Archive for the ‘Exhibitions’ Category
The awards were open to unpublished, self-published or trade published photo books by Australian citizens and residents. The Australian Photobook of the Year Awards celebrates excellence and innovation in photobook creation and also showcases the work of Australian photographers to a growing local and international audience.
THE ANNOUNCEMENT OF THE WINNER
A group of around 70 photobook makers, collectors, commentators and others interested in the discipline attended a presentation of the finalist books and the announcement of the overall winner at Magic Johnston in Melbourne on February 17, 2017. Brief speeches were presented by UNLESS YOU WILL’s founder Heidi Romano and MomentoPro’s Libby Jeffery were followed by the announcement of Katrin Koenning & Sarker Protick’s Astres Noirs as the winner. The Commended awards were also announced and attendees were able to experience the finalist’s books first-hand.
THE WINNER: Astres Noirs by Katrin Koenning & Sarker Protick & Chose Commune
THE 2016 APOTY FINALISTS
- Astres Noirs by Katrin Koenning & Sarker Protick & Chose Commune Winner
- Elsewhere by Fuad Osmancevic Commended
- J.W. by Clare Steele Commended
- Memorandum by Ana Paula Estrada Commended
- Some Want Quietly by Drew Pettifer & M.33 Commended
- Surface Phenomena by Bartolomeo Celestino & Perimeter Editions Commended
- Bird by Gary Heery
- Courts 02 by Ward Roberts & Editions
- Elemental by Rohan Hutchinson
- Golden Triangle by Hannah Nikkelson
- Kinglake by Jade Byrnes
- Two Pandanus Trees Side by Side by Aaron Claringbold
A detailed report and images of the winner and commended books can be seen on the Australian Photobook of the Year Website – HERE
ALL photographs ©2017 Doug Spowart
On Sunday 12 February the Melbourne Town Hall and was packed with sellers, lookers and buyers attending the Sticky Institute’s Festival of the Photocopier Zine Fair. At a guess, there could have been around 100 zine tables with a variety of zine-makers: both showing their own work, or representing other zinesters. For the visitor to the Fair there was an opportunity to see and handle almost any kind of communication that could put onto a sheet of paper, or into collated pages – folded, stapled, glued, stitched and sewn. Each ‘publication’ representing a personal approach to what the medium “zine” means to the author. And, as the ‘Zine’ is a slippery medium those within the discipline keep pushing the limits by integration of opportunistic technologies and ideas gleaned from contemporary media.
The content of the zines presented to us were from a broad church of visual and written media including: text as prose, poetry or as visual typographic forms, and calligraphy. There was a rich diversity of illustration from photo-realism to comic flat field work, photographs and even, in one sighted example – the ancient art of marbling. The narrative forms in these publications ranged from concrete poetry, prose, comic stories and disjointed stream of consciousness curated visuals.
In keeping with the tradition some zine makers aired their political opinions while others shared a fascination of contemporary everyday life. There were groups that concentrated on gender issues, music and issues of the street, while others presented dreamy naive and whimsical scenarios, adventures in suburbia, the road and outer space, nonsensical ghoulish and vampire episodes.
Our specific interest were zines based on or utilising photos sometimes referred to as photozines, as well as others that use photomontage in their narrative or conceptual work. Examples seen dealt with topics like the destruction of traditional family homes in the Chinese city of Guangzhou, skateboard stories, and a faux streetscape made up of photos of distressed buildings.
The Fair was a place to network. Greetings were made with like-minded people across the display tables and discussions took place about zines, life and art. We caught up with a few people we knew – David Dellafiora, Gracia and Louise and Glen Smith – Queensland’s zine hero Jeremy Staples was in the building somewhere but we didn’t get to meet. Zine-makers, or sellers, were keen to engage with us to tell the story of the work and where it fits with their practice and their life.
But did anyone sell anything? Many visitors were seen toting quite a few brown envelopes and calico bags filled with new additions to their personal collections. Perhaps a personal experience might shed some light on how success for such an event could be measured. It was right at the end of our shop, we had spent our budget and were talking to two young zinesters who were actually making their little photo zines on demand at their table. Their selling price was $3 and we wanted one of each but could only scrape together $5 in coin. One of the zinesters said ‘that’s fine, I’ll take the $2’, and stated that, ‘it’s important to have my zine out there…’
Being out there with your work. That is what zines are all about … your message in print as a democratic multiple … telling your story, was always what zines were about. That tradition it seems, continues…
February 13, 2017
SOME ZINES ADDED TO OUR COLLECTION
Trudi Treble – Instagram: trud.i
Glen Smith: https://nofrillsart.net/
Gracia and Louise: www.gracialouise.com
Field Study – https://daviddellafiora.blogspot.com.au/
Alice Fennessy Instagram: @alicefennessy
Claire Wakeford: www.clairewakeford.com
Ning Xue: http://www.xuening.me/me.html
UNTIL NEXT YEAR …
Copyright in the zines is retained by the authors. All photographs + text + video ©2017 Doug Spowart
Disconnection is a solo show by Brisbane photographer Thomas Oliver. The series consists of work that has been captured in London, New York, Toronto, Paris and (of course) Brisbane. The exhibition is accompanied with a catalogue essay written by Dr. Doug Spowart.
Artist’s Talk: Interview with Dr. Heather Faulkner, 11am-1pm Saturday 25th February
Full Exhibition Dates: Tuesday 13th – Saturday 25th February
Gallery Hours: Tuesday to Saturday, 10am – 4pm
Address: Project Gallery – QCA South Bank Campus, 226 Grey Street
OLIVER’s Artist Statement
Experiencing the ebb and flow of life in a capital city, it is easy to become consumed by the gurgling hum of activity. It sparks and pulses like an amped-up generator. We slip from one task to the next, leaving ourselves behind in the process. The lights flicker and the air vibrates warmly around us. And like a mad hive, our cities swarm with ghostly forms, smoothly transparent and faceless.
My Words for Thomas …
What makes photography a strange invention – with unforeseeable consequences – is that its primary raw materials are light and time.
John Berger died last week. But his work will continue to reveal insights on how we perceive photographic communications. Even now I continue to hear his words in my head as I write. Most of the time his voice inhabits my writing, saying the words that I have just typed. His writing and critical thinking offered new ‘ways of seeing and looking at photographs’ – as ‘quotes’ from appearances, photos and memory. The photograph presents to us information that has connections to a reality as in Berger’s assertion, ‘A photograph arrests the flow of time in which the event photographed once existed’.
But what happens when the photographic moment is slurred by slow shutter-speeds, movement of subject and camera panning? In this approach Thomas Oliver creates visual documents that could never have been seen by the photographer or an observer of the scene. These are documents of not a moment but of time passing. They transcend the instantaneous moment and suggest a visual concept of the subject’s spirit seemingly extracted by the act of photography–a tear in temporality ‘arrested’.
Oliver’s images also have a resonance with Gilles Deleuze’s discussion on Francis Bacon’s work in his 1981 book Francis Bacon: The Logic of Sensation. Deleuze highlights how ‘chance’ and the expressiveness of the random and indiscriminate effects of vigorous brush strokes inform Bacon’s painting. Deleuze proposes that: ‘there is no chance except “manipulated” chance, no accident except a “utilized” accident.’ In making his photographs Oliver has no way of knowing what each slow shutter release will reveal. He relies on his understanding of technique during the process of exposure to realize the potential for an evocative outcome.
For me Oliver’s photographs are based on the ‘manipulated chance’. He is ready to respond with the tools photography to capture the phenomenon of light and time in everyday places frequented by people. His work seems to also rely on his acceptance of ‘utilized accidents’. It is from this principle that his moments of strange and powerful visual poetry come into being.
But are they his photographs? My favourite Berger quote also relates to Oliver’s spontaneous street images. That there are things beyond us, I’m not talking about God or Gods, but rather more about the involvement of the ‘other’ in the making of art. Berger said it beautifully for me – his voice echoes in my mind:
The modern illusion concerning painting [I read photography here]. . . is that the artist is a creator. Rather he is a receiver. What seems like creation is the act of giving form to what he has received.
I respectfully present to you – Thomas Oliver’s Disconnection photographs of simulacra from the street.
Doug Spowart PhD
 Berger, John. “Appearances/the Ambiguity of the Photograph.” In Another Way of Telling: A Possible Theory of Photography, 47-52. Malden, MA, USA: Blackwell Publishing Ltd, 2002.
 I refer also to Francis Bacon’s paintings based on Diego Velázquez’s Pope, Portrait of Innocent X (1650) and his portraits of friends, for example Three studies for a portrait of Lucien Freund (1964).
 Deleuze, Gilles. Francis Bacon: The Logic of Sensation. Translated by Continuum. Continuum Edition ed. London: Continuum Books, 1981. Editions de la Difference.
 Berger, John. The Shape of a Pocket. London: Bloomsbury Publishing, 2001.
NOCTURNE ARMIDALE: Capturing Armidale in a new light
In our latest Nocturne project we worked with a group of photographers from the Armidale region to document the change of light from day to night. The special theme we developed for the Nocturne: Armidale project was to capture the town in both the early evening’s nocturnal light with a second photograph of the subject during daylight. This ‘re-photography’ approach resulted in a comparative pairs of images revealing the evocative nature of nocturne light and how it transforms everyday places.
The project began in mid-September when we conducted a workshop at the New England Region Art Museum (NERAM) in re-photography and nocturne light capture. This included practical shoots around Armidale from which images were then optimized and uploaded to Nocturne: Armidale project Facebook page to share with the wider community. Another aspect of the project was the digital processing and optimising of nocturne photographs. This was accomplished in a mentored section of the workshop with the participant’s images.
Les Davis from the National Trust Home Saumarez, provided project participants with a unique opportunity to photograph this magnificent historical homestead. Over two separate nights images were made to highlight the home’s colonial architecture.
It was suggested in our original proposal that the work produced could be at some later stage be exhibited. And during the workshop Greg from the New England Art Society Armidale Art Gallery came forward with the offer of an exhibition space in their gallery.
In the two months following the workshop we finalised the optimisation of 25 pieces from the workshop – most of them re-photography Duos, and printed them for the participants. Other print coordination took place with workshop participant Neil Burton who provided access to his wide-format printer for large images to be made. At the end of November we returned to Armidale with Neil and his partner Lindy Osbourne to hang the shows.
The project’s main exhibition was shown at the Armidale Art Gallery in Beardy Street and we presented a floortalk on December 3rd that was attended by around 25 visitors as well as most of the project’s participants. The exhibition of images from the Saumarez shoot-outs was officially opened by photographer and publisher Terry Cooke on December 2 and will remain on display at Saumarez until January 29th, 2017. A third exhibition of photographs included our images and works by Neil Burton will be on show in the Armidale Council Chambers until March 5, 2017.
The Nocturne: Armidale exhibitions include photographs by Paul Bayne, Sue Burgess, Neil Burton, Victoria Cooper, Les Davis, Ross Jenkins, Jeni Mackenzie, Doug Spowart, Sam Walkom and Jim Walmsley.
Here is a selection of the Nocturne Armidale project images…
Click on image to open a gallery viewer for author and subject details.
Robert Heather, the Director of NERAM described us as a ‘nomadic photographic duo’ and acknowledged that we had, with our group of local photographers, had ‘braved cold, wet and windy conditions to create some beautiful and dramatic images of places which we all know well such as the old Courthouse, Saumarez Homestead, the cathedrals, hotels and railway station.”
The New England FOCUS Magazine published a story on our work and background to the Nocturne Armidale project – Download a PDF focus-nocturnearmidale-red (20Mb)
The Nocturne: Armidale project was coordinated by the New England Regional Art Museum in partnership with the New England Art Society and supported by Saumarez Homestead and Armidale Regional Council.
ABOUT NOCTURNE PHOTOGRAPHY
Nocturne photography captures a time of day where the afterglow of sunset and the glow of streetlights can transform the everyday experience of place. In these photographs, street scenes and buildings that may be familiar in normal daylight take on the dramatic appearance of movie sets. Some photographs created at this time can require long camera exposures and therefore produce images that can capture blurred movement of people and car headlight trails. These images offer to the community a different perspective to their daily experience of place.
MORE ABOUT COOPER and SPOWART NOCTURNE PROJECTS
NOCTURNE: ARMIDALE, the project is part of continuing series, conducted by Victoria Cooper and Doug Spowart, across Eastern Australia including past events in Muswellbrook, Grafton, Bundaberg and Miles.
Through our Nocturne documentary photography and Facebook social media projects, we have explored connections with Place in urban and regional communities throughout Queensland, New South Wales and Victoria. For us the phenomenon of nocturnal light transforms these everyday spaces. Buildings, busy street corners, quiet alleyways all become filled with the dramatic light of a movie scene. In 2013 and 2014 we were given the opportunity, through funded Artists-in-Residence (AIR) programmes, to undertake Nocturne projects in the regional communities of Muswellbrook, Grafton and Bundaberg.
The photographs in themselves have no intrinsic meaning – it is the viewer, with their experience and memory that brings life to the image. In this moment of connection they may recount a personal narrative or connect with the historical significance of the place. This collaboration between photograph and viewer is exciting and vibrant – expanding the potential for the documentary image to go beyond the vision of the photographer.
Examples of other Nocturne Projects and Facebook responses can be found at: <www.nocturnelink.com>
Our arts practice is informed by our ongoing and evolving connection with Place. Our Place-Projects are influenced by the context and the consequences of living within a constantly changing landscape. We work with a range of photographic concepts, from the camera obscura, through analogue processes to the digital forms of the medium. Our work is presented as visual narratives in artists’ books, photobooks, exhibition images and and on blogs and social media.
Copyright in all Nocturne Armidale project images is retained by the author – any use of these photographs must be approved by the copyright owner.
It seems that in the digital age many photographers still pine for the days past when the darkroom was familiar territory. While older photographers may have fond memories, today they share their darkroom love with new-comers, mainly younger and digitally native photographers. To honour the past and to celebrate the future of the darkroom we worked with the Director of Maud Creative Gallery Irena Prikryl recently to host a series of events and workshops to recognise analogue photography in contemporary photographic practice.
On November 8 a group of photographers responded to the call to attend an event at the gallery called DARK LOVE: Stories of the Darkroom. They were asked to come along with something special about the darkroom and tell a story associated with it. On arrival at the gallery their photographs were prepared and then hung on the wall. The presentations were timed at around 5 minutes and were quite fascinating.
What follows is a photo of the attendee, their print and a brief comment about their stories …
Alex spoke about working with Liquid Light emulsions
Victoria Cooper discussed the making of this pinhole biscuit tin photo and the challenges of printing the 6x18cm negative
Thomas spoke about his current academic research in the multiple printing of a single negative.
Tammy discussed the making of a studio portrait.
Sandy spoke of the dangers of shooting large format in busy Sydney traffic.
Robyn told the story of the making of this award winning print – from its origins from a point-n-shoot camera to darkroom high contrast printing ‘Tipp-ex” and a little bit of marker pen… A great animated performance….
Rob discussed his interest in the darkroom and work with a 6×7 Pentax documenting how old heritage buildings in Brisbane are being cramped by the skyscraper…
Peter discussed his use of an ‘ancient’ bellows camera and reloaded 120 aerial film on spools to make this image… the old and the outdated still have currency in analogue…
Michael discussed his modern printing of a series of lantern slides that represented a panorama of Brisbane made in the 1870s(?) by the photographer a Mr Wilson(?).
Louis spoke of a camera obscura that he made in a children’s hospital as part of an artist in residence. He described the view of Vulture Street in Brisbane on the ceiling of the room and how children visiting the space were enthralled by the images on the ceiling and walls…
Jeff discussed the taking of this photograph and its connection personal connection with he and his brother’s lives. The photo was made relatively recently at a place where Jeff and his brother played as kids 40 years earlier.
Irena’s story related to buying her first serious camera – a Hasselblad and then taking some photos in Grand Central Station in New York. The camera was balanced on a railing and the shutter speed was long… The photo was recently printed in a Fine Art Print workshop at Maud with Doug+Vicky.
Chris Bowes was unable to attend but had come by earlier to install his personal investigation of self and sweat by placing un-exposed B&W photopaper against his body. The prints are then process yield a ‘Chemigram’. Chris will present a floortalk at the gallery. Check the Dark Love page for details…
David discussed that the origins of his 1980s photographic series was a response to the work and photobooks of David Hamilton. Hamilton was well known for his ‘soft-porn’ photos of young girls. Symons spoke about how he appropriated Hamilton’s photos by double printing copy negatives through a cracked mud image. Texts from Hamilton’s book were adapted by Symons using a redactive process to reveal an alternative story….
I commented about how a recent re-connection with pinhole photography during the Pinhole workshop last weekend had helped to resolve a need for a new project that Vicky and I will be working on next year. I passed around an 8″x10″ film pinhole negative that had revived my interest and love of the darkroom. PHOTO: Victoria Cooper.
Edwin discussed his experiences with film photography whilst on tour to India with his friend Russell Shakespeare.
Gail showed some photographs from her early 1990s exhibition ‘Hollywood Stills’ that was shown at Imagery Gallery.
CHRIS BOWES FLOORTALK – 26 November – details to be confirmed
A FINE ART PRINTING WORKSHOP WILL TAKE PLACE ON – Postponed to 2017
A CYANOTYPE WORKSHOP – Details HERE
AND THE FRONT GALLERY WILL BE CONVERTED INTO A CAMERA OBSCURA on November 26 (to be confirmed)
All portrait photographs and gallery documentations unless credited otherwise ©2016 Doug Spowart
Adele Outteridge and Wim de Vos are like ‘family’ for many artists and creatives in Queensland, and I’m sure around Australia and beyond. Their Studio West End has provided a space for artists to access printing technologies, be supported by mentoring and teaching provided by Adele and Wim, and also connect through the social meeting place that the studio was.
Over the years both Vicky and I have connected with them in many different ways; as co-teachers in an art college, as collaborators on art projects, attending events that each other had organised, learning and sharing skills and, at times, just sitting around – as other do – talking about art and artists…
Adele and Wim have for many years operated their business Studio West End in the suburb of West End in Brisbane in an old soft drink and later and ice-cream factory. They made these places little palaces of art, inspiration and creativity. The workshop was often converted into an exhibition space and example of which would be the project launch of EX LIBRIS: WHO OWNS THIS BOOK
Vicky and I attended the last day party on the 23rd of April and I made some photographs of the state of the studio and its conversion into neat stacks of crates on pallets. What follows is a small selection of the ABSOE Studio West End wake…
On October 30 Adele and Wim re-opened STUDIO WEST END at a new location –
241F Station Rd, Yeerongpilly 4105. Come to Gate 4, YCP (Yeerongpilly Corporate Park)
A large opening party was held on Friday evening with the new consecration of the new studio being performed by artist and raconteur Janet de Boer OAM. Acquaintances and friends were invited to visit the studio over the weekend and we went along for lunch the next day. We wish them all the best for the Studio’s continued operation.
What follows is a documentation of the new space and its migration into a new space for art making, teaching and mentoring artists…
ALL photographs and text ©2016 Doug Spowart
A COMMENT ON THE 2016 LIBRIS ARTISTS’ BOOK AWARDS
In his announcement speech for the 2016 Libris Awards at Artspace Mackay judge Sasha Grishin makes the observation that: ‘The contemporary artists book is characterised by boundless freedom’, and adds that: ‘… it has absorbed many conceptual frameworks, many art mediums and technologies and goes across the spectrum of the senses.’
Visitors to Artspace and the Libris Awards encounter an open space with islands of book presentation devices. Plinths of all sizes – some encased, others at floor level, there are shelves on walls, books as mobile installations hung from the ceiling and other books with ‘pages’ covering large expanses of wall. This is not an easy walk-through exhibition as each work beckons, siren-like, calling for the extended gaze of the reader.
On this occasion the winners were:
- Dalrymple Bay Coal Terminal National Artists Book Award $10,000 Acquisitive Award went to George Matoulas and Angela Cavalieri, with the text by Antoni Jach, for Europa to Oceania.*
Grishin’s comments about the work were:
After much soulsearching I decided to allot the winning entry for the major prize to a collaborative and fabulous artists book by two Melbourne‐based artists, George Matoulas and Angela Cavalieri, with the text by the novelist and playwright Antoni Jach, titled Europa to Oceania. The three linocuts are by Angela, the three collographs are by George and there are another two collaborative foldout prints. The two artists, one of Greek extraction, the other from Calabria in Italy, with wit, profundity and beauty explore the migrant experience at a time when the Australian social fabric is under stress with the question of refugees and migration.
Highly commended in this award were:
Gracia Haby and Louise Jennison’s Closer to Natural
Monica Oppen’s Metropolis
Tim Moseley’s Kange pholu wanda
Peter Lyssiotis’ Blind Spot
- Mackay Regional Council Regional Artists Book Award for a local artist went to May‐Britt Mosshamer for Tapping the knowledge.*
Grishin’s comments about the work were:
As much as one fought the temptation, the $2,500 award had to go to the local artist, May‐Britt Mosshamer and her effective piece Tapping the knowledge. In art you can say very important things with a bit of humour in your back pocket. This work is all about the flood of information and the drought in knowledge.
The highly commended, or runner‐up entries in this category were:
Denise Vanderlugt’s I used to wrap rainbows
Jo Mitchell’s For Mary
- Artspace Mackay Foundation Youth and Student Artists Book Award (under 26years), went to Brooke Ferguson and her The Small Garden (for M.S.).*
Judge Grishin’s comment on the work:
This is an award that is about taking risks, a punt and choosing the unexpected, the promising and the challenging. It is literally a once in a lifetime opportunity for an emerging artist to gain national recognition plus a handy fistful of dollars. I selected the work by the 25‐year‐old Brisbane‐based artist, Brooke Ferguson and her The Small Garden (for M.S.) The MS stands for the wonderful veteran artist, Madonna Staunton, where young Brooke Ferguson was inspired by a poem by Staunton and with gouache, pen and ink and pencil has created a fragile concertina – a beautiful sensibility from a promising young artist.
In my opinion some books call for special mention. Caren Florance’s Pleasure demolition is transfixing. The suspended brown paper sheets with a hand printed letterpress phrases from poetry by Angela Gardner are animated by the flow of air and movement in the space. Forever moving, the oscillation of the pages becomes a machine for the generation of concrete poetry… phrases twirl and merge, poetic moments where new meaningful/less messages materialise.
The individual pages of Jamian Stayt’s Soulless evolution are pinned to the wall making what may seem like a vast wallpaper pattern. However, Stayt’s work invites a closer reading of the cipher hidden within the layers of the image. He presents some big questions where contemporary notions of tradition are challenged and rapidly changing technology has intertwined agency in the evolutionary pathway for humanity.
Julie Barratt’s Blair Athol recut refers to Solastalgia: a theory on the contemporary human condition for a deep loss of place. In one part of the installation there is a book of dark photolithographs where maps are encroached upon by black inks. For the reader this growing blackness evokes a gloomy absence. Facing the dark pages in the clamshell container are vials of coloured soils, plant fragments and found objects. Although collected from this disturbed place, these samples are vibrant and alive – perhaps they are the vestiges of childhood memories that recall a different time before the destruction of the physical place by coal mining.
Many books feature photographs as the primary carrier of the narrative. Ana Paula Estrada’s Memorandum employs the medium to document elderly people and their connection with life through personal photographs and how their memories are re-lived through viewing these photos. The book, conceived and made through the Siganto Foundation Creative Fellowship in the Australian Library of Art at the State Library of Queensland, is a complex assemblage of contemporary portraits, photo-glimpses from family albums and a narrative conveyed through the turning of pages.
As usual the artists’ book as exhibition defies direct touch and the turning of pages for narratives to be revealed and for the book to speak of what it has allowed the artist to create. But for the 72 books in the exhibition to be read the visitor would need to stay for the duration of the exhibition, working through the night with white gloves and torchlight. The exhibition reconnects and continues the significant contribution of the Artspace Mackay’s Libris Award to inspire artists and create a space discourse on the book in all its forms. In doing so the assembled exhibition represents cutting edge survey of Australian artists’ book practice.
Some works will become part of the Artspace Mackay collection; others will be re-packaged and returned to their makers. While the exhibition is dispersed its spirit will continue in the form of the gallery’s excellent illustrated catalogue, the text of Grishin’s speech, reviews, videos and other commentaries such as this, as well as the memories of the readers who viewed the show.
In two years time – the next iteration of this important event in the Australian artists’ book calendar will take place again. Wouldn’t it be nice if the whole collection could be purchased and held in perpetuity as a record of the discipline? Until then …
Dr Doug Spowart
16 October 2016
A VIDEO FLY-THRU OF THE EXHIBITION
OTHER BOOKS FROM THE EXHIBITION
All photographs and videos ©2015 Doug Spowart. Main text (except Judge Sasha Grishin’s words) ©2015 Doug Spowart With thanks to Victoria Cooper for her suggestions and edits.