Document ID: chunk:federal_register_of_legislation:F2024L00408:front:0:p286
Version: federal_register_of_legislation:F2024L00408
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Character Range: 881028–884033

foreground rather than any discrete object, and its strength as such has much to do with the striking colour of the centre median and often the shadows that play on it.

   Figure 101.  Australian War Memorial, 2006
   Source:  Flickr, collection of Sparky the Neon Cat, www.flickr.com/photos/sparkytheneoncat/4237636332

  Figure 102.  Anzac Parade, 2006
  Source:  Flickr, collection of zzen, www.flickr.com/photos/zzen/194021642

It should also be noted that 38 (12%) of the FlickR shots are night shots, which capitalise upon the lines of street lighting running either side of Anzac Parade.  At night these reinforce the strong perspective of the composition more powerfully than they do by day.

  Figure 103.  Anzac Parade Canberra, 2011
  Source:  Flickr, collection of Gordon Anderson, www.flickr.com/photos/34664426@N04/5667782472

Although the number of leading professional art photographers who have published or exhibited photos of Anzac Parade would appear low, the plethora of web-published amateur photos of Anzac Parade that are centred on the Land Axis attests to its community aesthetic appeal.

Of the professional photographers, it may be noted that Heide Smith chose a symmetrical view centred on the Land Axis for her sole published photograph of Anzac Parade (see above).  Furthermore, it is noteworthy that similar photos centred on the Land Axis appear on Steve Parish's 1990 postcard, on five other sole-image commercial postcards of Canberra by anonymous professional photographers, as well as being included in the groups of images that comprise at least three composite commercial postcards of Canberra.  In combination, this evidence indicates that this view is 'iconic' in the sense that it is 'readily recognized and generally represents an object or concept with great cultural significance to a wide cultural group' (Wikipedia, 'Cultural Icon, en.wikipedia.org/wiki/Cultural_icon, accessed October 2011).

It is also the case that Anzac Parade's iconic status derives in part from its close association with the Australian War Memorial, claimed by the Department of Foreign Affairs and Trade to be an icon ranking 'among the world's great national monuments'(DFAT, 'National Icons', www.dfat.gov.au/facts/national_icons.html, accessed October 2011, site inactive 4 August 2022).

Even David Watt's two images of Anzac Parade included in his Amendments 1993 series of paintings, suggest that the place was chosen for a gentle debunking precisely because of its iconic quality.

So too, it may be argued, does the fact that many tourists, especially young ones, favour shots of themselves standing in the foreground looking at the camera with Anzac Parade stretching behind them.  Nineteen of the 314 photos of Anzac Parade on the FlickR website are of this type (6%).  Such photos are commonly taken by tourists in front of many of Australia's major icons – Cradle Mountain, the Sydney Opera House and Uluru, to name three.

While it may be seen as stretching a point