Welcome to the first issue of FLASH online, a quarterly journal of reviews, interviews and comment on photography and video, published by the Centre for Contemporary Photography, Melbourne. Read more…
‘No one believes in Landscape anymore’, declares Ginger Strand at the beginning of a provocative essay in Badlands: New Horizons in Landscape… But I wonder if anyone ever did â€“ unquestioningly believe in landscape art as a ‘truthful’ representation of the natural world?
These are highly political works, confronting issues of sustainability and the impact on a culture that occupied the place for thousands of years.
At the female convict sites I used to wonder where the history has gone. The answer I ended up with was twofold — it’s either disappeared into the ground or vanished into the air.
Ellis and Gursky are akin to two different types of popularist art fantasies: the former as charming, nostalgic; the latter as challenging, spectacular.
There’s a visceral narcissism in the early Renaissance, a kind of youthful full-of-the-joys-of vigour, a really sexy, peachy sense of bodies — that is what clicks so nicely with the fashion images that I’ve been comparing it with.
Every photograph is not so much a picture of the world as a piece of it. Some people don’t believe this. Others do.