Andrew Dearman

Andrew Dearman
Born	South Australia
Education	University of South Australia
Known for	Photography
Website	unclewadu.blogspot.com

Andrew Dearman is a South Australian photographer and arts educator, known for his work with vintage cameras and vintage photographic methods such as tintypes and ambrotypes. He frequently conducts workshops and demonstrations into historical photographic techniques.

Early life and education

Andrew Dearman's 2008 doctoral thesis is titled "Art Practice and Governmentality: The Role Modelling Effects of Contemporary Art Practice and its Institutions", which earned him a PhD from the University of South Australia.^[1]

Career

Dearman, who is based in Adelaide, is known for his work with vintage cameras and vintage photographic methods such as tintypes and ambrotypes. He frequently conducts workshops and demonstrations into historical photographic techniques.^[2][3][4]

He also conducts academic research into analogue photography and contemporary art, which he sees as forming part of his art practice.^[5][6] He lectures at Adelaide Central School of Art.^[7]

Artistic style and subject

Although Dearman began as sculptor,^[8] he moved into photography, and started to use vintage and antique cameras and vintage photographic techniques, along with found photographs and films to create his artworks.^[9] Dearman makes cameras^[10] and has also built a portable darkroom^[11] (dubbed the ‘Beasty’).^[12][13]

Selected works

• 2004/5. A Box of Tea.^[14]
• 2008. "Art practice and governmentality: the role modelling effects of contemporary art practice and its institutions"^[15]
• 2008. "Rosencrantz & Guildenstern Are Dead". Performing disjunct memory through an early 20th century Danish family photo album—in early 21st century South Australia. ^[16]
• 2011. Working (with) the Dead: Agency and its Absence in the Use of the Found Image. ^[17]
• 2016. "The Green Room: Nazia Ejaz"^[18]

References

1. Dearman, Andrew (2008). "Art practice and governmentality: the role modelling effects of contemporary art practice and its institutions". University of South Australia Library. University of South Australia. Retrieved 12 November 2018.
2. Schneider, Grace (17 May 2018). "Celebrate History Festival At This Awesome Heritage Campus". www.glamadelaide.com.au. Retrieved 12 November 2018.
3. "Who, what, where: NT/SA September 2016". AICCM. 3 September 2016. Retrieved 12 November 2018.
4. Carlisle, Karen J (22 May 2016). "The Original 'Instant' Photograph | karen j carlisle". karenjcarlisle.com. Retrieved 12 November 2018.
5. "Andrew Dearman". The Mill, Adelaide. Archived from the original on 12 November 2018. Retrieved 12 November 2018.
6. "Grid Festival". FELTspace. 2014. Retrieved 12 November 2018.
7. "Andrew Dearman". Adelaide Central School of Art. 13 September 2018. Retrieved 12 November 2018.
8. Neylon, John (9 May 2017). "Andrew Dearman Explores the Still and Moving Image". The Adelaide Review. Retrieved 12 November 2018.
9. Neylon, John (9 May 2017). "Andrew Dearman Explores the Still and Moving Image - The Adelaide Review". The Adelaide Review. Retrieved 12 November 2018.
10. Bishop-Thorpe, Alex (24 June 2013). "Andrew Dearman and The Crate Camera". The Analogue Laboratory. Retrieved 12 November 2018.
11. Nunn, Louise (11 May 2017). "Moving Pictures". The Advertiser (Adelaide).
12. "AdelaideCentral on Twitter". Twitter. 11 May 2017.
13. Fleming, Kylie (10 May 2017). "Art takes step back in time". CoastCity Weekly.
14. Vitamin, Episode Three November/December/January, pp. 14-15
15. Art practice and governmentality: the role modelling effects of contemporary art practice and its institutions
16. Image [&] Narrative e-journal, 23 "Rosencrantz & Guildenstern Are Dead"..
17. Colloquy 22.
18. The Green Room: Nazia Ejaz.

Further reading

• Kimber, Mark. Processing the past: Contemporary photomedia in South Australia. Art Monthly Australia, no.274, October 2014, pp. 20–23.

External links

• Official website
• Andrew Dearman Disappearance 2015 (video)
• Around Again final (video)