These tasks may be practiced by one person or shared by a multitude of individuals linked in complex systems.

I refer here to discourses such as Alexander Rodtschenko's The Ways of Contemporary photography (1928), André Bazin's The Ontology of a Photograph(1945),Henry Cartier Bresson's The Decisive Moment(1952),Roland Barthes' The Rhetoric of the Image(1964)to name but a few.

Published by Light Quest publications Pty Limited. The first issue was published as the Sep/Oct. issue in 1977. The Magazine was published by Jean -Mark Le Pechoux it's associate editor was Steven Lojevsky and it's Los Angeles Correspondent (a rather grandiose claim in the first issue) was Graham Howe. The magazine survived only seven bi-monthly issues but was an important catalyst towards local dissemination of photographic theory and images. This task was later picked up by Photofile.

Later the Photographic art critic for Melbourne's 'Age' newspaper.

Max Dupain ,January 1978, Light Vision (No.5, May/June 1978)page 8.

The first art boom marks the significant increase in the demand for contemporary Australian art during the first two decades of the twentieth century.

Art in Australia folded in 1942 and no national art magazine was published until Mervyn Horton and Sam Ure Smith re-started Art and Australia in 1963.The only widely circulated communication material about contemporary Australian art between 1942 and 1963 consisted of newspaper reviews and the modest Contemporary Art Society Broadsheet. (see Ian Burn et all.: The Necessity of Australian Art (Power Publications, Sydney, 1988)Part B for a detailed analysis of the atmosphere surrounding Australian art practice during the post war years. Anne Marie Willis: The Visual Arts Board and Contemporary Australian Photography in Poto Discourse, Sydney College of the Arts,1981,page 172.

Loc, cit.

Graham Howe (Ed)New Photography Australia: A selective survey, (The Australian Centre for Photography Limited,Sydney,1974).

Ibid., page 5.

Willis, op.cit.

James Mollison,Director of the Australian National Gallery in Canberra and known to most Australians as the man who purchased Jackson Pollock's Blue Poles for 2 Million Dollars, became the administrator and selector of the Phillip Morris Art Grant. When the collection was first unveiled at the Adelaide Festival for the Arts in 1976 it contained 83 works by 14 photographers.At the next showing of the collection during the 1979 Sydney Biennale it had grown to incorporate 528 works by 88 photographers. See appendix 2 (individual profiles for details)

Light Vision, which was published and edited by Jean Mark LePechoux lasted for eight issues (including one double issue)from Oct/Dec 1977(issue one) to Nov/Dec 1978 (issue eight)

Light Vision No.3 pp 20-29.

Light Vision No. 1 pp12-21. Other examples include Tony Perry's glowing references to the contributions to Australian Photography by William Heimermann and the 'Photographers Gallery' in his article Australia:looking for a photographic identity in Printletter No.25, Vol5 No.1 and Peter Turner's interview with Paul Cox in Light Vision No.2, pp 24-29.The 'Special Australian edition' of Light Vision in July/October 1978 (Vol 6&7) became a showcase for photographers represented and selected by the Photographers Gallery (a number of whom were also 'Correspondents' for Light Vision at the time

Cy Elliot , Editor and publisher of the journal Photo Gallery Australia states in a readers letter published in Light Vision No.5, May, June 1978 page 32 that"For those who have wondered what happened to P.G.A., let it be said that it was doomed to failure from the start. The primary reason was my own shortcomming as a business manager and inexperience in publishing . Other reasons were the inadequate quality of reproduction , a general lack of acceptance of editorial policies by Australias better photographers , and a pathetically misdirected publicity effort.

Light Vision appears not to have published a post-mortum of it's failure but it can be said that it appears to have suffered from a mis-calculation of production costs which failed to be balanced by the magazine's $ 2.70 per issue price. Patrick Mc Caughey, "After Greenberg : New bearing or old directions?" in Meanjin, (Vol.XXVII No.4, Summer 1968) page 480.

Loc cit.

Paul Taylor Editorial: On Criticism in Art and Text No.1, Autumn 1981, page 6

Leonie Reisberg(Australian)M.F.A. Chicago 1977, lecturer at Torrens Institute , Adelaide 1979 and later at School of visual and Performing Arts, Newcastle. Ed Douglas(American) M.F.A. San Francisco University 1969, Head of Photography at Torrens Institute 1977. Douglas Holleley(Australian) M.F.A. U.S, Lecturer Canberra School of Art and later Sydney David Stephenson (American) M.F.A. University of New Mexico, Albuquerque 1982, Lecturer in photography at the Tasmanian school of Art in Hobarth since 1983 Mark Hinderacher, (American) M.F.A.Lecturer, Newcastle College of Advanced Education Alex Syndikas, (Australian) M.A. Rochester, New York 1985, Lecturer in photography at R.M.I.T. M.A. Rochester, N.Y.1985 since 1986.

These photographs, amongst them some topographical works by Nicholas Caire, were later transferred to the Department of lands along with reproductions of famous paintings, plaster of Paris casts of antique sculpture and other 'impure works of art'.

see Anne Marie Willis's comments in her article 'Constructing Photographic history at the Australian National gallery' in Art Network (Issue No.9, Autumn 1983) pp. 16 -22.

Ibid.,.page 21.

Isobel Crombie, Helen Ennis, Martyn Jolly and Ian North International Photography 1920-1980(Australian National Gallery, Canberra, 1982).

Tony Perry: 'Australia : Longing for a photographic identity' in Print Letter No.25 January/February 1980 Vol5No1 page 9.

Fiona Hall and Max Pam were selected by Isobel Crombie and Sandra Byron for the Halmark Cards Australian Photographic collection which was exhibited as : Twenty Australian photographers and accompanied by a catalogue with this title published by the National Gallery of Victoria (1990).

The list should also include such names as Grant Mudford, Helmuth Newton, Robert McFarlane and Barry Flakelar.

The first photograph in Australia was produced by Captain Lucas who's stay only extended for some 2 months after his arrival on March 29, 1841. Other photographers such as George Baron Goodman practiced a photographic business for a few years (Dec.1842-1847) before returning home or moving from Australia to other locations. Such practitioners include W.S.Jevons (arrived 1856 departed April 1859), Barnett Johnson (1859-1863)Charles Wilson(arrived and departed in 1862), Fred Hardie(1892-1893) and Mrs Brown-Potter who came to Australia on two occasions between the years 1890 and 1896.

After Australian art.

Interview with the writer recorded on 28.11.1991.

Loc.cit.

A term frequently used by curators and writers. e.g. Helen Ennis Australian Photography: The1980's catalogue for an exhibition by this name at the Australian National Gallery, Canberra, 1988. Despite the fact that many of the photographs in the exhibition featured an Australian referent, some clearly did not. For example the Bill Henson series Untitled 1983-1984 portrays New York heroin addicts juxtaposed with details of European Art Galleries and Palaces. Garry Catalano states that: 'at some point in the mid 1950's Australia began to experience a cultural awakening and coming of age. People with an interest in Art once again talked of an indigenous form of expression, and took it as accepted that such a thing was clearly different from parochialism, while visitors like the English gallery director and art critic, Bryan Robertson, marvelled at Australia's 'fresh cultural identity'. Garry Catalano The years of hope, Australian Art and Criticism 1959-1968 (Oxford University Press, Melbourne 1981)page 13.

'1984 will go down in Australian cultural history as one of those years which seem to have occurred every decade since the 1940's when Australia has attempted to break into the international scene. In the past it has always been either a complete embarrassment or interesting in the oversees context as long as the show has been on. 1984 looks like being very much the same . The 'old' Visual Arts board of the Australia Council under Nick Waterlow and Anne Lewis , was determined to make Australian art visible in the states and Europe regardless of the financial or aesthetic costs; the 'new' Visual Arts Board , under Ross Wolfe and Betty Churcher seem largely oblivious to what it all means. As far as one can make out there is no longer an international policy (despite V.A.B. policy meetings earlier this year) and with the closing of the Guggenheim exhibition in November one can expect to hear no more of the expensive forays overseas by Australian artists (some of whom must be so jet lagged by now they must be breathing a sigh of relief)" Peter Thorn 'Incest' in Art Network, Spring 1984, page 5.

In an article published the Sydney Morning Herald ( 31st May 1980).

Symposium and exhibition organized and curated by Garry Sangster and Brendon Steward at Artspace, Sydney, 10 July to 4 August 1985.

From a transcript of Adrian Martin's address reprinted in On the Beach No.( under the title 'The tracks of my tears'page 4.

Refer to my text reference to Captain Lucas's photograph on May 13th,1841 on page 6, chapter one

Wolfgang Sievers Collection.

From the N.G.V. Collection.

From the A.N.G. Collection.

From the A.N.G. Collection.

Kathryn Millard, Light Years a 47 minute V.H.S. videotape released by Ronin films A.C.T.

At the time of writing the following positions are held by females: Gallery of New South Wales, Department of photography: Sandra Byron, National Gallery of Victoria, Department of Photography : Isobel Crombie, Australian National Gallery, Canberra, Director: Betty Churcher, Department of photography: Gael Newton. Victorian Centre for Photography Director Susan Feraday.

While Tea Cup Ballet is arguably as accomplished as say Florence Henri's Abstract Composition with Plate ,1931(plate 4) or Aenne Bierman's Composition: Eggs in a String Bag c.1932 (plate 5), historically speaking it must be seen as derivative. Ralph Steiner's Typewriter Keys 1921-22 (plate 6 ) is pre-cursory. So is the work the work of Margaret Watkins whose professional career had many similarities with Cotton's own: Watkins had learned her skills at the Clarence White School of photography (see Rosenblum pp 490-91) but she too found, like Cotton, that she could work in the style of the 'New Objectivity' and satisfy commercial clients as well as her own artistic requirements.(see plate 461 ,Rosenblum, page 491)

Freda Freiberg, "Upstaging the history of Australian Photography: the case of Wolfgang Sievers" in Fotofile, Autumn 1988

Ibid., page 5

Peter Sarah, Director the Arts and Entertainment for the Australian Bicentennial Authority states that : 'The 1988 national Bicentennial arts program was the most ambitious, comprehensive and successful arts event ever organized in this country. Produced by a partnership between the Australian Bicentennial Authority and Australia's art community, and with federal Government funding of $ 17 million, the program provided an opportunity to nurture and highlight a wide range of creative potential and talent. For an estimated audience of 5.3 million, more than 6500 artists participated in 120 productions, exhibitions, developmental projects, publications and events.' in the introduction to , Sarah Overton(Ed)Australia's Bicentennial Arts program 1988(Australian Bicentennial Authority, Sydney, 1989).

Hughes, op.cit.

The results of this project were published. McConville, McGillivray and Nickson op.cit.

The date was chosen because it marks the centenary of the announcement of Daguerre's invention.

For a review on the Book by this title see Joyce Evans: 'Private lives, Public heritage. family snapshots as history. Weston Bate, Ewan Mc Gillivray and Mathew Nixon' in Fotofile, (Winter 1987),pp26-27

David Benett:'Cultural Heritage and the Archive : Identity as property' in Photofile, (Autumn 1989) p.18

Loc.cit.

Hripsime Visser: 'Confrontations' in Perspective (No.38, May 1990), page 38

Whereas another by the same photographer accuses the complacency and political naivety of the Dutch government.with 'Riots in support of the Hungarian uprising outside the Felix Merites building , the head office of the Dutch Communist party in Amsterdam, 1956', a photograph taken during the Dutch Governments armed response to a spontaneous show of public solidarity with the Hungarians behind the 1956 uprising. Ibid, page 37.