Morgan’s post

Final Project

Thomas Ruff, Marco Breuer and Susan Derges



Final Project Presentation: Chelsea Birnie

Performative Portraiture 

Francesca Woodman

Untitled 1975-80 by Francesca Woodman 1958-1981

Untitled, 1975-80, Gelatin silver print, 140 x 140 mm

Space?, Providence, Rhode Island, 1975-1978 1975-8 by Francesca Woodman 1958-1981

Space², Providence, Rhode Island, 1975-1978, Gelatin silver print, 140 x 140 mm


Self-Deceit #1, Roma, 1977-78, Gelatin silver print, 140 x 140 mm

Tim Clark


A Reading from the Lord’s Prayer, 1979. Performance at Mercer Union, Toronto. Photo: Alex Neuman


Some Thoughts on the Question of Limits in Art, 1979. Performance at Optica, Montreal.

Adrian Piper


Food for the Spirit #1, 1971, Gelatin Silver Print, 14.5 x 15″, ed. of 3


Catalysis IV, 1971, Geltain Silver Print, 40.6 x 40.6 cm

Jemima Stehli


Mirror no. 2, 2001, C-type print mounted on aluminium, 115 x 140 cm

Suzy Lake


Choreographed Puppet #4-5, 1976 (2007 reprint), Chromogenic print, 41 1/2″


Extended Breathing in the Garden, 2008-2010, Fuji-trans Print, Lightbox, 30 3/4″ x 44 3/4″ x 1 1/2″

Augustin Rebetez


Arrière-tête (mécanismes), 2014, Digital

experimental processes and possibilities

Cameraless photographer by Alison Rossiter
A darkroom player who uses expired photographic papers from the 19th & 20th century to make pictures. Rossiter employs two processes in her work, time and darkroom play. She seeks out in boxes of expired photographic papers latent images left behind- fingerprints, mold, light leaks etc. – that can only be made by time. Or she selectively develops photographic papers by dipping and pouring, allowing the chemistry to make marks and shapes.
Video: Rossiter explains her work

Alison Rossiter (American, born 1953) Haloid Platina, exact expiration date unknown, about 1915, processed 2010 2010 Gelatin silver print

Alison Rossiter (American, born 1953)
Haloid Platina, exact expiration date unknown, about 1915, processed 2010
Gelatin silver print

Alison Rossiter Eastman Kodak Velox, expired August 1941, processed 2013

Alison Rossiter
Eastman Kodak Velox, expired August 1941, processed 2013

Chemical creations by Mariah Robertson

Robertson’s image making process is all about chemical reactions and chance on photographic paper, led by instinct and informed by her formal experiences in the darkroom. The resulting abstractions are the result of experiments with darkroom chemistry, temperature and time (15hrs per 100′ roll).

Video: Mariah Robertson ART21 Close Up

Mariah Robertson 267, 2014 unique chemical treatment on RA-4 paper 73 x 88 x 2-3/4 inches

Mariah Robertson
267, 2014
unique chemical treatment on RA-4 paper
73 x 88 x 2-3/4 inches

Mariah Robertson Part Picture • group show at the Museum of Contemporary Canadian Art (MoCCA), Toronto • May 2 - 31, 2015

Mariah Robertson
Part Picture • group show at the Museum of Contemporary Canadian Art (MoCCA), Toronto • May 2 – 31, 2015

Alchemical quest of Ilan Wolff

Wolff’s series 4-Elements uses light (obviously) and the elements air, fire, water and earth. Heat for fire and earth, cold for water and for air the classic technique employing light energy. The images in his 4-Elements series record the chemical interactions that take place when photographic paper is subjected to an element as well as reveal a sensation of the element.

Ilan Wolff - 4 Elements Series - Water

Ilan Wolff – 4 Elements Series – Water

Ilan Wolf - 4 Elements Series - Earth

Ilan Wolf – 4 Elements Series – Earth

Website: Ilan Wolff’s website gallery

Rossiter, Robertson and Wolff all use performance and chance in combination with darkroom techniques in the processes of their work.

untitled artifact

untitled artifact

Final Project-Research Presentation: Brianna McArdle

My Interest: Framing, distortion, perception, and documentation.

Uta Barth 

“I am interested in the conventions of picture-making, in the desire to picture the world and in our relationship, our continual love for and fascination with pictures.”


Ground #2, Chromogenic print on panel; 29.5 x 27.5 inches, 1992-1993.


Field #20 & Field #21, Acrylic lacquer on canvas; 204 x 132 inches each, 1996.


Field #22, Acrylic lacquer on canvas; 132 x 90 inches, 1996.


nowhere near (Untitled 99.2), Chromogenic prints in artist frame; Diptych, 35 x 90 inches, 1999.


nowhere near (Untitled 99.3), Chromogenic prints in artist frame; Diptych, 35 x 90 inches, 1999.

All images from Uta Barth’s website, filed under “Work”

  • Barth’s work is so much about seeing and subverting traditional perceptions of photography as she moves away from subject matter.
  • Her work becomes about observing and the act of looking.

Post from Marina



Geoff Johnson-Behind the Door


Geoff Johnson-Behind the Door


Geoff Johnson-Behind the Door


Geoff Johnson-Behind the Door


Brian Ulrich- Copia

Copia, Retail

Brian Ulrich- Copia

Copia, Retail

Brian Ulrich- Copia


Brian Ulrich


Chris Jordan


Chris Jordan- Circuit boards


Chris Jordan- Cell phones #2


Andreas Gursky


Andreas Gursky-99 Cent


Melissa Benham- Final Project

Final Photography Project
Melissa Benham
Painting on Photographs!

  Gerhard Richter

Link: Gerhard Richter

Aliza Razell

        Link: Aliza Razell Art

Fabienne Rivory

Link: Fabieene Rivory Art

John Stexaker

 Sarah Anne Johnson


    Sarah Angelucci

Bec Wonders

Final Project – Research Presentation: Framing the Everyday

Joel Sternfeld

The collective American identity through the documentation of everyday people and locations



Vineland, New Jersey, March 1972


Grafton, West Virginia, February 1983

William Eggleston

“Monumentalize” everyday subject matter



Helen Levitt

Street photography


“7 lessons Helen Levitt has taught me about street photography”

Rachel Meneguzzi – Final Project Research Presentation

Erik Kessels

24hrs_of_photos Erik

24 HRS in Photos

– Installation of 1 million photos uploaded to Flickr, Facebook and Google in 24 hours.

– Shows how we constantly overwhelmed by the amount of images we are presented and have access to.

– Shows how public our private life has become.

Penelope Umbrico

– Uses appropriation and extraction from social media and online shopping sites (flickr, craigslist, ebay).

– Uses subjects that are collectively photographed, and then collects them herself.

– Has a strong interest on how images function differently online than print-based images.

– Aspects of “images-blindness” (as discussed in the third reading).

Sunsets from Flickr

– Every image of a sunset uploaded to Flickr.

Tv1 Tv2

T.V’s From Craigslist

Images of televisions put up for sale on craigslist.

– The photographs provide an extremely personal space to the viewer through the reflection of the interior of the room and the photographer

– The people taking the photographs don’t realise how personal these images really are and uploading them online for anyone to see, in the same way that people looking to buy a television are not noticing the reflections.

My idea

– The overwhelming amount of images we see daily distorts the way we view things just as the overwhelming amount of time we spend on our phones distorts the way we experience things.

– To critique not only image-blindness but experience-blindness that technology, cell phones in particular, impart on us.

– I want to show that our private life has become public through the use of social media because of this, we are losing social skills

Christine De Vuono – Final Project

ARTIVISM is the act of melding Art with Activism. Many artists who begin to document injustice find themselves in the realm of the political. We only need to look at the works of Ai Weiwei, Richard Mosse, Brian McCarty and Shadi Ghadirian to see the transition for documentary to activism.

In my final project I am planning to look at ways to explore how the declaration of Human Rights (1948) is either denied or reflected within our world.  Like the Terms and Agreements we all need to agree to in order to access technology,  Human Rights is another document we in theory agree to, yet it does not penetrate our day to day existence. Through this photo project I want to begin exploring the Rights that are part of who we are and in theory must be agreed to when dealing with other people.

I am looking at various artists that explore Human Rights and illustrate injustices through their art.  Aside from the beginning idea of melding articles from the declaration with protraiture, I am still exploring how I want this to look in its final form.

I have had trouble loading my slides onto WordPress in a form you can see as part of the thread.  I have managed to create a link to the PowerPoint, so if you want to look up the artists and various websites linked to their work, please download the slide presentation and view them that way. ARTIVISM