Showing posts with label Hayley. Show all posts
Showing posts with label Hayley. Show all posts

Monday, 4 April 2011

Research Exercise with Paul Proctor

Paul Proctors Photography in Context research exercise.

Coming to Pauls lesson expecting something different was a very exciting prospect. I myself have particularly enjoyed blogging my weekly research, however it became clear to me that others in the class were not and some of the blogs started to reflect this - so I thought it was a great idea to try something a little more engaging, that should lead to more interesting research findings.

The paper-based exercise was quite useful to me, as I found myself really seeking out great photographers within the bookstock. However, with limited time and limited resources (Group 1 seemed to have taken a lot of bookstock) I found it difficult to find a landscape photographer that I particularly engaged with. This also may be due to the fact that I dont really hold any interest in landscape photography, so the chances of me finding an inspiring photographer were fairly slim.Had the exercise been on, for example a particular style of portraiture, I would have had much better results.

The athens session was useful as, although I already felt confident navigating around athens, a number of other resources were explained to us by the very friendly library staff - some of which I will definitely look into using for future research.

The research material presented by other students at the end of the session seemed a lot more exciting than the usual blog posts. It appeared that most classmates had really engaged with the day and were finding better, more diverse research which they were more interested in - this showed in the work they were choosing to present. It is unfortunate that we didnt get to finish the presentation as it would have been interesting to hear students talk about thier new approaches to research and the changes it has made to thier results.

On the whole, I found the exercise very interesting - my research methods haven't varied too much but it was useful to try some new ways of researching. I think it would have been useful to all focus on one singular subject (rather than researching two things) in order to get some more effective results. One of the most engaging parts of the session was being surrounded by classmates in the library, all talking about the research they were finding - this was particularly inspiring and something that has been missing from the blogs.

Monday, 28 March 2011

Book Resource - "Twilight" by Gregory Crewdson

"Twilight"

Photographs by Gregory Crewdson


Upon first discovering Crewdsons work, I was particularly interested in the techniques used to construct his images. This is especially true in his collection of photographs in the "twilight" series. Crewdsons method is to build fabricated set-ups in constructed environments, often using lighting associated with the film industry. This gives his images an incredible sense of drama and an intriguing narrative emerges from his work.




The Twilight series addresses a number of issues often seen in Crewdsons work. Aside from his usual themes, Twilight also creates some interesting questions relating to suburbia and the "normality" we often associate with the domestic environment. His images are often shot indoors, however a strong sense of an almost artificial natural world emerges - Over saturated, bold greenery is placed inside the domestic living room, for example. We know this is out of place and doesn't fit however Crewdsons "characters" interact with the natural elements in a very familiar way.







This unnatural vs natural is an incredibly strong theme in the Twilight series. His images combine many opposites to question the reality of the shot - beauty vs horror, real vs surreal and familiar vs unknown. Even the familiar domestic landscape is challenged by the viewer seeing under the floorboards and into the unknown. The thing I truly love about Crewdsons images in the Twilight series are the questions they raise. I have an almost insatiable desire to know what is the story behind the shot. Why does the young girl look longingly into the school bus to the waving gentleman? Who is the woman in the flooded house and what has happened to her? The highly theatrical nature of the constructed film-set style environments would be engaging in most images, however Crewdson uses light in a such a sensitive way that only intensifies the drama within the frame. His work continues to be a great inspiration to me and is perfectly subtle look into surrealism and our desire to question our reality.


Wednesday, 23 March 2011

"In Conversation" - JH Engstrom at the National Media Museum

In Conversation - A meeting with JH Engstrom
National Media Museum, Bradford 22-03-11

http://www.nationalmediamuseum.org.uk/Events/FromBackHome.aspx

Upon hearing that both JH Engstrom and Anders Peterson, photographers that had collaborated on a project entitled, "From back home" were going to be talking about their exhibition in Bradford I was incredibly excited. When I first viewed the exhibition last year it had a profound effect on me - the work of Peterson in particular was very interesting. I found the exhibition truly inspiring and their lack of following photographic technical conventions (such as mixing black and white images with colour in the same collection) was refreshing to see. The chance to meet two such prolific and renowned artists was very exciting and I was interested to discover what they would discuss.

Prior to entering the talk, we were informed that Peterson would not be available to talk due to illness. This was somewhat disappointing as I had felt more of a connection to his work, however I was aware that he had mentored Engstrom, therefore he would be capable of informing us of some of Petersons methods and approaches. The theatre in which the talk was held was fairly small and intimate and there were only a few members of the public present so the whole talk was quite relaxed and informal.


Engstrom began by talking about his photographic career, his influences behind "from back home" and some personal issues that inform his approaches to photography. He then showed a series of images from a not-yet published book "Wells" centered around the birth of his twins. It was interesting to see a preview of some new work, as it was quite different to his previous projects. It seemed a lot more personal and ethereal, almost organic. Engstrom then showed the video piece he made about Petersons work and life and most importantly, their relationship as both master and protegee and also as friends.

Engstrom spoke about Peterson in a clearly incredibly sincere way. The two photographers are very close and most of the talk was centered around their relationship and the personal struggles with their work and approach. Engstrom was suprisingly open and honest about his own feeling towards his work - the doubt he feels and his desire to be recognised. It was inspirational to hear a photographer talk about himself in a sincere way, almost as if he was sharing his burdens and secrets. Although Peterson wasn't present, Engstrom was able to provide lots of information about him and his career. Although the talk was both refreshing and inspiring, Engstrom talked a lot about his personal life and his and Petersons emotional connections to thier images and it would have been nice to hear him talk about the production of the work and their different photographic approaches.
Below is an interesting article in which JH Engstrom discusses his new book, "Wells"

Friday, 18 March 2011

Exhibition review - 'Stonehenge' at the Manchester Museum

Stonehenge: henge diggers

An exhibition by Bill Bevan

When researching information about the Manchester Museum for a current module brief, I was excited to discover that a photography exhibition depicting the work of an archeology site at Stonehenge was on display. I have a great interest in British history and I think the work of archeologist's is incredibly important in uncovering our past, therefor I was curious to see how a photographer would portray this incredibly skilled profession.

http://www.museum.manchester.ac.uk/whatson/exhibitions/stonehengehengediggers/

The exhibition was located on the fourth floor in a small area which may unfortunately be overlooked by the general public. In his images, Bevan tries to capture the pace of an archaeological dig - The slower speed necessary in exploring the site and the decisive moments that happen on digs. Bevans images however surprised me in their simplicity. The light is flat in almost every shot and bevan shoots from mostly the same viewpoint. His images depict in a very clear way, exactly what is happening in a documentary style - shooting exactly as the scene appears.




I was surprised by the lack of interest both myself and fellow students had towards Bevans work. The images themselves did show in a very exacting way the work of the archeologist's, however the lack of any lighting techniques left the images looking a little bland and static. There was some depth of field used in some images however they had little impact on the effect of the overall shot. It would have been interesting if Bevan would have chosen to capture the emotions of the archeologist's on site as I believe this would have lead to a more exciting collection of images. Also some shots were very slightly out-of-focus throughout the whole image (in a way that was not intentional I believe) This lead to Bevans whole collection feeling somewhat amateur. The idea behind his images was very interesting, however I felt that a lack of technique lead to the exhibition lacking in creativity and interest and the shots started to look very static and flat. It would be interesting to look at Bevans previous work to establish whether this is in fact his style, or something he felt he wanted to capure on this particular shoot.

Monday, 14 March 2011

Traditional still life approaches - Book stock

'Flowers' - Robert Mapplethorpe

Robert Mapplethorpe has aquired great fame and notoreity from his highly-stylyzed portraits of iconic celebrities and erotic images of the male form. However Mapplethorpe also spent a great many years of his working career photographing flowers. His work on this subject is somewhat 'quieter' - His images show with great photographic skill, the simplicity and beauty of these everyday natural objects.

Mapplethorpe uses classic technique and a painterly approach to his floral images - They show shape, colour and texture which are the prinicples of traditional art practice. The bold tones and colour used in Maplethorpes images create stunning and striking images which go far beyond simply a shot of a flower - the way in which he captures his images brings to light the eroticism of the organic.

"He came, in time, to embrace the flower as the embodiment of all the
contradictions reveiling within. Thier sleekness, thier fullness. Humble
narcissus. Passionate zen"
I firstly didnt see a great correlation between this collection and his homo-erotic images depicting the male body, often nude. However upon further research I began to see a direct link between the two. Although the shape and curves of the flower are softer and more subtle compared to the angular frame of the male nude, both subjects show a high degree of eroticism and sexuality. Some may argue that organic plants are the most sexualised objects on the planet - the givers of life. There is also a link between flowers and various female sexual organs (an idea explored by the work of Georgia O'Keefe)







Mapplethorpes images of flowers have changed my view of traditionalist techniques to photography - as we are almost inundated in this technological age with amateurs shooting 'typically beautiful' scenes such as picturesque landscapes and bold plant life it is easy to become almost bored by these images. However Mapplethorpes stunning images are far more than a simple shot of a flower - they represent a true appreciation for the sheer awesomness of one of the oldest living organisms on the planet and the the giver of life - The humble flower.
Book Ref - Flowers:Mapplethorpe, R: Bulfinch LTD, 1990

Saturday, 26 February 2011

Photography and Race - Athens resource

30 years documenting the American Ghetto -The work of Camilio Jose Vergara

Chilean born documentary photographer Camilio Jose Vergaras has become a key figure in documenting changes to the landscape and architecture of American ghettos. His work spans over three decades and Vergara won the acclaimed MacArthur Genius award in 2002, which helped fund his travels to many of Americas most economically deprived and segregated ghettos and communities.



Vergaras images capture the changes both sociologically and physically in urban environments. His work is concerned with deterioration, dysfunction and urban issues and his images also capture a sense of religion and American values. Vergara has an almost methodical approach to photographic documentation by researching his chosen subjects and systematically returning to photograph and document them over time.



http://www.nytimes.com/2009/05/29/arts/design/29verg.html http://www.americansuburbx.com/2009/03/news-flip-side-of-suburbia.html http://thisplacemattered.tumblr.com/

Images from the series "American Ruins" particularly interested me. Here Vergara uses shots of architecture in various stages of decay and deterioration to show the plight of people living in the ghetto. His images speak of the desperation and the hopelessness of a generation of people struggling to live in areas of vast economic hardship. Vergaras approach to his image making - returning numerous times to reshoot the same location shows the true price of fulfilling the America dream. The "melting pot" of a true multicultural society doesn't exist here - these citizens feel rejected by the white American community and are forced to live on the outskirts in absolute poverty.

"Bricks, signs, trees and buildings spoke more eloquently than peoples faces" Vegara, CJ - http://invinciblecities.camden.rutgers.edu/intro.html

Vergaras dedication to recording the plight of thousands of civilians in Americas largest minority groups and his view that the landscape can speak strongly about the changes felt by the whole community,give his work a startling sense of truth. The personalities of the people living this life are not represented in any way by Vergara - to him, the context and environment is far more important in depicting the dysfunction and deterioration of some of Americas largest ghettos. His work continues to this day and only through truthful depiction can we begin to understand the hard,uncompromising life of thousands of America's "unwanted population"

Link to Athens article -
http://vnweb.hwwilsonweb.com/hww/results/getResults.jhtml?_DARGS=/hww/results/results_common.jhtml.35

Thursday, 10 February 2011

Photography as identification - Web Resource

Street portraits by Michael Itkoff

Itkoff is an American fine art and documentary photographer currently living and working in New York City. He is one of the founding editors of Daylight magazine (http://www.daylightmagazine.org/) and also regularly contributes to The British Journal of Photography magazine.


His 2009 photobook entitled, ‘Street Portraits’ uses photography as identification in a very interesting way. The idea itself is somewhat simple – Itkoff discovers busy, urban areas within a city and with the help of an assistant, asks strangers to stand in front of a white background whilst he takes their photograph.


The execution of the shot is what sets Itkoff apart from other somewhat generic contemporary street photographers. Striking white backgrounds are usually used to add ambiguity within the context of an image. However, Itkoff shoots a full body shot of the subject and also chooses to incorporate elements of the background environment. This interesting juxtapose between isolation and containment forces the viewer to question the subject both as the individual and also as part of the context of the city environment.


Itkoff presents some interesting ideas surrounding what the city means to him – As a city dweller himself for most of his life, the majority of his body of work surrounds themes based around the city. Each person occupies their own isolated space but also exists outside this boundary, as part of the whole that is ‘the city’. Itkoff identifies and celebrates the ordinary, everyday, mundane individual but also recognises the importance of that individual and the many varied types of people that inhabit city environments.

'In his approach Itkoff is rejecting the pretension of hidden artifice, and the effect is powerful — each subject exists in a shared space, but this is a space which itself exists in everyday reality. '

(D.Espest: Photoeye magazine, Jul 2009 isue)
I find Itkoffs work incredibly interesting. The images I find most intriguing are the ones in which the exact location of the city is somewhat ambiguous – graffiti backstreets with derelict buildings that could exist in any city across the world. When you remove the iconic sights that we associate with particular cities (for example, yellow taxi cabs and fire hydrants in New York City) does this alter the way in which Itkoffs work is viewed?

Below, Itkoff discusses his work and early influences and discusses up and coming fine art photographers that have featured in Daylight magazine.

http://www.youtube.com/watch?feature=player_detailpage&v=TbknRB8uHhc

Monday, 7 February 2011

The body as an object of medical research - The work of Nick Veasey

As I was having difficulty finding any information on this theme using library journals, I widened my search to include online photography journals. This enabled me to set search criteria and narrow my results.

The British Journal of Photography's January 2011 issue featured the work of Nick Veasey. His seemingly simple images of x-rayed objects exposed onto photographic film have an interesting aesthetic - these types of images are most commonly seen in a medical environment, however Veasey presents them as large scale prints, often stitching multiple frames together to create one piece. These giant detailed, somewhat graphical images become quite striking with the clean, crisp white x-ray lines against the heavy black backgrounds.




www.keef.tv/archive/blog/art

The process used by Veasey to create his images prevent him from using any living,human models (due to the high levels of radiactivity in the x-ray machines) therefore Veasey uses deceased bodies in the precious eight hours prior to rigor mortis. The skeletons captured in the images appear to be completing human actions - reading the paper, greeting friends, cycling etc. All these actions require movement and I like how Veasey creates an environment where these lifeless figures appear to be still living and breathing.

Although Veasey doesnt use the physical body an object of medical research, his images use medical equiptment to change the way we view the body. His work also explores themes surrounding surveillance and privacy issues in the technological age we are surrounded by. Veaseys ingenious process, coupled with the sheer detail and clarity his images create makes his work current, relevant, engaging and incredibly creative.

Thursday, 27 January 2011

Recorders: Rafael Lozano-Hemmer
Hayley Andrew

Recorders at Manchester art gallery is a new exhibition by Mexican artist Rafael Lozano-Hemmer. The exhibition is entirely interactive, encouraging the viewer to actively participate and engage with the pieces shown. On initial entry to the exhibition space, your role as the viewer is clearly defined and the large lightbox showing ‘Pulse Index’ is both intriguing and exciting, showing various sizes of highly defined fingerprints. The smaller box to the left which is used to scan your fingerprint and monitor your heartbeat is subtly placed in the wall, again inviting the viewer to place themselves into the unknown. Moving around the space, it becomes clear that Lozano-Hemmer is focusing on themes of self-representation, control, surveillance and repetition. In particular, two of the pieces exhibited explored these themes successfully and particularly interested me as the
viewer.


Pulse Room
http://www.culture24.org.uk/asset_arena/6/37/90/309736/v0_master.jpg


‘Pulse Room’ uses 300 incandescent light bulbs, uniformed in a large open corridor. A sensor placed at one end of the room uses the participants touch to monitor heartbeat and this is then transferred into the bulbs and they effectively flash at the rhythm of the participant’s heart rate. Previous participants heartbeats are also stored in the system, each moving down a bulb when a new entry is stored. The reaction amongst fellow students was mainly a positive one, however I felt a more negative connotation to the piece. Some would argue Lozano-Hemmer is representing a sense a co-operation and community; all heartbeats living alongside each other as singular parts that join to make the whole. However the fragility of the slight glass bulbs spoke to me of the preciousness of life and how easily your bulb could ‘switch off’. There is also a sense of control and a strong link to how we are monitoring our lives using technology. We are tracking and evaluating something as natural as our heartbeat, using a machine to follow one of our most primal and natural processes. The piece also suggested to me a strange sense of almost repetition - although the bulbs were flashing almost intermittently, there always seemed to be a sense of rhythm to the piece. Are our own personal heartbeats really as individual as we perceive them to be? Or are we simply elements in a system, beating together in a collective rhythm?

Close-Up
http://articlemagazine.co.uk/wordpress/wp-content/uploads/recorders-a.jpg






‘Close-up’ was another piece that I found particularly interesting, however for entirely different reasons. The piece uses a small monitor on a wall, displaying a seemingly abstract image that constantly shifts. As the imagine is ambiguous, again we are invited as the viewer to fully engage with the piece – in order to see the image, you must get up close to the screen and peer into the image. As you look into the piece, a small closed circuit hidden camera records your image then projects this into the piece. Not only are you looking at your own image, you are also witnessing the face of other viewers and their reactions to the piece. As the image constantly shifts, you are never fully aware of exactly what it is you are looking at. There is a strong sense of surveillance that surrounds this piece as you are essentially ‘looking at the looked at’. The smaller frames also represent the many monitors used for viewing CCTV – a technology we are all completely familiar with. There is also a high sense of control involved in this piece. As you are invited to look into the monitor you are instantly recorded without your knowledge or consent. Again this represents Lozano-Hemmers feelings towards our technological age of surveillance. Themes surrounding self-representation are also evident in this piece; do we really appear how we perceive ourselves to be?

I very much enjoyed the exhibition, in particular the interactive nature of the pieces on show. One aspect that particularly intrigued me was how Lozano-Hemmer presented some very negative ideas surrounding conformity, control and surveillance in a very playful environment. The viewer was the definitive tool throughout the exhibition – in each of the seven pieces, the presence of the viewer is imperative to the piece. Without the viewer, the pieces could not function. More importantly however, in the majority of the pieces the participation of others in also critical in the piece functioning correctly. Lozano-Hemmer presents some interesting themes and I am interested in further exploring some of his other works.