Showing posts with label Amy. Show all posts
Showing posts with label Amy. Show all posts
Monday, 28 March 2011
Loretta Lux - athens
Loretta Lux is a painter and her training in this medium has enabled her to construct photographs using her painting techniques. "I still think as a paitner, especially in terms of strcuturing a picture... I carefully choose the models, costumes, requisites, and backdrops of my photographs." As photography is growing and new technology had developed, this gives rise to many new elements and uses, combining art and media. "Usually i work with a digital camera and compose my works digitally or give them a finish on the computer, in order to make them meet my ideas perfectly." Her images of changelings are described as beautiful, extremely formal and chilling. The children in her images usually pose alone in either bleak landscapes or bare interiors, unsmiling with wide empty eyes. Lux expressed that her images portray a "forlorness as a basic experience of human existence." More noticeable, though, is the photographic context of childhood itself.
Lux's native Germany is the land of Heinrich Hoffmann's Struwelpeter. Also the child-snatching Erlkoenig and the tales of the Brothers Grimm. Germany is not the only country that has produced this creepy netherworld for children thoughout the years. Young children around the world sit staring wide-eyed through the dark violence of movies such as Spider-man or Batman and revel in the story of Lemony Snicket's 'Series of Unfortunate Events' Bruno Bettelheim reminds us in the Uses of Enchantment: children love entertainment and fantasy, and for good reason. In the simplicity of the good and evil characters "the child gets ideas about how he may create order out of the chaos which is his inner life." Lux's focus on forlornness within her images could relate to the inappropriate way in which individuals, in retro-blindness, envision childhood. Of course, as simple as she indicates; childhood is as chaotic and varied as any other part of life.
"I don't have a motherly eye. I enjoy working with children because they are genuine; they don't wear masks." Lux descibes her images of children as 'imaginiary portraits', and this may lead us to conclude that they are not real, that they are surreal. In her words "the creative will to making a reality that differs from what I find in memory and imagination." These children are, in fact, a creation of Lux's imagination; as fictional as the work of the grand masters that she so admired, but also non-fictional and completely unique.
Monday, 14 March 2011
Symbolic Objects - Web
Susan Derges expressed an interest in abstract art at an early age "it offered the promise of being able to speak of the invisible rather than to record the visible" before she took an interest in photography.
The images shown above could represent a form of symbolism in the way they tell a story. The images have a cold, unhappy yet wimsical feel about them. The water droplets gives the impression of rain on a window through which the viewer is observing the subject and the subject is observing the viewer.
She followed a different direction and use photography without a camera after experiencing frustration at the way "the camera always seperates the subject from the viewer"
Much of her later work explored both the isolation and connection within nature. Her beautiful images portray deep and often mystrical meaning.
The 1991 series The Observer and The Observed looked at the connection of viewer and object. These image appeared as droplets of water that contain faces and at the same time showed her face with droplets suspended in her view. Her photographs based around scenes of natural portray a deeper dimension that stirs the viewers imagination.
You can in interpret the Arch as symbolising travelling from a dark place into light. The beautiful scenery of nature, trees, blue sky and water are all captured in the confines of the archway tempting you to walk through; but is it an illusion?
Sunday, 27 February 2011
Photography Identity and Class - Journals
Colin Jones was a ballet performer but abandoned this profession when he accidentally discovered a love of photography. He saw photography as a way to challenge society's ideas and politcal status. His instinct was always to provoke, to question, to confront, even with his photography.
While he was still on tour with the Royal Ballet in Sydney, his passion for photography became more important and he was inspired by the many different people he came in to contact with. This influenced him and eventually directed him on to his career path of taking images.
"My first job, I didn't actually know what the f*** I was doing," he remembers. "They sent me to photograph J Paul Getty at his house near Guildford. I didn't know anything about lighting and it was absolutely black, this place. I just about saved it, but they didn't complain. I think i shot more covers for the Observer than any photographer. Well, I know I did. I went all over."
Intrigued by the problems of the disenfranchised underclass, he developed an interest of documenting minority groups. One of his major and famous projects was the Black House series. This lasted five years in which he spent periods of time with young Carribbean men who lived in Islington north London. The experience was often dangerous and intimidating but highlighted a section of British society which was often hidden from the majority of the British public.
"Very few other white people went inside the house and at the beginning I was regard with suspicion, as the enermy. I often felt frightened. They didn't physically threaten me -they didn't need to - but you could feel the vibes. These were kids who had just come out of Borstal. They'd stare at you and be very moody. They were a lot of mental health problems and some of them woud get very depressed," he has said of the experience.
" I learned a lot. I learned what the people on the street don't know - the police brutality and the planting of drugs. The police... used to give these kids a terrible time.
"Some of my mates (from the house) are in prison now. I'm still in contact with some of them, but i try to keep away from them really, because they are always so demanding. They always want something. It was all right when you've got money, because they are always after money."
Jones' career in photography brought him into contact with many different social classes. By documenting projects of the lower social class this brought recognision of the higher classes and enabled him to socialise within all groups of society.
He was right in the middle of things during the cultural revolution of the 1960's and 70's. Famous aquaintences at the time included many music stars such as Mick Jagger, Marianne Faithfull and Eric Clapton. He also toured with the band The Who.
The Who pictured on the cover of the Observer Magazine 20th March 1966
Professional Photographer
While he was still on tour with the Royal Ballet in Sydney, his passion for photography became more important and he was inspired by the many different people he came in to contact with. This influenced him and eventually directed him on to his career path of taking images.
"My first job, I didn't actually know what the f*** I was doing," he remembers. "They sent me to photograph J Paul Getty at his house near Guildford. I didn't know anything about lighting and it was absolutely black, this place. I just about saved it, but they didn't complain. I think i shot more covers for the Observer than any photographer. Well, I know I did. I went all over."
Intrigued by the problems of the disenfranchised underclass, he developed an interest of documenting minority groups. One of his major and famous projects was the Black House series. This lasted five years in which he spent periods of time with young Carribbean men who lived in Islington north London. The experience was often dangerous and intimidating but highlighted a section of British society which was often hidden from the majority of the British public.
The Black House, 1976
"Very few other white people went inside the house and at the beginning I was regard with suspicion, as the enermy. I often felt frightened. They didn't physically threaten me -they didn't need to - but you could feel the vibes. These were kids who had just come out of Borstal. They'd stare at you and be very moody. They were a lot of mental health problems and some of them woud get very depressed," he has said of the experience.
" I learned a lot. I learned what the people on the street don't know - the police brutality and the planting of drugs. The police... used to give these kids a terrible time.
"Some of my mates (from the house) are in prison now. I'm still in contact with some of them, but i try to keep away from them really, because they are always so demanding. They always want something. It was all right when you've got money, because they are always after money."
Jones' career in photography brought him into contact with many different social classes. By documenting projects of the lower social class this brought recognision of the higher classes and enabled him to socialise within all groups of society.
He was right in the middle of things during the cultural revolution of the 1960's and 70's. Famous aquaintences at the time included many music stars such as Mick Jagger, Marianne Faithfull and Eric Clapton. He also toured with the band The Who.
The Who pictured on the cover of the Observer Magazine 20th March 1966
Professional Photographer
Monday, 14 February 2011
Forensic Photography - Books
Alphonse Bertillon was a French criminolgist. He showed very little interest in his fathers works of anthropometry but when he joined as a junoir clerk for the Paris Perfecture of Police in the record office he realised the greatest problem was indentification. One of his father's friends, Lambert Quetelet, a Belgian stractisitician said no two persons shared exactly the same combination of physical measurements. After several years of persuasion his superiors allowed him to to set up a system that would record measurements of criminals and suspects. He documented the results, including eye colour and filed them on card.
Bertillon started using photography to catagorise his records of convicted criminals and specific identifying details. He took his interest further by using photography at crime scenes to document evidence. Later this was known as Bertillonage.
Photography requires the use of art and skills but when using photography to document evidence you need skill, intelligence and training. Forensic photogrpahy involves much more then being on the scene of the crime and taking photographs of anything and everything. The forensic photographer will understand the what, where, why and how of the process and visualise the objects of the investigation before the camera is taken out the bag.
Nothing should be touched or changed as it is important to document the evidence. As the use of photography within crime scenes and bodily injuries are most important for investigations, they can be enhanced to clarify particular information and details that were not apparent to the eyes of the crime scene officers or the medicals and examinar.
Photographing a crime scene; it is crucial for the timing to be right and the photographer should start the minute they arrive at the scene. Documenting a crime scene requires an open mind; to try and convey every possible story within the photographs. The photographer must have a idea of the scentific method so they can have an understanding of what images may be neccesary to create the whole story.
When photographing an accident, a crime scene, or evidence, it is mendatory to capture sufficient images and take specific notes to ensure that the work will tell the whole story. This documentation must be able to stand alone without oral explanation to any other time and in front of a jury. Always review your work and how you present it to ensure that everything, including "the story" is easy to decipher.
Scientific Storytelling with Photographs, from Forensic Photography The Importance of Accuracy by Sanford L. Weiss
Using the story telling from original crime scenes photographs some artist photographers duplicate the meanings in their own work. The American Surfaces photographs by Stephen Shore give a rather sinister impression. The simplicity of the images are compelling.
Forensic Photography The Importance of Accuracy by Sanford L. Weiss
Body in Question Exploring the Cutting Edge in Forensic Science by Brian Innes
(incomplete- need further research and images)
Bertillon started using photography to catagorise his records of convicted criminals and specific identifying details. He took his interest further by using photography at crime scenes to document evidence. Later this was known as Bertillonage.
Photography requires the use of art and skills but when using photography to document evidence you need skill, intelligence and training. Forensic photogrpahy involves much more then being on the scene of the crime and taking photographs of anything and everything. The forensic photographer will understand the what, where, why and how of the process and visualise the objects of the investigation before the camera is taken out the bag.
Nothing should be touched or changed as it is important to document the evidence. As the use of photography within crime scenes and bodily injuries are most important for investigations, they can be enhanced to clarify particular information and details that were not apparent to the eyes of the crime scene officers or the medicals and examinar.
Photographing a crime scene; it is crucial for the timing to be right and the photographer should start the minute they arrive at the scene. Documenting a crime scene requires an open mind; to try and convey every possible story within the photographs. The photographer must have a idea of the scentific method so they can have an understanding of what images may be neccesary to create the whole story.
When photographing an accident, a crime scene, or evidence, it is mendatory to capture sufficient images and take specific notes to ensure that the work will tell the whole story. This documentation must be able to stand alone without oral explanation to any other time and in front of a jury. Always review your work and how you present it to ensure that everything, including "the story" is easy to decipher.
Scientific Storytelling with Photographs, from Forensic Photography The Importance of Accuracy by Sanford L. Weiss
Using the story telling from original crime scenes photographs some artist photographers duplicate the meanings in their own work. The American Surfaces photographs by Stephen Shore give a rather sinister impression. The simplicity of the images are compelling.
Forensic Photography The Importance of Accuracy by Sanford L. Weiss
Body in Question Exploring the Cutting Edge in Forensic Science by Brian Innes
(incomplete- need further research and images)
Monday, 31 January 2011
Recorders By Rafael Lozano-Hemmer
When walking around the exhibition you notice that the art pieces are arranged in certain places to give you space to view and you can contribute by involving yourself within the exhibition.
There are two whole rooms containing just one of Rafael Lozano-Hemmers art pieces. It would be a distraction if there were other art exhibits within the same space in these rooms. The viewer can therefore better focus and interact with the pieces in a larger space.
I noticed that Rafael Lozano-Hemmer expresses the use of body within every art piece. But they are not complete as we are the ones to make them whole by contributing our senses and mind.
33 Questions Per Minute makes you use your mind by thinking of a question. By submitting your question, it is viewed on one of the 21 LCD screens on the wall. You can also say we also use are eyes to read other people's submissions. But mostly we are thinking either of a question or an answer.
http://manchestergalleries.org/whats-on/exhibitions/index.php?itemID=73
I noticed that Rafael Lozano-Hemmer expresses the use of body within every art piece. But they are not complete as we are the ones to make them whole by contributing our senses and mind.
33 Questions Per Minute makes you use your mind by thinking of a question. By submitting your question, it is viewed on one of the 21 LCD screens on the wall. You can also say we also use are eyes to read other people's submissions. But mostly we are thinking either of a question or an answer.
http://manchestergalleries.org/whats-on/exhibitions/index.php?itemID=73
Microphones uses two of our senses; speech and hearing. When you speak into the mircophone it records your voice. But you also hear it being played back together with all of the other participant's voices, who have previously used the microphone.
http://manchestergalleries.org/whats-on/exhibitions/index.php?itemID=73
Rafael Lozano-Hemmer uses a mix of technology and everyday objects throughtout his art pieces in this exhibition. This relates to the above sentence i.e. that technology is only half of the progress and we are the ones to make it a whole. But also the use of technology is expressed by the way he has used ordinary technological objects and turned them in to art, for example the microphones and light bulbs. Music and production industries use microphones to enable the singer or speaker to be heard by the audience. Everyone uses a light bulb at night to see in the dark. He has used these ordinary objects and expressed them so they have become interesting art pieces in a gallery.
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