Friday, 15 February 2013

Nalan Kaya discusses Julie Blackmon's Domestic Vacations


ART4


ART4

1.Title Page
2.Brainstorm –(use guidance)
3.Mood Board – Key words on concept/visuals, Artist name, body of work name
4.Brainstorm 2
5.Mood Board 2

6.What are my Intentions
7.Photographer 1 (Use guidance, detail!)
8.Photographer 2 (Use guidance, detail!)

9.Induction 1 – Photographing Artificial light at night
10.Induction 2 – Using multiple Flash lights

11.Photo Shoots with detailed reflection X 4/5 (lighting) Use guidance

12.Artist Statement (same writing style as last time)
13. Final piece should be presented in sketchbooks and ready for presenting to an audience
Presentation and printing of your final piece is key

Thursday, 14 February 2013

ART2 - AS Photography exam artist research


America by car - Lee Friedlander

Great article by The British Journal of Photography on the context and concept behind Lee Friedlanders body of work 'america by car'.

In a 2002 interview, Friedlander explained, “When you take a picture you haven’t a clue that it is going to be what it is.  Maybe you have a clue, but you don’t really know.  There are too many possibilities. Part of the game, at least to me, is how many balls you can juggle.  When you are 12, you can juggle two. Maybe when you are 50, you can juggle five. That is an interesting concept to me: how much I can put in and still make it pull together?” 

Friedlander is renowned for his ability to create ingenious visual puzzles that compellingly collapse three-dimensional space into two dimensions, simultaneously accomplishing the aesthetic intentions of Cubism and the multi-layered referencing of Pop Art collage, but through the power of photographic observation alone.


 America by Car invites us to ride shotgun alongside Lee Friedlander as the legendary photographer takes a road trip through contemporary America for his latest, recently completed project.

Wednesday, 13 February 2013

Taryn Simon - A living man declared dead and other chapters

Taryn Simon mixes photography and text in a series works that chart family bloodlines. At the heart of each group of photographic portraits, carefully arranged as 18 horizontal family trees, is a compelling story. One set documents the relatives of an Iraqi man who was a body double for Saddam Hussein’s son; another show members of a religious sect in Lebanon who believe in reincarnation; while the exhibition title comes from a work about a living Indian man who was declared dead in official records. From feuding families in Brazil to victims of genocide in Bosnia, Simon forms a collection that maps the relationships between chance, blood and other components of fate.

For more info visit: http://www.tarynsimon.com/

Tuesday, 12 February 2013

http://yowayowacamera.com - Levitating Photography















Jon Clang - Being together

n this series, live webcam images of families in Singapore were transmitted via Skype to countries where the main sitters were located, and projected onto their living space. This is how families, dis(membered) through time and space, can be re(membered) and made whole again through the use of a third space, a site that is able to reassemble them together within the photographic space that we call a family portrait. Drawing upon my own experiences of being separated from my family as a New York-based Singaporean, this work documents and examines our condition of new-wave diaspora — Singaporean families of various races and ethnicities grappling with the same predicament of separation through time and space. I also want this project to document and interpret a contemporary social-historical blueprint as it happens, allowing the future generations to reflect on it. In addition, this is also an extension of one of the recurring themes of my work: the fascination with the expressions of time and space and how we negotiate our human existences within these two dimensions. This work specifically addresses the phenomenon of differing time zones, the different dimensions of our human representations, and how we can finally coexist, albeit in pixilated and two-dimensional forms. –– John Clang




Sunday, 10 February 2013

Emotions, thoughts, feelings...how can we photograph the Unphotographable

"More than a century of attempts to depict, through photographs, a reality beyond appearances is testament to a stubborn conviction that what can be seen is not all there is. In the book’s introduction Jeffrey Fraenkel writes, “From the moment of its invention almost 175 years ago, photography has proven adept at depicting the photographable: the solid, the concrete, that which can be seen. […] But another tradition exists, a parallel history in which photographers and other artists have attempted to describe by photographic means that which is not so readily seen: thought, time, ghosts, god, dreams. A vast array of strategies has been employed to bring such pictures about, tactics that have intersected and enriched the strains of modern art."

For more info go to: http://fraenkelgallery.com/exhibitions/the-unphotographable

CLARENCE JOHN LAUGHLIN: Dislocation of a Figure 

 

Portrait Salon website with Alistair Hood examples

Fantastic website that showcases emerging talent and lots of beautiful portraits.
Go to: http://portraitsalon.co.uk/ to see more amazing portraits.

Here's a selection below of portraits by Alistair Hood: http://www.alistairhoodimages.com



Time lapse Photography


America's Finest Timelapse from XOXO Wedding Studio on Vimeo.

Gaelle Abravanel- Epiphanie

EPIPHANY
Word of Greek origin (Epiphaneia) which means "manifestation" or "appearance" of the verb (phaino), "arise, appear to be obvious."
In a world where everything goes through the image, where everything becomes increasingly virtual, what else you about the man, his flesh, his feelings, his emotions?
This series "EPIPHANY" is a project that is built closer to my own story in order to have access to a register of sensations, images, perceptions.
The series seeks to dig around the idea of the double, the intimate and ambivalent relationship between the different parts of the being, between opposing emotions in my own intimate mapping.
It also explores through a device images that function as an allegory, the idea of the fault, and finally vacuum epiphany.
This autobiographical work is networking different photographs to bring about the narrative possibilities of an inner world.
Photographs fit together as a collection of fragments of a chaotic reality that seeks its equilibrium to form a unique history, geography unstable mental worked in depth with the notion of epiphany.
Visually, I use a variety of techniques (cutting, photo burnt, crumpled ...) to make visible the identity games and contrast as well as the diversity of emotions.






Face





Interference, (INTERFERENCE)
Feminine name (English interference)
/ Dating, combining two sets of distinct phenomena.
This series is a visual research that plays with the limits of vision by showing an "in-between".
It is the interaction between reality and what I call "barriers of vision" receptacles of light reflecting another reality.
This "in-between" alters reality and at the same time reveals another that seems unreal.
The photographs are like notches in which the observer has the feeling of looking through a window as a metaphor for painting.






Exhibiting 






Christophe Hargoues - Caddie Superstar

Who says photographing abandoned shopping trolleys is cliche? Well these are not exactly abandoned and "Caddie Superstar" is definitely not cliche. Hargoues pays attention to detail in terms of composition, lighting, colour palette and vantage point to ensure an eye catching and quirky body of work. The shopping trolleys interact with their locations and are place in very specific ways to create images that visually flow. To see further work from an exciting photographer which took part in the fringe festival in Paris, Mois de la Photo OFF browse his website here; http://www.christophehargoues.fr











Joachim Smidt- Celebrating photographic garbage

To say that Joachim Schmid is completely obsessed with photography is a fair and accurate statement. He himself suspects that “few people in the world have looked at more photographs” than he has. At one point he counted: he had looked at 10,000 photographs in one day alone. And he has maintained his manic pace since embarking on his career as a “professional looker” in the 1980s.
Using other people’s (often mundane) photographs, he creates artwork that is alluring, intriguing, and captivating. He revels in photographs that other people lose or throw away in public, especially if they seem to have been discarded with some animosity or intense feeling. He is very much a modern day anthropologist who tries to understand contemporary cultures by studying its visual garbage.

Another ingenious art project came out of a prank he started by posting what looked like a serious notice in a public newspaper about the ecological dangers of unwanted photographs and negatives. He had created an “institute” that offered to safely recycle or re-use dangerous film and photos. The Institute for the Reprocessing of Used Photographs became publicized worldwide, by chance, and Schmid was inundated with parcels of photos and negatives that people wanted to dispose of, safely.