Again a combination summary. Life rather got in the way!
some images in the garden taken under heavy frost
images for assignment 5 of the local woodlands, unfortunately the particular image I wanted was not available – someone had removed the large pile of logs
Edinburgh at Christmas – not very successful pictures of the fun fair – too much distraction
Edinburgh Botanics light show
still Barrett on criticism
Robert Adams – Beauty in Photography – interesting alternative take to Barrett on criticism especially in essay ‘Civilising Criticism’
Photoworks 23 – I particularly like the Folio on Katja Stuke and Oliver Sieber with the contrasting works ‘ on the street’, with the contrast of the shaven headed ‘Cry Minami’ images posted in cities across the world versus the Sieber images of people shown from the back.
Futureproof 2017 – at Street Level Glasgow, a compilation of works from last years degree shows in Scotland
Robin Gillanders retrospective – Still in Edinburgh – I liked the images from ‘A Lover’s Complaint’ which shows images based on haiku by Henry Gough-Cooper which are based on the ‘Fragments’ written about love and philosophy by Barthes.
spent a lot of time considering which images to put in assignment 5 – and, more crucially, which to leave out!
I have realised that over the last year while taking a vast collection of images – very few of these actually talk about what I am doing in my life. So, I splashed out on an Instax camera with my Christmas money and am planning to take an image every week that says something about what I (and the family) have been doing. I will then make this into an album.
‘There were so many things a tree could do: add color, provide shade, drop fruit or become a children’s playground, a whole sky universe to climb and hang from; an architecture of food and pleasure, that was a tree’ (Bradbury, 1950).
When most people think of Scotland they think of heavily wooded areas, either replete with ancient forests or full of forestry commission pines. In reality it is neither. At present only about 17% of the land area of Scotland is covered by trees, which, while lower than most other European countries, is a significant improvement from the 5% it was in 1919 when the Forestry Commission was started to increase the amount of timber available in Britain following shortages in World War 1. This initially led to the planting and harvesting of vast areas of soft wood, often non-native species, leaving desolate tracks, but since the 1980’s there has been a change towards planting of mixed species and use of the woodlands for a wide range of activities including timber production, biodiversity, carbon capture and social uses. (Nature.scot, 2017).
In Scotland most of the forested land remains under private ownership, but some is also owned by the government and managed by the Forestry Commission Scotland. (Scotland.forestry.gov.uk, 2017) There are complex planning agreements in place to make efficient use of the land that is suitable for forestry, as much of Scotland is too high and with too poor soil for tree plantations. There are still areas of land stripped of trees awaiting soil regeneration, and replanting and these look desolate and unwanted. Other areas are full of new growth and light.
This is the land I live in and travel though on a daily basis. It changes over the years but also remains eerily the same.
Bradbury, R. (1950). The Martian chronicles. New York: Doubleday.
I started with the premise from Robert Adams essay ‘Truth in Landscape’. ‘Our discouragement in the presence of beauty results, surely, from the way we have damaged the country, from what appears to be our inability now to stop, and from the fact that few of us can any longer hope to own a piece of undisturbed land’(Adams,1996).
When you think about images of forests they are broadly divided into two camps, with photographers who have celebrated the beauty, solitude and wonder of woodlands and those who have shown the devastation that mankind has performed. Some photographers have taken both types of images.
An example of this school of photography that concentrates on the damage we have done is the work of Wendelski who has taken a series of images in Germany based on the destruction of ancient forest during the process of open cast mining for brown coal and the activist that set up camps in the forest to protest this.
From this idyllic picture of sunlight though the trees
to the destroyed countryside and swathes of mud
A similar piece of work has been carried out by the Magnum photographer Koudelka. He has done a vast photographic report on the coal mining industry in the Black Triangle in Czechoslovakia. I was lucky enough to see this when it was on show in Edinburgh. The images are graphic, black and white, very sombre. In the Edinburgh exhibition relatively small individual images, approximately 1m x 30cms were laid out in a line, so you followed the trail of disaster around the room. The destruction here has been going on for much longer than the damage in Wendelski’s pictures in Germany but is startlingly similar.
Godwin is particularly interesting in that her viewpoint and type of images she took changed over time. Her earlier work as shown in the ‘Secret Forest of Dean’ (Godwin, 1986) exemplified the beauty of a natural environment and how people could live in harmony with it, while in later work such as ‘Our Forbidden Land’ (Godwin, 1990) talks about how landowners limit access for their own use, and specifically, in reference to Scotland, talks about the environmental challenges caused by the widespread forestry work in the 70’s and 80’s, again many of her earlier pictures are simply beautiful.
Arnatt was also involved in the work about Dean Forest that was commissioned by Forestry Commission at the same time as that of Godwin. His work is difficult to track down, but the images I have seen ( in ‘I’m a Real Photographer‘)seem to fall more into the camp of the land is for use by industry, in contrast to Godwin’s more bucolic images (Arnatt, Hurn and Grafik, 2007).
and so we reach right around the circle to the original quote
Adams is the quintessential American photographer showing the beauty and wonder of the forest. A good example of his work is shown in the book ‘An Old Forest Road’ (Adams, 2017) which concentrates on barely visible paths in woodland, lit by seemingly random gleams of light. These pictures make you want to wander endlessly, exploring for no purpose other than to see the trees.
Interestingly, with the exception of Wendelski, all these images are in black and white. Some of this is because this was the accepted use when there were taken (Godwin and Arnatt) but some, like those of Adams are very recent. Is this because of the general idea that ‘art’ images should be in monochrome, because the more recent photographers are paying homage to the older ones, or simply because the colour green does not always print well? Certainly, monochrome does give some stunning images and shows the detail well. It also becomes difficult to tell simply by looking at an image of a forest when it was taken, this century or earlier. Monochrome tells the mythos of a forest well.
I started by taking images of forestry works when travelling around Scotland. Most have been taken close to me in Fife, but some were taken as far north as Fort William. In spite of this it is difficult to identify the place from the images and they become a generic series of Scottish forest images. The majority of the images were taken in the summer and early autumn, some taken in winter, again this is difficult to tell from the images, as although the light is different the dark green of the pine trees does not vary much across the year. This would not have been the case if I had been concentrating on deciduous trees.
I spent a considerable time deciding on whether to go with monochrome images, as was prevalent on the examples above, and discussed this at length with both my tutor, and the Scottish OCA group at our December meeting. Eventually I decided to use colour images, as some of them, such as the cut logs, stood out in colour and gave more information, and, even though the work was influenced by Godwin and Adams, I felt that colour was best for telling my own story.
Adams, R. (1996). Beauty in Photography. New York, NY: Aperture, p.14.
Adams, R. (2017). An Old Forest Road. Koln: Verlag der Buchhandlung Walter Konig.
Arnatt, K., Hurn, D. and Grafik, C. (2007). I’m a real photographer. London: Chris Boot, pp.38 – 41.
Godwin, F. (1986). The Secret Forest of Dean. [Bristol]: Redcliffe [for] Arnolfini [and the] Forestry Commission.
A picture contains a story, not always the whole story, but enough clues that you can infer or imagine what the artist was intending. A good story can be read several times, a magical one never looses its appeal.
In the Cartier-Bresson image Behind the Gare Saint-Lazare the eye returns repeatedly to the point at which the foot almost, but not quite, touches the reflection below. Is he jumping or running? Where is he going? Is it a man in a hurry – or a boy playing? If you took the same image today was that a female figure? A hundred stories are possible.
Illuminance – described as an ‘exploration of the extraordinary in the mundane’ (Aperture,2011) or ‘a mix of intimacy and deceptively casual observation’ (O’Hagan, 2011) is a photobook by Rinko Kawauchi. The cover shows a rose bright to the point where all colour and detail is lost, against a vibrant maroon background. It somehow retains the essence of a rose and allows the imagination to recreate any rose, with the luscious scent, and warmth of a garden in a summer evening. Technically, one could consider the image grossly overexposed, but it does not matter. The rose is still there.
Hiroshima Sugimoto’s theatre images share the same aura of infinite possibilities. What film was playing? Who was watching it? Was I there?
These two images were taken on the same night, at the same gig, of the same person, from the same vantage point. One shows the person as a portrait; the other implies his presence by the outline of light though his hair. The information that I am at a rock gig is conveyed by both – but one gives the detail, the other the feeling. Which is ‘better’? Which carries more information? It depends what you are wanting from the image. I would print the colour one as a reminder of the night, but the monochrome one was wanted by the musician for his personal records.
I agree that these are essentially diptychs – so have redone them in this format using photoshop to add as a pair. I have also cut down the number of images so that the pairs all work together. I also have adjusted the colour of the light slightly in one of the pairs to match (as suggested in our conversation). I think the light colour was different because the two bedroom images were taken at different times of day.
Hido’s work as voyeurism
This is something I hadn’t really considered but I agree it is a significant difference in the feeling of the work. I was aiming for the difference between the imagined possibilities of looking from outside versus the real life, with all its scruffy detail inside.
Already resolved! However it was interesting that even without one , and with a modern camera that taking the images at ISO 64000 gave reasonable results.
When possible, I like to ask for permission to use other people’s images even though in this context – critiquing the images it is fair usage. My main concern is that others may copy the images on inappropriately. There is an interesting story in the book by Barratt already discussed in this post:
Shizuka Yomomizo is a Japanese photographer based in London who took a series of images where she asked, by means of a note, a group of strangers to allow her to photograph them standing in front of their window. She is being voyeuristic, but with the complicit knowledge of the people involved. There is a meeting of eyes, an awareness by both sides, mediated though two layers of glass, the window and the lens. They meet briefly and then part. There is a choice on both to engage or not.
I was recently in Newcastle and went to four exhibitions on broadly similar themes – the issues of racism, sexism and civil rights.
Starless Midnight and Until, Until, Until …. 2016
The Baltic Centre for Contemporary Art.
Starless Midnight is in homage to the work of Martin Luther King in his role as promoter of the Civil Rights movement and points up how, although there has been much progress, there is still so much more to do. Nine artists are featured, all with their personal take on the ongoing issues, and is co-curated by Edgar Arceneaux. His video installation ‘Until, Until, Until …. 2016’ is also shown in the Baltic at present. This installation is a large-scale video presentation on a transparent screen though which you can see another screen showing a fractured vision of the original work. the gallery describes it as:
The scale of the installation – larger than life-size – and the interesting back story make a piece that is difficult to watch without an emotional reaction.
Two parts of the exhibition that I found particularly poignant were the works of Hinkle and the Gallery Tally.
Kenyatta A.C. Hinkle shows a number of drawing from an ongoing series – ‘The Evanesced’ which looks at the multiplicity of Black women who have been erased from history, for instance by trafficking or murder.
These images are shown along a wall, en masse, described as ‘un-portraits’. Unless you examine them carefully all the women look similar. It is easy to miss the fine detail that turn them to individual people. It was easy to miss the individual disappearances too.
Michol Hebron presents the work from a collaborative project, Gallery Tally, where data is collected in the form of posters to show the representation of women in art galleries and museums. The posters are widely varied, and talk not only about the paucity of women artists on show, but also about the lack of work by other marginalised communities. The work by women photographers has been widely discussed recently for example in ‘Girl on Girl’ (Jansen, 2017) and the ‘Photoworks Annual 22 – Women’ – but it is shocking to realise that there is such a wide-ranging lack of equality ongoing in the wider art field. I only saw one (top right) where there were more females represented than males.
Posters from the Gallery Tally Project – attributions unavailable.
Gordon Parks – A Choice of Weapons and Syd Shelton – Rock Against Racism.
Side Gallery – Newcastle.
Gordon Parks (1912 – 2006) was an African-American photographer who said, ‘I chose my camera as a weapon against all the things I dislike about America – poverty, racism, discrimination’ (quoted in the exhibition information at the Side Gallery – Amber, 2017). He initially worked for the Farm Security Administration and then went on to become a freelance photographer and film-maker, documenting the difficulties black people faced in the USA. This exhibition shows a selection of his work both in colour and black and white, together with the film on the Fonetenelle family, from Harlem, who lived in extreme poverty. The images are detailed, dark and claustrophobic, leaving nothing to the imagination, even brutal at times. The story is shocking, but similar scenes could be found today.
The coloured images are from a photo-essay published in Life entitled “The Restraints: Open and Hidden” and point up how the lives of black people were segregated from the those of the white Americans. They appear softer, even ‘charming’ until you look closely and read the signs. This is an interesting use of colour photography in an era when most images were still in monochrome. Colour images were only widely used from the 70’s when promoted by photographers such as William Eggleston and Joel Meyerowitz.
Syd Shelton (born 1947) was one of the prime photographers of the movement Rock Against Racism (RAR), which was developed by a collective of musicians, artists and activists to fight fascism and racism through music. There was a large exhibition shown in London at Autograph APB in 2015 and a small number of the images are shown in the Side Gallery. They are taken two decades on from the images of Gordon Parks but talk about the same issues of black versus white culture and perceived rights, this time in Britain rather than the USA. Shelton used his photography for a similar purpose ‘as a graphic argument …. a subjective witness’ (quoted in the exhibition information at the Side Gallery – Amber, 2017).
Although both the present exhibitions at the Side Gallery talk about the same issues, civil rights, racism and the abuse of power they come from a very different stance. Shelton was born in the UK and studied art at university before going on to become a photographer, working as a photojournalist. His images are from the outside, looking in, mainly of angry young people protesting on behalf of injustice in racism. Gordon Parks came from a poor farming family in the USA, he eventually ended up on the streets and taught himself photography, eventually working with the FSA, before becoming a photojournalist. His images are from the inside, looking out, of the people themselves, and what they were going though at the time.
While both sets of images have a powerful impact Parks’s have a greater degree of empathy and emotion, less factual but more revealing.