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photoforum 69 December 2003
‘I think that as photographers we have a responsibility to look at the ordinary areas of our existence and show just how extraordinary they can be’, he wrote in 1974. ‘Photography can be a powerful aid in the future understanding and appreciation of our visual world.’
This modest and gentlemanly photographer was a mentor and inspiration to numerous photographers of the post World War II generation, who joined him to promote photography as an art in Australia. His work will live on, but David’s presence will be greatly missed.
For an overview of David Moore’s work up until 1975, see PhotoForum 40, 1977. JBT
Larence N. Shustak
As he said of himself, ‘I have an insatiable curiosity and I am an omnivorous reader.... Buckminster Fuller's ideas have shaped my thinking [and] I am concerned with new realities arising out of familiar situations and sights.’
As I discovered when he taught at the 1974 Elam summer workshop, Shustak was a brilliant and idiosyncratic teacher. But, sadly, as time went on his skills were used less and less at Canterbury University, where the School’s administrators never learned to communicate with the mercurial New Yorker in a way that did not further frustrate and alienate him from their more conservative approach to art education. Few students knew how to get the best out of him, but those who did had their enthusiasm and fresh ideas doubly reinforced. Shustak retired in 1992, and continued to work on a variety of innovative mixed media and computer generated projects.
Stuart Page, a graduate of the School of Fine Arts, is currently completing a documentary film celebrating Shustak’s life and work. A small sample of Shustak’s output can be seen on his web site, www.nz-photography.com. Thanks Larry.
Cole worked at various jobs before becoming a photographer himself. He joined the Navy during World War II and later became a photographer for Life magazine. He began experimenting with colour photography after the war, and is best known for his impeccable colour work in the “f64" large format style. I was fortunate to host Cole and Deborah in Auckland, and later to visit him at his beautiful Monterey ranch in January 1980, where he kindly let me loose in his father’s vault to study hundreds of negatives and prints, which are now housed in the Centre for Creative Photography, at the University of Arizona, Tuscon. The colour work Cole did in New Zealand has not been exhibited here, but I remember seeing some fine "classic" Weston’s among them. Some of them were published in his lavish book, Cole Weston: At Home and Abroad (Aperture, 1998). JBT