It’s back to hanging around the rooftop of car parks. With early summer almost here it is now possible to photograph on the roof after the commuters have picked up their cars and returned to the suburbs. Adelaide has really been dumped on in the last couple of decades as backward, provincial and boring. Nothing happens in the city of churches. Sydney and Melbourne are where it is at. So we don’t see the city for what it is. What we see is what it lacks.
Ari, Pitt St car park
The city is changing due to a post the global financial crisis mini building boom, even the fabled BP Billiton Olympic Dam mine, which the boosters said would have produced rivers of gold in the streets of Adelaide, has been put on hold indefinitely.
Thomas St in the Central Market precinct of Adelaide provides views of the back of the strip of restaurants along the Gouger St. It has a grimy atmosphere that is lessened when the rays of the late afternoon sun in early summer lighten up the objects that are usually in deep shadow.
Thomas St, Adelaide
The street is compact and easy to explore photographically using a digital camera. The picture shows undercuts the tedious debates between photography and the digital image, the loss of the real from digital imaging technologies and the end of photography as we have known it.
After returning to Adelaide from painting the weekender at Victor Harbor Ari and I walked the streets of the CBD around the Central Market Precinct. It was the late afternoon walk and I was looking for some ideas to continue working on the Adelaide book.
Cannon St, abstract
Daylight saving had just started and there is now light in the city until after 7pm. Summer is just around the corner. The urban light has changed and become more hard edged. I stay in the shadows more.
I made this picture whilst we were wandering our way to see the Jeffrey Smart exhibition at the Samstag Gallery. We were to meet up with Suzanne and then look over the exhibition.
It took Ari and myself a couple of hours to get there, as we more or less strolled up and down all the little streets and alleyways between Sturt St and the gallery on North Terrace. There was so much to check out.
Franklin St. Adelaide
I was trying to think through a different approach to photographing the city to the bird’s eye view from the top floor of carparks. I was experimenting as we slowly weaved our way in and out of this part of the city, but I didn’t come up with much.
I’ve finally recovered enough from an illness to start walking the streets around Adelaide with Ari with a camera. It was a short stint around my urban neighbourhood in the late afternoon on the long weekend.My eye was seduced by the windows of an empty shop in Gilles Street. It looked surreal:
shop windows, Gilles St, Adelaide
The empty shops in the CBD are increasing. People just aren’t spending. Some–eg., restaurants–cannot hang on until the postponed mining starts. So they go bust. Just after making the picture I was hassled by an aggressive paranoid schizophrenic who took great exception to me with a standard poodle walking the streets.
Ari and I wandered around Bowden late this afternoon.
I’d gone there to check out Fontanelle, as I understood that there was a darkroom there and workshops on alternative technologies, processing and printing called The Analogue Lab. I was looking for a darkroom in Adelaide to develop my 8×10 black and white sheet film. I presumed that this photographic facility is run in association with the Fontanelle Gallery and Studio in Bowden. Everything was closed.
So Ari and I went walking around the streets. I took a few snaps. This picture of industrial forms (Conroys Smallgoods) was in Sixth Street, just down the road from Fontanelle before the Drayton Street corner. I used to work at Conroys when studying at Flinders University and the money I earned there enabled me to set myself up with different types of large format cameras.
Conroys, Bowden, Adelaide
Bowden was located close to the city, park lands and the train line and it is where I used to live and work in the 1980s. I had a photographic studio and darkroom in Gibson St near Seventh St, and I used to walk around the area and photograph it with medium and large format cameras. I also spent a lot of time walking in the western parklands with Fichte, my standard poodle.
Though I’d develop the film myself, I was never much good at printing (ie., producing a fine print), so I never exhibited the work about Bowden as a place. I just built up an archive of negatives in a filing cabinet. I’ve started to revisit and to digitalize.
It has been a while since I’ve wandered the streets of Adelaide on a daily walk with Ari and a digital camera. Today was the first day that I returned to walking the streets taking photos:
Ari, Adelaide
I was wanting to take more street level photography for the Adelaide book. The draft is top heavy with ‘birds-eye’ views of the city. I wondered if the digital camera become a tool of the flâneur who walks the city in order to experience the present conditions of daily urban life. This urbanscape in which we live which is often ignored or taken for granted.
The idea of the flâneur returns us to the Situationists concept of psychogeography, which is the practice of exploring places in unpredictable ways within the society of the spectacle. This is connected to a favorite practice of the dadaists, who organized a variety of expeditions, and the surrealists, for whom the geographical form of automatism was an instructive pleasure.
I’ve been glancing through Anne Marsh’s recent book Look: Contemporary Australian Photography since 1980 (2010) looking at what kind of photography of Australian cities has been done. This work is in the Space section of the text, which also includes suburbs, inhabitants (people in urban settings) and rooms as well as cities.
There is much more photography on suburbs than cities. Surprisingly the photographic representations of cities in the Marsh text is very thin. Disturbingly thin. Australian photographers, apparently, live in the suburbs not the inner city. When they turn to the urban their focus is on people, where they work in the humanist street photography tradition.
There is no text from Marsh on this mish mash of work by Daniel Crooks, Sandy Edwards, Rozalind Drummond, Robyn Stacey, Les Walking, Ian De Cruchy, Simon Cuthbert, Carl Warner and Kit Wise. There is more interesting work on Flickr.
Leigh St, Adelaide
Leigh St in Adelaide has been selected to become the Adelaide equivalent of a Melbourne laneway. It will be closed off to traffic with the hope that it becomes a vibrant space full of people eating, drinking and conversing with friends. The programme to make Adelaide a vibrant and lively place is called Splash.
I haven’t done much photography on poodlewalks in the last couple of weeks. I have been preparing work for the Shimmer Festival organized by the City of Onkaparinga. I did manage to take a few location shots for a large format shoot with the Sony NEX-7. The location for the scoping was yet another carpark with iron bars to prevent people in a state of despair from jumping off.
Bentham St, Adelaide
It used to be the case that art photography was measured according to the conventions and aesthetic values of the painted image. The latest defence of that position was provided American formalist modernism. But that has changed now, as in the late 20th century the strict modernist boundaries between photography and other media like sculpture, painting or performance became increasingly porous–ie., with postmodernism.
After having a look at an exhibition at the A.P Bond Gallery in Stepney I wandered around a bit taking a few photos. It highlighted to me that the intrinsic qualities of the picture was less important than the act of naming it as a work of art and getting the legitimating institutions–museums, galleries, collectors, historians of art etc —to accept the picture as art. What still haunts the art institution is Duchamp naming readymades such as a bottle rack or urinal as a work of art that should be in an art gallery.
Otto, Anne St, Stepney, Adelaide
I’m not sure where that leaves photography once both the copy theory of representation and an aesthetic canon of conventional forms has been rejected. Are photos functioning to re-enchant the world? They are becoming a sort of magic realism, fetishes or animated objects? A memento mori—ie., a mark of the inevitable passing of time?
