I'm personally far more into the low-fi zine style of pritt stick and some paper with a staple in it. Found this video which for me captures the essence of an oldskool zine style.
Jeff Wall talks about how photography is the record of an occurrence, or a non occurrence. I've been thinking about what I'm trying to say or what attracts me to make an image and I think it is down to the occurrence. The couple embracing in a moment together listening tot he music, or the plane flying through the clouds. I don't currently have a particular subject in mind, just that there must be a connection between the view and me when the image is made.
The constant I want there to be amongst all my images is the date and time stamp acting as the moment of fact. It almost legitimises the image and puts it into a category of time. This relationship between image and time and the occurrence is what is interesting me at the moment.
This is a really interesting way of printing your pictures.
This rolled up Zine by Casper Cosmus Alsøe has been printed on a till roll printer and shows the same texture as a receipt does. I like the lack of image quality, as I don't think its about the quality of the images, its about getting the work out there in a cheap old skool zine format.
Whilst working 'with' Ed I have started to produce a series of garage doors in Leytonstone. Unfortunately the other film of images didn't come out in developing so I only have 4 images so far. Something else interesting did come out of this experience whilst walking and looking at garage doors.
I pass this bill board everyday whilst travelling on the underground. I was originally quite surprised at how often the advertising is changed on this particular bill board. Not only the change of the campaign but actually the change of the environment is something I noticed and want to record. Another reason for this particular picture is that I have been an assistant on many of the campaigns Ive seen on this board. This particular campaign was only shot 3 weeks ago and has already been released.
So in the style of Ed Ruscha, above is the first of a year long project photographing this bill board. I have chosen to continue using my point and shoot camera which has the date and time stamp so this factual record will show the period of time taken to make this work.
About my current practise
I would say that my current photographic practise is skirting around and about the snapshot and family/ memory photography. Up to now my practise has been very family orientated, and my area of research has been concentrating on the memory aspect rather than the aesthetics. I guess I would now like to amalgamate the various approaches I have investigated up to now.
The area I would like to improve on the most is that of portraiture. In my commercial work I have been getting some good portrait commissions but I am still less comfortable within these scenarios that I would be for example shooting a landscape story. So the portraiture work is my main focus, but on what particular subject I'm not quite sure as yet. I don't think I want to go down the route of photographing a series of..... I think he diaristic approach of the everyday is far more of what I'm trying to do.
What I've done during the week and feedback received, and how I've responded to that feedback.
From reading articles and watching videos about Ed Ruscha, I have actually found myself being far more visually aware of my surroundings, and have started a long term repeat photography project on a bill board outside the underground station I pass everyday. I chose this scene for a few reasons. Firstly, I probably look at this scene 3 or 4 times a day at least, and every time I look at it there is something slightly different about it. Apart form the ever changing advertising campaigns that are pasted up on it, the trees in front of the billboard grow, change colour through the seasons and through the different angles of light throughout the day. I made my first images of it this morning, using my dat and time stamped point and shoot camera. The added date I thought would add another layer of 'fact' to the series which I plan to continue shooting over the remaining year of the course.
I have been far more interested with the methodology of repeat photography rather than rephotography. I think I feel very confined by the rules of rephotography and prefer the flexibility to change my view point slightly or to make a photograph at a different time in the day.
Feedback int he first webinar was interesting. Whilst being the first time I had met both Cemre the tutor for this module and a couple of the other students, we had a good talk about aspirations and some of the concerns with our individual practises. Cemre gave me a couple of interesting projects to look at to do with the family album (which I shall talk about in a separate post).
I have however started to think about how I am going to establish this project if staying on the topic of the family album. Whilst being in London I don't get to see my family too often, so perhaps moving the project in the direction of the diary would be more achievable and perhaps would work better in the newspaper format? I welcome any thoughts....
Currently my methodology is in quite a random unorganised approach to image making. I thought at this point in the course I would have found the exact idea for my research project and would be steaming ahead with shooting and editing it. Instead I've gone from module to module exploring different avenues relating to the snapshot and family/ memory work and at the ed of each module have resolved that enquiry rather than wanting to continue it later on. In a more positive light though, I feel that this work moving forwards now may incorporate each of the aspects visited in the previous modules. I certainly make more landscape images than I did before, and I think about where the images will be placed far more than I did before.
The forms my project/ photographs could take moving forward.
As I have mentioned in a previous post (https://bit.ly/2LnlrHi) my diary based work using a point and shoot film camera with a date and time back attached could take the form of a printed newspaper or a series of smaller publications collated by date or subject perhaps. As far as an actual topic of the project I think it will be a mixture of portraiture and photographs of daily life which sounds very dull and over done. I spend a great deal of time out and about and I think this is when I feel like I can respond to my surrounds the best. As I mentioned earlier, I carry this camera with me everywhere, and sometimes take only one of two photographs of things I see and sometimes I shoot a whole room on one scene.
I have recently started to repeatedly return to the sky to make new work. Every time I look up at the sky the clouds look slightly different or are making a different shape, or the light is glistening off a plane flying over head. In terms of repeat photography I would say that the sky is my main focus int hat area at the moment. If I was asked what it is I am trying to say with these images however, at present I am in a place of just making some nice aesthetically pleasing photographs. I found theist module mentally draining and although I want to stay floating int he same research area, the idea of mass art in the style of a newspaper is something I am really interested in. This kind of output pulls together the themes of the everyday, the snapshot photograph, a record of an event, as well as the aesthetics I have talked about in previous modules.
Above: Susan Meiselas (Links to an external site.)Links to an external site. (1979) The Molotov Man; Right: Joy Garnett (Links to an external site.)Links to an external site. (2003) Molotov from the series Riot
Joy Garnett is known for her paintings inspired by accessible digital images. Following an exhibition of her work in 2004, Garnett received a cease and desist letter citing infringement of copyright, from a lawyer representing Susan Meiselas. After a debate, which became known as 'Joywar', both put forward their perspectives in an article for Harpers Magazine titled 'On the Rights of the Molotov Man'.
Either post a concise summary of your thoughts, or respond critically to someone else's post. Try to think about the debate at different scales as well as in different contexts.
If I found my work had been referenced, remixed or appropriated by another artist I would at first be flattered that they had a strong enough connection to my work to want to use it for their own expression. First and foremost, I think it’s great publicity.
As much of my work is about family and does include personal photographs of friends family members, there would be questions raised as to whether they were ok being used in this re appropriation of their image. When collecting my family album material, It was asked of me that I let certain family members know where and how their image would be used. If re appropriated or remixed by other artists, I would lose that control on behalf of the people in my work. So for this reason of sensitivity I think I would have similar feelings to Susan Meiselas over (1979) The Molotov Man, but wouldn’t go as far as legal action.
Following on from the previous post (https://bit.ly/2LnlrHi) about Gerhard Richter's newspaper take over I wanted to find the original. I was interested to see that it is now not only a newspaper but is listed in a gallery setting as an edition work of art. This piece of mass media art surely is or certainly was in many house holds after October 5th when it was released.
" On 5 October 2012, the German national newspaper Die Walt published it's daily issue-but things looked ... different, Quieter. The sensations of the day, forgotten as soon as they're read, were missing, replaced by an unprecedented calm, extracted with care form the chaos of the contemporary."
" On 5 October 2012, the German national newspaper Die Walt published it's daily issue-but things looked ... different, Quieter. The sensations of the day, forgotten as soon as they're read, were missing, replaced by an unprecedented calm, extracted with care form the chaos of the contemporary.
The calm was the work of Gerhard Richter, who had been granted control over Die Walt for that single day, taking over and imprinting all 30 pages of the newspaper with his personal stamp. Images form quiet moments amid unquiet times, the demotion of politics from it's primary position, the privileging of the private and personal over the public, and, above all, artful, moving contrasts between sharpness and softness. He had created a work of mass art.
Among the many people to preside the work was writer Alexander Kluge, who instantly began writing stories to accompany Richter's images. This book, the second collaboration between Kluge and Richter (December, 2012), brings their stories and images together, along with new words and artworks created specifically for this volume. The result is a beautiful, meditative interval in the otherwise unremitting press of everyday life, a masterpiece by two acclaimed artists working at the height of their powers."
Wanting to stay within the realms of the family album, and the aesthetic of the snapshot, I came across this book as a possible starting point for my next project. I felt that the last work I made became something of a serious nature and some of the recollections and memories during making the work took me to places I need not go. For this reason this module leading towards my final major project I want to be something a little more playful in its output, and along with the themes of the module possibly in newspaper form.
I have started to carry my point and shoot camera with me everywhere I go. I record mainly places I have been with the odd photograph of Olivia or my siblings. I would like to push myself slightly with this daily ritual of making and start to make work of people I don't know. I think I hide behind the photographs of the landscape so that I don't need to approach the unknown person in front of me.
So the aim for me for this module is to start to photograph he un known and to put myself into more situations where I can make pictures of people and things rather than the landscape that passes me by.
"WTC from Manhattan Bridge"
Camilo Jose Vergara's photographs of the World Trade Centre taken from Manhattan Bridge show a period of time in which the terrorist attack on the WTC took place. This period of time was host to change in the physical landscape, as well as social and political change. On a more personal level these images show a period of time in which my Aunt was killed in the WTC terrorist attacks. This for me is a series of images from various sources I have seen over and over again. However Vergara series is somehow slightly different for me. It shows the buildings before hand, it shows the haunting site of the actual buildings on fire. Then for me it shows the regeneration, the positive look tot he future as the site is cleared and the new trade tower is erected. It shows that society can stand together and repair both he physical and the mental trauma of such an occasion. This for me is the strongest message a series of images recording a period of time can portray.
Camilojosevergara.com. (2018). WTC from Manhattan Bridge. [online] Available at: https://camilojosevergara.com/WTC-from-Manhattan-Bridge/1 [Accessed 4 Jun. 2018].
In thinking about how to produce my working 'with' Ed zine I wanted to try printing using a simple double sided print form a laser printer in black and white. Sticking to the simple photocopy style zines I've looked at in the past by the likes of Ari Marcopoulos, I think this is a simple and yet still nice quality way to produce a small amount of zines.
Its slightly complicated laying out the pages to be printed as every other page will need to be upside down just because of the way the printer recalls the page to print the second side.
Images are of ceramicist Hitomi Hosono in her studio, taken from a recent commission for Rakesprogress Magazine.
I saw a post on Roels instagram page about a new book titled The Pyramid and the Palm Tree Test. I was attracted first to the repetitive images in grid like formations on each page and the almost home made look to the publication. Simple in design and simply staple bound. It linked the idea of the small simple publication and repetition to that of Ed Ruscha's small publications often showing repletion of things as fact in down town LA.
The inspiration from the title was even more interesting.
"It takes its title from an neurologists test that uses iconic images to check whether the test subjects have aphasia or dementia. The link between meaning/ images and iconic signs is absolute."
Brunoroels.com. (2018). Bruno V. Roels – Artist. [online] Available at: http://www.brunoroels.com [Accessed 31 May 2018].
whilst thinking about surfaces and strategies and the different avenues of dissemination, this poster-zine landed on my desk from selfridges. An A2 zine/folder full of pull out posters of their favourite brand campaigns of last year. A really interesting way of visually rounding up the previous year as well as a physical thing for people to put up on their walls with the shops branding on it as well.
I've been thinking about where to take my practise this module. The starting project of Working 'with' Ed has really excited me as I have a fascination and almost an obsession with zines and printed matter. As for the subject matter, I'm still not quite sure what I want to photograph.
I'm rather drawn to the idea of 'the backdrop of where drama played out'. The blank reality of a space. I was outside The Photographers Gallery recently watching people on their breaks smoking in the little courtyard. They all seemed to be very vacant and in their own little worlds, in their own sort of 'blank reality.'
Ruscha talks about the 'intentional deskilling' which bothers me in some ways. I don't necessarily feel it is in any way mocking the amateur photographer but I do think there is a certain amount of mocking of all photographers at any level.
I am very interested in 'interest'. > Interest has a capacity for duration and is why we return to something again and again that is 'interesting'.
Photographs of things as fact -
Reflecting on my photographic journey from last module tot his, I feel very much that my work is being pushed and pulled between conceptual photography looking at memory and imagination, and more commercial work aimed at getting commissions. This constant flux between the two I think has almost stifled the development in both areas. Moving forward I want to try and amalgamate these two outcomes into one style that works for both editorial and in the context of the gallery.
Mainly it is the description of Southam's work by Gerry Badger which you can read about here that has informed my work to date. "Connection, Memory and History are key points for my evolving work from now on.
This images above is one I do really like but was left out of the final edit as the aesthetics of it didn't fit with he other images I had already selected. It maybe that I return here again in the future and this scene would be better matched with less abstract and perhaps some portraits.
However,I feel the work in progress portfolio I have edited and submitted is some of my strongest work to date.I don't feel I have investigated this area of interest as intensely as possible, as I think to submerge myself in the area I want to photograph in the future for longer periods of time would produce stronger work and a wider edit.
Interms of where I take inspiration from I feel after reading some interviews with Letinsky, who is very articulate about her influences, I think I need to try and read more and to take influence form other photographers less. Reading will inform ideas rather than aesthetics. This currently is stifling my own style progression.
On the topic of memory, Dr Emily Orley talks about how, “James Joyce scribbled the words 'places remember events' in the margin of his notes for Ulysses.”(Orley, 2012:1) I hope to explore in the future the intriguing notion that the places I have photographed could have multiple memories. In some way this would be flipping the investigation around to almost a view of people from the landscapes point of view.
Thinking about how my images would be displayed in the context of the gallery I wanted to show the ratio of size between images. Obviously the space size and shape will vary tremendously but above is the size of images in comparison to other ones.
Interested in the relationship between the past and the present I revisited Otsuka's Imagine Finding Me book project.
Otsuka’s constructed realities of both past and present self-portraits comment on her cultural identity, as well as offering the viewer to consider their own past and present self.
These images clearly reference the machine printed snap and the aesthetic of the snapshot.
I would now like to follow on from reading Shores text on the nature of the photograph, and in particular the frame of the image. I wanted to look at how the similar processes worked in relation to that of the painter. Georgio Morandi also used the ideas of the frame to decide what is to be included or left out of his painting.
His paintings I find in the similar style to contemporary painter and friend of mine Sam Heath
I found his use of colour and form were not dissimilar with the close up view of my landscapes. These views showing observation of shapes and forms and less of the whole landscape scene.
I think this series of images in my work in progress portfolio for Informing Contexts module will be titled Memoryscapes. They are a series of landscapes or seascapes that have been realised through the act of memory as a child. I also intent the viewer to recall their own personal memories whilst looking at my work. So I feel that combining the act of remembering within the landscape has created this as a suitable title.
Gerry Badger discusses the process of experiencing the landscape scene when he cites Muir:
"We simultaneously encounter two closely related but different landscapes. The one lying beneath our feet and extending beyond the horizon is a real landscape: It is composed of rock soil, vegetation and water, is home to an abundance of creatures, and has objective past and present existences. The other is the perceived landscape, consisting of sensed and remembered accounts and hypotheses about the real landscape. It is, therefore, a selective impression of what the real landscape is like. - (Richard Muir)
Here Muir is talking about the essence of what I am trying to portray through the aesthetic of my landscape images. It isn't what you see before the lens that I am showing, but what is there through these 'remembered accounts' (Muir) that is important.
Badger later talks about a walk along a beach with Southam to outline the lengthy process endured up to a dozen times a day when only a few images are actually exposed. This time is what drew me to Southam's work in the first place. He talks about the connection with the places he makes pictures in. "I need to attach myself to a place and return again and again to make work there". (Southam) The knowledge he then passes onto the audience "whilst in part being about change, photography's perennial subject - are also about continuity, connection, memory, history"
It is this knowledge I assume I am looking for in my images. I am certainly looking for memory as this is where I started this investigation. However it is also about the connection, and the history of a place. And this knowledge can only be really found through the repeated return to the same place to gain as much knowledge as possible to turn a photograph ( which Badger says can be made anywhere using a camera) into a picture which hold all the information and knowledge needed to pass onto the viewer. This idea of the difference between the picture and the photograph is something I started to think about when I watched a video interview with Jeff Wall about his images where pictures become poems. You can find it here.
Southam,J and Badger,G 2005 Landscape Stories. Blind Spot Books New York