As part of the Incite series of presentations at Fotofreo Photographic Festival 2010, a series of panel discussions addressed the role of photographic publishing. In a session titled ‘The Virtues and Vagaries of Online Publishing’, participants delved into the pros and cons of going virtual. Flash editor Kyla McFarlane interviewed two of her fellow presenters by email.
Up Close is mostly made up of an exhibition of the photographs of Carol Jerrems (1949–1980), an artist who died aged thirty. She left a large archive of photographs that was gifted to the National Gallery of Australia by her mother, Joy Jerrems in 1981. Curator Natalie King has spent four years researching the exhibition, and placed Jerrems in the context of candid photography as self-identity.
I really like the constraints of film. The slowness of setting up. The focus, concentration, looking, as one may only have a few frames to do the job at hand.
I think the sense of ‘the past as a foreign country’ really originates in Bruegel’s paintings, at least for us today.
The Body Electric exhibition extends the physical, ‘domestic’, everyday image of ourselves, and disappears it by removing traces of the body. The residue is the flickering light.
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.
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.