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Posts Tagged ‘Keiko Goto

AUSTRALIAN CYANOTYPES on exhibition at home & in the USA

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INVITE: The Maud Street Photo Gallery Under the Southern Sun exhibition

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For over a year we have been coordinating with Gail Neumann the Facebook group THE CYANOTYPE IN AUSTRALIA. In June of this year we circulated through our networks an Invitation for Australian cyanotypers to submit work for a travelling exhibition to be shown in Brisbane, Australia and then Texas, USA to link with World Cyanotype Day celebrations on September 28, 2019. This work will be first shown at The Maud Street Photo Gallery, Brisbane in August and will then travel to the USA to be part of two international exhibitions, one at the A Smith Gallery, Texas in September, and then at PhotoNola, New Orleans in December.

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THE BRIEF FROM THE INTERNATIONAL WORLD CYANOTYPE EXHIBITION COORDINATORS:

The exhibition theme Land/Sea/Sky with the exhibition abstract being: Most ancient peoples had no word for the color blue. They could not explain the sky nor the ocean. Poetry and love letters suffered. Once “blue” entered the world the earth rattled and chimed, sending forth “turquoise” and “sapphire.” The Navajo and the Jewelers rejoiced. Poets wept. Picasso danced and Policemen beamed. Mary smiled.

It was hoped that everyone in the world making cyanotypes that could be connected with was invited to create the cyanotypes on white cloth, each 12×12 inches (30×30cm) and that they will be strung together, the flags symbolize the beautiful planet we all inhabit.

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Install day at the A Smith Gallery 24 September

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CYANOTYPERS FROM OVER AUSTRALIA RESPONDED TO THE CALL-OUT

Here are their images:

 

THE EXHIBITION AT THE MAUD STREET PHOTO GALLERY

The installation at The Maud Street Photo Gallery PHOTO: Gail Neumann

The installation at The Maud Street Photo Gallery PHOTOs: Gail Neumann

THE CATALOGUE

A catalogue about the Under the southern sun project featuring each submission, artist’s statements and exhibition documents has been collated, the cyanotypes copied and designed by Doug Spowart. The catalogue forward states:

The Cyanotype in Australia is a photographic medium that continues to be enthusiastically utilised by a growing group of creative practitioners ranging from analogue photographers to fine art printmakers.

While the process and the chemical formulas may be the same the resulting images vary depending on the subject chosen and the creative input of the cyanotypist. This is proven by this body of work and the plethora of potential outcomes presented. And sometimes, as with the vagaries of the process, many results may be a surprise to the author at the time the image is washed-out. Such is the nature and the promise of things hand-made.

We are excited to contribute this collection of cyanotype flags to the 2019 World Cyanotype Day Celebrations at the A Smith Gallery in Texas and PhotoNola in New Orleans in the U.S.A.

The catalogue

FREE TO DOWNLOAD HERE: AUSTRALIAN_WCD_CATALOGUE-Final

 

THE BEHIND THE SCENES

THE CYANOTYPE IN AUSTRALIA Team coordinated:

  • A gallery exhibition at The Maud Street Photo Gallery in early August that will include an opening event
  • The packaging and shipment of the ‘Flags’ to the USA by the due date
  • The creation and distribution of social media content promoting the Australian artworks and their makers
  • A PDF catalogue of all contributor’s works
  • And later the return of the works to their makers on conclusion of the project.

A fee of $40 was charged to all participants

This project, by The Cyanotype in Australia team, was curated by Gail Neumann, Victoria Cooper + Doug Spowart with assistance from David Symons.

 

 

The gallery installation team: Gail Neumann, Victoria Cooper, Irena Prikryl, David Symons and Doug Spowart

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Slowing time in the temple, the darkroom and in the gallery

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KEIKO GOTO’s Zen in 35mm

Tacit Art Galleries 7 November – 2 December, 2018

 

In the contemporary society all aspects of life are on hyper speed, every human endeavour is intensified and condensed into sound bites, vision-bites, 3D, in-the-moment, hyper-experiential consumeristic bliss. In this space the photographs by Keiko Goto are a complete anathema. Goto’s photographs don’t shout at the viewer, they don’t profess to demand a political viewpoint and they don’t leave us with demands for us to feel concerned or ambivalent for the subjects in the pictures.

 

Tacit Gallery installation: Zen in 35mm

 

Keiko Goto’s photographs are viewed in the context of a white walled gallery on entering the room they appear as small darkly toned windows. When approaching the photographs, perhaps with knowledge of the accompanying artist’s statement and the eloquent catalogue essay by Kerrilee Ninnis, an enveloping quietness descends, and a story is revealed in a sequence of low key black and white photographs.

 

 

Embraced by Soft Spring Light

 

The exhibition is entitled Zen in 35mm and presents a series of vignettes, each a moment in the life of a Japanese monk in the Kichijyoji temple in Tokyo. The view that each photograph shows is from a distanced viewpoint – she is a trusted observer in his space. Her photographs are nearly all quite dark with a spotlight delineating, by chiaroscuro the shape of the monk’s form, a head or a profile, from the dark ground. Other images are of the temple place and the monk’s sparse accoutrements.

Silent Chanting

 

Goto is in tune with with the ways of Zen through her Japanese cultural background and the experience that comes from her attendance at the temple over many years to learn and practice calligraphy.

All photographs are made on film and carefully printed by the author in gelatine silver fibre paper. Some images have been printed using enlarged negatives on platinum-palladium hand-coated paper with Goto’s distinctive calligraphic styled brush strokes. Adding perhaps to the following of traditions in photography is the fact that she uses a Leica IIIb camera from the 1930s.

 

Ouryouki

 

The monk concentrates on his devotion and to the rituals of his observance of Buddhism. Goto observes the scene silently waiting to receive the distilled moment. Later in the darkroom the film is process in strict accordance with a codified ritual. Quiet meditations continue in the stillness of the safelight-illuminated darkroom. The simple rhythm of the rocking tray and the beauty is revealed as the image develops in the tray. In many ways the use of analogue capture and printmaking could have some sympatico – a mutual commonality with the performance and commitment of Zen philosophy.

 

Back in the gallery the presentation reflects Goto’s experience. It is as if the gestural movement of the brush on paper has been transformed into these walls – each image a monochrome fragment becomes a calligraphy pictogram. Time is slowed in viewing these images and in this reflective quietness the photographs reveal the monk’s story through Keiko Goto’s own meditative work – like visualised haiku poems…

 

In the darkness – light

A head bowed, a murmur inside

Photographer’s eye

 

Doug Spowart

December 27, 2018

 

Perfect Garden

Meditation 4

Meditation 3

Meditation 1

Lustrous Robe

 

 

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Written by Cooper+Spowart

December 28, 2018 at 4:31 pm

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