Final Show Notes
- Reply–all email for everyone to communicate
- Publication? Show of hands 15 out of 21
- last year £900 for 1000 booklets
- kitty?
- raising money?
- appearance
- Curating - discuss in March
- Use people to their strengths
- Rob & Miranda's MA Show - external designer for publication - minimalist
- Maquettes - work with designer
- Poster - link to designer
- Postcards? Pros and cons? Jon to explore further
- Website? Show of hands 2 out of 21
- "Graduate Show"
- name not to be one point something...previous!!
- FOL10 | 1mag1ne | Vision 1.0 | Exhibit #1
- Space
- leaflets outside
- magazine ads
- discussion each week during MPP
- costs of website - find out
Lecture Notes
- Staged Photography Lecture - Miranda Hutton
- Susan bright - narrative
- Charlotte Cotton - Once Upon A Time...
- The opposite of the photo–essay
- One tableau image
- Cindy Sherman - Film Stills (Bordering staged according to Susan Bright)
- Jeff Wall - absorbed in film
- returning the gaze
- lightboxes - echo movie screen/billboard
- Sugimoto - Movie Screens
- di Corcia - lighting, Hollywood. Dramatic. Twilight suggests change
- Crewdson - parents were psychoanalysts
- American suburbia
- filmic/film crew
- Bill Henson - 'Crewdson–like' teenage - inbetween stages
- Tableau - picture on grand scale
- for gallery/wall space
- Michael Creed - talks about performance/posed
- doing the everyday things
- Painterly observation - direct link to novel
- Holding something back - viewer interprets (back/no face)
- Construct then removes things - works in reverse - incomplete
Koudelka's Theater of Exile
Text from Max
Kozloff, Lone Visions, Crowded Frames
Koudelka's
Theater of Exile
... It's shocking to think
of how much in current Western experience is ruled out by Koudelka, and
nullified as if it never existed. One could search practically in vain for the
historical Europe or the tourist scene, the life of the middle classes,
plastics, the consumer market, signs, cars, modern diversions, blue-collar
existence, productive systems of any kind, in short the characteristic Jamboree
of the late twentieth century. It takes a certain exclusionary genius to have
rejected such a sights while still asserting one's ties to people. A great deal
has been made of the solitary spirit of Koudelka's work, but that spirit
protests too much. Because of his rhetorical estrangement, his world may be as
inhospitable as It is unfamiliar, but it remains a world of minority cultures,
whose religious and funerary rituals It intimately discloses. The question of
how long these cultures will continue to exist in recognizable form is held in
suspense by his imagery. Pre-industrial and mostly unrelated to any sizable
economy, they seem to be holding on, in atrophied, ingrown states, a dwindling
that has spurred him to make his late records. Europe had no place for the
Eastern Slovakian gypsies Koudelka photographed in the sixties, and the Spanish
peasantry of his more recent images would not seem to have the brightest
prospects either. At first glance, it looks as if he's declared his theme to be
rural, Third World poverty, but the faces, though gnarled like those in
undeveloped countries, are Caucasian. What happens in his pictures seems to
have taken place a long time ago, under archaic conditions, hard to remember .
. . so that their actual contemporaneity appears misplaced.
The first plate of
Koudelka's most recent book, Exiles, which accompanied his show at the
International Center of Photography this summer in New York (it had traveled
there from Paris), shows the photographer's left forearm stretched from a
balcony over an empty Prague boulevard. The year is fateful, 1968, and the
gesture is unmistakably that of someone who consults his watch. It's twelve
o'clock, a noon hour here momentous because of its silence and emptiness, as if
to mark a large strike. The photographer engages us with a symbolic interval of
his resistance as a fighter on behalf of the aborted Dubcek liberalization. His
subsequent flight from the Brezhnev armed clampdown, along with numerous other
Czech intellectuals, artists, and filmmakers, was an escape to a freedom in the
West whose embryo promise they had lost at home. (In this era of glasnost, the
persistence of the Czech regime in its singularly reactionary unbending course
indicates all the more glaringly what they were up against.)
In the case of Koudelka,
however, welcome into Western creative circles did not lead him to an
endorsement of the materialism, much less the capitalist ethic, that surrounded
him there. The only pictures really impacted with things in his entire career
are of Soviet tanks in Czechoslovakia, swarmed over by defiant but impotent
crowds during the time of national humiliation and trauma. Events like that
have the capacity to mark an artist's vision. Though befriended in the West
(particularly at the photo agency of Paris Magnum, which took him as a member),
and clearly grateful for it, Koudelka was never consoled. It can be argued that
this diffident man, who lives and travels as lightly as possible, is by
temperament an uprooted character. In the early sixties, as a young man, an
aeronautical engineer and theater photographer, he had already been taking
pictures of the outcast gypsies, a foretaste of his experience as one
expatriated in his own turn. Still, there had once been a homeland for his
alienation, and now he was forced to reproduce and project it by the sheer
strength of his nomadic will. So, the pictorial introduction of his book is
also really a closing down, a climax from which there could only follow an
anticlimax. But from that ensues his meaning, as it's realized that our Western
Europe has been suffused by Koudelka's downcast view of Eastern Europe.
...
One of his admirers, Romeo
Martinez, observes that "Koudelka has recognized in the theater a form and
a metaphor of life." This idea is seconded by Robert Delpire, who not only
originally organized Koudelka's recent show, in France, but was the first to
publish Frank's Americans in the fifties. Delpire says that Koudelka's
work is "marked by a sort of theatrical organization of reality." In
such a view, the subjects of the photographs function as players on a stage,
and it is true that some of them perform obvious roles, such as a little boy
with angel wings and sneakers on a bicycle, or a young gypsy man cuffed and
condemned on the edge of a village. Interestingly, both these individuals are
removed from their nominal audiences but are close to the camera. Imaginative
or real as were their onetime scripts, they now perform unknowingly in dramas
devised on the spot by the spectator's eye of the itinerant photographer. He is
an expert in showing us two or more scenarios adjacent to each other in the
frame, not merely keeping track of them but welding them together freshly in a
new production. A one-armed bather seems resentful of a squalling baby on a
Portuguese beach-as far as Koudelka will go in depicting vacation. Some kids
horse around in a Spanish alley while just around the corner, in the foreground
and out of their sight, a baggily dressed fellow seems to play uninvited
hide-and-seek. Four Irishmen piss against the wall of a concrete trench, and
though they avoid noticing each other, as men typically do in such quarters,
Koudelka, behind them, makes a dramatic synthesis of their isolation.
While the town or village
offers Koudelka's theatrical flair such glints of reduced sociality (which are
humorous and a little sinister), what of the country? He almost seems to thrill
to the depressing vacancy of open reaches and plains. He's a vagrant explorer
of unpopulated places where every now and then he finds like-minded passersby, animal
or human. He insists on the freedom to be without direction, to be derelict, to
be attracted to the unlovely and unploughed field or heath, where there is no
refuge from the feeling of loss. Here is nature, spoiled not by industry-but by
the viewer's own malaise. Koudelka's pictures of this type never make it to the
status of landscape. The weather is bad. Someone throws up a ball, in poetic
ennui, and a horse lounges in the distance. Later in his work, we realize that
this desolate mode overmasters; the ecstatic one of the denser groupings. The
impression grows that an admirable independence of spirit can have its morbid
side: instead of going his own way, the photographer shuns people out of
reclusive need, weariness perhaps, or suspicion. If the smallest incident or
modest object-a glance, graceful debris-becomes an event, it may be because of
a disheartened vitality that has to disguise itself.
Czeslaw Milosz on Exiles
Koudelka
ON EXILE
While writing this
essay I had before my eyes Josef Koudelka's photographs. Let my words serve as
a tribute to his art of telling stories without words.
Rhythm is at the core
of human life. It is, first of all, the rhythm of the organism, ruled by the
heartbeat and circulation of blood. As we live in a pulsating, vibrating world,
we respond to it and in turn are bound to its rhythm. Without giving much
thought to our dependence on the systoles and distoles of flowing time we move
through sunrises and sunsets, through the sequences of four seasons. Repetition
enables us to form habits and to accept the world as familiar Perhaps the need
of a routine is deeply rooted in the very structure of our bodies.
In a city or a
village which we have known well since our childhood we move in a tamed space,
our occupations finding everywhere expected landmarks that favor routine.
Transplanted into alien surroundings we are oppressed by the anxiety of
indefiniteness, by insecurity There are too many new shapes and they remain
fluid, because the principle of their order through routine cannot be
discovered. What I am saying is perhaps just a generalization of my own
experience but I hope to be understood as that experience has been shared by
many especially in this century.
Among the misfortunes
of exile, anxiety of the unfamiliar holds a prominent place. Whoever has found
himself as an immigrant in a big foreign city had to cope with a kind of envy
at the sight of its inhabitants engaged in purposeful occupations, confidently
going to definite, known to them, shops or offices, in a world weaving together
a huge fabric of everyday bustle. It is possible that such an observer from the
outside would have recourse to special strategies in order to diminish his
feeling of alienation. Living in Paris, I was for a long time drawing a line
around a few streets in the Latin Quarter, so that I could call a certain area
mine." A restaurant at the corner, a small bookstore, a laundry, a cafe
succeeded each other when I was taking a walk and would give me some assurance
through their presence at the points expected in advance.
To be lost in a
foreign city. Perhaps something more is involved here than a mere inability to
find one's way It once happened to me, also in Paris, a city of my many joyous
moments and many misfortunes, when I stepped out of the Métro in a part of the
town with which I was acquainted but not too well. I started to walk and
suddenly I noticed that there was not even one spot to serve me as a guide mark
and I was seized by a sort of fear of height. The houses seemed to turn around
and threaten to fall. I lost orientation. And I was quite aware that my
indecision of which street to take reflected my loss of orientation in a deeper
sense. Exile deprives one of the points of reference that helped us to make
projects, choose our goals, to organize our activities. In our native countries
we maintained a peculiar relationship with our predecessors, with writers if we
were writers, with painters if we were painters, etc., and that was a
relationship of both respect and opposition; our driving force was to better them
in one or another manner and to add our name to the roster of names remembered
by our village, our city, or country Here, abroad, nothing of that is left, we
have been catapulted out of history, which is always the history of a specific
area on the map, and we have to cope with, to use an expression of an exile
writer, "the unbearable lightness of being."
The recovery is slow
and never complete. There is a period when we refuse to recognize that our
displacement is irrevocable and no political or economic changes in the country
of our origin can bring about our return. Then slowly we come to the
realization that exile is not just a physical phenomenon of crossing state
borders, for it grows on us, transforms us from within, and becomes our fate.
The undifferentiated mass of human types, streets, monuments, fashions, trends
acquires some distinct features and gradually the strange transforms itself
into the familiar At the same time, however, the memory preserves a topography
of our past, and this dual observance keeps us apart from our fellow citizens.
"Having left
your native land, don't look back, the Erinyes are behind you." One of the
Pythagorean principles, the advice is good but difficult to follow. It is true,
the Erinyes are there, behind your back, and their very sight may petrify a
mortal. Some say them to be daughters of Earth, others, daughters of Night, in
any case they arrive from the depth of the underworld, are winged, and in their
hair carry twisting serpents. They are your punishment for your past offenses
and you know well that you cannot claim purity whether you are aware of your
failings or not. The best protection against the Erinyes would be, indeed,
never to look back. And yet it is impossible not to look back, for there, in
the land of your ancestors, of your language, of your family, a treasure has
been left, more valuable than any riches measured by money, namely, colors,
shapes, intonations, details of architecture, everything that shapes one's
childhood. By letting your memory speak you wake up the past and by the same
token attract the Erinyes; yet man stripped of memory is hardly human or he
represents only a very impoverished humanity Thus a contradiction appears and
you have to learn how to live with it. There is another aspect of exile
considered as a specific affliction of the twentieth century The most famous of
the exile writers of the past, Dante, after leaving his native Florence,
wandered all his life from one city to another but today those cities hardly
can mean "abroad" as they are all situated in Italy Dante died and
was buried in Ravenna which today doesn't seem at all a land distant from his
birthplace. Could it happen that with the shrinkage of the planet Earth
distances but also differences between particular countries grow smaller and
smaller? Perhaps it would be possible to visualize a modern pilgrim's
wanderings as his going from one place to another within one country, whether
that country is called Europe, a continent, or the world? If this is not so
now, there is a certain latent dynamism inherent in the progress of technology,
which pushes in that direction. The twentieth century also brings a
quantitative change as befits an era of population explosion. In Dante's time
the number of people leaving the towns and villages where they were born was
very small. Now hundreds of thousands, and even millions, migrate, chased from
their homes by war, by harsh economic necessities, or political persecution,
and an expatriate, for instance a writer, an artist, an intellectual who left
his country for his own, so to say, fastidious reasons, motivated as he was not
only by fear of starvation or of the police, cannot isolate his fate from the
fate of those masses. Their nomadic existence, the slums they often inhabit,
the deserts of dirty streets where their children play are, in a way, his own;
he feels solidarity with them and he only wonders whether this is not an image,
more and more generalized, of the human condition. For life in exile seems no
more limited to a transplantation from one country to another Industrial
centers attract people who leave their peaceful but impoverished rural
districts, new towns grow where a few decades ago only cattle were grazing,
shacks and barracks of slums surround big capitals. When characterizing the
indefiniteness and insecurity inherent in exile one notices that practically
everything that is said on the subject applies to the new inhabitants of the
urban landscape, even if they have not arrived from foreign lands. Alienation
becomes a predicament of too many human beings to be considered an affliction
of a special category, and the self-pity of an emigre reflecting on that
phenomenon is undermined.
Perhaps a loss of
harmony with the surrounding space, the inability to feel at home in the world,
so oppressing to an expatriate, a refugee, an immigrant, however we call him,
paradoxically integrates him in contemporary society and makes him, if he is an
artist, understood by all. Even more, to express the existential situation of
modern man, one must live in exile of some sort. Are not Samuel Beckett's plays
about exile? Time in them is not perceived as a serene repetition favoring a
gladly accepted routine; on the contrary, it is empty and destructive, it
rushes forward to an illusory goal and closes on itself in a display of
futility Man in those plays cannot enter into a contact with space which is
abstract, uniform, deprived of specific objects, in all probability a desert.
Writing this I am
visited by a tune of an old religious song in Polish which begins: "Exiles
of Eve, we beseech Thy help." And indeed an archetypal exclusion from the
Garden of Eden repeats itself in our lives, whether Eden be the womb of our
mother or the enchanting garden of our early childhood. Centuries of tradition
are behind the image of the whole earth as a land of exile, usually presented
as a desertic, sterile landscape in which Adam and Eve march, their heads
despondently lowered. They were chased from their native realm, their true home
where the same rhythm has ruled over their bodies and their surroundings, where
no separation and no nostalgia has been known. Looking back, they may see fiery
swords guarding the Gates of Paradise. Their nostalgic thinking about a return
to the once happy existence is intensified by their awareness of prohibition.
And yet they will never completely relinquish the thought of the day when their
exile will end. Later, much later on, perhaps that dream will take the shape of
a golden city lasting beyond time, of a heavenly Jerusalem.
The biblical image
favors a cliche according to which exile means looking back towards the country
of one's origin. And, indeed, many poems and novels have been written in this
century by exiles who describe a region of the world from where they have come
as more beautiful than it had been in reality, simply because now it is lost
forever Yet an objection imposes itself here. Displacement creates a distance
measured by kilometers or miles, hundreds and thousands of miles. The biblical
image is that of a movement in space from the Gates of Eden or, translating
this into modern notions, from the borders of a state guarded by armed
soldiers. However, distance may be measured not only in miles, but also in
months, years, or dozens of years. Assuming this, we may consider the life of
every human being as an unrelenting movement from childhood on, through the
phases of youth, maturity, and old age. The past of every individual undergoes
constant transformations in his or her memory and more often than not it acquires
the features of an irretrievable land made more and more strange by the flow of
time. Thus the difference between a displacement in space and in time is
somewhat blurred. We can well imagine an old expatriate who, meditating on the
country of his youth, realizes that he is separated from it not only by
expanse, but also by the wrinkles on his face and grey hair, marks left by a
severe border guard, time. What then is exile if, in this sense, everybody
shares that condition?
Nevertheless, the
condition of exile in a geographical sense is real enough and those whose fate
is to experience it have been using various consolations to make it less
depressing. An awareness of its universal character in this century may provide
considerable relief and even induce a pride of belonging to an avant-garde. In
addition, such an awareness draws encouragement from the fact that history
knows big countries founded by wanderers, among them, America. An artist and a
writer in exile are, however, confronted with the insidious question of his or
her creativity or paralysis. An argument has been advanced many times according
to which there is a mysterious link between the land of our ancestors, its
soil, its light, sounds of its language on the one hand and the creative powers
of the individual on the other It is said that our sources of inspiration risk
to dry out abroad. And in fact a great number of people who were gifted,
brilliant, promising poets, painters, musicians have been leaving their
countries only to suffer defeat and to plunge into anonymity that would cover
their names forever There is much truth in the assertion that the native soil
possesses a vivifying force, even if we put aside the obvious, namely the
mother tongue and its irreplaceable nuances. Fear of sterility is a companion
of every expatriate artist and though it visits artists in general, its
presence in that particular case is felt more strongly. To calm it, the most
useful is to invoke the names of all those who despite the odds have not lost
the game. Fundamental works of poetry in some languages, for instance, Polish
and Armenian, have been written abroad, owing to the political persecution
practiced by foreign occupying powers. Decades spent in Paris far from his
native provincial town, Witebsk, didn't discourage Marc Chagall from following
his original inspiration and he continued to fly in the sky together with the
roofs of huts, with the goats and cows of his childhood and early youth. Isaac
Bashevis Singer recreated in America through memory and imagination the life
gone forever of the Polish Jews. It is doubtful whether James Joyce's Ulysses
could have been written in Dublin, it is more probable to assume that his
estrangement and his refusal to serve Irish patriotic goals were necessary
preconditions for his description of Ireland from afar And Igor Stravinsky, in
spite of malicious rumors, according to which after the Rite of Spring his
talent, not enlivened by Russia, was on the wane, remained productive and very
Russian during his long exile.
In every one of these
examples, and they can be multiplied, a pattern is noticeable. A farewell to
one's country, to its landscapes, customs and mores throws one into a no man's
land comparable perhaps to the desert chosen as a place of contemplation by
early Christian hermits. Then the only remedy against the loss of orientation
is to create anew one's own North, East, West, and South and posit in that new
space a Witebsk or a Dublin elevated to the second power What has been lost is
recuperated on a higher level of vividness and presence.
Exile is a test of
internal freedom and that freedom is terrifying. Everything depends upon our
own resources, of which we are mostly unaware and yet we make decisions
assuming our strength will be sufficient. The risk is total, not assuaged by
the warmth of a collectivity where the second rate is usually tolerated,
regarded as useful and even honored. Now to win or to lose appears in a crude
light, for we are alone and loneliness is a permanent affliction of exile. Once
Friedrich Nietzsche exalted the freedom of height, of loneliness, of the
desert. Freedom of exile is of that lofty sort, though it is imposed by
circumstances and, therefore, deprived of bathos. A brief formula may encapsule
the outcome of that struggle with our own weakness: exile destroys, but if it
fails to destroy you, it makes you stronger.
The exodus of people
from their countries is a familiar feature in our century and it has been
categorized under various names. The Russian Revolution resulted in the
appearance of Russian emigres in the big cities of the West. Soon they were
joined by refugees from Hitler's Germany and ex-soldiers from the Spanish
Republican Army. At the end of World War II a defeated Germany was full of
displaced persons called D.F.'s, former slave laborers and survivors of
concentration camps, also of Germans expelled from the Eastern provinces. In
the subsequent decades a wave of migrations from Central-Eastern Europe has
been due to political spasms (the crushed Hungarian uprising, the invasion of
Czechoslovakia, the martial law in Poland) or to the economic attractiveness of
the capitalist West. Similar names and categories can be found in Africa and
Asia, the exodus of the "Boat People" from Vietnam being the most
famous case. Though officials, charged with granting or refusing to a newcomer
the right to stay, distinguish between ideological and economic motives,
reality is more complex than that and a given person has usually been pushed to
migrate by a tangle of reasons. One thing is certain: people leave their
homelands because life there is difficult to bear.
Can we imagine a world in
which the phenomenon of exile disappears because it is unnecessary? To envisage
such a possibility would mean to disregard the current that seems to carry us
in the opposite direction. What is probable is the increase of awareness that
whoever looks for happiness in distant lands must be prepared for
disillusionment or even for the doubtful reward of one who jumps from the
trying pan into the fire. That awareness, of course, would not discourage
anybody, for the pain we feel at a given moment is more real than the pain we
may endure in the future. This earth with all its charms and beauty is after
all the earth of the "Exiles of Eve." An old anecdote about a refugee
in a travel agency has not lost its bite: a refugee from war-torn Europe,
undecided as to what continent and what state would be far off enough and safe
enough, for a while was pensively turning a globe with his finger, then asked,
"don't you have something else?"
Lecture Notes
- MPP
- Feedback - formative evaluation and online from March
- MA/PhD/PGCE
- Sidney Cooper - series of work
- Visit in March
- Come together as a group
- KS - evening event
- Wednesday = street photography
- Marketing
- Publication
- Ownership - investment
- Next week - lecture on staged photography
- Next week = tutorials
- London Trip tomorrow
- Framing - quality v price!
- Turner
- The ready made picture frame company
- Series 3/4/5/6 Never see a series of 16 at Free range - why?
Lecture Notes
- Dissertation - Last Formal Meeting
- Sense of urgency - not just do it - live it
- You can not take a month out for xmas
- Take 5/6 days off and graft for three weeks
- Some get a degree thru their delivery not their progress
- Opportunity for MA needs 2:1 or First
- To Do Lists - colour pen!
- get everything out of your head
- certain things cannot be put aside
- 'what i have achieved'
- do not start tomorrow...
- Proforma due date guarantees feedback before xmas
- Not marked but needs to be signed off
- "This is what I intend to do..."
- "This is why it is important..."
- Relevance/significance
- Who are the key people? Monographs
- What are the key texts? Photo Books?
- You sign to say you can get the resources
- Coherent (not polished)
- Next term is tutorials only - supervisor cannot chase us
- 1500 words sent prior to tutorial
- Also next term = Outside talkers and portfolio review
Guest Lecture: Ben Hills
- Ben Hills
- Long Days!
- had to constantly hassle for work
- 18 hour days as commercial assistant
- American connection - Mary Ellen mark, Herb Ritts, Annie Leibovitz
- Wanted creative input
- Became location manager
- Years of experience
- Cannot make mistakes - people only remember them!
- Get given a 'scamp' (idea/drawing/photo)
- Toyota Hybrid - glowing, suburbia - Sam Hicks
- Deli - open doors - Will Sanders
- Hills & Lights for Talk Talk at dusk
- Spent five days travelling around - Saltdean
- All commercial photography requires council permits
- Convincing land owners that we will be ok
- Shhot gherkin from high level - less boring!
Guest Lecture - Laura Pannack
- Winner of World Press Photo
- D+AD
- How to approach people
- Advice from Mark Power = "Don't Stop Shooting!"
- Enjoys projects that are a challenge
- Camera is just a box!
- Style? No - just do what is natural...
Lecture Notes
- Estelle Rosenfeld
- Performing art and visual art mix (exploring the boundaries)
- Immersive theatre/promenade
- "not sure where it was going to take me"
- accumm - installation - repetition
- any medium presented by slide
- 'Take the Rose' video
- Voucher (postcard) directs them to website
- New project = 'Capture'
- Questioning themes and the form
- Photography and moving images
- Teaser is 1 min, showreel is 6 mins
- Timelapse app
Lecture Notes
- Next week Laura Pannack 3pm
- Tutorials with Rob 10-12
- Sidney Cooper 11th to 13th June = Hang.
- 6pm to 8pm on 13th = Private View
- Tear down is the eve of 21st
- Year group curator
- 20th = Karen will be doing an instant photography workshop
- Greater editorial control
- Show concept? Discuss in class
- Free Range?
- Kickstarter
Lecture Notes
- Dissertation - 'Abstract'
- Look at it from the readers perspective
- Academic discourse
- The role of the supervisor
- Marked by Karen, second marked by someone in the related field
- Third examiner - external will do three, plus all firsts and fails and borders (49/59/69)
- 1 - Looks at the title (must not be an either or, not binary oppositions)
- Run title changes by Karen
- Lure the reader in
- 2 - Scrutinises the Bibliography
- Need to be good and needs to be accurate
- True and substantial
- Build it as you go
- Look also at bibliographies in books you are reading
- Everything that has informed your writing
- Not just what you quote from
- 5-14 pages!
- 3 - Abstract
- Mandatory
- You write it last
- It is an account of what you have done
- It gives the game away first
- What you say needs to be evidenced in the 'paper'
- 200 words - not verbose -tightly written
- revelation
- compared (comparative analysis)
- names - substantiated
- 4 - Discourse (level of language)
- Vocabulary
- Syntax
- 'clarity of exposition'
- do not start 'i shall...'
- see how others do it - make it interesting
- whack it out in any speak (never submit)
- Then you craft it
- Harden up soft language
- Setup - establish
- Can add things to footnote if you don't want to break flow of text
- eg Sontag suggests
- Quotes need to have (who, year)
- use of the word 'i' in conclusion
- it could be proposed
- it could be argued
- such and such says... however it could be argued
- Remember this may not be the only valid arguement
- 28th Nov - Looking at proposals
- Make them substantial so feedback can be given
Photographer: Gareth McConnell 'No Surrender'
These portraits, taken over the Easter Period of 1999, were situated in a Loyalist Bar in my home town of Carrickfergus. It was a place I had only ever glimpsed into as a teenager - through a cracked door or through the security bars of the adjoining off sales. I wanted to create a set of images of the loyalist community which did not adhere to the strict media guidelines of bowler hatted men, apprentice boys, Drumcree rioters and super star terrorists posed against backdrops of Shankill Road murals. I wanted to make photographs with all the dignity and poise of old masters and not to revel in the slogans and iconography so closely associated with the protestant people.
Photographer: Chris Shaw 'Life as a Night Porter'
The thing I like most about the pictures is the large element of what I call the chance meeting, the times I was so tired I lost the artifice and techniques of photography. I just took photographs to keep me awake. It became artless. The people I photographed, these episodes in the social fantastic would heighten and illuminate my whole night, often making a difficult job and my twelve-hour shift bearable. The sum of the book is really a hotel of my own imagination constructed from several hotels I have worked in and some Ive stayed in as a paying guest. In reality these hotels bear little or no resemblance to my actual pictures. It just depends on how you look at things. In my experience heaven and hell are places right here on earth, and you can stay in either one.
Lecture Notes
- Colour Photography
- Eggleston
- Szarkowski had seen work previously but did not think the public was ready
- Stephen Shore - personal statement - early colour photos
- Helen Levitt
- Mitch Epstein
- Light gallery in NY in early 70s
- Joel Sternfeld
- Shore did 'Tall in Texas' as postcards - saturated
- Levitt - gritty urbaness - elements of colour highlights debris in the streets
- Meyerowitz - snapshot aesthetic
- What they were interested in - personal statement
- Sonneman
- Slavin - used colour to differentiate personalities
- Commercial aesthetic? Photographed individual groups
- Krims - conceptual, polaroid transfers
- They all informed how we see colour today
- Groover
- Divola - colour spectrum, getting it real
- Sternfeld uses more narrative - shots appear set up
- Jeff Wall
- The word 'colour' was dropped in 1984
- Nan Goldin - Ballad - in 1986 the word 'photography' was dropped
Lecture Notes
- Vision 11 - Daniel Meadows
- Next Week - Nothing!
- Two Weeks - Group Crits - talk about your work
- Three Weeks - Laura Pannack 3pm
- Trip 24th Nov - Tate
- Trip 30th Nov - East End
- Photography & Anthropology - Lecture by Miranda Hutton
- Representations of the Other
- The 'Other' = people outside of our culture
Talk by Simon Roberts 19th October 2011
Authorship.
Author not illustrator.
Motherland 5000 photos.
My own visual language.
Looking at leisure time.
What hasn't been photographed?
Interrogation of the landscape.
Aesthetic, found framing style.
Value of the environment.
Overt statement in photography.
Three months planning.
Democratising the commission and citizen journalism.
Photos and text.
Ask people to send photos.
No curating or editing.
Photographic wall.
Cover of book needs model release.
The Role of the Roadtrip.
Creative Plus 18th October 2011
Graduate Show Summer 2012.
Free Range?
Dates?
Sidney Cooper 14th June to 21st June 2012.
Question: "What do you do?"
Brand/Values, must create a package.
Prepared cover letter, statement about me, why I would be good for your gallery.
Teacher Training?
NESTA.
Values and placing their importance.
Mixed Media 17th October 2011
Must book tutorials early and come with 'stuff'
Plagiarism in terms of mixed media has two areas of concern
Written must be sourced
Practical needs to impose your signature (authorship)
Authorship is the opposite of plagiarism!
An early prototype needs to accompany the proposal
Intervention/take back to source
Ambitious Project
The mixing can be a theoretical paper and a portfolio
Inter-connections between modules are allowed
We looked at Karen's Project, elastic band, resin ball, huge print
Christian Marclay, music playing cards, snapshot aesthetic, beautifully produced
Development discussion on 7th November
Dissertations 10th October 2011
Round table talk about our ideas.
Conference in February re Family Album propaganda.
Ideas?
Photographer as filmmaker.
Facebook and family album propaganda.
The role of the road trip in photographic projects.
SdC.
Develop Ideas on 31st October.
Plagiarism is passing work off as your own.
Must source all your quotes.
Biblio and notes need to be in good shape.
If you can't source it you can't use it.
'as Barthes argues' or 'Sontag suggests'.
1200 words.
Tutorials.
Procrastination.
Being boring and disciplined helps.
Fear?
Perfectionism?
Poor time management?
Laziness?
Writers block? Don't try and write in a polished way, write then polish later!
Proposals.
Avoid chronological, too broad, a zillion books do this.
Similar in the way you pitch your practical ideas.
Convince the tutor it's doable and worthwhile.
Hundreds of hours.
Acknowledge the work ou are undertaking.
Break project down into tasks.
Give progress update to yourself.
Major Practical Project - Introduction
- Producing one project
- How to produce a project
- Presentation to gallery standard
- Project engagement
- How to Steal like an artist
- Need to be excited and energised by projects
- Passion
- Daniel Meadows - Uni projects!
- Tony Ray-Jones - systems & notes - reflected on his own work
- Rob Ball - cataloging cigarette machines
- John Cyr
- Managing a Project
- Research - finding a subject
- Planning (schedule)
- Doing!
- Output - book, exhibition, distribution
- Promotion - before, during and after completion
Dissertation - Introduction
- Difficult conversations - no time for nurturing
- No time for slacking
- No one will chase you
- Fill in the silence
- Proformas!
- Work back from hand in date - mechanism?
- Time Management - 90% manage/10% craft
- 1000 word proforma
- Talking about research projects
- 8000 - 10000 words
- By March supervisory tutorial
- Abstract 200 words (10% of mark) - written at the end
- Individual support
- Intense tutorials - book early and often - come with ideas
- Initiate independent study
- Research - start with enthusiasm - fall off - must push past the lulls
- Chapter of a book to be taken on to PhD
- Proforma 8th December 2011 and deadline 26th April 2012
- Working Title is ok, worry about title in March
- You sign to say you can acquire the resources
- Bibliography - what are the 5-10 key texts in this field? (total 30-50 texts)
- Emailed response over xmas so I can get going!
- Not nailed down - you can change and re-submit proforma
- Everything you read informs dissertation and must be in Biblio.
- Joined up thinking?
- Methods of research booklet
- Get started! Thinking! Diary! Notebook!
- Four colour pen...
- Library - drill down deep
- Inter library loans/journals/electronic journals/buy
- Run at an idea hard for three days!
- What is out there? What has been done?
- Can i put a spin on it?
- If boring - leave it!
- Need to feel a passion
- Is it doable? in 10000 words?
- Dummy run
- Live it!
Mixed Media - Introduction
- Think of Mixed Media as a single module
- Essay can be a photograph & not necessarily writing (piece of work)
- Research this term - ideas & prototypes
- Essay next term - doing it - tutorial based
- Tutorials available 5-7pm
- Esther Rosenfeld - Artist - how do you define yourself?
- Critical Journal is a key piece - what, why, how...
- Deadline 24th April 2012
- Proforma deadline is 8th December 2011
- 80/20, 50/50, 20/80
- 5 min film & 1000 word essay
- 3 minute film & 2000 word essay
- Storyboard/sequencing & 4000 word essay
- Proforma = 500 words
- Resources - assistant, camera, sound
- Bibliography
- Substantial Critical Journal - SOI, all research, prototype (storyboard & seq.)
- written research, visual research, contextualisation of your position
- critical reflection
- Where and how you will do it will be part of the prototype
- Journal is returned and re-submitted in April
- Prototype is returned and re-submitted in April
- Must be ratified
- What is Mixed Media?
- Opportunity to undertake practice (practice based research)
- Can be a photography portfolio (the essay is the mix)
- Examples - walk & sound track, photography & fell walking
- Do it and document it, photo or film (evidence it)
- Co-related mixed media and MPP
- Tight neat package of assignments - everything is contributing
- Example - non print publication or a book or a banner (self publish)
- Magazine?
- Narrow yet deep!
- A one minute film takes one day to edit
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