To aid my understanding of my own project to help me produce responses to artist research and other research in the planning stages, I have chosen to produce a manifesto which outlines my intentions for my project looking at male fashion and it’s link to how males can express themselves as they develop in adolescence.
In my manifesto, I will outline my aims for the project as a mini statement to help both myself understand where I want to go with it and to help my audience understand where I started and if I have carried out my rules/intentions as stated at the beginning.
what is a manifesto?
>> a public declaration of policy and aims, especially one issued before an election by a political party or candidate.
Manifesto’s have become vital to art and conceptual art/photography to provide a way of thinking that may not have been considered before. Manifestos can change peoples views and opinions on things and completely alter the way a person may view art. This is shown in the manifesto below where in artist, Grayson Perry in his Red Alan Manifesto states that popular art work will be displayed above head sol we can see it. This is an very interesting thought and words ‘popular’ and ‘see’ have been emphasised through underlining and capital letters. Manifestos and the rules set in manifestos can be quite controversial but it is the controversial nature of manifestos that can make them so impactful.
An example of a industry-changing art manifesto that had huge impact on the way people changed their view of art from what was originally believed art was a few decades ago is the manifesto produced by Grayson Perry of the Red Alan Manifesto in 2014.
The image below shows the document produced by Perry entitled the Red Alan Manifesto. In Red Alan’s Manifesto, created for the Royal Academy, Perry provides a witty response to some of art’s biggest issues, such as: Can anything be art? Who decides whether art is good or bad? The manifesto is written under the authorship of Red Alan, a ceramic sculpture of his childhood teddy bear, Alan Measles.
Red Alan Manifesto
For my manifesto, I will be creating a set of 5 rules that I intend to follow for all my shoots that I aim to carry out in this project. These 5 rules will be the basis of my thought processes and I will attempt to obey these rules at all times because they will be the foundation for creating exciting, new and different work that challenges my comfort zone and own skills as a photographer. From these rules, I hope that it will encourage me to no longer create any more boring art as first pioneered by John Bald.
I will use the screenshot of my note on my iPhone where in which I wrote a paragraph/statement advertising my need for any models for this project I am carrying out. I uploaded this advertisement for people to help on my Instagram and I will use what I wrote to inform my rules to create this manifesto that will provide a basis for the way I approach the construction of imagery that will in-turn give the body for my fashion photography project.
The image below shows that screenshot of my notes app on my phone in which I wrote a couple paragraphs stating what I was after and then I uploaded this to my Instagram story.
The rules of for my manifesto come from this advertisement based on what I was first after at the beginning of this project.
screenshot of notes screen where I wrote a statement advertising for models and then uploaded to Instagram story
My manifesto is shown below.
'hmu' (hit me up) manifesto_ make it fun_ speak to people you haven't before or haven't spoken to in forever_ ignore the factor of awkwardness and get on with it_ be cooperative _ just take the photos
Alexander Mourant is a London based photographer who was born in 1994 in Jersey in the Channel Islands. He has
Mourant’s project Aurelian was based off a recent trip to Africa called Cairo to Cape Town: Africa’s Plastic Footprint which was documenting the shifting cultural and geographical landscape of Africa. Aurelian which is the study of the passing of time and slippery nature of memory is linked to this trip in Africa where change was being documented. This is because Mourant wanted to explore after this trip not just his memory of it, but how it has affected him. Therefore this project is dedicated to envoking the experience of this trip to Africa as over time his memories and emotions clashed as an intense longing for the tropical landscape he had left behind and his past relationship with this developed. In environments that reflected the experience of Mourant’s recent trip to Africa, it was in the atmospheric environment of the butterfly house that Mourant found his subject. He was interested in the symbolism of the flight of the butterfly through across science, literature and art. “These hot, artificial environments are used through the work to probe the nature of experience, such as an assembly point, or an artist’s studio, as an envisioned idea where time is not absolute but continuously contained and all-encompassing”. In doing this he chose to experiment with a slower-paced, more conceptual approach that explores the metaphysical qualities of photography.
In my project I am very interested in exploring the concept of originally evolution is how we got here, and creationism is why we are here. Therefore I am becoming increasingly interested in exploring the metaphysical within the physical and I believe the theory of evolution vs the theory of creationism acts as a strong backdrop for this. Including in this, I am interested in recording a story of why the world was created and in doing that, explore the freedom found in nature in the ever continuous series of miracles that occur as change in nature. Therefore Alexander Mourant is useful as a strong artist reference as I believe as his images are not only capturing his experience, but also these surrealsist images help reflect Mourant’s vision of the world. This is not in terms of vision in terms of sight, but Mourant’s ability to capture nature in a way that connects spiritually with him. I similarly want to explore the way I see change and freedom in nature as something that has a purpose, and something that is based on my experience as a Christian in the ways in which I see the freedom given to plants, animals etc in terms of survival and change. Therefore this project I believe is starting to head in a direction that explores spirituality in the continuous process of change found in nature, but also heavily links to previous project of faith in the family and environment.
I chose this image as I really like the strong atmospheric tones which I believe encapsulate the idea of capturing experience in a photograph. I personally believe the blue filter is effective at connoting trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven. These connotes I believe reflect Mourant’s relationship with his memory and experience because this is suggesting that his memory, his relationship with past experience is a power and force that is not only spiritual but also he has a living connection with it. This is similar to my work that I want to explore in that creationism explores the notion that we are here for a reason and in order to achieve this, I believe I will have to capture the experience of my own beliefs to explore and explain why change is so frequent in nature an in doing this this explores the notion of freedom. As I will be looking at why I believe life forms have a purpose, I want to explore the physical vs the metaphysical (in other words otherworldly) show the connection that has been lost with nature by humans. I believe Mourant has achieved this successfully through the blue filter. Aside from the symbolism that the filter itself was a piece of church glass window, I like how Mourant has captured atmospheric tones that reflect for me how the elements of this world are not just elements, but they were designed by a creater in an original, naturalistic viewpoint. For example I like how the bird, is sitting on top of the trees and debris, this but also as well how everything appears connected and part of the same body. Furthermore the composition of the image fascinates me because I like how their is a border like feauture to the bottom third of the image. This in a sense gives the image a strong grounding, as we go from harder elements to more delicate and softer ones as we move up the image. Aside from the blue showing how everything is connected, contrastingly by having such a range of elements in this structured order, it is easy to get the impression that objects are still unique. Both these factors link to my interest in exploring the Theory of Creationism in how everything in nature is connected but also how it is unique from each life form.
Aomori is a project done by Alexander Mourant following his Aurelian project. This links to the previous project because Aurelian used atmospheric conditions to create a metaphor for elsewhere that he has a connection with. However “Aomori, meaning ‘blue forest’ in Japanese, is a synthesis of two existential ideas – the forest and the nature of blue,”. By exploring this relationship, I like how for Mourant it is him demonstrating how he translates his experience into his photographs. The color blue and the environment is effective because it encourages how we perceive and connect with nature and the Forest is the vocational emphasis of the study of the progression of how nature changes and evolves. “For me, the immensity found in the colour blue, encourages a deeper reflection on our past, present and future. In the same way, the presence of the forest and the density of its nature, arrests for us, the relentless progression of time.” This links to my project of exploring creationism and the process of elements and change in nature because likewise with my project, Mourant is shooting the images that is led by his spirit. I believe this inspires me in order to achieve images that explore the qualities found from the Theory of Creationism in the elements in terms of how the world was created, but also why the world was created. Susan Bright commented on the religious symbolism of Mourant’s work,: ‘the spiritual history of the process seeps through into the image, to a time when the land was a place of worship,’. This strikes me heavily, obviously being religious and this having a direct link to my previous project Faith but for me nature is something beautiful and I firmly believe that many Westerners have lost touch their connection with the nature and by with that the world. Therefore in my project one significant aim of mine is to reignite that connection by highlighting how and why I believe their is something more to the elements thatn just their physical composition and how these charestics breeds new life and change into the world that is very beautiful. “As temporal dimensions crumble, objectivity leaves us. We are found in a still, oneiric state, contemplating our own accumulation of experience.”
I like this image because it signifies continuous change and growth but also the rate of growth that is experienced and found in nature. This image I believe is symbolic that nature and the change in nature isn’t random but purposeful and planned as opposed to an accident that happens randomly. This image is also a strong metaphor for how the world was created as something which we are not necessarily sure where it came from, where we are going but we know we are going there and I like how Mourant has referenced the process of change over time. Because the flow of the river arguably is random, then it could be mentioned that creation is random. This links to the idea of freedom in that creationism gives freedom to evolve, linking both theories together. What particularly strikes me about this image is how Mourant has focused on capturing smooth tones of water. I like how effective this technique is at emphasizing furthermore how the metaphor for change isn’t so much focused on the individual element but how all the elements are reacting together and moving as one. The image above I have selected because this emphasis of all of nature being in perfect harmony, being created as it was meant to be; I feel is important to note as constant change in nature is a freedom in its own right. For example, not just the water emphasizes this but I believe by Mourant including the rocks and the banks, I believe this successfully shows the change and therefore freedom in these forms of elements over the years as their relationship with the river has changed. In my image, I want to explore the freedom in change as a gift of creationism, and I believe this image is a strong reference to this aim.
Once I had decided what it was that I wanted to follow through with for my exam project, this being fashion and streetwear photography of young people in Jersey, I felt it necessary to begin thinking of the types of models and different people I want to represent the face of my project so began collating names; a shortlist as such and then from this, I approaches a couple of people privately via a direct message on Facebook Messenger. I did this before I had distributed an advertisement for models to come forward if they are up for helping me. I approached, primary, two teen guys that I definitely knew I wanted in my project; these were Emanuel Nobrega and Max Feighan.
I first approached Emanuel through Messenger – a social media site that allows users to chat directly. I explained to him my intentions and what I wanted from the shoot an told him it would be my first shoot and would act as a practice/experimentation for e to understand what I want to achieve from the shoots to follow. We were chatting on this app and we were getting closer to arranging a date when we came across some difficulties – he wasn’t free for the next week and half because of other commitments. I knew this was going to be a problem when I began approaching people to be a model for my photoshoots because it heavily relies on when other people are free. However, I have to work around this and this is what myself and Emanuel did. I was looking to carry out a practiced shoot this week to get myself underway as soon as I could but I knew this was going to be difficult when I was advertising for models very last minute. However, myself and Emanuel have arrange for us to shoot on the week beginning the 19th March when we are both free and I believe we will be shooting on that Monday 19th after school at 4pm. The positive to take from our chat however is that Emanuel is up for helping me out and this is great.
After chatting with Emanuel and discovering that he wasn’t free for the next couple weeks, I approached my another mate I was keen on including in the project – Max Feighan. I knew I wanted Max to be a part of this project from the start but asked Emanuel if he would be my first model because of more friendly relationship with him – I have never really crossed oaths with Max but I was aware that I was going to have to work with people I had never really interacted with before.
I began talking to Max on Messenger as this is a very easy and accessible way to talk and it is quick – people respond quickly and there is the ability to, on the app, create plans for the participants to state whether they are attending or not. After explaining to Max my intentions and asking him politely if he would be willing to help, I got a very positive response from him as he said he would be very keen for this prospect. This then kick-started our further discussion where we began to arrange dates and times. Max told me he would be free during the middle of the week next week and once I was aware that I was also free, we put in a day and time and after talking with each for some time we had a plan arranged and this is set in place for next week. We will be shooting on Thursday 15th next week at 4pm and I am yet to organise a location to meet to shoot. I told Max I would be in touch with him closer to the time to arrange a location – something I need to plan more thoroughly before my other shoots.
With regards to location, I want to shoot in an urban setting. I have told myself that the “street” will be my studio as do not intend to enter the studio at any point because this is not what my project encompasses – it encompasses the teens of Jersey and where they spend their time most – where they show off their style – on the streets of Jersey, late at night – in town where Kings Street is filled with teens in groups being rowdy and showing off. I will be using these settings to base my photoshoots.
The screenshot of the note written on my photo which I then shared to my Instagram story
This was my method of advertising for models to come forward; I wrote up a note on my phone explaining what I was doing for my project and for models to come forward if they are willing to help and fit my vision which was briefly explained in this not also. I told them to private message me on Instagram but also said that I will be approaching people myself – which is what I ended up doing for most of my confirmed models and knew this was going to be the most efficient way to confirm people. I attempted to make the note/advertisement informal so that it didn’t seem too serious and too make myself look more appealing for people to be willing to help me. I then shared this screenshot onto my Instagram story where the photo would stay for 24 hours and then be removed. However, I may re-upload this closer to a time where I need more models but for now, I have a solid variety and number of people who have confirmed they are willing to be part of the project. I also followed up this photo with another bunch of text where I advertised my need to compete a shoot this week so if anyone can fir in a 30 minute to 1 hour shoot in their week, to come forward.
From this advertisement, as I stated above, I did not get many people come forward independently and tell me they were willing to help – which I was aware may happen when I shared it to my Instagram. This is why I explicitly approached people I definitely wanted to be models for different shoots over the next few weeks. However, from my persistence in asking people and persuading them to help, there was a positive turnout and response of people who wanted help. I privately messaged around 10 people on Instagram and fro this, they were all willing to help after I told them my intentions and showed them the type of work I wanted to replicate. So, from my first distribution of advertisement, the models confirmed for my project looking at fashion and streetwear among teenagers in Jersey are: Emanuel Nobrega, Max Feighan, Harrison Cummins, Peter Le Gal, Jai Petrovic, Alex Rogerson, Charlie McBride, Alex Amy, Jasper Crocker-Kilic, Peter Jones and Lucy Rountree will be model for my very first practice shoot where I experiment using my camera equipment and types of shots I want to achieve. I will be shooting with Lucy on Saturday or Sunday of this week and this will be a very informal and relaxed shoot because I am comfortable with her and have done several other photoshoots with her before for previous projects and the success form these has filled me with confidence that I can achieve positive results from this practice shoot. As well, Emanuel has told me that his group of mates would be willing to do a group shoot at some point also and so this is also confirmed. All models will be shot on a individual shoot apart from Charlie and Alex who have said they would do a shoot together after my suggestion for this. This is the same for Jai and Alex.
Next week, for my first couple of shoots I will be photographing Petr Le Gal and Max Feighan and these will be separate shoots in separate locations. I am shooting with Max on the date and time stated above and will be shooting my mate, Peter Le Gal on the day before my shot with Max, on Wednesday 14th at 4pm.
I decided to send to this advertisement as early as I have before I have really done any thorough artist research and references/analysis on my blog because I knew it was vital to get models confirmed so that I can be filled with confidence that I have a good array of models confirmed and can arrange dates/times/locations at a alter time when I actually need them after I have carried out through research and planning as well as a couple of practice shoots. I have also disclosed this information to them and they have all told me this is fine.
Furthermore, as you can tell from my lost of models above, they are all male apart from Lucy who will act as my practice shoot and may not be included in the final product. I have chosen to recruit all male models because I am unsure yet whether I want to focus my project solely on teenage boys and their behaviour/look/style/personas or whether I want to bring in a couple of female models. I am unsure on this yet but I am leaving more towards focusing it solely on boys so have confirmed all male guys. However, later on the project, if I feel I want to introduce the presence of females, I may do this and have some people in mind of who I could use. I also think another concept that could be effective would be if I was to produce ‘couples’ shoots where I photograph a guy and girl who are in a relationship. This could be effective and have retrieved inspiration for this from a couple of Vicky Grouts shots.
When experimenting in my previous shoot I started to focus on the faces on these record covers. Due to them being in black and white and also in poor quality gave them a ghostly edge when I decided to bring the camera close and blur their faces. I made their faces look less human and eerie. It removed any detail from their faces and in a way removed there identity. This doesn’t really follow the previous theme of color. However, it has inspired me to think of abstraction as more than just color. Maybe I will focus on color photos as well as black and white.
After my brief shoot on breaking the photographic rule of audience, I really wanted to explore abstraction and color. I did this by taking close up shots of front covers of LP records I had in my bedroom. Many of these were records from the 70’s this meant bright colors. I also took close ups of other colorful objects I found in my bedroom. Having these photos out of focus turned them into solid colors and in most cases showing no texture. It resembles another form of color field painting I studied previously. I selected colors carefully as I wanted them to complement each other. The helpful thing with using records is that the artist or record company probably would already chosen those colors as they work together. This meant all I had to do was to take these photos at the right angle capturing the right colors in the frame. This is just a small start to what I want to do in my project.
After researching a lot about Rinko Kawauhi’s previous work and photo series I wanted to do my own photo shoot using her images as inspiration. The main aim of the shoot was to capture things with little significance and to portray them in a unique way that shows their pure beauty.
This shoot was done on the 7th of March at Queens Valley Reservoir. I used a Canon camera to capture the images. The shoot was inspired by the many images by Rinko Kawauchi. Her images contain a spiritual feeling to them and this is what I wanted to create in my own edits. The shoot was just a simple experimental shoot because I wanted to see what different abstract images I could capture in an environment I’ve seen many times. When searching for more particular objects and scenes you become more aware of the environment and you take in much more. I am very happy with the images I managed to collect.
EDITS
When editing the images, I knew I wanted them to be simple and pure. I aimed to keep the natural colours and not manipulate the originals too much. I simply made the images brighter and turned up the vibrancy of the images so that the colour’s were stronger which in turn made the image more appealing.
Many leading surrealists were brought over to New York in 1930 due to the political instability. Surrealism was a massive influence for the abstract expressionism movement. It’s biggest influence was the focus on the mining of the subconscious, this encouraged artists to focus on symbols and shapes. Focusing on the struggle between self-expression and the chaos of the subconscious. Most Abstract Expressionism artists matured in the 1930s. They were influenced by the era’s leftist politics, and came to value an art grounded in personal experience. Many artists took inspiration from the posture of outspoken avant-gardists. These artists matured when america was going through a economic crisis and felt culturally isolated. Abstract Expressionists were seen as the first authentically American avant-garde.
Willem de Kooning Excavation (1950)
Post-Painterly Abstraction- Early 1950s- Mid 1970s
This was the reaction to Abstract Expressionism. This labeled a number of artists who used techniques such as color field painting, hard-edge abstraction and the Washington color school. Critic Clement Greenberg believed that, during the early 1950s, Abstract Expressionism had become a weak school, and, in the hands of less talented painters. But he also believed that many artists were advancing in some of Abstract Expressionism’s more fruitful directions – principally those allied to color field painting – and these were yielding to a range of new tendencies that he described as “post-painterly.” Greenberg characterized post-painterly abstraction as linear in design, bright in color, lacking in detail and incident, and open in composition. It reflected the artists’ desire to leave behind the grandiose drama and spirituality of Abstract Expressionism.
Sam Francis Blue Balls VII (1962)
American Color Field painting
The term color field painting is applied to the work of abstract painters working in the 1950s and 1960s characterized by large areas of a more or less flat single color. From the 1960s a more purely abstract form of color field painting emerged in the work of Helen Frankenthaler, Morris Louis, Kenneth Noland, Alma Thomas, Sam Gilliam and others. It was different from previous work such as the abstract expressionism movement as it eliminated any spiritual, emotional. religious aspects to the work and the highly personal and painterly or gestural application associated with it.
The Disposable Camera Project was done by Colour Box Studio based in Merlbourne. The Colour Box Studio is a pop up art space and online creative hub. The director, Amie Batalibasi, decided to do a project using a disposable camera. There were nine participants who took part in the project. They get asked to fill a disposable camera with images over a period of 24 hours. The project had been going on for 3 years. Each of the participants have their unique style and perceptions. What they view as a good image all varies. The project achieved a vast difference in style of images and subject. A book was created containing all the images called “The Disposable Camera Project.”
The disposable camera project draws in on the idea of freedom of expression because it allows people to expressive themselves and show their own unique outlook of the world thorough photography. A disposable camera allows people who may not be use to using a camera to be able to very simply capture a scene or a scenario they find beautiful or interesting. It gives them an easy way of expressing themselves.
Colour Box Studio Disposable Camera Project First Edition 2013 installation view. Photo by Shari Trimble.hotos by Colour Box Studio Disposable Camera Project Participants: Cara Thompson, Charlotte Wardell, Nicole Kennedy, Vanessa Lee, Suyin Lim, Emma Numan, Gareth Kaluza, Modesta Gentile and Rahima Miriam.
When researching more about photographers who use disposable cameras, I came across an article on the internet about a guy called Matt Blodgett. He is an American Photographer and full time construction worker. The article I came across was an interview including Matt Blodgett and the process he goes through when taking his images. He is 31 years old and grew up on the Canadian border in the Thousand Islands of upstate, New York. He recently moved to southern Berkshire County in Western Massachusetts where he was originally born. When Blodgett was asked about why he uses disposable cameras a lot he explains how they allow him to have fun with photography. He believes that some photographers take photography to seriously, which in some cases is very true. Blodgett doesn’t see him self as a photographer but when it comes to disposable cameras the implicitness of it allows any one to do it. What he aims to share with his photos is a “rolling diary of imagery that I live with and love.” He doesn’t think before he shoots, he simply takes what he views as beautiful. Here are some of Matt Blodgett’s images below.
His images are mainly of nature because this is what he views as beauty. He is similar to the photographers I have researched so far because the images that he collects are from day to day and they contain this spiritual atmosphere. I plan on collecting images in a similar process to this as a point in my project. They don’t need to have a deeper meaning, just a simple object or scene will do.
I’ve given myself the task of collecting images in the same style and process as the one done within the disposable camera project. I bought a simple disposable camera from boots and kept the camera with me throughout a couple of days. Whenever I saw something interesting that I wanted to capture I made sure I got it. However I was looking close at detail rather then just the whole scene.
Following on from your first task of Rule Breaking your next task is write your own manifesto with a set of rules that you follow creatively in making a new set of photographic images, experimental film-making or video art.
A manifesto is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party, government or an artistic movement.
In etymology (the study of the origin of words and the way in which their meanings have changed throughout history), the word manifesto is derived from the Italian word manifesto, itself derived from the Latin manifestum, meaning clear or conspicuous.
Political manifestos from Britains three main parties, Labour, the Conservatives and Liberal Democrats in the last election in 2017.
Here a few examples of manifestos made by Jersey politicians
Futurism Manifesto written by the Italian poet Filippo Tommaso Marinetti was published in the French newspaper Le Figaro in 20 February 1909. In the manifesto Marinetti expresses an artistic philosophy, Futurism, that was a rejection of the past, and a celebration of speed, machinery, violence, youth and industry.
MANIFESTO OF FUTURISM
We intend to sing the love of danger, the habit of energy and fearlessness.
Courage, audacity, and revolt will be essential elements of our poetry.
Up to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer’s stride, the mortal leap, the punch and the slap.
We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.
We want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.
The poet must spend himself with ardor, splendor, and generosity, to swell the enthusiastic fervor of the primordial elements.
Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unknown forces, to reduce and prostrate them before man.
We stand on the last promontory of the centuries!… Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.
We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.
We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.
We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervor of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the rivers like giant gymnasts, flashing in the sun with a glitter of knives; adventurous steamers that sniff the horizon; deep-chested locomotives whose wheels paw the tracks like the hooves of enormous steel horses bridled by tubing; and the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd.
In 1924 French Poet, Andre Breton published a Surrealist Manifesto which sets out specific terms on which to be creative and make art as a reaction against another art movement, Dadaism.
POEM
A burst of laughter
of sapphire in the island of Ceylon
The most beautiful straws
HAVE A FADED COLOR
UNDER THE LOCKS
on an isolated farm
FROM DAY TO DAY
the pleasant
grows worse
coffee
preaches for its saint
THE DAILY ARTISAN OF YOUR BEAUTY
MADAM,
a pair
of silk stockings
is not
A leap into space
A STAG
Love above all
Everything could be worked out so well
PARIS IS A BIG VILLAGE
Watch out for
the fire that covers
THE PRAYER
of fair weather
Know that
The ultraviolet rays
have finished their task
short and sweet
THE FIRST WHITE PAPER
OF CHANCE
Red will be
The wandering singer
WHERE IS HE?
in memory
in his house
AT THE SUITORS’ BALL
I do
as I dance
What people did, what they’re going to do
An example of a poem published as part of Breton’s Surrealist manifesto.
Tasks 1. Research and read at least one political manifesto and one manifesto from an artistic group or movement. Describe differences and similarities used in their use of language, metaphor and vision – 1 blog posts.
2. Analysis: from your chosen artistic manifesto, choose at least two key art works for further analysis that have been made as response to the rules/ aims/ objectives of the manifesto. Describe techniques used, interpret meaning/metaphor, evaluate aesthetic quality – 1-2 blog posts.
3. Planning: Write a manifesto with a set of rules (5-10) that provide a framework for your new shoots and overall project. Describe in detail how you are planning on developing your work and ideas in the next two weeks. Think about what you want to achieve, what you want to communicate, how your ideas relate to the themes of FREEDOM and/or LIMITATIONS – 1 blog post.
4. Record: Produce at least one shoot by Mon 12 March.
5. Experiment: Edit a selection of 5 images with annotation – 1 blog post.
6. Evaluate: Choose your best image and evaluate with reference to your manifesto and contextual references – 1 blog post.
7. Present: Print best image and prepare a 1 min presentation Wed 14 March in class around the table.
Extension: Write a new set of rules and repeat the above process.
Help & Support:
See link to manifesto in Wikipedia which has a hyperlinks to many manifestos, both political and artistic.
How to write a manifesto? Read more here
A manifesto is a statement where you can share your…
– Intentions (what you intend to do)
– Opinions (what you believe, your stance on a particular topic)
– Vision (the type of world that you dream about and wish to create)
Political parties makes a manifesto that sets out their political values and views on issues such as education, health, jobs, housing, environment, the economy etc and pledge a set of policies on what they would do if they got elected.
As there will be an election in Jersey during the exam preparation and the fact that you are all eligible to vote it makes sense to explore what manifestos exist in local politics. Unlike the UK, Jersey doesn’t have a political system with large parties, such as Labour, Conservative, Liberal Democrats and so on.
The parliamentary body responsible for adopting legislation and scrutinising the Council of Ministers is the Assembly of the States of Jersey. Forty-Nine elected members, 8 island-wide Senators, 29 Deputies and 12 Constables representing each parish sit in the assembly. There are also five non-elected, non-voting members appointed by the Crown (the Bailiff, the Lieutenant Governor, the Dean of Jersey, the Attorney General and the Solicitor General). Decisions in the States are taken by majority vote of the elected members present and voting.
Find out more here on the official Government website: gov.je
In Jersey there is only one small political party Reform Jersey (3 members). Some politicians, such as Senator Philip Ozouf,Senator Lyndon Farnham publish a manifesto in advance of an election so that the public can learn about their political views. Hustings in each Parish will be taken place during the month of April leading up to the election day 9 May 2018.
Artistic Manifestos
Here is a a list of art movements that you may use as contextual research. Many of them produced various manifestos
Here are a list of artists/ photographers that may inspire you associated with the above art movements and isms:
Vito Acconci, John Baldessari, Yves Klein, Bas Jan Ader, Erwin Wurm, Chris Arnatt, Richard Long, Hamish Fulton, Joseph Beuys, Chris Burden, Francis Alÿs, , Sophie Calle , Nikki S Lee, Claude Cahun, Dennis Oppenheim, Bruce Nauman, Allan Kaprow, Mark Wallinger, Gillian Wearing, Marcel Duchamp and the Readymade, Andy Warhol’s film work, Steve McQueen, Sam Taylor-Johnson, Marina Abramovic, PipilottiRist, Luis Bunuel/ Salvatore Dali: , Le ChienAndalou, Dziga Vertov: The Man with a Movie Camera
Here are the Instagram pages and websites of the other, smaller artists I will be following and taking inspiration from for my project looking at fashion among young people in Jersey and the different trends people take up and the brands they where. The artists listed below are people I follow on Instagram and who I will be using as a guideline in terms of the style of their imagery. Some of the photographers listed will be part of a sole blog post where I look at their work, analyse it and discuss how it will influence my onw but some of the photographers below are smaller, less influential photographers who photograph for the magazine PUSH and these will just be shown in this blog post as a guideline for who I will be looking at for my own project.
The purpose of this blog post is to include all relevant to links to my inspirations for easy access for myself to access at any point and for readers to see, all in one lace, the photographed who I will be taking inspiration from for my work.
