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.
Good to catch up with Gary and office hours crew last night. It was mainly focused around my newspaper as I wanted some feedback from both Gary and other peers. Some notes below on discussions/ ideas / and thoughts moving forward...
Newspapers are more common in smaller photography communities where other methods of dissemination are less possible. This conversation started by Gary asking Why a newspaper and what it was that I wanted to get out if it.
In terms of why a newspaper, I did mention here about my original thought on why a publication of this nature. The main point that came out was that I actually wanted to encourage viewer feedback from the publication rather than it being handed out, read and discarded ( which is what would happen if replacing the Metro newspaper in rush hour as originally planned). This sparked of other viewpoints around ethics of replacing peoples daily news without their permission, getting in trouble for the act in the first place, and also for reasons around the university getting bad press if as a student I were to get in trouble. None of which I had even thought about I have to be honest.
Permanence: The Metro is printed read and discarded all in the space of 12 hours. They are littered all over the floor of the underground and then swept up and recycled (I would hope). On reflection this isn't what I would want to happen to my publication. After all now knowing that It is feedback that I seek and not just the statement of "Ive infiltrated the Metro News" I realised this isn't the right path to go down. I want it to be an edition of newspaper prints for people to keep or pass on rather than simply discarding.
A Headline to grab attention of the viewer: We were discussing traits of the newspaper and how they look and for what purpose. My newspaper although having the logo title that seems to match with the newspaper, doesn't have the content or headline associated with he news. This adding more weight to the argument that what I am making although being printed on news print is not in fact a newspaper. A difference I hadn't thought about previously.
From this a suggestion was put forward that I do in fact need a call for action. Not knowing what the purpose of my paper is nor what I want to achieve from it all points towards the idea that I need to tell the viewer what it is I would like them to do once I have chosen how they shall receive it.
Dissemination: People don't appreciate being tricked into doing things. With this in mind, perhaps the idea of the Metro altogether is something I need to develop further. Going towards full transparency and approaching people I want to read my newspaper is a much better option. This way a dialogue can be started and I can actually get the feedback I hoped to receive without tricking people into picking up my paper. After all it won't be for everyone I guess.
Speaking to Cemre today about the newspaper has been really helpful indeed. Questioning whether it is a newspaper at all or whether the design lends itself more towards a single poster style or a zine have been really interesting ideas. I think he main thing that I have taken form this however is that I have spent a great deal of time trying out different things in InDesign in terms of layout and not really thinking about whiter they add value tot rework or if it just looks like lots of different ideas all placed together.
I really liked the idea of the faded images as an analogy of the fading of memories and also the disjointed repeated images with pieces missing, however on reflection I think they are both a little too gimmicky and not really something I want to continue with. For that reason I have simplified the design a great deal and also started to re think how I control the relationship between the images and text.
Onto the idea of the text, Cemre picked up on something I hadn't noticed with words not being my strong point. The captions of memory alongside the images are all in different tenses which breaks up the flow of the narrative a great deal. I have recently spent a great deal of time with these images and text and it was something I hadn't noticed although I knew there was something not quite right in terms of the narrative.
Other ideas and conversation came up around the distribution of the newspaper.
Campany, D. (2018). SO PRESENT, SO INVISIBLE. 1st ed. Rome: CONTRASTO, pp.17-43.
The idea of not only forgotten memory, but that of complete fiction is something that fascinates me. I only recently came across this quite late into the module, and so is something I plan to investigate further moving into my Final Major Project. Creatively reconstructed our sense of what was the past is seemingly quite common, with he work below playing on the example of people remembering they had been lost in a shopping centre when in actual fact it had never happened. A great idea to play on these myths of childhood and agin something I want to explore further. It is almost going one step further than Freud's analogy of the human mind being alike to the writing pad where the memories fade like the wax imprint on the pad.
Just looking at various ways of including the captions to my newspaper design. I initially thought that I wanted them to be like actual captions you would find in the newspaper so would be relatively small underneath each image. Then I tried a few different size fonts and placing in different places. Still no clearer as to whats the best course of action.
A few days ago I sent a copy of my newspaper design to friend and peer Philip Singleton to see what his initial thoughts were on my work as a product and where he thought if fitted theoretically. I find it so interesting different perceptions of the same images - some of Philips thoughts to follow with some further ideas as reply from myself in italics.
PS: Why a newspaper? The medium suggests temporal rather than a zine or book or other? Just asking rationale….
AP: The idea or desire to place this work in the form of a newspaper came initially from artist Gerhard Richter, who for one day was invited tot take over the Die Zeit newspaper replacing the daily chaos with his moments of calm. This images were soon after placed alongside stories in book form. It was these storied which I felt to be a very personal thing to attach to images that were not apart of the initial story. This gave me the idea that perhaps memories did not need to be attached tot heir original image. In the past I have constructed new images relating to past memory through mainly landscape endeavour, where the landscape was the trigger for memoriam. Through this work, I felt it to be something quite different. The images I made were an image of today or yesterday with the stamp of fact through date and time imprint.
As I have only ever made zines and nothing towards a news print before, I wanted to give it a try with my work to see how perceptions of the image change in something as temporal as a newspaper. Thinking about it now, this almost contradicts the projects central idea of memory being something that last for a period of time.
PS: The premise has promise. The intro words trigger a ‘reading’ of the images - you use the word family, so I am assuming I am seeing beyond the singular and personal, so the gathered up cloth is perhaps the end of a party; the one close-up of an actual person is perhaps a relative of yours, or not.
AP: Thats an interesting idea which I don't think I had singled out. The mages are certainly supposed to 'read' by the viewer, but without a predetermined 'answer' to what they mean. They are based around memories from childhood triggered by the everyday diary aesthetic of the present.
PS: The cuts and pastes of images are intriguing.
AP: The cut and paste elements in some of the images are to elude to memories that are not quite recalled as they happened. Memories fade, become distorted and sometimes transform into hat of imagination rather than real memory. Freud's memory analogy of the mystic writing pad where traces of memory last on the wax layer underneath where the child draws on top. With my work I wanted to change this slightly to show how this distortion of memory occurs to create or 're-create' 'imaginations'.
PS: The meter on the wall fades as a triptych - that is perhaps a literal fading for a purpose?
AP: This was an element I had been thinking about using for sometime within my work. The idea came from a photographer I looked t last module and one I have continued to follow his work - Daniel Shea. He is informed by cinema where you see the frame swell as the frame before and the frame beyond. I wanted to show how memory becomes faded in a more literal sense. I was very sceptical about whether to include this image as I felt it was becoming a little 'cheesy' but in the end I decided to include it as this is a fundamental area of my investigation. Perhaps it should sit nearer the start within my edit?
PS: I suppose if it is a newspaper, then captions, however enigmatic would be welcome and more provocative or evocative. Such as ‘aftermath’ or last cigarette or whatever!
AP: There are actually captions for each image by way of a 'memory' or an 'imagination' which was triggered through the daily snapshots I have made. The date and time has actually been constructed through changing it on the back of the camera abhor making the image. This was a time consuming endevour, and not something the viewer will be made aware of - as some mercies are kept private vs the ones made public.
PS: The scale shift (eg page 9) are intriguing and leaves the viewer wondering why the intimate landscape and the distance from the street - one memory more powerful than the other…?
AP: suppose these are all ideas that I want the viewer to make for themselves. Everyone will have a different view of where or why the image was made. Once you see the captions that go with them I think as a viewer you will actually have more questions than answers which is part of the plan for this work. I'm also interested to see the reaction of the viewer to the sequence. Its very interesting that you commented on the scale of the image, as this is something I have had trouble deciding through the edit. The broadsheet newspaper is a large surface area with a great deal of space to 'use' whether with or without images. I think I also want to show space between and around the images - Its just as important in an edit about what to leave out that just what stays integral to the work.
Looking at Cemre's work to see firstly about the sequencing of images in a newspaper format but also how to actually film the newspaper to put on website/ assignment hand in.
Iv'e taken influence from both my Memoryscapes work from last module as well as work by artists such as Daniel Shea, who use multiple images in sequence to convey narrative. I wanted to show in a more literal/graphic sense how memories 'fade' or become distorted over time. Being quite worried about constructing an image that looked cheesy or cliche, I made this triptych which actually I was very happy with immediately. I have always been a fan of the triptych and whilst working on this series I have been reading David Campany's new book which is a series of conversations with photographers about their practise. Since Informing contexts I have found reading 'in-conversations' far easier than big bulky texts. I started to read one conversation with Daniel Blaufuks, and something he said regarding the singular image affirmed my decision to keep this triptych in the series.
"Memories are so much more complex than a single vision" (Blaufuks, 21)
I'm aware Blaufuks was referring to the singular image rather than a body of work to convey a project idea but taking that literally, to me at the time I was thinking about whether to include this or not was something helpful to read.
Campany, D. (2018). SO PRESENT, SO INVISIBLE. 1st ed. Rome: CONTRASTO, pp.17-43.
After experimenting with the saddle stitches and also the relationship between my images and text, I want to make something a little more accomplished. Using the same saddle stitch and physically sticking images into the book I made another version of my dummy book.
To bring all my ideas together I wanted to make something that still had the feel of a handmade book, similarly tot he family archive albums/books made at home to keep photographs of family holidays and special events in.
Taking place between New York City, New Jersey, and Ukraine, So You Speak Russian is an exploration of photographer Jules Slütsky’s conflicted feelings about returning to her family’s home country. Through images of relatives, sites of memory, and artefacts of family history, Slütsky seeks to explore not only her own personal heritage but also that of Ukraine. Here, she discusses the process and inspiration behind the series. - Jules Slütsky
Although aesthetically very beautiful photographs in this series, there is however something that detracts from the personality in this work for me personally. I felt that the ideas of returning home and of the sites of memory and relatives very nice but they were exactly as I had expected if that makes sense?
I had the same issue when making the work for My Grandmothers Cabinet of Curiosities as part of the first module I did on this MA programme. I felt the images said exactly what they were supposed to say and nothing more. When looking and thinking about work relating to memory, I feel there needs to be something else, something to link to that particular person on more than an aesthetic level or one of family value. In this series by Slutsky I don't see that. I see as she rightly explains still life images that have been selected and moved and placed xactly how she wanted them. I would have preferred to see more of what was found or something that showed why this selection in the frame had been made.
On the other hand a beautiful edit and a series I think this project would very much suite a hand made book project to add a little more personality and a connection to the memories retreived through the process of this project.