Pictures They Want to Make – Reviewed

Pictures They Want to Make – Recent Auckland Photography

Chris Corson-Scott & Edward Hanfling.

Published by Photoforum, Auckland, 2013

Review by James Gilberd, First published on the Photospace Gallery website, 2013

Ron Brownson’s Foreword to this lavish volume places the survey of contemporary photographers and their practices within the context of other similar projects, such as ‘The Active Eye’ (PhotoForum, 1975), ‘Views/Exposures’ (National Art Gallery, 1982) and ‘Open the Shutter: Auckland Photographers Now’ (PhotoForum, 1994. His language only lapses into artspeak for part of one paragraph, in which he seems to defend the apparent ad hoc nature of the survey: ‘[comparing to Views/Exposures] …they each coalesce current photographic practices using the trope of a visual dialectic ranging over both personal visions and public revelations. Such apparent heterogeneity was further amplified in 1994 with the idiosyncratic pluralism of [Open the Shutter]….’

Put another way, if you’re looking for some theme to connect the various bodies of work herein, or even the selection and sequencing of works within the photographers’ portfolios, forget it; none of the other surveys had a theme and neither does this one, so just relax and enjoy the photographs.

The authors’ introduction sets us up well enough, explaining the term ‘picture making’, the act of which does offer a link between the practices of the chosen photographers. They excuse the looseness of the words ‘Auckland’ and ‘Recent’ in the book’s title (So why have the second part of the title?), and they exclude photographers who create scenes to photograph, focusing instead on those who photograph what already exists, but do so in more than a ‘documentary’ way. OK, so after a couple of somewhat irritated flick-throughs, I now feel more comfortable about the selection of photographers and their artworks. And I applaud the fact that this major publication is not just another unimaginative, mostly dated line-up of the usual suspects. Many of the photographers here are under-represented in high quality publications, and it is great to see their work printed so damned well.

The photographers appear in alphabetical order, so we get some interesting juxtapositions. Mark Adams, an old hand and a master of photographic technique (his photographs really sing here, despite the abrupt cuts from monochrome to colour and back again) to Edith Amituanai, who has a lot of interesting stuff to say and offers a unique vision, but who still sometimes appears to struggle with composition, the workings of the camera and the vagaries of capturing light. Either it’s deliberate or she doesn’t care; either way it’s part of the process of the work and it references the snapshot, lending the large-format camera work an egalitarian quality, but it irritates me, and as a photographer I’m not alone with my concern about these technical shortcomings. It’s like listening to a string quartet but being prevented from enjoying the music by a smattering of bum notes from the viola player.

Moving through to Fiona Amundsen’s selection, the most homogenous in the book (and not very representative of her career); she can clearly operate a camera (which, admittedly is easier when there’s no one about to bother her, in contrast to Amituanai’s photographic world), but so many German and American photographers have done this stuff quite a lot better and several decades earlier (Stephen Shore, et al). It’s a tired old riff that transplants only so well. (The same criticism could be levelled at several photographers in this volume.)

It’s nice to see Harvey Benge’s photographs edited down to tight selection and reproduced rather large. His self-edited books, which he’s built his photographic career on, would mostly benefit from another set of such eyes. Benge’s images a lot to his strong sense of colour and design, something to his eternal globetrotting, and quite a bit to William Eggleston (who is mentioned in the introduction); but they are intriguing and they stand up well in this context.

The introduction to Bruce Connew’s portfolio outlines the shifting nature of his career, and then struggles with these works for the second half of the page: “The results manifest as a kind of cutting into reality; they are precise, incisive insights; …”. I’m not so sure. These photographs seem transitional, coming after art-based projects of the recent past and perhaps indicating a return to a more direct documentary way of communicating that has been this photographer’s great strength.

Chris Corson-Scott’s images are the highlight for me so far. The quality! I have alas not seen the exhibition that this book accompanies (I’m only reviewing the book here), but I would really like to view these photographs full scale. They are like German objective photography but with warmth, population, and tons and tons of South Pacific light. Great photographers such as Andreas Gursky and Thomas Ruff might blanch at such contrasty conditions, but Corson-Scott has harvested the light and served it to us as a banquet. The works have a melancholy that is more subtle than Gregory Crewdson’s (currently on show at the Wellington City Gallery, and which are also large-scale prints of the highest photographic quality). Bring this show to Wellington, too, please!

Ngahuia Harrison is perhaps destined to become a usual suspect in future surveys of New Zealand photography (at least if she sticks to stills and doesn’t become a film maker), but at this stage her work seems insufficiently developed for inclusion in this book. Read the full review HERE

Source: James Gilberd, owner Photospace Gallery, Wellington.