Volume 43, Issue 1, 2019, pages 60-83
Martyn Jolly & Daniel Palmer
Among the various new modes for making photographs that were explored by Australian photographers in the first decades of the twentieth century, three in particular – Pictorialist images, authentic records, and personal snapshots – had far-reaching implications for the institutions of Australian photography. Pictorialist photographs are now the foundation of many Australian art museum collections; photographic records produced at the time have become iconic in Australian public history, forming the backbone of many social history collections; and personal snapshots from the period are increasingly reproduced in social histories. Historians of Australian photography have discussed and analysed each of these modes1, but they have tended to treat them separately, or even in opposition to each other, and to concentrate on the distinct careers of individual photographers. This article looks at this crucial period, and these key photographic modes, from the point of view of the worldwide networks and systems for the distribution, exhibition, collection, and indexing of photographs. We show how these modes, far from being distinct, overlapped one another as each grappled with the same issues of nation, history, and memory, and as each articulated their nationalistic concerns through international networks and idioms.