Archive for the ‘Photobooks’ Category
NGV ART BOOK FAIR: See my books on the MomentoPro table
NGV Art Book Fair webpage
SEE MY PHOTOBOOKS Channeling Harvey Benge and A Compendium of New Zealand and Australian Photobooks on the MOMENTOPRO table at the NGV Art Book Fair in Melbourne over March 16, 17 & 18, 2018.
MomentoPro printed my latest two books and they have them on their table as examples of the work that they do.
Libby Jeffery’s invitation to visit her table – just love the T-Shirts
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Book 1. Channeling Harvey Benge
Channeling Harvey Benge book cover
The text from the colophon:
In 2015 I was invited to make a
presentation on photobooks at the
Auckland Art Gallery as part of the
Auckland Festival of Photography.
One of my photobook heroes is
Harvey Benge who was overseas
at the time and was unable to
attend the symposium.
I documented my attendance at
the Festival and created this
personal narrative relating to my
few days in New Zealand.
This little book also doubles as
homage to Benge’s book ‘A short
history of photography’.
A MomentoPro Preview of the book can be seen here: SPOWART-Channelling Harvey Benge-book
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Book 2. A Compendium of New Zealand and Australian Photobooks
The dual covers of the Photobook Compendium
A-D part of the Australian listing in the Compendium
Preface page of the COMPENDIUM
An events page in the COMPENDIUM
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Hope you can visit the ART BOOK FAIR and see my books …
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OFFICIAL LAUNCH OF A PHOTOBOOK COMPENDIUM FOR AUSTRALIA & NEW ZEALAND
Cover: A Compendium of Australian & New Zealand Photobooks v.PBNZ
To celebrate PHOTOBOOK NEW ZEALAND in Wellington over March 9-11 2018, I have published an updated version of my Photobook Compendium that was first issued in October 2017 at the VOLUME ART BOOK FAIR in Sydney.
Associate Professor Ann Shelton launches the Compendium @ Te Papa PHOTO: Libby Jeffery
Ann Shelton launches the Photobook Compendium PHOTO: Libby Jeffery
The Compendium is a soft cover 40 page A5 booklet that lists key contributors, both contemporary and historical, to the Australian and New Zealand photobook discipline. Apart from photographer’s names and many portraits I’ve included publishers, designers and book shops.
To extend the coverage of key aspects of the genre I have included visual coverage of significant photobook events and activities as well as portraits of many practitioners. Most of the photographs come from personal documents made in Australia, New Zealand and Vienna of these events.
The book is designed with two covers so both countries have prominence. The Compendium is printed by MomentPro and is a Numbered LIMITED EDITION of 40.
The book was launched at The Museum of New Zealand Te Papa Tongarewa in Wellington by artist and photobook maker Associate Professor Ann Shelton on Saturday 10 at 2.00pm. At the event books will be available through Remote Photobooks.
WHAT’s IN THE COMPENDIUM…?
- Over 400 listings relating to the photobook
- 26 portraits of photobook people
- 50 photobook covers – exemplars of the discipline
- 60 photographs of events
- Australian and New Zealand Photobook of the Year winners list
The book is now SOLD OUT! Although REMOTE PHOTOBOOKS may still have some copies
Some of the pages
The Compendium preface
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FOREWORD TO THE BOOK
This Compendium does not attempt a definition of the ‘photobook’ – therefore to reflect the breadth and depth of this evolving medium I have considered a range of photo-based products that may include photographically illustrated books, albums, catalogues, photobooks, zines, artists books, text-only references to photography and photo ephemera.
This data and images has been compiled over many years as a result of my interest in the photobook from the historical viewpoint as well as its contemporary phenomenon. I am particularly interested in books where the photograph acts as the principal narrative agent. Additionally I am also drawn to the haptic experience and design of the book and how it operates as a vehicle for presenting ideas and telling stories.
Listed here are names of people and organisations who have contributed (both historically and recently), to the development of photobook discipline. Although most of the listings are from New Zealand or Australian residents and establishments there are some inclusions relating to itinerant or short-lived connections with this region. Some publishing houses listed may be based offshore and have a presence in this region.
I wish to acknowledge the energy and support for Antipodean photobooks provided by Libby Jeffery and the MomentoPro company. Through their patronage and sponsorship they have played a pivotal role in the building of a strong and active photobook community.
This current Compendium is published in a limited edition of 40 on the occasion of the 2nd Photo Book New Zealand Festival in March 2018. Subsequent revised versions will contain new information arising from my ongoing research.
As much of this knowledge lies hidden in personal archives and libraries, I am most interested to receive information about New Zealand and Australian photobooks and the discipline’s community of practice.
Doug Spowart
Email: Greatdivide@a1.com.au
Mail: PO Box 3063, South Brisbane, Queensland 4101, AUSTRALIA
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MONTAGE+THE ARTISTS’ BOOK: a paper by Victoria Cooper
Victoria and the ARTISTS’ BOOK YEARBOOK 2018-9
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I’ve recently had a major paper on my research into the montage and artists’ books published in the ARTISTS’ BOOK YEARBOOK 2017-8 edited by Sarah Bodman from the Centre for Fine Print Research (CFPR) at the University of the West of England. The paper covers ongoing research which was undertaken as part of my Siganto Foundation Research Fellowship at the State Library of Queensland.
Here are the first 2 paragraphs from the paper
LIMINAL MOMENTS AT THE EDGES: READING MONTAGE NARRATIVES IN ARTISTS BOOKS
Each time I am drawn into the montage image as a reader, I experience a liminal moment – I am at a threshold where I will enter into an unknown space. Although I may recognise familiar characteristics in each fragment I am disorientated by their juxtaposition in these hybrid images. My focus for the Siganto Research Fellowship in the Australian Library of Art (ALA) collection, at the State Library of Queensland (SLQ) is to review and study this liminal reading of the montage through the edges and joins of the fragments. In this research I am guided by the writing of Pierre Bourdieu, Roland Barthes and Sergei Eisenstein to orient myself in the reading and articulate my findings from the perspective of the reader. Also underpinning this research is the extensive history of combining, gluing, montaging, and collaging of image work in many mediums including film, photography and book making.
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During my fellowship, I have reviewed over 100 artists’ books and many artists’ statements held in the ALA. The scope of this research was limited to particular works of Australian artists including Peter Lyssiotis, Gracia Haby and Louise Jennison. However selected works by British artist Helen Douglas and other international artists from the ALA collection were also considered in my research to include an international perspective. As I am a montage maker and thinker, I have decided to include some artists’ books that–although by the artist’s definition are collage– I ‘read’ as montage. My focus is on the visual ‘reading’ of the combined fragments through their edges and the spaces between. There are also considerations for the combination with mixed media including sound, photography and drawing.
This investigation does not set out to define a lexicon for montage or collage for the makeri and as such, in the writing, I will refer to the image works I am researching as montage/collage.
[i] See my blog post for the Australian Library of Art, State Library of Queensland, http://blogs.slq.qld.gov.au/ala/2016/05/27/reading-montages-perceptions-dilemmas-edges-and-resolution/
Key books that I discuss in the paper are from the following artists:
Peter Lyssiotis, Feather and Prey, (1997), Masterthief Enterprises, Melbourne
Peter Lyssiotis, Products of Wealth, (1997), Masterthief Enterprises, Melbourne
Lorelei Clark, Brisbane: River City, (2010), Lagoongrass Press, Brisbane
Jack Oudyn, The very first book of fish, (199?), Micro Press, Ormiston, Queensland
Gracia Haby and Louise Jennison, And we stood alone in the silent night, (2008), Melbourne
Gracia Haby and Louise Jennison, Salvaged Relatives, Melbourne
Lyn Ashby, 20 minutes, , (2011), ThisTooPress, Victoria
Helen Douglas & Zoe Irvine, Illiers Combray. (2004), Weproductions, Scotland
Dianne Fogwell, Gene Pool, (2000), Edition & Artist Book Studio, Canberra School of Art, Canberra
You can download a copy of my paper HERE
PLEASE NOTE: This download version contains colour photographs of the books discussed – the Yearbook is published in monochrome.
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Thank you to all the artists who gave permission for their works to be photographed and presented in the publication.
Enjoy — and I would appreciate any comments you may have about the paper…
You can buy your own hard copy of the Yearbook from UWE HERE
UWE Publications website
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Cabramatta: Markus Andersen & the theatricality of light
This 500 word book review was commissioned to appear in a national journal – however, due to the commissioning editor’s resignation, was overlooked by the later appointee. I therefore publish it here…
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MARKUS ANDERSEN’S BOOK – CABRAMATTA: A Moment in Time (T&G Publishing)
On the table before me sits a book I’m about to read. A photograph of faces in a dark street appears on the cover and the semi-matte black cover image has the word ‘Cabramatta’ in large varnished san serif type. I lean forward and pick up the book and turn the opening pages. My viewing is rewarded by the usual information: title, author, publisher interspersed between blank pages and two full-page photographs. Two essays – text on white pages follow. I’ll read them later as I want to see the photographs and allow them to tell their story. I continue to turn pages and the photographs flick past as a movie of freeze-frames of urban shopping streets – raw colour, all contrasty with faces and shapes montaged against black voids.
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After my first ‘reading’ I put the book face down back on the table and I reflect on what I have just encountered. Profoundly I have an experience of ‘place’, of the busy shopping precinct, a cacophony of sound and food aromas all evoked in his mash up of fleeting glimpses.
In this, Markus Andersen follows a long tradition of street photography that documents scenes of life from the familiar to the bizarre. This canon includes the work of: John Thompson (social documentary), Weegee a.k.a. Arthur Fellig (crime scene), Henri Cartier-Bresson (decisive moment), Robert Frank (American reality), William Eggleston (the democratic subject and colour), Vivian Maier (viewpoint), Mary Ellen Mark (embedded and personal). These photographs were first presented in the 1800s as albums. As documentary photography of places and events increased in popularity and readership they were published in early forms of the photobook and magazines.
My first ‘reading’ gave me a holistic view of the work. I now return to the book slowly turn the pages lingering on each photograph, looking for the connecting or underlying meanings within the meta-narrative. Each image stands alone and independent where the cohesive bond is the stilled moments of chaos in the theatricality of light.
For many, the book may simply reveal insights into the cultural nature of this Sydney suburb. However for me Cabramatta, is a celebration of Andersen’s vision as a master of light and the microsecond moment. The strength of these photographs within a visual narrative is supported by the design, sequencing and flow of the book, seems to emulate a performance on a stage. As a ‘reader’ I am placed firmly as an observer or spectator.
No doubt each reader will create their own impression of the visual material they will encounter in this book. Once more I look at the book before me. The photographer in me muses on seeing Andersen in action on the street – I imagine a patient observer with a nervous twitch – waiting, waiting. There’s a momentary splash of light filled with a face or shape, a synapse impulse … the shutter fires, in synchronicity with a meaningful moment, before the scene on the stage changes…
Doug Spowart
28 March 2017
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Markus Anderson’s Cabramatta: A moment in time
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T&G Publishing
295 x 250 mm
96pp
Colour
Hardcover
ISBN 9780987305060
Edition 1,000
$50
ISBN: 9780987305060
The book is available through T&G Publishing’s website:
https://www.tgpublishing.com.au/our-books/markus-andersen-cabramatta-a-moment-in-time
James McArdle has written about Andersen’s Cabramatta exhibition shown earlier this year at the Australian Centre for Photography … Read his ‘On this date in photography’ blog HERE
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BOOKS & ANZ PHOTOBOOK AWARDS – 22&23 September 2018
Australian 2016 Photobooks of the Year Finalists
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TWO SPECIAL PHOTOBOOK EVENTS IN BRISBANE ORGANISED BY THE PHOTOBOOK CLUB BRISBANE
Photobook Club Logo
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Event 1 – VIEW PHOTOBOOKS FRIDAY (FREE)
22nd September evening presents the very best of contemporary photobooks from Australia and New Zealand from the recent Photobook of the Year Awards.
Meet Libby Jeffery from the Award’s Patron MOMENTO PRO.
Come in and look at the books from 5.30pm — The viewing will close at 8.00pm.
Location: MAUD GALLERY – 6 Maud Street, Newstead, Brisbane.
ANZ Photobook Awards at Maud Gallery
TO BOOK this event do so on this Facebook page: PHOTOBOOK FRIDAY FACEBOOK EVENT
Event 2 – TALKING BOOKS SATURDAY (FREE)
23 September – a free day of presentations about making photobooks and talking about the latest local and international photobooks.
Saturday September 23 10.30am – 4.00pm
Location: MAUD GALLERY – 6 Maud Street, Newstead, Brisbane.
Libby Jeffery – MomentoPro
At 11.00am
KEYNOTE SPEAKER: Libby Jeffery from MomentoPro
Libby will talk about all things that make a difference for self publishers including:
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Crowdfunding for projects
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Working with editors, designers, reviewers, printers, distributors, publicists
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The value of awards like Australian Photoboook of the Year Awards
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Art book fairs
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Print-on-demand services
From 1.00-4.00pm
HEAR FROM SOME LOCAL PHOTOBOOK MAKERS & THEIR BOOKS
Dane Beesley and his books
The images in Dane’s book The Road trace an unknown timeline to an unknown destination, where he appears only as a tall shadow. 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.
David Symons and his book
David will show the ‘ins and outs’ of the work that he produced at the Siganto Foundation artists’ book workshops and a masterclass held at the State Library of Queensland earlier this year with UK artist Helen Douglas.
Neil Degney and his book You are here
The images in Neil’s book have been taken on the streets of inner city Brisbane over the years 2014 to 2017. The title references the ubiquitous wayfinding signs often found in unfamiliar environments that enable us to determine our geographical position and plan a course towards our intended destination. It is also my Instagram user name all the images have at some time been posted to Instagram. The photographs are taken with a camera phone and processed using an app called Snapseed. (Neil is scheduled in October to have the next exhibition at Maud Gallery).
Isaac Brown and his book This Rock Between Us
This Rock Between Us investigates the difficult relationship between my father and me. Hard, floating, and an unsubstantiated substance, the rock appears and vanishes from moment to moment. This handmade photobook attempts to represent the relationship as a physicality, as an object that exists ‘in-between’, and built, by my father and me.
HEAR ABOUT RECENT PHOTOBOOK EVENTS ACTIVITIES IN ATHENS, MALAYSIA & VIENNA
Louis at the Obscura Festival
Louis will be presenting some photobooks he had the pleasure of reading from his recent visit to the Obscura Festival 2017, as well as his recent work-in-progress photobook An Opened Letter.
Justin Ma
In March 2017 Justin Ma was invited to do a photography workshop with Antoine D’agata in Athens, Greece. The workshop was hosted by VOID, a new organisation in Athens focussed on alternative publishing, exhibitions and workshops mainly based around photography as well as other visual arts. During the event at Maud Justin will be showing a few examples of publications from VOID including their collaboration with Antoine D’agata’s latest book “Cidade de Pedra”.
Martin Parr talking photobooks with Vicky and Doug in Vienna
Doug and Vicky will talk about their experiences at the Vienna Photo Book Festival, meeting Martin Parr and Gerry Badger and show some of the books they bought home from the Festival.
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SEE BOOKS FROM AROUND THE WORLD
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TO BOOK SATURDAY PLEASE REGISTER ON THE EVENTBRITE SITE LISTED BELOW.
https://www.eventbrite.com.au/e/talking-books-photobook-club-brisbane-event-tickets-37573180394
Maud Gallery sign
Thank You Maud Gallery for supporting this Photobook Club Brisbane event.
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ABBE 2017 – The academic artists book conference
ABBE Logo
The second Artist Book Brisbane Event (ABBE) promised an academic conference dealing with the artists book as a folded and risky space. The event consisted of three elements at the Queensland College of Art and a fourth satellite pop-up exhibition at the State Library of Queensland. Drawn to ABBE 2017 were artists bookmakers, thinkers, commentators, teachers, lecturers and tinkerers from across Australia. All came with a desire to contribute to, or participate in, perhaps this Australia’s penultimate artists book gathering.
Dr Tim Mosely ABBE coordinator and chair
The event was convened and chaired by QCA lecturer Tim Mosely and was launched by Griffith University’s Dean Academic, Arts, Education and Law Professor Ruth Bereson who spoke about the book as art and the need for that the discipline has for scholarly discourse. She commented that the Griffith Centre for Creative Arts Research ABBE program and its connection with Columbia University’s JAB (Journal of Artists Book) publication of selected papers would contribute to this discourse. Significant keynote speakers, Uta Schneider and Ulrike Stoltz from Germany and Clyde McGill from Western Australia headlined the event. Other program contributors came from practitioners, academic staff, students, and recent graduates from institutions in the USA, New Zealand and around Australia.
Ulrike Stoltz & Uta Schneider
The first keynotes were Uta Schneider and Ulrike Stoltz who presented a paper entitled betwixt & between. Presenting in tandem their voices were almost like a turning of the pages – recto and verso. They teased out and formed the conference theme of ‘folding’ into an ordered analysis of the physical and metaphorical ways that books fold. They connected the theme ‘folding’ with their own individual and collaborative works and the concepts, philosophies and discussions about artists books that informed them. Mythology, Martin Heidegger on contemprality and the ekstaticon, Carrion, Gillies Deleuze and ‘thinking means folding’ and Michel Serres and ‘the crumpled nature of time’.
The lecture then proceeded to a review of book forms with terms like:
- Folded paper
- Cross fold
- Sharpness of the fold
- Container folds
- Staging folds
- French fold
- Inside folding outside
- Concertina and multi-concertina folds
- Wormholes and science fiction
The works they illustrated their paper with were refined and exquisitely designed. They featured wordplay and poetry, folded page spaces, transparency using ‘show-through’, typography and graphic design elements. As an introduction to the topic, the hour long presentation provided a solid and exciting insight into ways of considering the fold, its forms and the way it can connect with the reader, as receiver of the communiqué.
A K Milroy + Brad Freeman presenting
Other presentations on the program included:
- Marian Macken Reading Volume: Between Folded Drawings and Collapsible Models
- Caren Florance & Angela Gardner Unfolding to refold: collaborative wordings
- Paul Uhlmann Meditations on process: Three artists books, letters to the land, sea and sky
- Caren Florance An Instrument of Collaboration: Unfolding the GIW Legacy
- Monica Oppen Eclectic items: early books by Australian artists
- Ana Paula Estrada “Memorandum”, from concept to publication
- Wim de Vos Air, edge, surface image – concertina books
- Nicola Hooper The Citronella Artists Book as an Augmented Narrative
- Amy E. Thompson Folding and the potential of Artists’ Books
- A K Milroy & Brad Freeman Folding and unfolding in JAB41: cultures, research, pages
- Tess Mehonoshen DISINTEGRATE: the destructive folding of materials
- Marian Crawford A lively phantom: the rare and popular artists book
- Carolyn Craig Unfolding(s)
- Isaac Brown Relationship risk and ethics in photographic artist books
- Monica Carroll & Adam Dickerson Unfolding the episteme of artists’ books
- Bridget Hillebrand Handling folds: an intimate encounter
- Julie Barratt & Virginia Barratt The exquisite fold, the immanent word
- Maren Götzmann The Anarchist Notebooks
While most papers were read from the dais with carefully illustrated PowerPoint slides the second keynote speaker Clyde McGill emerged on the stage with a device that could be called a ‘bibliophone’. McGill had altered a range of book titles by folding back the pages and attaching a sound pick-up to the book cover and then connected the 7 books to an amplifier. Volunteers from the audience were given bonefolders as plectrums and, on McGill’s guidance were instructed to make the various movements of hands and object associated with hand-making a book. The haptic actions were converted to sound and the room filled with the noise of ‘making’ associated with a great deal of laughter.
Making book music with Clyde McGill
McGill continued his presentation with a detailed investigation of the idea of folding books. Where possible his own works were referenced. At other times he created new books by playful investigation… bending and folding light was a particularly humorous but gave those present an insight into how the artist’s off-tangential and obtuse thought processes process can lead to new conceptual and visual discoveries.
Julie and Virginia Barrett’s performance
Another departure from the read-the-paper format was a performance by Julie Barratt and her sister Virginia Barratt. Attendees, on returning to the lecture theatre after morning tea, found the space darkened except for two sharply defined spotlit circles. One pool of light was vacant, just the floor’s carpet – in the other artists’ book maker Julie Barratt was busy unfurling paper, measuring it and tearing of lengths and positioning them in a stack on the table before her. Also on the table were scissors a ball of thread and other bookmaker’s things. The unroll>measure>cut>position sequence was progressing methodically for some time making the sheets one might guess that would go to making a book. A soundtrack began with a female voice expressing thoughts ideas, word associations sometimes repeated – perhaps the thoughts of the bookmaker? There was a rustling sound – stage right. Gradually a large dome-like white shape appeared and moved towards the empty spotlight area. The shape was covered in what looked like pages – ominous maybe… the audio continued and Julie Barratt left her table and proceeded toward the shape and picked up a folded sheet and returned to the table – flattening out the sheet it was melded with other sheets. The performance continued. What was it about? What came to my mind was that the shape was like the book working with Julie so its story could be told as in Paul Carter’s ‘material thinking’. At the end of the performance it was revealed that Virginia Barratt, Julie’s sister, was the artists book ‘monster’.
Another aspect of the conference presentations were two papers by photographers Ana Paula Estrada and Isaac Brown both featuring bookwork’s that they had created. Estrada, as a State Library of Queensland Siganto Foundation Creative Fellow, discussed concepts of memory, photography and old age as the inspiration for her project. She detailed the process of design, making maquettes, refining and working with commercial printers and binders to complete the project. Brown spoke of the integration of his project and PhD study focussing on his relationship to his father, a Vietnam veteran. Aspects of text and dialogue were addressed as well as Brown’s own recent fatherhood. What was interesting was the informal narrative and connection with audience that both presenters had and the expanding space of the artists book being inhabited by photographers.
Wim de Vos presents his work
Wim de Vos made an animated presentation and several helpers as his concertina books by the metre unfolded across the width of the theatre and tunnel books expanded, evidence of the pre-eminence of his artists book practice in Queensland.
Midway through the academic papers a ‘plenary’ session consisting of a panel of artists’ book ‘movers and shakers’ discussed several issues relating to the discipline. The session quickly became absorbed with the perennial issues of nomenclature, the dearth of private and public purchasers of bookworks and the grooming of possible artists book collectors. The impact of the term ‘Art Book’ was mentioned and the way events associated with the term has grown in popularity worldwide and has come to encompass artists books, photobooks, zines, art books and institutional catalogues. Another topic mentioned was the importance of research and critical commentary on the discipline. A suggestion was made for the formation of a ‘double-blind peer review’ collective.
Noreen Grahame at the QCA Library and her ‘… & So’ artists book show
On the evening of the first day Robert Heather, Director, New England Regional Art Museum opened the exhibition “… & So” at QCA Library. The exhibition features a significant collection of seminal Australian and international artists books and multiples sourced predominately from Noreen Grahame’s Centre for the Artist Book collection and her numero uno publications alongside artists’ books from the Queensland College of Art. A list of the selected works can be downloaded here. ALA Books for abbe 2017 … $ so Exhibition list
Mid afternoon on the second day the State Librarian and CEO from the State Librarian of Queensland Vicki McDonald opened the 6th artists’ books + multiples fair. Twelve tables presented a hand-to-eye experience of books by significant makers of contemporary artists’ books. These included:
A silhouette view of the Grahame Galleries tables
Stand 1 – grahame galleries + editions
Barbara Davidson
Caren Florance
Stand 3 – Caren Florance – Ampersand Duck
Photo from ABBE Artists Book Conference July 6-9 2017 at the Queensland College of Art
Anne-Marie Hunter
Stand 7 – Psyclonic Studios – Anne-Maree Hunter
Sue Poggioli
Adele Outteridge & Wim de Vos
Ulrike Stoltz & Uta Schneider
Brad Freeman
Anita Milroy
Lyn Ashby
Stand 11 – Milroy-Australia / Freeman-USA / Ashby-Australia
Sue Anderson
SLQ Australian Library of Art artists book exhibition
To complement the theme of the ABBE conference a special collection of concertina and folded books was curated by Christene Drewe of the Australian Library of Art at the State Library of Queensland. Open only for 2 hours on the Saturday morning of the conference this satellite event was well patronised. The Australian Library of Art is recognised as Australia’s premier public collection of artists books and the range of works presented was a testimony to the variety and depth of the collection. A list of the books displayed can be downloaded here. ALA Books for abbe 2017
In keeping with the conference theme the community of practice for artists books in this country is supported by the ‘folding’ and ‘unfolding’ of ideas, theories, concepts, access to exemplar book samples and the social connection that ABBE provides. While selected ABBE 2017 papers will be published in JAB, beyond that, the influence and impact of this gathering highlights the need for ABBE to provide this ongoing forum in Australia.
Dr Doug Spowart
All photographs and text ©2017 Doug Spowart
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CYANOTYPE: Working the ‘blues’ in Greece
A cyanotype print on rice paper hung out to dry on Skopelos
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The azure blue of the Aegean Sea perfectly matches the prussian blue of the historic process cyanotype. The ancient stories of Ulysses and Jason’s Argonauts lend themselves to the contemporary narratives that can be made through photography and the photobook. In May we sought to explore these creative possibilities through a collaborative workshop coordinated by artist Steph Bolt and Skopelos Works on Paper on the island of Skopelos located in the Sporades north-east of Athens.
Six participants worked with us over a two-week program of structured lectures, practical sessions and photo forays to explore the possibilities for image taking and art making on the island. Staying in the main town on the island we worked out of the purpose-built printmaking studio with a view out over rocky headlands, distant islands, blue waters and skies. The studio sits atop of the town next to the remains of a castle with steps and paved pathways leading to the harbour and the Paralia. Tourism is a significant industry for the island however its impact does not destroy a feeling of being within an authentic experience of Greece.
The workshops started with breakfast daily at 8.30am with a studio start at 9.00am. By 2.30pm the formal program finished enabling personal exploration of the diverse subject matter available. Everyday participant’s day concluded in the restaurants of the Paralia partaking in the culinary delights of rustic Greek food supported by ouzo, retsina and aspro krasi (white wine). We ate fantastic squid, octopus, anchovies, little fishes, rabbit, goat, traditional foraged foods like the succulent kritima, local cheeses, Skopelos pies and gyros. Some members of the group formed relationships with the restaurateurs and towards the end of each meal extra wine and special desserts were presented as gifts by the host.
At regular intervals in the program Steph and her husband Robin took us on photo adventures: to the ancient graves at Sendoukia for sunrise, the Roman bathhouse ruins of Loutraki, the hillside town of Glossa and the classic white rocky cliffs and beaches of the island. The island is also famous for providing the setting for the Bronson and Streep film, Mama Mia so we visited the famous church on the rock Agios Ioannis. As part of most of these forays we had more opportunities to dine in tavernas, coffee shops and seaside restaurants.
Agios Ioannis
Key to the program was the concept of ‘place-making’, that is making photographs and forming them into themes and photo-essays that told of the personal experience of place by the photographer. The process of the cyanotype was explored employing traditional ‘shadow’ imprint of objects collected from the island to some very experimental work with multiple materials and exposures and double-sided printing. We worked not only with art papers but also with rice paper, various cloth materials event kitchen paper towelling. We had also gathered some special objects like a range Greek laces and linens, local rocks and a diverse range of plant material. Connecting direct photography with the cyanotype process was achieved on-site by the making of enlarged inkjet negatives.
Photobooks were developed at first as mini-book projects that could lead to online projects with MomentoPro software. MomentoPro supported the project by accrediting our program as part of the ‘Club’ services giving the participants 40% discount on their first book and 10% on each of their future books.
A local cat keeps Gail amused while she exposes a cyanotype
The participants were accommodated near the studio at the top of the town – one group had extensive views of the Aegean Sea sunrise with the other group overlooking the town. As mentioned earlier the distance to the shops and restaurants in the harbour required the negotiation of several hundred bespoke steps of local stone and concrete all with their leading edge painted white. The steps meandered past mainly two storied whitewashed houses with ornate doors and grilles. Ancient churches some built with reclaimed stones from other building provided an experience of place that was quite memorable. Coming home from shopping or dinner meant a steep climb up through the paths, sometime dodging motorcycles although many steps are so narrow that even they are footpaths alone. On one early evening return we encountered a church group with candles being led in a song procession with a Greek Orthodox priest leading the way – a memorable moment indeed.
The weather was very changeable requiring some program shuffles, as cyanotypes are direct sun exposures for many minutes. Ah! Today is sunny – we’ll make cyanotypes then… Once participants grasped the technique each took the process in their own directions. Many sophisticated books were made based on other workshop classes in book binding and finishing. Some went BIG making full sheet (55x76cm) cyanotypes.
Morning review
At the beginning of each workday a review of the previous activities was undertaken. The specific needs of each participant could be covered and ideas shared.
On the final day each photographer presented their best work – what an amazing body of work that represented – although within hours each had said their goodbyes and had caught ferries off the island and were flying homeward. We were all jealous of Steph and Robin who have a house in the town and stay there for about half the year. Their knowledge of the island and networking with island people was invaluable for the success of the workshop. Works were shared and a folio set of eight small books were made in multiple so everyone ended up with a memento from each of other individual experiences …
All of us were touched by something special on the island – our photographs and books act as evidence of experience but also a touchstone to relive and share those experiences…
Here are some photos of the final presentations…
Copyright in the text and all photographs are the copyright of Doug Spowart+Victoria Cooper unless otherwise indicated. The copyright of the artworks is held by the artists.
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TAKING AuNZ PHOTOBOOKS TO THE WORLD – The Vienna Photo Book Festival
The MomentoPro AuNZ Photobooks of the Year @ VPBF
In the Antipodes we think we are far away from the centre of activities in so many areas of human endeavour that we just get on with it – doing it our own way. The field of photobooks is one such area.
Recently I had an opportunity to take photobooks from our part of the world to Europe and present a ‘show ‘n’ tell’ at the Vienna Photo Book Festival in Austria. Before the event I was wondering how our books would be received – would they match the Euro photobook for production values, innovation and story-telling capability? I would soon have my answer…
I presented a lecture on Australian and New Zealand photobooks and spent two days with Victoria Cooper and Lachlan Blair on our book presentation table featuring the finalists and winners of the 2016 MomentoPro Australian and New Zealand Photobooks of the Year Awards (ANZPOTY).
The answer to the question I posed earlier would soon be answered.
In a series of 3 blog posts I will tell the story of three aspects of the Vienna Photo Book Festival (1) the lectures, book and print sales, (2) my lecture and (3) the Vienna Photo Book Reviews.
Read on: THERE ARE 3 BLOG POSTS WITH THE DETAILS … links below…
The LECTURE
The EVENT
https://wotwedid.com/2017/06/18/aunz-photobooks-the-vienna-photo-book-festival/
The REVIEW SESSIONS
https://wotwedid.com/2017/06/18/review-panels-at-the-vienna-photo-book-festival/
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THE ANTIPODEAN PHOTOBOOK – a lecture at the Vienna Photo Book Festival
Doug Spowart presenting The Antipodean Photobook at Vienna Photo Book Festival
THE LECTURE: THE ANTIPODEAN PHOTOBOOK
My lecture brief was to make an hour-long presentation about the Australian and New Zealand photobook scene. After some thought I organised my lecture content around 4 distinct areas.
1. The supporting structures
The contemporary scene was to be included covering both practitioners and the major events in AuNZ that have shaped and contributed to the development of strong network and community of practice. The key events, movers and shakers such as:
- Photobook Melbourne
- Photobook New Zealand
- Unless you will 2017 event and book reviews
- Melbourne Artbook Fair
- Sydney’s Volume Another Artbook Fair
- Zinefairs
- The Photobook of the Year Awards
- Bookshops
- Perimeter Editions
- m.33
- T&G
- Rim Books
- Remote Photobooks
- Perimeter
- Photobook Clubs
- Asia Pacific Photobook Archive
- Photobook collections
I commented also on the sources of critical discourse on photobooks in AuNZ.
The role of Libby Jeffery and Geoff Hunt of MomentoPro as patrons and supporters of all things photobook in Australia and New Zealand was acknowledged.
2. Photobook histories of Australia and New Zealand from first examples to 2000
Here are a few slides from the presentation…
I was able also to present a discussion on the challenge of commercial book production as against personal work using Wes Stacey as an exemplar.
I also spoke about the informal links that exist between the photobook and artists’ book disciplines.
3. The contemporary scene and a selection of interesting books and makers
Here are a few slides from the presentation…
4. Voices from the Antipodean scene
It was important for me that contributors to the photobook discipline in Australia and New Zealand be given an opportunity to provide their personal insights to my presentation.
I sought comments from a range of key contributors and received responses from Libby Jeffery, Daniel Boetker-Smith, Helen Frajman, Harvey Benge, Bruce Connew, Garry Trinh, Sam Harris, Ying Ang, Anith Totha, The 2018 Photo Book Wellington Committee.
Here are a few slides from the presentation…
My concluding comment was that AuNZ and the Asia-Pacific regions offer new and refreshing ideas of what a photobook could be and the stories of peoples outside of the usual Euro/Americano scene.
I invited all attendees to visit our table and view the Photobook of the Year finalists and winners and offered, as an additional incentive a copy of the Awards booklet.
My lecture was well attended by festival participants from different parts of Europe including Martin Parr, Photo historian Hans-Michael Koetzle and collectors with an interest in the AuNZ books.
After the lecture Martin Parr and I discussed AuNZ photobooks that he was aware of and commented that in my lecture he had seen many new books. Our conversation continued later that day and he, Gerry Badger, and probably most of those who attended the lecture came to our table to look at the books.
Martin Parr at the AuNZ photobook table PHOTO: Lachlan Blair
SEE ALSO
The EVENT
https://wotwedid.com/2017/06/18/aunz-photobooks-the-vienna-photo-book-festival/
The REVIEW SESSIONS
https://wotwedid.com/2017/06/18/review-panels-at-the-vienna-photo-book-festival/
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AuNZ PHOTOBOOKS @ The Vienna Photo Book Festival
The exhibition at Brotfabrik Wien
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THE FESTIVAL: LECTURES, ACTIVITIES, OLD+NEW BOOKS & PRINT SALES
(from the ViennaPhotoBookFestival website)
The Artistic Directors, Regina Maria Anzenberger of Anzenberger Gallery and Michael Kollmann of OstLicht Gallery state that:
The ViennaPhotoBookFestival is celebrating its 5th anniversary on the 10th and 11th of June 2017 and to celebrate the medium of the photobook accordingly we have set up an exciting program. In addition to prominent guests like the Magnum legend Bruce Davidson and the creator of The Photobook: A History and Magnum photographer Martin Parr, we are expecting the photo critics Gerry Badger and Hans-Michael Koetzle, the Russian photographer Nikolay Bakharev, archipelago founder Magali Avezou, the chief curator of the Italian center for photography Camera Francesco Zanot, the Danish photographer Krass Clement and the Swiss photographer Rene Groebli, who is celebrating his 90th birthday this year.
Also in 2017 we are following the vision of a modern platform that helps to create networks between publishers, rare photobook dealers, independent publishers, artists and students. In addition, the festival’s international lectures will attract photobook aficionados from all over the world making Vienna a photobook metropolis once again.
The AuNZ Photobook of the Year set of books
Early Saturday morning along with 100 other table holders we unpacked and set-up our display. Around us other table holders offered everything from prints to booksellers of new and antiquarian books, student groups and educational institutions from all over Europe. There were special activities including a 10×8 Polaroid portrait and wet plate photography studios.
Our ANZ PBOTY display was positioned next to our Austrian/expat Australian friend Lachlan Blair’s table. Although he had paid for his table to show his beautiful photogram works and prints, Lachlan also shared the table minding duties with us. With his support we all were able to attend lecture events and also checkout other VPBF tables.
The exhibition space with the AuNZ table in the foreground
Lachlan Blair’s photogram print display
The history of the photobook was represented by significant collections and booksellers – I held a copy of Roy DeCarava’s Sweet flypaper of life… Lazlo Moholy-Nagy’s essay in Telehor from 1936 – books by Blossfeldt, Brandt, Van Elsen, Klaus Clement. I held back – a limited budget, though my new friend from Russia Natalia had an amazing handmade book by Julia Borissova that I had to buy, other books were bought and some were swapped – one of these was Surveillance by Valentyn Odnoviun which featured the circular observation peep-holes from Gestapo, STASI and KGB prisons – a most chilling yet remarkable book, this work was inspired by his father’s incarceration for 3 years on false charges.
Classic photobooks
Valentyn Odnoviun with his book ‘Surveillance’
Martin Parr was interviewed by Verena Kaspar-Eisert at the opening event – the room was full. Parr was the complete mischievous interviewee as Verena teased out some interesting facts and comments from this ‘Photobook Rock Star’.
Martin Parr being interviewed by Verena Kaspar-Eisert
Sunday continued the frantic pace – lectures, including one by Bruce Davidson, another by Nikolay Bakharev and Klaus Clement interviewed by Gerry Badger.
Krass Clement being interviewed by Gerry Badger
As the hours wore down there was a frantic activity to see other tables and catch up with as much as one could handle. MomentoPro had also sent along with the books around 30 of the little catalogues and these became gifts to selected viewers of our books… these included collectors, teachers serious photobook makers and others from the photo press and of course Anzenberger, Badger and Parr.
We received many statements from viewers complimenting the quality of our books some even saying that the work was better than the general European scene. In response to people wanting to buy ANZ books we suggested direct connection with the photographers websites, bookshops and online stores in ANZ. One collector came to us on Sunday and excitedly exclaimed that he had been in contact with a NZ photographer and had bought the book…! Katrin Koenning+ Sarker Protick’s Astres Noirs APOTY winner could have been sold many time over as it’s 1st edition is ‘sold out’ and is now a rarity – luckily the Anzenberger Bookshop had copies of the 2nd edition.
Gerry Badger with Sonia Lenzi at the AuNZ table
Martin Parr at the AuNZ table
In the final minutes of the 2016 VPBF all table holders packed up their displays of books and prints leaving behind a vacant space that had once held so many books, their stories and those who make or care for them. We left the building, said our goodbyes, repacked suitcases with new books and a couple of hours later Lachlan took us to Vienna airport to catch our flight home.
Regina Maria Anzenberger and Doug Spowart
It’s now the middle of the plane flight somewhere over the Black Sea – about 1.35am. I’m still pumped and excited to have been able to have made this foray into the European photobook scene. I also want to acknowledge the support of Regina Marie Anzenberger and Michael Kollmann from Vienna Photobook Festival, Libby Jeffery and Rony Wilson of MomentoPro, Lachlan Blair and my partner Victoria Cooper,
For many people in the northern hemisphere Australia and New Zealand will be known not just as an interesting travel destination but rather a place where a dynamic photobook network of practitioners exists making great books….
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What follows is a selection of images from the event…
SEE ALSO:
The LECTURE
The REVIEW SESSIONS
https://wotwedid.com/2017/06/18/review-panels-at-the-vienna-photo-book-festival/
wotwedid 