I think this story is showing her emotions through the artists eyes, It shows how her surroundings and loneliness have impacted her. It looks at genres such as expressionism and abstract through close ups and nature.
Laura El-Tantawy
“Beyond Here Is Nothing is a photo-book object meditating on home. A place of belonging,”
Laura El-Tantawy is an Egyptian photojournalist who lives in London, England. “She was born in Worcestershire, England, in 1980 and grew up between Saudi Arabia and Cairo, Egypt. Given her multicultural background, she has found solace in photography not just as an artistic form of expression, but also as an inner voice to reflect upon her own identity and how it relates to the world around her. She mostly works on self-initiated projects.”
“She lives between the U.K., her country of birth, and Egypt, with which she associates most of her childhood memories.”
She created this photo book in order to express her profound feelings and emotions, as a source of relief from loneliness
Through my personal study I will be creating work influenced by my own childhood as a source of escape from the global Covid-19 pandemic. I want to revisit my old schools in order to show my memories and places that I used to frequently go to. My aim is to evoke a sentimental feeling upon my images to help my audience think back to their childhood and “Care-free” days. Both Carolle Bénitah and Richard Koenig explore their childhood by using different techniques which I think work well together in order to evoke their feelings and show which areas that gave them the biggest emotional connection. This is exciting as every childhood can be told differently and I think the way one captures images and edits them gives many hints as to what their childhood looked like and who they have become as a person.
So far, I have looked at childhood twice, once showing how we can manipulate memories and show that as we grow older we often drift further and further from our memories and younger selves as responsibility and stress often creates a divide between us and the memories as we wonder if we can ever return to that state of happiness and tranquillity. And the other time was when I looked back on memories of my own and influenced by Chino Otsuka’s work I reinvented the images by creating a parallel with both my younger and older self in the same images showing the growth and change a person can have over the years. I will experiment with both Adobe Photoshop and Lightroom as I believe that Lightroom has the best features for image adjustments such as contrast and vibrance and Photoshop works to add elements that I think could work well in adding influence of Carolle Benitah’s work with the idea of the red string and helping to highlight certain elements of the image.
Context
The relationship between photography and memory is explored in great detail in Roland Barthes seminal book Camera Lucida that follows an attempt to piece together his mothers image and how he viewed her before she passed in 1977. A book on love and grief the connection between him and what he viewed his mother to be. He began to write diary entries before the passing of his mother, in what he published as The mourning diary. Barthes had created “a ghost story of sorts, in which neither Henritte Barthes nor the book’s ostensible subject, photography, could quite be grasped in arguments over its status as art, nor really in its role in contemporary media or culture,”.(Dillon year: pg) After the death of his mother he struggled to find images that represented her, Barthes searched through albums and through her things but thought that each image didn’t fully shine a light on what was his mother. He said he had “no hope in “finding” her” and that he could remember elements about his mother such as her gait, her glow and her health but he struggled immensely to recall her face and her features. Barthes often blatantly misreads images he found from multiple photographers as he looked at the small details in the images that reminded him of her as he becomes “touched by the poignant detail.” Throughout the whole book he doesn’t actually show a picture of what his mother looks like as he says that the images “exists only for me” and that for us, as the readers “it would be nothing but an indifferent picture.”
He said that when creating this book, “”for once”, photography gave me a sentiment as certain as remembrance”. This created the idea that “I must interrogate the evidence of Photography, not from the viewpoint of pleasure, but in relation to what we romantically call love and death”. This shows that he looked deeper into the conceptual meaning of photos, he didn’t just take a picture of his mother to show that he had a mother but instead selected a series of “unrelated images” that he thought reminded him of his mother, through small details that captured her being.
I will be photographing my images through their essence, by the objects and places that held the most memories; to help create a narrative altogether.
“My stories are made in a tension between the past and present”
– Annette Kuhn
In the photography reader there is a section called Annette Kuhn, REMEMBRANCE, The child I never was. In this, it tells us about how the being who takes a family portrait has the control to manipulate the actual memory; even without realising. “A photograph can certainty throw you off the scent”. Images have different conceptual meanings depending on the person viewing them and their past experiences, which links to to my photobook as by going back to my old schools I am able to pick and choose places in which I have the most vivid and sentimental memories; however the readers might see my images and look back onto their childhood and think back to their memories; Although as a photographer I am the manipulator but instead of throwing the reader off the scent I will guide them through my past, in hope to spark their memories also.
Artist 1 – Carolle Benitah
“the photos reawakened an anguish of something both familiar and totally unknown”
– Carolle Benitah
Carolle Bénitah is a French-Moroccan photographer; she is known for working as a fashion designer for 10 years before switching to photography in 2001. Here her work mainly explores the ideas of memories, passage of time and family.
“I was leafing through a family album and found myself overwhelmed by an emotion of which I could not define the origin”
-Carolle Benitah
She uses old family pictures and alters them slightly using different coloured threads and sometimes even cutting parts of the image out. She also tries to reinterpret the memories as a mother, daughter and wife. She is said to do these all these alterations to her images in order to help her understand her current identity. She is mainly known for going back into her old photos and altering them through the use of red and gold thread, beads and glitter. She says that her work “leads to more open subjects such as family, desire, loss, mourning and confinement and touch on the universal.”
Image Analysis:
“Family photographs are quite often deployed- shown, talked about.” Their selection and ordering as meaningful as the picture themselves.”
-Annette Kuhn
I think this quote relates well to Bénitahs work and in link to my photos as, Bénitah carefully selected each image in her Photo Souvenirs which she had strong memories towards and the way she chose to feature her images in her book helped to build her narrative and create a story within these tiny stories
Visually the colours of the photograph are quite toned down due to it be an older photo and not having the colour quality of many of today’s cameras; furthermore this highly contrasts between the rich red silk thread which has been used to alter this image. Texture is present through the use of thread and the over laying that has been creating as she used long pieces of thread, which I think gives her a unique style as I have not seen anything like this amongst other photographers which I think is quite important. Here once again due to the use of red string the image becomes 3D as the string is physically coming out of the photograph to recreate this image and show the models thought processes. The eye is first lead to the models eyes as that’s where all the thread starts and is lead down and onto the photo frame and back up to the top of the image to create a sentence.
Here Bénitahs work is all about going back to her old memories and reinterpreting them so that they fit her current expression and help the audience to be aware of how she now views these childhood memories which she presents in a more vivid format. The red thread creates a semantic field against her other photographs showing how they all once represented Carolle Bénitah and her younger life. Here every of her images are different creating a more distinct image with the addition of the thread to more clearly show her thought processes behind the image. Here I really liked the ideas of memories from her childhood; these images clearly have sentimental value to this photographer and it shows the fact that she wants to bring that memory back to life as maybe she has suffered a loss between the time that the photo was taken and now. I also like the idea of her changing the images and adding the red and black thread to the images as it makes the images stand out and changes them. The Red Silk Thread vividly shows the models tears; they are lead to a phrase in French saying “il ne dit pas que je suis jolie” which reads “he doesn’t say that I am pretty”. This may well be the reason why she is crying. I love this idea as this might be her recurring thought whilst this image was taken. Here the image itself may be her trying to keep things altogether and not showing emotion however through the use of thread here emotions are now more visible and clear. Once again the fact that the red thread is the recurring theme helps tie all her images together showing how she is leaving her mark behind the image and allowing the audience to now see the Bénitahs inner thoughts to each and every photo.
Artist 2 – Richard Koenig
By contradicting flatness and space, by underscoring the importance of perspective, I hope to confuse the objective with the subjective in a larger sense. As opposed to resolving issues, I want to increase a perception of tension, to dwell in that which is uncertain.
—Richard Koenig
Richard Koenig is an American photographer born in 1960. These set of images shown above are part of his “1999 Pearl Street” collection. Koenig works on layering images on top of one another to create an optical illusion, he tends to work in private spaces or intimate moments inset within a public space. It makes you think of memories that places and building may evoke on to you as memories are not always built around people but rather the places and object we frequently used.
Previous works include photographing “construction of the railroad as a landmark industrial achievement that shaped the course of American history.” Koneig is said to covey “the expansiveness of the tracks (the Central Pacific Railroad traverses 690 miles and the Union Pacific Railroad covers 1,086 miles) by using a panoramic lens to show an epic landscape, as if from the viewpoint of a passenger, while highlighting changes made to the land to accommodate its creation.”
Image Analysis:
“memories evoked by a photo do not simply spring out of an image itself, but are generated in an intertext of discourses that a shift between past and present”
– Annette Kuhn
I have found that Koenig’s work often has many hidden meanings throughout his images which are open for interpretation. I think his images both show an idea of what his life was and what it used to be like; and now how these thoughts and views may have changed over the years as memories shift with different meanings. I think this works well with my idea as similarly, people can view my images in two formats, from the past and the present.
This photograph follows the artist returning back to his childhood home and photographing rooms and parts of the house in which Koenig feels he has a strong connection to. I think these photos are very important as it not only helps the audience to think back to their childhood home and think of all their good and bad memories that has shaped the way we are today. I think that the emptiness of the image is also important as I am sure that when he was a child the house was filled with family and items like toys and furniture and now the emptiness helps to symbolise a piece that is missing, this could be due to the fact that a member of his household has dies or simply the fact that he has moved out and now only the memories is what remains. I think that having the image being in black and white is important as it brings up the contrast between the lights of the windows and the darks of the door frame, I helps us to focus on the patterns on the wall as they stand out as. The pattern on the wall also helps to give the image texture, which is also shown in the wooden panels on the floor. The eye is first lead to the door then around the clear image and then around to the out of focus part on the outside.
The fact that this is a image within an image allows the photograph to be more interesting as it looks 3D and makes the audience wonder why they chose to do it this way. My first thought is the similarity of the idea that he is hanging up the washing and putting the image in plain sight for the audience to see; however one might wonder if the artist is trying to hide something behind this image closest to us. It may also be down to personal preference and “contradicting flatness and space“. I think the artist works well with his aims of increasing “a perception of tension, to dwell in that which is uncertain.” as the images don’t have much context and can therefore help to leave a lot to the imagination. I think the use of two simple pins holding the image up can serve as a metaphor to show how fragile childhood memories are due to natural ageing as the older we get the more faded our childhood memories become as our brain uses the space for newer memories. The fact that the outside is out of focus also helps to symbolises this as it adds to the idea that we can’t remember all our memories or the whole memory as some parts may be forgotten about.
Conclusion
To conclude, I referenced Carolle Bénitahs work through the use of my childhood photos, by manipulating them (digitally through the use of photoshop and brushes) in order to show how these are old places that my older self is revisiting; I tried highlight certain parts of the image in order to lead the audiences focus onto certain points ion the photo. In Koenig’s work I took inspiration of the image within an image idea and incorporated my old images to again show myself revisiting these childhood places which I feel a strong sentimental connection towards. I think this linked well with Koenig as it makes you question why I chose this image and also technique wise as I contradicted “flatness and space” by this technique.
I think both photographers successfully convey the topics of childhood and memory but in different ways; Carolle Bénitah focuses on obvious manipulation through revisiting her old photos with the use of vivid thread and items which helps to show how she has learnt the skill of sewing and is using it to evoke her emotions onto her childhood. Richard Koenig’s is also consistent with his photography with this same theme used throughout of placing an image within an image however he uses new images and instead goes back to his childhood home to take these new photographs. They also differ in the fact that Bénitahs images have a happier and cheerful tone as her images are filled with colour whereas Koenig’s images are very monochrome and dark which may symbolise his loss or negative feeling towards the place. Koenig likes to spark uncertainty, which I think is an element that they both share as they both leave some ideas up to the audiences imagination and interpretation.
Through this investigation I have learnt how Childhood and memory can be presented in such different ways whilst still presenting strong similarities between artists. I think that ones interpretation of their childhood can really impact the conceptual meaning of an image as different people will present their childhood in different ways, by going to different places choosing different things as what they chose to present however their is an element of comfort that we all follow similar childhoods and that we shouldn’t feel afraid to bring back old memories as they have moulded us into what we are today.
How do Robert Mapplethorpe and Karlheinz Weinberger portray ‘Lad Culture’ through the medium of self-portraiture.
Opening quote:
“I am obsessed with beauty. I want everything to be perfect, and of course it isn’t. And that’s a tough place to be because you’re never satisfied”.
Introduction:
As Robert Mapplethorpe himself quoted; “I am obsessed with beauty. I want everything to be perfect, and of course it isn’t. And that’s a tough place to be because you’re never satisfied”. I share the same desire for perfection in my own appearance, both mentally and physically. This need for perfection comes as a sort of validation, a purpose in my eyes hence why in my personal investigation, my area of study will look at masculinity, what it means to be male, how adolescence shapes us as men, conflicts men often face such as body dysmorphoria and a desire to fulfill a certain mould, a mould set by society to look and act a certain way, to be the breadwinner and the hero they dreamt of being as a child. To achieve this, I will be studying the work of Robert Mapplethorpe and analyzing his work on the male gaze. In his work, one of his major exhibitions named ‘The Perfect Medium’ which was featured at the Art Gallery of New South Wales in 27 Oct 2017 – 18 Feb 2018, showcased a broad selection of his work, from portraits of his contemporaries to self-portraits, floral still lifes and erotic imagery. Mapplethorpe heavily explored ways identity could be captured and expressed by the camera with a certain style of black and white still portraits, almost always taken in a black or white studio and set up with the models or himself creating or imitating poses in front of the camera. Often, his traditional style of portraiture had a clear subject, and this was often the male physique as he tried highlighting both the beauty and form of the ideal male physique (virtruvian physique as mentioned in this blog post). Through his self-portraits, he strategically crafted a public image for himself. He often took photos of himself as well as models, and by using the styles as mentioned above, he often challenged gender stereotypes, which is a similar theme to my personal study, however rather than challenging it, I want to explore it further. In essence, due to the reasons as highlighted previously, Mapplethorpe seems to be the best artist to study and recreate for my project, as I both admire and want to replicate his style of black and white portrait photography, as well as helping me answer my question of ‘How do Robert Mapplethorpe and portray ‘Lad Culture’ through the medium of self-portraiture’. I will also compare Mapplethorpe’s work with Karlheinz Weinberger who explored the similar topic and also shared a similar style of photography with the black and white staged images.
In order to help better reference Carolle Bénitah work I decided to further refine my images by using Photoshop
e.g
I first begin with this previsiouly edited image
I then found sewing templates or silhouettes to give me ideas or to layer on top of the images to use as a template
For this idea I decided to go free hand and draw on these lines freehand.
This was the finished outcome which I quite liked as the stitches looked irregular and non uniform which I think made the stiches look more realistic and helped give the images a more homemade feel.
The word tomboy originated around the 16th century. It was used as a term for a rude, nasty boy. However nowadays the word is reverted to a new meaning. It referred to a girl who would rather climb trees, do sports and other things that you would typically think a boy would do.
For most of my childhood I was known as a tomboy and I didn’t like doing all the girly things stereotypical girls would do, I liked to skate and play in the mud with the boys. By the age of 9 I was known to be ‘one of the boys’. My parents (mainly my mother) judged me and didn’t really approve, sometimes she would make snide comments “I didn’t expect to have a daughter who was basically a son”, or even ” I wanted another daughter and not a son”. I have been stereotyped and judged for things I like doing not just by my mother but also by society.
Shannon O’Donald is an artist born in Jersey, Channel Islands. Her work explores themes around the gender experience with the focus femininity and masculinity and gender traits. She explores self identity. Homework lies with questioning society and challenging traditional views of gender through her work she focuses on the sociological understanding of how gender is viewed or challenged within mainstream society.
Claude Cahun was a Surrealist photographer whose work explored gender identity and the subconscious mind. The artist’s self-portrait from 1928 epitomises her attitude and style, as she stares rebelliously at the camera in an outfit that looks neither conventionally masculine nor feminine. with her photography one of her many skins is gender-defying as she gives this photograph a very neutral look that leaves to question ‘What is this persons gender?’ this was one of the many question that was going through my head when I first saw this photograph. I think she is trying to show us and tell us that it really should not matter what gender she identifies as because she is still going to be this quirky photographer from jersey and her gender does not identify her.
Historical/ theoretical context within art
Modernism, the age of enlightenment. It was the shift in the late 1800s to modernism can be partly credited to new freedoms enjoyed by artists. It was a shift away from believing that god is going to save us from all evil and towards science or philosophers who might create something that would be our saving grace and actually help us. For example creating medicine like pain killers and vaccines that to this day are used to reduce the pain in cancer patients who are going through chemotherapy and the COVID-19 vaccine that trains the immune system to fight.
At the time, the growing field of psychology thanks to people like Sigmund Freud turned the analysis of human experiences inward and encouraged a more abstract kind of science and thinking. Essentially this inspired the visual arts to follow. With shifts in technology creating new materials and techniques in art-making, experimentation became more possible meaning it gave the art work a wider reach. Printing advances in the late 1800s meant posters of artwork widened the public’s awareness of art and design and conveyed experimental ideas into popular culture.
Modernism makes references to things inside the art itself. For example, from composition, material, skills, techniques, all the way to the process. Modernism in art holds a belief in the individual genius of the artist, a desire for originality, a thirst for the new, and reverence for the precious, unique art object. Modernism is concerned with ‘object rather than subject, creator rather than spectator.’
A key movement for this shift was The Dada movement took experimentation further by rejecting traditional skill and launching an all-out art rebellion that embraced nonsense and absurdity. Dadaist ideas first appeared in 1915, and the movement was made official in 1918 with its Berlin Manifesto. Traditionally, a painter was commissioned by a financier to create a specific work. The late 19th century witnessed many artists capable of seizing more time to pursue subjects in their personal interest.
Modernism reached its peak with Abstract Expressionism, which began in the late 1940s in the United States. Moving away from commonplace subjects and techniques, Abstract Expressionism was known for oversized canvases and paint splashes that could seem chaotic and arbitrary. Each Abstract Expressionist work functioned as both a document of the artist’s subconscious and a map of the physical movements required to create the art. Painter Jackson Pollock became famous for his method of dripping paint onto canvas from above.
Essay question:
Opening quote
Introduction (250-500 words): What is your area study? Which artists will you be analysing and why? How will you be responding to their work and essay question?
Introduction (250-500 words). Think about an opening that will draw your reader in e.g. you can use an opening quote that sets the scene. You should include in your introduction an outline of your intention of your study e.g. what and who are you going to investigate. How does this area/ work interest you? What are you trying to prove/challenge, argument/ counter-argument? What historical or theoretical context is the work situated within. Include 1 or 2 quotes for or against. What links are there with your previous studies? What have you explored so far in your Coursework or what are you going to photograph? How did or will your work develop. What camera skills, techniques or digital processes in Photoshop have or are you going to experiment with?
Pg 1 (500 words): Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Paragraph 1 Structure (500 words): Use subheading. This paragraph covers the first thing you said in your introduction that you would address.The first sentence introduces the main idea of the paragraph. Other sentences develop the subject of the paragraph.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
This book tells a vivid and detailed experience of an american army soldier on different tours in Afghanistan and Iraq. The book begins and ends with black and white images of life before and after the army, images of a young girl, possibly Brody’s daughter, symbolizes innocence and a representation of what people are protecting by joining the army. A full bleed is used for ‘army’ portion of the book which helps continue the story and emphasize the scale of warfare and its effect. The book consists of many detailed image that are kept natural and unembellished, this draws out the rawness of war and the brutality that soldiers face.
Ben Brody is an independent photographer, educator, and picture editor working on long-form projects related to the American wars in Iraq and Afghanistan, and their aftermath. Brody enlisted in the U.S. Army in 2002, when he was twenty-two years old, not because he supported the impending invasion of Iraq—even then he was “skeptical”—but because he wanted to photograph it.
Brody quotes:
I wanted them to feel the murderous heat and arbitrary death and relentless absurdity that came with my job
You learned what pictures the Public Affairs Officer would release and what he wouldn’t … Soldiers looking calm or stoic. Yes. Soldiers looking angry or frightened or exhausted or confused or lost with eyes like the bottom of the ocean. No.
meaning that my account didn’t conform to his tightly scripted vision of what victory was supposed to look like. (in reference to the regulation of certain images)
Narrative and design
An extremely obvious yet effective layout within this book is the margins/bleed of the images. The life before and after the army are all B&W images in different sizes and dimensions taking up certain parts of the page. In contrast the colour photos made during war time are full bleed images to emphasize the realism they represent and the lacking margin for error in the army. The full bleed also means that there is a lot going on within every page which symbolises the chaos of war. The use of media and newspaper extracts within the book support the realism that Brody is attempting to represent. The story is told from a strange perspective with images appearing as if an outsider is looking in, however the photographer was apart of the army with the men photographed. There are no images from the war portion of the book shown on the same page which draws attention to the importance and meaning of every single image. The title is a literal reference to and army letter received by Brody which further amplifies the theme of realism.
She made it to shine a light on the struggles that she faces. She wants to show things that are normally kept covered, hidden, but she wants them to be seen. Shows her vulnerabilities that she has. She takes self portraits, because she has a story to tell. emotion is carried by each image, and is displayed within each picture. They tell you about her, who she is and how she feels.
2. Who is the photographer?
The photographer portrays the issues surrounding beauty, identity and body image, by creating these beautiful images, using natural light and strong compositions. The genre that Jen Davis uses is tableaux however they are to show her own life and invite the viewer into the past eleven years of her private life, exploring the vulnerabilities that she carries associated with a life-long struggle with my body, feelings of isolation, the battle to recognise beauty, a quest for intimacy, and sense of acceptance through the camera’s eye. Sometimes the images would be taken in real time and some would be staged, with the perfect lighting, posing and props.
3. Deconstruct the narrative, concept and design
all images are in colour and are printed on the same type of paper.
the format of the book is portrait, and is slightly off A4, and takes more of a shape of a square.
the book has a hard cover. on the front cover there is an landscape image in the centre of the page, and on the back cover there is the title and the photographer the book was created by. the binding can be seen by the viewer and is covered by some blue tape.
there is no special things on the front page, just a simple image on the front page
the title hints to the subject matter. if you don’t know what the book is about the title will make no sense
there are similar images throughout the book, containing a similar narrative. all the images contain jen davis and sometimes another person
all images are a similar size and are all centered. some of the double page spreads contain two images. but there no grids or other things included in the photo book
to me the images are in a random order but to the greater they may show a journey that she has made in learning who she is.
the book contains 2 main bits of text, one half way through and one near the end. these pieces of text go into depth of jen davis’ progression throughout the time of her creating the photo book.
1. Research a photo-book and describe the story it is communicating with reference to subject-matter, genre and approach to image-making.
Initial Decoding of narrative –
Based on my first initial look of the book, there are certain connotations and conventions used by the photographer, Raymond Meeks, which suggest that he is trying to explore the identity of others, represented through the setting and how many subjects are constantly looking everywhere but the camera (candid). However, there are also features that suggest the photographer is trying to disguise any obvious identifications of his subjects, such as the use of nature and trees to hide their faces. The title of the photo-book, ‘Half story, Half Life’ also implied that many of the nature-orientated images are real, candid and not staged where as the half story title suggests that some images may be constructed and alienated from reality, such as those where the subject clearly breaks the ‘fourth wall’ and makes direct eye-contact with the camera and therefore, the audience. There is also a nostalgic aesthetic that refers to summer and times spent with friends though teenage years/ early life.
2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)
Raymond Meeks – Halfstory Halflife
“This book oscillates between the collective experience of these young men and their private meditations on a future that is yet to present itself. It is, itself, a journey, a rite of passage marking the death of one phase and the birth of another – just like the butterflies, now at the end of their lifecycle. There are no conclusions in Halfstory Halflife, only transitions. “How did we get here?” “Where are we going?” So ends Meeks’ book, with a young man sat on the cliff-edge, poised for the dive yet overcome with uncertainty. We do not know what happens next, but what we do know is that he is perched at a precipice both in space and in time.”
The photo-book explores the life of American adolescents, taking a key focus on males which links into misogyny and how this contributes to the ideological foundations of stereotypical American beliefs, also represented through the nature aspect.
From an interview with lens culture, Raymond Meeks expresses how his son is very influential over how his images are places and constructed in order to form a narrative throughout his books.
“RM: It was ritual. I was raised Catholic, so these rock outcroppings to me were like altars. These bodies leaping into the dark void almost became like this sacrament. I feel like each generation has to pay for the sins of the previous generation. They were almost offering up their bodies and it’s the process of evolving by way of ritual—that process of coming of age, something that’s been going on at this specific place for as long as people can remember.”
LC: And what is that demographic?
RM: Lower middle-class. Usually both parents, and multiple siblings. But not a lot of spending money, working minimum wage jobs. About half of them go off to college. The other half do military or just work locally until they figure something out.
3. Deconstruct the narrative, concept and design of the book and apply theory above when considering:
Book in hand: how does it feel? Smell, sniff the paper.
Matte card photo paper – ‘Card cover’ – Embossed text on the cover and back of the book. I ain’t sniffing it.
Paper and ink: use of different paper/ textures/ colour or B&W or both.
Apart from the cover, the same paper is used throughout – Thick, Matte photo paper, smooth texture and pure white which allows for the Black and white (all) images to stand out.
Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.
A4 size, Portrait, though not all images take over one full page, some take up a section, some full bleeds allowing for each individual image to be the primary focus of each section/ page. 144 pages
Card, light-contast. blue hue printed graphic. Embossed text on cover.
Title: literal or poetic / relevant or intriguing.
Poetic Title – Half Story, Half Life, suggest that the images or main story is so peaceful that it presents itself as a story – Intriguing.
Narrative: what is the story/ subject-matter. How is it told?
The story is central to the lives of a group of teenage boys in America during the summer, although the subjects do change over the course of time that the book was produced in (roughly 3 years) the key ideas and themes are still present. So although the boys do not know each other they are still connected on a wider cultural light.
Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.
repeating motif – black and white, majority male, nature, abandoned man-made structures such as cards or doors.
Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.
Images tend to take up one A4 side, with a small white border surrounding it, apart from that some images take up an A5 side and cover only 1/4 of the page. There are a few ‘Bleeds’ of images whereby one covers the gutter and half of the second page and very few full-bleeds.
Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.
There are multiple juxtapositions prevalent throughout the narrative some examples being – Masculinity VS femininity, Action VS Calm and Nature VS Man-made. Although the images of the teens jumping off of the rock face does suggest masculinity and action, the use of the juxtaposition of a calmer image of leaves or trees next to it allows for a theme of tranquility to be formed.
Images and text: are they linked? Introduction/ essay/ statement by artists or others. Use of captions (if any.)
“If you could just say I feel lost here and I am going home. For where on Earth would you find that ticket. Who would meet you when you got there. By what sign would they know you.”
Places at top of page in a small font.
Short blurb-like section on receiving end of book, many connotations and symbols of religion through language – “Altar”, “Prayer”
