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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Reviews

SELECTED SUBURBAN WORKS – WILLIAM BROADHURST – FANTASY COLLISION – GABRIELLE HALL-LOMAX, REVERBERATION TIME – JAMIE HLADKY

Review of Photography, Mixed Media Exhibition

At Photo Access, 10 March – 9 April 2022

These three solo shows have been described as each sharing a fascination with the strange. They are said to probe notions that have long intrigued photographers in numerous ways, demonstrating the diversity of contemporary photo-media.

One show, William Broadhurst’s Selected Suburban Works, imbues everyday scenes with a sense of mystery through abstraction. He presents a series of fleeting encounters shot in south-west Sydney.

The majority of Broadhurst’s works convey a powerful sense of movement and, if you like, blur – causing the detail of the content to be strangely abstracted whilst, sometimes, revealing almost ghost-like shapes and figures.

William Broadhurst, Untitled#6, 2021

There are other works where particular content is more obvious – the moon is a clear presence in two works, in one seemingly hovering over a field of suburban lights.

Another work includes a person pushing a shopping trolley near the top of a hill. Others reveal a young person near a post and two youngsters alongside a soccer goal – doing precisely what is unclear in both images.

William Broadhurst, Untitled#5, 2021

Yet another work features a shirtless man (the artist?) working with a whipper snipper, although what it is cutting is out of the frame leaving us to imagine it. Perhaps the image I enjoyed most includes, it seems, a blurred reclining kangaroo surveying suburbia from a nearby hill.

William Broadhurst, Untitled#1, 2021

A second show, Gabrielle Hall-Lomax’s Fantasy Collision, integrates paint and digital manipulation techniques into layered photographic images. The works draw some attention to how human activity has transformed our Australian eco-systems. Expanding on environmental photography traditions – often used as a tool to raise awareness and educate us humans about the impact we cause on the environment – Hall-Lomax integrates paint and digital manipulation techniques into her works to reflect on the interconnectedness of nature – the body and the psyche are unified.

One work is titled Slip – whereas I saw a leap.

Gabrielle Hall-Lomax, Slip

Another titled Bushfires did not speak to me of that phenomenon – but is a lovely image, nonetheless. These are reminders, perhaps, that titles are unimportant to many artists and exhibition visitors. Whatever our views about that, these are fine images.

Gabrielle Hall-Lomax, Bushfires, 2021

Yet another is titled Rituals – it shows four modest-sized, standing stones amongst the mist – an acknowledgement of Stonehenge perhaps?

Gabrielle Hall-Lomax, Rituals

And Touching the sun is a sublime work that deserves lengthy contemplation – for me, the most interesting piece in the suite of three exhibitions.

The exhibition catalogue says the third show, Jamie Hladky’s Reverberation Time, “uses flash to explore places that have been reclaimed by nature after human occupation, illuminating the power of natural forces and our futile attempts to corral them.” Hladky himself has told me that the work is not so much about decay, or nature reclaiming, as he’s seen written. For him, his imagery is about “the irrelevant brevity of our short endeavours and our moments of self-absorbed pride.”

The titles of Hladky’s works reveal only where the images were taken. Around half are of decaying building interiors and half of cave and mining tunnel interiors.

Jamie Hladky, Gilgandra NSW, 2021
Jamie Hladky, Yarrangobilly NSW (1), 2021

One shot of the exterior of a neat and clean motel located in a desert area initially seemed out of place. Asked about it, Hladky told me he sees it as the first image in the series to pull the rest of them indoors – demonstrating that it is always good to have opportunities to discuss works with their authors!

In addition to viewing the three exhibitions, reading the delightful “essays” in their catalogues is a definite must, especially The House by Paddy Julian and A Cloak Stands in a Bore Hole, Arms Extended by Simon Eales.

This review was published in The Canberra Times of 4/4/22 here. It is also on the Canberra Critics Circle blog here.

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Photography Story

2021 Year Ender

Photography, Photo Media, Mixed Media

2021. What a year! Despite everything, local photo artists have continued to make their marks.

There have been many exhibitions. Some openings were conducted outdoors; galleries having to let small numbers inside at a time. Even during lockdown, photo galleries and artists were active, using social media, livestreaming and virtual exhibitions most creatively.

I remain disappointed about poor supporting material available for visitors in some galleries. I urge those that fall short to improve the exhibition experience – catalogues that tell us more than titles and prices, artist/concept statements about artworks, catalogue essays, recordings about the artists and works to hear, and opportunities to look at and, perhaps, purchase books and other material as well as the actual works exhibited.

There have also been interesting new photobooks and books about photography this year, including Capital Country – an ‘exhibition in a book’ by Kate Matthews, and the substantial Installation View by Daniel Palmer & Martyn Jolly which has enriched our understanding of the diversity of Australian photography.

There have been marvellous awards for individual artists. For the third year in succession, Canberra photo artists were finalists in the Mullins Conceptual Photography Prize (MCPP). Indeed, once again a Canberran earned the $10,000 Prize. This year it was Ian Skinner for his poetic work, Ashscapes 01-04, about how the ocean delivered ash to the sandy edge of the land when the catastrophic fires in south-eastern Australia in 2019-2020 were shortly followed by torrential rain.

Skinner also took out 3rd prize in the storytelling section of the Australian Photographic Society (APS)’s annual photobook awards for his Aftermath: Cadgee 2020 – an intimate story of heartbreak and loss in the devastating bushfires which swept through the NSW South Coast hinterland in the summer of 2019-2020.

Lyndall Gerlach was again a finalist in the MCPP, was commended for several works in the Australia’s Top Emerging Photographers competition and the Mono Awards; and was featured in FRAMES Magazine’s Digital Companion.

Ribbons 10 – Milky © Lyndall Gerlach

Judy Parker, winner of the 2020 MCPP, won the portfolio section of the APS’s photobook awards, with her book Afterthoughts, described by the judges as “a stunning body of work with consistent post-production”.

The Canberra Times own Dion Georgopoulos, and Marzena Wasikowska, were both finalists in the prestigious National Photographic Portrait Prize. Georgopoulos has also done some wonderful Darling River photography, whilst Wasikowska was also selected as one of the winners in the 2021 Lens Culture Street Photography Critics’ Choice Awards.

Aaron Salway, with his nephew Harley Salway 2. Just behind them is the ridge where Aaron’s father Robert, and brother Patrick Salway died protecting their property in Wandella. Picture: Dion Georgopoulos

Two photographers received 2021 Canberra Critics Circle Awards. Sammy Hawker – for her exhibition Acts of Co-Creation at the Mixing Room Gallery, comprising unsettling and thrilling prints processed with water, soil, bark and flowers collected from the locations of the images. And Melita Dahl for her intriguing exhibition Portrait at Photo Access exploring connections between the traditions of fine-art portraiture, photography and facial emotion recognition software.

Murramarang NP #1 © Sammy Hawker
Melita Dahl, happy (0.96), 2019

Many professional photographers were hard hit by the pandemic, with sparse numbers of events to photograph, and physical outlets for their works closed. The recent collapse of the Australian Institute of Professional Photography after 75 years of serving photographers is, no doubt, an added blow. So, it was great to see on social media, just before writing this, photos from local professional Ben Kopilow’s coverage of a wedding in a hot air balloon.

I’ve recently reviewed some fine nature prints at the Australian National Botanic Gardens Visitor Centre – Recovery was the eighth annual photographic exhibition by the Friends of the Australian National Botanic Gardens Photographic Group. And also recently I reviewed the final show for the year at Photo Access by 11 photo artists – outcome of a Concept to Exhibition project. And there is one other show to see before the year is done – at Canberra Contemporary Art Space.

This city can, rightfully, be proud of all of the artists I have named here – and of many more making excellent photo artworks. No doubt 2022 will deliver great photomedia exhibitions, events and achievements, including the successful emergence of new local talents. Hopefully, it also will see significant progress on the Kingston Arts Precinct project!

This article was published in the Canberra Times of 23/12/21 here.

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Exhibition Review, Reviews

Canberra Re-Seen

Photography Exhibition Review

Canberra Re-Seen | Various Artists: Peter Bailey, Andrea Bryant, Abby Ching, Annette Fisher, Susan Henderson, Tessa Ivison, Peter Lamour, Caroline Lemerle, Louise Maurer, Greg McAnulty, Aditi Sargeant, Eva Schroeder, Sari Sutton, Beata Tworek, Brian Rope and Grant Winkler

Photo Access | 10 June – 10 July

Disclaimer: the author of this review has two works in the exhibition but received no payment for the review.

Earlier this year Photo Access conducted three workshops, each spread over several weekly sessions, in which participants explored the idea of Canberra as a community of people, a built environment, and a physical landscape. Sixteen artists created new works responding to three of Canberra’s landmark photographers – Marzena Wasikowska, Edward (Ted) Richards and Ian North – each featured in Canberra Museum And Gallery’s current exhibition, Seeing Canberra.

The result is this exhibition, Canberra Re-Seen. There is also an online gallery showing the same works plus others by the participating artists. And there are two solo exhibitions showing simultaneously, both of which explore aspects of portraiture: A Surrounded Beauty by Sarah Rhodes, and Portrait by Melita Dahl

Inspired by Wasikowska’s interest in capturing the human qualities of Canberra, one group explored the idea that a city is best understood through its people. They had the added benefit of Wasikowska herself leading their workshop.

A second collective, led by Wouter Van de Voorde and with Richards’ involvement too, 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.

Working with documentary photographer David Hempenstall, a third group explored the ideas of Ian North’s early 1980s images of Canberra suburbs – vistas both bleak and beautiful.

It is difficult to individually comment on all the works in Canberra Re-Seen, so I will just look at particular works that attracted my attention for various reasons.

The highlight for me is Eva Schroeder’s Metamorphis. Born and bred in Canberra, Schroeder has, like me, seen enormous changes in our city over the years. Researching, she learned that 2-4% of Canberra’s community identify as Trans and decided to portray a Canberran transitioning from one gender to another. Her triptych shows Norgaria, who has chosen to use prosthetics, wigs, makeup, and costumes to reveal her real self by entering the world of Cosplay.

Metamorphosis © Eva Schroeder

Then there is Louise Maurer’s beautifully constructed Weetangera II, 2021. That suburb is, like most, in a state of rapid change due to infill. Maurer’s constructed composite image speaks to the importance of the green spaces and native ecosystems, and also speaks for those who tirelessly seek to maintain them as our garden city becomes a thing of the past.

Weetangera II © Louise Maurer

Andrea Bryant’s Maria is another fine standout. It is a portrait of a long-term neighbour, “a strong and feisty woman”. An internationally recognised scientist, she is portrayed heartily laughing. Several other gallery visitors pointed to this work as one they loved.

Maria © Andrea Bryant

Another very strong contribution is Beata Tworek’s series of collages, which respond to North’s innovative and optimistic colour treatment of deserted streetscapes with austere monochromes reflecting disdain for their lack of individuality.

Ambivalent collage 2 © Beata Tworek

Grant Winkler’s Denman Prospect is very much about the bush landscape disappearing as new suburbs creep over it, replaced by homes and other buildings with what remains of nature being “moulded and manicured”.

Grant Winkler © Untitled (Denman Prospect DSCF6388)

Peter Larmour took 3D images of landscapes. His Southern Anaglyph (dye sublimation on aluminium) is worthy of close examination.

Southern Anaglyph © Peter Lamour

Sari Sutton’s Fyshwick is also interesting. She ventured to Fyshwick and photographed “the abstract, asymmetrical sculptural qualities” that she found,  “unjudged and un-romanticised”.

Untitled (Fyshwick) © Sari Sutton

And, inspired by the playful use of lines and geometry in Richards’s Dancing in the Mall, 1964, Sutton also sought images incorporating strong stripes – exploring the same general area near where the Monaro Mall once stood.

Untitled (Civic Stripes 2) © Sari Sutton

Other standouts for me were Annette Fisher’s Abstracts, and Tessa Ivison’s interestingly titled Pastorals.

4 Abstracts, 2021 © Annette Fisher
Pastoral #1 © Tessa Ivison

This review is also on the Canberra Critics Circle blog here.

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