Photography and christian mission: George Brown`s images of the New Britain mission 1875-80

In 1875, Methodist George Brown arrived in the Bismarck Archipelago to establish the New Britain Mission. Based in the Duke of York Islands, Brown's territory covered New Ireland and the Gazelle Peninsula of New Britain. The mission was one of the first to be photographed from its inception. The Australian Museum holds 96 plates from the first five years of the mission. Brown's photographs are a visual record of conditions and peoples of the time. Analysed in relation to Brown's writings they are indicative of the relationships and bonds established through photography both in the mission field and across wider scientific and church audiences. The methodology employed here also challenges the kinds of interpretations of photographs that can arise from visual analyses relying solely on the caption and the posing of the subject.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Changing preferences : conventional photography to digital imaging in communicating architecture

Architectural photography is merging into a new form of image capture and output which is a mix of conventional photography and digital imagery. As this transition takes place it is anticipated that the credibility of the image may also change. the aim of the project is to research the perception of the quality, content and authenticity of both conventional photography and digitally produced images used within the architectural profession.

Re-photography as critical strategy in recent art

Re-photography describes a set of contemporary art practices which involve the mechanical reproduction and re-presentation of photographic imagery appropriated from a variety of cultural sources. The paper takes as its focus a range of re-photographic activities emanating from New York in the early 1980s in which the author discusses certain issues pivotal to an understanding of the status of contemporary art and its possibilities for critical function.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

Suburb as site : virtual collaborative learning for undergraduate photography

This paper describes a learning and teaching approach implemented in an undergraduate photography unit that is designed around a virtual collaborative experience. The approach was adopted several years ago and the process of continually refining the approach to enhance the student experience is outlined as are the benefits and challenges that have been encountered to date. The primary aim of the learning and teaching approach is to allow students to develop graduate attributes and technical skills that will prepare them to work in a contemporary media context – working in the virtual so as to understand approaches to developing and presenting work in the modern photography workplace. The approach also aims to engage and support students in a self reflective process where they examine the self and others focusing on aspects of contemporary culture and lifestyle, architecture and concepts of the home. Central to the approach is a virtual collaborative project where students are matched with partners to develop and present a cohesive virtual photography portfolio that contrasts their local environment: Suburb as Site. Finally, the paper describes the research project that is underway to enhance the collaboration matching process and evaluate the student experience. The research aims to contribute to improved staff understanding of the student experience with a view to further enhancing the learning and teaching approach.

Photography at the chiasm

 This paper works across a number of theories from phenomenology, 'ecological perception' and psychogeography to demonstrate from recent experiments how contemporary photomedia qua the static image, deals with being (noun and verb), and moving, in space. The author presents research findings from inviestigations into photography employing slow shutter speeds and axial panning to render 2D images of 3D spatial effects to show how with one-eyed viewing the images effectively restore the spatial relationships and observer location of the photographed situation.

Phiction : lies, illusion and the phantasm in photography

A touring exhibition of historic, modern and contemporary photographs from the collection of Horsham Regional Art Gallery, selected by curator James McArdle. This exhibition celebrates the originality and diversity of Australian vision in image and text.