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A Spectrum: Photobook to Artists’ Book

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About 4 years ago during post doctural research I was involved with at the State Library of Queensland as a Siganto Foundation Research Fellow I submitted a paper concept to a call-out for contributions to a major book on photobooks being prepared by a significant contributor to the international photobook discipline at that time. Unfortunately the publishing project was never realised and the essay did not enter the critical discourse on photobooks.

Recently there has been much discussion about terminologies in photobooks and some aspects of the artists’ book are beginning to blur. I passed the paper on to a UK PhD candidate who found interest in the discussion that I raised and suggested that I self-publish the essay.  

So here it is…

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Spectrum

. A Photo Spectrum: Photobook to Artists’ Book 

.. [DRAFT@January 21, 2015]

 

The contemporary popularization of the ‘photobook’ is arguably attributed to the three published commentaries that have become seminal texts on the subject, the first of which: The Photobook: A History Volume I was released in 2004 by photographer and photobook maker Martin Parr, and photo historian Gerry Badger. Commentator and photographer Tim McLaughlin observes: ‘The term “photobook” which never really existed before Parr and Badger (most dictionaries still do not recognize it), would, within a few years, come to identify a growing industry…’(McLaughlin 2013). Interest in the photobook has never been greater. Digital technologies have emancipated photography and book publishing and now anyone can take photos and make their own photobooks. Accompanying this publishing revolution are awards, ‘books of the year’ lists, catalogues, and an auction market. Specialist online and bricks-and-mortar bookshops now service an ever-increasing buying and collector market.

Although photobook publications have aesthetic definitions for what a photobook is, the term has a lot of ground to cover. Photography writer and teacher David Campany recently noted in Aperture’s Photobook Review that: ‘The compound noun ‘photobook’ is a nifty little invention, designed to turn an infinite field (books with photographs in them) into something much more definable’(Campany 2014). But while the ‘infinite field’ may be ‘easily defined’ the term photobook can only serve as a generalised umbrella for the plethora of photobook products that shelter under it.

The definition of photobook today could include a roughly printed or photocopied zine-like object created by a child, to a blatantly over-designed limited edition book. In between these bookends lies a range of products: Print-on-demand and hand-made unique state, small editions, self-published or bespoke books, ephemeral items, newspapers, pamphlets and zines. Although many of these published forms may not have the universal distribution and commercial opportunities afforded a trade published book, they are, none the less, part of the broad practice of the contemporary photobook. Additionally many of these books occupy much of the emergent contemporary scene and tend to be overlooked as the critical discussion is usually focussed on the photobook exemplars from the past.

The boundaries of the photobook discipline are blurred by their intersection with a variety of other book genres including the expansive mediums of artists’ books and zines. As independent publishers of books, artists have for over 100 years communicated their ideas and stories using their chosen media in book form. Artists have embraced photography and the various forms of photography from found collaged photos, to screen-printing, photo etching and gravure, as well as actual silver gelatin, type C, inkjet or laser prints in their artists’ book works. Anne Thurmann-Jayes commented in the catalogue for ars photographica, an exhibition about artists and photographers and their photobooks, that: ‘In very general terms, it is possible to say that half of all artists’ books produced to date have been based on photographs’ (Thurmann-Jajes 2002:19). For that reason any discussion of the photobook needs to consider a broader range of contributors to the discipline as well as other forms of the book where photographs act as carrier of the visual communiqué.

In her essay Thurmann-Jajes also comments on the differences that she felt existed between the artist and the photographer in conceptual aspects of making a photobook. She states that:

The authors of photo books followed photographic tradition, according to which the photograph as such was decisive, becoming the bearer of meaning… By contrast to the photo book, the artists’ book is not the bearer, but the medium of the artistic message. (Thurmann-Jajes 2002:20)

In highlighting the differences in the way the photograph is used and considered by these two groups, Thurman-Jajes has identified a division may have always existed between the photographer and the artist using photography. Yet making books with the photograph as a ‘bearer of meaning’ or ‘message’ should not belong to any particular practitioner. If the photograph is therefore a universal and an open medium for all book makers then any questioning on what is and what can be a photobook requires consideration that embraces this diversity.

To ensure that the photobook remains vibrant and relevant, a flexible space for discourse and critique needs to be created that is inclusive of the broad range of authors and book forms in this medium. In 1998 artists’ book librarian, collector and curator Clive Phillpot suggested a metaphor for the artists’ book discipline as being ‘white light’ and the individual colors that made up white light as being the ‘many categories of the spectrum’ representing the broad nature of the practice. In this essay Phillpot’s ‘white light’ metaphor is now applied to the range of published forms that employ or contain photographs beyond that of the artists’ book. (Phillpot 1998:38)

Through an extension of Phillpot’s prism, this essay will propose a grouping of the various forms of the book from photobook through zines to artists’ books and their salient characteristics using individual colors (wavelengths of light). As the visible light spectrum has a rainbow of seven visible colors this proposition has seven as well. Although two additional ‘colors’, familiar to photographers, that of infrared and ultra-violet, have been added to recognise specific aspects of photography publishing at the extreme ends of the range. Each color and book form has specific characteristics and identifiers associated with it – it is recognized that many books may challenge attempts to place them within just one color in this spectrum.

The transition from the infrared to ultra-violet intentionally locates those books conceived and produced by photographers at the warmer end of the spectrum. Book forms in the cooler end of the spectrum would be principally books made by artists using photography. Placement within this spectral framework may create some interesting challenges including the divisions of ‘artist’ and ‘photographer’, and how practitioners describe themselves and their creative products.

The 9 colors and their identifiers are:

Infrared – The Deluxe Photobook

  • A book of monumental proportions approaching what bibliographers and librarians call ‘double elephant’ (up to 78cm tall for Helmut Newton’s Sumo);
  • Usually consists of a monograph styled ‘best of’, or, of a tightly thematic subject matter by a particular photographer;
  • Are limited editions, expensive to buy and have limited markets that center on private collectors and institutions; and
  • Are usually commissioned by a small number of specialist art publishing houses as opulent objects of art, design and packaging.

An exemplar:

Genesis, Sebastião Salgado, Taschen

Genesis, Sebastião Salgado, Taschen

Genesis

Sebastião Salgado, Taschen, Hardcover, 2 vols, with bookstand, 18.4 x 27.6 in., 704 pages, £ 2,500. https://www.taschen.com/pages/en/catalogue/photography/all/02613/facts.sebastio_salgado_genesis.htm

Viewed: April 6, 2018

 

Red – The ‘Classic trade’ Photobook

A book form in the tradition of Walker Evans’ American Photographs (1938), William Eggleston Eggleston’s Guide (1976), Robert Frank’s The Americans (1959), and John Gossage’s The Pond (1985). Characteristics of these books may include;

  • A single photograph per opening, the facing page blank and may sometimes contain a title or caption;
  • Sometimes it is a book co-published with an exhibition of the same title;
  • Simulation of the gallery experience of viewing photographs and therefore is sometimes referred to as an ‘exhibition in a book’;
  • Images in these books are carefully and purposefully sequenced to carry the narrative intended by the author; and
  • An essay relating to the work by the photographer, curator or writer often accompanies this book form – occasionally the essay may be of an obtuse content.

 

An exemplar:

 

A Road Through Shore Pine, Photographs by Robert Adams

A Road Through Shore Pine

Photographs by Robert Adams. Fraenkel Gallery, 2014. 42 pp., illustrated throughout, 9¾x11¾”. http://www.photoeye.com/bookstore/citation.cfm?Catalog=DS364

 

Orange – Design Photobook (collaboration)

The authors of this form consider that photobooks are an experience that can be enhanced by the influence of creative graphic design that may include:

  • Usually is a collaboration between the photographer and a designer so as to transform the photographs into a strident work of visual communication;
  • The presentation of photographs over double pages, or being montaged, or printed full-bleed as well as being scaled variably;
  • Inventive typography and layout design enhancements;
  • High quality book production, printing, finishing and packaging; and
  • A differentiation from other photobooks by the inventiveness of the design features and the surprise that is encountered by the reader in engaging with the physicality of the book and how it operates as a communicative device.

 

Exemplars:

Gold Coast, photography by Ying Ang, co-designed with Teun Van Der Heijden

Gold Coast, photography by Ying Ang, co-designed with Teun Van Der Heijden
Self-Published, 2014. 132 pp., 72 color illustrations, 9½x11¼”.

http://yingangphoto.com/page.cfm?id=34&subid=121

 

 

Iris Garden, photography by William Gedney and designed by Hans Seeger

 

Iris Garden, photography by William Gedney and designed by Hans Seeger

63 pages plus insert, 6.75 x 9.5 in. Heavy softcover with wraps & slipcase,

Little Brown Mushroom, 2013, in an edition of 1,000.

http://www.littlebrownmushroom.com/products/iris-garden/

 

 

Yellow – POD Photobook

  • These books are usually self-published;
  • They may emulate bookstore trade books from simple booklets to grand coffee table tomes;
  • They can be produced by anyone with minimal photography and computer skills and just require access to online photobook-service providers;
  • Single book or multiple copies can be made;
  • Affordable pricing considering the sophistication of the product;
  • POD services generally utilize templates for ease of use by clients of limited skill;
  • POD books may have designer input, but due to the limited range of options for special finishing or designed-in features; and
  • Many POD book users create book ‘dummies’ that may lead to a more trade-based publication at a later stage.

 

For exemplars see works offered in the photography category of http://www.Blurb.com.

 

On Approach by Daniel Milnor, BLURB Book

 

On Approach by Daniel Milnor, BLURB Book, 13x20cm, 26 pgs

http://www.photoeye.com/bookstore/citation.cfm?Catalog=ze462

http://www.smogranch.com/2012/09/26/cleveland-musuem-of-art-diy-photobooks/

 

 

Promised land by M Bruce Hall

 

Promised land by M Bruce Hall, Blue Sky Books/MagCloud. Standard 8.25″ x 10.75″. 56 pages, perfect-bound.

http://www.magcloud.com/browse/issue/815317

 

Green – Emergent – PhotoStream* [of Consciousness], Photozine*or Insta-photobook*, Imagistbooks*

This aspect of photobook publishing is occupied by a large number of DIY practitioners accessing a range of print technologies from desktop inkjet and laser printers to affordable digital press printing and binding technologies. Content of these books could be considered a visual form of imagist or concrete poetry – they exhibit and subject and assembly sensibility that could match ‘stream of consciousness’ approaches to art. Other aspects include:

  • Usually self-authored or collaborative publications;
  • Are made in limited numbers/editions, often hand sewn or stapled;
  • The books are sold through specialist popular culture bookshops or online;
  • Often these books may be the result of crowd sourced funding and may be derived from online image storage or social media platforms like Instagram; and
  • Their locale of popularity and distribution may be regional.

 

*Names considered to best describe these emergent forms

 

Exemplar:

Conflict Resolution by Louis Porter

Conflict Resolution by Louis Porter, published by Twenty Shelves (Melbourne/Australia), 164 Pages full color, Design by Pierre Hourquet, Section sewn paperback with de-bossed cover, 20 x 27 cm, Edition of 1000.

http://louisporter.com/twenty-shelves/

 

 

Blue – Photopapers* Photomag* (broadsheet / newspaper / magazine)

These emergent photobooks take their physical form and production values from conventional print media. Other aspects include:

  • Availability through POD service providers;
  • Print runs may be small and limited or quite extensive of 1,000 copies or more;
  • These works may parody existing newspaper or magazine titles as a form of activism or commentary on print media and society; and
  • They may provide a photographer with a larger-scale publication format at a low production cost.

 

*Names considered to best describe these emergent forms

 

Exemplars: Photopaper

 

LBM Dispatch #7: Georgia photography by Alec Soth and Brad Zellar, designed by Meredith Oberg

LBM Dispatch #7: Georgia photography by Alec Soth and Brad Zellar, designed by Meredith Oberg
Little Brown Mushroom, Publication Date, November, 2014
48 pages 11.25 inches x 15 inches, 50 lb newsprint paper, Edition of 2000
http://www.littlebrownmushroom.com/products/lbm-dispatch-7-georgia/

 

 

Exemplar: Photomag

 

PIGS Photography by Carlos Spottorno, designed by Carlos Spottorno and Jaime Narváez

 

PIGS

Photography by Carlos Spottorno, designed by Carlos Spottorno and Jaime Narváez based on a replica of The Economist magazine.

Published by: RM Verlag and Phree, Madrid, 2013

112 pages 27 x 19 cm
http://spottorno.com/web/pigs

 

 

Indigo – Innovative Artists’ Book

This genre of the book is based around the idea of the artist as author, publisher and maker, and forms of the book that represent innovation, creativity and exploration of the book form. Historically this book form has been the domain of the artist and the way photography finds its way into the book can be more about the photo as a record, a fact or a trace representing the world and society that created it. Rather than something representing the passion that photographers have for the photograph as the product of their special visual perception of the world. Characteristics of these books include;

  • Forms integral to the narrative expression and the artist will break rules and conventions to achieve their expectations for the book;
  • Books engineered in ways that demand interaction, both through the visual senses but also through the haptics of handling and reading – the turning of pages;
  • Books that may mix photographs and text or text over photographs, or text as photographs and photographs as text;
  • Multi-media productions where the photograph becomes a part of a larger interplay of media; and
  • Bespoke unique state or a work that is published as a limited edition.

 

It should be noted that the artists’ book discipline might encompass an equally diverse range of book forms

 

Artists’ Book exemplar:

 

Eleven, Marshall Weber et al.

Eleven, Marshall Weber 1960- ; Christopher Wilde; Sara Parkel; Alison E Williams; Isabelle Weber; Booklyn Artists Alliance. New York : Booklyn :c2002

http://www.booklyn.org/artists/Marshall%20Weber.php

 

 

 

Violet – ‘Artists’ Book’ Codex

Related to books that utilize the conventional codex form and may explore the narrative form, conceptual art ideas as well as artmaking techniques. These books may exhibit the following characteristics:

  • Codex book form;
  • A range of production values including artisan printers and binders;
  • Contain texts as well as graphic elements and photographs; and
  • Printing techniques such as silkscreen, photoetching and gravure, inkjet, digital press and alternative imaging techniques like cyanotype.

 

An exemplar:

Google vanitas : autobiography # 7 concept and design by Scott McCarney

Google vanitas : autobiography # 7 concept and design by Scott McCarney.

16, [2] p. : col. ill. ; 22 x 20 cm.

http://scottmccarneyvisualbooks.com/Pages/google%20vanitas.html

 

 

Ultra-Violet – ‘Book Arts’, Livre d’Artiste Book

Consistent with the production and aesthetic values of the ‘fine press’ with the following characteristics:

  • Texts are usually handset letterpress, photographs made by traditional photo etching or gravure techniques and binding and presentation in cloth and leather often with ‘book arts’ embellishments;
  • The books are limited editions and utilize artisan practitioners and specialists in the production of the work;
  • Often the book may be commissioned by an entrepreneurial publisher following the French tradition of the latter 19th century; and
  • These works are expensive to buy and have limited markets that center on private collectors and institutions.

 

An exemplar:

Extinguishing of stars Carolyn Fraser and Holly Morrison

Extinguishing of stars Carolyn Fraser and Holly Morrison

Idlewild Press, Cleveland, Ohio :2003. 61 p. : ill. ; 24 cm., in case 26 x 20 x 4 cm. Edition of fifty.

https://thedesignfiles.net/2011/03/interview-and-studio-visit-carolyn-fraser-of-idlewind-press/

http://www.carolynfraser.com/wp-content/uploads/2011/11/Issue4_Uppercase_Fraser.pdf

 

 

In any attempt to define creative book publishing caution needs to be exercised. The artists’ book discipline has for years been dogged by attempts to define ‘what is, and what isn’t an artists’ book’. In 2005 Johanna Drucker put forward a proposal for classification of artists’ books. Even though she predicted that her proposition would ‘… cause strife, competition, [and] set up a hierarchy, make people feel they are either included or excluded’, (Drucker 2005:3) it inspired worldwide debate and furore from artists and librarians and became known as ‘Druckergate’. Ultimately the angst cooled and the artists’ book field continued with qualified debate, in both academic literature and everyday conversation, thus creating a basis for ongoing questioning and commentary on the discipline.

More recently, in 2010, Sarah Bodman and Tom Sowden from the Centre for Fine Print Research at the University of the West of England sought to define the canon for the artists’ book in the 21st century. They did this by creating a survey of world practitioners of bookmaking by artists in every conceivable outcome, including the emergent eBook. They found that the hierarchical form of a tree diagram was ‘too rigid and too concerned with process’ (Bodman and Sowdon 2010:5). They discovered that their respondents wanted to alter the diagram to satisfy the, ‘cross-pollination that is often required by artists’ and added in, ‘connectors across, up and down to bring seemingly disparate disciplines together.’

Just as Bodman and Sowdon found from their research, this visual spectrum structure is open to challenge where practioners and commentators are encouraged to mix and augment new color palettes for the presence of the photograph within the book. So what is proposed is not a rigid structure, deeply rooted and immovable as in the tree trunk, branch and leaf, but rather one where books of similar characteristics can be grouped, blended and mixed.

The intention for this nomenclature is to bring visibility to the diversity of creative publishing forms using the photograph. It is offered as a potential tool that recognises this evolving and extended medium to: curators, judges, cataloguers preparing ‘the best books of the year’ lists and books for sale or auction, and commentators engaging in critical debate. Additionally the links with artists’ books and zines can also be acknowledged thus extending and enriching the discipline of the photobook.

In the debate surrounding the evolving photobook this photo-specific spectrum analysis is offered, as a non-hierarchical, flexible and creative nomenclature. The spectrum should be able to move with change and developments within the photo in the book and the ideas and the motivations behind those who create these communicative devices and their commentators and readers. Each constituent of the spectrum, although emanating its own ‘wavelength’ or ‘color’, forms a part of the “white light” that is the continuum of the photograph and its place in the book.

 

 

Dr Doug Spowart[1]

January 2015

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Bodman, S. and T. Sowdon (2010). A Manifesto for the Book: What will be the canon for the artist’s book in the 21st Century? T. S. Sarah Bodman. Bristol, England, Impact Press, The Centre for Fine Print Research, University of the West of England, Bristol.

Campany, D. (2014). “The ‘Photobook’: What’s in a name?” Aperture: The Photobook Review(#007).

Drucker, J. (2005). “Critical Issues / Exemplary Works.” The Bonefolder: An e-journal for the bookbinder and book artist 1(2): 3-15.

McLaughlin, T. (2013). “Classic – The Photobook: A History Vol 1.”   Retrieved 17 June 2014, 2014, from http://imageonpaper.com/2013/05/17/131/.

Phillpot, C. (1998). Books by artists and books as art. Artist/Author: Contemporary Artists’ Books. C. Lauf and C. Phillpot. New York, D.A.P./Distributed Art Publications Inc.

Thurmann-Jajes, A. (2002). ars photographica: Fotografie und Künstlerbücher. Weserburg, Bremen, Neues Museum

 

[1] This essay is informed by an ongoing and long term personal interest which involved a practice of making, observing and considering the position of photographs published in the creative book realm along with recent research into the intersection of photobooks, zines and artists’ books.

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TEXT © Doug Spowart 2018
Most of the images in this post are from the promotional websites for the books and some are by the author – copyright resides with the authors and the images here are used for the purpose of review and commentary. Source links are provided for the reader’s connection with the publication under discussion.

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OFFICIAL LAUNCH OF A PHOTOBOOK COMPENDIUM FOR AUSTRALIA & NEW ZEALAND

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Cover: A Compendium of Australian & New Zealand Photobooks vPBNZ

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

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The Compendium preface by Doug Spowart

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

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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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ABBE 2017 – The academic artists book conference

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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

Stand 2 – Barbara A Davidson

Caren Florance

Stand 3 – Caren Florance – Ampersand Duck

Stand 4 – QCA

Photo from ABBE Artists Book Conference July 6-9 2017 at the Queensland College of Art

Stand 5 – 5 Press Books

Stand 6 – INDIVIDUAL ENTRIES

Anne-Marie Hunter

Stand 7 – Psyclonic Studios – Anne-Maree Hunter

Sue Poggioli

Stand 8 – Sue Poggioli

Adele Outteridge & Wim de Vos

Stand 9 – Studio West End

Ulrike Stoltz & Uta Schneider

Stand 10 – Usus – Germany

Brad Freeman

Anita Milroy

Lyn Ashby

Stand 11 – Milroy-Australia / Freeman-USA / Ashby-Australia

Sue Anderson

Stand 12 – Impediment Press

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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THE ANTIPODEAN PHOTOBOOK – a lecture at the Vienna Photo Book Festival

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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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BOOK DUMPING: Clearing the library shelves

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Simulated Americans dumped

Simulated Americans dumped

 

I found Robert Frank’s Americans in my cornflakes packet today. Yesterday I found bits of Irving Penn’s Passage: a work record and Cartier Bresson’s Decisive Moments in my Epson inkjet paper box. And the black and red flecks in the Mercury Cider carton I’d just purchased from Dan Murphy’s where from Trent Parkes’ Dream Life and Robert Holden’s Photography in Colonial Australia: The Mechanical Eye and the Illustrated Book respectively. Whether we like it or not books are slowly and systematically being slipped off the shelves in public libraries and research libraries in institutions across the nation to end up as recycled pulp for new books and boxes and cartons as well as landfill.

 

In 2014 the University of Sydney Medical School was found to be secretly dumping books. A significant article on this and the institutional practice deaccessioning (dumping) books by Elizabeth Farrelly was published in the Sydney Morning Herald in 2014 entitled Library book dumping signals a new dark age. She wrote:

In May, Sydney University announced its library “restructure”.  This magnificent library, among the country’s finest, had already, a decade earlier, deacquisitioned some 60,000 books and theses. More recently there were further, unquantified and undeclared cloak-and-dagger dumpings to make space for the wifi and lounge-chairs that have given the once magical Fisher stack the look and feel of a church playgroup.

 

GOOGLE - Search for book dumping (Detail)

GOOGLE – Search for book dumping (Detail)

I found it interesting to do a Google search of the terms <books dumped in skips dumpsters> and discovered more instances of the destruction of books. There were many articles about book dumping including one from 2005 in The Guardian reporting the University of London’s Octagon Library dumping stacks of books in skips outside the library. Left to the elements these books, some dating back to the 19th century, were in peril until students and staff rummaged through to salvage what they could. The article quotes author, publisher and campaigner for libraries Tim Coates as saying:

A library is a collection of books, it’s not a building. Throwing out books because you are having a refurbishment is like moving house but saying I won’t bother taking my family with me.

Progressively real books are disappearing fast from community and institutional libraries. If you talk to the librarians, who love the books that they are custodians of and are sworn to protect, these book dumpings are being directed by library managers who use include factors such as refurbishment and re-utilisation of library spaces as the need for their actions.

Aiding the downsizing process is the use of automated book culling software that analyses the user demand for books held by the library and prepares a deaccession list for books with low or no borrowing or patron access. For public lending libraries whose borrowing clientele may be towards popular fiction and children’s books other Dewey groupings may suffer. The use of this kind of software causes a whole range of books to be stripped from the selves and causes frustrations for librarians who want to maintain a broad range of subject matter. This can lead to desperate acts. Jason Ruiter of the Orlando Sentinel newspaper reported how staff at the East Lake County Library created a fake library patron in 2016 who then proceeded to check out 2,361 books over nine months. The ruse was reported and library staff were reprimanded or had their employment terminated.

The heart of the problem is that the knowledge economy is shifting from physical assets to the online presentation of virtual resources. In a somewhat charged conversation I had with a State Librarian around 18 months ago I was informed that the particular library had 1 million physical visitors over a year and 20 million online visits or ‘hits’. The Librarian continued by saying that they, in conjunction with a consortium of institutions with similar strategies, were directing funding to support the online user. What can be put online and be remotely searched and accessed is the focus of these institutions. My argument was that although page-turning software may make available remote viewing of the usual codex form of the book, books like artists’ books that have so many more features and physical attributes that could not be conveyed online. At best, I said, was that the online presentation of an artists’ book could only be like a travel postcard to an exotic place that could be used to encourage the virtual viewer to visit the real thing.

Very recently the effects of library downsizing have become very evident to me. For 20 years I nurtured an institutional special library collection relating to photography. Dutifully, with the support of my fellow staff members, we dispensed the yearly library budget by acquiring the best books that represented the industry and the art of photography. Despite having my own professional library I considered the institutional library as an extension of my bibliophile activities. Special books beyond my personal budget were able to added to the library and as a diligent seeker of discounted and remaindered books, I occasionally bought two copies of heavily discounted books – one of which I donated. At times, through professional networks and contacts when opportunities to get complimentary copies of books came available, I’d make sure that I’d score some for the library.

Now at this institution over the years I’d seen changes affecting the library and it’s space for books. Firstly, in a remodeling of the space high shelving were replaced by the OH&S friendly chest-high form – I thought, where did the surplus books go? Next was the encroachment of extra office space in the shelving area. Not for library staff but interestingly for IT support services. I thought, where did the surplus books go? Next computer bays and a classroom were added into the library space and the stacks shrunk further – where did the excess books go? Well I know where some of them went as just outside the library door resided a trolley for years that has a sign on it, ‘help yourself – please take away these books we no longer need’.

It has been 21/2 years since I left the institution and I recently visited my old teaching space to have lunch with my former co-teacher to reminisce over the old days and collect a few possessions left behind. While gathering together my things I encountered a 100 or so library books in one of the back rooms. My former co-teacher explained that the library was downsizing and that they were to be ‘disposed’ of, so she had asked them to give the books to her and she would distribute them. She said: ‘you can have some if you like’ – and I did. I selected a few books that were in the library’s initial set that seemed to me to be based around remainders from the early 1980s American photobook publishing era – books that are now difficult or really expensive to get. These I passed on to a friend who has been assembling a specialist photobook library. I did keep a few special things for myself: a 1980s copy of Frank’s The Americans; Les Levine’s early 1980’s Using the camera as a club … not necessarily a great one; a catalogue for Susan Purdy’s The shaking tree and Axel and Roslyn Poingant’s Mangrove Creek 1951: a day with the Hawkesbury River postman … and … and.

In a way I’m not surprised by the deaccessioning of ‘my’ teaching library as over the last 5 or so years of my teaching I found that students would not go to the library even when I’d suggest a particular text or texts that were related to their personal research. Always, when interviewing students about what they researched I would be presented with a bunch of URLs and low-res laser prints of screen dumps. Oh! How disappointed I would be when the physical manifestation of their interests, a book, was shelved in the library only a few minutes away. Ultimately I did embrace online research opportunities for students and helped to develop skills in that area that I’d honed in my PhD candidature a few years earlier.

Whatever I may feel about my personal experience, in the wider world of books and libraries, the practice of book dumping and shredding no doubt will continue and escalate. We need to protect access to books in public libraries and research collections and many public groups have emerged to challenge politicians and bureaucrats for their initiation of changes to libraries. One example is the group Citizens Defending Libraries that has an ongoing campaign against the Mayor and developers about changes to the New York Public Library service. In a currently running petition they make the following statement:

We demand that Mayor de Blasio, all responsible elected officials, rescue our libraries from the sales, shrinkage, defunding and elimination of books and librarians undertaken by the prior administration to benefit real estate developers, not the public. Selling irreplaceable public assets at a time of increased use and city wealth is unjust, shortsighted, and harmful to our prosperity. These plans that undermine democracy, decrease opportunity, and escalate economic and political inequality, should be rejected by those we have elected to pursue better, more equitable, policies

There may need to be a new term in the library lexicon to recognize these supporters of libraries – maybe we could call them bibliovigilantes.

Outside the public and the academic systems there is a more important role for those who collect and maintain personal specialist libraries. They may become the keepers of the knowledge. More importantly though, in this increasingly virtual world, they will know not only of the content of books, but the will also possess the experience of turning physical pages, the aroma of paper, ink and binder’s glue, and the power of the solidity and weight of the object we call a book.

Scarily, if we allow the unfettered disintegration of the library and the demise of the book, we may be creating a bookless world like that in Ray Bradbury’s Fahrenheit 451, and the job title for those who deal with books will not be librarians but rather ‘book firemen’.

 

Doug Spowart

Written @ Wooli, December 2016

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ARTLANDS: Our missing presentation

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Artlands Dubbo Webpage

 

ARTLANDS DUBBO CONFERENCE: Regional voices missing

 

Today we were to present a paper at the ARTLAND DUBBO REGIONAL ARTS AUSTRALIA CONFERENCE. Earlier this year we made a submission based on one of the conference themes and were excited to learn that our submission was accepted and that we were going to be able to add our story and project activities in regional arts in Australia to the conference.

However, then we found that the conference fees, despite ‘early bird’ and presenter discounts, combined with the costs to get to Dubbo and be accommodated were enormous. We had to look at support options for grants in Arts Queensland and the Regional Arts Fund and we found that none either ‘fitted’ with our needs or could be responded to in time to register. We therefore withdrew our presentation.

As regional artists, although we’ve been in Brisbane of late, and also independent researchers we have noticed many opportunities at conferences and seminars now require presenters to fund their place in the program. Now that might be affordable to academics, those employed in arts management or facilitation or those who have taxable incomes where such can be an allowable income tax deduction, but others just cannot afford to bear such costs.

It seems to us that many voices in the field of art in Australia are being kept out of the conversation by the cost of participation and the lack of grant support.

There is no doubt that ARTLANDS DUBBO will be a success and all who attend will benefit greatly from the shared experience and networking possible but for us, on this occasion, we stayed at home and worked on our art.

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For those interested what follows is our proposal that related to the conference theme – REGENERATION: Exploring arts and cultural development using creativity that positively impacts on community vitality and well being.

ABSTRACT 

Artists in residence programs provide unique opportunities for artists to explore their practice while contributing to the community’s cultural development. We will discuss ‘3 tiers’ of community engagement in our Nocturne AIR Projects: artist as creator, community as creator, and social media as a creative flux for interactive engagement.

OUR PRESENTATION

We will present a background on the Centre for Regional Arts Practice (Centre) that we formed in 2007 as a response to the circumstances and challenges of artists living in regional Australia. From the beginning the ‘Centre’ has engaged in advocacy, representation, commentary and the development of projects for regional artists and the communication of regional art perspectives.

Nocturne Projects

The ‘Centre’ engages in artist in residency programmes that enable the development of community based Nocturne Projects. These projects have been sponsored through the regional galleries of Muswellbrook, Grafton, Bundaberg, Miles and Armidale. We have also self-funded Nocturne documentary projects across eastern Australia and Tasmania.

3 Tiers of Engagement

In developing the methodology for our AIR Nocturne Projects we identified 3 tiers of community engagement, these are:

  • artist as creator;
  • community as creator: artist as facilitator; and
  • social media as creative flux for interactive engagement.

Artist as creator:

We will talk about how our AIR work allows us to explore themes, both personal and collaborative, in the investigation and representation of “site” and “place” in the Australian landscape. We work to connect contemporary social issues with historical, scientific and mythological insights intrinsic to each site. Critical to, and inherent in, this work is these visual narratives that are deeply rooted in the recording and interaction with each place.

Community as creator – artist as facilitator:

Beyond our own work Nocturne AIR Projects we develop, in conjunction with the local gallery education officers programmes that provide creative development to suit each community’s needs. Included in these programmes may be workshops, practical digital photography shoot-outs and assignment work, image enhancement and file optimisation, one-on-one mentoring, developing social media skills as well as photobook and zine making.

Participants, whether they use hi-tech DSLR cameras, point-n-shoot cameras, tablets or smart phones, connect through meetings and workshop sessions. To provide a continuous stream of inspiration, feedback, instruction and support we establish closed Facebook groups for participants.

Social Media as a creative flux for interactive engagement:

All of the major Nocturne AIR Projects are connected to the broader community by a Facebook page. It enables an online space for sharing and presenting the project work. In the more recent projects, where there was an issue of distance for the regional community members to participate in the project, we managed two FB pages: one for those closely involved in the creative development of the Nocturne Project and another for the gathering and sharing stories through the broader community.

Using the methodology of the three tiers of engagement we believe we explore arts and cultural development using creativity that positively impacts on community vitality and well-being.

Western Downs Regional Council’s Community Development Officer Carollee Murphy stated the following about our Nocturne Miles Project:

Thank you for empowering our community with practical photography and book-making skills. Nocturne Miles installed a greater sense of shared space and community pride. The multi-modal outcomes of this project have been far-reaching, especially through social media and have painted Miles and district in a new light.

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A LINK TO OUR NOCTURNE PROJECTS CAN BE FOUND HERE

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