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ARTISTS BOOKS+AUSTRALIA: Comment for CODEX Journal

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CODEX X Papers – Journal Cover+Text Page

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Early in 2019 Vicky and I received an email from Monica Oppen and Caren Florance inviting our contribution to a report commenting on news and updates on book arts activity in the Antipodes that they were preparing for the Codex Foundation‘s new journal The Codex Papers. They mentioned that they were asking for those involved with projects, conferences, workshops, collections and awards to send through their comments and plans so the local scene could be collated into the report.

Monica and Caren added that, Your commitment to the photo books and also to documenting events for the past years (or is it decades now?!) has lead us to decide that we must ask you what you see as the trends and key events of the past couple of years. Any feedback (your personal view) on the state of the book arts in Australia at the moment would also be of interest.

We were particularly excited to have been invited to contribute and over the days following the request we collaborated on a document that outlined our view of the scene. Photo documents that we had made were reviewed and prepared and forwarded, along with our text to Monica and Caren. The task of collating and blending the individual responses into a single report was completed and forwarded to the Codex Foundation.

Early this year the report was published and we received a contributor’s copy. We were impressed with the journal and the many interesting commentaries on the book arts from around the world. It was interesting to see the complete report and to read the individual contributor’s comments.

Published below is our text and some of the photographs we contributed in response to Monica and Caren’s invitation.

 

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Notes on the Antipodean book arts in the Antipodes for Caren + Monica

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Noreen Grahame in the exhibition Lessons in History Vol. II – Democracy 2012

 

In the 1990’s and early 2000’s, the world of the artists’ book in Australia was an exciting place. In Brisbane Noreen Grahame, through her Grahame Gallery, Numero Uno Publications, Editions and the Centre of the Artists’ Book championed the Australian artists’ book discipline. Grahame efforts were directed towards artists’ book exhibitions which started in 1991, art book fairs the first of which was held in 1994 and special invitation themed artists’ book exhibitions featuring clique of prominent national book makers.

Artspace Mackay under the directorship of Robert Heather hosted the first of 5 Focus on Artists’ Book (FOAB) Conferences in 2004. Over the years FOAB brought to Australia some of the world’s noteworthy practitioners and commentators on the discipline including Marshall Weber, Keith A Smith and Scott McCarney and juxtaposed them with local key practitioners. For the next 6 years those interested in artists’ books gathered to participate in lectures, workshops, fairs and a solid community of practice developed. In 2006 Artspace Mackay added the Libris Awards: The Australian Artists’ Book Prize that, with a few breaks, continues to be the premier curated artists’ book exhibition and award in Australia.

 

Noosa 08 Artists’ Book exhibition – Noosa Regional Gallery

Queensland also had 10 years of artists’ book exhibitions and 5 years of conferences from 1999-2008 at Noosa Regional Art Gallery. In many ways Queensland was the place to be if you were into artists’ books.

 

Southern Cross Artists’ Book Award 2007

In this period a few other artists’ book awards took place including the Southern Cross University’s Acquisitive Artists’ Book Award from 2005-2011.

 

Throughout the 1990s and until fairly recent times State Libraries and the National Library of Australia actively collected and built significant artists’ book collections. These included many forms of the artists’ book including: private press publications, significant book works by recognised international and Australian practitioners, books as object/sculpture, zines and the emergent photobook.

 

Now around the country major libraries are feeling the push by managers to move access to the library’s resources online thus the importance of the physical object and the tactile connection with items such as artists’ books is now not considered part of the service that the institution needs to provide. For example, the State Library of Queensland’s Australian Library of Art, which houses one of the largest artists’ book collections in the country, is now without a dedicated librarian. Research fellowships and seminars that were once administered by the Library and supported the Siganto Foundation are no longer available. Information and advice about the collection and other exhibitions or group viewings of artists’ books from their extensive collection have been significantly affected.

 

In recent years two Artists Book Brisbane Events coordinated by Dr Tim Mosely at Griffith University has facilitated a significant connection between the American and European scenes with guest speakers like Brad Freeman (Columbia University – Journal of Artists Books), Sarah Bodman (Centre for Fine Print Research – The University of the West of England), Ulrike Stoltz and Uta Schneider (USUS). The conferences also have included a place for discussion and review of the discipline by academics and emergent artist practitioners from Masters and Doctoral programs. These two ABBE conferences have provided a platform for academic discourse.

The artists’ book medium has been principally the realm of the printmaker as their artform easily enabled the production of printed multiples. Digital technologies, new double-sided inkjet papers as well as print-on-demand technologies have enabled the emergence of a range of new self-publishers – particularly photographers.

In 2011 I completed my PhD the title of which was Self-publishing in the digital age: the hybrid photobook. From my experiences in the artists’ book field as a practitioner and commentator and my lifelong activities in photography I saw a future for the photobook which could be informed by the freedoms and the possibilities for the presentation of narratives. While some aspects of this prophecy have been the case with some photographers, particularly those involved in academic study, the main thrust for the contemporary photobook has been towards the collaboration with graphic designers. These books take on various design and structure enhancements including special bindings, foldouts, mixed papers, page sizes, inclusions and loose components that can, at times, dilute the potential power of the simple photographic narrative sequence. The contemporary photobook has developed into its own discipline and through the universal communication possibilities of social media, conferences and awards a new tribe has emerged quite separate from and unaffected by the artists’ book community.

 

NGV Melbourne Art Book Fair 2017

Over the last 5 years the National Gallery of Victoria has presented the Melbourne Art Book Fair. In keeping with the art book fair worldwide movement participants man tables selling their publications. These can range from Institutional/gallery catalogues, trade art publications and monographs, artists’ books, photobooks and zines. The umbrella-like term and the spectacle of the ‘Art Book Fair’ as an event to witness and participate in has captured the individual disciplines and united the various tribes into one, not so homogeneous – community.

 

A quick review of the 2019 Melbourne Art Book Fair’s 86 table-holders there were only a handful of artists’ book-makers, perhaps a similar number of photobook publishers and a large contingent of zinesters and self-published magazines. The bulk of the tables were held by book distributors, bookshops, arts organisations, educational institutions and art galleries. The discipline of artists’ books was not significantly represented in this space. Was that due to the National Gallery of Victoria’s selection of table-holders or was it to do with artists’ book practitioners not considering the event as a relevant opportunity to show and sell their works?

 

Ultimately the question is – what is the status of the artists’ book in Australia at this time? My impression is that one of artists’ books key strengths was its closeness to the printmaking discipline and the cohesive bond of makers, critics and commentators, educators, journals, collectors and patrons. As many of these are connected to the tertiary academic environment and collecting libraries, both of which are fighting for their relevance in a changing education and library world, could it be considered that this is a defining moment in the history and the future of the artists’ book in this country?

 

Doug Spowart co-written with Victoria Cooper

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All photographs ©Doug Spowart

 

 

 

NOCTURNE ARMIDALE: a community photo project

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Sam Walkom's Imperial Hotel through the Post Office's arche

Sam Walkom’s Imperial Hotel rephotography DUO taken through the Post Office’s arches

 

NOCTURNE ARMIDALE: Capturing Armidale in a new light          

In our latest Nocturne project we worked with a group of photographers from the Armidale region to document the change of light from day to night. The special theme we developed for the Nocturne: Armidale project was to capture the town in both the early evening’s nocturnal light with a second photograph of the subject during daylight. This ‘re-photography’ approach resulted in a comparative pairs of images revealing the evocative nature of nocturne light and how it transforms everyday places.

 

The project began in mid-September when we conducted a workshop at the New England Region Art Museum (NERAM) in re-photography and nocturne light capture. This included practical shoots around Armidale from which images were then optimized and uploaded to Nocturne: Armidale project Facebook page to share with the wider community. Another aspect of the project was the digital processing and optimising of nocturne photographs. This was accomplished in a mentored section of the workshop with the participant’s images.

 

Doug presenting his workshop on file optimisation

Doug presenting his workshop on file optimisation

A group shot of some of the Nocturne Armidale participants

A group shot of some of the Nocturne Armidale participants PHOTO: Neil Burton

 

Les Davis from the National Trust Home Saumarez, provided project participants with a unique opportunity to photograph this magnificent historical homestead. Over two separate nights images were made to highlight the home’s colonial architecture.

It was suggested in our original proposal that the work produced could be at some later stage be exhibited. And during the workshop Greg from the New England Art Society Armidale Art Gallery came forward with the offer of an exhibition space in their gallery.

In the two months following the workshop we finalised the optimisation of 25 pieces from the workshop – most of them re-photography Duos, and printed them for the participants. Other print coordination took place with workshop participant Neil Burton who provided access to his wide-format printer for large images to be made. At the end of November we returned to Armidale with Neil and his partner Lindy Osbourne to hang the shows.

 

Hanging the Nocturne Armidale exhibition

Hanging the Nocturne Armidale exhibition

Part of the Nocturne Armidale exhibition at the Armidale Art Gallery

Part of the Nocturne Armidale exhibition at the Armidale Art Gallery

The project’s main exhibition was shown at the Armidale Art Gallery in Beardy Street and we presented a floortalk on December 3rd that was attended by around 25 visitors as well as most of the project’s participants. The exhibition of images from the Saumarez shoot-outs was officially opened by photographer and publisher Terry Cooke on December 2 and will remain on display at Saumarez until January 29th, 2017. A third exhibition of photographs included our images and works by Neil Burton will be on show in the Armidale Council Chambers until March 5, 2017.

 

With Terry Cooke, Les Davis and Neil Burton at the opening of the Saumarez show

With Terry Cooke, Les Davis and Neil Burton at the opening of the Saumarez show PHOTO: Lindy Osbourne

Vicky presenting a floortalk about the Nocturne show

Vicky presenting a floortalk about the Nocturne show

 

The Nocturne: Armidale exhibitions include photographs by Paul Bayne, Sue Burgess, Neil Burton, Victoria Cooper, Les Davis, Ross Jenkins, Jeni Mackenzie, Doug Spowart, Sam Walkom and Jim Walmsley.

Here is a selection of the Nocturne Armidale project images…

Click on image to open a gallery viewer for author and subject details.

 

 

Robert Heather, the Director of NERAM described us as a ‘nomadic photographic duo’ and acknowledged that we had, with our group of local photographers, had ‘braved cold, wet and windy conditions to create some beautiful and dramatic images of places which we all know well such as the old Courthouse, Saumarez Homestead, the cathedrals, hotels and railway station.”

 

The New England FOCUS Magazine published a story on our work and background to the Nocturne Armidale project – Download a PDF focus-nocturnearmidale-red (20Mb)

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The Nocturne: Armidale project was coordinated by the New England Regional Art Museum in partnership with the New England Art Society and supported by Saumarez Homestead and Armidale Regional Council.

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Regtta Hotel, Brisbane - rephotography DUO

Regatta Hotel, Brisbane – Rephotography DUO

ABOUT NOCTURNE PHOTOGRAPHY

Nocturne photography captures a time of day where the afterglow of sunset and the glow of streetlights can transform the everyday experience of place. In these photographs, street scenes and buildings that may be familiar in normal daylight take on the dramatic appearance of movie sets. Some photographs created at this time can require long camera exposures and therefore produce images that can capture blurred movement of people and car headlight trails. These images offer to the community a different perspective to their daily experience of place.

 

Nocturne Armidale Logo

Nocturne Armidale Logo

MORE ABOUT COOPER and SPOWART NOCTURNE PROJECTS

NOCTURNE: ARMIDALE, the project is part of continuing series, conducted by Victoria Cooper and Doug Spowart, across Eastern Australia including past events in Muswellbrook, Grafton, Bundaberg and Miles.

Through our Nocturne documentary photography and Facebook social media projects, we have explored connections with Place in urban and regional communities throughout Queensland, New South Wales and Victoria. For us the phenomenon of nocturnal light transforms these everyday spaces. Buildings, busy street corners, quiet alleyways all become filled with the dramatic light of a movie scene. In 2013 and 2014 we were given the opportunity, through funded Artists-in-Residence (AIR) programmes, to undertake Nocturne projects in the regional communities of Muswellbrook, Grafton and Bundaberg.

 

The photographs in themselves have no intrinsic meaning – it is the viewer, with their experience and memory that brings life to the image. In this moment of connection they may recount a personal narrative or connect with the historical significance of the place. This collaboration between photograph and viewer is exciting and vibrant – expanding the potential for the documentary image to go beyond the vision of the photographer.

 

Examples of other Nocturne Projects and Facebook responses can be found at: <www.nocturnelink.com>

 

 

Cooper+Spowart shooting Nocturne

Cooper+Spowart shooting Nocturne

 

ABOUT  COOPER+SPOWART
Our arts practice is informed by our ongoing and evolving connection with Place. Our Place-Projects are influenced by the context and the consequences of living within a constantly changing landscape. We work with a range of photographic concepts, from the camera obscura, through analogue processes to the digital forms of the medium. Our work is presented as visual narratives in artists’ books, photobooks, exhibition images and and on blogs and social media.

 

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Copyright in all Nocturne Armidale project images is retained by the author – any use of these photographs must be approved by the copyright owner.

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