Click on the image below; to view. The woodblock print referred to by the New York Times is by Katsushika Hokusai’s: “Ejiri in Suruga Province.” It is the 10th image in his renowned cycle “Thirty-Six Views of Mount Fuji.” It examines the print in detail and draws some conclusions about its impact on Western Art, even referring back to Jeff Wall’s iteration.
I visited the space when I was in Sydney while it was still at its Paddington Street address several times of the years. For me however, the CCP in Melbourne is more central to the medium and the local art scene than the ACP ever was. The Sydney Morning Herald article suggests one of the losses of income plaguing the centre was teaching. something that never attacked me either. So really I feel the ACP was very Sydney-centric. Perhaps the CCP is Melbourne-centric?
In its own right, photography, and in particularly those genres of photography primarily focused on events in the world, is underpinned its own set of apparently self-evident truths. Many of these concern ideas about the correct way to use photography, in other words what it should be able to do that the other representational tools we have available to us cannot. This is significantly a little different from the often-discussed medium specificity of photography, in that these beliefs do not necessarily need to have a direct relationship to the actual technical qualities of photography (indeed sometimes they ignore these qualities altogether), but in many cases originate elsewhere in society and culture, often in ideas which significantly predate photography’s invention. The problem with these beliefs, and the value in exploring them, is that they shape and direct the ways we use cameras and photographs in ways which sometimes prevent us using photography as dynamically as we might, and as a result undermine rather than strengthen the goals we seek. For this reason, if no other, we should try to draw them out and assess quite how useful they are.
A week or so ago, I made some pictures of the houses in Wright Street Sunshine that may disappear in the next few years. With one empty block and 2 for sale signs in a strip of a dozen or so house this makes for some big changes afoot. What I neglected to mention or perhaps didn’t recognise was that most of these buildings follow a similar style and appearance. I’m guessing that at some point a government agency was involved with these house’s construction.
Thirty years ago there was an active RAAF base on a site that is now light industry and shopping centre a couple of Kilometres down the road. The site was sold to private developers in 1983(1)
There are some existing buildings of a similar style near the old site and they share similar characteristics to the ones I photographed in Wright Street. The common denominators that connect them are the materials. Fibre Cement is common. Small footprint and tiled roofs others.
The current formula that seems to be being applied to these old buildings, is the old houses are demolished. Then if the site permits several small units are built in their place. While these new units are dotted around the suburb, the danger of a homogeneous streetscape looms large.
Given that Wright Street is an arterial road then I doubt there may be that much new development going up. Keeping an eye on planning permits and council notifications will enable me to track these changes. Thereby producing a meaningful record of the suburb as it changes.
(1) Moca, P. 2015, Forty years ago May 28, 1975 Sunshine’s town clerk, Mr Bill Deutschmann,…[Derived Headline], Airport West, Vic.
There is plenty being written about the pandemic across every political spectrum. This article turned up in my newsfeed on Facebook recently. The title Melbourne is not a city in revolt. The truth is far more incredible (and far more boring) says plenty, but the article really sums up how many ordinary folks are feeling myself included.
2020. A new decade represented by climate change, bushfires, drought, a global pandemic and the threat of a great depression. For thousands who work in the arts their immediate and future livelihoods have been dramatically impacted.
As a way of helping to bring our industry together and support the artists, The Kitchen Creative Management in collaboration with Christopher Doyle & Co, SUNSTUDIOS and Momento Pro, have curated this online exhibition to showcase innovative works conceived in 2020.
“Between Today and Tomorrow” is a repository of a society’s collective memory – preserving the artists experience of how it feels to exist in a particular place at a particular time. The time of COVID-19.
I found this website that explores through a timeline and in a decade by decade series, how we got to where we are in terms of the current world wide web. It uses fairly non-technical language and builds on and adds to some of the Web’s best known stories.