Hassan Hajjaj:
https://myartguides.com/interviews/an-interview-with-hassan-hajjaj/
https://www.okayafrica.com/hassan-hajjaj-kesh-angels/
Harvard System of Referencing:
Bibliography:
Frizot,M.(1998) The New History Of Photography Konemann: Koln
Quote inside your text:
-_-_-_-_-_-_-_-_- Critic Michel Frizot says; ‘These daguerreotype portraits have a symbolic quality which goes beyond mere likeness-‘ (Frizot 1998: 133) -_-_-_-_-_-
http://www.emptykingdom.com/featured/ek-interview-lissy-elle/
Harvard System of referencing
Bibliography – Downie, L. (2006) “Don’t kiss me”. London: Tate trustees by Tate Publishing
Quote inside your text
blah blah blah blah blah blah blah critic Louise Downie says, “From 1932, Cahun and Moor were increasingly involved with political issues (Downie 2006 ; 14) then comment on her statement…
Book – look for the Colophon
Bibliography:
Author Surname: Townsend, C.
year of publication: (2006).
Title of Book: Francesca Woodman
Place of Publish + publisher: London: Phaidon Press Limited.
Townsend, C.(2006).Francesca Woodman.London: Phaidon Press Limited.
Critic Chris Townsend says, ‘ Perhaps the most obvious surrealist influence on woodman – one that she openly acknowledged.'(Townsend 2006: 29)
Referencing from a website
Bibliography:
Folger Jacobs, K. (1979), Ward 81. New York: Simon and schuster
Townsend, C. (2006), Francesca Woodman. London: Phaidon Press Limited
Using Quotes:
Critic Chris Townsend says; ‘But in addition to being something else, Woodman is also perhaps trying to be somewhere else.’ (Townsend 2006:7)
From a book:
Bibliography:
Downie, L. (2006) Claude Cahun & Marcel Moore dont kiss me, London: Tate Publishing
Use a quote
Own text ……… where it says; ‘Under the pseudonym ‘Claude Cahun’ (Kristine Von Oehsen 2006:18).
From an online source:
Bibliography:
O’Hagan, S. (16 May 2014)
Title: Life, Time…..
London: The Guardian
URL/address ……….. 03.12.19
Quote from text ‘………’ (O’Hagen 2014 or URL address).
Online article: https://www.lensculture.com/articles/yoshikatsu-fujii-red-string
text in book
youtube interview
Bibliogrpahy;
Book
Pultz, J (1995) Photography and the body. London: The Orion Publishing Group
Website
O’Hagan, S (14th may 2014) Title. London: The Guardian. URL (date accessed)
Quotations;
Book
Author Pultz says; “Events from the life of Christ allegorize philosophical and ethical concerns” (Pultz 1995:63)
Website
“quote” (O’Hagan 2014) OR (URL)
A bibliography must be included within an essay that includes quotes from artists, in order to reference the books from which the quotes are originally taken from, and to allow readers of the essay to 1) validate the quote using the original text and 2) find out more about an artist/quote that they like. The bibliography is found at the end of an academic essay and contains the detail of every book, website, video and source of quotes used in the essay. The Harvard system of referencing is commonly used to reference source material, and the details are ordered as follows:
Surname, first initial. (year of publication). Title of book, place of publication: Publishing company.
for example, in order to reference from the book Camera Lucida, the following reference would be used:
Bibliography: Barthes, R. (1993), Camera Lucida. London: Vintage Books
During the essay, when a quote is used, the page number of the book is referenced after the quote itself, in order for the reader to distinguish between different volumes of the same book, and to allow them to quickly flip to the exact page of the original source containing the exact quote. This is done as following:
‘Hence I could not accede to that notion which is so convenient when we want to talk history, culture, aesthetics – that notion known as an artists style.‘ (Barthes 1993; 18)
The Harvard system of referencing is universal in the academic world, and is the most popular method for referencing original source material in essays.
For my personal study, I am going to be working mainly with people and objects as I want to tell a story of the evolution of my family and I. After taking these images, I will compare them to images I have found on the upbringing and history of living in other country who are in poverty or less fortunate than myself. This is so I can see the different of life now for me and for someone the similar age as me, with different upbringings. I will also compare this too how different countries that are facing war currently in the 21st century and compare that to my life and even the life people lived during the German Occupation in Jersey. I will then experiment with different aspects of my shoots and I hope to create montages from the images gathered by myself.
Adam Ethan Berner
Burner has many different projects, one main of the projects I am going to focus on is; Making A Family; The History and Theory Behind Family Photos. I feel that this project links in well with occupation and liberation, as Burner is documenting his family history by creating a personal archive. Below are some of his images from this project;
Using the following link, I was able to access information from Burner that he had wrote up himself, along with his original images. Burner’s work from this project is mainly analysing and documenting old family photos and showing how people have grown up. Burner states that ‘family photos adorn the walls of homes. They are the last things before and after we sleep, and living rooms for guests to see. They remind us of our kin and loved ones. The photos reinforce what the idea of the family is as the images create an idea of what normal family life is like.’ Burner also states that ‘Underneath the image of a smiling face, the text of a missing persons sign reads, “Have you seen me?” The most important part of a government-issued identification document is the photograph of the person to whom it belongs. When one sees an unflattering photo of oneself, one doesn’t say, “The pixels that create a facsimile of my likeness are unflattering.” You say, “Delete that photo, I look terrible.’ https://museemagazine.com/features/2018/11/20/making-a-family-the-history-and-theory-behind-family-photos?rq=adam%20ethan%20berner
Technical; the lighting from this image would’ve come from the lighting around the room along with the flash on the camera, I can tell this because the faces of the subjects are slightly over exposed. The shadow present behind them could’ve been caused my the flash or the way the home lighting was angled. The tonal range within the image is little, this is due to the face of the black and white worn by the subjects being very normal and bold colors, yet neutral . The color temperature of the image is slightly on the orange side, this may be due to the fact the image was taken as cameras were just developed.
Visual; The texture of the image looks rough, due to the discoloration of it and the wrinkles within the image, from this texture you can tell that the image is old. The image its self is 2D, but due to the shadows behind the objects and the angle they are standing you can see a 3D affect. The composition of the image has a layout of four individuals stood side by side next to each other, two males and two females who are dressed in smart attire. Immediately, I am drawn to the women in the white dress, this is because white stands out over the black and orange background.
Conceptual/Contextual; Burner used this image due to the fact to show his family history, the meaning behind it is documenting family photos, however, as suggested by Burner ‘photos aren’t always taken’ so when they are it is a memorable moment, so in the future that moment can be remembered.
Laurie Simmons
Simmons is an american photographer who tends to delve deep into the portray of gender rolls, one of her main projects interesting me being Big Camera, Little Camera, where she associated things she has grown up with, mainly dolls with things from the present day such her house or her work, but her work is also a symbol of gender roles.
Through a review done my Adam Burner he said; ‘Throughout the collection of photos, one can see the ways in which Simmons’ career developed as she plays with scale, staging, and the borders between reality and fiction.’ here he is saying that his lady he has researched about is showing her evolution and how she grew up will dolls, and Burner’s photography is now portraying them as reminders from her past along with associating them with things of the present, such as her home/job. I researched more in detail about this project using the following link; https://museemagazine.com/culture/2019/1/8/book-review-laurie-simmons-big-camera-little-camera?rq=adam%20ethan%20berner
My personal investigation will focus on the attatchment and bond that I have to the people in my life, and places I associate with memories or themselves. I will be focusing on the strengths of relationships, my parents have a very healthy and harmonious which I believe influences the healthiness of my relationship with my boyfriend. I will be investigating the complexity of families, my mothers side of the family is very close, they're from the north of England which tends to have large families. My fathers side however is a lot more cold and detatched, however, as time has passed some family members such as my grandfather hav realised that time is precious,leading him to try to rekindle relationships. On the topic of relationships, I want to focus on the vulnerabilities of relationships. I want to focus of the vulnerabilities of me and my parents, me and my siblings and me and my boyfriend. To capture images of my family, friends and boyfriend I will be using a realism approach. Realism is more documentative photography. I believe this will be the most suitable approach to capture my family as I want to capture certain moments of time. I shall also be including archival images into my personal study for example a photo of me and my family at Greve de Lecq beach as a child. That moment in time is a monumental image that has stuck with me. That image is a realism image and I want to revisit Greve de Lecq to display my attatchment to the place and the memories associated with it. I am also going to focus on particular places that I associate with certain people and memories. One of my photoshoots will be a visit to Greve De Lecq beach as I associate it with a certain moment in time when I visited it with my family. I want to take photos of the sea as when I think of that memory I can hear the sound of the ocean and see it roll up onto the shore. To take these images I will have a slow shutter speed which will make the see look creamy and frothy. This will be a pictorialist approach which I think is suitable as although this is a clear m,emory, there are some parts that I don't remember as it was so long ago. I also want a pictorialist approach as I always paint the memory as an incredibly happy memory, so the dreamy photographic approach will reflect this.