So to close this down, I am thrilled to write that I passed EYV with 68% and received some very helpful comments to help me improve my work. Feedback attached here – 513940 K Aston PH4EYV marksheet . I probably ought to write a reflection, and will, but not right now.
When my tutor said that my A5 was nearly there but not quite, I was slightly dispirited. I didn’t think that there was anywhere else for me to go with my work, however trusting my tutor’s feedback I set about the comprehensive list of practitioners that she had provided. Long story short, I’m not sure that any of them provided a magic key to finishing the work, but they did get my creative brain working again and I cracked on. This post is retrospective because on checking the site for assessment I realised that I hadn’t written them up.
Problem: my work was in too many formats and needed consolidating.
Kurt Tong was suggested as an example of successful use of mixed methods for his work “The Queen, The Chairman and I”. This was one of the study visits that I didn’t make this year, and looking at the website, I wish I had. The work is vast, it’s like walking into someone’s life, looking both backwards and forwards in time. There must be hundreds of items in there, I think mostly found and family archived prints but also artefacts, letters, announcement cards. Without having seen the exhibition it’s hard to judge how he gained success in such a large and broad presentation, however I think the authenticity and the clear timeline must have helped. The work is set out almost in chapters. I love the idea of viewing the work during a tea ceremony.
Problem: a lack of visual context
“Who is working with the craft of the medium?” “Imagine you are curating a show, and your project is central to it, which other artists will be involved?” (tutor feedback)
The most useful source here was the website for the V&A Cameraless Photography exhibition. It included short videos and transcripts from Floriss Neususs (who made a photogram of the window at Lacock Abbey), Pierre Cordier (he makes photograms but works like a painter or a printmaker), Gary Fabian Miller (works with light on photographic paper), Susan Derges (photograms at night, under water, uses water as we use air, but shows its movements) and Adam Fuss who makes photograms with a spiritual element. Obviously, my work is not camera-free but the focus on the photographic object is common to both camera and camera-free work, and I found the work very inspiring for this reason. I found myself agreeing with Adam Fuss who said “Photograms have less information and more intimacy and feeling than a normal photograph”. My polaroids are essential about destruction, and carry more poignancy as they are deconstructed.
Tutor feedback was that time was important here, and she suggested looking at the work of Idris Khan. I had seen some of his work before, of London landmarks, but it was very interesting to see more of his work. He works with multiple mediums and on quite a large scale, and he puts multiple instances into a single work for example his image that condenses every page of the Koran onto a single page.
Thomas Demand’s work “Dailies” reminded me of Kurt Tong’s exquisite “In case it rains in heaven” because both are photographs of constructs that were destroyed after the photographs were made, so the photographs are all that we have to remember the objects by. This feels as if it aligns to my Polaroids, except that I have unmade the photogaphs to show traces of the object.
Reading about Joachim Schmidt made my brain fizz. He works mainly with found images or images from Flickr. He’s published a series of books “Other People’s Photographs”, categorised from “Airline Meals” to “You are Here”. This reminded me of Taryn Simon’s categorisation in Contraband. I think that as a trained librarian I’m always going to have a bit of a thing for forensically classified work. I’m not even going to think about the copyright implications because to be honest, I don’t want to, but see below.
You can’t ignore the copyright implications when considering Richard Prince and Sherrie Levine however. As far as I can tell, if you’re going to appropriate (art-speak for using someone else’s work), it needs to either be public domain and you’re honest about it, or you need to be completely brazen, take images from Flickr or Instagram, and have the time and cash to go through the legal process until a judge agrees with you. Artistic intent plays a huge part in this, and intent seems to come under environmental context in that you can’t immediately tell what it is when looking at two identical images, by two different practitioners. Intent is invisible, to all intents and purposes. Is the image transformed (cf Penelope Umbrico‘s collection of sunsets)? Is the whole point that the image isn’t transformed, but that our understanding transforms when we think of the work being made by someone else (cf Sherrie’s appropriation of Walker Evans)? Can you transform an image by adding your own caption (cf Prince and Instagram)? Do you consider that copyright doesn’t apply because the image is not original (cf Schmidt)? As soon as you start engaging in debates about these, and other questions, you’re not really talking about the work any more, and I think that loses the point of making the work in the first place. Which is such a shame because there is so much that we can learn by working with other peoples work, from social media images to advertising icons.
I have Sultan and Mandel’s Evidence book on order and am hoping to write more fully on it once it arrives. My tutor said that my Polaroid work was creating new meaning from something existing (Fox Talbot’s window), and I would like to learn more about this.
Fox Talbot’s The Pencil of Nature was the first photography book. It’s interesting that it was sold in separate parts (like so many hobby journals) and the purchaser would have had the component parts bound to their wishes. I would like to learn more about this.
Finally, Mat Collishaw’s Thresholds VR exhibition, which recreates the first exhibition of Fox Talbot’s work. Fortuitously, this is now at Lacock Abbey for a few weeks and I am looking forward to seeing it.
Looking back at this blog post, I’m making a mental note to return to the practitioners listed here over time and see how my understanding improves. It still feels as if I’m scrambling in the dark trying to make sense of my own work, never mind anyone else’s.
Hello and welcome to my blog. This blog accompanies an A4 clamshell box that contains physical output of every assignment, and three notebooks showing my workings out and tests.
The box contains:
- All printed tutor reports and my self- evaluation sheet
- A1 – Square Mile – 12 prints
- A2 – Collections – Heads – one small black album
- A3 – The Decisive Moment – one bagged box of prints plus one object to create your own decisive moment.
- A4 – The Language of Light – The beauty of artificial light – 8 prints
- A5 – Photography is simple – one box of Polaroid objects, one mounted emulsion lift
Please click on the For Assessment menu heading to get a single scrollable stream of five summary posts for Assessments 1 through 5. If you need any further details please navigate by the menu to find what you need.
It’s up and running now, though will just be homing study visit write-ups for a little while yet. This EYV blog is all done now bar a bit of housekeeping to get it ready for assessment in November. Thank you everyone for reading, commenting, sharing, helping… it’s really appreciated. Please feel free to click across to my new Context and Narrative blog and follow. Who knows what might happen there over the next 12 months or so? I’m pretty sure I don’t…
This is a condensed blog post for assessment. Please refer to the original posts for more information if needed. Spoiler: final version very different to original submission.
This assignment was something of a problem child. I had already made and reworked a version of this assignment for my Foundations course so was hesitant about what I could bring to another iteration. I remembered that many photographers remake the same work over and over for years, so decided to persevere.
I chose to photograph my 8 year old daughter in her square mile. Apart from school, I am wherever she is, her mile is my mile. I reviewed the practitioners recommended in both the Foundation and EYV courses as well as those I had encountered independently. The ones that influenced me the most were Penny Watson, Charlie Murrell, Mimi Mollica, Sian Davey and Evgenia Arbugaeva. I was interested in images that showed the character of the children, and that showed a balance or a tension between the child and their surroundings.
My tutor generously commented that I had made “a good start with lots of potential for development”.
She went on to explain which images worked and why, and suggesting other images from my contacts that might work. It was great feedback, which makes me sad that I have done so little with it (see below). I did follow up on all the reading suggestions. including Girls! Girls! Girls! Ed Catherine Grant and Lori Waxman. This blew me away. It was clearly written and gave me a broad perspective on photography and arts about female adolesence, by women.
I decided to make an Alice-themed reshoot. My model, now nine, thought not. The photographs we made together didn’t work, the magic wasn’t there. I discussed the problems with my tutor, she agreed with my suggestion that I make a refreshed edit from my archive and accept that my daughter has moved on.
So I made a refreshed edit…. but this didn’t feel like it fixed the problem. This assignment still stuck out compared to the others, and I wanted to present a more cohesive body of work. I scrapped the new edit, went out and photographed something that had been on my mind – the couple of dozen blue ribbons for Charlie Gard that had appeared in the town centre earlier this summer. Charlie Gard was a terminally ill baby whose parents were seeking permission from the courts to take him to the US for experimental treatment. I was intrigued by the impact that a London family had on my Wiltshire home town, via the tendrils of social media. As the campaign reached and passed its tragic end, the ribbons too began to enter a new phase of their existence – still there, but worn, dirty, ripped, fallen – now acting as a memorial to Charlie rather than as a call for support. I sought feedback on the OCA critique board and made the decision to submit this work without my tutor’s input (she had already commented on the first pass at this assignment). Influences were Kim Kirkpatrick and Gianluca Cosci, from the second part of the course.
I am happier that this set works better with the other assignments than my first pass did. It references the very public and tragic story of Charlie Gard rather than the thankfully healthy, happy and private story of my daughter, and is restricted to a tight physical area of Wiltshire, even though the referenced event was in London.
This is a condensed blog post for assessment. Please refer to the original posts for more information if needed.
I wanted to rediscover some of the joy and freedom of the Foundations course. My A1 feedback encouraged me to explore a feminist perspective with A2. I chose to collect “heads” via photobooth portraits. The subjects were women and girls holding fake smile props, as I wanted to explore the way that we’re asked to smile, often by strangers, and to do so within a context that actively discourages smiles ie passport photographs.
There was no problem finding willing participants, everyone was familiar with the scenario. I used the same booth for all but one of the models. Participants were asked to wear a black, grey or white top and to hold the smile prop, they could do whatever they wanted except smile. I used a photobooth for a number of reasons. I wanted consistency, I wanted that idea of official documentation, but I also wanted the feel of privacy and freedom, the absence of the “photographer”. Photobooths were the selfie-machines of my childhood; for some of the children shown here it was their first, spell-binding time inside one. I surrendered technical control to a camera that could not have its settings changed, but which also removed me from the photographic process meaning that all the participants had the same interaction process. The children had completely autonomous control of how they appeared in the images once their parent was on the other side of the curtain. It also meant that theoretically all images had identical framing, light and background.
I presented the work in a small black album that I’d had custom printed. The album itself was reworked but you can see a video of the original here, password smileplease
My tutor feedback was very positive, commending my critical thinking, my playfulness and my “engaging with, and questioning Western cultures attitudes towards gender“. She was also positive about my ideas for developing the work further. Reading suggestions included Dawn Woolley’s 2D work, Angela McRobbie’s The Aftermath of Feminism (reviewed elsewhere on this blog), and Anne Burns’ eye-opening blog on selfies. I followed her clear suggestions for improving the work (removing the information cards and the handwritten inserts). I changed the edit from one of women and girls to one of just girls. This was striking – not only did it change the reading of the album, but it gave a completely different meaning to the remaining images of the women. Although I had my rework in the form of the album, I followed a hunch and tested presenting these images within dolls house frames on a miniature wall-paper. I discussed the result with my tutor and agreed with her view that this next step has much potential and is best saved for my next course. I had also played with cutting the prints into oval miniatures, and following reading Elizabeth Grosz, I am planning to make some work with Mobius loops. This has also been parked for future use on Context and Narrative. For this assessment, I am submitting just the reworked album. Below is a video (for those who don’t have access to the album), and shots of possible future development ideas. Password is smileplease
Thoughts for future development (not part of this submission):
There’s a lot more to do here and I look forward to doing it. I remain amazed by the difference in reading between the two sets. It was interesting to make work where I had no direct control over the camera and where the models were out of my sight behind a curtain.
This is a condensed blog post for assessment. Please refer to the original posts for more information if needed.
The pregnancy test – a truly metaphorical decisive moment. The first tangible proof of pregnancy that most of us see, an object that’s well-recognised but rarely seen outside the bathroom. A test, a trigger, a wait, a result. For many of us the used positive test is kept, whatever the outcome of the pregnancy. Like a Polaroid, this physical record of the moment is initiated by a chemical trigger, changes and degrades over time but remains treasured. Here are eight tests from four women, from the last fifteen years. Sadly, not all the pregnancies went successfully to term.
The decisive moment shown in these images is the moment when the results area of each test was the sole focus of someone’s attention, a visible indicator of new life that developed as the test was watched. Each test is a decisive moment that has been kept for weeks, months, years. It’s a decisive moment constructed from a chemical reaction that now bears physical and chemical traces of the intervening time, taking in different homes and places. It’s intriguing to wonder if this indicator of life could sustain life itself. It stops being sterile at the point of opening, could bacteria colonise it once used?
Henri Cartier Bresson described photography as “the simultaneous recognition… of the significance of an event as well as the precise organisation of forms which give that event its proper expression”. I think these images do show the “significance of the event”, each test becomes a talisman, a proof that the pregnancy existed, however briefly. Long after the child is born, or the miscarriage memories soften slightly, we retain this tangible memento of the moment when we knew. In keeping them, they age, and we get this perspective of the decisive moment and how it has changed.
Looking at Bull (2010, p14-15), I see that indexicality is the idea of a photograph as showing reality; looking at Hall (2014, p30 I learn that an indexical sign has a direct physical relationship to its subject. So we have the photographs, which are indexically linked to the tests that they show, and the tests themselves that are how they are because of how they reacted to a woman’s urine. Indexicality in action.
My research strands were Elina Brotheras’ Annunciation series and Nigel Haworth’s Counting Seeds. Both include physical tests, but in a different way to how I chose to photograph them. Presentation was influenced by Taryn Simon’s Contraband and Mary Kelly’s Post Partum Document.
My tutor’s feedback was very positive, her main suggestion was that the work could be improved by better composition and lighting, by cleaning my sensor and by having a larger selection to choose from. I agreed entirely. She also suggested removing the text. I have reshot some images (this wasn’t possible for all the tests). I wanted a more engaging presentation, and decided to present the work in a pregnancy test box, with an unused tests. The idea being that the viewer can experience the decisive moments as s/he handles the photographs. This required a non-standard crop due to the size of pregnancy test boxes.
Here is a video of the final presentation.
Here are the final images which were printed by Loxley as 5x7s and then trimmed to size to fit the box.
I’m very happy with this work, it is both universal and a little bit secret. There is plenty of scope for continuing it further and I look forward to doing so.
Links and references
Bull, S., 2010. Photography. Abingdon: Routledge.
Calle, S. and Auster, P. (2007) Sophie Calle: Double game. London: Violette Editions.
Elinorcarucci.com. (2017). mother. [online] Available at: http://elinorcarucci.com/mother.php [Accessed 12 Sep. 2017].
Cartier-Bresson, H. (2014) Henri Cartier-Bresson: The decisive moment. Germany: Steidl Verlag.
Elina Brotherus. (2017). Annonciation. [online] Available at: http://www.elinabrotherus.com/photography/#/annonciation/ [Accessed 12 Sep. 2017]
Elliott, P. and Schnabel, J. (2008) Tracey Emin: 20 years. Edited by Patrick Elliot. Edinburgh: National Galleries of Scotland.
Hall, S., 2014. This means this this means that. London: Laurence King.
Tarynsimon.com. (2017). Contraband. [online] Available at: http://www.tarynsimon.com/works/contraband/#1 [Accessed 12 Sep. 2017].
Tate. (2017). ‘Post-Partum Document. Analysed Markings And Diary Perspective Schema (Experimentum Mentis III: Weaning from the Dyad)’, Mary Kelly, 1975 | Tate. [online] Available at: http://www.tate.org.uk/art/artworks/kelly-post-partum-document-analysed-markings-and-diary-perspective-schema-experimentum-t03925 [Accessed 12 Sep. 2017].