This blog is being made as part of on going academic research post an accredited education programme- MA Photography with Falmouth University
To enter a gallery is a ritualistic experience. Be it a grand neo classical big city national gallery, the ‘cool’ contemporary art version of the former or one of the many chic small galleries that occur in just about every city in the world. Voices lower, steps are taken lightly, lingering, the gaze held reverentially,
“To aesthetise tragedy is the fastest way to anaesthetise the feelings of those witnessing it. Beauty is a call to admiration not action” Ingrid Sischy The New Yorker 09-1991 I found the themes explored this week very interesting, reading Sischys New Yorker article reviewing Salgardos latest show at that time “An uncertain Grace” for the first
‘National Geographic’ Reckons With Its Past: ‘For Decades, Our Coverage Was Racist’ Before I talk about the above quotation it would be useful to provide the question I will attempt to answer, if not all as its a huge question possibly requiring another post, at least in part We were asked to look at how
As part of my experiments with compositing topographical features I wanted to explore the possibilities of subverting well known (and possibly well loved) national architectural or natural icons. Starting with Lady Liberty, surely there can be no better known construction that everyone instantly recognises and whose meaning could be that of great pride, wonder, expectation