Georgia Grieve | Ikea Drawings
KATE BINGAMAN BURT
Christoph Niemann • Abstract Sunday • He is also featured on the Netflix show, Abstract
On Kawara | Twitter |
Georgia Grieve | Ikea Drawings
KATE BINGAMAN BURT
Christoph Niemann • Abstract Sunday • He is also featured on the Netflix show, Abstract
On Kawara | Twitter |
One artist that really interested me is Roger Newton. He is a photographer who creates large abstract images and whose determination to create nonrepresentational work has lead him to create his own camera, lenses and film. He originally became interested in photography when he was attending art school in New York during the 1980s. It was during this time he discovered the pinhole camera and was at once drawn to the blurry and unpredictability of the images created. He would eventually go on to make numerous pinhole cameras eventually branching out to create lenses made of mineral oil, corn syrup, water, glycerin, or other refracting liquids. At one point taking a break from his photographic practice in order to research and develop the kind of black and white film he desired (Margarett, 2001). In his artist statement Newton goes to say that, “by designing and fabricating my own lenses I can control the quality of the light collected, the size and shape of the image field, and the colors in the scene. This allows me to work more directly with fundamental problems in the processes of seeing and perception, and ultimately the ontological problems of the thing and or scene depicted” (Foundation for Contemporary Arts, n.d.). He fabricates his photographs by layering up various liquid substances to create a lens. The lens purposely made to “exists out of the normal range of our visual faculties”. To reject standard photographic imaging systems and photography as a medium of representationalism. Instead focusing on the optical experience of looking.
It is Newtons rejection of photo-representalism and focus on the methods of imaging making that interests me when looking at my own idea for the final project. The reason I say this is because for this project I will be continuing my role as art researcher, and focusing on unearthing photographic practices; removing all subjective interpretations and limiting definitions. Instead focusing on the facts, presently that means understanding photography as the use and manipulation of light to maintain an image. An image which as author and curator Lyle Rexler points out isn’t always based on realism (Rexer, 2013) . With this definition in mind I intend to conduct several experiments ones which like Newton’s will circulate around methods of light manipulation to produce what can be describe for all intensive purposed as undisclosed images. Always keeping in mind my definition of photography and excluding anything from this experiment which would distract or hinder it. A second reason I am interested in Newtons work is that his use of liquids to create lenses has given me another possibility to consider in my own experimentation and manipulation of light for this project. Other methods/ elements I’m looking at include (but not limited to); types of light sources, the chemical composition of types of light and things that give off light, Photographic paper manipulation, reflection/ refraction, filtered light, aperture, shutter speed/ exposure, light wave lengths, energy, Inference of light.
Foundation for Contemporary Arts. (n.d.). Roger Newton. Retrieved from Foundation for the Contemporary arts web site: http://www.foundationforcontemporaryarts.org/recipients/roger-newton
Margarett, L. (2001, June 8). Photography Review; Reinventing the lens for large abstraction. The New York Times.
Rexer, L. (2013). The Edge of Vision: The Rise of Abstraction in Photography. New York: Apature.
Vik Muniz is a brazilian artist and photographer who has a background as a sculptor. His art pieces are generally made with non traditional materials within photography which create that sculptural component within his images. He usually works in series and his images range from being constructed of thread, chocolate syrup, garbage et. His goal is to create bold, ironic and deceiving imagery that references pop culture, art history or political comments. His work has been met with both commercial success and critical acclaim, and has been exhibited worldwide.
Muniz often works in large scale format but then destroys the originals of his work so the only thing that is left is photographic evidence. He uses his photography as documentation because it creates the vantage point in which mimics the way he saw the piece in the first place. He has spoken of an interest in making these pictures so that “reveal their process and material structure”, of the artwork he makes.
Two works of interest are his Earthworks series and Waste Land. In his Earthworks series, it resembles what the movement did in the 1970s in relation to doing on location type work however, he brings forth cultural and historical references within the images like the Nazca lines from the Inca Civilization in Peru.
In Waste Land, the documentary presents men and woman who pick through garbage as an occupation. He tries to take this act of garbage-picking and assemblage of recycling and turns art into a more accessible experience through the use of common materials. His belief being, the art world should not be just for the elite. He states in the documentary that, “at this point in my career where I’m trying to step away from the realm of fine arts because I think it’s a very exclusive, very restrictive place to be. What I want to be able to do is to change the lives of people with the same materials they deal with every day.”
Two elements that I wish to take from Muniz’s M.O. are addressing the human impact with nature and with things or situations that people see or deal with every day. I want to demonstrate human impact whether it is subtle or extreme. I think that with people interacting with their environment is one thing but the impact with other people is a lot fiercer and apparent in modern day society. This demonstrate of every day common gestures or materials can be as simple as a cell phone or a tree, or as complicated as the food that we eat and throw away.
Sources and Links:
About The Artist:
Micheal Paul Smith is an artist whose work concerns small toys in the place of real life objects, therefore, making realistic scenes through the use of plastic toys and thoughtful placement. He then photographs these scenes in a way that makes them look very convincing. He makes these photographs by creating a 1:24 scale ratio to recreate everyday scenes from the mid 20th century to -mid 60s America.
How did it begin?
Smith started off with an interest in making scale models of objects as well as an interest in photography. This combination later grew into something magical. He used his sculptural skills and photography skills to create convincing photographs of olden day scenes. Smith wanted to recreate the town in which he grew up in which was a town in America in the 20th century to mid 60s. His work is not an exact replica of the town he grew up in but it does what he wants it to do and that is to create the feeling of the town he grew up in and bring back his childhood memories.
How is it made?
The buildings are constructed of resin-coated paper, styrene plastic, and basswood, plus numerous found objects. The vehicles are from Michael’s collection of 300+ commercially produced, diecast models.
These photographs were all made through the use of placement. No Photoshop was used in these images; they’re all composed in the camera. He refers to it as the oldest trick in the special effects book: lining up a model with an appropriate background, then photographing it.
How does his work relate to my work?
I am interested in a similar idea that Smith uses within his work. For my final project I am interested in taking recognizable items/objects, constructing a sculpture and then using photography to make the objects look like much more then they really are. Through photography I will change the reality of the object so it is seen as something different then what it is seen as in person. This relates to Smith’s work because he builds structures and then uses photography to change the structure he built into realistic photographs of a fictional town.
Progress photos vs final photos :
Tim Knowles is a contemporary artist that works in a range of media from photography, video, drawing and light Installations. His work is process oriented and relies heavily on chance. The artist makes his work through the environment and the use of tools and/or mechanisms that he sometimes creates. His work tends to show a lot of emphasis on the recording of a journey or drift. Three of Knowles photographic series/works that provided inspiration was, ‘Night Walks’, ‘Mungo Bush Walk’ and ‘Full Moon Reflections’.
In Knowles series titled, ‘Night Walks’ he created what could be considered a undisclosed scene by illuminating a path at night leaving the rest in darkness. He does this by walking with three wide beam torches, which captures the trace of his journey. He managed to capture this journey with a camera and through long exposures creates a mapped trail of light. This concept of the camera as a tool to captures the environment in a way that would otherwise be impossible to see is interests. This concept is interesting because he uses light in a way that paints a picture. In this series, he does that literally by using a limited light source to only illuminate part of the landscape creating a map of his journey.
In Knowles work titled, ‘Mungo Bush Walk’ he once again focuses on the idea of tracking a journey. This time he does not use light to paint only particular part of the landscape, but instead uses the natural light provided to record his walk-through Mungo National Park. Knowles made this work by removing the lens from a camera and then turned it into a pinhole camera. He also used long exposers to capture motion and then cross-fades the images together creating what he refers to as a, “Turneresque impression of the journey”.
In Knowles series titled, ‘Full Moon Reflections’ Knowles again, like in ‘Night Walks’ and ‘Mungo Bush Walk’ uses long exposer to capture something in nature that would not be possible to see without the camera. This work shows something that is ordinary, something that people understand and at the same time creates this new perception of it through photography. This series presents the reflection of the moon on a slow even flowing body of water. This completely alters the reflection through movement and time into something that is unrecognizable. This is an import concept because it challenges the notion that photographs are thought of as a reproduction of reality. Even though these photographs present the moons reflection, the viewer is presented with something that is not recognizable as the moons reflection. It is instead a trace of the moon distorted by reflection, movement, light and time. The result is a photography that presents the viewer with an image of a common theme recorded in a way that give the viewer a new visual experience.
By using the camera through experimental processes such as long exposers and altering the physical aspects of the camera, Knowles can use the camera as a tool to capture scenes in nature that would be impossible to see otherwise. His photographic works are an inspiration because I am fascinated with the possibility to be able to capture photographs that present an image that is otherwise not visible through the human eye. For my final project, I am experimenting with the idea that light both creates and destroys images through long/multiple exposers. By using multiple exposer, I will be able to create single photographs that contain multiple images that begin to destroy themselves as they are being created. In relation to this concept I am attempting to create this record of daylight. Each photograph will be containing its own individual scene, but through multiple exposure I will be able to capture that scene multiple times at different times of the day.
The idea for my final project will stem off of Experiment #1: What is colour. Through this project I identified colour as a tangible object, that I was able to manipulate through photographic digital media. I would like to continue this experiment in order to develop a technical, and conceptual focus through the use of digital, and analogue practices. Inspiration has been identified from the following four artists: Jessica Eaton, Keith Rankin, Holly Roberts, Alex Mcleod. I found that each artist has contributed to my idea appropriately, and operate through a range of different photographic elements. I am interested in creating conflicting environments, subjects, and objects in my composition, which will contradict their physical spaces in their environments.
These are the images that were produced previously for Experiment #1
I hope to create surreal images based off the influences below.
Photographer and artist based in Berlin who focuses on geometric abstraction and minimalistic compositions. His shots are often made up of one or two colours or elements and are of every day scenes, mostly architecture.
In his latest series Some Thoughts on Composition he states, “Whereas I think that these “rules” can be a useful guide for the beginner, I think that strictly following them (as suggested by the term “rule”) can seriously impede your success in finding interesting angles, interconnections, and the true character of a picture”. Relates to how I try to come up with new ideas, ignore rules in order to get better sense of certain aspects of a medium.
Photogrist stuff. (2016). Geometric Abstraction and Minimalistic Compositions by Julian Schulze. Retrieved from https://photogrist.com/geometric-structures-julian-schulze/
DL Cade. (2017). 13 Beautiful Examples of Minimalist Photography by Julian Schulze. Retrieved from https://petapixel.com/2017/04/26/beautiful-examples-minimalist-photography-julian-schulze/
Julian Schulze. (2017). Julian Schulze Photography. Retrieved from https://www.julianschulze.com/work/
THINKING ABOUT A SENSE OF PLACE
The Joys of Commuting
Sebastião Salgado, Churchgate is the terminus station of the Western railroad line, built by the British; the railroad system covers much of India. The trains are notorious for being dangerously overcrowded, 1995 (2007.6.1)
Nine Eyes of Google Street View
And finally, a good use of social media:
March 2nd 2014: A reported drone strike killed three in the village of Al-Shabwan, 5km from Marib, while travelling in or sleeping near their vehicle. #drone #drones #yemen (at Erq al-Shabwan, Marib Province)
Andrew Wright | Artist website |
Scott McFarland | Artist website
Isabelle Hayeur | Artist website
Letha Wilson | Artist website
AMY STEIN | Domesticated | npr slide show |
(The new photo collage)
Riita Paivalainen | River Notes
Janne Lehtinen | Sacred Bird
Matthew Brandt is an American artist, born in Los Angeles, California in 1982; and is known for creating large-scale photographs through “labour-intensive processes” that elicit the origins of 19th century photography. The question Brandt most often refers to in his art is the questions of “What is a photograph?” A question we are very familiar with from our class work. Brandt calls his approach, “A little bit messy and experimental”, as he believes that in order to create distinctive images, he must first separate his work from the rest. His approach often incorporates the use of found materials from the locations in which he captures his images to further represent what he sees in front of him. This is evident in his series “Lakes and Reservoirs” (2011). Experimentation is a notion Brandt is familiar with as he states, “Only through experimentation can you arrive at something new” (Paginton, 2011).
Matthew Brandt has showcased works throughout the United States as well as Europe, and in November 2016, produced his third solo show at the Yossi Milo gallery titled, “Night Skies” (2016). Often combining methods of image-making, such as painting, silkscreen and photography, Brandt successfully creates innovate and experimental pieces that capture the attention of the viewer. Methods of alternative photography are often used by Brandt, as in his series, “La Brea” (2014), where he explored archeological subject matter through the use of a heliograph. (What is a heliograph?)
I am drawn to the work of Matthew Brandt because similar to him, I often use outside materials as a way of physically altering film to convey meaning. In my personal practice, I frequently manipulate the physicality of the image to further enhance the message, and question “what really is a photograph?” and “when does an image stop being a photo?” I enjoyed reading about Brandt’s similar approaches and am interested in his use of alternative photography as a way to create images.
Technically, Brandt uses a wide range of materials and resources to create his works as a way of deepening the meaning and relationship between the piece and the message it is trying to convey. Through the incorporation of natural material, Brandt is also able to create a unique relationship that physically connects the image to the place. Conceptually, Brandt is attempting to create a physical connection between photo and place, and examines the overall notion of photographic materiality. Through the intentional destruction of the image, Brandt is undoing the process of photography and ultimately exposing hidden meanings that can exists between the photo and the place. This methodology is something that I would like to try and incorporate in my final project.
Paginton, F. “Matthew Brandt”. Dazed. 2011. http://www.dazeddigital.com/photography/article/11080/1/matthew-brandt
“Matthew Brandt”. Artspace. 2017. https://www.artspace.com/matthew_brandt
“Matthew Brandt”. Yossi Milo Gallery. 2014. http://www.yossimilo.com/exhibitions/2014_03-matthew_brandt/
“Process”. Harry Ransom Center. N.d. http://www.hrc.utexas.edu/exhibitions/permanent/firstphotograph/process/
Nikki S. Lee
Robert and Shana ParkeHarrison
Book of photographs–see the book on Vimeo
Using Portraiture and Identity to Explore Queerness in South Africa | from Slate Magazine’s BEHOLD blog
Endia Beal, who told me about her project in which she took white middle-aged women to a hair salon and gave them “black” hairstyles. She then took their photographs in the style of corporate headshots. Her work had a mix of humor and poignancy, a look at both race and gender; it quickly went viral.
“I wanted people that had a certain idea of what you’re supposed to look like in the workspace, because it would be a challenge for them to understand what I experienced in that space,” Beal said. “And to a degree, many young white women have shared that experience, but for older white women it’s an experience they haven’t necessarily had.”