Installation View: Photography Exhibitions in Australia (1848–2020)

IF 0.1 0 ART
C. De Lorenzo
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Abstract

As long ago as 2007 Florence Derieux was able to claim that ‘the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions’. Exhibition histories allow a shift away from individual works, artists or art movements, to contingences across space that also invite social and political critique. In Australia, while there have been many studies of exhibitions at home and abroad, it is only relatively recently that an examination of the impact of art exhibitions on art history has been undertaken. Unlike some of these recent studies that embraced exhibitions across multiple media, Daniel Palmer and Martyn Jolly’s Installation View: Photography Exhibitions in Australia (1848-2020), focuses on a single medium, photography, albeit in many permutations over the last 170 years. Installation View draws the reader’s attention to the ways in which photography has been exhibited, and in so doing steps aside from the usual run of photography monographs on individuals, technologies or collections. It would seem that the first exhibition of photography for other than commercial gain was in 1854 when the Australian Museum enabled local audiences to preview diverse works, including daguerreotypes, from the colonies of Victoria and New South Wales before despatching them to the Exposition Universelle (1855) in Paris. By the final chapters, and there are 37 in all, the reader is reminded that photographers have long used posters, billboards, electronic screens and projections to take photography into the streets. The narrative centres on visual records of exhibitions; in the authors’ own words, it is ‘driven by installation photographs’ sourced from institutional and private archives. Arranged roughly chronologically, the visual material in each chapter is supported by mini chapters, or ‘vignettes’, ranging from less than 400 words to maybe 3,000. To document photo exhibitions from 1854 to 2020 is no mean feat, and it is very likely that established scholars in the field will encounter new information. While the specific focus perpetuates a separation of photography from other art forms, it also enables a vastly more comprehensive account of photography exhibitions than is possible in cross-media studies. Even so, a predilection for a single (if not singular) medium warrants a sustained argument, one that takes into account the very disciplinary-diverse readership and scholarship on photo histories. It may be that researchers across the humanities and the social sciences find
装置视图:澳大利亚摄影展(1848-2020)
早在2007年,Florence Derieux就声称“二十世纪下半叶的艺术史不再是艺术品史,而是展览史”。展览历史允许从个人作品、艺术家或艺术运动转向跨空间的偶然事件,这些偶然事件也会引发社会和政治批评。在澳大利亚,尽管国内外对展览进行了许多研究,但直到最近才对艺术展览对艺术史的影响进行了研究。丹尼尔·帕尔默(Daniel Palmer)和马丁·乔利(Martyn Jolly)的《装置视角:澳大利亚摄影展》(1848-2020)与最近的一些涵盖多种媒体展览的研究不同,它关注的是一种单一的媒体,即摄影,尽管在过去170年中有很多变化。装置视图将读者的注意力吸引到摄影作品的展示方式上,在这样做的过程中,除了通常出版的关于个人、技术或收藏的摄影专著之外,还有其他步骤。第一次非商业目的的摄影展似乎是在1854年,当时澳大利亚博物馆使当地观众能够预览维多利亚和新南威尔士殖民地的各种作品,包括银版,然后将其送往巴黎世博会(1855年)。在最后的章节中,总共有37章,提醒读者,摄影师们长期以来一直使用海报、广告牌、电子屏幕和投影在街上拍照。叙事以展览的视觉记录为中心;用作者自己的话说,它是由机构和私人档案中的装置照片驱动的。大致按时间顺序排列,每一章的视觉材料都有小章节或“小插曲”支持,从不到400字到3000字不等。记录1854年至2020年的图片展绝非易事,该领域的知名学者很可能会遇到新的信息。虽然特定的关注点使摄影与其他艺术形式永久分离,但它也使人们能够比跨媒体研究更全面地了解摄影展览。即便如此,对单一(如果不是单一的)媒介的偏好也需要一个持续的争论,这个争论考虑到了学科多样的读者群和对照片历史的研究。人文科学和社会科学的研究人员可能发现
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CiteScore
0.20
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