BA Phot

DIC Part 1 Evaluation

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Project 1.1 The origins of photomontage - Exc 1.1 - Project 1.2 Through a digital lens - Exc 1.2 - Project 1.3 The found image in photomontage - Exc 1.3 - Project 1.4 Photomontage in the age of the internet - Conclusion - Upsum - Eval

Burson - Doisneau - Guillot - Hara - Kárász - Khan - Lotar - McMurdo - Maar - Rejlander - Sear - Teichmann - Vionnet - Wall - Yevonde - name -

Balthus -

Batchen - Fontcuberta - Rubinstein & Sluis -

Post-photography

Prelude - Part 1 - Part 2 - Part 3 - Part 4 - Asg.1 - Asg.2 - Asg.3 - Asg.4 - Asg.5 - LPE - I&P - C&N - EyV -

Burgin's PhotoPath

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[date] Full disclosure: I am not a great fan of Burgin’s theoretical writings, I consider the meagre rewards of knowledge and insight insufficient to justify the considerable effort required to make sense of his dense prose. But his conceptual work PhotoPath (date) is a tour de force.
I first encountered the work in year and the joy of it’s originality and implications has stayed with me since then. My appreciation and understanding of the work has be deepened by a recent reading of David Campany’s title.

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From the I&P Evaluating Photographs page.

12th August, 7th October [2020]

Initial summary

Putting that together, with #2 as a core:

When writing about a picture —

- last update 7Oct20 with Spence and Martin - and Bate on portraits

Who What When Where Why and how

1. Look at the objective, denoted, aspects - describe the picture, its subject and its peripheral contents. [what, where and when]
[7Sep21] Where appropriate, consider gazes, both descriptive and polemic, objective and subjective.

1a. Consider the title or accompanying text, Barthes' anchor and relay [this originally linked to my comments in C&N but those have been enlarged upon for I&P Exc. 4.2].

2. Find quotes from the artist and from critics on the particular work or their general approach. Comment on the photographer's physical and technical choices. If relevant, include the photographer's political or other views at the time the work was created (they might change). [who, how and why]

3. Look for the subjective, connoted, aspects and speculate on how they might be interpreted and why the artist chose to include them. Note how various viewers' backgrounds, environments and circumstances might engender different reactions. Include an overall reaction to the æsthetics of the piece, its technical qualities (or failings) and why the photographer might have chosen to create it. [more what, but a different what; and more why]

4. Look at the piece in the wider context of the artist's work, how it might relate to other artists and other art forms. [more how and why]

5. Comment on the display environment if reviewing a particular instance, or the effect of different environments. [a different where]

6. Deploy the appropriate technical terms throughout.

The sequence of these steps has yet to be determined: it could be that the sequence should be adjusted depending on the type of image. Time may tell.

In some circumstances it might be appropriate to discuss why a particular image was chosen as a subject.

There is some extra material in the online version of I&P which would be worth working into the above. Suggestions for how to break down the analysis of a portrait, developed by Jo Spence and Rosy Martin.

The Physical Description: Consider the human subject within the photograph, then start with a forensic description, moving towards taking up the position of the sitter. Visualise yourself as the sitter in order to bring out the feelings associated with the photograph.
The Context of Production: Consider the photographs context in terms of when, where, how, by whom and why the photograph was taken.
The Context of Convention: Place the photograph into context in terms of the technologies used, aesthetics employed, photographic conventions used.
The Currency: Consider the photographs currency within its context of reception, who or what was the photograph made for? Who owns it now and where is it kept? Who saw it then and who sees it now? Jo Spence and Rosy Martin in Boothroyd and Roberts (2019) p.38

also David Bate's four or five elements of the portrait (Bate, 2016 p.89) described with Exercise 1.2:
Face - personal appearance, facial expression
Pose - attitude, "upbringing"
Clothing - social class, sex / gender, cultural values
Location - social setting
Props - objects signifying status


Evaluation


LPE Part n Evaluation References

Alexander, Jesse & McMurdo, Wendy (2015) Digital Image and Culture [DIC]. Barnsley: Open College of the Arts.

Alexander, J, Conroy, A, Hughes, A, & Lundy, G (2019) Landscape, Place and Environment [LPE]. Barnsley: Open College of the Arts.

Bloomfield, R (2017) Expressing your vision [EyV]. Barnsley: Open College of the Arts.

Boothroyd, S (2017) Context and narrative [C&N]. Barnsley: Open College of the Arts.

Boothroyd, S. and Roberts, K. (2019) Identity and place [I&P]. Barnsley: Open College of the Arts.

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author (year) title [online]. website. Available from url [Accessed nn January 2020].

essayist (year) Title, in Editor (ed.) Title, Location: Publisher, pp. nums.


author (year) Title. Location: Publisher.

author, (year) Title. Location: Publisher.

author (year) title [online]. website. Available from url [Accessed nn January 2020].

author, (year) Book Title. Location: Publisher.

author (year) Title. Journal. Vol, pages.

author (year) Title. Newspaper. Date. pages.


Page created 06-Feb-2023 | Page updated 06-Feb-2023