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Victoria Cooper+Doug Spowart Blog

BACK STORY: The Icons & Revered Australiana Show

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ICONS Logo

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The Icons & Revered Australiana show: Twenty – Five Years On

The ICONS on ICONS exhibition at the Cobb+Co Museum in Toowoomba features 5 local photographers. For the show I have selected 26 gelatine silver photographs drawn from my archive. They were originally prepared for the Australian Bi-centennial celebrations in 1988 – 25 years have elapsed and yet the images are as fresh and evocative as ever. For me the work represents an important aspect of my photographic and photobook work – where the narrative of life and culture is expressed through a set of images and sometimes accompanied by a complimentary text.

So here is the back story of my Icons & Revered Australiana

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Doug Spowart

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I have had a lifetime interest in the Australian idiom, slang and its stories. This body of work represents the culmination of a personal investigation into what are seminal identifiers of our culture and the way the Australian condition has shaped our language. In my early teenage years I read most of John O’Grady’s books like They’re a weird mob and Gone Fishin. His dictionary of Australian-isms Aussie English was a particular favourite. At that time I would encounter people, mainly older people, who spoke using the language defined by Sidney J Baker’s or what Afferbeck Lauder called Strine, (a condensation of Australian with an emphasis on the latter part of the word = STRINE).

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Throughout my life I have travelled around Australia, firstly as a child with my family then later with friends and from the1980s onward as a tour leader on outback safaris. I always felt close to the land and the Australian condition and was fascinated by the stories and the vernacular language by which it was described. I met outback characters including songwriter/performer Ted Egan, before his Northern Territory Governor commission, who immortalised these Australian-isms and stories in song. I was also influenced by a library of photographers like Jeff Carter, George Farwell, Douglas Baglin and perhaps even Rennie Ellis who made photographs and told stories in their photobooks. Inspiration also came from Barry Humphreys, Walkabout magazine and the works of painters like Russell Drysdale, Hans Heysen and Sydney Nolan.

From my experiences I decided to make a selection of things Australian that I considered were so embedded in culture that they could be considered as icons and revered with a religious fervour. I resolved to call the exhibition Icons & Revered Australiana. To provide an extra personal challenge to the project I limited my selection to an A to Z list representing a range of ideas, subjects, myths and localities. I then embarked upon a 4 state and territory journey to make images. While most images were deliberate and targeted some photographs were made along the way as opportunistic discoveries. I do remember specifically driving into Sydney, putting a wire coat hanger under my arm and walking down to the Sydney Opera House to photograph the bridge.

The Icons show was presented at Imagery Gallery in March 1988 and I think, well received. However the Courier Mail critic, a friend of mine of the time, was not impressed – his headline read There’s better work to come! I did ponder the thought that there may have been a sub-plot to his review. The exhibition went on to show at another venue in Queensland and individual images, such as the BIG Coat Hanger received accolades, was published in many journals, and went on to be one of my signature images. After the show was over the exhibition was de-framed and the mounted images sequestered away in archival solander boxes.

But what of this current iteration of the Icons & Revered Australiana body of work? Twenty-five years may have elapsed and yet these pre-digital gelatine silver images are as fresh as ever – a testimony to the special nature of infrared and black+white analogue photography. In revisiting the original catalogue text, I’ve re-connected with the thread of humour, irony and pastiche that has always run through my work.

While those who knew these aspects of life, culture and language intimately, and practised it daily, may have long passed on, Icons & Revered Australiana may still resonate with contemporary audiences. I do not expect that everyone will begin to use terms like ‘Bonza’, ‘Sheila’ and ‘Wouldn’t be dead for quids’, although we do encounter this kind of vernacular language in contemporary song writing, (particularly in country and western music), prose and poetry. And for a while we enjoyed it in the wonderfully expressive Strine of Steve Irwin.

These Icons and Revered Australiana are just the tip of the great myriad of things Australian. Deep down, within us, is a kind of ‘knowing’ of our Australian-isms, and how they have defined us and continue to define us as a people and a country.

Doug Spowart

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SO HERE THEY ARE: My ‘A to Z’ Icons & Revered Australiana

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A  Ayers Rock – Revered as the largest monolith in the world, Ayers Rock is now known by its traditional Aboriginal name Uluru.

A = Ayers Rock – Revered as the largest monolith in the world, Ayers Rock is now known by its traditional Aboriginal name Uluru.

B  The Black Stump. It was once believed that the black stump was the limit of possible human habitation beyond which nothing existed but useless land and desert.  Today, it’s revered by a roadside stop featuring a Black Stump storyboard and black painted stump icon, a car park, BBQ and toilet.  And lots of people have come to live on ‘the other side’.  Near Coolah, New South Wales.

B = The Black Stump. It was once believed that the black stump was the limit of possible human habitation beyond which nothing existed but useless land and desert. Today, it’s revered by a roadside stop featuring a Black Stump storyboard and black painted stump icon, a car park, BBQ and toilet. And lots of people have come to live on ‘the other side’. Near Coolah, New South Wales.

C  The Big Coat Hanger – Slang for the Sydney Harbour Bridge.

C = The Big Coat Hanger – Slang for the Sydney Harbour Bridge.

D  Dunny – The Australian out-house or toilet is affectionately known by this name. A coach camp dunny Birdsville, Queensland.

D = Dunny – The Australian out-house or toilet is affectionately known by this name.
A coach camp dunny Birdsville, Queensland.

E  Eucalyptus – This is an iconic plant embedded in the Australia psyche; from the arts to the construction of our towns, and the source of therapeutic aromatic oil – a familiar memory in everyday households of Australia. On the Heysen Trail, Mount Lofty Ranges, South Australia.

E = Eucalyptus – This is an iconic plant embedded in the Australia psyche; from the arts to the construction of our towns, and the source of therapeutic aromatic oil – a familiar memory in everyday households of Australia. On the Heysen Trail, Mount Lofty Ranges, S.A.

F  Fosters – An historically famous Australian beer. Barry Caves, The Northern Territory.

F = Fosters – An historically famous Australian beer. Barry Caves, The Northern Territory.

G  Gundagai – Five miles from Gundagai  is the location described in the bush verse about a bullocky’s bad luck. While the popular version of this story makes a hero of the bullocky’s dog who ‘sat on’ his tucker box protecting it from harm. However anyone reading the original poem would come to the conclusion – the ultimate in bad luck was that the dog ‘shat in’ the tucker box. In this image of the tourist memorial near Gundagai a statue of the dog ‘sits’ on the tucker box while kids steal money from the wishing fountain in front. Hume Highway near Gundagai, New South Wales.

G = Gundagai – Five miles from Gundagai is the location described in the bush verse about a bullocky’s bad luck. While the popular version of this story makes a hero of the bullocky’s dog who ‘sat on’ his tucker box protecting it from harm. However anyone reading the original poem would come to the conclusion that the ultimate in bad luck had befallen the bullocky –  that the dog had actually ‘shat in’ the tucker box. In this image of the tourist memorial near Gundagai a statue of the dog ‘sits’ on the tucker box while kids steal money from the wishing fountain in front.

H  Holden – The quintessential Australian motor vehicle. Fish Lane, South Brisbane, Queensland.

H = Holden – The quintessential Australian motor vehicle. Fish Lane, South Brisbane, Queensland.

I  Iron (Corrugated) – The most common and versatile building material for outback structures. Olary, South Australia.

I = Iron (Corrugated) – The most common and versatile building material for outback structures. Olary, S. A.

J  Joe Blake – Equals ‘snake’ in Australian rhyming slang. Mannahill, South Australia.

J = Joe Blake – Equals ‘snake’ in Australian rhyming slang. Mannahill, South Australia.

K Kangaroo – An endemic Australian species often so prolific in number that road signs are erected to warn motorists of their presence. The signs are also useful as a test of shooters skill if a shortage of the real thing exists. Judging by this example the Roos have a fair chance. West of Nyngan, New South Wales.

K = Kangaroo – An endemic Australian species often so prolific in number that road signs are erected to warn motorists of their presence. The signs are also useful as a test of shooters skill if a shortage of the real thing exists. Judging by this example the Roos have a fair chance. West of Nyngan, New South Wales.

L  Luna Park – A Temple of fun, frivolity and scary rides for Sydney-siders and Melbournites. St Kilda, Melbourne, Victoria.

L = Luna Park – A Temple of fun, frivolity and scary rides for Sydney-siders and Melbournites. St Kilda, Melbourne, Victoria.

M  Meat Pie – The eating of a meat pie and tomato sauce is a celebrated Australian rite or sacrament, and if you come from Victoria the Four’n Twenty variety would have once been considered the best! Broadbeach, Queensland.

M = Meat Pie – The eating of a meat pie and tomato sauce is a celebrated Australian rite or sacrament, and if you come from Victoria the Four’n Twenty variety would have once been considered the best! Broadbeach, Queensland.

N  Ned Kelly – Located at Glenrowan this colonial sacred site is the place where the Australian folk hero Ned Kelly made his notorious last stand against the Victorian Police. Erected to enable ‘pilgrims’ to ‘revere’ the place, these modern day structures house a multitude of Ned Kelly tokens and souvenirs.  Rather than recognise this as a solemn and tragic clash between authority and the underclass, these souvenirs often seem to parody the event. Here, the matches are a strange connection to the fact that the Victorian Police set fire to the Kelly gang’s refuge and burned it down to enable his capture. Glenrowan, Victoria.

N = Ned Kelly – Located at Glenrowan this colonial sacred site is the place where the Australian folk hero Ned Kelly made his notorious last stand against the Victorian Police. Erected to enable ‘pilgrims’ to ‘revere’ the place, these modern day structures house a multitude of Ned Kelly tokens and souvenirs. Rather than recognise this as a solemn and tragic clash between authority and the underclass, these souvenirs often seem to parody the event. Here, the matches are a strange connection to the fact that the Victorian Police set fire to the Kelly gang’s refuge and burned it down to enable his capture. Glenrowan, Victoria.

O Outback. An open gate, and two tyre tracks pointing toward infinity best expresses the great expanse of wide-open space that is the outback. Near Scopes Range Bore Western, New South Wales.

O = Outback. An open gate, and two tyre tracks pointing toward infinity best expresses the great expanse of wide-open space that is the outback. Near Scopes Range Bore Western, New South Wales.

P  Pub. Revered as the typical lonely outback pub the Birdsville hotel is so inundated with visitors for the annual races that the traveller's empty beer cans are removed each morning with a front-end loader and a tip truck. Birdsville, Western Queensland.

P = Pub. Revered as the typical lonely outback pub the Birdsville hotel is so inundated with visitors for the annual races that the traveller’s empty beer cans are removed each morning with a front-end loader and a tip truck. Birdsville, Western Queensland.

Q  Quid. The pre-decimalization equivalent of two dollars, often associated with value statements like ‘wouldn't be dead for quids’ and, ‘not the full quid’. Toowong Cemetery, Brisbane, Queensland.

Q = Quid. The pre-decimalization equivalent of two dollars, often associated with value statements like ‘wouldn’t be dead for quids’ and, ‘not the full quid’. Toowong Cemetery, Brisbane, Queensland.

R  Red Heads & Red Backs. Both being red these two Australian items can spell danger. Queensland Museum, Brisbane.

R = Red Heads & Red Backs. Both being red these two Australian items can spell danger. Queensland Museum, Brisbane.

S  Sheep. The Australia economy was once described as living off the sheep’s back. Immortalized here is a giant merino variety attracting pilgrims to its past glory. Goulburn, New South Wales.

S = Sheep. The Australia economy was once described as living off the sheep’s back. Immortalized here is a giant merino variety attracting pilgrims to its past glory. Goulburn, New South Wales.

T  Thong. Casual Australian footwear. Western Pains Zoo, Dubbo, New South Wales.

T = Thong. Casual Australian footwear. Western Pains Zoo, Dubbo, New South Wales.

U  Ute. Invented by Australians both in concept and name. Longreach, Queensland.

U = Ute. Invented by Australians both in concept and name. Longreach, Queensland.

V  Vegemite. A black vegetable extract used as a spread on toast or Salada biscuits.

V = Vegemite. A black vegetable extract used as a spread on toast or Salada biscuits.

W  Waltzing Matilda. Shown here is a shrine erected by the McKinlay Shire Council to mark the location where Banjo Paterson wrote the Australian anthem about a swagman's demise on stuffing a jumbuck (sheep) in his tuckerbag. Combo Waterhole near Kynuna, Queensland.

W = Waltzing Matilda. Shown here is a shrine erected by the McKinlay Shire Council to mark the location where Banjo Paterson wrote the Australian anthem about a swagman’s demise on stuffing a jumbuck (sheep) in his tuckerbag. Combo Waterhole near Kynuna, Queensland.

X  Xanthorrhoea. The botanical name for the Australian native plant commonly referred to as the grass tree. Near Canungra, Queensland.

X = Xanthorrhoea. The botanical name for the Australian native plant commonly referred to as the grass tree. Near Canungra, Queensland.

Y  Yabbie. Any form of the Australian freshwater crayfish of the genus Cherax. Yabbying or catching yabbies is a favourite pastime of Australian kids. Near Nerang, Queensland.

Y =Yabbie. Any form of the Australian freshwater crayfish of the genus Cherax. Yabbying or catching yabbies is a favourite pastime of Australian kids. Near Nerang, Queensland.

Z  Zack. The colloquial term for a pre-decimal coin with a value of 5 cents, usually associated with statements of worthless value, hence ‘not worth a zack’ – pertaining here to barren outback country. Near Yunta, South Australia.

Z = Zack. The colloquial term for a pre-decimal coin with a value of 5 cents, usually associated with statements of worthless value, hence ‘not worth a zack’ – pertaining here to barren outback country. Near Yunta, South Australia.

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This unique state complete exhibition set is available for purchase – Contact me for details

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Cobb+Co Museum - Icons on Icons events

Cobb+Co Museum – Icons on Icons events

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Images and text © Doug Spowart

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COOPER+SPOWART to talk @ Cobb+Co Museum Dec 13

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The Roundabout Clocktower from Weiley's Hotel balcony

The Roundabout Clocktower from Weiley’s Hotel balcony

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CLICK HERE TO BOOK ON THE COBB+CO WEBSITE

CLICK HERE TO BOOK ON THE COBB+CO WEBSITE

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In the Dark Room with… Cooper+Spowart

In this talk we will discuss a number of topics and including:

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Attendees may wish to conclude their night activities @ Cobb+Co with a visit to the nearby Christmas Wonderland Spectacular in Queens Park

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St James' Catholic Church

St James’ Catholic Church

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Outside the Grafton Hotel

The Subway – The Nocturne Muswellbrook Project

The Subway – The Nocturne Muswellbrook Project

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VIEW A VIDEO OF THE ICONS SHOW FEATURING THE PHOTOGRAPHERS

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TO BOOK THE EVENT

http://www.shop.qm.qld.gov.au/cobbandco/in-the-dark-room-with-doug-and-victoria.html

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Cobb+Co Museum - Icons on Icons

Cobb+Co Museum – Icons on Icons

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CENTRAL QLD PROJECT: REVIEW published in Queensland Review

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QLD-Review-Cover

The latest issue of the journal Queensland Review features a review by us of the exhibition The Central Queensland Project that was shown at the Powerhouse Brisbane from 22 July to 18 August, 2013.

As the journal has publishing rights over their commissioned review we are unable to publish the text here. The review can be accessed from Cambridge Journals with the following links–a charge applies unless you are able to gain access through an academic institution or library.

The Central Queensland Project (Powerhouse Brisbane, from 22 July to 18 August 2013).
Victoria Cooper and Doug Spowart December 2013
Queensland Review, ,Volume20, Issue02, December 2013 pp 238-240
http://journals.cambridge.org/abstract_S1321816613000329
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As an introduction to the piece we provide the following:

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Queensland, its society and natural resources, has been the source of investigation by photographers for over 150 years. In the 1860s surveyor and photographer Richard Daintree created a quantitative analysis of the region’s potential for development. Associated with this record was a significant visual document in the form of photographs. In the lead up to Australia’s Bicentennial of white settlement the Queensland Art Gallery commissioned 6 photographers under the title Journeys North, to travel the state and: ‘produce a portfolio of photographs on the theme of community life in Queensland’ (Williamson 1988: p5). Now, nearly 25 years after this latest project, two photographers, Kelly Hussey-Smith and Alan Hill, have travelled north with cameras to document the current life and situations of people far away from the urbanized southeast corner.

The products of this latest documentary coverage were presented as the exhibition The Central Queensland Project (CQP) at the Powerhouse in Brisbane from July 22 to August 18, 2013. In exhibition material the photographers claim that:

Given the complexity of the modern economy, and the insularity of city life, many of us are blind to what lies beyond the city limits. Through this project we seek to gain insight into the lives, values and experiences of Central Queenslanders (Hill and Hussey-Smith 2013).

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Hill, A. and K. Hussey-Smith. (2013). “About: Central Queensland Project ”   Retrieved 25 July 2013, from http://centralqldproject.com/about/.
Williamson, C. (1988). Journeys North – Photographic Practice in Queensland in the 1980s: one aspect. Q. A. Gallery. Brisbane, Queensland, Queensland Art Gallery.

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A selection of installation photographs as well as images and captions commented on in the review are published here courtesy of the photographers Kelly Hussey-Smith and Alan Hill:

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Installation triptich Photos: Doug Spowart

Installation triptich ….Photos: Doug Spowart

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The artwork: 'Postcards From The Shires' by Kellie Hussey-Smith and Alan Hill from The Central Queensland Project exhibition at  Photo: Doug Spowart

An exhibition visitor is photographed before the artwork Postcards From The ShiresInstallation photo: Doug Spowart

Postcards from the Shires

Postcards from the Shires

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 'The New Village'  Photo: Doug Spowart

The New Village ..Installation photo: Doug Spowart

The New Village With 3048 beds, The MAC Coppabella is one of the largest workers villages in Australia and larger than many towns in the region. Up to 1000 people will check in or out on any given day.

The New Village
With 3048 beds, The MAC Coppabella is one of the largest workers villages in Australia and larger than many towns in the region. Up to 1000 people will check in or out on any given day.

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5am Three Moon Motel, Monto.  FIFO and DIDO have entered the Australian vocabulary, along with debates about their social impacts. As a result, accommodation is often difficult to find, and motels have become temporary homes for transient workers.

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Three Moon Motel, Monto. FIFO and DIDO have entered the Australian vocabulary, along with debates about their social impacts. As a result, accommodation is often difficult to find, and motels have become temporary homes for transient workers.

Caterpillar Cowboy Greg Barr introduced us to the phenomena of the Caterpillar Cowboy, which he describes himself as, being a 'Cat' machinery operator in the mines who is really a cowboy at heart. He and his partner Debbie run a modest property where they spend half the week on the land with their crops, cattle, and horses, and the other half of the week in the mines to support their rural lifestyle.

Caterpillar Cowboy
Greg Barr introduced us to the phenomena of the Caterpillar Cowboy, which he describes himself as, being a ‘Cat’ machinery operator in the mines who is really a cowboy at heart. He and his partner Debbie run a modest property where they spend half the week on the land with their crops, cattle, and horses, and the other half of the week in the mines to support their rural lifestyle.

Karlaa FIFO work does not just apply to mining. Karlaa works legally as a FIFO sex worker in the Central Queensland region. In 2010 Karlaa was asked not to return to a motel she had been working from discretely for two years after the proprietors realised she was a sex worker. She took the motel to court claiming discrimination on the basis of her profession. She initially lost this case, as it was found the motel did not discriminate against her because she was a sex worker, but because she was running her business from their premises. Many feared the decision would send the industry underground, resulting in unsafe working conditions and less transparency. Karlaa appealed the decision and in 2012 it was ruled that discrimination had taken place and the decision revoked. However, in November that year the Queensland Government made changes to the anti-discrimination act making it legal for moteliers and hoteliers to refuse sex workers accommodation.  Karlaa understands her profession may not appeal to everyone, but believes she has as much right as other businesses to take advantage of opportunities in the region.

Karlaa
FIFO work does not just apply to mining. Karlaa works legally as a FIFO sex worker in the Central Queensland region. In 2010 Karlaa was asked not to return to a motel she had been working from discretely for two years after the proprietors realised she was a sex worker. She took the motel to court claiming discrimination on the basis of her profession. She initially lost this case, as it was found the motel did not discriminate against her because she was a sex worker, but because she was running her business from their premises. Many feared the decision would send the industry underground, resulting in unsafe working conditions and less transparency. Karlaa appealed the decision and in 2012 it was ruled that discrimination had taken place and the decision revoked. However, in November that year the Queensland Government made changes to the anti-discrimination act making it legal for moteliers and hoteliers to refuse sex workers accommodation.
Karlaa understands her profession may not appeal to everyone, but believes she has as much right as other businesses to take advantage of opportunities in the region.

From the 'Transmission' series A section of the 540-kilometre long coal seam gas pipeline currently under construction crosses a property near Thangool. The pipeline stretches from southern Queensland to a liquefaction plant on Curtis Island near Gladstone.

From the ‘Transmission’ series
A section of the 540-kilometre long coal seam gas pipeline currently under construction crosses a property near Thangool. The pipeline stretches from southern Queensland to a liquefaction plant on Curtis Island near Gladstone.

From the 'Extraction' series View towards Dawson Mine Complex, Moura.

From the ‘Extraction’ series
View towards Dawson Mine Complex, Moura.

From the 'Transmission' series Coal and electricity are inextricably linked. In the first half of the 20th century, Brisbane’s electricity came from power stations in the city that were fuelled by coal from Ipswich. Now Queensland is part of a complex energy network not only spanning the state and the nation, but as the world’s largest coal exporter, the globe. Powerlines outside Middlemount.

From the ‘Transmission’ series
Coal and electricity are inextricably linked. In the first half of the 20th century, Brisbane’s electricity came from power stations in the city that were fuelled by coal from Ipswich. Now Queensland is part of a complex energy network not only spanning the state and the nation, but as the world’s largest coal exporter, the globe. Powerlines outside Middlemount.

From the 'Extraction' series Export ready semi-hard coking coal in a Bowen Basin coal mine (Moorvale).

From the ‘Extraction’ series
Export ready semi-hard coking coal in a Bowen Basin coal mine.

From the 'Extraction' series Coal mining in the Central Queensland region is a 24-hour operation.  The night shift begins in a Bowen Basin coal mine near Mooranbah (Moorvale).

From the ‘Extraction’ series
Coal mining in the Central Queensland region is a 24-hour operation. The night shift begins in a Bowen Basin coal mine near Mooranbah.

From the 'Extraction' series Coal mining in the Central Queensland region is a 24-hour operation.  Night shift in a Bowen Basin coal mine near Mooranbah (Poitrel).

From the ‘Extraction’ series
Coal mining in the Central Queensland region is a 24-hour operation. Night shift in a Bowen Basin coal mine near Mooranbah.

From the 'Transmission' series Tannum Sands, south of Gladstone. In addition to being a major coal port, Gladstone is the destination for several major coal seam gas pipelines snaking their way through the Central Queensland landscape. The pipelines will deliver gas to three major liquefaction and export facilities currently under construction on Curtis Island.

From the ‘Transmission’ series
Tannum Sands, south of Gladstone. In addition to being a major coal port, Gladstone is the destination for several major coal seam gas pipelines snaking their way through the Central Queensland landscape. The pipelines will deliver gas to three major liquefaction and export facilities currently under construction on Curtis Island.

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Photos © 2013 The Central Queensland Project Kelly Hussey-Smith and Alan Hill and installation photos Doug Spowart.

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PERV: Jess Martin does an iPhone Cloud @ MARS Gallery

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The Mars Gallery with the Perv exhibition photo ‘cloud’

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In 1936, the one-time Bauhaus teacher Làzlò Moholy-Nagy, described his idea of the ‘photographic series’, and he spoke of it as being ‘the logical culmination of photography’. In his discussion he states that the ‘picture loses its identity as such and becomes a detail of assembly, an essential structural element of the whole which is the thing itself.’

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An exhibition, entitled Perv, by Toowoomba artist Jess Martin on show at MARS Gallery would no doubt excite Mohly-Nagy in that she has taken the idea of a photo sequence and turned it into a sculptural form to express her view of contemporary life and photography. Martin has for two years been collecting iPhone images of her life. Last year she exhibited at Futures Gallery in Toowoomba a mosaic of 2,000 of these images in three 1 square metre murals. The theme was her life as a photographer, curious about the visual nature of the world and the access to quick imaging via the mobile phone.

Perv takes the idea further by expanding it to encompass iPhone image submissions sent to her via Facebook social media from friends and their friends …. Deciding to take the concept off the gallery wall where it’s just glanced at by the viewer Martin has constructed a 3-Dimensional space to mirror the image overload of modern life. What’s more, is that the images are suspended the full length and breadth of the Mars space – some 5×10 metres creating a cloud of photo images.

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The view from above

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Who knows how many thousand images are here… who cares? Who measures our daily dose of images anyway? So while this exhibition is confrontational it is also indicative of the prevalence, pervasiveness and proliferation of vernacular photography today. Viewers encountering this sky-load of images will need to search far if they are looking for classic pictorial beauty, or even well crafted documentary images. These pics are rapid snaps — faces, places, events, Facebook trivia, the weird and wonderful, rude and humorous. In a few seconds you can find photos of cats and dogs doing amazing things, food being devoured, over-flashed close-up faces and obviously candid and personal moments between lovers, family and friends.

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Looking at Perv’s pics

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Billions of photographs are made and Perv‘s several thousand may be the equivalent of a grain of sand in all the beaches of the world however within this space we have an opportunity to connect with the contemporary reality of the photo today and the use of this once specialist human activity.

In coming back to Moholy-Nagy again there is something else to ponder that this exhibition celebrates and that is, in Nagy’s words; ‘its separate but inseparable parts a photographic series inspired by a definite purpose can become at once the most potent weapon and the tenderest lyric.’

The exhibition remains on show at Mars Gallery until December 6, 2013.

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Words and photos: Doug Spowart

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Moholy-Nagy, L. (1936). From Pigment to Light. Telehor. 1: 32-36.
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Vicky, Jess and Doug

Jess is a past student from Doug’s SQIT Art Photography class. We have mentored her during this project however Jess’ creativity, innovation and hard work has transformed this exhibition into a significant outcome – Congratulations Jess!

It should also be acknowledged that this exhibition has been supported by the Queensland Government through an RADF Arts Queensland Grant.

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QCP FUNDING CUT: Statements 1&2 from the QCP Board

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FOLLOWING ON FROM PREVIOUS POST: LETTER TO THE MINISTER SUPPORTING THE QCP.

SEE: https://wotwedid.wordpress.com/2013/09/29/qld-centre-for-photography-continued-arts-qld-funding-letter-to-the-minister/

NOW THE QCP HAS HAD ITS QUEENSLAND GOVERNMENT FUNDING CUT

STATEMENT #1 Posted by QCP today (November 11, 2013) on their Lucida Site:

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UPDATE

THE QCP HAS BEEN ABLE TO NEGOTIATE SUPPORT TO CONTINUE ALL PROGRAMS AND PROJECTS INCLUDING THE QLD FESTIVAL OF PHOTOGRAPY, LA ART FAIR & CONFERENCE UNTIL THE END OF APRIL 2014

STATEMENT #2 Posted by QCP December 11, 2013 on their Lucida Site:

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OTHER RELATED COMMENTARIES:

Overland Website – Article by Alison Croggon:

http://overland.org.au/previous-issues/issue-212/feature-alison-croggon/

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Tamara Winikoff on current cuts to the Arts in Queensland:

http://www.artshub.com.au/news-article/news/all-arts/savage-queensland-arts-cuts-197252

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Article by David Broker, director of CCAS, reflecting on funding cuts by the Queensland Government to QCP:
http://canberracontemporaryartspace.wordpress.com/2013/11/04/qcp-hard-times/

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ImageNews comments:

http://imagenews.com.au/article/savage-implementation-reform

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SELFIES: A history according to Doug & Others

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Darren & Doug 'Selfie' @ Imagery Gallery C1987

Darren & Doug ‘Selfie’ @ Imagery Gallery c1987

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This recent Facebook post of a photo I made with Darren Jew in 1987 resulted in discussion around the idea of the ‘Selfie’ and my early connection with the technique. Around 12 years ago I discussed my inspiration and work with self-imaging in a university thesis – For your interest I publish the text here and add some images that date from my use of ‘Selfies’ in the 1980s.

For me the term ‘Selfie’ is a self image made by holding the camera at an arms length and angled back towards the photographer.

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Doug selfie @Birdsville 1983

Doin’ a selfie @ Birdsville 1983

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Self imagineering and portraits  (now called Selfies)

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For some time my photography has included the self-portrait.  The inspiration came from a friend (John Elliott) in the early 1980s who held up the camera before himself and friends and then fired the shutter.  He attributed his use of the technique to Jean Pigozzi a Hollywood paparazzi photographer who employed this method to make pictures which showed himself posing with the rich and famous subjects he photographed. In the book Pigozzi’s Journal of the Seventies Jann Wenner, then the Editor of Rolling Stone magazine, was to write in his introduction a description Pigozzi’s self-portraits as being: the ultimate fantasy of the fan in everyone: A picture of yourself with your favourite star. Conquests! Self-immortalisation!

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Jean Pigozzi with Rod Stewart

Rod Stewart with Jean Pigozzi

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My use of the technique was basically to make images documenting myself at tourist locations as I travelled usually as a photo tour leader. Perhaps I was a ‘fan’ of the location, the location was one of my ‘conquests’, or maybe I sought ‘self-immortalisation’ through the photo – whatever. For me it just seemed the logical way of resolving problems relating to the imaging of personal experiences.

Using a 35mm Leica rangefinder camera with 35mm, and later with a 21mm lens, enabled wide angled views and sufficient depth of field to achieve the view I wanted. These self-portrait images often exhibit a random approach to composition as precise viewfinder alignment was not possible. I took care not to ‘dress up’ for the photograph so my appearance is what it was – no brushing of the hair, no straightening of the collar. They are, as intended, frank and factual.

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Brishing off flies, Barry Caves NT, 1982

Waving away flies, Barry Caves NT, 1982

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In time these images formed a collection of “This is me at. . .“ pictures. They were a kind of “Foo was here” with me being the Foo graffiti figure. On occasions the only reason I would stop and photograph at a particular location was to capture another self-portrait for the collection. Sontag in her book On Photography alludes to this modus operandi in her comment that: Travel becomes a strategy for accumulating photographs. Travel and self-imagineering was indeed to put me in situations where I could produce photographs that told of my experience – often in a humorous way.

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Riding a dragon doin' a selfie, China 1989

Riding a dragon and doin’ a selfie, China 1989

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With Vicky & helicopter pilot, Heartbreak Hotel NT c1992

With Vicky & helicopter pilot, Heartbreak Hotel NT c1992

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There were other aspects pertaining to self-imagineering work which encouraged my practice. I found that thrusting the camera before myself and in front of tourists assembled at the place of visitation was a kind of art performance. It was a spontaneous act; a celebration of experience that culminated in the ritual of photo taking. Self-imaging was crammed with fun and triviality. And having fun, and being seen to have fun and capturing that fun were certainly part of the agenda that drove my interest in this activity. The technique often caught on and doin’ a self-portrait became part of my fellow tourist’s recording rituals as well.

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Mark, Tony & Rob doin' Selfies @ the Qld NY Birder 1983

Tony, Rob and Mark doin’ Selfies @ the Qld NT Border 1983

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Abridged from a Graduate Diploma thesis entitled My Shadow and I by Doug Spowart 2002. The thesis contains a discussion on the artist as tourist and the self-image as a document of personal experience.

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SOME MORE IMAGES:

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Selfie shadows with camera and ring-pulls, Alice Springs 1982

Selfie shadows with camera and ring-pulls, Alice Springs 1982

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‘Che’ (Doug) Selfie with Tony & Mark @ Three Ways NT, 1983

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Doug asleep on the coach after Steiglitz

On a coach in Central Australia 1982

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NEW UPDATES ON ‘SELFIES’

Texas town errects ‘selfies’ statue…

http://www.dazeddigital.com/artsandculture/article/31344/1/texas-town-erects-special-bronze-selfie-statue

TEXTS ON PIGOZZI

http://www.rencontres-arles.com/A11/C.aspx?VP3=CMS3&VF=ARL_211_VForm&Flash=1&FRM=Frame%3AARL_228&LANGSWI=1&LANG=English

http://www.helmutnewton.com/previous_exhibitions/pigozzi_and_the_paparazzi/index.html

A. D. COLEMAN’S COMMENT

http://www.nearbycafe.com/artandphoto/photocritic/2013/12/10/fine-art-photo-trickledown-1-the-selfie-a/#comment-33404

A RECENT ADDITION TO THE DISCUSION ON ‘SELFIES’ (Although I’d say it was a self portrait)

http://www.openculture.com/2013/11/the-first-selfie-in-history-1839.html

AND ‘THE OXFORD DICTIONARY ‘WORD OF THE YEAR’

http://blog.oxforddictionaries.com/2013/11/an-infographic-of-selfie

AND A SPANISH INFOGRAPHIC

http://www.meionorte.com/noticias/tecnologia/mania-de-autorretrato-veja-os-dez-piores-tipos-de-selfies-no-instagram-227982.html

ANOTHER INFO GRAPHIC (English)

http://www.bestcomputerscienceschools.net/selfies/

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Images and text © Doug Spowart

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CAMERA OBSCURA 2000–2020: In hotels and other places

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Bedroom Camera Obscura 2000 (Y2K)

Bedroom Camera Obscura 2000 (Y2K)

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Our rhythms insert us into a vast and infinitely complex world, which imposes on us experience and the elements of this experience. Let us consider light, for example. We do not perceive it as a waveform carrying corpuscles but as a wonder that metamorphoses things, as an illumination of objects, as a dance on the surface of all that exists.…………

Henri Levebvre, Rhythmanalysis; Space, Time and Everday Life, page 82.

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Cooper+Spowart: 20 years of Camera Obscura Collaborations

In our collaborative work, we are interested in both the physical construct and cultural conventions that inform and shape us. This includes the common rituals and structures that surround, support and transport us in our everyday lives. In this work we have extended the context of documentary photographic methodology to include the narrative potential of the camera obscura and architectural projections.

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Avochie Bathroom Camera Obscura

Avochie Bathroom Camera Obscura

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In the camera obscura work the viewer’s perception of the everyday is spatially challenged. The structures that can form camera obscura are everywhere, but some spaces present themselves as clearly suitable for the making. This could be a city office, a motel room, a country bathroom or even a car. Our work attempts to contextualize the experience of the camera obscura within a concept, space or site. Upon entering the darkened space, the viewer is initially displaced, as the familiar image of the everyday is dim and unrecognizable. Then after time spent in the camera obscura, the image becomes clearer and the familiar is re-established ultimately resulting in a relocation of the observer’s awareness of place.

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CarCamera Obscura graphic – how it works…

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A CarCamera Obscura on the Barkly Tablelands 2005

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Porthole on the Spirit of Tasmania – panorama camera obscura image

Porthole on the Spirit of Tasmania – panorama camera obscura image 2018

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City of Dreams – Ibis Hotel sunrise over Sydney

City of Dreams – Ibis Hotel sunrise over Sydney

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The Travelodge camera obscura 2008

The Travelodge camera obscura 2008

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Some background on the set-up for the Travelodge camera obscura:

Simple black garbage bags and some black electrical tape from the local 711 store. An aperture cut from a ‘found’ piece of aluminium – size around 8mm … we don’t use sophisticated glass lenses – these are direct light projections. A digital camera bares witness to our experience by capturing the image of the camera obscura projection.

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Setting up the room

Blacking out the room

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We were watching TV ...

We were watching TV …

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OUR MOST RECENT CAMERA OBSCURA: ORPHEUS ISLAND BEACH TENT

(A collaborative event with John de Rooy, Spyder Displays and the Orpheus Is Photo Workshop)

Our Spyder Camera Obscura

Our Spyder Camera Obscura

A DUO View of the scene and the Camera Obscura image

A DUO View of the scene and the Camera Obscura image

TO VIEW OTHER CAMERA OBSCURA WORK BY COOPER AND SPOWART SEE THE LINKS

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Our Website:

http://www.cooperandspowart.com.au/4_PROJECTS/RoomCameraObscura-Project.html

The porthole on the Spirit of Tasmania Ferry

https://wotwedid.com/2019/01/11/2018-field-studies-camera-obscura-spirit-of-tasmania-porthole/

Our car converted into a camera obscura and driven across Australia:

http://www.cooperandspowart.com.au/4_PROJECTS/CarCamera-Project.html

Two New Zealand Camera Obscuras in the the Queenstown Rydges Hotel:

https://wotwedid.wordpress.com/2012/05/07/two-new-zealand-camera-obscuras/

A public Camera Obscura performance and live video:

https://wotwedid.wordpress.com/2013/04/22/camera-obscura-pinhole-event-foto-frenzy-a-report/

YouTube videos:

http://www.youtube.com/watch?v=lyA5QP-mX-E

A camera obscura at the Queenstown Centre fro Creative Photography:

https://wotwedid.wordpress.com/2012/05/07/camera-obscura-qccp/

A World Pinhole Day Camera Obscura at Mt Barney:

https://wotwedid.wordpress.com/2013/04/29/world-pinhole-photography-day-our-contribution/

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Closing off the hole

Closing off the hole in the Travelodge Hotel camera obscura

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© 2019 Victoria Cooper and Doug Spowart for 20 Years of Camera Obscuras Projects

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Map of activities, #PhotoBookDay 2013

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Toowoomba joined the world on PhotoBook Day – Here is the report…

photobookclubmadrid's avatarWorld Photobook Day

After collecting the activities that were organized, this is the resulting map of activities of World PhotoBook Day 2013.

PBD_map2013

In the following posts we will continue with some of the stories behind all theses activities. So links will change as long as new stories come up.

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Written by Cooper+Spowart

October 23, 2013 at 8:17 am

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A BOOK ABOUT DEATH: Now in Australia

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Book-about-death-72

Doug’s contribution to A Book About Death

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A new exhibition at the Tweed River Art Gallery presents an exhibition of mail art contributed by artists from all over the world which that deals with the topic of death. Entitled, A Book About Death (ABAD), this exhibition is the most recent iteration of the concept that began in 1963 by Mail Art ‘father’ Ray Johnson – The difference on this occasion being that most of the artists represented in the show are Australian. The coordination and curation of this ABAD exhibition has been overseen by Julie Barrett and Heather Matthew.

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The following background information comes from the ABAD website:

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The Australian exhibition is is the 27th exhibition of A Book About Death. Paris based artist Matthew Rose instigated the first A Book About Death exhibition in 2009 in New York. Five hundred artists submitted five hundred copies of their artwork to the exhibition in the Emily Harvey Gallery. On the opening night people came with plastic bags and collected the free artworks and so were able to create their own (unbound) book about death. Many people then went on to exhibit their collections at other galleries and so the exhibition grew into an international phenomena with artists curating their own exhibitions and calling for new artworks to be created for the new exhibitions. Matthew Rose created the exhibition as a tribute to the ‘father’ of mail art Ray Johnson.
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Here’s what Mark Bloch from New York who knew Ray Johnson wrote:
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First and foremost, the American artist Ray Johnson (1927-1995) the founder of the New York Correspondence School deserves all the credit for creating the concept of A Book About Death because he was really onto something when he came up with the concept in 1963. Between March of that year and February 1965, he sent out 13 pages or so of something he called A Book About Death. In framing one piece of a paper as one page of a conceptual book, he anticipated many literary developments of the four decades that have followed. Ray Johnson’s A Book About Death connects to hypertext, cyberpunk, the internet, as well as devices like the Kindle, a device that is an accumulator of electrons that shows its user pictures on a screen of what can be thought of as a book. But the Kindle, one of the possible signposts of what the future of reading will be like, cannot show us an entire book. It can only show us one page at a time.
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Vicky's contribution to the ABAD exhibition

Vicky’s contribution to the ABAD exhibition

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Vicky’s statement about the work:

Through the microscope I saw the death of a leaf as a metaphor for the forest.

In this leaf I could see

The searing flames of a bush fire,

The decay and recycling of its flesh and bones,

The crystallization of time

A fossil

The past and the future

The story of the forest

In the death of a leaf . . .

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AN EVENT ASSOCIATED WITH THE EXHIBITION

Death Cafe Event

Death Cafe Event

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FOR MORE INFORMATION: http://abadaustralia.blogspot.com.au/
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FOR AN ABC INTERVIEW WITH HEATHER MATTHEW: http://www.abc.net.au/local/photos/2013/10/17/3870941.htm.
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© 2013 Victoria Cooper and Doug Spowart….ABAD Website and ‘About Us’ text Copyright ABAD Australia.

Creative Commons-by-nc-nd.euThe Cooper+Spowart text and work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
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WORLD PHOTOBOOK DAY: Toowoomba Oct 14, 2013

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WORLD PHOTOBOOK DAY – CELEBRATED IN AUSTRALIA

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lets_celebrate_photobook_cyan_eng

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The city of Toowoomba in Queensland Australia celebrated World Photobook Day with a group of around thirty attending a Photo Book Club meeting. The event was held at TheGRID: Hybrid Arts Collective. The participants were from a wide range of photographically interested people: some from the local TAFE college, The Toowoomba Photographic Society, professional photographers, artists and academics. Each brought with them a favourite photobook to share and talk over with others. There were some precious books, some funky contemporary publications, and some of the more traditional coffee table tomes.

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Toowoomba Celebrates World Photobook Day

Toowoomba Celebrates World Photobook Day

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Event coordinator Doug Spowart welcomed the group and gave some background on the history of the photobook and the amazing place that Anna Atkins has within that history. On hand was the Badger and Parr The Photobook: A History Vol1 opened to the page of the Atkins Algae of the British Isles. Doug announced that an acquaintance of he and Victoria Cooper’s – Gael Phillips, was a distant relative of Anna Atkins and that whilst be unable to attend she has provided a commentary on the times, life and family.  Gaels words are as follows…

… I thought I might give you a few details of the family of Anna Atkins, nee Children, which may help to explain the setting in which she produced the world’s first photographic book. My cousins, Elizabeth Parkes and Jean Doggett, with input from other family members, have published an account of our family which includes chapters on the Children family. At their family home, “Ferox Hall”, in Tonbridge, Kent, John George Children, Anna’s father and George Children, her grandfather, had built the largest electric battery the world has ever seen at their private laboratory. They were collaborating with Sir Humphry Davy on electrical experiments. It was because of her family’s experience with battery technology and electrochemistry, and almost certainly with the help of her father, that Anna would have had access to sufficient ferric ammonium citrate to produce cyanotypes.  Her publication of “Photographs of British Algae” first appeared in October 1843 – British Algae – Cyanotype Impressions. Fox Talbot, a friend of the family, and from whom Anna had obtained her first camera, published “Pencil of Nature” between 1844 and 1846, in several parts. In 1979 Professor Larry Schaaf brought the attention of the world to the fact that the author of the world’s first photo book, AA, was Anna Atkins.

Anna Atkins, nee Children, was born in 1799. Her mother, Hester Anna Children, nee Holwell, was the grand-daughter of Governor Hollwell, one of the survivors of the Black Hole of Calcutta in 1756. Hester never recovered from the birth of Anna and died in 1800.

Anna also wrote a biography of her father, partly concealing her authorship under the initials, “AA”, as she did with her “Photographs of British Algae”.

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Anna Atkins 1861

Anna Atkins 1861 [Source Wikipedia}

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Anna and her husband, John Pelly Atkins, had no children of their own. Anna died in 1871 and her husband a year later. Their home, “Halstead Place”‘ has since been demolished.

A photogram of Algae, made by Anna Atkins as part of her 1843 book, Photographs of British Algae: Cyanotype Impressions

A photogram of Algae, made by Anna Atkins as part of her 1843 book, Photographs of British Algae: Cyanotype Impressions. Courtesy of The New York Public Library http://www.nypl.org.

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Naturally my favourite photo book (or books, because the Cyanotypes of British Algae by AA run to three volumes) – “Photographs of British Algae – Cyanotype Impressions” by Anna Atkins, my distant cousin. In 1992 I had the great privilege to view copies of the volumes at the Library of the Royal Society in London. The edition ran from between 10 to 12 copies and a few of the plates from one of the copies are held in the National Gallery of Australia in Canberra.

I wish you all well for this celebration of the world’s first photo book by Anna Atkins.

Doug thanked Gael for her insight into the lady whose premier photographic pursuit we celebrate today.

Guests were then invited to continue their looking and talking about books, photography and other worthy matters. It was a remarkable event and one which will no doubt repeated in the future –– but it will be sooner than the next time we gather, once again, to celebrate WORLD PHOTOBOOK DAY.

..A PHOTOBOOK CLUB EVENT

hotoBookClub-Logo

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HERE SOME IMAGES OF ATTENDEES AND BOOKS …   A detailed list of books presented for viewing and other contributions submitted online will be added to this post in the near future.

OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERA OLYMPUS DIGITAL CAMERAOLYMPUS DIGITAL CAMERA

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Report and photographs: ©2013 Doug Spowart.  Anna Atkins’ story © Gael Phillips. Images of Anna Atkins sourced from Wikipedia and acknowledged appropriately.

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