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AO1 Develop Ideas, AO2 Explore Ideas, Contextual Studies, Essay

Academic sources: bibliography

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A list of sources I have read as part of my essay and text I will submit:

Hills,P and Cooper, T(1998), dialogue with photography.New York: Dewi Lewis publishing

…which is the point that Paul Hill makes when she says ‘verbs expression of this is most difficult and awkward, and that is annoying.’ (Robert 1998:81)

(Cacioppo et al. 2001 p. 173)

-The authors investigated whether people can feel happy and sad at the same time. J. A. Russell and J. M. Carroll’s (1999) circumplex model holds that happiness and sadness are polar opposites and, thus, mutually exclusive. In contrast, the evaluative space model (J. T. Cacioppo & G. G. Berntson, 1994) proposes that positive and negative affect are separable and that mixed feelings of happiness and sadness can co-occur.

k.Anish(2002) Tate Modern: Contemporary

– Kapoor as most powerfully expressed in the monumental void works of recent years.

E.Burke’s(1757) Philosophical Enquiry – Oxford worlds classics 

-It was the first complete philosophical exposition for separating the beautiful and the sublime into their own respective rational categories.

R.Barthes(1980) Camera lucida

-. It is simultaneously an inquiry into the nature and essence of photography and a eulogy to Barthes’ late mother. The book investigates the effects of photography on the spectator.

Contemporary arts

J.bell (2013) ‘contemporary art and the sublime’ 

-In the first section of this essay, I shall offer a directly personal take on the theme that will open out on to various aspects of current art-world thinking and practice. Many of the tactics and visual effects discussed here can easily be related to the tradition of artistic production stimulated by the writings of Burke

B.newmans(1948) ‘the sublime is now’

-The invention of beauty b the greek, that is , their postulate of beauty as an ideal. Mans natural desire I the arts to express his relation to the absolute became identified and confused with the absolutisms of perfect creations. 

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Academic sources: quotation and referencing:

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book reference of themes :I have read the following books

Contemporary arts: is a book written by: 

I started reading contemporary arts wi the intention to fin out more about the bass of how art and photocopy developed throughout time politically and economically and how this had an influence on the images produced and also the effects emotionally on the images themselves. These are the following notes I made when reading gah following book: Contemporary arts was founded upon the soviet war and the decision between the eat and the west,if the art of the east had to conform and to represent a specific ideology and have a definite social use,then the art of the west must be apparently free of any such direction and attain perfect uselessness. East had a celebratory achievements of humanity socialist West limits failures and cruelties Many ethnicity cultures and art influences joined the west in the way they were no longer ignored and were born to critical and commercial success.The end of the cold war broke the white genius and white monopoly of the country.The greatest effect on art has not been on its economy but its rhetoric. The demonisation of barriers

Camera lucida:Is a book written by Roland Barthes 

this is a book questioning the philosophy of why photography is important and how every aspect to an image has a different precise point of interest within it, It additionally develops the idea of what is reality and emotions being reflected and held within the person in the photo. The following are quotes and reference of interest I think will benefit my work. “I am interested in them as I am interested in the world but I do not love them” often punctum is the detail dependent on a size, However lighting like, it may be the punctum has, more or less potentially a power of expansion .This power is often metonymic.‘Thinking eye’ . This is Sole proof of art to annihilate as medium .What a stubbornly see. We say to develop a photograph but what the chemical reaction develops is undevlopable , the essence of a wound, what cannot be repeated but only transformed but only repeated under the instances of insistence. We must speak of intense immobility linked to detail to a detonator Not to inherit anything other than my own eye. Within movie you are not allowed to shut your eyes, otherwise you would not discover the image.  

The third book I have looked at is Oxfords worlds classics,, Edmund burke a philosophical enquiry: This book is a clear questioning of what the sublime is and of how it has come about and what successful it achieves. Many of my notes here are Ideas burke has bought up that I think could benefit my research question that I will continue to ask myself. These are quotes and theoretical questions. 

Burke had the thought that the beautiful us that which is well-formed and aesthetically pleasing. This is differently how the sublime is something which has power to compel and then destroy us. He stated the difference was that of the tranition from neoclassical to the romantic era. Burkes thinkning was based off the understanding he had from the casual structures, this consisting of Aritotelians belief that ‘physics and metaphysics, causation can be divided into formal, material, efficient and final causes’  he belived the fromal cause of beauty if the passion of love, the material cause concerns would be the materials of the object itself, smallness,smoothness,delicacy. These ese intern cause the calming of our berves . The final cause is God and his providence. Beauty before burkes view was based oin the three deifning factors of fitness perfection and porportion. however the sublime also had a casuals tructure before urkes theory and this consisted of, the passion of fear(death), The material was the infinity, vastness and magnificence of the object. The efficient cause is the tension of our nerves, and gos role in the final cause is having created and battled satan. Pleasure is ongly pleasure if it is felt and the said to be said about pain. Three states of indifference, of pleasure, and of pain. He will feel greater pain stretch caused upon the rack, but does this pain of the rack arise from the removal of any pleasure. DIFFERENCE OF REMOVAL OF PAIN AND POSITIVE PLEASURE. Pupose, that pain and pleasure are not only, not necessarily dependent for their existence on their mutual diminution or removal, but that, in reality, the diminution or ceasinf of pleasure does not operate like positive pain. And that the removal or dimunition of pain, in its effect has very little resembelance to positive pleasure.

internet reference of themes :I have two themes to which I want to research this being emotions within photography and the other being sublime.

The sublime: I decided to dive into the Tate modern for this research and discover what the contemporary sublime is k.Anish(2002) Tate Modern: Contemporary artists have extended the vocabulary of the sublime by looking back to earlier traditions and by engaging with aspects of modern society. They have located the sublime in not only the vastness of nature as represented in modern science but also the awe-inspiring complexity and scale of the capitalist-industrial system and in technology.Julian Bell surveys the contemporary sublime with personal reflections on its continued relevance to artistic practice. Other essays reflect on the complex relationships between concepts of the sublime and capitalism and technology today. ,, The content of the sublime: global Fear of what? What is that ‘something which one immediately has to recognise is bigger’? Does the contemporary art of the sublime have some substantive content in mind? Or do its meanings reside in its very nihilism, its hankerings after the sheer effect of power? Or is that taking matters too seriously? Why should we not simply celebrate showmanship, in this our age of spectacle?

Emotions within photography:Here I wanted to measure how you can measure emotion within a piece of art such as photography. And how differently art and emotions can be.

(Cacioppo et al. 2001 p. 173)–Our emotions play an important role throughout the span of our lives because they enrich virtually all of our waking moments with either a pleasant or an unpleasant quality. Cacioppo and his colleagues wrote that “emotions guide, enrich an ennoble life; they provide meaning to everyday existence; they render the valuation placed on life and property”This person will experience all kinds of emotions, such as fear, amusement, anger, relief, disappointment, hope, etcetera. Instead of one isolated emotion, it is the combination of those emotions that contributes to the experience of fun. It is not implausible that the same applies to other instances of fun, whether it is sharing a joke, using a product, or interacting with a computer.–P.M.A. Desmet (in press) Measuring Emotions 1Delft University of Technology; Department of Industrial Design

artists references online and in books :

j.bell (2013) sublime and the contemporary arts – But here in the foreground, as of the 2010s, we seem to stand amidst a delta. Channels of discourse about the sublime meander all around us, but which is the main flow, which the subsidiary, which the navigation canal or ditch for irrigation has become almost impossible to tell. Ideally, I should like to draw a map of this muddle; pragmatically, I hope at least to offer a ground-level topographical sketch.

 

 

A2 Personal Investigation, AO1 Develop Ideas, AO2 Explore Ideas, AO3 Record Ideas

hypothesis

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Inspired questions:

I wanted to choose questions which were specific and had similar themes to what I want to ask myself.

.Merging the Boundaries of the Real and the Imagined: How are Fictional and Mythical Characters Represented in Photography

.How is religion – specifically Christianity – linked to fairy tales?Can staged photography really be considered as a form of factual documentary photography?

.What are the differences/ similarities in a formal or informal approach to portrait photography?‘How do Paul M Smith, Ben Zank and Rut Blees display emotions through self- portraiture and environmental photography?’

.How can elements of Surrealism be used to express and visualise the personal, iner emotions of people suffering from mental health issues?

.Can surrealism in portraiture photography accurately bring out powerful and deep personal emotions?

.Examining the documentary aesthetics: A photograph should not be manipulated, so that its authenticity, veracity and sense of realism can be maintained?

How did the Bechers’ typologies of Industrial Architecture influence a new generation of photographers?

how and why do photographers use the human body to physically express hidden emotions’

My questions:

examine how the sublime and reality work hand in hand to  visualise how they reflection of personal emotion. And how the artists… and ….. show this in different ways.

how can politically movements of photography such as surrealism and the sublime effect the way which photographs see and demonstrate emotion in their work.

how does the power of pain and beauty found within the sublime, have such s strong influence on the emotions of artists and photographers.

Does objectivity and reality effect how we view and react to our emotions. How does the sublime have such an emotional response dependent on the persons current emotional status. And how do photographers capture such a unique set of emotions all at once.

Merging the boundaries of the sublime and surrealism; how are emotions and personal identity represented conceptually throughout photography. Why do these photographers consider their work to be sublime.

Examining the sublime: A photograph should not be able to have such strong emotional occupancy, so that it effects how someone perceives reality and views their own emotions.

A2 Personal Investigation, AO1 Develop Ideas, AO2 Explore Ideas

Possible Hypothesis / Essay Question

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Examples from previous projects to take inspiration from:

  • How can Archives give ‘voice’ to the memories and traces of past human presence in a historic building?  
  • How memory can be represented in the medium of photography?
  • How have Yury Toroptsov, Mariela Sancari and Julian Germain reflected upon the  themes of memories and remembrance in the construction of their photobooks?
  • Can personality and identity be expressed in a portrait?
  • How can photography bear witness to the ways of life and events of the world?

Possible Essay Questions:

  • How have Guillaume Bression and Carlos Ayesta reflected upon the themes of memories and remembrance through their works?
  • How can archives allow us to see the effects of a human presence?
  • Can a person’s characteristics be shown through their belongings and the placement of those belongings?
  • How does Huang Qingjun show the different ways of life and trends of generations through his work?
  • In what way do Bression and Ayesta and Qingjun show change over time?
A2 Personal Investigation, AO2 Explore Ideas, Case Study

Chrystel Lebas

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Chrystel’s “Plant Portraits or Weeds & Aliens Studies” is inspired by Edward Salisbury’s approach of documenting species. Lebas takes each plant directly placing it onto colour photographic paper in a darkroom under an enlarger light. She alters the colour of filtration on the enlarger in turn changing the way that the species appears on the paper. Each filtration value and exposure time is annotated alongside the photogram.

Plant Portraits or Weeds & Aliens Studies, 2013-

Pictured above is the species, Fallopia japonica (commonly known as Japanese Knotweed). She chose this species as Salisbury had previously carried out extensive research described in his book, Weeds and Aliens. The species is illegal to plant and come into contact with in the UK. Yet originally this plant was brought over as an exotic import. The shifting of meaning and classification over time fascinated Lebas becoming a thread of her new work.

“For most of history the only criterion by which human beings judged other species was their usefulness but,
in recent centuries, other dimensions became important so that certain species came to be valued for their attractiveness, their novelty or their
potential for game sport.”

– Charles Warren (2009), Managing Scotland’s Environment

Similarly, Animated Nature uses similar techniques of placing species onto photographic paper in this case to form photograms of bird silhouettes.

Animated Nature, 2009, Unique Chromogenic photograms, 40 x 50 cm

Image Analysis

Between about 1907 and 1938, armed with a camera and a notebook, Edward Salisbury worked in four geographical areas: Arrochar, in Argyll and Bute, south-west Scotland; Rothiemurchus Forest, an estate in the Highlands near Aviemore; Culbin Sands, a long spit of sand along the southern shore of the Moray Firth; and Blakeney Point in Norfolk, where as a student Salisbury had made a study of the vegetation, which is now a nature reserve. In 2011, Lebas set off in Salisbury’s footsteps. Using both a medium format and a panoramic camera, and with GPS to help her establish the same locations, she focused, as he had, on three subject areas: habitat, locality and specimens. Through working on this project Lebas has learnt to identify species and types of plants and became immersed in a world of classification.

The images appear flat where the silhouette of dead birds float above a dark surface. These mummified birds were found in Houghton Hall’s attic (Norfolk). Fallen from chimneys, the birds had died there due to being trapped. In the above image, the bones of a Long Heared owl can be seen.

The images show a negative colouring due to the process of using photographic paper where the pure white areas show solid parts of the birds body.

Lebas prefers to work at night, or at twilight when the world becomes more mysterious. “I was fascinated by night itself, by the absence of light and the impossibility of photographing”. “I was interested in challenging how I used the cameras, but also challenging the landscape.” Although not presenting a night landscape, this project uses a colour scheme that still reflects the mysterious feel shown in Chrystel Lebas’ other projects.

Overall, the series questions our relationship to the animal’s death and death in nature as a whole.

A2 Personal Investigation, AO2 Explore Ideas

Art Movements and Isms

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Pictorialism

The Pictorialist perspective was born in the late 1860s and held sway through the first decade of the 20th century. Photographers wanted photography to be seen as art that resembled paintings, marking their prints to match the texture of a canvas and have it recognized as such by galleries and other artistic institutions.. They constructed their images looking for harmony of matter, mind and spirit as well as individual expression

Pictorialists were the first to present the case for photography to be classed as art and in doing so they initiated a discussion about the artistic value of photography as well as a debate about the social role of photographic manipulation. Both of these matters are still contested today and they have been made ever more relevant in the last decades through the increasing use of Photoshop in advertising and on social media.

Allegory: communicating messages by means of symbolic figures, actiond or symbolic representation- dominant 16th to mid 19th century.

Artists associated:

Julia Margaret Camron – Victorian era, unconventional portraits of that time and illustrative allegories based on religious and literacy works, influenced by the Pre-Raphaelites. She created a blur through long exposures leaving the lens intentionally out of focus.

Pictorialist used a number of different photographic groups to promote photography as an art rather than science such as:

Emerson’s Naturalistic Photography

The Vienna Camera Club (Heinrich Kuhn, Hugo Henneberg)- purposefully construct a picture – it might be ‘taken’ from nature but it had to be ‘made’.

The Brotherhood of the Linked Ring (H.P Robinson, George Davidson, Alfred Horlsey Hinton)

Photo-Secession (New York) founded by Alfred Stieglitz

Methods/ techniques/ processes:

  • Pictures that resembled paintings e.g. manipulating images in the darkroom, scratching and marking their prints to imitate the texture of canvas, using soft focus, blurred and fuzzy imagery based on allegorical and spiritual subject matter, including religious scenes.
  • Soft Lighting- blurred , long exposures (Julia Margaret Cameron)

REALISM / STRAIGHT PHOTOGRAPHY

The term ‘realism’ can mean to depict things as they are, without idealising or making abstract. It is also a 19th-century art movement, particularly strong in France, which rebelled against traditional historical, mythological and religious subjects and instead depicted scenes from life.

In photography, realism is not so much a style, but rather one of its fundamental qualities. From its beginnings in the 1830s and 40s, photographers and viewers of photography marvelled at photography’s ability to capture an imprint of nature. The fathers of photography, Louis-Jacques Mandé Daguerre (1787-1851) and William Henry Fox Talbot (1800-1877), both described it as a medium that allows nature to represent itself, seemingly without the intervention of the artist.

Believed in the intrinsic qualities of the photographic medium and its ability to provide accurate and descriptive records of the visual world

Straight Photographers: photographers who believed in the intrinsic qualities of the photographic medium and its ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures that were ‘photographic’ rather than ‘painterly’, they did not want to treat photography as a kind of monochrome painting. They abhorred handwork and soft focus and championed crisp focus with a wide depth-of-field.

‘A Sea of Steps’, Wells Cathedral, Steps to Chapter House (1903) Artist: Frederick Henry Evans

This image depicts steps ascending to the Chapter House in Wells Cathedral in Somerset, England. Remarkable for its composition and sense of light and space, the photograph conveys the climbing up the stairs, as if analogous to ascending toward the divine serenity symbolized by the illuminated archway.

He drew on the Symbolist manner of using objects to directly express esoteric ideas. Evans framed the interior view of the flight of stairs (an architectural space) to suggest the ascent up the sancta scala (holy stair), giving the image an emotional and spiritual resonance. A member of the Pictorialist Linked Ring Society in London, he represented the extreme Purist approach within the Society. Evans practiced and advocated for a purely photographic image – thus he was a patriarch of Straight photography.

MODERNISM

Modernism was a movement in art, architecture and literature that responded to the rapid changes in technology, culture and society at the beginning in the 1900s through to the late 1930s. Developments including new modes of transport, such as the car and aeroplane, and the industrialisation of manufacturing had a dramatic impact on the life of the city and the individual.

Playing with space and abstraction, artists such as Laszlo Moholy-Nagy, Edward Weston and Grit Kallin-Fisher emphasised the underlying geometry and dynamism of the material world. They used extreme viewing angles, tilted horizons and close-ups to defamiliarise their subject matter and draw attention to the processes of representation and perception.

The most well-known discourse of photographic modernism is that initiated in the USA by Alfred Stieglitz, and developed around his New York journal Camera Work between 1903 and 1917, , this version is characterized by the “straight” photograph

Edward Weston
Dunes, Oceano 1936
gelatin silver photograph

Composition and subject matter or content are the two key components of the modern photograph, but these are also related to the values and views of the photographer and their role in modern culture.

Some of the key approaches of Modern Photography are unique to the medium whilst others align with wider art movements such as Dada and Surrealism. In contrast to earlier relationships between photography and artistic groups, which tended to be imitative, Modern Photography became fully embedded in these movements and provided a new and powerful medium for experimentation and expression.

It caused significant aesthetic change in photographic output as well as a shift in the way in which photography was produced, utilized and appreciated.

AO2 Explore Ideas

Contextual Study – Spying/Stalking

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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

 

Analysis, AO1 Develop Ideas, AO2 Explore Ideas

Photography and Truth – Analysis of Brussels Attack Journalism

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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.