Fotografisk Skoles Blog

Picture Perfect: Patrick Brown

Posted in Fotografer, Land / Australien, Land / Øvrige Asien, Video by fotografiskskole on 29. august 2012

ANY CHARACTER HERE

Endnu et video-portræt fra Vice Magazines Picture Perfect-serie:

Australske Patrick Brown, som er medlem af det anerkendte fotobureau Panos Pictures, har i en årrække opholdt sig i Bangkok, hvor han arbejder på et langvarigt projekt om ulovlig handel med dyr.

I videoen får han – selvfølgelig – lejlighed til at fortælle, og vi følger ham bl.a. i mørkekammeret, på gaden i Bangkok samt på en rejse til Guangzhou i Kina (yep, den er god nok; det var også der, Zeng Han fra vores forrige indlæg, slog sine folder!):

ANY CHARACTER HERE
ANY CHARACTER HERE
ANY CHARACTER HERE

Det ser ud til, at det er lykkedes Patrick Brown at rejse kapital til at kunne realisere drømmen om at udgive “dyrehandels”-projektet i bogform, jvf emphasis.is, hvorfra fundraiser-videoen herunder stammer. Fra emphasis.is’ Issuu-profil har vi fundet, hvad der kunne ligne et par skitseforslag til bogens design – den første af Issuu-dokumenterne er det nyeste:

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ANY CHARACTER HERE
ANY CHARACTER HERE
ANY CHARACTER HERE

Reklamer

Graham Miller – Suburban Splendour

Posted in Fotografer, Land / Australien, Video by fotografiskskole on 26. januar 2011

Serien Suburban Splendour er ifølge den australske fotograf Graham Miller inspireret af film og literatur, især af den amerikanske forfatter Raymond Carver. Graham Miller siger bl.a. om serien:

It seems to me that Carver’s vision of ordinary blue collar people living lives of quiet desperation taps into a sense of contemporary isolation that reflects the anomie, uncertainties and vulnerabilities of existing in a world changed after 9/11, and on a planet which contemplates an undecided environmental future. These compressed cinematic frames try to articulate something of the soft lament that Carver alludes to. The characters are troubled, but not irretrievably lost; they carry a dignified endurance and a sense of bruised optimism. These people are survivors. They have a desire, as we all do, to be transported from darkness into light.

Tracy Moffat – First Jobs

Posted in Fotografer, Land / Australien, Udstillinger, Video by fotografiskskole on 24. november 2010

First Jobs, Fruit Market, 1975


First Jobs, Housekeeper, 1975


First Jobs, Store Clerk, 1975


First Jobs, Corner Store, 1977


First Jobs, Receptionist, 1977


First Jobs, Meat Packing, 1978


First Jobs, Pineapple Cannery, 1978


First Jobs, Parking Cars, 1981


First Jobs, Canteen, 1984


Artblart skriver bl.a. om Tracy Moffats serie First Jobs, i forbindelse med en udstilling i Melbourne :

Images of the artist are inserted into found photographs which are then ‘hand coloured’ (like old postcards) in Photoshop. Moffatt’s series conceptualises the early jobs that she had to do to survive – investigating the banality of the jobs, the value of friendships that were formed coupled with an implicit understanding of the dictum ‘work is life’.

mens Moffat ifølge en pressemeddelelse fra Roslyn Oxley9 Gallery har følgende at sige om serien:

Over the years my friends and I joke about our dreadful past jobs. Jobs we worked as teenagers and young students. Awful jobs that we would rather forget about such as cleaning out the local cinema after a screening of The Exorcist in 1974.

When I was a kid I always had jobs and I always made my own money whether it was receiving a dollar for pulling up the weeds in the yard or baby sitting for neighbours or working at the local green grocers. The thing about making a bit of your own cash was that you could buy your own clothes and not have to wear the clothes that your mother picked out.

In 1978 at seventeen I worked in factories peeling pineapples. I also packed meat and shelled prawns. Such back breaking labour was exhausting but the money was good.  After one year I saved enough money to travel to Europe and backpacked around for nine months. Then in 1980 I went to art school in Brisbane but continued part-time work as a waitress to pay for art materials.

After art school I was desperate for money to pay the rent and I worked many jobs. Some were: scrubbing floors in a women’s refuge, washing dishes in a canteen and parking cars in a car park beneath a restaurant called Dirty Dicks (I had no driver’s licence, but the patrons were always drunk and didn’t care.)

I am resentful and appalled at the work I had to do to survive. I hold a grudge towards rich kids who never had to slave like I did. Secretly though I’m proud of myself. When I think of those early years I realize that I was learning to be tough and work whether I liked it or not. I put my head down and was forced to be productive. I was learning how to get on with other people and learning to handle a boss. These days I do nothing but make art and have exhibitions. Being an artist feels like being on a permanent but jittery holiday in comparison to those early working days. Now I sleep in until 9.30am and press the ‘ignore’ button on my phone if I don’t feel like talking to anyone. But, as Bette Davis put it, it is ‘The Lonely Life’. You have come up with the ideas and make them happen. No-one else is going to do it for you.

But I remember the good things about the factory floor. Walking into work everyday and saying hi to people you knew, there was a camaraderie. The work was mindless but it didn’t mean that your mind couldn’t go places. Then there was knock-off time. The bell would ring and you would be out the door with a wad of cash in your hand and not a care in the world.

In being a full-time artist there never is any knock-off time. There’s always a nagging, miserable voice of ideas in your head and you MUST get up off the sofa and produce work. The bell never rings and you never know where your next buck is coming from. Your mind is constantly wound up. You’re never really physically tired not like when you had a real honest job. But would I go back to working in a factory just to get good a night’s sleep? Ha, um, no.

Tracey Moffat er en af de mest betydningsfulde australske kunstnere indenfor de sidste 20 år. Hun har hovedsageligt beskæftiget sig med fotografi og video, og hvis du er nysgerrig, kan du  se flere af hendes arbejder hos Roslyn Oxley9 Gallery.

Herunder en af hendes kortfilm (i 2 afsnit) samt et interview, hvor hun bl.a. taler om feministisk kunst og rascisme (hun er selv af aboriginsk afstamning).

Kortfilmen kan også ses på UbuWeb.

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