Many thankx to Tom Goldner for allowing me to publish the photographs in the posting. And then I ask, is that innocence enough? That is their glorious strength: their clarity of vision, their ability to celebrate the here and now, which can be witnessed every day in the passes and peaks around the Mont Blanc regions of France, Italy and Switzerland. Goldner’s photographs show the everyday, just how it is. There is nothing transitional, transnational, or transient about these images – no movement from one state to another as in a “passage” – and certainly no discernible difference from one year to the next. This is where the title of the exhibition and words supporting it are confusing. This is the natural state of being of these places and he pushes no further. In this sense his everyday skies undercut the dramatic romanticism of place by allowing the possibility that these images (or variations of them) could be taken day after day, year after year. There is no waiting for a particularly dramatic sky, the artist just takes what he sees. Goldner celebrates photography by allowing the camera to do what it does best – capture reality. However, the photographs contain a certain innocence: not the romantic, isn’t the world grand BUT this is the world. Photography is heir to a certain idea of the mountains and of the sublime, closely linked to pictorial romanticism.” In Goldner’s work, this romanticism is subdued but still present: reflection in lake, mist over treetop, and the capture of human figures in the landscape to give scale to the great beyond, a feature of Victorian landscape photography, mountain or otherwise. As the text from the recent exhibition at the Musée de l’Elysée Vertical No Limit: Mountain Photography observes: “… photography invented the mountain landscape by revealing it to the eyes of the world. Goldner is working in the formalist way of modernist photographers and in a long tradition of mountain photography – a combination of travel, mountaineering and fine-art photography.
Just the pure pleasure of looking at the wondrous landscape.
No worrying about crappy, digital ink-jet prints which don’t do the tableau justice. It is such a pleasure to be able to walk into a gallery – in this case, one located in the recently restored Young Husband Wool Store in Kensington: a building originally built in the late 1800s which is now home to a vibrant community of artists, musicians, designers and makers – to view strong, fibre-based analogue black and white photographs printed by the artist from medium format negatives. Tags: Aiguille du Midi, analogue black and white photography, analogue photography, Australian artist, Australian photographer, Australian photography, black and white photography, Col de la Seigne, fine art photography, Fox Darkroom & Gallery, landscape, landscape photographs, landscape photography, medium format, medium format camera, medium format film, Mont Blanc, mountain photography, mountaineering, mountaineering photography, mountains, Selenium-toned silver gelatin print, silver gelatin print, silver gelatin prints, The Alps, The Fox Darkroom & Gallery, Tom Goldner, Tom Goldner Aiguille du Midi, Tom Goldner Col de la Seigne, Tom Goldner Hill, Tom Goldner Lake, Tom Goldner Pines, Tom Goldner Rocks, Tom Goldner Valley, Tom Goldner Window (a), Tom Goldner Window (b), Tom Goldner: Passage, travel photography, Vertical No Limit, Vertical No Limit: Mountain PhotographyĮxhibition dates: 5th May – 21st May, 2017 Categories: Australian artist, Australian photography, beauty, black and white photography, documentary photography, exhibition, existence, gallery website, landscape, light, Melbourne, photographic series, photography, reality, space, time and works on paper
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