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Oxford Street Profile OXFORD STREET PROFILE BY PHILIP QUIRK Master of Fine Arts Media Arts 2011 University of New South Wales College of Fine Arts PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Quirk First name: Philip Other name/s: Francis Abbreviation for degree as given in the University calendar: MFA School: Media Arts Faculty: COFA Title: Oxford Street Profile Abstract 350 words maximum: (PLEASE TYPE) Oxford Street Profile (OSP) is a visual narrative of a Sydney street in the early 21st century. How do we relate to the streets we are most familiar with? Citizens use the street for their specific needs, whether it be for business, pleasure, shopping or traversing the suburbs, with a familiarity that assumes everything will be the same and often it is. However, change is inevitable and ongoing. OSP argues that the more we use our streets, the less we perceive them as they are. The purpose of this document is to observe Oxford Street from a pedestrian’s point of view, to note the human occupation on the street, and to record the street as it is in the second decade of the 21st century. The proposition of this thesis is that people have an image of Oxford Street that is set in their minds, and perhaps such perceptions differ between various users of the street. This work challenges that image by creating a continuous profile, which became the basis of this typological documentation of the street. In 2009 this researcher set out to photograph every building on both sides of Oxford Street from Queen Street, Woollahra to Taylor Square, Darlinghurst. The resulting images illustrate the continuity of one streetscape in inner Sydney. This sequential profile provides a different way of visualising a street in Australia by combining 130 photographs into one photographic record of Oxford Street. How OSP was conceived is explained and the artists whose works were important in realising the sequential profile of Oxford Street is acknowledged and summarised. OSP is a document that is as much about a Sydney street today as it will be for another generation considering the built environment in the future. OSP links the fundamental structures of the street, defining their spatial relationships in a typology. From this point of view Oxford Street Profile is a significant example of a place in time. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS 2 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ……………………………………….............. Date 11/8/2011 …………………………………………….................. COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed …………………………………………............ Date 11/8/2011 …………………………………........................ AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed …………………………………………….......... Date 11/8/2011 …………………………………............................ 3 Acknowledgements Supervisor – Lynne Roberts-Goodwin, Senior Lecturer College of Fine Arts University of New South Wales. Josef Lebovic Gallery - Josef Lebovic. Analogue Processing and Printing - Chris Reid, Blanco Negro. Exhibition and Book 1 printing – Warren Macris, Giclée Australia. OSP Book 1 Design - Penny Shek. OSP Book 1 Bookbinding – Barbara Schmelzer. OSP Book 2 Design – Melaine Feddersen i2i.com.au OSP Book 2 Printing – Digitalpress. OSP Book 2 Bookbinding – Barbara Schmelzer. OSP Website Design – Penny Shek. OSP Website Construction – Jean Marc Le Pechoux. 4 Abstract Oxford Street Profile Oxford Street Profile (OSP) is a visual narrative of a Sydney street in the early 21st century. How do we relate to the streets we are most familiar with? Citizens use the street for their specific needs, whether it be for business, pleasure, shopping or traversing the suburbs, with a familiarity that assumes everything will be the same and often it is. However, change is inevitable and ongoing. OSP argues that the more we use our streets, the less we perceive them as they are. The purpose of this document is to observe Oxford Street from a pedestrian’s point of view, to note the human occupation on the street, and to record the street as it is in the second decade of the 21st century. The proposition of this thesis is that people have an image of Oxford Street that is set in their minds, and perhaps such perceptions differ between various users of the street. This work challenges that image by creating a continuous profile, which became the basis of this typological documentation of the street. In 2009 this researcher set out to photograph every building on both sides of Oxford Street from Queen Street, Woollahra to Taylor Square, Darlinghurst. The resulting images illustrate the continuity of one streetscape in inner Sydney. This sequential profile provides a different way of visualising a street in Australia by combining 130 photographs into one photographic record of Oxford Street. How OSP was conceived is explained and the artists whose works were important in realising the sequential profile of Oxford Street is acknowledged and summarised. OSP is a document that is as much about a Sydney street today as it will be for another generation considering the built environment in the future. OSP links the fundamental structures of the street, defining their spatial relationships in a typology. From this point of view this work is a beneficial and significant example of a place in time. 5 Table of Contents P. 8 1 the more we use our streets the less we perceive them as they are. P. 11 2 a place to see and be seen P. 16 3 unpredictable moments happen P. 20 4 the street is visible by intention P. 25 5 a streetscape at ground level P. 31 6 his view from the road P. 35 7 an almost seamless view P. 38 8 grouping work as a sequential series P. 41 9 seeing Oxford Street P. 44 10 being a photographer on the street P. 45 11 consistency in the methodology P. 49 12 a convergence of technologies P. 51 13 needing to identify my place P. 54 14 Methodology Photographing the Street P. 57 Exposing Film P. 58 Loading Film P. 60 Processing Film P. 61 Scanning the Negatives P. 62 Building the Printed Image P. 67 Works Cited P. 70 Images Cited 6 List of Illustrations Fig. 1 Philip Quirk, 406-456 Oxford Street, Nth side. 2010. Fig. 2 Philip Quirk, 184-186 Oxford Street, Nth side. 2009. Fig. 3 Philip Quirk, Headmistress Sports Day. 1975. Fig. 4 Philip Quirk, The Summerfield Family Warri Warri Gate. 1983. Fig. 5 Walker Evans, Auto Parts Shop Walker Atlanta, Georgia. 1936. Fig. 6 Philip Quirk, 75th Anniversary of the Royal Australian Navy Sydney Harbour. 1986. Fig. 7 Philip Quirk, Canowindra Streetscape NSW. 2007. Fig. 8 Philip Quirk, 248-276 Oxford Street, Nth side. 2009. Fig. 9 Philip Quirk, Sydney Cityscape.
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