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Eva Fernandez Finalist in the 2020 John Stringer Prize John Curtin Gallery 12 November – 13 December 2020 November 28, 2020

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Eva Fernandez’s entry into the 2020 John Stringer Prize  present her investigation into Spanish identity, examining contemporary issues of global displacement, transgenerational trauma and the Spanish Diaspora scattered across the twentieth century. Born in Canada, displaced as a consequence of the Spanish Civil War, her works traverse time and place imbued  with Spanish history, echoing and weaving narratives across centuries and continents, from the monarchies of of the Spanish Empire to the dictatorship  of the Spanish Civil War, to the Spanish monastery in New Norcia 130 kilometres north of Perth in Western Australia. These works embody traces, voices, memories and images from the past that are blended and embedded in Fernandez’s ownhistory, encounters and interpretation.

This exhibition builds on her previous work at the Art Gallery of WA, and the Fremantle Arts Centre and in Taipai, as part of a sister city relationship with Perth.


16 NOVEMBER 2019 – 1 MARCH 2020

Wallowing in Mud Perth Zoo. Images courtesy of Danielle Henry Media, Marketing and Communications Manager November 26, 2020

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Putra Mas Bull Elephant Perth Zoo Image

Welcome to summer. Thanks to Midland Brick, who provided a load of clay, the two heavy weights of the Zoo, bull elephant, ‘Putra Mas’ and ‘Memphis’ the rhino got down and dirty by cooling off in new mud wallows. Memphis particularly loved it, laying down and splashing around to his heart’s content. Mud is really important for rhinos, it acts as a insect and fly repellent and also a sunscreen, protecting their skin from the harsh summer sun.

Memphis in the mud Image Perth Zoo

Danielle Henry –Media, Marketing and Communications Manager

BLACK SUN Photos Søren Solkær November 19, 2020

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Black Sun is an ongoing project by Danish photographer Søren Solkær, who began visiting the marshlands of southern Denmark a few years ago to capture the mesmerizing starling murmurations that comprise up to a million birds.

The giant flock darkens the sky with its ever-changing shapes.

“As the countless birds congregate in large murmurations before collectively settling in the reeds at dusk they put on an incredible show of collaboration and performance skills,” Solkær writes. “And now and then, by the added drama of attacking birds of prey, the flock will unfold a breathtaking and veritable ballet of life or death.

“At times the flock seems to possess the cohesive power of super fluids, changing shape in an endless flux: From geometric to organic, from solid to fluid, from matter to ethereal, from reality to dream – an exchange in which real time ceases to exist and mythical time pervades,” the photographer says. “This is the moment I have attempted to capture – a fragment of eternity.”

Black Sun is now available as a photo book in Solkær’s online shop. You can also find more of his work on his websiteFacebook, and Instagram.

Why Print News Still Rules: Jack Shafer POLITICO November 14, 2020

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Each time my newspaper delivery runs late, as it did last Saturday morning, and I’m forced to the Web for my early dose of news, I’m reminded how reading the news online pales compared to reading it in newsprint.

Don’t get me wrong: I’m not some aging dead-ender who wishes it was 1995 and not 2016 and this Web thing would go away. I’ve been an online journalist for 20 years. I get most of my news from the Web as it flows to my desktop, my tablet, my phone, and now my watch. Is the cabbie playing news radio? I listen. Walking through the POLITICO newsroom I inhale the news from the TV screens that cover the walls. When it comes to news, I’m an ocean that refuses no river.

But when it comes to immersion—when I really want the four winds of news to blow me deeper comprehension—my devotion to newsprint is almost cultistic. My eyes feel about news the way my ears feel about music driven from a broken pair of speakers—distorted, grating, and insufferable. Reading online, I comprehend less and I finish fewer articles than I do when I have a newspaper in hand. Online, I often forget why I clicked a page in the first place and start clicking on outside links until I’m tumbling through cyberspace like a marooned astronaut.

As a more rudimentary form of media, newsprint has the power to focus me. It blocks distractions. Give me 20 minutes with the newsprint version of the Times and I’m convinced I could clobber anybody in a news quiz who used the same time reading from the Times website. (Make no mistake, I like the Times website!)

What accounts for print’s superiority? Print—particularly the newspaper—is an amazingly sophisticated technology for showing you what’s important, and showing you a lot of it. The newspaper has refined its user interface for more than two centuries. Incorporated into your daily newspaper’s architecture are the findings from field research conducted in thousands of newspapers over hundreds of millions of editions. Newspaper designers have created a universal grammar of headline size, typeface, place, letter spacing, white space, sections, photography, and illustration that gives readers subtle clues on what and how to read to satisfy their news needs.

Web pages can’t convey this metadata because there’s not enough room on the screen to display it all. Even if you have two monitors on your desk, you still don’t have as much reading real estate that an open broadsheet newspaper offers. Computer fonts still lag behind their high-resolution newsprint cousins, and reading them drains mental energy. I’d argue that even the serendipity of reading in newsprint surpasses the serendipity of reading online, which was supposed to be one of the virtues of the digital world. Veteran tech journalist Ed Bott talks about newsprint’s ability to routinely surprise you with a gem of a story buried in the back pages, placed there not because it’s big news but because it’s interesting. “The print edition consistently leads me to unexpected stories I might have otherwise missed,” agrees Inc. Executive Editor Jon Fine. “I find digital editions and websites don’t have the same kind of serendipity—they’re set up to point you to more of the same thing.” Reading a newspaper, you explore for the news like a hunter in a forest, making discoveries all the way. The Web offers news treasures, too, but they often feel unconnected to one another, failing to form a daily news gestalt.

Reading a newspaper is a contemplative exercise that can’t be matched by a screen. Is it because you hold it in your hand? Probably not. Scholars agree that reading retention suffers on a Kindle compared to a book, and that it doesn’t allow for the deep immersion of its paper cousin. Likewise, the literal physicality of a newspaper signals useful information to readers. Picking up a daily newspaper, you can gauge by the feel how much news there is today, something a Website can’t do. Just as the dimensions of a dinner plate communicates how much one should eat, the dry weight of a daily newspaper gives the reader signals about how much they need to read to reach news satiation. Not so on the Web, where no matter how much you read, you feel like you missed something important.

Newsprint’s superiority became obvious to me this summer when circumstances prevented early morning delivery of three dailies—the New York Times, the Washington Post, and the Wall Street Journal. I did my best to keep informed by spending about a half hour on each newspaper’s website, scrolling and clicking. Later in the morning when the newsprint versions were delivered I was astonished to find how many worthy stories I had skipped or bailed on when reading online. To make the audiophile analogy again, the news presented in newsprint regained its full fidelity. The stories made sense in relation to one another. I felt like I was reading something whole, not something slivered.

I tested my online-newsprint thesis earlier this year by switching my Financial Times subscription from the newsprint edition to the Web product. The Financial Times is one of the world’s most beautiful newspapers. The Web edition has recently been redesigned. The experiment exonerated my prejudice for newsprint, as you may suspect. I can’t find what I want to read on FT.com, I can’t keep track of my favorite columnists the way I could in the newsprint edition, and the paper’s weekend edition, a bouquet of news, reviews, opinions, lifestyle and arts coverage and essays, seems like a scattered mess online. At renewal time, I will return to the Financial Times‘ newsprint version.

Raju Narisetti, a longtime newsman now working as an executive at News Corp., expresses my prejudices when he speaks of the mentally decadent pleasures of enjoying newsprint. “There still is nothing like the laid-back, Saturday morning on the couch, with the New York Times and the Wall Street Journal newspapers on hand, coffee nearby, WNYC playing NPR on Amazon Alexa, and iPhone6 ready to tweet out interesting print stories, for me.” But Narisetti isn’t doctrinaire about it. When the weekday comes, he turns digital only, reading from his phone during his commute.

Communications scholar Pablo J. Boczkowski doesn’t dispute most of my overview, but he suspects that my newsprint preference may be generational. “Young audiences have the opposite experience that you conveyed in your message: even when they have a newsprint newspaper available, they privilege digital news because of their superior ‘usability’—this is a very consistent finding across interviews,” he says, all but predicting that when I die I’ll take newspapers to hell with me. C.W. Anderson, a CUNY media professor, thinks “the routines you create for yourself around the technology” determine how consumption is internalized, and that may help explain my newsprint fixation. Pablo and C.W. might be right, but I would argue the newsprint routines I can create for myself are consistently superior any I can create for my online routines.

I will concede that online exceeds newsprint in several major arenas. Print is expensive. Online is cheap or free. Online is easy to search, its archives are quickly obtainable, and its stories can be shared and copied with ease. Online stories contain valuable links. Print? Uh-uh. Online is constantly updated while newsprint rests there in a pile, slowly decomposing and begging to be recycled.

 I may be romantic about newspapers, but I’m not a sap. Typically, I keep my laptop or phone nearby when I read the newsprint editions so I can share or copy an interesting piece. The irony that my pro-print, anti-Web manifesto is appearing online and not on paper is not lost on me. As I’ve already said, I love the immediacy of the Web, the way it generates immediate feedback in email and on Twitter, and its general superiority as a distribution technology. But when it comes to really taking something in, the difference between reading online and newsprint is like the difference between driving to the neighborhood grocery store and walking. Reading online speeds things, usually to the point that they begin to blur. But reading newsprint slows you down, giving your news absorption a “human scale” feel, and lends clarity to the experience. News is best sipped like whiskey, not chugged like beer.
As bad as they are, news Websites are getting worse and have been getting worse since the commercial Web took off in late 1995 and mid-1996, and sites like Salon, Slate, Feed, and others started experimenting with the form. At first these sites pulled the reader in with designs that encourage an immersive experience. Gander awhile at these Slate classic pages, which the brilliant Bill Flora stirred up out of pixel dust. In the beginning, Slate published about seven or eight stories a week, and like the print magazine we were trying to ape, published just once a week. The layouts didn’t scream at you to visit other pages. There were no interstitials. White space filled the pages like summer clouds. The ad-load didn’t overwhelm. The illustrations were as good as the copy. The site used page numbers to give you a sense of how big the “issue” is, so you didn’t get lost in a sea of copy. It whispered, it didn’t scream. It said, here’s the best we’ve got with the stories it published.

Today, it seems like Slate and most of its competition use every available square inch of screen real estate to place ads and those annoying (paid) Outbrain refers to stories on the Web. (Instead of destroying Gawker, Peter Thiel should have gone after Outbrain.) A sense of “Where You Are in Slate” doesn’t exist, just a never-ending cascade of stories, much like every other site on the Web. I count more than 100 stories screaming for my attention on the cover today (8/24), with only about a dozen pieces emphasized with art or a type treatment. (Disclosure: I worked at Slate for its first 15 years on the Web before I was laid off. They treated me like a prince while I was there. Slate isn’t the worst offender on this score; I merely pick on it because I love it—and because it provides a great contrast to how far all of the Web has fallen in the past two decades.)

What is to be done? As long as news sites measure their success on clicks and feed their metrics by publishing a swelter of copy and hoping that something will catch fire, I can’t imagine anything changing. The New York Times and the Wall Street Journal, which don’t depend on raw click numbers, both mirror the print version’s layout (NYT publishes 150 in print on weekdays and 300 on Sunday; the WSJ about 240) with online apps. Here you can glean what the editors thought to be important and what they thought was optional or supplemental. While the apps aren’t beautiful like Slate classic, they both preserve the context found in the original. Software like Microsoft’s Photosynth allows images (print, too) to be placed in mouse-drive spatial context with other images and text, and if used smartly could give shape to the news. (Spend a few minutes fooling around with Photosynth and you’ll see what I’m talking about.)

I’m not lost stumbling in the past, mind you. I understand that today’s home page is nowhere near as important as the home page of 1996. For some time, readers have entered sites sideways, depending on referrals from social media, aggregation, or RSS feeds to guide them to articles. So I’m not saying, “Let’s go back,” but to say that maybe picking your news site by leaping haphazardly from one poorly designed article to another because somebody shared it with you might not be the best way to soak up the news. Hierarchy can be a good thing.

I know print is doomed to be erased by the Web, so let me offer a few a modest requests for site designers, editors, and publishers. Don’t completely forsake the design language that made newspapers great and informed readers for generations. Bring back design hierarchy! Abandon the “throw it on the Web and see what happens” ethos! Don’t try to trap me on your site like a rat in a maze, forever clicking. Do what newspaper design has long done—direct the reader to that which is vital, tease him with that which is entertaining and frivolous, and give him a sense of a journey completed by the time he hits the last pages.

“Putting journalism first” is another way of saying it. I fear that unless somebody speaks up for good design we’ll lose this precious inheritance, making the digestion of news a cruel, click-crazy experience for newshounds like me. If only publishers can be persuaded to care more about who reads their content and less on how much they read.

The newspaper end is near. I hope something approximating its glory will replace it. Until then, I will wake at 5 a.m. waiting for the sweet sound of my dailies making their triple-thump on my doorstep.

Did the Newspaper Industry Make a Colossal Mistake? JACK SHAFER : POLITICO November 14, 2020

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Jack Shafer  senior media writer at POLITICO

What if almost the entire newspaper industry got it wrong?

What if, in the mad dash two decades ago to repurpose and extend editorial content onto the Web, editors and publishers made a colossal business blunder that wasted hundreds of millions of dollars? What if the industry should have stuck with its strengths—the print editions where the vast majority of their readers still reside and where the overwhelming majority of advertising and subscription revenue come from—instead of chasing the online chimera?

That’s the contrarian conclusion I drew from a new paper written by H. Iris Chyi and Ori Tenenboim of the University of Texas and published this summer in Journalism Practice. Buttressed by copious mounds of data and a rigorous, sustained argument, the paper cracks open the watchworks of the newspaper industry to make a convincing case that the tech-heavy Web strategy pursued by most papers has been a bust. The key to the newspaper future might reside in its past and not in smartphones, iPads and VR. “Digital first,” the authors claim, has been a losing proposition for most newspapers.

These findings matter because conventional newspapers, for all their shortcomings, remain the best source of information about the workings of our government, of industry, and of the major institutions that dominate our lives. They still publish a disproportionate amount of the accountability journalism available, a function that’s not being fully replaced by online newcomers or the nonprofit entities that have popped up. If we give up the print newspaper for dead, accepting its demise without a fight, we stand to lose one of the vital bulwarks that protect and sustain our culture.

Chyi and Tenenboim studied the total in-market (i.e., local) online readership of 51 top U.S. newspapers (excluding the national newspapers—the New York Times, the Wall Street Journal and USA Today) and found depressing results. Few of them have experienced any growth since 2007, the point at which the online versions had been available for about a decade, making it a mature product. In fact, more than half have lost online readers since 2011, a finding that shocked Chyi, putting mean online readership for the 51 newspapers in the study at about a third that of print.**

As she explains, the circulation of the supposedly dying print product may be in decline, but it still reaches many more readers than the supposedly promising digital product in home markets, and this trend holds across all age groups. For all the expense of building, programming and hosting them, online editions haven’t added much in the way of revenue, either.

For years, the standard view in the newspaper industry has been that print newspapers will eventually evolve into online editions and reconvene the mass audience newspapers enjoy there. But that’s not what’s happening. Readers continue to leave print newspapers, but they’re not migrating to the online editions.

From the paper: “[W]hile print readership is declining, newspaper readers did not drop print in favor of the same newspaper’s online edition. The identified performance gap between newspapers’ print and online products challenges the ‘digital first’ view about the future of newspapers.”

Chyi and Tenenboim don’t deny the obvious mass migration of news consumers to the Web, but they note that most readers go to news aggregators, like Yahoo News, Google News, CNN.com, MSN and other non-newspaper sites. In a 2012 Pew study, 26 percent of respondents cited Yahoo as a news source they used most often; 17 percent named Google, with 11 percent naming MSN.com. Only 5 percent of poll respondents named the New York Times as a top news destination; 3 percent the Wall Street Journal; 2 percent USA Today; and 2 percent the Washington Post.

Not only do news aggregators dominate national news consumption, they dominate local news consumption, too, as Chyi and Tenenboim reported in a 2009 study, despite the best efforts by local newspapers: “Among the top 67 local newspapers in the United States (with circulation of 100,000 or above), only 13 were the number 1 online news destination in their local market.”

The financial performance of online newspapers is “underwhelming,” they declare, with total newspaper industry digital advertising revenue increasing from $3 billion to only $3.5 billion from 2010 to 2014. Yes, total newspaper print revenues have plunged from $22.8 billion to $16.4 billion over the same period, but they still represent 82 percent of total newspaper revenue. Only the New York Times and the Wall Street Journal have succeeded in attracting a mass audience willing to pay for paywalled online editions, but they are national, not local newspapers.

Despite all the resources thrown at online editions, why are most such a miserable failure? In a 2013 book, Chyi offers her “Ramen Noodle Theory,” which states that readers avoid online newspapers because in comparison to their print versions, they’re an inferior good. This theory—as you can guess, if you read my recent valentine to newsprint—makes my bunnies hop. Online editions offer a “less-than-satisfactory” reading experience, she writes, cluttered with intrusive ads and hampered by poor design. Also, online editions tend to be perceived as inferior to the paid-for print product because they’re free, plus the “tangible” nature of newsprint gives it an edge in readers’ minds over the pixel product. One 2012 survey found that 66 percent of users prefer the print version of their daily over the Web edition. Even a majority of young readers prefer print, the Chyi-Tenenboim study reports. All this may explain why visits to the 51 major newspaper websites don’t last long—about two minutes for the Chicago Tribune, for example. Only two newspapers of the bunch—the Austin American-Statesman and the Washington Post—have ever exceeded 20 percent of local residents with their online versions. The 2015 industry average is 10 percent of local residents.

What, then, should newspapers do? In her book, Chyi counsels press barons to accept that few of them can possibly pursue a successful online strategy and adjust their distribution battle plans accordingly. Accept that the days of 25 percent-35 percent profit margins will never return, and cope with the 5 percent profit margins that are more like the profit margins of the average S&P 500 company. If publishers insist on an online edition, institute some sort of a paywall to convey that the content has value, a signal that might benefit the performance of the print product too. Should they invest more heavily in their online sites to make them attractive? My sense is that would be throwing good money after bad. Nobody is asking me, but if a newspaper company wanted to make a real splash on the Web, it would be better off inventing an original website—the next Business Insider or BuzzFeed—and not remodel its newspaper copy.

Chyi remains bullish on newspapers, rejecting the self-fulfilling prediction that they must die, especially given that surveys show that they remain so beloved. No Luddite, she appreciates the immediacy and convenience of getting news and entertainment (especially entertainment) via computer and phone platforms. But for all of its faults, the newspaper remains a superior format and much would be lost if our neglect caused its premature demise.

In an interview, Chyi offers another analogy to illustrate the current online crisis newspapers are facing.

“Newspaper had been running the equivalent of a very nice high-end steakhouse,” she says. Then McDonald’s moved to town and started selling untold numbers of cheap hamburgers. Newspaper thought, “Let’s compete with that,” and dropped the steak for hamburger, even though it had no real expertise in producing hamburgers. “What they should have done is improve the steak product.”

I asked Chyi what she thinks of the Washington Post’s strategy, which under new owner Jeff Bezos has continued to serve steak—about 500 staff-written pieces a day—as well as hamburger—another 700 clickbaity pieces drawn from wire services or produced in-house. Last year, this strategy pushed the Post’s total unique numbers above the New York Times’ for the first time.

“In the short term, the Washington Post will have more clicks,” she says, but in the long term, clickbait will “actually hurt the brand.” Most of these new uniques stay on the site for a short time, making it difficult to monetize their visits. “Too many newspapers are focused on short-term results,” she says.

Newspapers need to accept that much of their loss of audience is beyond their control, she adds. There’s the overwhelming competition from other media—sports channels, social media, movie channels, Netflix and other streaming services, and even video games. “For things that are under their control, they should make smart decisions.” Listen to readers, she counsels, and find better ways to serve their readers. Reject the idea that the newspaper is a doomed dinosaur.

“It’s not too late,” she says. “There’s some hope if they rethink their strategies.”


Emmanuel Angelicas SILENT AGREEMENTS Marrickville November 14, 2020

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On his seventh birthday in 1970, Emmanuel Angelicas was given a plastic Diana camera by his father. Photography would then and there become his friend and his way to communicate with people and document the environment he lived in.


With a spontaneous and straightforward approach, he wandered around his native Marrickville and recorded the migrant communities and street life. For almost half a century, Angelicas has been capturing images of Marrickville without avoiding it’s darkest facets.


Angelicas’ vast archive is not limited to his signature Marrickville portfolio. He has produced compelling collections from his travels to Thailand, Japan, Greece and Bali as well as hardcore themes and a private collection.


Whether in Marrickville, or beyond, Angelicas’ photographs are a personal account of physical experience. Each time remaining the same photographer, he has created an all-embracing path towards finding balance and harmony.


Emmanuel Angelicas (b. Sydney, 1963) grew up in Marrickville. He was seven years old when he started his first photographic story in square black and whites, documenting his family, friends and neighbourhood. He graduated from the University of New South Wales with a Bachelor of Visual Communication in 1984, and a Post Graduate diploma in Professional Art Studies in 1985. In 1993 he graduated from the University of Sydney with a diploma in Secondary School Education – Visual Art. Managing a chronic illness for more than twenty five years, he is still working in Australia and Bali. His work has been widely collected and exhibited world-wide.




Emmanuel is a co-founder and director of The Australian Museum of Contemporary Photography

Perth International Jazz Festival is back 6-8 November 2020 November 7, 2020

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6-8 November), Perth International Jazz Festival (PIJF) will proceed with an IRL programme of free and ticketed events. The Artistic Director of the Festival is Dr Mace Francis.

Photo Bohdan Warchomij

Alongside more family-friendly and community showcases (including Jazz Parade and Jazz Picnic In The Park), 2020 PIJF will see expats Linda May Han Oh and Tal Cohen on the bill (each has returned from the US to escape COVID-19) as well as a swingin’ 1920s-style Cotton Club Dance Party.

Photo Bohdan Warchomij

Photo Bohdan Warchomij


PIJF will open with a free night in the State Theatre Courtyard featuring Namora Nonet, The Amnesiacs  and Brass Party in collaboration with RTRFM 92.1, which leads into free, day-time concerts at Northbridge Piazza on the Saturday and Sunday.

The artist-in-conversations events will take place at the Alex Hotel, where audiences can hear artists speak about their work and lives, and The Ellington Jazz Club will also present a weekend programme including the infamous Jam Sessions.

Andrew McCarthy photographs the International Space Station transiting the sun and moon November 6, 2020

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Photo Andrew McCarthy

Photographer Andrew McCarthy is known for shooting incredible astrophotography images from his backyard in Sacramento, California. He recently added two more jaw-dropping images to his portfolio: ultra-clear views of the International Space Station (ISS) crossing the Sun and Moon.

Given that the ISS whizzes across the Sun and Moon in less than a second from the perspective of someone on Earth, capturing a clear view of the transit is not an easy thing to do.

“This shot was captured simultaneously with two scopes, one with a white light filter for ISS details and one with a hydrogen-alpha solar telescope for surface details,” McCarthy writes. “By blending the images together I get a crisp, detailed snapshot of the transit.”

Photo Andrew McCarthy


CRY OF THE FORESTS Director Jane Hammond November 1, 2020

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Director of Cry of the Forests Jane Hammond Photo Bohdan Warchomij


The premiere of Cry of the Forests at Luna brought together a full house of concerned activists engaged in solving the issue of WA’s disappearing old growth forests.

WA’s south-west forests are part of one of the most biodiverse regions on the planet and are recognised for their ability to capture and store carbon. They are vital to slowing run-away climate change yet instead of preserving them we are cutting them down at an alarming rate for charcoal, firewood and woodchips. Forests play a crucial role in the water cycle but the streams that once bubbled through these ecological communities are drying up and the critical habitat they provide for endangered species is shrinking.

Photo Bohdan Warchomij

Cry of the Forests takes viewers to the heart of the forests to see first-hand the beauty of these towering ecosystems and the life they support. We meet the activists armed with go-pros and dressed in camouflage gear risking their lives to bear witness to the logging and we meet traditional custodians, tourist operators & farmers on the frontline of the battle to protect our forests. This film seeks to change perceptions about native forests and their true value.

The film seeks to start a statewide and national conversation about the real value of our native forests as carbon stores and for carbon sequestration. It puts the case for halting further logging of native forests; and for a speedy transition into agroforestry. It argues for greater protection of the northern jarrah forest from further clearing for bauxite mining and for greater action on dieback. This film aims to engage the public to act to help protect what is left of Western Australia’s majestic forests.

Photo Bohdan Warchomij

Jess Beckerling

Photo Bohdan Warchomij


Christophe Canato ANIMA at Perth Centre for Photography until November 7 2020 October 31, 2020

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ANIMA #1 Christophe Canato

Born in France, Christophe Canato undertook postgraduate studies in Grenoble and Paris, where he continued to live and work before moving to Perth Australia in 2005. His work has been exhibited in more than fifty solo and collective exhibitions including the National Portrait  Gallery in Canberra.

ANIMA: The inner feminine side of a man

The astonishing portraits are incredible works of art.

Canato’s work is oriented toward the male gender and his equity to a social, cultural or sexual orientation. What questions this artist asks refer to the notion of belonging or rejection and the status that man is supposed to hold in society. With his new series Anima, Canato explores the inner feminine side of a man.

The Anima is both a personal complex and an archetype that expresses the fact that man’s psyche has a minority of feminine qualities. According to psychologist Carl Jung it is an unconscious factor incarnated anew in every male child.

Originated from Latin to describe such as breathe, soul, spirit or vital force, Carl Jung’s school of analytical psychology began using the term in the early 1920s. The anima versus animus are described by Jung as part of his theory of the collective unconscious. In every man there is a woman and vice-versa.

Colour is also a sign of diversity. Embracing colour, accepting the full range of human experience is another way in which Canato invites us to feel the part of this questioning process, to undermine notions of prejudice and exclusion. He encourages us to unite with all other humans while acknowledging the duality and diversity of our own personas. This exhibition is a remarkable achievement. In it Canato presents us with with a series of truths that are impossible to ignore.

ANIMA #9 Christophe Canato

With thanks to Ted Snell  Director of the Lawrence Wilson Art Gallery at the University of Western Australia whose insights into Canato’s work provide us with an elemental reading of this exhibition.

ANIMA #2 Christophe Canato

ANIMA #8 Christophe Canato