many years to learn and practice calligraphy.
All photographs are made on film and carefully printed by the author in gelatine silver fibre paper. Some images have been printed using enlarged negatives on platinum-palladium hand-coated paper with Goto’s distinctive calligraphic styled brush strokes. Adding perhaps to the following of traditions in photography is the fact that she uses a Leica IIIb camera from the 1930s.
Ouryouki
The monk concentrates on his devotion and to the rituals of his observance of Buddhism. Goto observes the scene silently waiting to receive the distilled moment. Later in the darkroom the film is process in strict accordance with a codified ritual. Quiet meditations continue in the stillness of the safelight-illuminated darkroom. The simple rhythm of the rocking tray and the beauty is revealed as the image develops in the tray. In many ways the use of analogue capture and printmaking could have some sympatico – a mutual commonality with the performance and commitment of Zen philosophy.
Back in the gallery the presentation reflects Goto’s experience. It is as if the gestural movement of the brush on paper has been transformed into these walls – each image a monochrome fragment becomes a calligraphy pictogram. Time is slowed in viewing these images and in this reflective quietness the photographs reveal the monk’s story through Keiko Goto’s own meditative work – like visualised haiku poems…
In the darkness – light
A head bowed, a murmur inside
Photographer’s eye
Doug Spowart
December 27, 2018
Perfect Garden
Meditation 4
Meditation 3
Meditation 1
Lustrous Robe
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The man who photographed every house in Australia
BACK STORY on the FRANK & EUNICE CORLEY HOUSE PHOTOGRAPH COLLECTION
in the State Library of Queensland and the exhibition HOME: a suburban obsession
Imagery Gallery – with my mother and business partner Ruby Spowart
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From 1980 to 1995 I was co-director, with my mother Ruby, of Imagery (photography) Gallery (1). The gallery operated in 3 locations in South Brisbane two of them being on the corner of Grey and Melbourne Streets. Although our main business activity was a photographic gallery and workshop we were also suppliers for specialised equipment for photographers – one of them was the famous Leica 35mm camera. As a Leica user myself since the early 1970s my special knowledge of this equipment was not so much from the point of view of a salesperson but rather as a user of the full range of Leica cameras, projectors, enlargers, binoculars and accessories in my documentary and art photography practice.
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In the late 1980s or early 1990s an elderly man visited the gallery and exhibited an interest in Leicas. He mentioned that has had been a professional photographer and that he used the older screw mount Leica gear. Initially I saw him as a potential purchaser, though in time and after many visits I realised that this was not to be the case. His name was Frank Corley and I found him to be a storyteller. With each visit came my understanding that he enjoyed the opportunity to talk with someone interested in his life.
Frank lived in Annerley and dined every evening at Sizzlers – he called it “Zizzlers”. He was a dapper man with a hat and very well dressed. His visits to the gallery were easily accomplished by train as the gallery was situated just over the road from the South Brisbane Railway Station.
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Frank’s camera
At one stage in 1994 Frank indicated that he had some Leica equipment he wanted to sell and invited me to his home. I went with my partner Victoria Cooper to his Annerley home. On entering the house one came in contact with the enormity of Frank and his wife’s life as in every room there was ‘stuff’. His partner in his business his wife Eunice had passed away by this time. Everything had a story – a watercolour painting of Central Australia by Ewald Namatjira (if I remember correctly), Frank recounted was purchased by him when he was photographing homes in Alice Springs. He bought the painting from the artist who presented work for sale at the front gate of the caravan park from which Frank was operating his business. We went from room to room looking for the items he wanted to sell which finally amounted to some very out-dated photographic paper, an enlarging easel and an old Leica Focomat enlarger.
We did a tour of the back yard in which were parked several vehicles. One was the now famous Cadillac (though not pink in colour as often described), another was a little like a Bedford delivery van. We went inside and in the back of the vehicle was a compact darkroom, enlargers, trays, and rolls of processed film in special cardboard gridded boxes. It was cramped but functional – later I was to discover that Eunice was the darkroom operator. I had a lot of respect for that lady and her workspace.
In a lean-to shed at the back of the property Frank reached into a large cardboard box and pulled out a handful of black and white prints of houses. He had already told me of his Pan American Home Photographic Company business of photographing houses from the Cadillac (and other vehicles) as he drove down the street steering the car with his knees taking photos. These photographs were subsequently processed and printed and salesmen, sometime Frank himself, would then call back at the houses and sell prints that could be mounted on cards or calendars. The company brand phrase was From Our Home to Your Home.
I looked around and saw maybe 8-10 boxes the size of which would have been 80cmx60cmx60cm and each box was crammed full of prints. I asked how did he end up with so many photographs? His answer was that at the time the sales tax on photographic materials was 27.5% and as he did not have a sales tax exemption number for his business he paid tax when he bought film and photo paper. At the end of each financial year the value of the tax on the unsold photographs could be claimed as a sales tax credit. The volume of work he was doing that was unsold amounted to a reasonable credit but the prints needed to be retained along with other taxation documents for many years. These photographs came from a time 20-25 years earlier and had not been disposed.
Some Corley house photographs Source: State Library of Queensland
I reached into one of the boxes and pulled out a bundle of photos. What I saw were very ‘straight’ photos of houses all with very similar framing, usually recorded almost as plan elevations. The houses look dated to perhaps 20-30 earlier and I sensed that I was holding in my hands a documentary photography history record. I asked Frank what would happen to these photographs when he moved on… his answer was that they’d probably be sent to a silver recovery plant or dumped. Ohhh! I thought. Before leaving Frank that day he posed for a couple of portrait photos with his trusty Leica IIIg.
Frank Corley circa 1994
At this time in my photodocumentary practice I had undertaken re-photography projects where early photographer’s pictures were relocated and re-imaged as a way of showing the passing of time. My own history making photographs and also from building my own collection of photographs from the beginnings of the invention of photography 150 years earlier meant that to me these images were special and needed preserving. I couldn’t let them be lost, not only because they represented Frank’s life work, but also for their historical value.
On leaving Frank’s home I worked through some ideas with Vicky as to what could happen with Frank’s photographs. At the time I was a valuer for the Australian Government’s Taxation Incentives for the Arts a program where the value of donations to cultural institutions could be used as a tax credit for the donor. I had been involved in valuations for the State Library of Queensland so I made contact with some of the people I knew there. I must have sounded convincing, as there was interest in the work from SLQ Field Officer Niles Elvery. I contacted Frank who said that he would be happy to donate the photographs to the Library and in due course I travelled in a Library station wagon driven by Niles back to Frank’s place.
I’m not sure how we fitted the boxes into the station wagon but I remember it being a tight fit. Frank signed a document that Niles had brought with him and we travelled back to the Library. We reckoned that there were around 12,000 photographs.
A few months later I heard via Frank’s solicitor that he had died and that any items that Imagery Gallery was holding of his pending sale needed to be returned. I was somewhat taken by Frank’s passing and as he seemed to be without friends or family around I thought it appropriate that I write an obituary which I published in a journal I edited called PHOTO.Graphy, ISSN 1038-4332 – The Christmas edition, v. 6, 1995. It reads:
FRANK CORLEY: Obituary
Unknown to most of us Frank Corley, a travelling photographer passed away on October 19, 1995. I suppose we all die eventually and our life’s work, the photographs we make are left to the destinies of those who possess them. In a life full of entrepreneurial activities Frank owned and managed a transport business, caravan parks and a lolly shop. A fascination for photography led to the formation of Pan American Studios. Street photography and in particular photographing houses was his big passion.
I call him the man who photographed every house in Australia because if you ever spoke with him about it he made you believe that he did. Frank Corley won’t be missed by many but his legacy ~ his photographs, will live on in private family archives but most significantly through the donation of around 12,000 prints of Queensland homes presented to the John Oxley Library, Brisbane in June this year. This fragment of Frank’s work would have been lost except for a fluke of meeting with me and his generosity.
I just wish there could have been more time to record the experiences that he so happily shared with me.
Doug Spowart 6/11/95
The years went by and memory of Frank and his donation were for me a faded memory. In 2015 I was granted a Siganto Foundation Artists’ Book Research Fellowship at the SLQ. One day I met a volunteer called John Wilson at the library and I found out that he had been working for years in trying to unlock the Corley code for the photographs, what town – what street? We spoke about his method of working which was hindered by limited information available in the bundles of prints and scant markings on the prints. John had street directories from Queensland towns which he had identified street names and had himself been out on the road looking to confirm hunches.
Soon after this meeting I met Denis Peel and became aware of the work that the Annerley-Stephens History Group had done in identifying many of Corley’s home photographs from the Fairfield, Annerley, Yeronga, Yeerongpilly, Tennyson and Moorooka areas. As a volunteer group they held meetings, provided teams and individuals with Corley photos who then went out looking to identify houses. A significant Phase One report was generated by the group in 2015. Additional research was subsequently prepared. By June 2016 they reported that they had located over 3000 matching houses. I visited one of their meetings and was impressed by the energy of the volunteers. In 2017 The Annerley-Stephens History Group were awarded the John Oxley Library Community History Award for their continued and highly successful community project. The activities of the group were supported by the State Library through access to the photographs and later aided by the digitisation of the collection that has only recently been completed.
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SLQ Home Website Banner
With the growing interest in the Corley Collection and the recognition of its value as an extensive and unique record of Queensland houses and suburbs the SLQ scheduled the planning and preparation of the exhibition which they have entitled – Home: a suburban obsession. As the facilitator of the donation and my knowledge of Frank and his work I have assisted Chenoa Pettrup and Adam Jefford from the Asia Pacific Design Library wherever possible in the preparations for this show. As an artist/photographer and researcher I appreciate the efforts by the exhibition coordinators to involve appropriately talented and skilled personnel to give this event the opportunity to capture community interest. Special commissions for inclusion in the show include Ian Strange‘s large-scale charcoal rendition of a Queensland home, an installation by Queensland artist/designer Jennifer Marchant and an immersive Brisbane virtual reality streetscape by [f]FLAT. Assembled in the exhibition space were artists’ books, books, catalogues and photographs from the SLQ collections that highlighted the idea of ‘home’ and included Ed Ruscha, Bernd and Hilla Becher and Australian photographer John Gollings and his Gold Coast works. Alan Scurr, a Leica camera collector collector from Toowoomba loaned camera items for a display of the camera equipment that Frank used.
Entry to the exhibition Home: a suburban obsession
The Home: a suburban obsession offers many significant opportunities:
(1) It reveals how suburban architecture looked 40 or so years ago,
(2) It provides an opportunity for contemporary Queenslanders to connect with their homes of the era,
(3) The historical nature of the photographs will be a provocative agent for nostalgia and, for some solastaligia,
(4) It enables us to appreciate unusual photographic business activities and the partnership that exists in many small photographic enterprises, and
(5) It celebrates the value of the physical photograph as a time capsule.
The Internet may have given us the modern invention the Google Street View but in a way the Corleys were doing it 40 years ago – the evidence is in the nearly 62,000 photographs in the collection. Though it is interesting to consider how the digital age and the Corley Explorer Webpage will provide the key to unlocking the code to enable every one of the Corley’s houses to be located and revisited anew. The process has started and according to SLQ sources the Corley Explorer in the first few weeks has enabled a further 14% of the collection to be identified. SEE the Stories webpage HERE.
Back in Frank Corley’s shed nearly 25 years ago I could never had imagined how those boxes of house photos could provide the amazing opportunities that we are just now encountering with this exhibition and other uses yet to be discovered. But I did know one thing and that is I could not allow them to be lost. I’m sure that Frank would feel quite chuffed that his unsuccessful unsold photographs have finally found success and have made the journey from his home to a their rightful home in the history of Queensland.
Dr Doug Spowart
(1) LINK TO: The Imagery Gallery Archive is held in the State Library of Queensland
In the exhibition – I muse that this man was Frank looking at the interest his work has now received…
Various links and associated reports and reviews of the Corley Collection follow:
The SLQ website for the exhibition: http://home.slq.qld.gov.au/
SLQ Home Website Banner
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Photographs of the exhibition’s opening event on December 6, 2018
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My video of the exhibition opening
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2 Special commission video projects produced, directed and edited by Shih-Yin Judy Yeh. These videos present the story of Frank and Eunice Corley and the SLQ work with the Corley Collection.
SLQ The Corley story Video
A video describing the SLQ’s story about the Corley collection, includes information about the donation, conservation and investigation
A link to the Annerley-Stephens History Group’s Corley project HERE
An SLQ event with Denis Peel and Kate Dyson talking about the Annerley-Stephens History Group project HERE
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Frank Corley Wikipedia HERE
ArchitectureAu article HERE
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Brisbane News / Sydney Morning Herald Article HERE
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All photographs © Doug Spowart unless othervise credited. The copyrights in other material and website resides with their relevant copyright owners.
THE QLD PHOTOBOOK CONSORTIA – SUCCESSFUL SUBMISSION National Gallery of Victoria ART BOOK FAIR 2019
The Queensland Photobook Consortia
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Over the last few weeks we’ve put together a submission from Queensland photobook authors and self-publishers for next year’s National Gallery of Victoria ART BOOK FAIR. The Fair is a huge event attendances of 12-16,000 over the three days of the event have been recorded. The who’s who from collecting institutions, private collectors and fellow exhibitors all view, read – and sometimes purchase books…! Apart from networking and selling or trading books the Fair has associated with it a program from the Melbourne Design Week.
To celebrate photobooks and to bring together Queensland authors, designers and self-publishers we have formed a group called THE QUEENSLAND PHOTOBOOK CONSORTIA. Over the next week or so we will find out if our submission has been successful – In the meantime we are interested in hearing from any Queensland photobook maker that we can add to our list of contacts.
HERE IS SOME MORE INFO about the Fair and the Consortia’s submission…
WE WERE SUCCESSFUL….! Got the news 21st of December
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BLURB FROM THE NGV
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About the Melbourne Art Book Fair
Melbourne Art Book Fair returns for its fifth year in 2019. Since the event began, the publishing and broader creative landscape has undergone many shifts. MABF 2019 asks: what is publishing now? What is encompassed by the term and how can publishing bring about positive change on multiple fronts?
Featuring diverse emerging and established local and international publishers, artists and writers, Melbourne Art Book Fair 2019 presents a four-day program of ideas, discussions and book launches at the National Gallery of Victoria. The 2019 program explores ideas around experimental and discursive publishing, challenging how we think about the publishing field. Guests ask the question: what can books do? How might the form change? How might publishing provoke and influence other creative and social phenomena such as fashion diffusion lines, capsule collections, event spaces, activist movements and community development?
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The submission is only the first stage of the process. If successful we will seek some extra participants – HERE ARE THE MAIN ANSWERS IN OUR SUBMISSION….
QUESTION: Please tell us what you do, and why:
The Queensland Photobook Consortia is a group of photobook and artists’ book makers and self-publishers from Queensland who, through their publishing projects, provide comment on contemporary issues relating to life and times, not only of their home state Queensland but also Australia and the rest of the world.
The opportunity to present Queensland photobooks within the premier event of the NGV Art Book Fair will enable this substantial group of artists to share their creativity and visual stories. It is our proposal to showcase this group of contemporary emerging and established Queensland practitioners and their latest works.
Their backgrounds are many and varied and include the following:
Ana Paula Estrada
ANA PAULA ESTRADA is a Mexican–Australian artist based in Brisbane. For the last seven years her art practice has focused mainly on the documentation of life stories of older Australians by combining photography, oral history, and the artist book. She is currently completing a Master of Visual Arts by research degree at the Queensland College of Art. In 2016, she self-published an artist book called Memorandum in an edition of 200, which has been recognized and exhibited broadly nationally and internationally.
http://www.anapaulaestrada.com
Tammy Law
TAMMY LAW documents stories that are reflective of her experiences of being a child of Chinese migrants, and the bubble of Asian/Australianness within which she lives. Her travels through Asia—mostly in Japan, China, Malaysia, Thailand and Burma—and the differences between Asia and the West propel her to focus on concepts of migration, home and belonging. This book’s development and production has been supported by the celebrated Tokyo based Reminders Photography Stronghold.
David Symons
DAVID SYMONS is a Brisbane based artist. The idea that the photograph sits precariously on the edge of the real and imagined is the great appeal of the medium to David. Born in Scotland, he studied photography in Western Australia in the 1980s. David has exhibited locally and nationally and has been a finalist prizes including The Olive Cotton Award and the IRIS Award. His photographic work is held in The Art Gallery of Western Australia Collection.
http://www.davidsymons.com.au/about-2/
Louis Lim
LOUIS LIM is a Brisbane-based photographer and photobook-maker whose work explores the diversity in human conditions, specifically those that are under-represented in mainstream media. His work has been exhibited in several Australian galleries and presented internationality.
Lim has exhibited his photobook with live bookbinding demonstration in Central Embassy Open House as part of Photo Bangkok Festival. Lim has attended the highly regarded Reminders Photography Stronghold Masterclass and is currently developing his personal photobook project in a collaboration with Beth Jackson.
Dane Beesley
DANE BEESLEY is an Australian photographer who has created photography books, exhibited widely, and his photographs are held in public and private collections. Beesley has been described as a “leading Australian rock photojournalist” by Melbourne street press Beat Magazine. Marei Bischarn, photo editor at Rolling Stone Australia, described his work as “honesty in photos; nothing planned or fabricated – just pure energy and great times”.
Victoria Reid
VICTORIA REID is a freelance photographer based in South East Queensland. She is interested in documenting the human condition and provides a voice for injustices in society. Reid is about to graduate from the Queensland College of Art, Griffith University, with a Bachelor of Photography (Honours) with a major in Photojournalism and Social Documentary.
https://www.victoriareidphotography.com.au/
Victoria Cooper
VICTORIA COOPER’s work traverses both personal and political territories in the investigation and representation of an Australian “site” and “place”. She creates visual narratives in response to, and informed by, contemporary social and environmental issues intertwined with historical, scientific and mythological insights intrinsic to each site. Her books are held in major artists’ book collections including the National Library of Australia, the State Libraries of Queensland and Victoria and Artspace Mackay.
http://www.cooperandspowart.com.au/
Doug Spowart
DOUG SPOWART has an extensive involvement in Australian creative industries as an artist, educator, curator, commentator and reviewer. For over 25 years he has made photobooks and artists’ books. Many of these books are held in private, regional and state public galleries, national and international photography and artists’ book collections.
http://www.cooperandspowart.com.au/
What are some of your recent titles?
SOME RECENT TITLES FROM MEMBERS OF THE QLD PHOTOBOOK CONSORTIA
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I was there V.I by Ana Paula Estrada
I WAS THERE V. I & II by Ana Paula Estrada consists of a two-volume artist book that tells the life stories of Kevin and Esta, two participants aged over eighty, with whom she has been collaborating. Merging the fields of documentary practice, oral history and fine arts, and influenced by visual poetry, her books explore the combination of text, image and the blank space of the page.
http://www.anapaulaestrada.com/book-preview/
The shadow inside by David Symonds
THE SHADOW INSIDE by David Symons is a noir photobook. The book stylistically revisits the visual languages of the pulp noir genre and police evidence photograph of the mid 20th Century. A low-voltage current of psychoanalytical and surrealist themes run through the pages weaving the narrative in and out the real and imagined. This is a game constantly played out in the viewers mind. For the author the mystery is where the door is between the two states.
Permission to belong by Tammy Law
PERMISSION TO BELONG by Tammy Law explores themes of migration, home and belonging through the everyday lives of refugee families from Myanmar. Living against the backdrop of decades of repressive rule and civil war, countless families live between a place of home and homelessness, belonging and unbelonging. The negotiation and renegotiation of identities is as complex as the history and future of Myanmar.
http://reminders-project.org/rps/permissiontobelongsaleen/
Yelseeb Enad by Dane Beesley
YELSEEB ENAD by Dane Beesley deals with the mythic place that the road occupies in the American west. It is a romanticised Kerouac/Dylanesque view of the road captured in small moments and big cars invested with meaning. There’s an honesty, a quest for truth, perhaps a naiveté in the images reminiscent of cinéma vérité that captures the adolescent wanderlust it seeks to document.
… There is no end by Louis Lim and Beth Jackson
… THERE IS NO END a collaboration between Louis Lim and Beth Jackson deals with grief, loss and upheaval from two separate encounters that intertwine through the process of photobook making. The book was shortlisted in the Singapore International Photography Festival Photo Book Showcase 2018, and the 2018 Libris Award with acquisition by Artspace Mackay.
The final version of the book is in current production for release in early 2019.
http://sipf.sg/photobook/there-is-no-end/
liberté by Victoria Reid
LIBERTÉ by Victoria Reid is her first self-published book. This book of photographic work examines the search for sexual freedom in a society in which tightly prescriptive sexual norms prevail. This project focuses on people who create meaning in their worlds outside of what is considered ‘normative’ behaviour. Exchange of power, consent, trust, role-playing and gender identity are explored. The intention of this project is to promote dialogue around existing sexual stereotypes and stigmas.
We’ll keep in touch to let you know how our submission got on….
AND, If you are from Queensland and have a book do get in contact with us….
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The Queensland Photobook Consortia.
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CYANOTYPE IN AUSTRALIA @ MGA – An exhibition & Workshop
We are excited to announce an exhibition of the work of Australian cyanotype practitioners for World Cyanotype Day 2018 has now opened.
Over the last month we’ve been working with Stephanie Richter and Gillian Jones of Monash Gallery of Art in Melbourne to bring together the cyanotype works by artists from north Queensland to Tasmania to exhibit in the MGA’s ATRIUM GALLERY.
We also presented a one day masterclass on the cyanotype and the book.
In Anna’s Garden: Poster
The exhibitors are:
Adele Outteridge, Ann Vardanega, Chris Byrnes, Christina Harding, Danielle Minette, David Symons, Dawne Fahey, Deanna Hitti, Felicity Rea, Gael E Phillips, Gail Neumann, Jan Ramsay, Janis House, Kate Golding, LeAnne Vincent, Linsey Walker, Lloyd Godman, Lynette Zeeng, Mark Lourensz, Mel Brackstone, Mollie Bosworth, Raimond De Weerdt, Renata Buziak, Robyn Campbell, Shane Booth, Silvi Glattauer, Sue Clisby, Thomas Oliver, Trevor Foon, Stephanie Richter, Victoria Cooper and Doug Spowart.
the ‘In Anna’s Garden’ catalogue
A copy of the exhibition catalogue can be dowloaded ‘In Anna’s Garden’ CATALOGUE
A video of the gallery installation can be seen here…
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THE STORY OF THE EXHIBITION from Victoria Cooper + Doug Spowart
For around 2 years we have been members of the World Cyanotype Day Facebook page and have followed the work and comments made by cyanotypists from all over the world. When the call went out about the 2018 World Cyanotype Day (WCD) we shared the post on our Facebook page with the message, ‘wouldn’t it be fantastic if we could have an exhibition of practitioners from Australia to celebrate WCD’. Within minutes our Facebook Friends started responding with supporting comments like, ‘WOW, I’d like to be a part of that!’ Within 24 hours about 20 ‘Likes’ and comments appeared – we then thought about how we could make it possible.
In September we were scheduled to be in Melbourne so we made some enquiries with a few contacts about the possibility of an exhibition space that we could consider for the project. Things went quiet for a while and we sent out a few follow up messages. Then came a response from Stephanie Richter, the Monash Gallery of Art’s Education & Public Programs Coordinator, that the Community Access space at MGA could be available. After consultation with the Director Anouska Phizacklea and the MGA team the go ahead was granted to mount the exhibition and present a masterclass in the process. An event team was formed consisting of Stephanie, Gillian Jones – a recent Master of Arts and Cultural Management student from Melbourne University with Vicky and myself.
A Facebook Group was established and people who we knew were practising cyanotypists were invited to join. Through our contacts in alternative and traditional photography we enquired about other cyanotype workers that we should be aware of to extend to them an invitation to contribute to the show.
In time documents outlining the project, conditions of submission and important aspects of the venue and the audience were generated and made available online. Some invitees were contacted via email, as they were not Facebook users.
The closing dates for submissions, delivery to the gallery and installation all had tight deadlines. The FB group was able to provide a rapid distribution of information, an ability to respond to questions and circulate the answers back to the group. Behind the scenes the event team connected via Facebook Messenger to plan, resolve and prepare the way for the exhibition. Early in September the works were received at the gallery and a 3-day installation took place by the event team supported by artist Deanna Hitti. The exhibition was opened on the 15th of September and will remain on show until the 21st of October.
In Anna’s Garden presents a diverse and vibrant community of cyanotype artists and photographers working in Australia. Although the exhibition is not a complete survey, it does represent a beginning in recognizing the practice of this process in Australia. Also planned is the continuation of an openly accessible ‘The Cyanotype in Australia’ Facebook page to provide a place for networking and the sharing of concepts, techniques and images with the local, national and international communities.
The growing popularity of this early photographic process could seem strange at a time when instant perfection is so easily achieved through digital technologies. Perhaps the allure for the cyanotype lies in its hand-made working methods and technologies along with the potential for capricious results that inevitably lead to an excitement in the discovery new ways of seeing. For many the emotional power of the cyanotype’s blue image continues to create new perceptions through visual expression and storytelling 176 years beyond its first discovery.
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SOME IMAGES FROM THE EXHIBITION
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BUNDANON Residency 2018 – WHY ARE WE HERE?
WHY ARE WE – documentation of a page from the Island Book
WHY ARE WE … Here at Bundanon?
In 2007 we were successful applicants for a Bundanon residency that enabled is to realize a major component of our individual PhD research. However we still needed to resolve many issues raised by this work and to return our finished works to be documented in the site that they were created. So in 2009 we were granted a second residency to complete this part of our studies.
While we were deep in our research other interesting and unanswered questions arose that have haunted us since this time. Although our itinerant life in the last few years has been exciting and constantly changing, we have missed the opportunity to be in a studio and a place devoted to just working on our practice.
Now this latest residency will give us time to work again at the boundaries of our practice and create the new work that has been gestating in our minds over these few years.
See our COOPER+SPOWART website for further info. (Please note the content of this page are Adobe Flash driven presentations)See relevant aspects of our past Bundanon residencies relating to our PhD research here Victoria COOPER Thesis – Doug SPOWART – Thesis.
FOLLOW OUR WORK over the next 3 weeks on our FACEBOOK Page
A SELECTION OF IMAGES
From artists’ books, photobooks, experimental projects, artwork documentation and our collaboration made during our 2007 & 2009 residencies.
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SINGLE MEN’S QUARTERS CAMERA OBSCURA
Documentation of the Camera Obscura image in the Single Men’s Quarters
PROJECTIONS
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SOME IMAGES FROM DOUG’S WORK
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SOME IMAGES FROM VICKY’S WORK
‘CLICK’ to enlarge
TO FOLLOW OUR ACTIVITIES OVER THE NEXT 3 WEEKS “LIKE” our FACEBOOK PAGE and in “Follow” – click “SEE FIRST”
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Please join with us in this exciting project…
