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With only 27 photographs from various artists 18 of which are shown in this posting , this exhibition can only ever be seen as the runt of the litter. I would have thought such a large area of photographic investigation needed a more expansive exposition than is offered here. There are no light leaks, blur, fingers obstructing lenses, double exposures — all examples of serendipity and happenstance which could enter into an aesthetic arena.
Vernacular photographs are types of accidental art, in that they often are unintentionally artistic. A perfect example of this are the photographs by Sue Ford Sue Pike, , printed , below , Anne Zahalka The girls 2, Cronulla beach, , below and Fiona Hall Bondi Beach, Sydney, Australia, October , below which have an air of ceremonial seriousness that belies their classification as part of this exhibition.
This exhibit does not present vernacular photographs as just that. As the article on the One Street blog notes, what is being exhibited is as much about what has been collected by the AGNSW, its methodical and historicising classification, as it is about vernacular photographic form: chance, mistake and miscalculation. Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in the posting.
Please click on the photographs for a larger version of the image. It could be understood as an oppositional photography — outside technical or artistic histories, yet, especially with the snapshot, it could also be entirely conventionalised, a manifestation of visual banalities, or an image so enigmatic that its meaning or genesis is entirely obscured. Is this a category we are making up? No longer available online. But I soon recognised that these objects represented a significant challenge to the predominant history of photography.