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.
Tom
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.
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.
Tom
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.
Continue reading Australian modernism: a note .
