- ‘The Shadow of Fire: Ghazals’, reprinted in Rose Lucas and Lyn McCredden, Bridgings: Readings in Australian Women's Poetry (Melbourne: Oxford University Press, 1996), 17.
- Marco Fusinato, email interview with the author, 15 October 2006.
- Ibid.
- Bruce Russell, ‘Cross Platform,’ The Wire 255 (May 2005), 76. For more on Fusinato's work with music and musicians, see Byron Coley, ‘Bull Tongue’, Arthur 18 (September 2005), 54; Simon Rees, ‘Thurston Moore/Marco Fusinato,’ Art & Text 71 (November 2000-January 2001), 92; Donna McColm, ‘TM / MF,’ Eyeline 43 (Spring 2000), 42–43.
- Marco Fusinato, email interview with the author, 15 October 2006.
- Cited in Scott McQuire, Visions of Modernity: Representation, Memory, Time, and Space in the Age of the Camera (London: Sage, 1998), 27.
- For a discussion of the philosophical division between light and matter, see Barbara Bolt, ‘Shedding Light for the Matter’, Hypatia 15, no. 2 (2000), 202–16.
- Oliver Wendell Holmes, ‘Doings of the Sunbeam’, in Photography: Essays and Images, ed. Beaumont Newhall (New York: Museum of Modern Art, 1980), 73.
- Rosalind Krauss, ‘Notes on the Index: Part 1’, in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA.: MIT Press, 1986), 203.
- Krauss, ‘Notes on the Index: Part 2’, in The Originality of the Avant-Garde and Other Modernist Myths, 212.
- Krauss, ‘Notes on the Index: Part 1’, 203.
- For more on the relationship between light and photographic history's binary logic, see Melissa Miles, ‘The Burning Mirror: Photography in an Ambivalent Light’, Journal of Visual Culture 4, no. 3 (2005), 329–49.
- Joel Snyder and Neil Walsh Allen, ‘Photography, Vision, and Representation’, Critical Inquiry 2, no. 1 (1975), 151.
- Ibid.
- For Jacques Derrida, the ‘metaphor of darkness and light (of self-revelation and self-concealment), [is the] founding metaphor of Western philosophy as metaphysics’. Jacques Derrida, Writing and Difference, trans. Alan Bass (London: Routledge, 1978), 27. For a more detailed engagement with the symbolic significance of light in the history of philosophy, see Jacques Derrida, ‘White Mythology: Metaphor in the Text of Philosophy’, trans. Alan Bass, Margins of Philosophy (Chicago: University of Chicago Press, 1982), 251.
- Naomi Cass, in conversation with the author, 9 December 2006.
- Cutforth describes the photographs as ‘recordings’ in his installation notes for Noon Time-Piece (April) held in the National Gallery of Victoria Collection.
- Cutforth subsequently severed his ties with Ramsden and Burn in February 1970. See Charles Green, The Third Hand: Artist Collaboration from Conceptualism to Postmodernism (Minneapolis: University of Minneapolis Press, 2001), 47.
- Cutforth's longstanding interest in time and perception is also evident in his films including as Tactile Conditions (1969) and Today Is… (1970), and his set of two colour photographs, ‘Sunset/Moonset from Mount’ Teneriffe (1979), which address the ways in which our perception of space, form, and the landscape change in relation to the passage of time and variable light conditions. For more on Cutforth's interest in seriality, time and space, see Jean Fisher, ‘Roger Cutforth’, Aspects 13 (1980-1); Valentin Tatransky, ‘Roger Cutforth’, Arts Magazine (1978), 16.
- Roger Cutforth (artist statement) in Ian Burn, Roger Cutforth, Mel Ramsden (St Kilda: Pinacotheca, 1969), unpaginated.
- See Rosalind Krauss, ‘Reinventing the Medium’, Critical Inquiry 25 (1999), 289–305; Rosalind Krauss, ‘Two Moments from the Post-Medium Condition’, October 116 (2006), 55–62; Amy Baker Sandback, ‘At First Light: A Glance at the Discovery and Early Years of Photography’, Artforum 28, no. 1 (1989), 120–40.
- Tanya Peterson, ‘Marco Fusinato: Photographs’, Photofile 67 (2002), 53.
- Cathryn Vasseleu describes this dual meaning of the term ‘lumen’ in her account of an unpublished PhD dissertation by Zoe Sofoulis. See Cathryn Vasseleu, Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau-Ponty (London and New York: Routledge, 1998), 130, note 15.
- Bernard Smith, Australian Painting 1788–1970 (Melbourne: Oxford University Press, 1971), 82.
- Anne-Marie Willis, Picturing Australia: A History of Photography (Sydney: Angus & Robertson, 1988), 145; Tim Bonyhady, Images in Opposition: Australian Landscape Painting 1801–1890 (Melbourne: Oxford University Press Australia, 1985), 137–154; Julie Roberts, ‘Seeing the Light, Art and Australia 37, no. 2 (1999), 222–31; Ross Gibson, ‘Formative Landscapes’, in Australian Cinema, ed. Scott Murray (Sydney: Allen & Unwin, 1994), 45–59; Francis Ebury, ‘Illuminating the Subject: Towards a Distinctive Australian Pictorial Photography’, History of Photography 26, no. 1 (2002), 38; Gael Newton, Shades of Light: Photography and Australia 1839–1988 (Canberra: William Collins in association with the Australian National Gallery, 1988), 92.
- See Ebury, 34–41; Newton, 92; Willis, 145.
- Harold Cazneaux, letter to Jack Cato, undated, National Library of Australia.
- See Roberts, ‘Seeing the Light’.
- Geoffrey Batchen, ‘“New Vision” and Old Values’, Photofile (Winter 1983), 5.
- Despite the prevalence of heavily mythologised representations of light at this time, sunlight was not always represented in an affirmative way in Australian photography. A desolate, sun-beaten land features in the work of the Australian photographer, film-maker, and graphic designer Geoffrey Collings. Made while researching his film on soil erosion, Hold the Land, Collings's Eroded Mallee Country (1947) confronts us with a sparse, dry, and lifeless landscape littered with the remains of dead trees. The overall impression is of an unforgiving sun in a hot, dry land. Isobel Crombie argues that Collings's photographs demonstrate the photographer's admiration for the dust-bowl photographs of Walker Evans, Dorothea Lange, and Ben Shahn that were produced for the Farm Security Administration in the US between 1935 and 1943. See Isobel Crombie, ‘A Documentary Impulse: Australian Photographer Geoffrey Collings’, Art Bulletin of Victoria 29 (1989), 47–50.
- Martin's early experiments in photographing the sun go back to 1996.
- David Martin, email interview with the author, 5 November 2006.
- Ibid.
- See Briony Downes, ‘David Martin: In Visible Light’, Artlink 25, no. 4 (2005), 45.
- Alasdair Foster, ‘David Martin: Sun Pictures’, Photofile 68 (2003), 54–55.
- David Martin, email interview with the author, 2 January 2007.
- Ibid.
- Ibid.
- Howard Taylor, handwritten note, 1998, published in Gary Dufour, Howard Taylor: Phenomena (Perth: Art Gallery of Western Australia, 2003), 28–29. For more on Taylor's work, see Daniel Thomas, ‘Howard Taylor's World of Light’, Art and Australia 33, no. 1 (1995), 44–45; Gordon Bull, ‘Howard Taylor: Phenomenon in Sydney and Perth’, Art Monthly 168 (2004), 27–30; Ted Snell, ‘Howard Taylor 1918–2001’, Art and Australia 33, no. 1 (2002), 387–88; Ted Snell, ‘Howard Taylor,’ Praxis M 26 (1990), 22–27; and Howard Taylor, ‘Light Source Reverse: A Reflection by Howard Taylor on the Painter's Vision’, Art and Australia 39, no. 3 (2002), 389.
- Bull, 30.
- Taylor, 389.
- David Martin, email interview with the author, 5 November 2006.
- Ibid.
- Ibid.
- Anthony Moran, Australia: National, Belonging, and Globalization (New York: Routledge, 2005), 207.
- Ibid., 9.
- Ibid., 11.
- John Howard, ‘Liberal Party Campaign Launch 2001’ (Sydney, 28 October 2001), http://www.australianpolitics.com/news/2001/01-10-28.shtml (accessed 28 April 2009).
- Bonyhady, 149; Harold Cazneaux, letter to Jack Cato, undated, National Library of Australia
- For more on Thompson's earlier series see Stephanie Radok, ‘A Water or a Lighf, Artlink 21, no. 1 (2001), 46–54; Mireille Juchau, ‘Tears of Ecstasy: Danielle Thompson,’ Eyeline 41 (1999/2000), 52–53; Robert McFarlane, ‘Celebrating the Power of Simple Storytelling’, Sydney Morning Herald, 3 September 1999, 15; Melissa Miles, Danielle Thompson: Marks of Light (Masters exegesis, Victorian College of the Arts, 2003), 30–31; and Robert Nelson, ‘Doors of Perception’, The Age, 26 April 2000, 5.
- Susan Fereday, Graeme Hare Photographs 1985–90 (Melbourne: Australian Centre for Contemporary Art, 1990), n.p.
- Miles, Danielle Thompson: Marks of Light, 21.
- Juchau, 52.
- Ibid., 5.
- Ibid., 9.
- For more on blindness fostering an inner vision, see Jacques Derrida, Memoirs of the Blind (Chicago and London: University of Chicago Press, 1993), 20, 104–117.
- Paul de Man, ‘“Conclusions” on Walter Benjamin's “The Task of the Translator”’, Yale French Studies 69 (1984), 34.
- See Jacques Derrida, ‘What Is a “Relevant” Translation?’ Critical Inquiry 27, no. 2 (2001), 195. Derrida writes that although translation ‘presents itself as the transfer of an intact signified through the inconsequential vehicle of any signifier whatsoever’, it is in fact the product of multiple chains of signification.
- Choose new content alerts to be informed about new research of interest to you
- Easy remote access to your institution's subscriptions on any device, from any location
- Save your searches and schedule alerts to send you new results
- Export your search results into a .csv file to support your research