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 Open Access Checking Related Links Link Description Publisher URL Go to link with your DU access privileges   Connect to Elements publication management system Go to link with your DU access privileges     Unless expressly stated otherwise, the copyright for items in DRO is owned by the author, with all rights reserved. Versions Version Filter Type Wed, 05 Oct 2016, 19:09:33 EST Thu, 06 Oct 2016, 04:01:19 EST Sat, 05 Nov 2016, 05:03:53 EST Wed, 16 Nov 2016, 13:09:32 EST Wed, 16 Nov 2016, 13:12:23 EST Wed, 16 Nov 2016, 13:12:58 EST Filtered Full Citation counts:   Cited 0 times in TR Web of Science Cited 0 times in Scopus Search Google Scholar Access Statistics: 29 Abstract Views  -  Detailed Statistics Created: Wed, 05 Oct 2016, 19:09:33 EST

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