Recently in new finds Category

Aaron Schuman, the editor of the online photography magazine, SeeSaw Magazine has curated an exhibition in the FotoFest 2010 entitled Whatever was Splendid: New American Photographs

The Curatorial statement says:

The exhibition Whatever Was Splendid explores the parallels that exist--both in America and in photography--between our own time and that of Evans, and the enduring power of American Photographs as discerned through contemporary U.S. photographic practice....At its heart, Whatever Was Splendid is centrally informed by the legacy of American Photographs, and by Evans' vital contributions to the nation's photographic language and traditions. That said, it is by no means intended as a nostalgic update or sentimental plea for photography (or, for that matter, America) to return to its past. As much as Evans' precedent has provided both the inspiration and reinforcing framework for this exhibition, Whatever Was Splendid is first and foremost the manifestation of the intelligence, ingenuity, and multiplicity of voices and visions that can be found within current U.S. photographic practice

One of the photographers is Will Steacy, a New York based photographer and writer, who currently has an exhibition entitled Down These Mean Streets at the Michael Mazzeo Gallery.
Marzena Wasikowska is a Polish born and Canberra-based visual artist who works with the photographic medium in portraiture and in the landscape both in Australia and Europe.

A recent, and intriguing body of work is Fallen, which was produced between 2004-07.

The images are dark, blurred, monotone and in low light. They are of rocks walls and a hole in the ground. We are in the abyss or the underworld, or the unconscious. It could be well be images of the Australian landscape as sites for representations of Australian history and memory.
I mentioned the New York Photo Festival in an earlier post on the Altfotonet blog. I've since discovered the 3D coverage project by Martin Lenclos. The 3D coverage, gives website visitors the chance to experience the festival "virtually" by offering photos and video interviews of the NYPH's curators, attendees and exhibitors in an evocative rendering the festival's actual environment.

It is fascinating to explore --but you need fast broadband for it to work effectively:

The New York Photo Festival 2010 has just ended. The main exhibitions are here whilst the satellite exhibitions are here if you want to go exploring. The exhibitions themselves do not seem to be online but we are given links to the various photographers participating in the exhibitions. In addition to its four main exhibitions, runs a programme of talks, lectures and panel discussions on the future of contemporary photography.

One of the most interesting body of photographers exhibited is Marc Garanger's Femmes Algériennes--images of Algerian women unveiled during the Algerian war (1954-1962)--which featured in the "Bodies In Question" exhibit, curated by Fred Ritchin the author of "After Photography" (2008)

GarangerMAlgeria.jpg Marc Garanger, untitled,  from Femmes Algériennes

The background is that the images were made in a French internment camp and the Algerian women were forced to be photographed and Garanger, the military photographer, had to take the picture for French identity cards given to Algerians during their mid-20th Century War of Independence. Garanger was ordered by the French military to force the women to show their faces in public, often for the first time.The colonial period in Algeria ended in 1962.

Altfotonet; Image Highlight

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Reminiscent of the Russian Constructivists this mage plays with perception and depth quite nicley

I know very little about the work of Gordon Lundy, other than his association with the Point Light Gallery in Sydney. Form there I gather that his interest is black and white interpretations of the intimate Australian landscape, and that his photographic background is studying landscape photography with Paul Caponigro and fine printing with George Tice who also introduced him to the craft of platinum/palladium in 1994.

UndyGBurdekinDam.jpg Gordon Undy, Burdekin Dam, Queensland, circa 1994-1996

Robert McFarlane says that Undy's images from Intimations, his second book, reveal a photographer moving away from the orthodoxies of classic landscape photography, as pioneered by artists such as Caponigro, Weston and Adams:
Undy's pictures have become quieter, meditative and somehow more intensely Australian. Until recently, landscape photographers in this country, with notable exceptions such as Jon Lewis and Peter Elliston, have been deterred by the "untidiness" and "density" of the Australian bush. Undy's recent photographs, such as Midday, Mungana, Queensland 2003 embrace the compressed, inconvenient nature of the Australian landscape.
I am attracted to Undy's industrial shots made whilst documenting Queensland's mining country in the mid-1990's.
Though photographic art historians consider that William Eggleston's legendary colour show at the MOMA in 1979 was groundbreaking for the acceptance of colour photography, Saul Leiter is one of the true pioneers of colour and abstract photography. He started shooting in colour in 1948.

Saul Leiter treated the use of color in his photographs of the street and his surroundings as a painter of his time (1940s) would have done,  and  he helped lay the foundations for the development of the abstract notions of a photograph in the US.
I thought that I might start a series about Australian photographers as my knowledge of Australian photography is rather limited. I've mentioned Mark Kimber here and Wolfgang Sievers here.

I am formally starting with David Helsham who runs a successful graphic design agency in The Rocks, Sydney. He is known as wattle gardner on Flickr:

Most of Helsham's work is concerned with Australia's beach culture, Sydney style and a lot of the photography is taken in and around a rock pool bay in northern Sydney called Bongin Bongin. The obvious reference in Australian photography is the beach work of Max Dupain

Picture Of The Week

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This image, by Bisy Backson operates for me on so many levels. The shapes, recurring and individually. The implication of the screen and it's holes, the fences and fencing. A wonderful image indeed.

I thought that I'd introduce an interesting New Zealand photographer --Theo Schoon. He is interesting because he set himself the task of developing a regional modernism based on the amalgam of Maori art and European modernism.

Theo Schoon, dry mud 2, circa 1968, silver gelatin print

In Picturing Space: Theo Schoon, Ross Crothall and Visual Art in the Pacific in Double Dialogue Anthea Gunn says that European modernism shaped the philosophy behind Schoon's art practice, and especially, the possibilities he saw for the use of Maori visual art.

beyond flickr

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I'm curious about Australian photographers who step beyond  posting their work on Flickr in either weblogs, photoblogs, galleries or other media. I stumbled upon Vinnie Piatek's Museum of Dirt  website and  his  photoblog.

From there I came across Chris Were's Memetic Drift  photoblog and   Velco Dojcinovski's The Andante Bar ---both Melbourne -based photographers.  Were is Memetic on Flickr,  whilst  Velco is Velco  on Flickr.

How many others I wonder? heiko on Flickr has a fotoblog.

Do people know of others?
nd As a result of being in New Zealand on holiday I have began to dig into New Zealand  photography to see what has been going on in the last couple of decades. Is it any different to Australian photography? What are the differences?
Mark Adams, Cook's Sites After William Hodges' 'Cascade Cove, Dusky Bay, 1995

Mark Adams is one example of difference. In 'Cook's Sites', Mark Adams and Nicholas Thomas travel to the places where Cook landed in the South Pacific. Adams photographically commemorates the instant of encounter between European and Maori people, defining it as a moment of discovery, violence and mutual reciprocity.

For this series Mark also focuses on key historic sites illustrated by painters William Hodges and John Webber who accompanied Cook on his voyages. His portrayal allows us to look out from these paintings and reassess the history of these culturally loaded locations.


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Having recently been in New Zealand on a holiday and photographic exploration I want to draw attention to New Zealand photography and PhotoForum.

I have selected Murray Hedwig, a Christchurch-based photographer:

Murray Hedwig, Supermarket, Atawhai, Nelson, 1983

Hedwig is part of the new wave photography that emerged in the late 1970s with the emergence of the photographer based co-operative galleries. Around 2005 he published Public Spaces, Personal Views.

Photoforum emerged  out of  this photographic new wave and it  is:

a non-profit society dedicated to the promotion of photography as a means of communication and expression.[It's] website showcases New Zealand photographic work and work of overseas photographers with some connection to New Zealand or PhotoForum.

There is a lot on material online to explore.  It has online exhibitions, the most recent of which is Photoforum 33.
The phrase is Heidegger's. It is taken from a late poem by Holderin and it is evoked in terms of the dangers of technology as a mode of being in modernity and the saving power of poesis in opposition to the will to technological power and its dominion over the earth. altfotonetNorthropH.jpg Dwelling is a kind of building. What then does it mean to dwell poetically on this earth? Surely it doesn't mean shutting one's eyes to actuality and living in a dream or one's imagination? Nor does it mean raising buildings or occupation of a building. It is concerned with our being-in-the-world and experiencing the world poetically renders the ordianry extraordinary.

In The Begining

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This is the companion blog for

The site, stemmed from a variety of ideas some of which had been brewing since 1995.

In 1995, my creative interests took a mild detour. The detour was,the web generally, over the years I watched the internet grow and change. By 2004 the web, and it's infrastructure  had changed enough to permit uploading, and viewing of images, that were being produced by the cameras that too had continued to improve. Sites like flickr, complimented these ideas.

My interests in photography, are varied, and after several years of hanging around on flickr I realised that the establishment either wasn't taking the idea of online art seriously, or just had no idea what was going on.

Meanwhile flickr had long reached critical mass and the gems were getting harder and harder to find amongst the sunsets, babies, kittens and flowers. I wanted to share and get involved in photography and photographers who were interested in more than some preconceived notion of what constituted a good photograph.

So altfotonet was born.

This blog will serve as a place to source images ideas and discussion for the site. Submissions will be discussed and new finds will be pimped here.

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