As it is so late in the day and not long before submission, I have only just received the final printed newspapers as there was a delay at the printers so I thought it would be a good idea to storyboard the video production of my newspaper for submission as my WIP portfolio.
Unfortunately there were a couple of elements of the video I would have like to add but time and video editing skills prevented. However I am really pleased with the resulting video.
Through all my thinking on memory, I wanted to start to deconstruct what memory is. I think I am near to understanding in my own terms what it is, and now need to explore how to determine/realise this in a photographic and aesthetic method. Memory is a fragment of time within a duration of an experience.
Damien Sutton very clearly and concisely talks about the relationship between time and duration and that of photographic time as well as cinematic time. This book is going to be very influential as I move over to the FMP.
Sutton, D. (2009). Photography, cinema, memory. Minneapolis: University of Minnesota Press, pp.32-35.
Thinking of our memory as a kind of 'history book', or thinking about our fragments of memory in terms of 'geography'. We map our own paths collecting memorandum along the way. These paths can the be organised through the photographs made, the postcards collected and stored in an archive.
This idea of memory being related to geography reminds me of the Chinese Tradition 'memory Palace'. Items of memory are placed along a path known well to the person and the path is then travelled along passing past items of recollection.
This idea of geography, of recollecting the paths once travelled and also the objects of memory are all things I wish to integrate into my practise in the future - perhaps through landscape works or through physical travel to obtain a deeper understanding of what I understand to be my own methodology in memory work.
Marker, C. (2018). Immemory. [online] Chris Marker. Available at: https://chrismarker.org/?s=immemory [Accessed 19 Aug. 2018].
Thinking about the archive and how modern archives exist as an aid memoire to our natural memory, I was reminded of the installation Eric Kessels made where he printed all the photographs uploaded to Flickr in a single chosen day, commenting on mass consumption of images and the existence of such public mass archives.
I have been a fan and close follower of Wolfgang Tillmans' work both commercial, personal and artwork. He was one of the first photographers I looked at and saw the real relationship between text and image and was a big inspiration form final newspaper design.
Since working on the Landings exhibition I have found that I am far more confident in working with page design and think that this is something I cam going to continue to work with in future projects. It gives me almost an extra surface to use in my work and I think up to now I have felt quite restrained by what I could produce because I didn't have that knowledge of how to construct images on a page properly.
Graphics working with photography is of great interest to me as is how Tillmans's created the Betweenbridges anti brexit campaign.
Below, Freud compares alike that of natural memory and artificial memory, being the various devices invented by man to aid the natural memory. These ideas drew me to think about how we use memory, how we use the devices we rely on for memory and how I can work with these devices in my practise ie The Archive, Digital Archives and mass consumption of the image. This reminded me also of Eric Kessels installation of images where he printed all the images submitted to Flickr in one day.
If I distrust my memory – neurotics, as we know, do so to a remarkable extent, but normal people have every reason for doing so as well – I am able to supplement and guarantee its working by making a note in writing. In that case the surface upon which this note is preserved, the pocket-book or sheet of paper, is as it were a materialized portion of my mnemic apparatus, which I otherwise carry about with me invisibly. I have only to bear in mind the place where this “memory” has been deposited and I can then “reproduce” it at any time I like, with the certainty that it will have remained unaltered and so have escaped the possible distortions to which it might have been subjected in my actual memory. (The ‘Mystic Writing-pad 429)
Bate, D. (2018). The Memory of Photography. [online] Tandfonline.com. Available at: https://www.tandfonline.com/doi/full/10.1080/17540763.2010.499609 [Accessed 10 Jul. 2018].
I was luck enough to be selected as one of the LANDINGS:2018 exhibition designers.
We first met to discuss a course of action and to divide jobs between the three of us.
I offered to create three varying posters for the exhibition. On a practical level I have now learnt the basics of InDesign which is new to me, as well as how to output files in various formats. These skills will help me to design my newspaper later in this module.
We also had the task of designing a webpage for the website. To start with we wanted to come up with a colour palette for the design of the exhibition. Andrew showed us this fantastic video of Wes Anderson colour palettes from his films titled "Wes Andersons Color".
We each watched this a few times and decides on a particular colour palette from one of the scenes. The below was to be the colour theme for LANDINGS:2018.
I have certainly gained valuable experience around the topic of collaboration and working in a design team. From the start of this design/curatorial task we made decisions quickly and efficiently throughout the process.
I have started to understand the positives and negatives of collaborative practise and when certain collaborations should and shouldn't take place. We all as artists have very different methodologies which sometimes work well in unison and sometimes I feel will clash or prevent each other from fulfilling their potential creative output.
The Design element I took on as part of the exhibition team has benefited my own practise far more than I would have expected, and has added a graphic and design element to my own practise looking at ways to incorporate and explore the relationship between text and image.
A few examples of how people have recorded their publication.
Otsukas video above is one of my favourites so far. Many videos arelocked off on a tripod from above and then either speeded up or slowed down as someone turns the pages. I too did this for my mock dummy publication earlier in the module. This is a great way to shoe literally what is on the pages of your publication but there isn't any context given or anything tot all the viewer how or in what way the work is supposed to be viewed.
Ive been trying to think of some other ways to video my work, so far with little success. I like the way there are macro shots of details on the page which is something I am going to try and do my self. I also had the idea of using the end of the video to show me numbering /50 to show the edition and that it is hand written.