Photo Book Review, Reviews

Canberra Re-Seen Photobook

Photography Book Review

Canberra Re-Seen | Various Artists

Three new independently published photo-books were recently launched in Canberra at Photo Access, all examining the city of Canberra as a place of social, cultural and political significance. Each photographer, in all the books, explores their personal relationship to the city, as well as considering its wider, public meaning as a national capital city.

Canberra Re-Seen, by multiple artists, curated by Wouter Van de Voorde (currently acting Director of Photo Access), was an exhibition in 2021 that explored the idea of the city as a community of people, a built environment, and a physical landscape and the book selects and interweaves works from the project. I reviewed the exhibition at the time on this blog here.

Developed in collaboration with Canberra Museum and Gallery (CMAG), the project brought together sixteen artists to create new work responding to three of Canberra’s landmark photographers – Marzena Wasikowska, Edward (Ted) Richards and Ian North – all part of the CMAG collection. Just one image by each of those photographers are also included in this book.

The words accompanying the images throughout this book provide much information – historical background about the city, the project and the three landmark photographers; and the sixteen artists wrote their own words about their individual approaches and images.

Inspired by Wasikowska’s interest in capturing the human qualities of Canberra, one of the project groups explored the idea that a city is best understood through its people. They had the added benefit of Wasikowska herself leading their workshop. The book’s images from this group include Andrea Bryant’s marvellous portrait of her neighbour Maria, Eva Schroeder’s superb Metamorphosis  – a triptych portrayal of a Canberran transitioning from one gender to another, and Louise Maurer’s extraordinary Weetangera II – a composite speaking to the importance of diminishing green spaces and native ecosystems across Canberra. Each of those named images can be seen in my previous review of the exhibition, so here is just one of them.

Maria Straykova

A second collective, led by Van de Voorde, investigated Richards’ interest in documenting the character of Canberra’s little-known places. They shot on 35mm film and created darkroom prints in response to Richards’ dramatic black and white style. Amongst their creations are Annette Fisher’s delightful Abstracts, and Tessa Ivison’s strong cityscapes – interestingly titled Pastoral. Sari Sutton, inspired by the playful use of lines and geometry in Richard’s Dancing in the Mall, 1964 found her own and used them effectively in her Civic Stripes series. Again, each of those images was included in my review of the previous exhibition, and so, here is just one of them.

Annette Fisher, 4 Abstracts, 2021

Working with documentary photographer David Hempenstall, the third group explored the ideas of North’s early 1980s images of Canberra suburbs – vistas both bleak and beautiful. Peter Larmour took 3D images of landscapes. His Southern Anaglyph (dye sublimation on aluminium) was worthy of close examination when exhibited. Unfortunately, it can only be represented in two dimensions in this book. A very strong contribution is Beata Tworek’s series of excellent collages, which respond to North’s innovative and optimistic colour treatment of deserted streetscapes with austere monochromes reflecting disdain for their lack of individuality. Grant Winkler’s That Sinking Feeling is very much about the bush landscape disappearing as new suburbs creep over it, replaced by homes and other buildings sitting heavily on the scraped earth with what remains of nature being “moulded and manicured” and no longer particularly natural.

Once again, the mentioned images made by this group are in my review of the exhibition, but here is one of them.

Ambivalent collage 6 – Beata Tworek

Translated into this book, Canberra Re-Seen selects and interweaves work from across that broader project, drawing together digital and darkroom works to generate a simultaneously affectionate and challenging look at the city of Canberra and what it means to live in it today. Photo Access staff member Caitlin Seymour-King has done a fine job of designing the book. It is much more than a catalogue of the 2021 exhibition. It is a book to study and return to regularly as the city of Canberra continues to develop and change.

The book can be purchased at Photo Access.

This review is also on the Canberra Critics Circle blog here. Another version was published in the Canberra Times on 7/5/22 here as part of a combined review of this and the other two books launched at the same time.

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