Above: Diane Meyer from California contributes family portraits, which also speak as a personal keepsake, adding an element of tactility by using a cross-stitch to embroider over certain details of the image, such as the faces of her subjects.
I found this text referencing an exhibition which took places in October 2016 about the ways in which artists are responding to the rejection of the physical print and how this effects our vision of the past.
I really like "The vision of the past" as a description of memory. It maybe something I would consider as a title for my work in progress portfolio.
Its Interesting to see how other practitioners deal with the notion of memory, especially in the age of the digital snapshot.
Curator Lisa Hostetler considers how “We are adjusting to how we remember things, our past and those who came before us,”
I have spoken before especially in the last module that the tactility of the photograph is very important to me in both the physicality of the image and also in the role these objects take in the memory process. This is one of the fundamental reasons for my specific attention tot he context of consumption in the last module, where I included frames within the image to pay specific attention tot he fact it was a real photograph and not a digital file, even though this was all being explained on a web based journal.
I have also talked about in terms of this module about wanting to get hand C Type prints made for this submission. After a great deal of consideration I have decided due to financial and time limitations that I won't be able to do this. However I have chosen one of my work in progress images which is being hand printed so I can comment, compare and contrast between the scanned negative and the hand print as a relevant comparison.
Nytimes.com. (2018). In Books and Art, the New Life of Old Photography. [online] Available at: https://www.nytimes.com/2016/12/05/t-magazine/books-old-found-photography.html [Accessed 14 Apr. 2018].