Isobel Crombie

Laurie Duggan’s study of ‘imagined space’ in Australian visual culture arrived on my desk, with a certain synchronicity, the day after I saw the film Memento. In their distinctive ways, both these works seem indicative of our age, offering unstable and fractured accounts of space and time at a moment when virtual reality seems to be untying our formerly fixed Western notions of these concepts.

What makes a good architectural photograph? In an ideal world, it is the product of a dialogue between the architect’s intentions for his or her building; the built form and its synergy with its environment; and the photographer’s ability to interpret these elements in a creative and dynamic way. A successful photograph should offer a clear visual representation of a building, but it should also capture its defining spirit. And there is one final element which often remains an unspoken, if fundamental, part of this process: the role of photography in ‘selling’ a building. So it is interesting that this large book celebrating the work of John Gollings begins with a quote by the great American architectural photographer Julius Shulman, which states, in part, ‘the truth is that I am a merchandiser. I sell architecture better and more directly and more vividly than the architect does.’

This fabulous-looking fiftieth issue of the National Gallery of Victoria’s more or less annual art journal, with its traffic-stopping Rosalie Gascoigne cover, is a birthday package. This year marks the Gallery’s 150^th anniversary, and the essays in this Art Journal of the National Gallery of Victoria together reveal much about what the institution has been doing since its foundation in 1861. There are twenty-six articles by twenty-seven authors; twenty-two of them current NGV staff members, including the current director and his deputy. It is a great team effort and a beautifully produced volume, with excellent spot-gloss-varnished illustrations throughout, presenting original scholarly research in an enjoyably accessible format.

In the relatively small field of Australian photographic publishing, Frank Hurley has attracted more than his share of attention. The reasons are clear: in the contemporary world, bound by prohibitions, Hurley is a photographer–adventurer of heroic proportions.

Helen Ennis’s book Reveries: Photography and mortality, published by the National Portrait Gallery in Canberra to accompany her recent exhibition, is a fascinating choice of subject for an institution that deals with portraiture. As the author notes, ‘In the face of mortality the touchstones of portraiture are gently nudged aside … to encompass the possibility of dissolution or dispersal of self.’ This expanded definition of portraiture is apparent from the cover of this sensitively designed book, which features a photograph by Ruth Maddison. Titled The beginning of absence, the photograph shows a domestic interior dissolving into light and suggests Maddison’s feelings when confronting the imminent death of her father. It is a ‘portrait’ composed not of physical detail but emotion, and is no less descriptive of a person and a relationship for that.