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”

Jordan Walters – Research Presentation

The Technical, Conceptual, and Formal  – Liz Deschenes – Green Screengreen-screen

A project of mine from 2001 is titled Green Screen Process. It’s a series of photographs that literally have green screens as their “subject matter.” The large green monochrome backdrop is a photograph, and could “act” as the thing that it is depicting.   -What does the Camera know, but never capture?


In the ‘Passages’ (2009) series, nebulous large-scale colour prints confess their trajectory through an airport X-ray machine in the form of blurred lines and hazy irregularities. Echoing the processes of fingerprinting and body scans used in the increasingly politicized zone of the airport, the images are an appreciable evocation of the legislative and ideological transformations of a post- 9/11 world, as felt by every traveller. (The project is an intentional exercise stemming from an earlier accident, when film Beshty had taken of the deserted Iraqi Diplomatic Mission in Berlin was run through X-ray machines during his journey, and later shown at the 2008 Whitney Biennial.) They are also thoroughly charming abstract fields of fading colour: the new systems of corporeal degradation exercized in airports since September 2001, which establish a state of exception as a civic norm, are rendered oddly palatable.



Adam Broomberg and Oliver Chanarin have been concerned with Undisclosed images, and the ability to employ it as a technique to point out a kind of simplistic politically charged seeing that occurs in traditional war photography.  Abstract photography could be understood as photography that is free of representational qualities, but that would assume it as having the same linear history alongside the history of abstraction in painting. In my understanding, there really is not abstract photography, except from our sloppy use of the term ‘abstract.’ We call something abstract the moment it references some gesture that we recognize from a modernist painting, or if the photo doesn’t disclose to us right away what it is. So, the phrase abstract photography usually means, “This image has not disclosed its meaning/sense to me right away.” Undisclosed, is a more precise term. It describes those images that offer us objects “defined by their concrete, material existence, referring to nothing outside themselves.” To be undisclosed does not mean that disclosure is not possible—it just means that at this moment in time, that is not what is going on.  These images are unidsclosed, for the purpose of revealing.  It only reveals what is truly there, what it truly going on in the war, by avoiding the representational qualities.


John Hilliard – Camera recording its own condition.

John Hilliard  – 60 Seconds of Light.

Both of these works are concerned with Light and its dual-function.  Light discloses.  Light conceals.  Light, understood through the photographic processes, is has a dual-function.   It is both that which reveals and that which conceals. The light in a photograph can make present the detail of something, but the absence of it can conceal something that we may know to be there. To bring it back to Gordon Matta-Clark, his Splitting work mimics the dual-function of light in photography. The saw that cut through the house both revealed a strip of light that echoed back to the domestic object that it once was and called forth a new understanding.  Similarily, Hilliard is making work that reveals the functioning of the camera in its creation.  Splittincannot be understood apart from the act of the saw and what it did to the object that was there before the saw came into it.  Hilliard’s work cannot be understood apart from the camera and its particular qualities of representation.  The camera never records raw-data.  The setting of the aperature, the shutter speed, etc… are all concerns of the photographer and could be called abstraction in the loose-sense.


Are We done Photographing Things?

If we shift our focus away from asking, “Is there anything left to photograph?” we can begin to explore ways of looking/understanding that doesn’t depend on things, but rather, the thing that makes their thingness present at all. Light, time, memory, space, objects, processes, understanding, looking, and seeing. These are not things that occur in the world of cups, tables, chairs, laptops, walls, windows, and atoms. They are a different kind of thing.  

Exploring “Abstraction” without talking about it.

Can the way the vernacular language around photography, that associates anything that is not immediately disclosed, as abstract be used to our advantage.  What does this implicit interpretative model bring to our toolbox as photographers?hing that makes our understanding of things possible.

2610: A Sense of Place



And now, this:


Thinking about a SENSE OF PLACE.

Adams_The_Tetons_and_the_Snake_RiverDCF 1.0
Moonrise, Hernandez, New Mexico, 1941

Volare Digital CaptureMoonrise Over Pie Pan, Capitol Reef National Park, Utah, 1977



Scared Tree, from Southern Landscapes
Art 21 | Website: Battlefields |

The Weather Project at TATE Modern | About the installation | Artist website-The Weather Project |

Indian Ocean, Bali.



Timothy O’Sullivan (1872) + Mark Klett (1978)

Third View: The Rephotographic Survey Project
Good article, description of the project | More about Mark Klett
At Pictured Past Future Perfect


From, Lux.

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

Suburbia |

Untitled (Tomato Pool), Yellowstone National Park, 2008.

Taxonomy of a landscape | Review and essay at | At Albright Knox

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)

Explanation of the project | Tumblr | Instagram

Andrew Wright | Artist website |

Scott McFarland | Artist website

Isabelle Hayeur | Artist website

Letha Wilson | Artist website