The Photographers' Gallery and Workshop: Difference between revisions

By showcasing the [[Gelatin silver process|silver gelatin]] 'fine print’ Lobb and Heimerman hoped to improve Australian work by example,<ref name=":1">{{Cite web|url=https://photocurating.net/?page_id=194|title=Timeline {{!}} Curating Photography|language=en-US|access-date=2019-09-22}}</ref> as Lobb observed, "From 1975, every second show was an international show [. . .]<ref name=":0">Tony Perry, ‘Australia: Longing for a photographic identity’. In Print Letter No.25 Jan/Feb. 1980 Vol 5 N0.1 p.8- 9</ref> The initial philosophy was simply to let people see the physical difference between the production of prints overseas and locally.”<ref name=":1" /> In a period when feminist photography was on the ascendant, the gallery's emphasis on the "American West Coast 'fine print' tradition" rather than subject matter, and its preponderance of male exhibitors, was decried by some Australian women photographers as "technocratic and patriarchal."<ref>Joyce Agee, 'Introduction'. In {{Citation | author1=Bennett, David | author2=Agee, Joyce | author3=Victorian Centre for Photography | title=The thousand mile stare : a photographic exhibition | publication-date=1988 | publisher=The Victorian Centre for Photography Inc | isbn=978-0-7316-2054-8 }}</ref> [[Beatrice Faust]], an 'Age' newspaper reviewer however was supportive, and in 1987 hosted ''Beatrice Faust Curates: From Boubat to Fereday'' at the gallery featuring male and female photographers.<ref>{{Citation | author1=Wolfe, Ross | author2=University of South Australia | title=Samstag : the 1995 Anne & Gordon Samstag International Visual Arts Scholarships | publication-date=1995 | publisher=University of South Australia | isbn=978-0-86803-134-7 }}</ref><ref>{{Citation | author1=Moorhouse, Kaye | title=Palimpsest | publication-date=1990 | publisher=University of Tasmania | isbn=978-0-85901-455-7 }}</ref>