Homelessness is very visible in Adelaide's CBD.
For a few days this week I have been walking around the city streets early in the morning (ie., between 6.30--8.30 am) and I couldn't help but notice that there are a lot of (white) people sleeping rough.
They are sleeping in secluded corners in alleyways or secluded spaces on side streets that provide them with some shelter from the increasing autumn rains. They leave their possessions there during the day and I see them the following morning. Their particular spot functions as their space in a public space. It cannot be safe living on the streets and health must be a serious issue for the street homeless. .
Without a home (ie., not having a secure and safe homeI) means that you can’t make appointments, you’ve got no way of structuring your life, you’ve got nothing that’s safe. Without a home, you’re living day by day with anyone you run into.
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This scoping picture of a small alley off Bank St was made whilst I recently wandered around Adelaide's CBD in the late morning. I had driven the car from Encounter Bay to Seaford Meadows, caught the train into the city, had a coffee in Leigh St and then started wandering around.
On my last trip to Adelaide I decided to return to exploring the Port Adelaide region. As I was down that way to see the chiropet with Kayla, I decided to spend some time scoping around Garden Island area. It has been ages since I have been there, and I wanted to return to the ship graveyard that I photographed in the 1980s.
Most of the ships in the graveyard can only be accessed by kayak. I was in luck that day as I was able to access part of the ship graveyard due to the low tide. It was overcast, which is what I'd wanted for the photos.
What had changed? Surprisingly, not that much. The Sunbeam was still there, even if its hull was more decayed. The mangroves were heavily infested with mosquitos so I didn't hang around trying to see if I could access the other ships from the river bank.
The previous post (in May 2020) ended with the question about how I was going to carry this project on, given that SA's borders with Victoria are closed, due to the Covid-19 pandemic and the extensive community transmission in Melbourne. The question was:
"where does that post-industrial transformation [of Port Adelaide] leave this interlude in the drosscape project? Just wait out the current lockdown in Melbourne? Or continue to explore the Port Adelaide region when I could?"
I then remembered that I had started to revisit Port Adelaide. One occasion was in 2017 when I participated in an organized phototrip to both the old Torrens Island Quarantine Station and to the inside of Hart's Mill at Port Adelaide. This was with a group of friends under the umbrella of the South Australian Maritime Museum at Port Adelaide.
The photos, which had been made with a medium format film camera, had just sat in the archives on my hard drive of the Mac Pro untouched. What they represent is an exploration of the history of Port Adelaide region. The Maritime Museum's organised tours have been postponed in 2020 due to the Covid-19 pandemic. There is a sense of historical déjà vu’, in living through the COVID-19 lockdown with what happened a century ago.
]]>The Covid-19 pandemic has meant that my planned interstate travel in April 2020 to photograph old industrial Melbourne had to be cancelled. SA's borders are closed and Melbourne still has several outbreak Covid-19 hotspots. The national lockdown has meant very limited travel--initially staying at home, exercising in one's postcode and photographing locally. Once the restrictions started to ease in South Australia to allow limited travel within the state's borders, I wondered if I could introduce something new to keep the drosscape project going--ie., I could build on my old Port Adelaide photographs, and then link them to those of industrial Melbourne?
Would that change the nature of this low key project? Would it become a project about memory: a project haunted by the past. If it was possible to photographed the Port anew, then what would that look like and how would it link to the old?
I had photographed the industrial landscape of old Port Adelaide in the 1980s. Then the Port was characterised by obsolescence, decline and grime. What of the present Port Adelaide, which was in the process of being re-branded through an obliteration of the Port's history and its industrial and maritime working class character?
I returned to Port Adelaide after stage 1 of the easing of restrictions, and I wandered around some of the areas where I'd photographed over a decade ago. Though I made the odd photo whilst I was there, I was more or less reconnecting with, and picking up the traces of the photographic past.
The picture below of the Port River estuary is from the archives, and it was the first location that I returned to and checked out. Had anything changed? If so, what? Were there new photographic possibilities?
Not really was my response. I needed to move on.
As I wandered around I kept wondering whether I could re-connect with this archival body of work that was made whilst I was living in Adelaide's CBD. Could I build on the documentary work that I had been doing then? If so, what would be the concept behind the documentary photography of this old industrial area and that of Melbourne? Heritage photography?
]]>I made a quick, multipurpose road trip to Melbourne via a short detour through the Wimmera Mallee in mid-March (13-19th) 2019 to work on the old industrial Melbourne project.
Multipurpose, as I wanted to reconnect with the Mallee Routes project; to spend time with my sister at Safety Beach; continue photographing around Nth Melbourne; check out the world of photobooks at both the Melbourne Art Book Fair and the 2018 ANZ Photobook Awards; and have a look at some possible gallery spaces at Abbotsford Convent to continue to exhibit the ongoing collaborative Melbourne drosscape work with Stuart Murdoch.
For the drosscape work I had caught the Metro train to the Nth Melbourne railway station from Frankston. I then walked around Nth Melbourne with the 5x4 gear in a supermaket trolley for 5-6 hours--the gear is too heavy to carry for that length of time. I initially walked along Laurens St, down Arden Street, then made my way along the Moonnee Ponds Creek Trail, which is part of the Capital City Trail.
This is one of the digital images that I had made on an earlier trip, and it was one that I had planned to re-photograph with the 5x4 Linhof Technika IV. It was this spot that I was walking to.
However, the promised cloud cover had gone by the time I arrived, and the light in the mid-afternoon was too sunny and contrasty for me. I consequently continued walking along the Moonnee Ponds Creek Trail, crossed over a very busy Footscray Rd, and spent some time exploring under and around City Link in an area adjacent to Enterprise Road.
]]>Whilst we--Suzanne, myself and our two standard poodles (Kayla and Maleko) --- were in Melbourne in late November for family reasons I was able to do a little bit of photographic scoping around the North Melbourne drosscapes before the cloud cover evaporated. This scoping was to find sites for a future large format photo session in the autumn of 2019 so as to continue the topographic photography of old industrial Melbourne that I am working in association with Stuart Murdoch.
As it was early summer, what was substantial early morning cloud cover on the Morning Peninsula, quickly disappeared over the city in the early afternoon. That meant the end of any photography scoping for the day. I was wanting to see this Industrial Melbourne Festival so Stuart and I decided to check out The Substation in Newport and the Trocadero Art Space in Footscray, but, unfortunately, we were too late. The Industrial Festival had been and gone. So we looked at these art spaces as possibilities for future exhibitions for our industrial Melbourne work in 2019/2020 as we wanted to build on our 2018 exhibition in Adelaide at Atkins Photo Lab by exhibiting in Melbourne.
]]>Viewing the various images of industrial Melbourne in the initial Collaborations exhibition at Atkins Photo Lab in Adelaide opened up the theoretical project of rethinking of documentary photography to the idea that these representations are a form of industrial archaeology. What appeared from reading these photos was a sense that the photos appeared as an excavation of a forgotten, industrial Melbourne in that they were a retrieval of what has been overlooked as the ruins, detritus or wasteland of industrial Melbourne. Though they enabled us, the viewer, to form a sense of the historical textuality of modernity these archaeological images would not be seen as art by the art institution.
Today the idea of photography as a medium that simply records the world around us seem positively quaint. However, the various images on the white wall of the gallery highlighted how this large format, documentary photography also placed an emphasis on the modernist concern with the basic form of the art object -- ie., the shapes, colours and lines that make up the art work. The emphasis on the basic form of the image indicate the aesthetic aspect of this documentary style in a topographic mode.
Though the pictures are a form of historical knowledge, the aesthetic dimension moves this documentary photography away from the conventional notions of mechanical representation--capturing the real. This naturalism continues to define photojournalism, the media's reportage tendency to reduce photography to illustration, and conventional understandings of documentary photography. Photographic images are anything but neutral reflections of the wider world or simple traces of a present past. In this return to the past the photos are a form of history making about the uncanny or the unhomely.
The rethinking of documentary photography is also post modernist in the sense that it represents the present as if it were already past--as if it were history. The exhibition highlighted this topographical photography as a historical practice with its inbuilt tensions (or dialectic) between formalism and historicism. It indicates how this photography plays with time and historical distance, representing a moment in the past only to give it over to new interpretations and modes of seeing in subsequent viewings.
Yet contemporary photography is all about,, “interrogating the medium”, which often means shifting it away from documentary towards other, more conceptually driven art forms – abstract painting, sculpture, performance, video installation in a world of of image overload. We now live in a digital world drowning in images with the arrival of the smartphone camera. The numbers are mind-boggling: 350m photographs a day uploaded on Facebook; 95m photographs and videos shared on Instagram daily. The combined number of images shared uploaded on both platforms now exceeds 290bn, while there are 188m daily active users of Snapchat. Artificial technology is just around the corner.
In contrast the industrial Melbourne project is very modest and slow. It works in terms of a series --bridges or freeways or creeks ---so that the images of these found object are connected to one another in an archivalist sense. Seriality can be understood in terms of difference as opposed to sameness, and photographic projects can be seen in terms of longevity as opposed to the instantaneous. As Susan James argues in her Common Ground: German Photographic Cultures Across the Iron Curtain the linking of images in a series forces the establishing of connections and relations. It bounces the gaze from one site to another, to build up meanings across time, thereby giving us a sense of our own industrial history, as well as a perspective on the spaces that we currently inhabit.
]]>The SALA Festival exhibition referred to in the previous posts of the blog (here, here, here and here) has a title. It is called Collaboration: Interrogating Melbourne's changing urban landscape and it can be seen at Atkins Photo Lab. The exhibition's opening night was August 3rd, and the exhibition runs from August 4th to September 7th during the state wide 2018 SALA festival.
Paul Atkins opened the exhibition and he talked about the transformative changes in the cities that we live in. Then Stuart gave an artist talk about how he approaches his photography. Stuart highlighted how the has been working on this part of industrial Melbourne for over a decade as a film photographer, and he has an extensive archive of 5x4 black and white negatives. This archive is a form of remembering of what once was.
]]>As mentioned in this earlier post on this low key blog about documentary photography Stuart Murdoch and myself are having a collaborative exhibition at the Atkins Photo Lab for South Australia's 2018 SALA festival. Two outtakes for the SALA exhibition from Stuart's extensive archive can be seen here on his blog. The exhibition is about an old industrial Melbourne that is rapidly disappearing in a post-industrial world.
The large format black and white and colour photographs in the Collaborations exhibition are underpinned by the conceptual framework of the industrial sublime rather than the industrial picturesque. An issue that comes to the fore with presenting these photographs of the industrial sublime is: 'how can a topographical approach to photography represent the industrial sublime'? How can photography represent the whole social context of capitalism's industrial modernity in Melbourne, after the demise of the long shadow cast by Greenbergian formalist modernism?
Though the sublime is a traditional category of aesthetics, it has recently seen a resurgence of interest beyond the passing whims of artistic fashion. The sublime flashes up when confronted by an experience that is immense, its scope is difficult to comprehend, and the disparities allow the emergence of new voices. The sublime indicates a breakdown and an inability to represent.
]]>This photo of my old Cambo 5x7 was taken by Stuart Murdoch whilst we were on location in North Melbourne in the late afternoon in May 2018. At this particular moment of the photo session I had briefly wandered over to the other side of the railway bridge to scope the old bridge and the city with my Sony digital camera.
At the time we were in the process of making some photos for our forthcoming exhibition at the Atkins Photo Lab for the 2018 SALA festival about old industrial Melbourne. The exhibition now has a title: Collaborations: Interrogating Melbourne's Changing Urban Landscape. This is collaboration in a substantive sense: subject matter, documentary photography of the object as interpretation rather than depiction, and helping to develop an Australian tradition of a topographical understanding of the human/nature relationship.
I have decided to include some of my older Melbourne photographs in the exhibition, such as this one:
The groups name for the purposes of SALA is Australian Topographics with its references back to the American large format photography of the 1860s and the 1970s. The Australian reference is to David Stephenson's photographs of Tasmanian dams starting in the 1980s, which he interpreted in terms of the technological sublime. This interpretation of the sublime builds on, and works within, this body of work about the American construction of awesome technology--eg., railroads, pipelines, bridges and rocket launches at Cape Canaveral.
]]>In an earlier post I mentioned that some of my documentary style photographs of industrial Melbourne would be exhibited with those by Stuart Murdoch at Atkins Photo Lab during the SALA festival in August 2018. The exhibition is about making things in the urbanscape visible, rather than a form of seeing what is already seen and noted. Photography is invested in the visible, but the making visible is the sense of making visible what is ignored or overlooked. What people are blind to.
This will be the first time the Melbourne work is exhibited. I don't have that much work in the archive of the reinventing documentary project--about 40 images. This SALA exhibition requires more phototrips to Melbourne in order to build up a portfolio of the remnants of industrial Melbourne. This will be after the Mallee Routes exhibition at the Swan Hill Regional Art Gallery finishes in early May.
One reason for this lack of images is that since 2012 I haven't been to Melbourne all that often to make photos. Other projects, such as the Mallee Routes one, took priority, and the Melbourne project ended up on the back burner. It required a lot of reading about Melbourne's urban development and I didn't have the time.
]]>Whilst on a trip to Melbourne in early 2018 I was able to briefly photograph around West Melbourne with Stuart Murdoch in spite of the humidity and the intense heat. I was basically using a digital camera to scope images for an exhibition with Stuart at Atkins Photo Lab in Adelaide during the SALA Festival in South Australia. This festival is around August 2018.
Whilst scoping the area in the railyards the will be transformed by the $11bn Metro underground railway project I recalled that I had photographed in this area of North Melbourne under the Citylink freeway and along the Moonee Ponds Creek with Stuart Murdoch. At the time I couldn't recall what year that was. I just recognised the area, remembered walking around the area, and I recalled some of the images from that documentary photography photo session. When I started to go through the archives upon my return to Adelaide I could see that I had been photographing around this area in 2012.
I also realised that I didn't really know what I was trying to do with this documentary/topographic style of photography in Melbourne. I just filed it under road trips, and then forgot about it, other than conceptualising it as reinventing a documentary style of photography in the 21st century.
I have come to realise that in Australia there is a division between documentary photography and art photography. Documentary photography is collected by the state libraries whilst art photography is collected by the art institutions. This is how curating is done in Australia.
There are exceptions to this, as always.
Martin Jolly has observed that the tradition in which the photograph as a historical and social information, and an aesthetic art object and exemplar of a tradition had co-existed within the formulations for most of the 20th century ruptured in the last part of that century was finally separated between libraries and galleries. This was when the primary aim of photography curating in the 1970s was to establish photography as art within the ethos of the modernism whose histories of photography invariably privilege individual figures as geniuses.
Today, photography is photography is now deeply embedded in the art gallery/museum. Jolly says:
Jolly goes to observe that the mere integration of photography into the newly contemporary art museum all too easily elides is that photography’s place there has always been unstable, its ambiguous status as object and information continually threatening the grounds of the art museum’s hierarchies and collection policies.This"Over the intervening 40 years, since the establishment of various departments and the ACP, the boundaries of photography have expanded. However, galleries have largely kept to the historical trajectories inaugurated in the 1970s. In the 1980s, photographic reproductive processes became central to postmodern art, which had the flow-on effect of boosting photography’s place in the art museum (Tracey Moffatt, Bill Henson, Anne Zahalka, etc.). But postmodernism did not fundamentally alter the increasing focus of departments of photography on ‘art photography’."
instability manifests itself in different ways in different periods, but as we have already hinted at, one of the underlying themes in photography in the museum is the constant exclusion of the vernacular and of reproducibility itself.We have seen this in Australia in relation to the location of photography between the library and the art museum, in terms of a split between information and aesthetics, a documentary database versus an aesthetic object. Photography’s recent insertion into digital networks reveals these tensions yet again, in a new guise. Within a modernist logic, the networked digital image, circulating as reproducible information, is guaranteed to be excluded. The potential for different kinds of photography in the art museum goes largely unnoticed.As we know establishment of the canon of Australian art photography is based on a series of exclusions and documentary photogprahy is one of those exclusions. These exclusions make it difficult for documentary photography to be a part of art photography. Maybe it could be done through collaboration?
The fissures in Australia are deepening and broadening after the global financial crisis due to the growing geographical inequality, the changing nature of work in a neo-liberal society--the re-emergence of the precariat-- and the politics of austerity.
Globalisation for many means the ongoing de-industrialization, which has seen the emergence of a dispossessed and marginalizaed section of the working class, the lack of secure and paid employment, the lack of affordable housing in the overheated Sydney and Melbourne housing markets, and people’s basic needs no longer being securely met.
For many working poor families it is increasingly a case of getting by whilst being stigmatised for excluding themselves from society with their “wrongness”, their bad culture and bad practices; or for being leaners getting a free ride on welfare benefits. The poorest and the most vulnerable people in our society are deemed to be worthless by the successful lifters.
]]>It can be argued that documentary photography is a response to economic crisis--witness the 1930s (the Depression and the FSA in the US) and in the 1970s with its critique of the liberal humanism (eg., Edward Steichen's The Family of Man) of documentary photography by John Tagg, Martha Rosler, and Allan Sekula in the form of a politics of representation and the social history of art.
Tagg, for instance, in The Burden of Representation: Essays on the Photographies and Histories was sceptical about the capacity of social documentary photography to live up to its “act of compassionate looking”, a civic impulse which is, for Tagg, always subsumed into the liberal-capitalist machinery of the state apparatus beset to the right and left by the competing state forms of fascism and communism, before its impact can be registered. Documentary was the product of the continuing problematics of governance --crisis management in a shattered economic reality-- that turned on the management of public opinion to shore up the legitimacy and credibility of state-led solutions.
One response to this analysis of photography being framed by the dominant economies of images and meanings in the machinery of capture by New Deal reformism is the idea of a historical understanding of documentary practices in photography as well as how it is produced and functions in specific historical conjunctures. If so, then does the after effects of the economic crisis resulting from the global financial crisis of 2007- 2008 correspond to a new documentary experience?
That economic crisis is not limited to 2008-9 as its after effects continue into the second decade of the 21st century. By all accounts the global economy is in the worst shape in living memory. Deflation, stagnation, corporate and even government bankruptcy abound. Europe appears to be coming apart before our eyes. Even China has slowed sharply. Struggling to resuscitate growth, central banks have pushed real interest rates in much of the world to lows not seen for a very long time. The politics of austerity is the response by the conservative political elite in the US, Europe and Australia.
]]>We can discern a shift away from photography as a medium to photography as style. The shift is part of a movement in the history of photography away from a recorded image towards its construction; a shift away from the traditional and more restrictive modernist notion of photography as a medium.
In an interview with Katz in 1971 Walker Evans said:
"When you say 'documentary,' you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder....That's a real document. You see art is really useless, and a document has use. And therefore art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction." (Evans W, 1983)
As a 'documentary style' photographer, Walker Evans created images that looked like
documents and looked like they had a use, when in fact, according to Evans own
definition, they were not documents, since they did not have any use.
Documentary style, then, is the mode of an image that makes it appear to be a document when it is not. For Evans photographic reality as produced by the photographic apparatus coincided with the underlying reality if the image follows the conventions of realism. Evans and his successors recognised a coherent aesthetic in the pile of mundane photographs that everyone knew and used, filed, or discarded as the daily occasion required. Walker Evans and others took photography from the streets and into their portfolios.
However, photographic reality and realism are two separate categories, a fact even further underlined when photographs are digitally manipulated. Because the documentary style is uniquely photographic, it becomes the blueprint for a 'photographic style' in general.
Notes
Evans W, Walker Evans at Work: 745 Photographs together with Documents Selected from Letters, Memoranda, Interviews, Notes. London: Thames and Hudson, 1983
The philosophical underpinning of the realism of documentary photography has been a positivism that assumes the unproblematic existence of an observable reality, a neutral, detached and unified observing subject, and a form of inductivism derived from sensory experience.
This is documentary photography's originary and formative way of thinking and it underpins the way that the focus of the camera apparatus assumes the sovereignty of geometrical perspective--Euclidean geometry as the cone of vision. This convention of perspective centres everything on the eye of the disembodied beholder standing outside the field of vision.
This is deemed to be a natural representation, the way things really looked, the way that we see,and the way things really are. The world is clear and distinct even at the margins, and the entire field of vision is measurable and visible.
The picture was objective and truthful. It was the emergence of digital technology that ruptured this mode of knowledge, representation and photographic realism not the philosophical critiques of positivism.
]]>It is commonly accepted that though many artists deploy photography for critical commentary on all sorts of issues in society, the modernist appropriation of documentary photography within the gallery and museum art context has caused a rethinking of this mode of practice and its traditions and legacy in the 1970s.
This form of resistance starts from the view of photographs as common cultural artifacts rather than privileged art objects for the art market, thereby positioning the photos on the margins of the art institution and highlighting how an image's possible meanings are produced within an economy of statements and discourses.
What emerges is the introduction of a certain fictionality into the work though images or text fragments there by introducing the element of the constructed, the edited or the narrative. For Sekula it is the text that carries the critical weight not the image.The latter is a hindrance to critical knowledge.
So we have taken steps along the pathway to an anti-aesthetic position that has framed art history, photography and aesthetics since the 1970s. This uses photography to challenge the autonomy of art and its functions within our culture.The inference is that the image can only offer us knowedge at bargain basement prices.
What emerges is a documentary photography as a visual rhetoric, a mode of address that is both a document and a work of art. Hence its uncanny power. The same photograph can move between the contexts of dicument and art work and many more contexts. Notable examples are the work of Eugene Atget and Walker Evans.
]]>Historians often regard documentary photographs as a critical form of documentary evidence that hold up a mirror to past events. Public and scholarly faith in the realism of the photographic image is grounded in a belief that a photograph is a mechanical reproduction of reality.
Susan Sontag captured the essence of that faith in her series of essays entitled On Photography when she wrote “Photographed images do not seem to be statements about the world so much as pieces of it.”
Yet the subjectivity of the photographer is not factored in when we look at a documentary image. Unlike a film or a written history we are unwilling to read documentary photographs as particular interpretations of a scene or event.
It appears to be more important to hang onto the assumption of of photographic realism as pure or unmediated. Yet we don't treat photographic images of consumer products in advertisments this way. We remain comfortable with the old myth that documentary photographs don't lie --or tell the truth--even though we know that the pictures are constructed, are shaped by aesthetic conventions and that photographic meaning is culturally enframed. The myth is what is important.
]]>The vast majority of photographic images on Flickr, the photo sharing site, tend to be predictable, conservative and repetitive in both form and content. As a consequence they do not fit easily in the standard art historical narrative that is still focused, however anxiously and insecurely, on modernism's Romantic ideas of originality, innovation and individualism.
So they are routinely excluded by the art institution as the detritus or junk of mass culture--- the antithesis of romantic originality and creativity that is so prized by art history. The Romantic idea is one of the artist as an independent creator rather than a skilled craftsperson; one who creates an art work that is original and exclusive, which the modernist art institution exhibited in a white cube gallery, which is then experienced in terms of a specific aesthetic judgment along Kantian lines.
It is true that photographs typically remain secondary as we continue to enact a hierarchy that places words above pictures and locates the written word at the centre of our critical thinking about our visual culture.
Could we not think with photos when they are a picturing of place? Think with photos in terms of what goes around the photograph as well as what takes place within it, even when they are commonplaces. After all our visual commonplaces or pictorial conventions are often containers of memory and embody history.
Though I have lived in many cities in both New Zealand and Australia Adelaide is my home and it has been so for severl decades. It is a place I know even though I have not known it from childhood like Christchurch in New Zealand. I knew Christchurch in a bodily way, where my tacit knowledge and understanding was built up slowly from an accretion of bodily memories over time.
I know Adelaide differently to Melbourne. I know Melbourne from working on the trams for several years --my body has a sense of the urban rhythms of the inner city. Adelaide is different. It's more a sense of fragmented memories of different sounds, the way the light shaped a building during the different seasons, the intensity of the summer heat, walking the dogs and so on.
]]>Melissa Miles in The Drive to Archive Conceptual documentary photobook design in Photographies (Volume 3, Issue 1, 2010) says that there is an international trend in contemporary photography that is known as Conceptual Documentary. This is characterized by a desire to explore a single, often banal idea from many different angles and it seeks out and frames its subject according to a pre-determined idea or scheme.
Conceptual documentary can be understood as a symptom of the larger “archival impulse” that pervades contemporary culture. Conceptual Documentary’s emphasis upon seriality and its framing of documentary photographs according to a pre-determined scheme attest to a rejection of the decisive moment that is spontaneously “captured” by the documentary photographer, and a comparable distrust in the notion of singular, authentic or original photographic meanings.
Miles says that this appreciation for the contingency of photographic meaning owes a great debt to 1960s conceptual photography, and in particular to the use of seriality as a means of undermining the fetishization of the singular or discrete photograph. However,
Miles says that:
there is an important difference between 1960s conceptual photography and contemporary Conceptual Documentary. Like postmodernism, conceptual photography has been accused of treating the camera as a discursively neutral aperture through which the subject enters language. The conceptual artists Ed Ruscha and Robert Rooney both describe the camera as simply a tool for recording their serial photographs. Rooney famously described the camera as a “dumb recording device”.... In 1981, Ruscha similarly said of Twenty-six Gasoline Stations that: “The photography by itself doesn’t mean anything to me; it’s the gas stations, that’s the important thing.
Miles goes onto say that conceptual documentary is importantly distinguished from these earlier traditions because it is centred on a new self- awareness about the limits and possibilities of photographic technologies and their impact upon Conceptual Documentary projects.
The latter's emphasis on the viewer or receiving subject in Conceptual Documentary also counters conceptual art’s tendency towards emphasizing the power of institutions and systems of global capitalism in shaping mean ing, and points to another important distinction between 1960s conceptual photography with its asssumption of the photographer as an expressive source of meaning and contemporary Conceptual Documentary photography.
]]>It is commonly accepted that in Australia and the US documentary photography's attachment to the real world was essentially dismantled by post-modernism bent on the deconstruction of the values of modernist formalism in its Greenbergian form in the name of the anti-aesthetic. Documentary photography's commitment to realism and the objects of photography was usually understood in terms of transparency in that the photographic image was simply reflecting (ie., copying, mirroring) the properties of the real.
This homelessness of documentary photography in a digital world opens up a space in which it could interpret aspects of the world. It could, for instance, show things that cannot be shown and reveal that which cannot be seen. Examples are the traces of an event, the remains of a story that is difficult to tell, or of lives whose experience and existence are written as a mere palimpsest into the surface of the city.
The German tradition that emerged out of the Dusseldorf School works with an understanding of a documentary form of photography that incorporates the documentary, conceptual and aesthetic. It is an authored photography in that it goes beyond a singular photograph, and can only be understood in the greater context of a photographer’s oeuvre; remains remained committed to the visual language of photography itself, and open to the possibilities of photography''s capacity for truth and objectivity.
Donna MF Brett in The Uncanny Return: Documenting place in post-war German photography in Photographies refers to documentary photography as returning in a variety of ways: as the return home, the return to the street and the return to the past. The photographers considered in this text are Friedrich Seidenstücker (1882–1962), Rudolf Schäfer, Thomas Struth and Dirk Reinartz. In this text Brett explores:
the notion of the return in terms of the “photographic return” to places and sites of historical unease and to an urban topography as a site of alienation – erased and empty. This idea of the return will be considered in terms of Sigmund Freud’s analysis of the “uncanny” or “unhomely” as that which is familiar yet becomes strange and Siegfried Kracauer’s “homeless” image in as much as the images themselves reference a history of place that is estranged from contemporary experience and from the place it records.
Such a documentary photography stares into the abyss of the past and yet is propelled towards the future.
In this space the documentary photographer captures a photograph of something such as a place, but the real action, the event, is actually not in view. It represents that which is the process of disappearing, of coming into ruin.The return to the past and to that which is disappearing is a return to the hisorical world in which we live.
]]>The recent transformation of photography’s technical and cultural form is deeply significant; not only for those who want to anticipate the future and understand the present, but also for those concerned with photography’s pre-digital past. This disruption by digital technogical has seen some talk in terms of post-photography or photography being over; others embrace a nostalgia for quaint obsolesence that we associate with daguerrotypes and other such antique chemnical processes.
Since the nineteenth century that past has been deeply influenced by documentary photography; even when its ethos of documenting contemporary life (ie., social criticism) was rejected by the tradition of modernist formalism, which placed such great emphasis on photography as a particular art, where art is understood as a particular medium. Hence the phrase art photography.
Since the 1970s, photographers and writers such as Allan Sekula, Martha Rosler, Susan Sontag and Abigail Solomon-Godeau have been critical about the power of documentary photography to wrest subjects from their political and social milieus. Over the last thirty years, documentary photographers’ claims for objectivity and neutrality have been challenged as the product of power, discourse and ideology. The emotive qualities of humanist documentary photography have been reread in terms of a double violence in which the victims of traumatic events also become the victims of the photographers’ and spectators’ voyeuristic gaze.
Thus we have the crisis in humanist and heroic documentary photography coupled to widespread cynicism towards the power of photography to generate real social change. There has been a shift away from humanist documentary traditions in an era of compassion fatigue.
This sense of crisis in documentary photography is deepened by the photographic present, which is clearly digital. This reinforces the critique of the ethos of photography as a represention of the truth of a situation, process, event or state of affairs. Both the indexicality of photography and the visual expectations governed by conventions of photographic realism have been ruptured (the loss of the real). Moreover, the digital image is not necessarily photographic.
We now live in a digital world with its creative potential of digitalized data to generate a multiplicity of forms of visualizations.This decoupling of the photographic image from its indexical ground says goodbye documentary photography. This is now seen as belonging to photography's digital past. This in turn creates anxiety about the loss of the real (or indexicality).
Can we address this anxiety by rethinking documentary photography in a digital world?
Surely we can for photography, like all things disruped by technogy it is changing a lot right now, if we sidestep the well worn discussions about the "rhetoric of the image" or the "politics of representation." Photography's distinctive value could lie in its humble documentary function, its intimate examination abd commenoration of every life.
This photobook book explores this possibility; a photobook that is an art object in its own right, rather than a document or record of art that exists in its "original form" on the gallery wall. What is over with the massive shifts now occuring in our image making culture is the art gallery's status as the construction of the old photo silos within modern art museums whose mandate is the institution educating its public with reasurringly complete and hernetically sealed gallery expereiences. The art gallery/museum is unable to respond meaninglfully to the energy of print on demand by a public who have a better grasp on photography as a creative tool.
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