Billingham, Barth, Fraser, Lamsweerde

Some notes from practitioner interviewsRichard Billingham
Openly admits to their being a tragedy in the situation
Looking with a painters eye – “spacial relationships between objects” “allegories that told the story of his condition”
Julian Germain looked at them as pictures he didn’t look at them as documentary photography
You can see the influence of a painters eye in the final photographs – they are composed in the manner of recognisable classical tropes. You can almost say – yes that’s a Carravagio; and that’s a Rubens. But his social commentary is more on the lines of domestic compositions of Vermeer (which Jessica Lack picks-up on) rather than the damning of etchings of Hogarth
‘Fishtanks’ – any documentary film maker would use cutaways and select of angles or crops (wide feature, and close-up) but his focus is just on the lips as if to confirm importance of the dialogue interaction as the subject of the segment
“It’s…whatever medium suits the idea”
He questions how to take an image not in the National Geographic style which is an interesting standpoint as most would want their work to sit comfortably with that style. The end results put me in mind of museum dioramas. Filmed the animals repetitive behaviour (rocking which is a sign of stress and trauma). I find that very distressing so it surprises me he was so blasé about the work and that he didn’t see it as a commentary on the treatment of animals in zoos.
Act of framing brought out the constructions of Constable who he was seeking to reference in his photographs using plastic lensed cameras – something he couldn’t see in the scene but which re-appeared in the prints

Uta Barth
“Painting with light and chasing the ephemeral”
“subconscious engagement one has with the act of looking”
“I remember a teacher talking about the difference of making an engaging photograph of an ordinary thing versus making an ordinary photograph of an engaging thing”
” I want to draw with light, the refraction of light as it moves through glass and liquids, to draw with shadow, and again, to use light as the subject in and of itself”

Mirlesse, Sabine. Light, Looking: Uta Barth [online] bombmagazine.org available at http://bombmagazine.org/article/6511/light-looking-uta-barth accessed [12th April 2017]

Inez van Lamsweerde and Vinoodh Matadin
Not chronological, but a sentence where the pictures are the words and it keeps going and going. Images paired and relate to each other. Show starts with most important work that sums up their way of working. Add an emotional value to every piece and blur the boundaries between art, fashion, portraiture etc
Peter Fraser
Make myself available for the image.
To be able to concentrate for 12 days and nights was delirious.
Coming across discoveries. Small things the key to everything.
A portrait of London through images

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