Such identifications are against the point. They override crucial structural and historical differences Top online casinos Australia between those places. ‘South’ becomes a name for the vernacular per se, with its strong accents, its colours, even arguably its own tendencies towards exclusion and forgetting. But it remains a risky thing to assemble a collection of photographs of war memorials. It is risky because it seems so obvious, so safe a proposition.
Community
- CCP acknowledges the Wurundjeri people of the Kulin Nation as the traditional owners of the land on which Centre for Contemporary Photography stands, and we respectfully recognise Elders past, present and future.
- We fuse together a giraffe and a plane, and a handgliging hedgehog made from a dinghy sail and nature print for backup.
- The result is a dialectic of movement and arrest.
- Calibre, our sans serif, is inspired by street signage, and though this wayfinding lineage feels pertinent, it is happenstance; we chose it because we enjoy it; a consistent favourite, comfortable like my own handwriting.
- Lismore Regional Gallery acknowledges the Widjabul Wia-bal people of the Bundjalung Nation as the traditional owners of the land upon which the gallery stands.
- Relationships between images are sometimes real, and sometimes promiscuous.
I fossick for out-of-copyright images on the internet. I look for something that exists in my mind, but find something else, and the current swirls me in a different direction; a psychogeographical dérive across the internet. Together with the aid of Google Docs, phone calls and a back and forward email trail that nears three figures we settle on quotes to go on the front of the postcards, and start to choose illustrations to join them on the reverse.
Certainly, the timing of the release does, implicating the book in commemorative sentiment. But what would it mean for ANZAC to be informed by a typological project? Its repetitive study of a certain kind of object could suggest an almost scientific remove, a view that does not allow itself to be carried away by enthusiasm or pathos, or indeed by comment of any nature. It is a way to enhance the tendency in photographic images towards dispassionate, silent observation.
Here’s artist John Young at home with some collected works from the collection of John Young and Kate Mizrahi. In Lydia’s essay, the ‘stump of a tree felled by adzes … preserved, labelled, and protected with a little tin roof’ gives rise to a montage from a pruning manual and an architectural diagram. Though a literal illustration of words, it appears an incongruous and intriguing juxtaposition.
Sally talks of dancing and music in response and defiance after the Christchurch earthquakes – ‘facing catastrophe with a song and a beer in hand’. In a collection of old geological prints I find the words ‘Signature of Earthquake’. In seizing joy through shared song, Sally shows music became the signature of the earthquake. We attach the words to an excerpt of a musical score.
Terry Gilliam was my favourite Python. Ingrid and Cherie like some of the images, politely reject others with faint praise, but it’s a start. We settle on typefaces by New Zealand designer Kris Sowersby. We say it’s important that the text is set in type from here, but really that’s post-rationalisation.
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Aberhart has visited the American South, and the photos from those visits provide many of the book’s images. McKenna never has – except, as he claims in the book’s text, through Eggleston’s photographs. However, we can also see something of the ‘South’, as I have described it above, in Aberhart’s New Zealand and Australian images, and in McKenna’s paintings. This South is a thing of the imagination. It is an atmosphere that somehow informs and overlays those other places, those other visions of social distance and exclusion, those other embattled folk traditions that wither or thrive against the odds. The temptation to be avoided – even though the project might suggest it through its choice of artists – is to identify the American South with the Antipodean South (or, worse, the Global South).
When she talks of the Napier earthquake thrusting the seabed skywards leaving dead fish and horse mussels – having never seen a horse mussel – my mind fuses together a peculiar equine/shellfish chimera. We recreate it with images from old encyclopedias. We don’t all agree on the same green, but our instinct is the same. We pick a sprinkling of tabs from the Pantone swatch book. Anna and I find an old cover of the Hobbit in a single tone somewhere between greenstone and grass.
Who is the 14 year old photographer?
At Just 14, This Boy's Lens Brought India Global Recognition in Wildlife Photography. It took days of waiting by a frozen lake in Russia, but for 14-year-old Kesshav Vikram from Coimbatore, one perfect click of a bear and a gull has carried his vision to London's Wildlife Photographer of the Year 2025.
Forthcoming exhibition:
The grief was worked through; communities eventually moved on to other ways of memorialising and to other concerns. And it was worked through perhaps at the expense of community itself. The successful community was founded on the ultimately successful mourning process, and eventually that process was no longer needed. We pay our respects to their Elders past and present, and extend this respect to Aboriginal andTorres Strait Islander people from all nations of Australia. After the high, back to the typesetting grindstone and the juggling other projects.
The responses come back positive, with a joyful exclamation mark. It is a feeling too that conjures images for Tina rather than concrete objects. I have a palpable sense of a void between two magnets, held in tension; two poles in balance, repelled but attracted. Trouble is, I can’t make this materialise on the page.