The Photographic Archive of the Société Jersiaise contains over 80,000 images dating from the mid-1840s to the present day and is the principal Jersey collection of nineteenth and early twentieth century photography. The archive holds examples of work by important nineteenth century photographers such as William Collie, Charles Hugo, Thomas Sutton and Henry Mullins. The collection incorporates late nineteenth century studio collections of negatives by Jersey based photographers such as Ernest Baudoux, Albert Smith and Clarence Ouless. The archive contains over 15,000 portraits of identified people and views of every bay. Together the collection offers detailed visual record of Jersey and Channel Islands history and an excellent representation of technical and aesthetic developments throughout the photographic era.
Photography arrived in Jersey on 9th May 1840 just nine months after it had been first publicized in the urban centres of England and France. Following technical developments in the 1850s, by the boom period for Victorian photography in the 1860s the number of photographic studios in St Helier peaked at twenty-one. The Société Jersiaise was formed in 1873 but only realised its aim of opening a museum in 1877. In 1992 the Photographic Archive Department was established to implement appropriate collections management policies, to improve storage conditions and to catalogue the collection to increase access so that the public would be able to see their work.
Albert Smith is the best known and probably the most prolific of Jersey’s early photographers, although a significant number of pictures credited to Smith, specifically the photographs used for his post cards, were not taken by him, but by employees or by Ernest Baudoux, whose business he acquired when he arrived in Jersey from London.
Smith started in business in Jersey in 1892 from premises at 59 New Street, which he kept until 1931. He also had outlets at 13 Beresford Street and 45 Bath Street from 1899 to 1907, but he closed these and opened an outlet at 3 Broad Street, which also continued to operate until 1931.
Thousands of his images survive as glass plate negatives and subjects include studio portraits and portraits of cattle. Many of his views were sold as postcards. Nearly 2000 of Smith’s photographs can be seen online in the photographic archive of la Societe Jersiase, out of a total of nearly 3,300 of his photographs held in the archive.
His portfolio of photographs shows the extreme diversity of Albert Smith’s work. Even though not all of the photographs may have been taken by him, they are all attributed to his business. Many are commercial, but others show a fascinating documentary of life in Jersey in the late 19th and early 20th century. Smith was not predominantly a portraitist even though lots of his photographs show this, he preferred to work outside photographing groups on carriage and charabanc outings.
Smith published a book in about 1910 named ‘102 Views of Jersey and the Channel Islands‘, which includes pictures of early Battles of Flowers, and a selection of pictures of Guernsey.
I chose to research Albert Smith as in my shoot on Tuesday 19th June, I would like to be able to focus on environmental photographs as Smith does and would also like to take pictures of the architecture such as Victoria College to create an old-fashioned feel. Albert Smith’s diversity in photographs is what mainly appealed to me.
Analysis of an Albert Smith Photograph
In this photograph by Albert Smith, it appears that a natural lighting was used to show the natural shadows and contrast in this environmental portrait. This ensures the photo shows how Jersey really looked in the earlier stages. A deep depth of field will have been used for this photograph as the whole of the photograph is in focus – there is no blurring for effect, it is all kept completely natural. A shutter speed of around 1/60 will have been used along with a fairly low ISO of 200-800. This is because the quick shutter speed ensures no movement blurs in the photograph whilst the ISO ensures that the photograph is bright enough to show the subjects. The photograph has a warm orange tinge to it, reminding the viewer that it is a very old photograph.
There is no colour in this photograph as it was taken between 1892 – 1931, this rustic feel in the photographs creates a natural sense to show that is documentary photography. There is a wide tonal range in this photograph as the bright white sachets on the officers contrast with their black uniforms to create different tones. The image has a 3D setting due to the positioning of the subjects – the officer on the chair is clearly in front of the cannon with the other two officers standing behind him. The old faded effect partly takes away from the 3D effect due to the faded contrast and shadows.
This environmental photograph shows three RJA officers in the work environment posed for a photograph. This documents what St. Helier was like before all of the land reclamation and development and also shows what the people were like through the choice of hair styles and facial hair. Smith would take lots of portrait photographs similar to this showing groups of St. Helier residents in their work environment or natural habitat.
I think that when Smith was taking all of these portraits and landscape photographs he was focusing on experimenting on what he could do photography as it was relatively new at the time. Smith showed us the development of photography and St. Helier along with the residents in it. Whether Smith realised it or not, he documented St. Helier for future use and gave us an insight into early photography with the purpose of showing the different views and areas of Jersey.
Michelle Sank was the ‘Archisle: The Jersey Contemporary Photography Programme Photographer in Residence 2013’. Her project, ‘Insula’ presents a series of photographs by Sank responding to Jersey culture, community and landscape.
Michelle Sank was born in Cape Town, South Africa and currently lives in the U.K. She describes herself as a ‘social demographic’ photographer – she says ‘My Practice is concerned with the notion of encountering, collecting, and re-telling. I am interested in creating sociological landscapes, interplays of human form and location that are significant in their visual, cultural and psychological nuances. I see my work as a celebration of the constantly changing moments and phases in life.’ Her work encompasses issues around social and cultural diversity.
In 2009 Sank undertook a three month residency in Aberystwyth, South Wales where she produced work that formed the exhibition and book called ‘The Submerged’ in 2011. The project took its title from parts of an ancient forest buried under the sands of Cardigan Bay which surface after stormy weather. These fragmentary boughs
symbolise occasions when people or places seize Sank’s attention to be photographed.
I chose to study Michelle Sank as her photographs contrast but also relate with Albert Smith’s in the sense that they document people but they are different styles of portraiture. This will allow me to produce a diverse set of photographs when I have a shoot in town.
Analysis of a Michelle Sank Photograph
In this Michelle Sank photograph, natural lighting was used to allow a natural environmental feel to the photograph due to the natural shadows and contrast. A deep depth of field appears to have been used as the whole of the photograph is in focus which helps to convey the idea that this is more of a documentary photograph than a commercial one. A shutter speed of 1/40-1/100 will have been used to capture this photograph along with a low ISO of 100 or 200 in order to allow enough light to enter the camera lens whilst keeping the quality as high as possible. There is contrast in the photograph between the feel of a warm day and the cold blue of the models’ outfits.
There are very vibrant colours in this photograph that contrast with eachother, such as the bright orange hair of the subjects and their deep blue jackets. There is not a massive range of tones within the photograph as it is generally a fairly light and summery photograph. The light reflecting off of the leather jackets creates a texture within the photograph, creating a more interesting subject. This use of texture and shadows helps to create a more 3D and realistic feel. The two subjects have been placed side by side to show the differences and similarities between the two.
This photograph is from a Michelle Sank project about Young Carers, children under the age of 18 who are often the main carers for a sick parent or sibling. In addition to performing daily household tasks like washing, bathing, cooking and shopping, they also have to manage the additional pressure of school. Because they are different, they are often exposed to bullying from schoolmates and lack a sense of identity as an individual in their own right.
Due to Michelle Sank choosing this subject, I think that with these portraits she is trying to empower the young people with a sense of their own identity and normality. It shows the subjects dressed in their own choice of clothing and being themselves, in a situation where they could be free.
It is thought that the site of St Helier was settled at the time of the Roman control of Gaul.
The medieval writings of Helier, who is the patron saint of St. Helier, suggest a picture of a small fishing village on the dunes between the marshy land behind and the high-water mark.
Currently, the St. Helier parish church is some distance from the sea but at the time of its original construction it was on the edge of the dunes at the closest practical point to the offshore island called the Hermitage (where Helier was supposedly martyred). Before land reclamation and port construction started, boats could be tied up to the churchyard wall on the seaward side.
An abbey of St Helier was founded in 1155 on L’Islet, which was an island that becomes submerged at high tide, adjacent to the Hermitage. The site of the abbey was fortified to create the Elizabeth Castle that replaced Mont Orgueil as the Island’s major fortress.
As centuries moved on, St. Helier constantly expanded from the string of houses and shops that it was in the 18th century through building structures such as the harbour and the tunnel in 1960s. Now that St. Helier has reclaimed the land that was planned, they are now focusing on filling all of the empty plots on the parish to create a busy and modern environment.
My Area Of Focus
On Tuesday 19th June I will be photographing the area shown in orange on the map at the top of this post. This area of town contains lots of history and landmarks which will be interesting to capture photographs of. Some points of interest that I will be looking at is the Victoria College due to the architecture of it and the history behind it, and lots of local businesses such as the Mayfair hotel in order to capture environmental portraits of the people of St. Helier as archival-photographers such as Albert Smith did in the earlier stages of St. Helier
Throughout its history, St Helier has been at the centre of the Island’s economic growth and prosperity. It has developed and expanded in response to changing social and economic conditions, to provide the homes and amenities to meet the expectations of residents and migrants; and the infrastructure necessary to support commerce.the governments property development company has stated this about how they want to see Jersey in the future ‘Our mission is to create ‘dynamic innovative and sustainable new environments for people to live, work and invest, ensuring all developments are in the local interest and contributing to Jersey’s bright economic future’. space for the island’s premier financial services industry. By investing in direct development, rather than selling land to developers, we ensure that returns to taxpayers are improved as well as retaining control over design and quality.This portrays a positive backing from the government for a need to expand St Helier and the positive impacts that will come not just from a better presentation but economically and creates a better prosperity for the citizens.
I then did research into the new large Morden buildings along the waterfront and the aim of how and why they were conducted ‘To generate the town by finding new uses for old buildings and redeveloping other land and buildings anew’
This regenerate St Helier into an attractive and popular town allows future generations to now longer feel isolated when being in such a small island, bringing more work and nobs and a sense of community within the shared relationship everyone will have with experiencing the new generation of architecture and moving jersey out of the past and into the future.
current developments:
This buildings allows high quality civic space and will include a new public square and a new public park, as well as delivering a re-landscaped Esplanade,this will create more socialising areas and a better appeal for St helier Allowing others to talk among their community.
The existing central business district and will establish a clear identity for the island’s premier industry and strengthen the connection between the historic town centre and the waterfront.
The delivery of much needed residential accommodation within the existing urban envelope is a key objective of the Island Plan and JDC is tasked with delivering the regeneration of this iconic building.This is a clear example of keeping the outside of older buildings yet bringing them into the modern world,dvelopment of jersey does not have to be a complete removal of the history but creating it in a better light.
Plans of the north of St Helier 2011
concequently these developments purpose a new St helier looking better and having a large community investment wihtin advantages of nature and Jersey becoming a beautiful area including the designs of old buildings. However my concern is the time it has taken to address these designs,these were made in 2011 and still have not been done, this demonstrates how it is harder motivation for the government to spend their money of revamping areas that are not purely new buildings for finance etc.I think this is a problem because we need the whole of St helier to be expanding into the future and not ignore areas viewed as less important.
This shows the old jersey buildings and dvelopments falling down and failing to effectively present jerseys history in a complimentary way or to show what the architectures within jersey are capable of.Town needs to have new buildings as in years to come they will not be in the same condition as the ones above, only creating poor living conditions for everyone in and surrounding them. Communities deserve better quality to life and not living in a building listed due to its age when it does not bring anything to jersey and does not allow central heating for citizens.
Lastly I know many people are against the modernisation of jersey due to the buildings not being in keeping with the ones surrounding,as I have said before I think new buildings show a positive movement into the modern world and unite two different eras.Although many new modern developments are built to be in keeping with older designs yet still modern and supporting good living conditions on the inside, this is important for people not for the new buildings as it is not an accurate presentation of what can be done.
Currently St Helier is seen to be a pivotal area for tourism due to the historical significance seen through the architecture and many monuments within jersey.However,I think the future of St Helier should be surrounding a modernisation of the area and the belief that new types of models and a variety of buildings will increase the heightened market for finance and so allowing Jersey to move past the history and become more prevalent when coming to current society and the needs of expansion and futuristic development. Modern buildings such as high build buildings are needed in order to move St Helier from being a town into a more city oriented landscape,However this does not mean the demolishing of historical buildings but enhances their presence when seen and also forms a joint society of future and past to show a movement of cultures and diversity being capable within Jersey. This would also benefit jersey as tourism is not the main centred interest anymore as finance is the most important as this is where the money for funding is found to benefit the government and future advancements surrounding jersey itself. St Helier needs to move forward,150 years ago citizens of St Helier would have said to keep jersey how it is but that isn’t possible and will not benefit their needs as a society in the future.The mordenisation would benefit the younger generation as it gives them more sources for growth wihtin their world sectors, allows the government to fund university fees, and is the foregrounding of many possible future job oppitunities.For my project I Would want to purpose more Morden enhancements and capture of the property development of new builings and general progression of St Helier.(or to study developments and companies which are already supporting and creating these new buildings)
However with these developments we cannot be ignorant to the fact they will not directly benefit the citizens of St Helier and consequently not address their voices and needs.To address this the new buildings should not be purely concentrated on finance but also a sense of community. Not enough races are highlighted through St Helier,so advertising communities and a sense of home might allow enhanced relationships within different community sectors and more people to want to live within jersey.This could be community shared areas such as the theater,waterfront,fort regnant or other areas of importance to jersey. Addtionally community clubs within St helier where people of all ages have an ability to talk among each other about there loves and doubts with St Helier.All the current communities wihtin St Helier are segregated wihtin specific races,such as cheap side,there needs to be more resources of morden builings and a sense of communities for the public to voice what they want within St Helier. Once again there are sources of entertainment within jersey but they are not advertised to the extent to which they should,but a mordenistaion and re vamp will allow poeple to view each hitorical or entertainment site in a new light. Modernization could just be the re-use of old buildings or a revamp and to continue to use an area that has been lost by history.The large progress and a new jersey future invests in different Morden forms current within the rest of the western world.
A masterplan is a long-term planning document that provides a conceptual layout to guide future growth and development. It is based on public input, surveys, planning initiatives, existing development, physical characteristics, and social and economic conditions.
In Jersey, masterplans have been a massive part of it’s architectural and economical development. Masterplans have allowed Jersey to successfully plan major investments such as land reclamation from the sea in order to build well-designed living complexes and has resulted in the waterfront, which is constantly used by members of Jersey. St. Helier has one big masterplan for it in which it will be constantly built on in order to fill all the available spaces to make a successful financial sector whilst providing new areas to the public at the same time. Without masterplans, the development and planning of St. Helier would be a lot less organised and successful than it has been.
Masterplan for St. Helier, showing possible areas of development
The site that the Liberty Bus station is now built on.Brainstorm of the future of St. Helier
In my eyes, St. Helier is moving in a money-orientated forward movement. It is taking huge risks from investments such as the international finance center, which is likely to pay off well for Jersey. These investments are mostly in the financial sector and in living complexes, which is great for parts of Jersey, but the future of St. Helier is not offering much for Jersey as a community. To me, Jersey is not investing in the tourism side enough and is letting attractions, for both visitors and residents of the Island, to fall to ruins.
One example of the consequences of Jersey’s ignorance of the tourism sector is the Fort Regent. As seen below, the Fort Regent was once a place for families to go and spend days out together and occupy themselves with a variety of activities, whereas now the swimming pool has become derelict and there is little to attract visitors to the site. The Fort Regent pool remains abandoned and money is being spent on increasing the strength of an already strong financial sector in Jersey rather than meeting the needs of Jersey as a community.
I believe that Jersey is trying to replicate a smaller scale city and will eventually start eating away at the few parks in St. Helier, taking away from the community of Jersey in order to boost their finance sector so it seems that Jersey is not diversifying its investments enough.
The fort offered a wide variety of activities for the community before it was left to fall apart.
Week 1: 11 – 17 June Tuesday 12 June Societe Jersiaise – all day
Presentations, inspirations and workshop on exploring St Helier and looking at narrative using images in the collection of Percival Dunham
Tuesday 12 June Societe Jersiaise – all day
Presentations, inspirations and workshop on exploring St Helier and looking at narrative using images in the collection of Percival Dunham.
Blog: Produce a number of blog post that illustrate your knowledge and understanding. Use images , video and references to hyperlinks from sources used
Describe your own view, feelings and vision for how you see the Future of St Helier.
Define what a Masterplan is how it has influenced the development and planning of St Helier.
Provide a brief history of St Helier and research the specific area of town that you have selected.
Independent Study: Artists References/ Visual Inspiration. Research the Photo-Archive and select at least one photographer from the list provided that reference you chosen areas of study. Select at least one contemporary photographer that provides visual inspiration for your own shoots.
Photo-Archive
Dunham, Percy
Baudoux, Ernest
Smith, Albert
Henry Mullins
Produce a mood board with a selection of images and write an overview of their work, why you have chosen them and how it may help develop your own ideas and shoots for your project.
Select at least one image from each photographer and analyse in depth using methodology of DESCRIBE – INTERPRET – EVALUATE – CONTEXTUALISE.
Make a detailed shooting plan on how you intend to respond to your research and chosen area of St Helier
Extension task: Select a second photographer from the Photo-Archive and a second contemporary photographer and follow the above instructions.
Deadline: Mon 17 June
MASTERPLAN
A masterplan is a dynamic long-term planning document that provides a conceptual layout to guide future growth and development. Master planning is about making the connection between buildings, social settings, and their surrounding environments. A master plan includes analysis, recommendations, and proposals for a site’s population, economy, housing, transportation, community facilities, and land use. It is based on public input, surveys, planning initiatives, existing development, physical characteristics, and social and economic conditions.
Review of the current Masterplan of the Waterfront
JERSEY DEVELOPMENT COMPANY
Jersey Development Company (JDC) is owned by the States of Jersey. It is responsible for completing the development of the St Helier Waterfront and regenerating States owned property no longer required for the delivery of public services.
You should : Explore their website and research a specific construction and build environment.
Here is a link to St Helier on Wikipedia which describes how the parish of is divided into 6 vingtaines for administrative purposes.
PSYCHO-GEOGRAPHY// SITUATIONISM
We have explored Psycho-geaography as a concept and way of working before…during the AS Landscape Project. Many of you succeeded in developing strong ideas by following some of the ideas.
Psycho-geography is a hybrid of photography and geography that emphasizes playfulness and “drifting” around urban environments. It has links to the Situationist International.
Psychogeography was defined in 1955 by Guy Debord as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.”
Another definition is “a whole toy box full of playful, inventive strategies for exploring cities… just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.
The originator of what became known as unitary urbanism, psychogeography, and the dérive was Ivan Chtcheglov, in his highly influential 1953 essay “Formulaire pour un urbanisme nouveau” (“Formulary for a New Urbanism”).
Marcus Desieno creates de-humanised landscape photography by hacking surveillance camera networks…but avoids privacy problems normally associated with urban and residential areas…
Typology means the study and interpretation of types and became associated with photography through the work of Bernd and Hilla Becher, whose photographs taken over the course of 50 years of industrial structures; water towers, grain elevators, blast furnaces etc can be considered conceptual art. They were interested in the basic forms of these architectural structures and referred to them as ‘Anonyme Skulpturen’ (Anonymous Sculptures.)
The Becher’s were influenced by the work of earlier German photographers linked to the New Objectivity movement of the 1920s such as August Sander, Karl Blossfeldt and Albert-Renger-Patzsch.
August SanderKarl BlosfeldtAlbert-Renger-Patzsch
See also the work by Americans, William Christenberry and Ed Ruscha’s photographic works on types e.g. Twentysix Gasoline Stations (1964). Every building on the Sunset Strip (1966). Or Idris Khan‘s appropriation of Bechers’ images.
Ed Ruscha, 26 Gasoline Stations
William ChristenberryIdris Khan
See previous blog post for more guidelines and a photo-assignment.
Not least of the Bechers’ legacy is their lasting influence on subsequent generations of artists who use the photographic medium today, most notably the students taught by Bernd Becher at the Düsseldorf Art Academy between 1976 and 1996. Among his most renowned students are Andreas Gursky, Candida Höfer, Thomas Ruff, and Thomas Struth.
Andreas GurkstThomas Struth born 1954 Ferdinand-von-Schill-Strasse, Dessau 1991 1991Thomas RuffCandia Hofer
From Germany, apart form the legacy of the Dusseldorf Kunst Akademie headed by the Becher’s another school of photography, the Werkstatt für Fotografie (Workshop for Photography) was founded in Berlin by Michael Schmidt who invited several leading American photographers, including William Eggleston and John Gossage, to teach there.
Michael Schmidt Waffenrufe
Responding to the wall between East and West in Berlin Schmidt produced a seminal work, Waffenrufe. Another body of work Berlin Nach 45 show empty streets of East Berlin made in the early hours as a quite testament to post war German architecture and urban city planning
Conceptual approaches to natural/ man-made environments
Tanja Deman is a Croation artist who was Archisle’s International Photographer-in-Residence in 2017.
Her art is inspired by her interest in the perception of space, physical and emotional connection to a place and her relationship to nature. Her works, incorporating photography, collage, video and public art, are evocative meditations on urban space and landscape. Observing recently built legacy or natural sites her work investigates the sociology of space and reflects dynamics hidden under the surface of both the built and natural environment.
Tanja Deman Fernweh
Fernweh series explores the concept of a modernist city through its extreme relations to the landscape. The images are placed on a blurred line between a past which reminds us of a future and a future which looks like a past. Scenes are referring to the modernist ideas and aspiration of a man conquering the natural wild land and subordinating it to the rational order, and the consequences of those aspirations, which switched into the longing for an escape from urban environments.
Tanja Deman Collected Narratives
Collective Narratives is a series staging a moment of contemplation of nature and built environment. Natural spectacles, framed in theatrical space are contemplated by an audience. These constructed images consolidate: geological formations; a projection of an urban environment; an arena; a deep chasm; a theatre and a crumbling slag-heap through a very active kind of watching.
While making the series ‘Collective Narratives’ I was interested in different types of spectatorship and architectural settings in which they are taking place. Moreover, the notion of a ritual in which a large group of people gathers and participates in order to experience something together by observing, intrigued me. I see these spaces for cultural and sports spectacles, as zones of pure potential, where the world must be rebuilt or re-imagined every time they are in use. Having liberated them from their utilitarian, commercial restrains, and the environments in which they were created, I allow them to cross the boundary of reality.
Together these scenes examine time and the strange modes of spectatorship attached to the inanimate world. A collective witnessing of phenomena that are usually experienced in private atmospheres.
Staged / Constructed Environments Land art is art that is made directly in the landscape, sculpting the land itself into earthworks or making structures in the landscape using natural materials such as rocks or twigs
Robert Smithson Spiral Jetty
Land art was part of the wider conceptual art movement in the 1960s and 1970s. The most famous land art work is Robert Smithson’s Spiral Jetty of 1970, an earthwork built out into the Great Salt Lake in the USA. Though some artists such as Smithson used mechanical earth-moving equipment to make their artworks, other artists made minimal and temporary interventions in the landscape such as Richard Long who simply walked up and down until he had made a mark in the earth.
A Line in the Himalayas 1975, printed 2004 Richard Long born 1945 Presented by the artist (Building the Tate Collection) 2005 http://www.tate.org.uk/art/work/T12035
Land art, which is also known as earth art, was usually documented in artworks using photographs and maps which the artist could exhibit in a gallery. Land artists also made land art in the gallery by bringing in material from the landscape and using it to create installations.
Parallel Stress 1970 Dennis Oppenheim
As well as Richard Long and Robert Smithson, key land artists include Hamish Fulton, Walter de Maria, Michael Heizer, Dennis Oppenheim and Christo and Jeanne-Claude
Hamish Fulton(born 1946) is a British walking artist. Since 1972 he has only made works based on the experience of walks.
Wind through the Pines 1985, 1991 Hamish Fulton born 1946
William Christenberry making typological studies of vernacular architecture traditional to the deep American South.
Christenberry also made little sculptures or 3D models of some of the buildings he had photographed
Photography and sculpture
Photographic installations which are site specific and 3-dimensional is very in vogue right now. In the exam paper starting point 4 is about artists exploring the material nature of a photographic image and the idea that photographs can be sculptural. Here are a few artists to explore
Felicity Hammond is an emerging artist who works across photography and installation. Fascinated by political contradictions within the urban landscape her work explores construction sites and obsolete built environments.
The Space Between @ ART ROTTERDAM 2017
The Space Between @ ART ROTTERDAM 2017
In specific works Hammond photographs digitally manipulated images from property developers’ billboards and brochures and prints them directly onto acrylic sheets which are then manipulated into unique sculptural objects. http://www.felicityhammond.com/
Lorenzo Venturi: Dalston Anatomy
Lorenzo Vitturi’s vibrant still lifes capture the threatened spirit of Dalston’s Ridley Road Market. Vitturi – who lives locally – feels compelled to capture its distinctive nature before it is gentrified beyond recognition. Vitturi arranges found objects and photographs them against backdrops of discarded market materials, in dynamic compositions. These are combined with street scenes and portraits of local characters to create a unique portrait of a soon to be extinct way of life.
His installation at the Gallery draws on the temporary structures of the market using raw materials, sculptural forms and photographs to explore ideas about creation, consumption and preservation.
Watch our exclusive interview with Lorenzo.
Lorenzo Vetturi
http://www.lorenzovitturi.com/
Mishka Henner, Trevor Paglen, Doug Rickard, Daniel Mayrit all use found images from the internet, Google earth and other satellites images as a way to ask questions and raise awareness about our environment, state operated security facilities, social and urban neighbour hoods, prostitution, and London’s business leaders of major international financial institutions.
Mishka Henner, Levelland Oil Field- Texas
US oil fields photographed by satellites orbiting Earth.
Mishka Henner Dutch Landscapes
Mishka Henner: I’m not the only one, 2015
Single channel video, 4:34 mins
Photographer Trevor Paglen has long made the advanced technology of global surveillance and military weaponry his subject. This year he has been nominated for the prestigious The Deutsche Börse Photography Foundation Prize which aims to reward a contemporary photographer of any nationality, who has made the most significant contribution (exhibition or publication) to the medium of photography in Europe in the previous year. The Prize showcases new talents and highlights the best of international photography practice. It is one of the most prestigious prizes in the world of photography. Read more here
Trevor Paglen
Doug Rickard is a north American artist / photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his monitor, to create series of work that have been published in books, exhibited in galleries.
Months after the London Riots in 2008 (at the beginning of the economical crash) the Metropolitan Police handed out leaflets depicting youngsters that presumably took part in riots. Images of very low quality, almost amateur, were embedded with unquestioned authority due both to the device used for taking the photographs and to the institution distributing those images. But in reality, what do we actually know about these people? We have no context or explanation of the facts, but we almost inadvertently assume their guilt because they have been ‘caught on CCTV’.
In his awarding book: You Haven’s Seen the Faces..Daniel Mayrit appropriated the characteristics of surveillance technology using Facebook and Google to collect images of the 100 most powerful people in the City of London (according to the annual report by Square Mile magazine in 2013). The people here featured represent a sector which is arguably regarded in the collective perception as highly responsible for the current economic situation, but nevertheless still live in a comfortable anonymity, away from public scrutiny.
See also this book Looters by Tiane Doan Na Champassak
Another Kind of Life: Photography on the Margins
At a time of significant national and global uncertainty, the season in 2018 at the Barbican Art Gallery in London explore how artists respond to, reflect and potentially effect change in the social and political landscape.
Reflecting a diverse, complex and authentic view of the world, the exhibition touches on themes of countercultures, subcultures and minorities of all kinds, the show features the work of 20 photographers from the 1950s to the present day. Diane Arbus, Casa Susanna, Philippe Chancel, Larry Clark, Bruce Davidson, Mary Ellen Mark, Paz Errázuriz, Jim Goldberg, Katy Grannan, Pieter Hugo, Seiji Kurata, Danny Lyon, Teresa Margolles, Boris Mikhailov, Daido Moriyama, Igor Palmin, Walter Pfeiffer, Dayanita Singh Alec Soth and Chris Steele-Perkins
Paz Errázuriz The beautifully arresting series of photographs, Adam’s Apple (1982-87), by Chilean photographer Paz Errázuriz are of a community of transgender sex-workers working in an underground brothel in Chile in the 1980s. Taken during the military dictatorship of General Augusto Pinochet when gender non-conforming people were regularly subjected to curfews, persecutions and police brutality, the photographs are a collaborative and defiant act of political resistance.
Read review here in Dazed and Confused and a gallery page in the Guardian
Lewis Bush: Archisle Photographer-in-Residence 2018 is a Photographer, Writer, Curator and Educator based in London. After studying History and working as a researcher for the United Nations Taskforce on HIV/AIDS he completed a MA in Documentary Photography at the London College of Communication in 2012. Since then he has developed a multifaceted practice encompassing photography, writing and curation to explore ideas about the way power is created and exercised in the world. In The Memory of History (2012) he travelled through ten European countries documenting the way the past was being manipulated in the context of the economic crisis and recession. This project was widely published and was exhibited at the European Union’s permanent representation in London in 2014. More recent works include Metropole (2015) which critiques the architectural transformation of London and the city’s growing inequality by subverting the imagery of London’s luxury and corporate developments. Bush’s new book Shadows of the State (2018) uses open source research to reveal numbers stations, cold war intelligence communications which remain in use today. Bush is a Lecturer on the MA and BA(hons) Documentary Photography Programmes at London College of Communication.
City and abstraction:
Aaron Siskind
Ernst Haas
Saul Leiter
Street Photography:
Beat Streuli
Canon of american street photography
Walker Evans and his project Labour AnonymousRobert FrankLee FriedlanderGary WinograndDiane ArbusWilliam EgglestonStephen Shore
Jim Goldberg
Eamon Doyle: trilogy from Dublin
The City at Night:
Rut Blees Luxembourg
Maciej Dakowicz: Cardiff at Night
Todd Hido
Saul Leiter
Daniel
Last year Tom Pope came to Jersey for a 6 month residency with Archisle in the Photographic Archive of the Société Jersiaise, Jersey and produced an exhibition and installationI Am Not Tom Pope, You Are All Tom Popefeaturing a number of diverse and new work incorporating elements of photography, performance, video and sculpture. Go to his website to see examples of his unique work. Here are some of the key concepts that underpin’s his work and practice:
Here are a list of other artists/ photographers that has influenced Tom Pope’s work and that may inspire you: 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, Sam Taylor-Johnson, Steve McQueen, Marcel Duchamp and the Readymade, Andy Warhol’s film work, Marina Abramovic, PipilottiRist, Luis Bunuel/ Salvatore Dali: , Le Chien Andalou, Dziga Vertov: The Man with a Movie Camera
John Baldessari: “I will not make any more boring art…”
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