Saturday, 23 April 2011
Wednesday, 13 April 2011
In what ways are artists working with both the concept and the reality of the crowd, and what does this mean for the plight of the individual?
Productivity in the print rooms ground to a halt in March as we were writing our main essays for the course. I have been looking at identity and the crowd but feeling a bit all over the place, its hard to know what research is relevant until you have the benefit of hindsight. This essay was a chance to collect and review ideas in depth as well as maybe gain some kind of order in my work, which I feel has been a little chaotic. I have been reading books such as After Identity by Jonathan Rutherford, and I am finding it very difficult to link the academic and the visual aspects of my research. I suppose this is the most basic problem faced by every visual communicator responding to a brief (even if they set the brief themselves, as is the case here).
Thursday, 7 April 2011
The Shadow Catchers exhibition at the V&A showed work from five artists who share similar mediums. In terms of variety of technique, this is similar to me saying "they are all painters" or "they make sculpture", each of the artists approached the medium in very different ways. Processes included in this exhibition were: Photogram, Chemigram, Digital C-Print, Dye Construction print, Gelatin Silver Print, and Luminogram. My interest was mainly in the photograms, which are made by placing an object next to light sensitive paper in the dark, and then briefly exposing both the paper and the object to the light. Where the object and the paper touch, either a full or partial shadow is recorded. I found the photograms especially interesting because they involved physical contact with the object; the shadow left behind is like a memory of what was there.
Garry Fabian Miller, 'Breathing in the Beech Wood, Homeland, Dartmoor, Twenty-four Days of Sunlight, May 2004', 2004
Dye destruction print
A print made using direct positive colour paper. This paper was originally introduced in 1963 for printing colour transparencies or negatives. It is coated with at least three layers of emulsion, each of which is sensitised to one of the three primary colours. Each layer also contains a dye related to that colour. During development of the image, any unexposed dyes are bleached out (hence 'dye destruction'). The remaining dyes form a full-colour image.