What is Conceptual Photography? (part 3) Video Reflection

Video Link: https://www.youtube.com/watch?v=9TvpxG9fLqo

Oliver Chanarin: "There is no such thing as conceptual photography... all photography is conceptual and then all photography is not conceptual".

Lucy Soutter: "All contemporary art photography is conceptual to some degree, so the question is what isn't conceptual photography?".

These two above quotes really stuck out to me during this video piece.I found this video very informative and thought provoking. It really made me think about the labels we give to things and how sometimes the labels aren't entirely representative of the things their designed to portray. In addition to this, another thing that stuck out to me was the 'abstract' project in Afghanistan entitled 'The day nobody died'. It's inception was developed when the two artists were judging the world press photography awards. They explained that they looked at 18,000 images in 4days (of the Afghanistan & Vietnam war) and that they were shocked by the similarity of the images being produced. Consequently, they were concerned about the repetition of cliches that were represented as 'legitimate' photography.

This made me think about how much a photograph of an event has to represent an event in order to be considered 'legitimate'. 

I also think this piece speaks about the state of contemporary photography in terms of the freedom, control and censorship process that happens with the government and various advertising agencies, editors and photojournalists. This was a piece that really made me think.

Walead Beshty at The Curve, Barbican Centre, London Video Reflection:

Waslead Beshty is an artist, writer and professor that works in Los Angeles. He's been described as a formalist and abstract photographer.

“A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench” - This is the title of of his exhibition that was featured in this video.

For this particular exhibition in London he transformed the curve into a massive panorama series which was made up of over 12,000 cyanotype prints. I learnt from this video that the cyanotype printing method is one of the earliest photographic processes that have a cyan-blue tint to the images. Beshty opted to present the exhibition in a chronological order, as a result this allows his instillation to be 'read' as a timeline that is visual. 

What I liked most about this interview was that Beshty was openly detailing his process of creating and choosing artwork that would be included in the final exhibition. He explained that he didn't choose pieces based on their aesthetic beauty or any fixed narrative, rather he chose to sort through the material in an 'open' way that didn't close off any possibilities that he couldn't see. His aim was to choose in a very passive and basic way. 

In addition to this I really impressed by the sheer size and magnitude of the exhibition. As well as his thoughts about the studio as a machine that makes photographs. 

Reflection on the 'RiP! A Remix Manifesto' video

Video Link: https://www.youtube.com/watch?v=2EnX0vACj4Q

RiP!: A Remix Manifesto is a 2008 open-source documentary directed by Brett Gaylor about the changing concept of copyright.

This documentary was made over six consecutive years and it was essentially created by hundreds of people who opted to contribute to the film's website.

What I personally liked about this documentary was the interactive relationship that the director was able to have with his contributors, this is something that I haven't thought of before (in this documentary context) but it's an interesting way to approach a documentary or a piece of 'art'. I think it has the ability to change passive receptive viewers into active engaged viewers because of the ability to contribute to a project. In addition to this, contributors (encouraged by Brett Gaylor) had the ability to 'chop and remix' the final documentary in a variety of ways which could potentially breath more life into the project.

The manifesto reads as follows:

1. Culture always builds on the past.

2. The past always tries to control the future.

3. Our future is becoming less free. 

4. To build free societies you must limit the control of the past.


This open source documentary deals with copyright issues in contemporary society by give a historical context to the argument. Gaylor distinctly separates the public domain from the corporations. He defines the public domain as 'CopyLEFT' and the corporations as 'CopyRIGHT'. It is evident that Gaylor favours the 'CopyLEFT' because it represents the feee exchange of ideas within the public domain. 

Aside from music and film (which this documentary focused on) this piece made me think about copyright with regards to the photographs that I take. Depending on where I've taken them, who the subject is, or even where I go on post them could affect the copyright of 'my' images. With social networks like facebook, instagram and twitter (places I often post photographs onto) I believe they have the right to use and in some cases even sell the images I upload, so it really made me think about who Really owns things.

Reflection on Brian Bress' Status Report

Video Link: https://www.youtube.com/watch?v=6mlQYJHbb6U

"Are you asking me about my work? Or are you asking me about my hobbies?"

I can honestly say that I have never ever seen anything like this before. I found this 'status report' video by Brain Bass very funny in some parts because of how bizarre it was but I also found other elements of the video quite scary. 

I think that in terms of the filmmaking techniques involved to create this piece are remarkable, there was lots of elements that I wasn't entirely sure how he made them, for instance the numerous times that one of the characters in the space ship 'flew' slowly across the busy screen. I think that the video editing was great because it kept me captivated despite the fact I felt a little 'uneasy' watching this piece. In addition to this I thought the use of sound was excellent, it was varying and prominent throughout the piece.

After watching this video I found this curators statement online that 'sheds light' on this video:

"Status Report as a beautiful and telling meditation on how society deciphers the seemingly separate personalities of the artist- work versus hobby, the art market, competition, the need for love and acceptance, mental health and comfort, hiding behind or within one's work, and the search for something unknown in wondrous and complete isolation. Each of these embedded in a separate character played by Bress. Each inhabiting their own unique and delicately devised universe."

This statement gave me a new found scope or lens with which I can interpret this video as a social commentary or cultural barometer, this is something I hadn't considered previously. 

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Andreas Gursky 'Contact's Reflection

Video Link: https://www.youtube.com/watch?v=AK9Vzeks35Y

Andreas Gursky uses large format cameras to photograph massive structures. This piece explained his technique and approach to photography and it also revealed how he began with the medium in a time in Germany when photography was not considered an art form.

Gursky explained that he actually began with architectural photography and then soon after he transitioned into landscape photography. One thing that I thought was interesting was the fact that he saw his images as, less about the individual landscapes themselves or the people in the image and more about the manner in which he photographed the people in the landscape (using his deadpan style).

In addition to this, another thing that stuck out to me was his ideology, beliefs and approach towards the photographic composition. He mentioned that he actively steered clear from cutting the horizons out of his images because he felt that the image would come across as more subjective to the viewer because the image is only showing a section of a place without the context. Inversely he believed that in the vast majority of cases, including the horizon line would result in a more objective and 'true' image. This directly relates to the ideology of the deadpan movement as a whole. 

Finally, his argument that images have the ability to tell us something about society is a concept that I agree with myself. I think that photographs (like other forms of media) have the ability to act as a cultural barometer for society. 

1.Is the deadpan’s detached, distant, analytical, banal approach somehow distill our cultural mood? 

I think that to some extent the deadpan approach and photographic ideology could in fact distill our collective cultural mood as a whole because of the constant struggle to represent and portray things as more objective than subjective. In this quest to be 'truthful' perhaps our cultural mood could consequently be distilled.

2. Does it represent the way people feel disconnected from one another, even if technology makes them more interconnected than ever? 

In some ways deadpan photography can represent the way people feel disconnected from one another if the viewer interprets the image in that manner. However, I think that the style aims not to cast judgement but to simply reflect the 'objective reality' that is really. In a world where technology has made the process of 'connecting' with people easier over the internet, there is still the real possibility of feeling disconnected from profound relationships./

3. And is deadpan photography a refuge or reflection of emotion when we are overwhelmed with terrorism, war, ecological and natural disaster? 

I personally think that deadpan photography has the power to reflect rather than refuge emotion. This is primarily because of it's desire to document and reflect the things that are actually happening. In often cases without casting judgement or opinion on an issue.

4. Does its uniformity of the style reflect our mass-produced, chain-store world? 

I think that the uniformity of the deadpan style can reflect our mass-produced world. In the instances of both Edward Burtinsky and Andreas Gursky, I feel they were able to convey the globalisation and the consumerism within their images respectively. 


5. Has our ability to document just about anything made us do just that...

I agree with the above statement, that our increased ability to document things in our lives with more ease has lead to the over saturation of documentation in our culture. I think that with the events in the past that used to be deemed private moments have become more public than ever, because of our desire to document just about anything.

Jeff Wall 'Contacts' Video Reflection

Video Link: https://www.youtube.com/watch?v=Cg8bB0zs3HQ

During this short piece I learnt that Jeff Wall was was/is heavily influenced by paintings in his work. He spoke of presenting his images in a large 'life size' way in a similar manner to the way that paintings are displayed. He also went on to make the point that the majority of his works involve him collaborating with performers (just like painters do with  models) in order to attain the final piece. 

There was a section of the video where Wall spoke of exploring the 'truth' claim that modernist photographers made/make about their work. This section related to the overarching themes of our class lectures that explore this same photographic notion. This is something that I thought was very interesting.

In addition to this, one thing that stuck out for me was when Wall said that, "It's more interesting to look at a picture as a representation rather than to look at the event as an event". He was again referring to the modernist 'truth' argument and this is essentially what separates the artist from the journalist. Jeff Wall here frames his point in a way that I haven't considered before.

Finally, I thought that the way he sometimes integrates the medium of video into his pieces is very clever. He explained that he'll use video to prepare his performers (and himself) for the actual photograph. This consequently allows him to somewhat control the movement in his images.

Reflection on Edward Burtynsky's 'Manufactured Landscapes'

Video Link: www.bing.com/videos/search?q=manufactured+landscapes+hulu&&view=detail&mid=E577D90839791D246A37E577D90839791D246A37&FORM=VRDGAR

I learned a lot from this piece. It really opened my eyes into the way in which consumer goods are manufactured on a large scale. Typically I don't consider all of the previous steps leading up to the object that I've purchased being in my hands. I also thought that Burtynsky's ideology and rhetoric surrounding his work was admirable. He mentioned early on that his intention was not to 'glorify or damn' the portrayal of landscapes, rather his desire and goal was/is to just show or document without casting judgement. I thought that this approach to photography was interesting because of the countless images that exist to sell ideas and values about things. 

I recall watching the opening shot/scene from this documentary and being amazed by the sheer size of the warehouse that the people were working in. There was a particular shot of irons moving in opposite ways along a conveyer line along the ceiling which made me think about our society as a whole and our desire to collect and consume as much as we can. 

In addition to this, I thought that the conversation that Burtynsky's crew had with a company representative outside the factory was also thought provoking. This is primarily because the crew were trying to persuade the company rep to let them shoot in the area. I recall the representative mentioning that the weather wasn't good enough for images - this as a result led me to consider the amount of planning/spontaneity that occurs on a photoshoot. I considered spontaneity  as being more 'truthful' and planning for certain types of weather more 'fictional'. I recognise that this is a minor point, but it is something that resonated with me that directly links to the lecture about fabrication. 

I found this documentary informative and enjoyable, I thought that Burtynsky's working style was both admirable and improbable in terms of trying not to influence or cast judgement which would perhaps alter the way the viewer interprets the image. I think that it is improbable even because of the small things like framing which could drasticatly alter the way in which things a are perceived.

Reflection on Dick Blau's Talk

Dick Blau's presentation was memorable for me for numerous reasons. Firstly, I was surprised by the variety of work that he showcased throughout. His first film entitled 'Up The Block' was very personal and intimate. I felt like I was present in the moment with the people on screen because of the way the camera moved and the access he was granted into their lives during their time at Church. However his second film about the fairytale was visually different in the way it was presented. In comparison to his first film that had long shots on screen his second was sporadically edited which created a completely different feel. The narrative was chopped and edited in an 'unconventional' way that captivated me during the videos. 

Another thing that I took away from Blau's films was the importance of the sound in telling the story. His use of sound in all of his pieces was an integral part of the final product and I think that the outcome would've be totally different had focused on the sound less. I could have just listened to the audio alone and still got similar feeling from his films. Overall I learnt a lot from his talk.

Reflection of George Rousse's 'Contacts' Documentary

Video Link: https://www.youtube.com/watch?v=8GTEMvvsJec

This piece was very informative because it revealed Rousse's techniques and mentality as creates his installation pieces, from conception to completion. Part way through the video he mentioned how photography has the capacity to act as the memory of a place which I thought was quite interesting. He was particularly referring to the abandoned buildings that he sometimes worked with. 

Another thing I found intriguing was the meticulous approach he described taking toward each and every one of his figurative paintings. He mentioned that he imagines the buildings and rooms that he works in as being two-dimensional spaces instead of three-dimensional because the final image that he creates will be two-dimensional. This stood out to me because I haven't approached a space before with this outlook and perspective. 

In addition to this I thought that the way he integrated his travels into his art pieces was unique. He began to include various 'objective' maps into the artwork itself based on the areas that he travelled to. This created a blend between things that are essentially objective and subjective with relation to his work.

Reflection on the 'Still Moving' Exhibition

I enjoyed seeing the Still Moving exhibition because It was an experience that I'm not totally used to. It was the first exhibition that I've been to that was entirely made up of video pieces. I found myself experiencing and negotiating the space in a totally different manner. Typically I experience art installation pieces relatively quickly, so this was a change of pace for me. I can distinctly remember each of the pieces that were on display, particularly Charles Gick's 'Hand With Cloud', Stephen Hilyard's 'Waterfall' and Walker Pickering's 'Esprit de Corps'. 

I remember Gik's Hand With Cloud because it made me laugh as I watched it. I'm not entirely sure why but I infer that it was because of the repeated motion of the finger poking the cloud's surface, it reminded me off children playing with each other and 'poking fun' at one another. Additionally, I remember Hilyard's Waterfall' for two main reasons: the first is because of the orientation in which the video was presented. It seemed like the camera was recording the waterfall in a portrait orientation because the projector was positioned sideways. Viewing the projection made me question why video is so often presented in a landscape format. Watching the video seemed both wrong and right simultaneously because of this. Finally the Waterfall piece was memorable for me because of the editing that was applied to the video, I remember avidly watching as the people on the cliff moved around and then suddenly they faded into the waterfall which startled me somewhat. 

Lastly, I remember Pickering's 'Esprit de  Corps' because of the feeling I felt whilst I watched it. I felt feelings of determination and perseverance just from watching the piece. In addition to this the choice to present the video in black and white stood out for me. I liked the wide ranging camera angles and perspectives shown throughout. Overall I thoroughly enjoyed seeing the Still Moving exhibition and I'm looking forward to going to another exhibition soon.

Reflection on Vik Muniz's 'Wasteland' (2010) Documentary Video

Video Link: https://www.youtube.com/watch?v=QUAavzJsTBw

I thought that this documentary was powerful because it dealt with some issues that I haven't really considered before. It also alerted me to the possibility of art having the capacity to alter the way people think and feel about their surroundings and ultimately change their lives. I particularly appreciated how in depth the documentary went into showing Muniz's process in creating his pieces from inception to completion. I think that this documentary highlights the ability art has to momentarily take people out of their situation to be engaged and engrossed in the image.

However, the thing that stood out to me most from the documentary was the conversation that Vik was having with Janaina (his wife) and his assistant about bringing the pickers from their familiar environment in Brazil to the foreign environment of London. Janaina was making the argument that removing them from their surroundings and showing them a 'better' life in London, only for them to have to return home shortly to continue working with garbage could be problematic because it may cause them to feel depressed. While Vik focused on the positive outcomes that could arise from the experience. I thought this was very interesting because it showed the power that they had in potentially changing the people's outlook on life.  

Reflection on Cindy Sherman's 'Nobody's here but me' (1994) Documentary Video

Video link: http://www.youtube.com/watch?v=UXKNuWtXZ_U

On the whole I found Cindy Sherman's documentary very informative and though-provoking. I found that a large part of the recurring themes shown in this documentary were somewhat familiar because of the lecture on postmodernism from our last class. 

The first thing that stood out for me from the piece was when Sherman was describing her process and motivations for some of her photographs, she stated that, "through a photograph you can make people believe anything...(essentially I'm) figuring out ways to tell lies in a way"(1994, Sherman). I think that this is a really powerful statement to make, one that co-insides with a message I took from our last lecture on modernism and postmodernism. From what I gather, modernist photographers attempted to tell 'the truth' in their images by photographing things 'objectively' just as they really were. Whereas postmodernists like Sherman have more of a subjective sorry to tell, one that is perhaps sometimes subversive in the sense that she revealed things in her images not currently shown in mainstream media.

Throughout the documentary Sherman mentioned producing work that falls outside of the 'normal' realms of artwork, she also touched on showcasing things that are not typically seen or though of by people, not in an attempt to sell art pieces and paintings but to merely provoke thoughts in minds of people. For instance her "outrageous portraits of genitalia from angles that most people will never see them from" (1994, Curtis), or even her carefully crafted images of vomit or condoms, which I personally feel links back to Sherman's early point regarding the portrayal of things usually only found in our imagination.