Gary Sauer-Thompson: January 2010 Archives

In the canon of Australian art photography Australian modernism  is usually associated with Max Dupain. The work was in black and white, concerned with form, architectural in focus, done with a view camera and concerned with the fine chemically-based print made in a darkroom. 

However, there have been a number of others who worked in  this style, such as Tom Balfour, who roots lie in architectural photography in Adelaide, in the 19790s and as associate in  Max Dupain's Sydney studio, photographing architecture in the 1980s. He has had a minimal presence in the  modernist art gallery since, and exemplifies how  the  Australian modernist tradition slowly withered.

Establish the photographic canon was done in the context of Australia's post-colonial condition, geographical isolation and troubled relationship with the idea of "home". This post-colonial condition, accompanied by a chronic inferiority complex, consists of the endemic tall poppy syndrome, the vast cultural cringe and endless tiresome discussions about the quality of Australian art  photography versus work produced overseas in the US.

I haven't posted anything here on the 2009 Ballarat International Foto Biennale, even though it was an important event in Australian photography, and the festival has been included Festival de la Luz or Festival of Light [FOL], a grouping of 32 festivals of photography worldwide.

Sam Oster was one Australian photographer who exhibited in the core program. This is the flagship of the Biennale, featuring a selection of some of the best contemporary photography from Australia and around the world.


There is little of Oster's art photography work on the web other than what is her Silvertrace studio website, which is part of the broader Adelaide-based Headquarters Studio. collective.

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This page is a archive of recent entries written by Gary Sauer-Thompson in January 2010.

Gary Sauer-Thompson: December 2009 is the previous archive.

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