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VICTORIA COOPER: Loud & Luminous – Women’s Day Exhibition

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Loud & Luminous invite

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VICTORIA COOPER IN A NATIONAL EXHIBITION OF WOMEN PHOTOGRAPHERS

LOUD AND LUMINOUS the exhibition, a celebration of Australian Women photographers, has been on show at Brunswick Street Gallery in Melbourne from 28th February – 13th March 2018 linking with International Women’s Day.


The Loud and Luminous mission concieved by Mel Anderson and Hilary Wardhaugh was to recognise and celebrate the contribution of contemporary women in the photographic arts in Australia. The exhibition has 56 emerging and influential Australian women photographers, referencing a women’s symbol in their finished work. Australian women from 9 years to 90 years contributed, with the goal to empower women of today and tomorrow.


The brief was completely open to interpretation. Artists used the figure of a woman literally or referenced it by shape or to make a statement. Each artists’ interpretation is quite unique and as a collective there is a strong message revealed.


This is a timely project and will educate and inspire women of all ages, backgrounds and disciplines by recognising the extensive cultural contribution women photographic artists make. It aims to empower the girls and women of today and tomorrow to chase in their dreams.

 

Victoria Cooper portrait

 

Artists Statement: Dreaming a River by Victoria Cooper

 

Influenced by Gerhard Richter’s enigmatic painting ‘Betty’, I was drawn to this photograph I made of a friend while travelling along the Danube River in Austria. It is an everyday moment but yet I find myself drawn into the reverie.

At first I struggled with the intervention of the exhibition symbolic motif, but as I contemplated my time walking beside this iconic river it was transformed through the thinking process. The motif multiplied: a thought pattern; a metaphorical weaving into a psychological fabric; or the confluence of symbolic women becoming a river.

Rather than a message or a memory of time and place, this work is embedded in the story of everyday life– of being in the world, and moments of dreaming …

 

Digital photomontage created for the Loud and Luminous Project World Women’s Day 2018 exhibition

 

Victoria Cooper talks about her work

 

 

Who is in the show…?

SEE THE LOUD AND LUMINOUS SITE FOR BIOGs   Click HERE

The opening event

The Loud+Luminous opening PHOTO: Hilary Wardhaugh

The conference

SEE THE LOUD AND LUMINOUS SITE FOR DETAILS   Click HERE

 

A book about the exhibition made by sponsor MomentoPro

 

 

 

Thank you Melissa Anderson and Hilary Wardhaugh for coming up with the idea and coordinating the project through to its conclusion.

Thanks also to the Sponsors…

 

Sponsors

 

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Written by Cooper+Spowart

March 14, 2018 at 11:27 pm

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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ADVANCE NOTICE: TALKING BOOKS & ANZ PHOTOBOOK AWARDS

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Australian 2016 Photobooks of the Year Finalists

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TWO SPECIAL PHOTOBOOK EVENTS IN BRISBANE ORGANISED BY THE PHOTOBOOK CLUB BRISBANE

Photobook Club Logo

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Event 1 – VIEW PHOTOBOOKS FRIDAY (FREE)

22nd September evening presents the very best of contemporary photobooks from Australia and New Zealand from the recent Photobook of the Year Awards.

Meet Libby Jeffery from the Award’s Patron MOMENTO PRO.

Come in and look at the books from 5.30pm — The viewing will close at 8.00pm.

Location: MAUD GALLERY – 6 Maud Street, Newstead, Brisbane.

 

ANZ Photobook Awards at Maud Gallery

 

TO BOOK this event do so on this Facebook page: PHOTOBOOK FRIDAY FACEBOOK EVENT

 

Event 2 – TALKING BOOKS SATURDAY (FREE)

23 September – a free day of presentations about making photobooks and talking about the latest local and international photobooks.

Saturday September 23 10.30am – 4.00pm

Location: MAUD GALLERY – 6 Maud Street, Newstead, Brisbane.

 

Libby Jeffery – MomentoPro

 

At 11.00am

KEYNOTE SPEAKER: Libby Jeffery from MomentoPro

Libby will talk about all things that make a difference for self publishers including:

  • Crowdfunding for projects

  • Working with editors, designers, reviewers, printers, distributors, publicists

  • The value of awards like Australian Photoboook of the Year Awards

  • Art book fairs

  • Print-on-demand services

 

From 1.00-4.00pm

HEAR FROM SOME LOCAL PHOTOBOOK MAKERS & THEIR BOOKS

 

Dane Beesley and his books

The images in Dane’s book The Road trace an unknown timeline to an unknown destination, where he appears only as a tall shadow. There’s an honesty, a quest for truth, perhaps a naiveté in the images reminiscent of cinéma vérité that captures the adolescent wanderlust it seeks to document.

 

David Symons and his book

David will show the ‘ins and outs’ of the work that he produced at the Siganto Foundation artists’ book workshops and a masterclass held at the State Library of Queensland earlier this year with UK artist Helen Douglas.

 

Neil Degney and his book You are here

The images in Neil’s book have been taken on the streets of inner city Brisbane over the years 2014 to 2017. The title references the ubiquitous wayfinding signs often found in unfamiliar environments that enable us to determine our geographical position and plan a course towards our intended destination. It is also my Instagram user name all the images have at some time been posted to Instagram. The photographs are taken with a camera phone and processed using an app called Snapseed. (Neil is scheduled in October to have the next exhibition at Maud Gallery).

 

Isaac Brown and his book This Rock Between Us

This Rock Between Us investigates the difficult relationship between my father and me. Hard, floating, and an unsubstantiated substance, the rock appears and vanishes from moment to moment. This handmade photobook attempts to represent the relationship as a physicality, as an object that exists ‘in-between’, and built, by my father and me.

 

HEAR ABOUT RECENT PHOTOBOOK EVENTS ACTIVITIES IN ATHENS, MALAYSIA & VIENNA

 

Louis at the Obscura Festival

Louis will be presenting some photobooks he had the pleasure of reading from his recent visit to the Obscura Festival 2017, as well as his recent work-in-progress photobook An Opened Letter.

 

Justin Ma

In March 2017 Justin Ma was invited to do a photography workshop with Antoine D’agata in Athens, Greece. The workshop was hosted by VOID, a new organisation in Athens focussed on alternative publishing, exhibitions and workshops mainly based around photography as well as other visual arts. During the event at Maud Justin will be showing a few examples of publications from VOID including their collaboration with Antoine D’agata’s latest book “Cidade de Pedra”.

 

Martin Parr talking photobooks with Vicky and Doug in Vienna

Doug and Vicky will talk about their experiences at the Vienna Photo Book Festival, meeting Martin Parr and Gerry Badger and show some of the books they bought home from the Festival.

 

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SEE BOOKS FROM AROUND THE WORLD

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TO BOOK SATURDAY PLEASE REGISTER ON THE EVENTBRITE SITE LISTED BELOW.

https://www.eventbrite.com.au/e/talking-books-photobook-club-brisbane-event-tickets-37573180394

 

Maud Gallery sign

Thank You Maud Gallery for supporting this Photobook Club Brisbane event.

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DARK LOVE: Stories of the darkroom @ Maud Gallery

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dark-love-logo-stre-1000

 

It seems that in the digital age many photographers still pine for the days past when the darkroom was familiar territory. While older photographers may have fond memories, today they share their darkroom love with new-comers, mainly younger and digitally native photographers. To honour the past and to celebrate the future of the darkroom we worked with the Director of Maud Creative Gallery Irena Prikryl recently to host a series of events and workshops to recognise analogue photography in contemporary photographic practice.

 

On November 8 a group of photographers responded to the call to attend an event at the gallery called DARK LOVE: Stories of the Darkroom. They were asked to come along with something special about the darkroom and tell a story associated with it. On arrival at the gallery their photographs were prepared and then hung on the wall.  The presentations were timed at around 5 minutes and were quite fascinating.

 

Part of the Dark Love exhibition at Maud Gallery

Part of the Dark Love exhibition at Maud Gallery

What follows is a photo of the attendee, their print and a brief comment about their stories …

 

Alex Buckingham

Alex Buckingham

Alex spoke about working with Liquid Light emulsions

 

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Victoria Cooper

Victoria Cooper discussed the making of this pinhole biscuit tin photo and the challenges of printing the 6x18cm negative

 

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Thomas Oliver

Thomas spoke about his current academic research in the multiple printing of a single negative.

 

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Tammy Forward

Tammy discussed the making of a studio portrait.

 

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Sandy Barrie

Sandy spoke of the dangers of shooting large format in busy Sydney traffic.

 

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Robyn Hills

Robyn told the story of the making of this award winning print – from its origins from a point-n-shoot camera to darkroom high contrast printing ‘Tipp-ex” and a little bit of marker pen…  A great animated performance….

 

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Rob Crapnell

Rob discussed his interest in the darkroom and work with a 6×7 Pentax documenting how old heritage buildings in Brisbane are being cramped by the skyscraper…

 

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Peter Pescell

Peter discussed his use of an ‘ancient’ bellows camera and reloaded 120 aerial film on spools to make this image… the old and the outdated still have currency in analogue…

 

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Michael Stephenson

Michael discussed his modern printing of a series of lantern slides that represented a panorama of Brisbane made in the 1870s(?) by the photographer a Mr Wilson(?).

 

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Louis Lim

Louis spoke of a camera obscura that he made in a children’s hospital as part of an artist in residence. He described the view of Vulture Street in Brisbane on the ceiling of the room and how children visiting the space were enthralled by the images on the ceiling and walls…

 

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Jeff Ryan

Jeff discussed the taking of this photograph and its connection personal connection with he and his brother’s lives. The photo was made relatively recently at a place where Jeff and his brother played as kids 40 years earlier.

 

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Irena Prikryl

Irena’s story related to buying her first serious camera – a Hasselblad and then taking some photos in Grand Central Station in New York. The camera was balanced on a railing and the shutter speed was long…  The photo was recently printed in a Fine Art Print workshop at Maud with Doug+Vicky.

 

 

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Chris Bowes

Chris Bowes was unable to attend but had come by earlier to install his personal investigation of self and sweat by placing un-exposed B&W photopaper against his body. The prints are then process yield a ‘Chemigram’.  Chris will present a floortalk at the gallery. Check the Dark Love page for details…

 

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David Symons

David discussed that the origins of his 1980s photographic series was a response to the work and photobooks of David Hamilton. Hamilton was well known for his ‘soft-porn’ photos of young girls. Symons spoke about how he appropriated Hamilton’s photos by double printing copy negatives through a cracked mud image. Texts from Hamilton’s book were adapted by Symons using a redactive process to reveal an alternative story….

 

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Doug Spowart

I commented about how a recent re-connection with pinhole photography during the Pinhole workshop last weekend had helped to resolve a need for a new project that Vicky and I will be working on next year. I passed around an 8″x10″ film pinhole negative that had revived my interest and love of the darkroom.  PHOTO: Victoria Cooper.

 

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Edwin Wecker

Edwin discussed his experiences with film photography whilst on tour to India with his friend Russell Shakespeare.

 

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Gail Hoger-Neuman

Gail showed some photographs from her early 1990s exhibition ‘Hollywood Stills’ that was shown at Imagery Gallery.

 

Sandy Barrie demonstrates ancient portable daylight enlargers – the oldest was made before 1859.

Sandy Barrie demonstrates ancient portable daylight enlargers – the oldest was made before 1859.

 

Conversations continued after the presentations

Conversations continued after the presentations

The DARK LOVE works were enjoyed and discussed

The DARK LOVE works were enjoyed and discussed

 

CHRIS BOWES FLOORTALK  – 26 November – details to be confirmed

A FINE ART PRINTING WORKSHOP WILL TAKE PLACE ON – Postponed to 2017

A CYANOTYPE WORKSHOP – Details HERE

AND THE FRONT GALLERY WILL BE CONVERTED INTO A CAMERA OBSCURA on November 26 (to be confirmed)

 

 

 

Festival of the Darkroom logo

Festival of the Darkroom logo

 

All portrait photographs and gallery documentations unless credited otherwise ©2016 Doug Spowart

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1993 THE BRISBANE PHOTOGRAPHY SCENE: Ian Poole Guest Editor

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Cover-PHOTO.Graphy Vol4 #5

Cover-PHOTO.Graphy Vol4 #5

 

From 1990 to 2001 I edited and published a journal called PHOTO.Graphy (ISSN 1038-4332 and earlier called ‘News Sheet’). This journal was created to fill a gap in the discussion, critique and commentary about a segment of the photography discipline within Australia. Occasionally I would engage guest editors to add their voice to the conversation. Ian Poole was the Guest Editor for Volume 4 #5 – Here is my Editorial introducing to Ian’s view of the art photography scene in Queensland in 1993.

 

Ian’s survey of the Queensland art photography scene makes for interesting reading nearly 25 years on… Mentioned in the survey are; Rod Buchholtz, Andrew Campbell, Ray Cook, Victoria Cooper, Marion Drew, John Elliott, Peter Fischman, Craig Holmes, Andrew Hurst, Chris Houghton, Susan Leway, Kerry James, Gail Newmann, Glen O’Malley, Charles Page, Graeme Parkes, Ray Peek, Howard Plowman, Rhonda Rosenthal, Maris Rusis, Doug Spowart, Ruby Spowart, Richard Stringer, Carl Warner, Jay and Younger. Charles A. von Jobin is also featured in the issue.

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A PDF of the full issue is available HERE: PHOTO.G-Vol4n5r.

 

 

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scan 6

 

 

PHOTO.G-Vol4n5r

ABBE: Artists books Brisbane Event 2015

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ABBE Logo

ABBE Logo

For many years Queensland had a diversity of artists book activities: the bi-ennial Artspace Mackay Artists Book Forums and Libris Awards, the once yearly Noosa Artists Book Events and the Southern Cross University Acquisitive Artists Book Awards. Also contributing to this fertile artists book environment the State Library of Queensland’s Australian Library of Art which included the SLQ’s Siganto Foundation fellowships, ‘white glove’ presentations and events.  Added to this were exhibitions and artists book fairs coordinated by Grahame Galleries and other shows at scattered venues. With the recent demise of the Mackay, Noosa and Southern Cross events their absence was felt by the artists book community.  Now a new event has emerged to add to the SLQ and Grahame Galleries support of the art – the Artists Book Brisbane Event (ABBE). Over July 16, 17 and 18 ABBE featured a triptych of activities; a conference, an exhibition of books, an artists book fair and allied exhibition events at the State Library of Queensland, Grahame Galleries, The Studio West End, the IMA and Impress Printmakers Gallery.

The conference sought to address 3 main themes relating to the artists book:

  • post literacy
  • materiality/the haptic
  • the nature of reading artists books.

Three keynote presenters lead the program:

Sarah Bodman presents her keynote lecture

Sarah Bodman presents her keynote lecture

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SARAH BODMAN (Abstract)– ARTISTS’ BOOKS AS A PHYSICAL SITE OF PRACTICE

If a post-Literate society might also encompass new ways of thinking about reading, we could think of contemporary artists’ books as a site of practice beyond that of McLuhan’s sign posting of the invention of moveable type as fundamentally responsible for how the Western world physically reads: “along the straight Lines of the printed page.”

We seem to have already moved from Linear to non-linear reading; we are used to flitting through digital screen-based texts, and losing our attention through a multitude of online multi-tasking. Physical engagement with artists’ books provides us with spaceto breathe, a slower rhythm of ingesting information and time to reflect, so what about the artists who are making them? How are artists engaging with the physical book now?

These examples focus on celebrating the book as a physical container used by artists to: re-present language, offer performative reading, view how reading is perceived, appropriate text from novels and instructional manuals into new works, or to transform information from the virtual into the physical.

BRAD FREEMAN presents his keynote lecture

Brad Freeman presents his keynote lecture

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BRAD FREEMAN (Abstract) – JOURNAL OF ARTISTS’ BOOKS

Brad Freeman’s Lecture focussed on JAB, the Journal of Artists’ Books, that supports critical inquiry into artists’ books. Since 1994 JAB has published interviews with contemporary artists whose primary medium is the artist book, reviews of artists’ books, and essays about historical issues and contemporary artists and their work. JAB has a two pronged approach to culture creation via publication arts; an educational approach with critical writing and documentation of current activity; and second, a creative approach with publication art-exploring the creative potential of print and the book by commissioning artists’ covers (letterpress and offset), artist designed pages, and artists’ books made especially for insertion into JAB.

Lyn Ashby presents his keynote lecture

Lyn Ashby presents his keynote lecture

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LYN ASHBY (Abstract) – POSTLITERACY AND ARTISTSBOOKS: Coming to our senses with a modern mythic form

This presentation is a speculation on the idea that contemporary artistsbooks may be the laboratory for a new literacy, and that in honor of the quietly evolutionary nature of this new literacy, we might call it “postliteracy”.

As background, it explores how our centuries of standard literacy and its attendant conventions of pictorial space and chronological, narrative time, have privileged a specific code in the representations of our language systems (both image and text) and their operations across the page and through the book. The prescriptions of these conventions and the domination of the line and the grid onto the look of language have come to minimise the participation (and uncertainty) of the senses in the direct process of apprehending meaning with language forms.

But the pages of artistsbooks are often filled with the explorations of other ways that language forms can activate a lively, sensory involvement with the page space, or how meaning can be formulated beyond the limitations of chronology.

Some of these experiments involve the invocation of pre literate, oral language structures that work more by the devices and grammars of music, song and myth than the usual strategies of standard literacy. in this way, the contemporary artistsbook may be the hardcopy home of a modern, mythic form.

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Doug Spowart performs his lecture 'I'm about to 'read' a book'

Doug Spowart performs his lecture ‘I’m about to ‘read’ a book’

Photo from ABBE Artists Book Conference July 16, 17 & 18 2015 at the Queensland College of Art

Victoria Cooper presents her lecture ‘The Grafted Image: The Montage’

Tim Mosely presents in the lecture room

Tim Mosely presents in the lecture room

Presenting/Participating at the conference

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  • Lyn Ashby
  • Sarah Bodman
  • Sara Bowen
  • Deidre Brollo
  • Helen Cole
  • Victoria Cooper
  • Marian Crawford
  • Daniel Della-Bosca
  • Fiona Dempster
  • Caren Florance
  • Jenny Fraser
  • Brad Freeman
  • Angela Gardner
  • Noreen Grahame
  • Bridget Hillebrand
  • Joel Lardner
  • Marian Macken
  • Tim Mosely
  • Adele Outteridge
  • Mikhail Pogarsky
  • Doug Spowart
  • Kym Tabulo
  • Wim de Vos
  • Gabriella Wilson
Invite – 'Books by Artists'

Invite – ‘books by artists’

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books by artists’ in the Webb Gallery, QCA

The ‘books by artists’ exhibitors

  • Isaac Brown
  • Blogger_dad
  • Penny Carey-Wells
  • Victoria Cooper
  • Caroline Craig
  • Fiona Dempster
  • Hesam Fetrati Angela Gardner
  • Annique Goldenberg
  • Alannah Gunter
  • Institute of Modern Art Cassandra Lehman-Schultz
  • Alison Mackay
  • Judy Macklin
  • Heather Matthew
  • Tess Mehonoshen
  • Christine Mellor
  • Tim Mosely
  • night ladder collective
  • Naomi O’Reilly
  • Adele Outteridge
  • Mona Ryder
  • Rose Rigley
  • Glen Skien
  • Doug Spowart
  • Wim de Vos

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THE ABBE ARTISTS BOOK FAIR

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Artists Book Fair

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Artists Book Fair stallholders

Sue Anderson + Gwen Harrison

Sue Anderson + Gwen Harrison

Lyn Ashby

Lyn Ashby

Sara Bowen (no image taken)

Photo from ABBE Artists Book Conference July 16, 17 & 18 2015 at the Queensland College of Art

Deidre Brollo with Christene Drewe and Helen Cole

Penny

Penny Carey-Wells

Centre for Regional Arts Practice (Cooper+Spowart) (no image taken)

Marian Crawford with Sarah Bodman

Marian Crawford with Sarah Bodman

Daniel Dell-Bosca with Victoria Cooper

Daniel Dell-Bosca with Victoria Cooper

Robyn Dempster + Fiona

Robyn Foster + Fiona Dempster

Caren Florance

Caren Florance

Robyn Foster (no image taken)

Brad Freeman  JAB

Brad Freeman JAB

Angela Gardner

Angela Gardner

Griffith Centre for Creative Arts Research (no image taken)

Impress Printmakers: Sue Poggioli + Jennifer Stuerzl

Impress Printmakers: Sue Poggioli + Jennifer Stuerzl

Institute of Modern Art

Institute of Modern Art

Sheree Kinlyside

Sheree Kinlyside

Clyde McGill

Clyde McGill

Heather Matthew

Heather Matthew

Anita Milroy book – 'Biography of a Physicist'

Anita Milroy book – ‘Biography of a Physicist’ (Image supplied by the artist)

Adele Outteridge + Wim de Vos

Adele Outteridge + Wim de Vos

QCA Gold Coast (no image taken)

silverwattle bookfoundry

silverwattle bookfoundry (Tim Mosely)

Peta Smith

Peta Smith

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ABBE participants also visited Grahame Galleries, The Studio West End and the State Library of Queensland

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The SLQ White Gloves team Christene, Helen and Jeanette

The SLQ White Gloves team Christene, Helen and Jeanette

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ABBE Logo

ABBE Logo

ABBE was an initiative of the Griffith Centre for Creative Arts Research and was coordinated by Dr Tim Mosely and Dr Lynden Stone.

All photographs  © 2015 Doug Spowart

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Creative Commons-by-nc-nd.eu

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

PERFORMING the BOOK @ SLQ – Siganto Artists Book Seminar

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The Siganto Artists’ Books Seminar 2015

On June 20+21 the 2015 The Siganto Artists’ Books Seminar took place at the State Library of Queensland. Attendees were presented with a one–day series of lectures, performances and a forum addressing the diversity of the artists’ book and importantly visual and creative research being undertaken by Fellowships supported by the Siganto Foundation.

State Librarian Janette Wright welcomes guests to the seminar

State Librarian Janette Wright welcomes attendees to the seminar

The State Librarian Jeanette, introduced by MC Christene Drewe, spoke of the Library’s Artists’ Book Collection. This was followed by Dr Marie Siganto from the Siganto Foundation who spoke enthusiastically about the Foundation’s support of the Artists’ Book Collection.

Siganto Seminar and Artists' Book Fair - June 20+21, 2015

Dr Marie Siganto makes a presentation to the attendees of the seminar and presents 2015 Fellowships

A significant theme of this years’ event was based around the idea of artists’ books as performance. Brazilian artist, performer and academic Amir Brito Cadôr’s presented his keynote address The Book as Performance – he also performed a book reading of Momento Vital by Brazilian artist Vera Chaves Barcellos.

Amir Brito Cadôr makes his keynote presentation

Amir Brito Cadôr makes his keynote presentation

In the morning session 2015 Siganto Foundation Artists’ Books Fellows Clyde McGill and Julie Barratt presented progress reports on their research projects. Jan Davis discussed her 2014 Creative Fellowship and presented the completed artists’ book to the Library. The book was entitled Drawing on the ground and referenced the historical aspects of work and toil on Queensland farms. Reference material for Jan’s book came from diaries, books and documents held by the Library. Her artists’ book features text fragments and line sketches – the book was bound by Fred Pohlman and the cover was styled to resemble an old station journal.

Julie Barratt discusses her Siganto Creative Fellowship

Julie Barratt discusses her Siganto Creative Fellowship

Clyde McGill discusses his Siganto Artists' Book Creative Fellowship

Clyde McGill discusses his Siganto Artists’ Book Creative Fellowship

Jan Davis discusses her Siganto Artists' Book Creative Fellowship

Jan Davis discusses Drawing on the ground, her Siganto Artists’ Book Creative Fellowship

Doug Spowart discusses Jacob Raupach's Radiata

Doug Spowart discusses Jacob Raupach’s Radiata

As the 2014 Siganto Artists’ Books Research Fellow I presented an illustrated lecture on my experiences as a researcher of the Australian Library of Art, a selection of the range of books I encountered that employed photography from very minor references in text to conceptual pieces based on photographs. This list included:

Anne Wilson in, Tock 01-01-2000, 2000

Codex Event: Darren Bryant .. [et al.], Wild Cherry Tin Mine, 2006.

Vince Dziekian, Blooms Books, 1993-4.

Barbara Davidson, Different moods of the Opera House, 2001.

Felipe Ehrenberg, Generacion 1973

Peter Kingston, The Blue Mountains, 1987.

Michael Buhler, Oblique Lines, 19-.

William Copley Notes on a Project for a Dictionary of Rediculous Images, 1972.

Adam Broomberg + Oliver Chanarin, Holy Bible, 2013.

Judy Barrass, Eden-Monaro in Summer, 2001.

Juli Haas, The oyster book of lessons from the memory room, 2007.

Jihad Muhammad aka John Armstrong, Ten menhirs at Plouharnel, Carnac, Morbihan, Bretagne, France, 1982.

Angela Callanan, 7 Signs of Absence, 2010.

Susan King, Photo bio, 2011.

Malcolm Enright, Western Wisdom, 1998.

Pierre Cavalan, Artists Book, 1998.

Compiled by Kay Faulkner Indulge, 2006.

Debra Gibson, Kamikaze, 2004.

Dick Jewell, Found Photos, 1977.

Julie Barratt, Collateral damage, 2008.

Alison Knowles, Bread and Water, 2004.

David King, Raw deal, 1997.

Valerie Keenan HY1, 2001.

Tim Johnson, Fittings, 1972.

Christian Boltanski, Scratch, 2002.

Amanda Watson-Will, Judy and the Jacaranda, 2010.

Phillip Zimmerman, High tension, 1993.

Jan Davis, Solomon, 1995.

  I then disclosed the principal research product the paper: The artists’ book, the photobook and the photo-a spectral approach, as well as recommendations to the Library for photobooks to be relocated from the General collection into places that reflected the significance of these books in the history of photography and the photobook. I also supplied Photobook Publishers and Info URLs that could be used by anyone wanting to keep up with new photobook releases an purchasing opportunities. I particularly noted that the Library held no Trent Parke books and provided, as an example, his book Dream Life that could have been purchased in 2000 for around $60 is now sold for $1,000+. Highlighting the need for the SLQ to be pro-active in purchasing contemporary book for modest outlay – rather than waiting until they are nearly unaffordable. I also highlighted the need for institutions to engage with and maintain links with artists’ book and photobook self-publishers as they exist outside of the usual publishing structures. I quoted Des Cowley, the State Library of Victoria’s History of the Book Manager from a statement made by him in his presentation at the ‘Other Photobook’ forum at Photobook Melbourne. He said:

… It is therefore incumbent upon staff in these institutions to build networks and relationships with the communities creating this work in order to be informed about what is being produced, and to ensure this material is acquired and preserved for future researchers.  

My presentation concluded with two quotes from book artist and mail art aficionado Ulises Carrion that I felt related to the contemporary artists’ book and photobook. Carrion states:

I include books in the category of

living creatures … : they grow, reproduce, change colour, become ill and finally die.

At this moment we are witnessing the final stage of this process.

… if books are to survive they have to change. And [artists’] bookworks is the real possibility that books have for survival.

Schraenen, G. (1992). Ulises Carrion : We have won! Haven’t we?

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HERE IS THE SLQ VIDEO OF THE SIGANTO FELLOW’S PRESENTATIONS

http://www.slq.qld.gov.au/audio-video/webcasts/recent-webcasts/siganto-artists-books-seminar-2015-session-2

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Other artists’ book performances included: Virginia and Julie Barratt’s The Morning After, one by Clyde McGill and a performance by QUT drama students of the three-part book Robert Bringhurst’s artist’s book New World Suite number three: a poem in four movements for three voices. The performers were Thomas Yaxley, Emily Weir and Meghan Clarke and was directed by QUT lecturer Floyd Kennedy.

Clyde McGill performs his book

Clyde McGill performs his book

The afternoon concluded with a forum moderated by Louise Martin-Chew on the topic of collaboration. The forum participants were Clyde McGill, Julie Barratt and Doug Spowart. Each participant discussed a project that involved collaboration and questions were posed by Louise to bring out important points from each panelist. The most interesting aspect of this forum was when questions from the floor created heated debate around the idea of the physical book and its experience verses the virtual online experience.

Julie answers a question in the collaboration forum

Julie answers a question in the collaboration forum

On Sunday many local and interstate stallholders presented their work for an Artists’ Book Fair in the Knowledge Walk at the SLQ. Tours of selected artists’ books from State Library’s Artists’ Book Collection were well attended and provide rare access to special books from the Australian Library of Art Collection. The two-day event was significant for the opportunity for artists’ book aficiandos, makers, collectors and readers to engage with the physicality of not only the books but also to touch with the extensive community of the book. Our thanks must go to the SLQ, particularly Christene Drewe and Helen Cole, and to the Dr Marie Siganto and the Siganto Foundation for their continued support of the artists’ book collection of the Australian Library of Art and events such as these.   Doug Spowart

State Librarian, Janette Wright views a tunnel book by Wim de voss

State Librarian, Janette Wright views a tunnel book by Wim de Voss

What follows are a range of images from the Seminar and Artists’ Book Fair

Tim Mosely promotes the ABBE Conference @ QCA in July

Tim Mosely promotes the ABBE Conference @ QCA in July

Sue Poggioli at the Artists' Book Fair

Sue Poggioli at the Artists’ Book Fair

Amir and Noreen Grahame

Amir and Noreen Grahame

Julie Barratt at the Artists' Book Fair

Julie Barratt at the Artists’ Book Fair

Julie Barratt, Monica Oppen and Helen Cole Artists' Book Fair

Julie Barratt, Monica Oppen and Helen Cole Artists’ Book Fair

A section of the Artists' Book Fair at the SLQ

A section of the Artists’ Book Fair at the SLQ

Doug Spowart and Wim de Voss

Doug Spowart and Wim de Voss

Doug Spowart and Victoria Cooper and their C.R.A.P. display

Doug Spowart and Victoria Cooper and their C.R.A.P. display

Clyde McGill and Anne Kirker

Clyde McGill and Anne Kirker

Helen Malone at the Artists' Book Fair

Helen Malone at the Artists’ Book Fair

Helen Cole, Michael Wardell and Clyde McGill at the Artists' Book Fair

Helen Cole, Michael Wardell and Clyde McGill at the Artists’ Book Fair

Sandra Pearce at the Artists' Book Fair

Sandra Pearce at the Artists’ Book Fair

Amir Brito Cadôr with Helen Malone

Amir Brito Cadôr with Helen Malone

Amir Brito Cadôr with Victoria Cooper and Doug Spowart

Amir Brito Cadôr with Victoria Cooper and Doug Spowart

Adele Outteridge and Wim de Voss

Adele Outteridge and Wim de Voss

Judy Bourke at the Artists' Book Fair

Judy Bourke at the Artists’ Book Fair

Presented by SLQ with the generous support of the Siganto Foundation.   All photos and text ©2015 Doug Spowart

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