Chapter 2 focusses on artists who tell stories with their photographs. Either as retellings of pre-existing stories, or artwork or more open ended narratives. This type of photography is also referred to as 'tableau'.
Philip-Lorca diCorcia appears in this chapter also for his work where he essentially creates scenes or stories for real life characters he works with.
In many instances the photographs involve significant setup and involvement from large teams of people. Gregory Crewdson would appear to be one of the most extreme examples of this, with highly complex, elaborate and extremely engaging and engrossing sets.
However, there are notable exceptions to this. Christopher Stewart shot a series which appear to be staged but aren't setup at all. As such I don't really get why his work is included in this chapter? Interestingly, his shot included in the chapter is probably my favourite of the chapter....
The story telling often gives the photographs a fabled aspect and there are common themes at play such as childhood, religion. But these themes are often dealt with in an ironic and/or dark way.
The photographs don't seem as pointless as I found some to be in the first chapter, but I still struggled to find many photographs that really grabbed my attention. However, this may be partly due to the size of the photographs in the book (the technical aspects of presenting the work to the viewer including context, format, surface and size are clearly considerations for the artists), and also the fact that only 1 shot of each photographer is included. I think I need to study some of them a bit more closely to see if I get more from them on closer inspection.
Amend - 24/11
Started trying to read a bit more about Jeff Wall who is quoted as being a major proponent of tableau photography. I came across an article in a series called "Best Shot" in the Guardian (http://www.guardian.co.uk/artanddesign/2010/may/05/photography-jeff-wall-best-shot). It's an interview with Jeff Wall where he talks about his (you guessed it,.... ) best shot.
The photograph to me looks quite unassuming. Candid even. But it was actually planned for over a year. The room was created specifically for it and it was taken at a specific time of year. One of the women in the shot does live in the flat, but only because she was asked to do so by the photographer.
There is not much in the article which would seem to state why Jeff Wall thought the shot was noteworthy, other than that it was evolved through a fairly open ended (but still constructed), creative process. So is the preperation rather than the shot, the point? I'm not sure.
I also tried to find more on Christopher Stewart (it was surprisingly difficult to find much information). The shots I did find all had the same staged feel, even though they actually weren't. However, I guess it depends on what is meant by staged? If the subjects are being themselves, doing what they would be doing even if the photographer was not there, is it staged? But we all behave differently if we know someone is about to take a photograph.
Tom Hunter takes photographs tell (or recreate), stories about the people around him in Hackney. If I understand correctly he wants to imbue the people with a sense of value, beauty, character and even reality which the mainstream press and it's reportage photography was robbing them of. A lot of his work recreates classical scenes in order to help this strategy.
I don't really see how Rut Blees Luxemburg's work fits into the tableau genre. There doesn't seem to be anything particularly constructed here and as the shots are usually without people and often without anything that could be considered a prop, I'm not sure how she fits in. However, her nighttime photography does have a subtle narrative quality to it - but more than that of most other photographers? I'm not sure. Irrespective, I find a number of her shots quite compelling
Thursday 22 November 2012
Wednesday 21 November 2012
The Photograph as Contemporary Art - Chapter 1
Following feedback from my tutor I thought it would be worthwhile doing an entry each time I complete a chapter of whatever book I'm reading - which at the minute is The Photograph as Contemporary Art by Charlotte Cotton.
The first chapter is titled 'If this is Art'. It focuses on artists who actively construct their subject matter (almost like stage sets), specifically so that they can then photograph it. So that act of creation starts before taking the photograph. So this is the polar opposite of Cartier-Bresson approach. However that's not to say that there is no use of happenstance here - or that there is no aspect of premeditation with Cartier-Bresson.
To be honest, while the ideas behind the photographs are often conceptually quite interesting, the photographs themselves are (to my taste), a bit flat and unexciting. They also often look strangely dated and for want of a better word 'wierd'..... And if not wired then elitist and pretentious (sorry, but a picture of a guy with loaves of bread round his head (Tatsumi Orimoto) is either weird or pretentious - take your pick! While the descriptions of the concepts behind the work are interesting, the photographs lack the same interest. In many instances the photographs just seem to be a way of capturing the artistic act.
There are some exceptions - Shizuka Yokomizo, who photographs people in their houses through their front windows. Her only contact with them prior to this being where she sends them letters to suggest a time when they could stand in front of their window to enable her to take the shot. The shot in the book has an interesting form, composition and lighting. It's presence is increased by an understanding of the concept behind it - the subject is presenting themselves with a confidence, but also a cool, dispassionate distance, which is understandable given the context.
Georges Rousse also has a fascinating concept which produces fascinating photographs (it must also be incredibly difficult to achieve).
Tim Davis' work attempts to portray how consumer brands impose upon domestic suburban life. He does this by shooting the reflections of the signage of well known brands in house windows. He underlines and reaffirms this aspect of contemporary life by photographing many of the same subjects. However, I'm a bit unclear as to how this fits in with the idea of the photographer creating the stage - if I'm understanding correctly Davis seeks out these subjects rather than constructs them.
Philip Lorca-diCorcia was also included in this chapter. I've written about him separately.
Overall there interesting concepts at play here, which sometimes translate into interesting photographs. And the principals behind this kind of photography is something which I've not come across much so was interesting to read.
The first chapter is titled 'If this is Art'. It focuses on artists who actively construct their subject matter (almost like stage sets), specifically so that they can then photograph it. So that act of creation starts before taking the photograph. So this is the polar opposite of Cartier-Bresson approach. However that's not to say that there is no use of happenstance here - or that there is no aspect of premeditation with Cartier-Bresson.
To be honest, while the ideas behind the photographs are often conceptually quite interesting, the photographs themselves are (to my taste), a bit flat and unexciting. They also often look strangely dated and for want of a better word 'wierd'..... And if not wired then elitist and pretentious (sorry, but a picture of a guy with loaves of bread round his head (Tatsumi Orimoto) is either weird or pretentious - take your pick! While the descriptions of the concepts behind the work are interesting, the photographs lack the same interest. In many instances the photographs just seem to be a way of capturing the artistic act.
There are some exceptions - Shizuka Yokomizo, who photographs people in their houses through their front windows. Her only contact with them prior to this being where she sends them letters to suggest a time when they could stand in front of their window to enable her to take the shot. The shot in the book has an interesting form, composition and lighting. It's presence is increased by an understanding of the concept behind it - the subject is presenting themselves with a confidence, but also a cool, dispassionate distance, which is understandable given the context.
Georges Rousse also has a fascinating concept which produces fascinating photographs (it must also be incredibly difficult to achieve).
Tim Davis' work attempts to portray how consumer brands impose upon domestic suburban life. He does this by shooting the reflections of the signage of well known brands in house windows. He underlines and reaffirms this aspect of contemporary life by photographing many of the same subjects. However, I'm a bit unclear as to how this fits in with the idea of the photographer creating the stage - if I'm understanding correctly Davis seeks out these subjects rather than constructs them.
Philip Lorca-diCorcia was also included in this chapter. I've written about him separately.
Overall there interesting concepts at play here, which sometimes translate into interesting photographs. And the principals behind this kind of photography is something which I've not come across much so was interesting to read.
Saturday 17 November 2012
Bob O'Connor
Again, can't remember where I came across Bob O'Connor, but a lot of him images have the design qualities that I'm looking out for (http://www.boboconnor.net/).
I've picked out some of my favourites below.
Diagonals which almost form 2 triangles. And the vertical stripes create a nice rhythm along the lines.
This next one is all about the curves.
The hats here create multiple points which are actually creating an implied triangle which leads the eye along their route.
This is one of those shots which made me laugh, but I've not got a clue why! It has a great precision to it. I won't point out the obvious, horizontal line, triangle and curve.....
The pattern of the boxes is broken by the point of the man.
The dolphins provide some subtle curves, but also a triangle. The 2 collections of chairs have a circular as well as triangular nature. I think the shot is also helped by the vertical bar - without it the top and bottom half may not cohere very well and the shot may look a bit too simple(?). Of course the photographer couldn't really avoid it anyway....
I've picked out some of my favourites below.
Diagonals which almost form 2 triangles. And the vertical stripes create a nice rhythm along the lines.
The diagonals of the lights pull you into the shot, the triangles under kind of spread you across the pattern created by the chairs.
This next one is all about the curves.
The hats here create multiple points which are actually creating an implied triangle which leads the eye along their route.
This is one of those shots which made me laugh, but I've not got a clue why! It has a great precision to it. I won't point out the obvious, horizontal line, triangle and curve.....
The pattern of the boxes is broken by the point of the man.
The dolphins provide some subtle curves, but also a triangle. The 2 collections of chairs have a circular as well as triangular nature. I think the shot is also helped by the vertical bar - without it the top and bottom half may not cohere very well and the shot may look a bit too simple(?). Of course the photographer couldn't really avoid it anyway....
Ineke Key
Ineke Key shoots landscapes in the Netherlands. His shots are panoramas in order to show breadth of the horizon and also the contrasting halves/parts of the landscape. I found his shots very interesting and unique (http://www.lensculture.com/key.html?thisPic=2).
The above shot is spliced in 2 by the vertical line created by road barrier. The road is strong diagonals and subtle curves. The suburban/country half is less structured, with the delicate patterns of the leaves and the smaller diagonals, curves and verticals of the house and path.
Another vertical devides the shot (the girl and path). The running figures produce movement and imply a curve.
Again, there are 2 distinct halves to this shot. Divided by the curve of the road and it's shadow. The diagonals of the house provide movement which is stopped in it's tracks by those verticals under the road.
The above shot is spliced in 2 by the vertical line created by road barrier. The road is strong diagonals and subtle curves. The suburban/country half is less structured, with the delicate patterns of the leaves and the smaller diagonals, curves and verticals of the house and path.
Another vertical devides the shot (the girl and path). The running figures produce movement and imply a curve.
Again, there are 2 distinct halves to this shot. Divided by the curve of the road and it's shadow. The diagonals of the house provide movement which is stopped in it's tracks by those verticals under the road.
Inaki Bergera
Not sure where I came across the below photograph by Inaki Bergera, but it kind of took my breath away.
There is an amazing balance to the shot. A strong horizontal line, stopped in it's tracks by a small precise vertical and a number of glorious sweeping curves. And the tones are really muted which add to the coolness and isolated feeling of the shot.
I took a look at Inaki's website (http://www.bergeraphoto.com/). He's very prolific and has a large number of series, all with a graphical architectural bent. I've included a few below which I liked and think are most relevant to this part of the course.
The diagonal lines have great movement here. The rectangle of the building is presented at an angle which create even more diagonals.
More diagonals this time - but these intersect and link with the horizon to create an implied triangle. The stop sign provides a nice regular shape as well - the fact that it says "stop" also catches the eye.
This shot is wonderful selection of lines - horizontals, verticals, diagonals.
One big curve which is pierced by a triangle.
The rectangles and the perspective this creates kind of imply a diagonal line. And there are also implied triangles on the left. The bricks also provide a very dense pattern.
There is an amazing balance to the shot. A strong horizontal line, stopped in it's tracks by a small precise vertical and a number of glorious sweeping curves. And the tones are really muted which add to the coolness and isolated feeling of the shot.
I took a look at Inaki's website (http://www.bergeraphoto.com/). He's very prolific and has a large number of series, all with a graphical architectural bent. I've included a few below which I liked and think are most relevant to this part of the course.
The diagonal lines have great movement here. The rectangle of the building is presented at an angle which create even more diagonals.
More diagonals this time - but these intersect and link with the horizon to create an implied triangle. The stop sign provides a nice regular shape as well - the fact that it says "stop" also catches the eye.
This shot is wonderful selection of lines - horizontals, verticals, diagonals.
The rectangles and the perspective this creates kind of imply a diagonal line. And there are also implied triangles on the left. The bricks also provide a very dense pattern.
A very obvious, bold circle here, with a delicate patter underneath it.
Part 2 - summary
I've kind of struggled with this part of the course. I had great gusto when I started, but attacked things in a bit of a disjointed manner. I also set my expectations too high as to how quick I could finish this part - especially when I suddenly got really busy with work and so hit a brick wall and haven't really done anything at all for about 3 weeks.
So before I start the actual assignment I wanted to make a few notes on the subjects covered in the part.
Points
Small and in contrast to a relatively plain background. Can be created by lighting alone. Draws the eye strongly. Movement - the dynamic is created by drawing attention from the side of the frame to the point. Division - the point acts like a division, horizontally and vertically.
Multiple points
Results in multiple lines of movement and multiple points of division. Balance can be difficult to maintain, as can a sense of cohesion.
Lines
Depend on contrast. Can be by implication - need only a few points to imply a line. Relate to the frame.
Horizontal lines
Act like a base. Are static.
Vertical lines
More movement. More confrontational to the viewer.
Diagonals
Created by viewpoint, perspective, angle. Emphasises by wide-angle lenses. Greater sense of movement - contrast more with the frame. Physically unstable. Important in determining movement of eye within the frame.
Curves
Movement. Similarly to diagonal but more graceful.
Implied lines
Eye lines. Extension of a line. Continuation of movement.
Shapes
Shapes are both outline and enclosure - dependent on subject and lighting.
Regular shapes are more dominant in composition than irregular.
Contrast determines the strength of the shape.
Definable shape organises a picture. Encloses. Groups. Provides coherence.
Triangles
Dynamic - partly due to pointing and partly due to 2 diagonals. 2 sides willy imply a 3rd.
Perspective also plays a part.
Can be implied. 3 points will always produce a triangle.
Rectangles
Relate to the shape of the frame. Often man made. Less implied. Less imaginative. But demand precision - from an angle the perspective creates a trapezoid.
Circles
Hard to find. But is the tightest and most compact.
Rhythm and Pattern
Repetition creates a Visual beat.
Rhythm - movement across a picture
Pattern - essentially static, covers an area
So before I start the actual assignment I wanted to make a few notes on the subjects covered in the part.
Points
Small and in contrast to a relatively plain background. Can be created by lighting alone. Draws the eye strongly. Movement - the dynamic is created by drawing attention from the side of the frame to the point. Division - the point acts like a division, horizontally and vertically.
Multiple points
Results in multiple lines of movement and multiple points of division. Balance can be difficult to maintain, as can a sense of cohesion.
Lines
Depend on contrast. Can be by implication - need only a few points to imply a line. Relate to the frame.
Horizontal lines
Act like a base. Are static.
Vertical lines
More movement. More confrontational to the viewer.
Diagonals
Created by viewpoint, perspective, angle. Emphasises by wide-angle lenses. Greater sense of movement - contrast more with the frame. Physically unstable. Important in determining movement of eye within the frame.
Curves
Movement. Similarly to diagonal but more graceful.
Implied lines
Eye lines. Extension of a line. Continuation of movement.
Shapes
Shapes are both outline and enclosure - dependent on subject and lighting.
Regular shapes are more dominant in composition than irregular.
Contrast determines the strength of the shape.
Definable shape organises a picture. Encloses. Groups. Provides coherence.
Triangles
Dynamic - partly due to pointing and partly due to 2 diagonals. 2 sides willy imply a 3rd.
Perspective also plays a part.
Can be implied. 3 points will always produce a triangle.
Rectangles
Relate to the shape of the frame. Often man made. Less implied. Less imaginative. But demand precision - from an angle the perspective creates a trapezoid.
Circles
Hard to find. But is the tightest and most compact.
Rhythm and Pattern
Repetition creates a Visual beat.
Rhythm - movement across a picture
Pattern - essentially static, covers an area
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