I went back to watch this Guest Lecture video and make observations.
Sarah’s many projects are formed though collaboration in the making. The work is very much out in the public domain. This was true of the Pickpocket performance work that used a professional pickpocket to set-up a reverse pickpocket as a means to training artists who are always being asked to contribute their work without a fee.
The many other works were also collaborations, mainly with the emergency services, regarding training for riots or fire, gunfire and explosions. These are dynamic interactions in the real world and end up in print.
An observation Sarah makes is around social coding and stereotyping in the scenes used for practice. Whether this is the type of furniture in a room or being briefed that a mother went to the shops and left her children in the flat where the fire is (an intention being to help stop fire fighters from identifying personally with the circumstances).
Advice included a point about get your work out there and show your work or it will never take off. It will remain under your bed.
The art business is very hierarchical in Britain when it comes to accepting photographic art. You don’t want to fall into the trap of making painterly work. Presumably, this relates to the photographer adapting to the gallery market instead of staying true to the foundations of their work.
The session ends with a call to making physical prints, Even small prints rather than exhibition size. Make them and move them around. This is especially important in an online environment such as our MA course.
Photographs – Sarah Pickering from Falmouth video lecture
Here is the link to the video for this case study.
This case study contextualises Gideon’s work which like Lixenburg’s is published over several platforms Exhibition, Film, Publication and Web once public interest had been established. Their work evolved over the longer timeframe.
This gives us the idea that our own work might gain traction and so we have been forewarned. There is also the reality of what we can achieve in 6 months and how we should involve others early to go public with more than one route.
There is quite a lot of useful advice on FMP production given by relating to Gideon Mendels project Djangal (jungle camp in Calais).
His work presented a problem of camp interns being offended by photographers. Instead Gideon decided like in an earlier project on flooding to gather the artefacts left over and rephotograph as well as create an installation.
He made several visits over a few months to do the photography which is consistent with our available time on our FMP.
This sets a standard for Falmouth FMP students, I imagine is the idea. In a sense, the previous module led us to practice and Landings 2019 organising experience also helped. In spite of having not known about this case study at the outset, it was stumbled upon, I was naturally set to propose several publication routes. Had I known of the Case studies in time, I could have watched them before making my proposal as it would have reinforced my ideas.
Interestingly Mendel settled on a floating style with objects photographed in the studio on black or white backgrounds. This is very similar to my newly developed approach in photographing Fauna here.
Photographs – Gideon Mendel from the Falmouth FMP video lecture
These are my reflections of Week 2
This week was about:
- a 1-2-1 meeting on 1 October
- the Pecha Kucha presentation on 1 October
- a start at abstract image making from the Week 1 shoot
- visual language research
- start of the peer to peer P-2-P meeting series
Three books have been read for general background research and as a refresh on:
Art history (Arnold, 2004)
Contemporary art (Stallabrass (2006)
Postmodernism (Butler, 2002)
Access to these texts during the prior assessment period was as Kindle and Audible Books versions.
Arnold, D. (2004) Art History A Very Short Introduction. Edited by D. Arnold. Oxford, New York: Oxford University Press.
Butler, C. (2002) Postmodernism A Very Short Introduction. Edited by C. Butler. Oxford, New York: Oxford University Press.
Stallabrass, J. (2006) Contemporary Art A Very Short Introduction. Edited by J. Stallabrass. Oxford, New York: Oxford University Press.
This guest lecture took place September 2019.
These are my reflections on Week 1
The Final Major Project first Module is underway. At this point I start to gather my ideas, while circumstances enabled the first shoot
The Introduction to FMP video was watched back once more.
This, of course, led to an increased focus on the first two deliverables: a Pecha Kucha presentation and Final Project Proposal.
Develop your photographic practice through the synthesis of practical work, contextual research and professional activities, and with the integration of other disciplines.
LO6 Written and Oral Communication Skills
Articulate ideas in a range of formats and contexts, and be able to communicate with different audiences.
LO5 Critical Analysis
Make personal observations and form critical opinions to analyse and appraise your own work, as well as the work of your peers and other practitioners.
LO4 Professional Location of Practice
Establish an understanding of the range of professional contexts for the dissemination and consumption of contemporary photographic practice, and identify opportunities to engage with audiences and markets.