Write an evaluation, reflecting on the experience of being part of making a newspaper and working on IDENTITY & COMMUNITY project and put it here at the top of the blog post, titled: IDENTITY & COMMUNITY. Specifically, select your images and spreads for comments.
Copy and past all the below and publish as your own blog post.
IDENTITY & COMMUNITY Newspaper
The images seen on the pages of this newspaper supplement are extracted from a variety of projects and final outcomes produced over a two-year academic programme of study by a group of A-Level photography students at Hautlieu School. In their final year the themes of Identity and Community offered a specific focus and through a series of creative challenges students developed a body of work that were inspired, partly from visiting heritage institutions to learn about aspects of Jersey’s unique history of immigration and exploring migrant communities and neighbourhoods in St Helier in a series of photo-walks. In the classroom additional inspiration was provided from workshops on NFTs (non-fungible token) and digital art, embroidery and textile art, animation and film-making, zine and photobook design led by professional artists, designers and teachers.
As part of the research and contextual studies students were asked to engage with some of the key questions raised by the Government of Jersey’s Island Identity project and explore through their own photographic studies how they interpret and identify distinctive qualities of island life. What can we learn from looking at a set of photographs produced by young islanders? At first sight they show us a seemingly random set of images of places, people and objects – some familiar, others surprising. On closer inspection each image is a visual sign and also a conundrum. For example, a fish stuffed in a plastic bottle may ask us to consider more closely our marine environment, commercial fishing or food consumption. As a combined sequence of images they represent different views that in many ways comment on a wider discussion on some of the primary objectives explored in the Island Identity project, such as ‘how we see ourselves’ and ‘how others see us.’
The newspaper was kindly sponsored by Deputy Carolyn Labey, Minister for International Development and Assistant Chief Minister who in her foreword shares her personal thoughts on what makes Jersey special to her in context of the Island Identity project led by her department. She says, ‘identity involves searching our soul, engaging with difficult issues, and asking not only who we are, but how others see us and what a vision for the future might look like. The perspective of students and young people in this debate is critical. Identity is a broad and far-reaching concept, one unique to all of us. This collection of images recognises both our differences and our commonalties. These times may be uncertain, but in my view the topic – ‘what Jersey means to you’ – is a fundamentally optimistic and forward-looking one.’
The Identity and Community newspaper is the fourth supplement produced in collaboration between Hautlieu School Photography Department and Jersey Evening Post. In 2018 the first issue was The Future of St Helier and last year the themes of Love & Rebellion explored experiences of isolation and lockdown during the coronavirus pandemic. Photographer and teacher Martin Toft, comments: ‘The question of ‘what makes Jersey special’ matters a great deal to every islander and as visual signs, the images printed on these pages are an attempt – not so much to provide answers – but rather asking questions about the essence of this island we call home, and how it actively will overcome current challenges in shaping a prosperous future for all.’
My Images
The set of images above are a compilation of me and my groups NFT video project. Although I didn’t make the group of images, I had a part in the group and the overall creation of it.
The collage of images above are examples of images that are in my photobook. There are images of my family including my parents, my uncle, my grandparents and great grandparents as well as an image of me. I like the way it was shown in the paper on double page spread and it turned out good.
Overall, I really like the outcome in the newspaper of my work and work I have been part of and I think it shows a real connection to family and overall social groups.
I took some of my final images from another shoot and put them into a virtual gallery layout. I chose images that have similar tones so they work together.
I started by placing the images into the virtual gallery as seen below.
I then placed the images accordingly and angled them so that they look like they are actually in the gallery. I then applied blending options such as bevel and emboss and drop shadow to make them have depth and look 3d. I applied the same amount of these blending options to each image so they look the same.
Below is my final gallery layout with the images placed with a 3d depth look to them. I like the way it turned out and I think it shows what the images will look like in real life and also if the images would work with each other.
Below are the images I am using for the photobook. Most of these are old family photos from my grandmother and mum and dad. There are also some recreations of old family photos at the end and some title pages including the front and back covers.
Write a book specification and describe in detail what your book will be about in terms of narrative, concept and design with reference to the same elements of bookmaking as above.
Narrative:What is your story? Describe in:3 words
My Family Story
A sentence
Where my family comes from and who came before me
A paragraph
I want to find out about where I came from and who came before me. I was never able to make many memories with my grandfathers from both my Dad’s and Mum’s side of the family. I want to get an idea of who they were and get to know them through the images I find.
Design: Consider the following
How you want your book to look and feel
I want it to be dull on the outside but colourful on the inside. I want it to feel like a hard back photobook
Paper and ink
I want the ink and paper to be faded so it has a very retro album look. I want it to look like an album that was made years before
Format, size and orientation
I want it to be an A4 size and portrait orientation
Binding and cover
I want the cover to have an image of the negatives that my family photos were developed with
Title
Decouverte Du Moi. My family has French heritage so I decided to name it something French which translates to discovering myself
Design and layout
Single full bleed images
Single images non full bleed with white border
Editing and sequencing
I want to sequence the images like a family time line from the first images I have of my great grand parents to my parents and me.
Images and text
Above is the front and back cover of my photo book. To make it, I used the title Decouverte Du Moi and included my name and title again on the spine of the book. The covers are made up of all of the dates from the photos I used in the photo book. I added a light yellow filter to allow the dates to be seen clearly.
Above is the finalised layout of my photo book with the additions of the few recreations of images that I have made. I have experimented with different layouts of pages for example, instead of two photos just next to each other, I put one photo bigger than the other below or above the other one. I think this looks better than the draft I had before.
Above is my first recreation that I finished. I recreated an image of my uncle when he was a baby next to a car. It is not an exact copy however I wouldn’t want it to be a replica as I want the images to be inspirited recreations rather than replicas.
The next inspirited recreation was an image of my mum and uncle on the hood of a car. I recreated it in front of my uncles house as the original was taken in front of my great uncles house. I used my mums car in the image and I think it is a good outcome.
The last recreation is of an image of my uncle and mum when they were children. The image has a blue/ grey colour to it so I applied a colour scheme to the image in photoshop to make it more accurate. I cropped the image and I think it is another good outcome.
Above are some examples of different layouts for photos to make the pages look more exciting versus two photos next to each other.
Outcome
The outcome from the photo book project is a book which reflects me and my family. It shows moments from my family’s history in which happy moments have been made, as well as sad moments. From the best to the worst moments family carries on and i believe that shows a real power to do with photography as a way of recording moments as well as how together, family is strong and overcomes the toughest of challenges.
I plan to use about 4-8 images which summarise my work from my previous projects and my photobook project. I want to use some images I took for the Anthropocene project as well as my photobook project.
Full Bleed
My full bleed image I want to use is from the Anthropocene project where I went to a reservoir and made the image black and white with high contrast with drama between black and white. I edited in the dark clouds at the top of the image to create further contrast
Montage
Above are two montages I made on photoshop from the images of my family albums I got from my grandmother. Before I put them on Lightroom I lowered the saturation to give them an older, retro feel so that it looks like a collage in a family album. I have included images of my Mum, Uncle, Grandparents, Great Grandparents and also my distant Cousins. I have mixed all of the family together and haven’t separated into different sides/ parts to show connection to family.
My second photoshoot was based around recreating a few images I scanned in. The images I recreated are of my Mum and my Uncle so I recreated them with me and my Cousin. I went to a carpark to show the contrast of time and development since the images were taken.
I firstly got the original image below and flipped it to make it more like the original with my mum on the right and my uncle on the left.
Below is the flipped version of the original image above. As well as flipping the image I also cropped it to make it similar to the original image.
Next, I put in a retro, orange light leak which I added to a duplicated layer of the main layer. I then made the opacity of the light leak layer 36% opacity. This brought the colour out so that it looks transparent and not translucent.
I then added a curves adjustment layer to make the image more dramatic. This brought out the real contrast between the light leak, warm car lights and also bland background.
I then added a gradient map adjustment layer with a retro yellow and black colourway. This completed the retro look and made it look similar to the original. The original image did not have a light leak however, when experimenting with a light leak, it looks much better than it did without.
Finally, I exported and imported the edited image from photoshop into Lightroom and used a grain filter to complete the retro look and create great similarity between the original and the recreation.
I really like the final outcome for the first edit as I believe it has a good feel. The image shows a link to the original but shows that it has its own spin on a recreation.
Above is my second edit which is similar to the first however has different coloured light leak and a colder feel to it. I did the same process as the first edit however added a second duplicated layer which I put a pink light leak so it has a combination of pink and orange light leaks.
Above is my third edit and I took the recreation and put it in black and white with a strong brightness to replicate the original image.
Comparison
I like the way the first edits compare with the original. They reference the original but have a personal touch to them.
I don’t think the outcome of the images show the connection in family so I will recreate these images further in my next photoshoot.
How powerful a medium is family photography when looking at identity?
“Photographs state the innocence, the vulnerability of lives heading towards their own destruction”. Marianne Hirsch in Family Frames. Marianne Hirsch spoke about family photography and described how powerful the medium is when looking at family history. She explains how innocent photographs are and how vulnerable life is when looking at people who don’t know that they are heading towards the end of their lives. I want to look at how powerful and important photography is when looking into personal and familial identity. Photography immortalises people and keeps them alive in a single moment. I am going to study my family history because I believe learning about where I come from may bring my closer to my own heritage. I am going to speak to my grandmother who has kept family records, photos and documents and use them to create photomontages and recreations of the photos. The combination of recreating images and photomontages/ edits from different sides of my family will show the power of family and how I am influenced by the people who have come before me. I have chosen three artists who interest me in the way they take photos and portray meaning. Firstly, is Chris Porsz who is restaging old images of his family in the same location. Next is Christian Carollo who recreates the image whilst holding the image in the photo at the same place. The final artist I will look at Is Virginie Rebetz who made a photobook about the disappearance of someone’s daughter and is using images and documents from family archives to piece together a story about what happened to her, as a missing person investigation. There will be a few links to my previous projects in the methods in which I take photos. For example, I will utilize black and white with great tonal values creating drama, I will use photoshop to edit some photographs to portray a specific message (juxtaposition) and I will make retro like photos from images I take. All of which I have previously used to show my personal identity and have worked and been successful.
Historical and Theoretical Context: Personal and Family Photographs
“Users bring to the images a wealth of surrounding knowledge. Their own private pictures are part of the complex network of memories and meaning which they make sense of their daily lives.” Liz Wells (Photography: a critical introduction). Photography began a transformation after the Victorian era where the work of amateur “hobbyist” photographers began. George Eastman had marketed his Kodak camera by 1899 with the slogan ‘You press the button, we do the rest’. The Box Brownie claimed that everyone could afford it and it was so simple children could use it. Photography has now put the controls in the hand of everyone making everyone with a phone an amateur photographer. Due to the development of technology the way images are arranged using digital technology makes It easier to create narrative. The development of technology is driving innovation in photography. Websites which specialise in family history have fuelled an increase in interest of tracing ancestors and discovering old images, documents and reconstruction of images. The history of the medium of personal photography has existed since the 1800’s but was first compared to family photography by writers such as Terry Dennett. He compared family albums to that of groups in society. Private and personal photography has eventually become family photography. Without context, images are seen as being thin and provide ghostly hints of others’ lives which spark a detective project to construct meaning. Personal pictures are very unreliable but due to the unreliability interest is constructed and questions are asked. Questions such as whom are these pictures? Who see them? To whom do they communicate? Family photography properly began with travelling photographers making postcards. However, family albums were being created in the nineteenth century, but were only for the rich who had the leisure and money for photography. Another historical moment for photography was the increase in popularity in going on holidays. With the invention of motor vehicles, people wanted to bring cameras on holiday to have memories of where they have been. With the coming of the First World War, families began to buy cameras to record soldiers leaving for the war. Many who were photographed never returned leaving a sad statement in family albums from the twentieth century. Images from a post WW2 world are described as “Part of our lived experience and hint at meanings which are tantalisingly within our grasp”. In my own study I will show images from the lifetimes of my parents and grandparents but also my lifetime. I will arrange the images like a timeline starting from the lives of my distant relatives and then to current day.
Powerful Photography
“Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution”. Ansel Adam’s quote about powerful photography provides an insight into both people and photography. Everyone is different from everyone else and the way we perceive and consume messages and information is different. One image may have a different meaning to one person versus another and one image may resonate more with one person than with another. Power in relation to photography can be to do with the power of the medium of photography to communicate important and personal messages or, it could be to do with the construction of a powerful image. Research into the construction of a ‘powerful image’ gave me a few important things that if done correctly, will help create power in photography.
Subject
The first important thing is a subject. The subject has to resonate with the people looking at it and needs to make us intrigued. For example, who is this? Where are they? Why are they there? Etc. The subject doesn’t need to be a person, it could be a building, animal or scene of nature but whatever it is, it must connect to the audience for a reason. This could be mystery, beauty, danger or love etc. Alone, the subject doesn’t make an image powerful however in sync with other factors will make an image powerful.
Framing
Next is framing. If an image has a good, powerful subject but incorrect framing the proper meaning will not be understood. With framing, it is important to frame using theories such as the rule of thirds and photo geometry in mind. This creates a strong composition for an image making it clear for people looking at it what story and meaning you are trying to tell.
Moment
The moment a photo is taken is vital in creating a powerful photography. In a powerful photography you see an image capturing an expression like a smile, the wind blowing a piece of rubbish or a child’s first steps. The moment is seen as powerful in images such as an endangered animal, a lightning strike or shooting stars. It is so effective and powerful because you have captured a rare event which is there for one moment and gone the next.
Lighting
The lighting is crucial to an image as it creates a sense of mood, drama and emotion. The way light illuminates a certain part of an image tells a story. For example, If the lighting in an image of new-born baby is constant, messages aren’t portrayed however if there is low light except a ray of light only on the baby, it creates another message.
Emotional Impact
Finally, emotional impact is the final factor to help create powerful photography. The emotional impact is the overall outcome of all the other factors put together. This is different for everyone as people perceive messages differently however, the combination of the other factors no matter who it is will create an emotional impact. They could laugh if the image is funny or cry if the image is sad.
Powerful Meanings
The other way power is used in photography is in the construction and contribution of meaning. Images alone can be powerful however become ultimately ‘powerful’ when used in the right place. Images with powerful meanings have been used for many years and a good example of one of the first examples of this is propaganda. Propaganda has been used throughout the 20th century in the many Wars that occurred. It was used to provide information usually of a misguided nature to fuel a certain political agenda. Propaganda has been used in the First World War and famously by Hitler to lay a base for his rise to power in the brink of World War Two. Propaganda was also used during the Cold War by Soviet Russia and famously in the writings of George Orwell in his Novels Animal Farm and Nineteen Eighty-Four.
Another example of photography with powerful meaning is the variety of images published by National Geographic. Nat Geo is an American monthly magazine which contains photojournalism and is one of the most read magazines of all time. It was founded in 1888 and began publishing photos in 1905. During the Cold War, it presented messages of a balanced view of physical and human geography. Years later, it now presents messages and stories on conservation and environmental and social issues. Nat Geo published a story with it’s 21 most compelling images of the 21’st century containing the most compelling and important stories. I will look at the images and choose a few of my personal favourites and explain why I believe they prove the fact that photography is a powerful medium of expression.
The photo above was the most compelling image from 2001. The photo shows the moment the second plane hit the second World Trade Centre. The photo is powerful because it is so raw and documentative. You can see the dark outline of the plane heading towards the second tower amongst the plumes of smoke coming from the first tower.
The photo above was taken in 2007 and shows the murder of mountain gorillas. At the time, there was only around 720 mountain gorillas worldwide and the image shows one of seven murders in the Democratic Republic of the Congo’s Virunga National Park. Nowadays, the Gorillas remain endangered due to the habitat loss and climate change. The photo is powerful because of the messages brought with it.
The photo above was taken in 2018 and shows the final moments of the last male northern white rhino before it passed away. The species was driven to extinction by poachers who hunted them for their horns. There are currently two remaining individuals who are both females meaning that after they die, the species will go completely extinct. The photo is very powerful as it shows another example of when the human species completely disrupted an ecosystem.
The last photo was taken in 2020 and shows the international backlash after the death of George Floyd. It shows how protestors came to the streets to protest over the police brutality and pushed for the removal of Confederate statues of those who fought to preserve slavery. Around the world statues were defaced with symbols and messages to spark the removal of these statues. The statue in the photo above was transformed from a memory of slavery into a memorial for George Floyd and BLM. The photo has power in the form of messages of BLM and also in the form of a community that stand and fight together to get recognition for their cause.
Dear Photograph
Dear photograph is a photo project that began in May 2011 and was created by Taylor Jones. Jones was born in Canada and started the project when looking at family albums. His brother happened to be sitting in the exact spot he had been sitting years before and Jones grabbed his camera and took the first “Dear Photograph” image. There is a crudeness to holding a picture with one hand and photographing it with the other. Jones allows people to send in their own photos in his style which he publishes on his blog with a little paragraph. The paragraph starts with ‘Dear Photograph’ as well as a message from the person that made it. The message is personalised and has a strong meaning for the person who wrote it. I like the message Taylor Jones’s style of photography brings. It connects the original image and the people in it with the recreation and staging of the image. There is a lot of importance in going back to where a loved one has been and doing the same as them many years later. I like the contrast of the retro image versus the new background image. I think it provides a story and extends the scene that the subject is originally in. I could apply this to my project by getting the photos taken in Jersey and holding the original in front of where it was taken. I believe this could be a good way to show family and how I am walking In my ancestors footsteps.
John Clang
John Clang is a Singaporean visual artist and photographer who explores issues such as identity, memory and longing. I will specifically look at his project “Being Together” as it is a way to bring families together who aren’t able to be there in person. This can be due to long distance issues or family members who are no longer alive. Clang described this as being dis (membered) by time and space. He creates emotion in his work and says that when a family sees images of them all together, it brings them closer and goes beyond the two-dimensional medium it was originally captured on. I like the way he projects families onto walls and positions other members so that they can be part of the family photo. It is a good way to get a ‘family photo’ when some members of the family are across the world or have passed away. I could project images of my distant family next to my actual family and edit us all together. This could be a good way to show family as a whole instead of smaller groups together.
Chris Porsz
Chris Porsz is an English photographer who has recently recreated hundreds of images he originally took in the 1970’s and 80’s. He tracked the people and places in the photos down and created his book called “Reunions”. His method of taking photos is quite unique. He gets an old black and white photo and takes a new colour one with the same people at the same place. The contrast between the old photos and the new photos shows the improvement in technology from the old, grainy black and white image versus the new, detailed colour image. I could apply this to my project and recreate images taken by my grandparents in Jersey and in England and contrast them together making a series of images like a before and after.
My Project
So far in my project, I have gone to see my relatives to get photos, documents and objects to construct a timeline of my family. I have scanned images from of my Mum, Dad, Grandads and Grandmas and my Great Grandparents. I have images that I will use to create a story of where my family came from and how I exist. Below are some images I have scanned in.
As well as scanning in family images, I also scanned the dates and names of people in the images. With these I can get a good understanding and layout of what my timeline of photos will eventually look like in the photobook.
Conclusion
In conclusion, power in photography is very common however creating power is difficult but when done correctly is very successful in telling stories and giving opinions. The definition of power is something that has the capacity or ability to direct or influence the behaviour of others or the course of events.
Photos can also influence people easier if they are directly connected to them for example, family photographs. My family would think that images that show my history which involve them have power to them however a random person my not be affected the same way.
I believe there is a lot of power in recreations of photos that were taking of my family many years before. It shows a close connection between myself and my family and brings me closer to some family members who I could not meet.
For my first shoot I went to speak to my Grandmother who keeps good records of out family history. I looked at the images and chose the ones which are important to where I come from and my family. I then scanned in and cropped the images so they are ready to edit.
Using these images I can now create a timeline using the dates of images I have also scanned in.
I created a new mind map shown above. I mentioned points about friends, community identity and family. I highlighted family as I believe that is the route I would like to go down for my personal project.
Statement Of Intent
What do you want to explore?
I want to explore the idea of identity being a combination of your personality and the history of your family that came before you. I want to go into the idea of influence from different places/ people and how it defines who you are. I want to look into my personal family history and who I actually am as I think bringing myself closer with my history will give me a better understanding of the person that I am.
Why it matters to me?
This matters to me because I love history generally so looking into my family history is of great interest to me so that I can find out what kind of lives my close and distant relatives lived. It would be interesting to find out what parts of the world they come from and the struggles they may have experienced and overcome.
How do you wish to develop your project?
I want to use some of my favourite photography techniques with my project including photomontage, black and white photography, candid/ portrait and landscape photography. I will also make the photos vintage looking so they fit with the idea of family history and look as if my photo-book is an old family photo journal.
Two photographers I want to look at are Daniella Zalcman and Patrick Zachmann. They both look at the idea of family identity in two different ways but their methods are both unique.
Daniella Zalcman – Signs of your identityPatrick Zachmann
When and where you intend to begin your study?
I intend to start my project by speaking to my Grandmother who in the past has looked into our family history. I want to take photos of some of the documents/ old photos she has and try and recreate them or photomontage them.
Key Characteristics/ Methods and Techniques : They wanted to create something that looked like it was hand made and resembled art. Pictorialism reacted against mechanization and industrialisation. The manipulated images by scratching the negatives to give the images texture, used chemicals on the negatives and put Vaseline on the lenses.
Artists Associated :
Alfred Steglitz
Alphred Stieglitz (January 1, 1864 – July 13, 1946) was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an accepted art form. In addition to his photography, Stieglitz was known for the New York art galleries that he ran in the early part of the 20th century, where he introduced many avant-garde European artists to the U.S. He was married to painter Georgia O’Keefe
Julia Margaret Cameron
Julia Margaret Cameron (née Pattle; 11 June 1815 – 26 January 1879) was a British photographer who is considered one of the most important portraitists of the 19th century. She is known for her soft-focus close-ups of famous Victorian men and for illustrative images depicting characters from mythology, Christianity, and literature. She also produced sensitive portraits of women and children.
Realism/ Straight Photography
Time Period : 1900 – 1940 mainly 1930
Key Characteristics/ Methods and Techniques : Straight/ realism photography was based on photographers belief in intrinsic qualities of the photographic medium and how it provided records of the world. The photographers strove tyo make photographic pictures instead of paintings and treated it as something away from drawing or painting. Realism was linked to the idea of photography growing up with a close relationship to reality and the ability of the camera to record a moment in time from the real world. The way a photo was taken shows the way the photographer looked at the world and why they chose to photograph it
Artists Associated :
Paul Strand
Paul Strand (October 16, 1890 – March 31, 1976) was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. In the 1930s, he helped found the Photo League. His diverse body of work, spanning six decades, covers numerous genres and subjects throughout the Americas, Europe, and Africa.
Walker Evans
Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer and photojournalist best known for his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression. Much of Evans’s work from the FSA period uses the large-format, 8×10-inch (200×250 mm) view camera. He said that his goal as a photographer was to make pictures that are “literate, authoritative, transcendent”. He is also credited as one of the leading American documentary photographers of the 20th century.
Modernism
Time Period: Early 1900’s – late 1960’s
Key Characteristics/ Methods and Techniques: Early modernity is characterised intellectually by a belief that science could save the world and that, through reason, a foundation of universal truths could be established. The common trend was to seek answers to fundamental questions about the nature of art and human experience. Modernity imbue all aspects of society and are apparent in its cultural forms including fiction, architecture, painting, popular culture, photography. By the beginning of the 20th century, with the diffusion of illustrated magazines and newspapers, photography was a masscommunication medium. Photojournalism acquired authority and glamour, and document like photographs were used in advertising as symbols of modernity
Artists Associated:
Margaret Bourke-White (1904-71)
Margaret Bourke-White (June 14, 1904 – August 27, 1971), an American photographer and documentary photographer,became arguably best known as the first foreign photographer permitted to take pictures of Soviet industry under the Soviets’ five-year plan, as the first American female war photojournalist, and for having one of her photographs (on the construction of Fort Peck Dam) on the cover of the first issue of Life magazine.
Ansel Adams
Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating “pure” photography which favored sharp focus and the use of the full tonal range of a photograph
Post Modernism
Time Period: second half of 20th century
Key Characteristics/ Methods and Techniques: Post Modernism was created by the criticism of the international style of modernist architecture. They criticized it for being too formal, austere and functional. Postmodern architects felt that international style had become a repressive orthodoxy. It had been adopted by the corporate world and exploited at the expense of its social vision. Postmodernist architecture uses more eclectic (various) materials and styles with greater playfulness. Parody of earlier styles is a dominant postmodern trait. Another is the refusal to develop comprehensive theories about art, architecture and social progress.
Artists Associated:
Jeff Wall
Jeffrey Wall (born September 29, 1946) is a Canadian artist best known for his large-scale back-lit Cibachrome photographs and art history writing. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum, and Ian Wallace. His photographic tableaux often take Vancouver’s mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.
Sam Taylor-Wood
Samantha Louise Taylor-Johnson(Taylor-Wood; 4 March 1967) is a British filmmaker and photographer. Her directorial feature film debut was 2009’s Nowhere Boy, a film based on the childhood experiences of the Beatles songwriter and singer John Lennon. She is one of a group of artists known as the Young British Artists.
