Quote inside your text: ………………….. Photographer Robert Adams said “The greatest beauty in artwork tends to encompass most; the artworks of largest importance frequently have within them the widest diversity.” (Adams 1996: 27) Meaning that …………………..
………………….. Sean O’Hagan said “To a degree, all of Adams’ work is simple, but deceptively so.” (O’Hagan 16.Feb.2012) Meaning …………………..
if quotes are more than 4 lines, an indentation must be made
Below shows a mood board of my ideas from the starting point of Occupation vs Liberation. I have two main starting ideas, one relating to the subject of gender roles and exploring what I had previously touched on in my AS exam work however going into more depth, looking into gender roles in the media: advertising, movies and tv shows, ideas of swapping the genders in the photographs and recreating things with exaggerated stereotypes to make a statement. My second idea relates to the idea of myths and legends, looking into stories and myths of the island of Jersey. Looking into creating these photographs and making up an image of the myth in a tableaux effect, looking into how these myths could occupy all pf the island and maybe how the older generations may believe them or effect the space of the island.
Below I have some artists I would be interested into looking at and I am gaining inspiration from. These include Anna Gaskell who looked at using children stories, Jeff Wall a photographer who uses tableaux photography, Cindy Sherman and exploring gender especially the female gender and Kourtney Roy somebody who looks at the ideal female and the male gaze using her work.
OCCUPATION/IMMIGRATION: tying in with the key word of the project occupation, a topic which is relevant to me and for a majority of first generation Jersey born people is immigration. Facing hardships due to their parents status which prevents them from accessing many aspects of service in Jersey.
HOUSING: exploring the different living conditions of the working class people in Jersey and how their status influences the type of property that they can access. Unqualified is a word which I am interested to explore as it taints immigrants as uneducated and unskilled through the simple use of this label.
NOSTALGIA/FILM: in terms of the visual presentation of my images, I will be exploring the use of film and how the visual aspects of it influence the way we view the images and the feelings which they evoke.
DISCRIMINATION/SHAME: the living conditions of some immigrants in Jersey is very clearly below the standard of what it should be therefore bringing shame to the people who have no other choice and have to endure conditions like these.
POSSIBLE ESSAY QUESTIONS:
In what way does Nick Hedges portray a sense of state discrimination and hopelessness through his monochromatic imagery?
To what extent does Michelle Sank use realism in order to portray the reality of working class life?
To what extent is documentary photography effective in capturing the shame witch comes with the immigrant population of Jersey?
How do photographers Maciej Dakowicz, Theo Gosselin and Mike Brodie represent different communities in their work?
Occupation of beliefs and stories – myths of the island
Anna Gaskell – Jeff Wall – Tableaux photography – Narrative and stories effecting the photography – Anna Gaskell and her work being influenced by movies and paintings – Jeff Wall and the use of staged and tableaux photography, also looking at the environment and place.
Possible Questions:
How has stories and literature influenced the work of Anna Gaskell?
Key characteristics/conventions: Postmodernism focuses on the context behind images, rather than the physical structure or representation of the subjects themselves. The idea matters more than the work itself, allowing the photographer room for a lot of creative artistic freedom when it comes to the subjects, framing and overall layout of the image in a unique way, allowing the artist to mold the image to their own taste and belief. Post-modernist artwork is often produced for the novelty factor, allowing the viewer to enjoy a visually pleasing experience (incorporating bold colours, shapes, and wild concepts). Post-modernist artists therefore often create “entertainment products”, meant to entertain the viewer, while subtly hinting at a deeper context/meaning.
Methods/techniques/processes: Incorporating elements of popular culture as the subject of the image, making use of eclecticism (using a range of sources to take inspiration/ideas from), using collaboration (multiple people working together to focus on the collective effort rather than an individuals contributions to an image), emphasizes context and concept in the subjects, rather than the physical objects, makes use of multimedia (using different medium in order to express an idea)
Artists associated: Andreas Gursky, Jeff Wall, William Eggleston, Lee Friedlander, Cindy Sherman
Plan a response: Make use of popular culture, politics, history, social issues – use this as the context for the image – make use of a range of sources (e.g take inspiration from post-modernist artists and influences), make use of multimedia (e.g text within the image), all aspects linked together to portray a concept/emphasize the context/background of the subjects in the image, rather than just the appearance/use subjects themselves.
MODERNISM
Time period: Late 19th to early 20th century
Key characteristics/conventions: Modernism as a whole was a broad movement, encompassing many avant-garde-isms (new and experimental ideas) of the early 20th century. Modernism rejected the concepts of past movements such as naturalism, classicism and academicism, and instead moved towards new, more experimental methods of art production. Modernism as a concept saw the photographer/artist as a genius, and modernism imagery was used to show the skill and ability of the artist through showing what they could create with their hands. Modernism was very visually based, with the detail and visual brilliance of the image itself being the main focal point of the image, and the concept and context behind it being slightly less important.
Methods/techniques/processes: The development of photography saw photojournalism being seen as a form of modernity, with photography being used to document for the purpose of advertising and wide scale viewing by the public. Modernism as a movement in the photography world focused on the creation of sharp, detailed images, with the camera being used as a technical object to record images, rather than being obscured. There was great emphasis on the formal qualities of modernist photography, such as perspective, depth, light, focus, shadow and lines. The overall desire of the photographer was to take a visually “perfect” picture.
Artists associated: Paul Strand, Eadweard J. Muybridge, Margareth Bourke, Ansel Adams, Walker Evans
Plan a response: Modernist photography focuses on portraying the artist as a genius, and emphasizes their skill and ability. Therefore, the photographer would focus on taking images that would really draw the attention of any viewer, focusing on the detail within an image, and making sure that the image is original and beautiful in its nature. The camera should be used using a tripod to increase the level of detail in the image, and subjects should be chosen based on their symmetry, bold shapes, and colour contrast. The photographer could edit the final image and turn it grey-scale, and in doing so the contrast of the image, and the use of shadows and tone is emphasized.
Jersey seen from the perspective of migrant workers. The labor of seasonal farm workers in Jersey has been an important part of the local economy for more than 150 years, yet their presence on the Island remains largely undocumented. Archival representation is usually limited to marketing material created by industry representatives, or staged photo opportunities with local media. ‘Invisible Hands’ aims to offer another perspective on agricultural labor in Jersey – that of the workers themselves. A collaboration between migrant workers, the artist Alicja Rogalska and The Morning Boat, with support from: Art House Jersey, One Foundation, the Polish Cultural Institute and the Polish Embassy.