REFLECTION: I want to consider the presentation of my work, I want to make it part of the photograph and narrative which is why I have looked at these. I was thinking about having something on the ground to look into for the afterlife character. I could have the photographs from the stalker characters photographs as if he has been keeping them and saving them.
STEPHEN J. SHANABROOK AND VERONIKA GEORGIEVA. COMME DE GARCONS SHIRT ADD.
ILLUSTRATIONS BY ANDRZEJ KLIMOWSKI. ANOTHER MAGAZINE.
TIM WALKER.
I love the framing of this image, it appears that it has been cropped in half, the subject and the bed with all it's connotations and memories. What drew me to this particular photograph was the obscure connection between the subject who is disengaged with the photographer, the bed and the object on the bed.
shooting within the grass, as if one of them? something to consider.
...
series of idea shoots. unsuccessful. found interesting locations though.
MOMA.
Inside the exhibition one can see that this vulnerability to the will of the audience is something the artist constantly subjects herself to. This is seen most strongly in her piece 'rhythum 0' where she stood with a table of objects beside her including a knife, gun, and shoes and allowed the audience to do as they pleased with them. One participant loaded the gun and put into her own hand and than lifted it to her head. Other works contemplating this idea are her taking medication for cantonia and schizophrenia in front of an audience (rhythm 2), pulling herself so close to an air blower so that she loses consciousness while her viewers can still see the effect the air has on her body (rhythum 4). She wants the viewers to see her body not as necessarily a living presence but sometimes merely an object.
This idea of tension is seen in one of the works entitled 'Ulay' in which two male nudes stand opposite each other in between two rooms with just enough space for one to pass through them. Having done it myself I felt nervous initially then when walking through there was an awkwardness and a sense of tenderness brushing past these statuesque men. In another 'Ulay' two people stand with their hands out, pointing but not touching. With many of these works the onlooker almost feels empowered, as if enforcing their presence on the participant.
Other interesting works included a skeleton on top of a nude man, marking the rise and fall of his breath; there is this sense of passing time being measured until death, and 'Luminosity' in which a woman has been elevated up onto a lit wall; the work is about loneliness, I contemplated the idea that although there were many onlookers the bright lights prevented the participant from seeing them.
TIM BURTON EXHIBTION. beautiful illustrations. material inspiration- acrylic on black velvet with uv light. makes me think transferring/ emulsions. individually developed characters and stories.
MIROSLAV TICHY. This was the first time that I had heard of Tichy, an only recently discovered Czech photographer shooting Kyjov women with his home made cameras (displayed in the exhibition) starting in the 1960s and 1970s. His presence is very much distinctive in that he worked in isolation Kyjov for most of his life. His process makes his presence known to the viewer, much of his work is rough, loosely printed, and very home made. There are stains left on many of the prints, many of the prints have been mounted on home made, cardboard frames, and drawn or painted onto some photographs. Some of his prints appear to be blurred nonsense while others give just enough information to intrigue and provoke the viewers. Much of his work was done in mockery of the widespread servaillance photography by the Czech state at that time.
Some photographs I liked were: a playful image of a woman leaning into a car with her dress clinging to her bottox, some beautiful images of cropped legs, a blurred and cinematic photograph of a mother with her son holding is ruck sack, walking home from school, a photograph of blurred movement with a woman in a white dress against a chair, an image of women walking into the darkness in white nightgowns, his 'Bathers' one where a girl is croaching behind a wire fence, and one light grey image of a girl in the grass.
Isle Bing, Danseuse-Cancan, Moulin Rouge, Paris, 1931.MARVELOUS ENCOUNTERS. Included surrealist photographs of Paris. There are some beautiful images including ' Night at Longchamps', 1936 Brassai; a photograph of fireworks and the silhouette of hats; 'Clock of the Academie Francaise', 1932 A. Kertesz, looking over Paris through the clock; and 'Course d'autro', 1923 Man Ray, capturing abstract movements of light. I also noticed the beautiful display of 'Le Cinema Parmount', 1930 by Germaine Kruell, a beautifully printed, tiny image on a huge mounting.
TRANSFORMATION OF MINDS. There are humorous collages by Hugnet juxtaposing female legs from magazines and photographs of Paris. 'Electricity-The City', 1931 by Man Ray captures the Ifle Tower lit up and double exposed with lit writing, there was an imitation of a playing card done with a portrait done by Man Ray along with some sensational portraits by him. There were some interesting small photographs of entertainment and circus characters by Jean Renoir. I also finally got to see the work of Claude Cahun, a self portrait of her performing for the camera and a photograph of a manaquin, who I discovered from my research paper.
AFTER HOURS. There were some interesting miniscule prints by Hans Bellmer entitled 'The Doll' where he disassembled and restructured a maniquin. I also loved Kertresz's photographs of the female nude manipulated by fun-house mirrors, Man Ray's photographs of torsos in his 'Electricity' series, and Joseph Brietenbach's 'Montparnasse', 1935, a grey and red double exposure of the female form and cart wheel.
Solve Sundsbo
