Review by Robert Nelson of Transcription exhibition by Harry Nankin, Dianne Tanzer Gallery, Fitzroy published in The Age newspaper, October 5, 2005
Photography has a well-known kinship with painting; but the relation with printmaking is also striking. The word photography was invented from Greek roots to signify a writing or drawing with light. But in a way it’s more a case of printing with light. The light leaves an imprint, etching itself into the chemical fabric of a plate to form a tone or colour.
Essay by Claire Williamson published in Art Monthly magazine #124, pp 4-7, October 1999
Since John Szarkowski divided the world of photography in two, photography has generally been viewed as performing the role of either mirror or window. But, while some Australian photography of the late 1990s does indeed continue to function in this way, the mirror is as likely to be that of the distorted, funpark variety, and the window now often affords a view that is less than picturesque.
Unpublished essay by Dr Freya Matthews about Harry Nankin’s MA exhibition Cathexis at Melbourne Contemporary Art Gallery, Fitzroy, March 1994
In these exquisitely executed and painstakingly honed works, Harry Nankin is retreating from recent fashions in Nature photography. He has given up the lush colour and easy naturalism of wilderness coffee table art, with its instant accessibility and ‘consumability’ and the titillating aesthetic of the recipe book and girlie magazine, for a more inscrutable,
Review by Klaus Hueneke of Harry Nankin’s book Range Upon Range: The Australian Alps published in The Canberra Times newspaper, p 9, December 13, 1987
I am envious, overawed, critical, speechless and grateful – all at once. Harry Nankin has done what I have wanted to do for years – publish an evocative photographic hymn on the Australian Alps. Only his is more refined, and more expensive than my vision. At close to $50 this is a book for connoisseurs.
Essay by Dr Jorge Calado published in Actual magazine (an Expresso magazine supplement), pp 50-52, Lisbon, Portugal, November 6, 2004
Photography’s original sin is to be machine made. As few did, Baudelaire sensed the cross between the Arts and the correspondence of the senses and he was not shy to condemn the contamination of technology. He believed that most material (industrial) progress inevitably led to the lack of artistic genius. Photography could be used as a humble service to the Arts &