Essay – In what way can the work of both Lewis Bush and Clare Rae both be considered political?

“In what way can the work of both Lewis Bush and Clare Rae both be considered political?”

I will be investigating the ideas behind the works of Lewis Bush and Clare Rae by suggesting different concepts about their work to stage how their exhibitions can be considered political. Both artists have experienced Jersey closely. Lewis Bush focused on the local finance industry whilst Clare Rae investigated roles of gender. Clare Rae’s exhibition titled “Entre Nous” features works with Claude Cahun who helped as an inspiration to the concept of her work on gender and the landscape. However, Lewis Bush’s “Trading Zones” aids as the beginning of a long-term concept on the financial meaning of onshore and offshore locations.

Contemplated as political, Lewis Bush’s work revolves around the concept of producing photography through different photographic methods such as topography and landscapes.Lewis Bush has finalised projects looking at the redevelopment of London (Metropole) and most recently a project focusing on the finance sector in Jersey. Lewis based the project ‘Metropole’ in London as he felt the city which he grew up in was becoming wasted with government schemes of regeneration leading to demolition and construction of new buildings. Lewis’ most recent project ‘trading zones’ has similar connotations to Metropole as Lewis is showing how the finance industry is managing to take over jersey in a number of different ways.An aspect I found dominant from his work from the exhibition was his way of how political landscapes within a specific business shaped the employees in accordance with its development. This was described as “the self-image of how finance represents itself”

Bush collected multiple images of finance employees from different finance companies and merged them together which created an overall figure. This is done by overlapping various workers profile pictures which created a general portrait of the faces behind the businesses, whilst offering us with an insight into the otherwise unseen side of companies. Furthermore, this exhibition conveyed another political message which was clear, the board filled with various people’s opinions on the financial sector of Jersey with a large merged portrait of a certain business. By gathering opinions to form an overall insight into societies perspective of finance in jersey and in general created an overall opinion on what they think. This created an un-bias result, this was because the cards patented from a number of different sources. (schools, finance and retail sectors) This allowed the feedback to emphasis how they viewed Jersey and which way it should head.

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In contrast to Lewis Bush’s work Clare Rae took a different approach to tackling politics in her photography. She chose jersey as her location as she knew that Jersey had the largest collection of Claude Cahun’s work and her work helped to inspire her exhibition. Claude Cahun was a queer, surrealist photographer who was originally known as ‘Lucy Renee Mathilde Schwob’. Claude Cahun was chosen as this was a gender ambiguous name which links with her and Clare’s work as it is about gender and gender stereotypes. Claude Cahun’s work was set in Jersey around the time of the second world war when it was occupied by Germans. Photography was a way for Clare to experiment with her own gender as a performance and to perhaps discomfort a typical stereotype from the early 1900’s. Clare Rae was inspired by Cahun’s work as it allowed her to use it to take on a similar journey. Clare Rae took both visual and conceptual tips from Cahun with all of her photographs being taken in black and white.

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Clare also used a film camera which allowed her to put more thought into her work as it restricted her to a certain number of images per film suggesting that her images where to a high standard. A big part of Clare’s imagers followed the theory of the male gaze, by using this idea she used it to challenge it by taking images of her own body and by doing this she is controlling the female figure in art which is tented to be taken advantage of by the male artist in a sexualized way. This links to political landscape as Clare’s images could be linked to the feminist theory.

Clare’s work and Lewis’ don’t have links in the way they are actually taken as Clare’s are tableau and are staged as they have been taken in a way to relate to Claude’s work and self-portraits. In addition, Lewis’ work has been taken in a way that relates to his own styled a sense of documentary photography. Furthermore, the two photographers work was both based in jersey however two very different approaches where taken into consideration. Lewis came to Jersey out of pure freedom and with a specific idea focusing on the financial sector. On the other hand Claire Rae came to Jersey as she knew that they were a large collection of Claude’s work. Overall, the two photographers are both exploring their work through the changes and impacts their subjects are having on society. However, both artists work has clear connotations of political landscape ranging from feminism and the finance sector. Which suggests that both photographers were working under the same genre of photography being political landscape due to the fact they are handling issue that are impacting society and how the work they are producing is helping create awareness of the impacts.

Contextual Study – Spying/Stalking

Sophie Calle

Sophie Calle has engaged in art as provocation. One of her first projects in 1983, The Address Book ,begins with the discovery of an address book, which she then uses to discover the life of its owner, contacting everyone within to access information about the owner. The point is voyeurism, or more accurately, a kind of intentional intrusion, but it is also and most essentially, an inquiry into the unbridgeable distances between us as people, the layers and everything we cannot know.

 “At the end of January 1980, on the streets of Paris, I followed a man whom I lost sight of a few minutes later in the crowd. That very evening, quite by chance, he was introduced to me at an opening. During the course of our conversation, he told me he was planning an imminent trip to Venice. I decided to follow him.”

The result is this thrilling book, first published in 1983 , blending detailed daily text entries with Calle’s elusive black and white photography. For Sophie Calle, the idea is to push the bounds of propriety, to go where one wouldn’t ordinarily go. This is an assault on privacy,  undertaken without permission and meant for the public, a public with which the subject may or may not wish to engage. That’s also one of the challenges of her work, the discomfort we feel as she crosses the line. How would it be if we were Henri B? Exposed without permission, written about, photographed?

Stalking in Photography

Stalking is unwanted or repeated surveillance by an individual or group towards another person. Stalking behaviors are interrelated to harassment and intimidation and may include following the victim in person or monitoring them. The term stalking is used with some differing definitions. Although stalking is illegal in most areas of the world, some of the actions that contribute to stalking may be legal, such as gathering information, calling someone on the phone, texting, sending gifts, emailing, or instant messaging. They become illegal when they breach the legal definition of harassment (e.g., an action such as sending a text is not usually illegal, but is illegal when frequently repeated to an unwilling recipient).

First signs of stalking photography began with the paparazzi, these are independent photographers who take pictures of high-profile people, such as athletes, entertainers, politicians, and other celebrities, typically while subjects go about their usual life routines.

Street photography, also sometimes called candid photography, is photography conducted for art or enquiry that features  chance encounters and random incidents within public places, in a sense it is also a form of stalking photography.  Street photography can focus on people and their behavior in public, thereby also recording people’s history. This entails having also to navigate/ negotiate changing expectations in laws of privacy, security and property. In this respect the street photographer is similar to social documentary photographers or photojournalists who also work in public places, but with the aim of capturing newsworthy events; any of these photographers’ images may capture people and property visible within or from public places.

Stalking Services

The existence of services like Google Street View, recording public space at a massive scale, and the trend of self-photography, further complicates ethical issues reflected to stalking photography as a whole.

Google Earth Street View takes photos freely feature passers-by without their consent. The people, buildings as well as cars on the street view are presented to the whole world. Some people and organizations believe that the service provided by Google Earth violates people’s right to privacy. The Ethical Issues are involved here. Google Earth provides a new technology and therefore brings convenience to people’s life, but in some people’s mind, the street view is actually an invasion into privacy. In response, Google, however, has taken some actions to protect people privacy. They mark the license plate numbers of the cars as well as people’s faces in every photo they have taken. Google also has a way for individuals or nations to request that certain images be blurred or removed.

Global Positioning System satellite technology (also known as GPS) is embedded into many of the devices we use today for location purposes. One use of GPS is geotagging, sometimes geotagging is done automatically for us, such as when you take a picture with your phone. You don’t see it, but your location is automatically recorded in the meta-data of the photo. Othertimes we geotag ourselves on our social medias. Social networks have geotagging features built in (Facebook, Twitter, Instagram, Snapchat) such as a ‘check-in’ or ‘add location’ feature that allows personal geotagging. Burglary, Identity Theft and Cyberstalking are only a few of the possible crimes that correlate to this topic.

Originally, the satellites used for GPS were created by the government to track military personnel. These same satellites are used to convey GPS information to drivers and third parties. The question is, who actually owns the data produced through the system?

Closed-circuit television, also known as CCTV in short, is the usage of video cameras for surveillance in areas that require monitoring such as banks, casinos, airports, military installations, and convenience stores.  As with all privacy issues, there is an argument saying that only criminals need to fear systems that monitor location, even if they are capable of covering the whole population.
Some say cameras make them feel safer. However several experts say that, although crime my be reduced in the necessarily small areas covered by the cameras, it is displaced elsewhere.

Resources Used : CCTV, GPS, Google Earth Maps,

Stalking in Photography:  Article1, Article 2, Article 3, Article 4

Sophie Calle: My Blog Posts

 

Photography and Truth – Analysis of Brussels Attack Journalism

In this photograph artificial lighting from the airport in which the Brussels terror attack occurred is being used to produce a photograph that shows journalism and what is happening as it is happening.  The use of this light creates a setting that is realistic and uses a documentary style rather than a tableux style of photography as this photograph captures the truth rather than being set up.  A shallow/deep depth of field appears to have been used as the lady sat in the foreground is more in focus than the injured lady behind her – this could also be because the shutter speed is not quick enough to sharply capture the movement of the injured woman.  An ISO of 400-800 will have been used in this photograph as it is bright but has a small amount of noise in the photograph. The colours within the photograph are quite warm – the walls and the floor are a dark colour which contrast with the bright yellow jacket of the injured woman.

The colours in this photograph are reflective of the colours seen in real life as this photograph documents the truth.  There is a variety in colours on the clothes of the subjects – there are bright yellows and dark blues creating contrast within the photograph.  The typical browns and grey of an airport remind the viewer that this is real life. There is a fairly wide tonal range in this photograph through the shadows and different types of clothing on the subjects, the range of tones creates contrast and drama.  The texture of the dirt and dust can be seen throughout the photograph which again reminds the viewer that this is real and the photograph was taken as soon as it happened.  There is a slight 3D effect to the photograph due to the woman sat further ahead of the injured woman – this 3D effect is added to by the sense of rushing and anxiousness in the photograph created by the blur.

This photograph was shot by Ketevan Kardava, who is a special correspondent for the Georgian Public Broadcaster network.  Kardava was on her way to Geneva to report on talks between Russia and Georgia, when the terror attack on Brussels airport occured.  Kardava told TIME “Everything was dust and smoke. Around me there were dozens of people without legs, lying in blood.”  Within the next minute, the second explosion occured and Kardava said “I wanted to run to a safe place too, but I also wanted to take pictures. As a journalist, it was my duty to take these photos and show the world what was going on. I knew I was the only one at this spot.”  This photograph was the first phoograph that she took – showing that the people were in a state of shock and fear.

This photograph shows the truth as opposed to some journalism in which subjects are hidden from the camera or cropped out in order to create a different perspective or in order to hide the truth.  Kardava took the opportunity to show the world what was really going on in the attacks – some may say that this was insensitive to the victim and their family and that it was selfish of Kardava to do this but truthful and authentic photojournalism is impactful and essential for the people in the world to understand what we are going through as a community.

 

Sublime Shoot 2

 Within Fernando Maselli’s pictures he will refrain from using people to primarily focus in on the sublime environment. I think that also without the presence of people shows the environment that we could have without the presence of people that often destroy it. I wanted to include people in this second shoot to try and portray my ideas about having a society that cares for and looks after the environment. Threw directing my model, i tried to capture her engaging with the environment and appreciating it whilst not disturbing or destroying it. The intentions for this shoot were to focus in on the future of our community that i believe in where everybody can appreciate and respect nature.

Contact Sheet
Edited Images (Lightroom)

I believe this shoot was successful in responding to the artist I have researched however incorporating my own ideas too. Within these photos i have used my model to show a sense of appropriation of the sublime. Overall, i believe that the edits are effective in the way that they stand out especially with the natural light upon my models face. Also, the contrast and colors help to reach out to the viewer and bring the image to life with an emotional connection between the viewer and the environment. The way in which i have directed my model to be looking at the nature was intentionally created to influence the viewer to imitate these actions when also surrounded by a sublime environment.

Analysis

I think that this image has been my most successful in connecting my message with the audience and for aesthetics too. I believe that the dark background creates a strong contrast between the waterfall droplets, model and rock formations. These features are the main focal points in creating the story I intend and therefore the dark background is effective in showing this off. I have directed my model well in her position and the way that the natural light has illuminated her face to highlight her facial expressions and emotional connection with the environment. This was the most important factor when constructing this shoot and i believe that it has worked out well. I ensured that my model wore a white top so that the contrast was prominent and she stood out as the main subject. Another reason that this image was a success was due to the expression on the models face that comes across as natural and relaxed. I used a fast shutter speed to try and capture the water droplets however  there is still motion blur on the droplets which help in creating the falling water effect which was occurring from the waterfall.