Ed Ruscha Project (26 Framed Penises)
Link – people appreciated the humour involved & the care with which I had hand-made the final object(s). My chutzpah at presenting such a subject was noted; which is reassuring as my intent for this MA was not to censor myself or my research which I felt I had done for the BA.
Dayana picked up on the “Here we are! You can deny us anymore!” aspect & I like her thoughts of the images appearing sculptural in the framing. Philip wondered if I should install a vending machine selling copies for £3:00 a pop…I wish it could be financially viable to sell them this cheap, but it takes me half an hour to create each one, but it’s certainly something I had considered if I can find a printer willing to tackle the subject.
In Another’s Shoes
I had to come up with something very quickly for this exercise in revisiting another art-work. I have re-imagined Henry Scott Tuke with suitable models in the past so it seemed apt to play with the artist/model relationship by creating a self-portrait while also bringing his work to the attention of others…especially as he has received a bad press recently. I also took the chance to comment on the fact there is little gay history available to us & what we can find has to be hunted for with knowledge and a microscope. Tuke was obviously gay yet this is still ignored in much writing about him. Of course his sexuality should not make a difference to his skill as an artist, but we need to cling to any historical icons lest our traditions be whitewashed over.
I was pointed out (by Stella) that the reclining nude is more traditionally a female pose. This is something I need to re-visit so I am aware of this type of posing when I do my Naked Domestic Portraits (see the Major Project category). She also asks me to question my use of the Gold Frame – on my part this was simply aesthetic, but she reminds me that all aesthetic choices must be considered. Ashley picked up on the time-difference between the two versions with my tattoo’s firmly placing myself in the 21stC while Tuke’s image is rather timeless. Jo points out the consideration of viewing the nude male…how it only seems acceptable within a gallery context ( I am assuming my final project will be destined for the gallery, but perhaps I should be thinking braver as part of my intent is to challenge societies view of the naked male). Love that Rita picked up that my pose does not quite match the Tuke version…I could say this was deliberate, but truth is I had overlooked this in the rush to capture the shot. I also love her comment that she is ” – so bored with boobs…”
Feeback from First Webinar
Questioned the use of film vs digital – I am using film grain to mimic high ISO film (vernacular – Nan Goldin), but also to cover the digital noise when being forced to use high ISO settings on the camera.
Jo liked the disjointed from of layout on the Powerpoint presentation – still keep coming back to Tillman’s style of exhibition. Using the banality/ aesthetic style of the possessions to infer the hidden face and combat the shock value of the naked male.
Josie feels like I am not there – that the model is alone…interesting to consider when I am also looking at the voyeuristic but also the intimate relationship between model & photographer. Maybe I need to consider my relationship to these models in order to bring in this intimacy or perhaps be more aware of these appearing as stolen moments of serenity. She notes how I connect with the model in order to gain their trust enough for them to be naked in my company.
Philip – notes domestic narrative collective about the man through possessions & what he chooses to surround himself with (important part of my intent). Not just about the body, but about the man’s presence within the abode. Saw Warren’s as strong ordering within the composition & the use of disjointed alignment; to create visual full-stops to try to capture the interest of the viewer.
Where next? Ha Ha Ha ! (Cheers Philip) Will there be a distraction or a complete project dog-leg much in the way I left the Polaroids? At the moment I am happy with how these are going and would just like to continue expanding upon them to create a nice large body of work.
Stella – mirror use. (Andrew) shift focuses upon the model looking at themselves with me the photographer as interloper maybe. Portraying themselves & their body parts through that framing (structure of the shot) doubling up of the framing (this is lost in Warren’s shot as the perspective is photographers view looking down upon the body – lost the sense of self-reflection that is within Andrew’s shot). Mirror has a more self-reflective ability. Lighting reminds Stella of David Lynch.
Philip says is there a potential “collaboration…subject: photographer”? A built performance / collaboration as we discuss possibilities and rooms / poses / options. But need to think deeper (outside the box?!) about this collaboration – do I place signs of myself within the shot or parts of myself reflected or get the subject to photograph me? (think Lucas Samaras portraits of others where at least a part of him also makes an appearance).
History of the female nude rotates around the reclining nude (again – research this) and how it compares with what I am attempting. Am I feminising these subjects? Powerful to see the model reversed by using the male (Stella says).
Edward Weston’s nudes – mirror his style with a possession photographed in a sensual way alongside the actual male nude?
Most important to configure the relationship between myself and the sitter. Any relationship with the nude it is crucial to consider – are you going to completely omit the face – is the person going to be looking back into the camera. Uneasy looking at the naked male when historically we are more used to seeing the nude female reclining nudes that are pleasing – but my work is contradicting our perception of that which (Stella) likes; visually challenging.
Think through the steps & create a strategy of how I want to achieve this.
Phillip reminds me that the Curtis & me mirrored shot is always a favourite.