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The Documentary Take

Cass, Naomi 2016, The Documentary Take, Edited by Deacon, Destiny, Fraser, Virginia, Gill, Simryn, Hawkes, Ponch, Leber, Sonia, Chesworth, David, Porter, Louis, Pound, Patrick, Sofo, Charlie and Wadelton, David, Melbourne, Australia, 1 Oct. - 13. Nov. 2016, Melbourne, Vic., Centre for Contemporary Photography in partnership with the Melbourne Festival of Arts.


Title The Documentary Take
Creator(s) Cass, Naomi
Contributor(s) Deacon, Destiny
Fraser, Virginia
Gill, Simryn
Hawkes, Ponch
Leber, Sonia
Chesworth, David
Porter, Louis
Pound, Patrick
Sofo, Charlie
Wadelton, David
Conference, exhibition or event name The Documentary Take (2016 : Melbourne, Victoria)
Conference, exhibition or event location Melbourne, Australia
Conference, exhibition or event dates 1 Oct. - 13. Nov. 2016
Publication date 2016
Description of resource A curated exhibition by Naomi Cass at the CCP as part of the Melbourne Festival of Arts Projeect
Publisher Centre for Contemporary Photography in partnership with the Melbourne Festival of Arts
Place of publication Melbourne, Vic.
Keyword(s) exhibition Patrick Pound
photography
Walker Evans
collections
found photographs
curating
Summary Documentary photography and contemporary art are existentially quite distinct practices. Occasionally, with the passing of time, great documentary lifts from the contact sheet, the magazine page or the short print run book and finds its way onto gallery walls as art.Presented within the context of Walker Evans: the magazine work, curated by David Campany, The documentary take invites the question, what aspects of documentary practice are seeping into contemporary art now? In his commentary and practice, Evans distinguished between documentary as a forensic practice and the 'documentary style', which he saw as art making.With the exception of work presented by Ponch Hawkes and David Wadelton, the artists here—Destiny Deacon and Virginia Fraser; Simryn Gill; Sonia Leber and David Chesworth; Louis Porter; Patrick Pound and Charlie Sofo—are far from documentarians, yet all benefit from proximity to the foundational practice of Walker Evans.While Walker Evans may or may not be influential on these artists, his work forms a language that is now background knowledge for the making of images about the world where, artifice aside, truth is at least relevant. Perhaps documentary practice enables contemporary art to "attend to the real" [i], without binding it to a utilitarian or forensic intention.In attending to the real, the quest for the documentarian is to reveal something of the world, while that of the contemporary artist is to make meaning in and of the world.
Language eng
Field of Research 190504 Performance and Installation Art
Socio Economic Objective 950104 The Creative Arts (incl. Graphics and Craft)
HERDC Research category J1 Major original creative works
ERA Research output type X Not reportable
Copyright notice ©2016, Centre for Contemporary Photography
Persistent URL http://hdl.handle.net/10536/DRO/DU:30086498

Document type: Conference, Exhibition or Event
Collections: School of Communication and Creative Arts
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Created: Wed, 05 Oct 2016, 19:09:33 EST

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