The Documentary Take

Documentary photography and contemporary art are existentially quite distinct practices. Occasionally, with the passing of time, great documentary lifts from the contact sheet, the magazine page or the short print run book and finds its way onto gallery walls as art.Presented within the context of Walker Evans: the magazine work, curated by David Campany, The documentary take invites the question, what aspects of documentary practice are seeping into contemporary art now? In his commentary and practice, Evans distinguished between documentary as a forensic practice and the 'documentary style', which he saw as art making.With the exception of work presented by Ponch Hawkes and David Wadelton, the artists here—Destiny Deacon and Virginia Fraser; Simryn Gill; Sonia Leber and David Chesworth; Louis Porter; Patrick Pound and Charlie Sofo—are far from documentarians, yet all benefit from proximity to the foundational practice of Walker Evans.While Walker Evans may or may not be influential on these artists, his work forms a language that is now background knowledge for the making of images about the world where, artifice aside, truth is at least relevant. Perhaps documentary practice enables contemporary art to "attend to the real" [i], without binding it to a utilitarian or forensic intention.In attending to the real, the quest for the documentarian is to reveal something of the world, while that of the contemporary artist is to make meaning in and of the world.

‘There isn’t kind of a White History Month or anything like that for them’: equity, schooling and the problematics of group identity politics

This paper explores issues of equity and group identity at ‘Hamilton Court’, a large comprehensive multi-faith and multi-cultural school located in England. The exploration draws on data gathered from a study that examined the conditions, structures and practices associated with productively addressing issues of justice and cultural diversity. The paper focuses, in particular, on the voices of two learning mentors, ‘Rosanna’ and ‘Yasmeen’. With reference to a cultural event at the school based around an Asian-inspired Bollywood Dance Festival, the school’s approach to absence requests on the basis of religious observance, and the disadvantage experienced by a particular White British working class boy, the paper highlights tensions and problematics associated with issues of equity, schooling and group identity. The paper makes a theoretical contribution to debates in this area. Further illustrating the limitations of distributive understandings of equity that begin with group identity politics and fail to consider matters of context in struggles against cultural oppressions, it examines the possibilities of an equity approach that instead begins with a focus on overcoming these relations of oppression.

Typography and the branding of culture: a methodological investigation into the way typography is used to brand cultural festivals in Australia

The observance of and participation in festivals and celebratory events is an increasingly significant aspect of the contemporary experience (Picard & Robinson, 2006). With the prestige that comes from holding culturally relevant and socially acceptable festivals that serve the discourses of “city branding” and the “creative industries” in a competitive global context; significant government, community and private funding is allocated to such events. Festivals have become a central figure of not only the political economy of tourism but also of urban regeneration and cultural tourism. Cultural festivals possess the hallmarks of destination branding or place branding and inadvertently share some of the attributes that influence visitors’ decisions to visit such destinations (Blain, Levy, & Ritchie, 2005; Cooper, 2005; Esu & Arrey, 2009; Jayswal, 2008). Branding is a vital part of this festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. What this paper intends is to interrogate appropriate semiotic approaches in an effort to analysing the discursive practices of typography as it performs in service to branding cultural festivals in Australia. The intention is to establish a methodology suited to the significant role typography performs within this context and to offer a contribution to design research that not only engages with the artefacts of design but with the conceptualization of designed meaning in 21st century visual culture.

Typography and the branding of culture: a systemic functional analysis of typography’s performance in branding cultural festivals in Australia

This paper offers a social semiotic analysis of logotypes used to brand cultural festivals in 21st century Australia. A contemporary method is explored that suits the significant role typography performs within this context and offers a contribution to design research and the festival scape that not only engages with the artefacts of design but with the conceptualization of designed meaning in visual culture. Branding is a vital part of the festival space and relies on typography to establish the symbolic values and representations of urban freedoms; rich histories, cultured places, playfulness and stimulation that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. However, professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public realm. This paper addresses this shortfall and offers the foundation for a systemic functional method in the decoding of typography in visual culture