This blog is being made as part of on going academic research post an accredited education programme- MA Photography with Falmouth University
The nature of the images for this project means that whilst I am shooting large volumes of donor images final or experimental tableaus will not be numerous. Also I am finding whilst I have the start of many potential constructs the completion images may be some way off and will not be obtained until more
The final week of Informing contexts and wow what a journey! Its been interesting, enlightening, confusing at times but Ive enjoyed it and I do feel like im in a much better place to evaluate and place my own work now as well as images I see elsewhere. As a final exercise we have been
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
This image of Carl Lewis by Annie Liebovitz was shot for a Pirelli ad campaign conceived by London ad agency Young & Rubicon and aired in the 1990s. I love this because not only is it brilliant advertising, it uses a strong visual and has a great line, written by Ewan Paterson, that encapsulates everything
“I suspect no landscape, vernacular or otherwise, can be comprehended unless we perceive it as an organization of space; unless we ask ourselves who owns or uses the spaces, how they were created and how they change. J.B. Jackson My practice I think revolves around the human condition. This is a conclusion thats slowly
“When I first did the book on gasoline stations, people would look at it and say, “Are you kidding or what? Why are you doing this?” In a sense, that’s what I was after: I was after the head-scratching”. Ed Ruscha The intent of my work is really does vary based on the topic or
Katherine Frith likens reading adverts to peeling an onion. She pinpoints three stages to reading adverts: The surface meaning The advertiser’s intended meaning and The cultural meaning. She concludes that ‘advertising only “makes sense” when it resonates with certain deeply held belief systems’ (Frith: 2006: 5). We were asked to choose and ad and
“Photographys plausibility has always rested on the uniqueness of its indexical relation to the world it images, a relation that is regarded as fundamental to its operation as a system of representation. For this reason a photograph of something has long been held to be proof of that things being, even if not of its