View from the Ranges

Sad news of David Moore’s “departure” last night, and in a sense the passing of an era.David will be going where all great photographers rest, and that is in the collective memory of those he leaves behind. There are many images from his oeuvere that have settled like old friends in the Australian phyce, his female “landscapes”,Newcasle boys on bikes, Pitjantjatjara children, and the timeless Harbour Bridge, to mention only a few .I was particularly blessed by David’s generosity in receiving a letter of support from him after my 1988 “Face to Face” exhibition (see “Reviews” section) and to know him over many years. Although we differed on “things”, I always had enormous respect for his relentless work, and felt always a little sorry that as one of the “creators”of the Australian Center for Photography,he should see that “institution” turn into the debacle it has now become.What he leaves us, with his photographs, is the possability to dream.

One could be forgiven for being interested in the “correspondence” that has found its way to Wombeyan Caves for the inaugral Citigroup Private Bank Australian Photographic Portrait Prize (March) and hosted by the AGNSW. After all, the prize money is $15,000 which could see a return to Bougainville and the completion of that work, AND the start of new. There are some disturbing points to be found re this competition though, (located in the fine print of course,) and despite my very personal letter from “Fast Eddie” Capon himself, imploring my entering, I can hear those femminist post modernists rumbling in the distance ready to claim their superiority, and the money, and the glory (after all they havent had much of a run)
Firstly this comp. has that un-fortunate feel of our very own National Portrait Gallery. ie If your famous you “get a gurnsey”. The person depicted is the most important thing (who determines this,only God and the NPG knows?) and the aesthetic QUALITY of the portrait well, it’s ,just not that relevant.
Secondly, those words “new and innovative APPROACHES” are welcomed and encouraged for the comp is def. very worrying. (my caps) So this seems to be a comp. of “APPROACHES”, by which you can read as much MTV and new technology into it as you like. Heavens, the Sydney PHOTO world still seems to think that great ART (this is especially true about photography) is made by new technologies (hence the MTV comparison) Ho Hum to the bubble reputations and cutting edgers.
One of the “givens” about the portrait prize is that I doubt that there will be any “street” (or “beach”) portraiture of people the photographer may NOT know. ie Portraiture off the cuff. In America and Europe to-day, (and especially France) street photography has all been lost. To-day one needs the “model release form” as well, and consequently this wonderfull genre is rarely practised. Portriture “in the field” of life is all but passe here in Australia (if ever it was considered de rigour?) Poorer are we all.
So my advice to those expecting a win? 1) Pick a famous person and 2) Make sure you use lotsa new technology, work you’re APPROACH now, YO!
Me? I’m juggling the entry form. I have a portrait, and I could have been in the running, but the subject died 3 weeks after I made the photograph! No “permission of the subject” available here, only a document, a record of LIFE, a PORTRAIT. Perhaps this one will go in the BIG COMP….. after the fat lady sings.