I have mainly stayed with my tutor’s recommendations. The first book was deconstructed to make the revised one, however videos of both will be available in the assessment post.
I considered my tutor’s comments about how an edit of just the children, or just the women, might read. I decided to present the work as a sequence of paired images of the children. I do think this works better, although I am not sure why. I suppose because maybe a child faking a smile has different connotations to a woman faking a smile, though both are for the benefit of a third party.
I removed the original “outro” about “smile love, it might never happen”. I did consider my tutor’s suggestion about using it as a title, but it had too many characters for the smaller album whereas the larger album had too many pages for the set. I also removed the original “intro” and replaced it with something simpler.
I didn’t follow my tutor’s suggestion of retitling the album “Smile, it might never happen” (formerly on the outro) as Paperchase had stopped selling that size. I also like the “Give us a smile” title because (a) the smile used is portable and passable and (b) phoograph albums are typically shared by hand too.
This left me with eight trimmed passport photos of women with fake smiles, which I had removed from the album. For a while I’ve been playing around with the idea of inserting photos of real people into a dolls house context and it seemed obvious to continue with this. Practical issues appeared such as securing the right size of frame and the right scale of prints for paper and fabrics.
Here’s the first pass:
I posted one of these over on the OCA board and received the interesting comment of “domestic hegemony” which got me thinking. I went to a local shop that sells dolls house supplies and bought a few things to ty out. I wanted to work at a slightly bigger scale. I’ve been a fan of Lauren Child’s collage work for some time, and wanted to explore layering photos and actual stuff.
Here’s the result so far. It’s a mockup so nothing is trimmed to size or glued. I need more frames that are better sized, I want to spray the wooden frame to work with the metal ones and I need to clean that mirror in the middle. I think if this did go in for assessment I’d have to include the smile prop too. I think it’s at least as promising, if not more, than the reworked album and will be asking my tutor her views tomorrow.
A human life (2005) Available at: http://sabinedelafon.com/ (Accessed: 13 October 2016).
A Man of Many Divas – Juan Pablo Echeverri (2007) Available at: http://www.culturebase.net/artist.php?3821 (Accessed: 18 October 2016).
Amélie (2001) Directed by Jean-Pierre Jeunet [Film]. Germany: .
Dirk (2008) Japan exposures. Available at: http://www.japanexposures.com/2008/11/28/tomoko-sawada-school-days/ (Accessed: 18 October 2016).
Fearon, E. (1999) Photobooth works. Available at: http://elizabethfearon.com/photobooth/index.html (Accessed: 13 October 2016).
Goranin, N. (2008) The history of the photobooth. Available at: http://www.telegraph.co.uk/culture/donotmigrate/3671736/The-history-of-the-photobooth.html (Accessed: 13 October 2016).
Grosz, E. (2011). Volatile bodies. Bloomington [u.a.]: Indiana Univ. Press.
Jewell, D. (2012) Katherine Griffiths 1973 –. Available at: http://dickjewell.com/found%20photos.html (Accessed: 13 October 2016).
McRobbie, A. (2009) The Aftermath of Feminism. London: Sage Publications
Rankin (2013) Want your picture taken by Rankin? Visit the Rankomat. Available at: http://www.hungertv.com/feature/want-your-picture-taken-by-rankin-visit-the-rankomat/ (Accessed: 13 October 2016).
Rideal, L. (no date) Liz Rideal. Available at: http://lizrideal.com/index.php?page=works (Accessed: 13 October 2016).
Walker, I. (2010) ‘Dick Jewell’s Found Photos’, Image & Narrative, 11(4), pp. 20–34.