Looking at other artists
In this section of my learning, I have had great help from the OCA booklet "Looking at other artists".
Lee Miller
On a sunny Tuesday in June, I visited Mjellby art museum in Halmstad, Sweden. There was an exhibition about photographer Lee Miller I thought sounded interesting. She started as a model in the 1920s and soon became a photographer. Her style can be described as surrealist and she worked with artists such as Man Ray. Many of her photographs contain objets trouvé, existing object used as art. One example of this is the amputated woman's breast which Lee Miller obtained from a doctor, and photographed like a piece of meat on a plate. It seems like Miller wanted to make a point in the male orientated environment of photography, where women often are shown as objects.
What I remember the strongest however from this exhibition, are the photos Miller took during the second world war. She was the only female war photo journalist covering the war in Europe. Out of the war images in the exhibition, I specifically remember her self portait, taking a bath in Hitler's desered bath tub.
I think Lee Miller is a great inspiration for photographers, both because her eye for art, and for her courage to capture dangerous and poignant situations.
Lee Miller
On a sunny Tuesday in June, I visited Mjellby art museum in Halmstad, Sweden. There was an exhibition about photographer Lee Miller I thought sounded interesting. She started as a model in the 1920s and soon became a photographer. Her style can be described as surrealist and she worked with artists such as Man Ray. Many of her photographs contain objets trouvé, existing object used as art. One example of this is the amputated woman's breast which Lee Miller obtained from a doctor, and photographed like a piece of meat on a plate. It seems like Miller wanted to make a point in the male orientated environment of photography, where women often are shown as objects.
What I remember the strongest however from this exhibition, are the photos Miller took during the second world war. She was the only female war photo journalist covering the war in Europe. Out of the war images in the exhibition, I specifically remember her self portait, taking a bath in Hitler's desered bath tub.
I think Lee Miller is a great inspiration for photographers, both because her eye for art, and for her courage to capture dangerous and poignant situations.
Lee Miller - Hitler's deserted bath tub
Deserted places - Jan Jörnmark exhibition
On the same sunny Tuesday, I visited Jan Jörnmark's exhibition "Deserted places" at Falkenberg's museum, Sweden. He is an associate professor in economic history and his photography contains empty buildings which tell a story from a historical perspective. An example of this is the photos of empty apartment blocks, built in towns where new industries buzzled in the 1960s. As the industries failed, people left and the apartments were left deserted.
Jan Jörnmark's main focus is not to take artistic photos, but to tell a story. He shows the viewer places you didn't know existed and makes his area of economic history more accessible for more people.
The two exhibitions I visited contain very different styles of photography, but still have something in common. Both photographers express what is important to them and convey their ways of looking at the world to the viewer. It is rather fascinating how the media of photography - the camera - can express such different things, depending on what the photographer wants to convey
On the same sunny Tuesday, I visited Jan Jörnmark's exhibition "Deserted places" at Falkenberg's museum, Sweden. He is an associate professor in economic history and his photography contains empty buildings which tell a story from a historical perspective. An example of this is the photos of empty apartment blocks, built in towns where new industries buzzled in the 1960s. As the industries failed, people left and the apartments were left deserted.
Jan Jörnmark's main focus is not to take artistic photos, but to tell a story. He shows the viewer places you didn't know existed and makes his area of economic history more accessible for more people.
The two exhibitions I visited contain very different styles of photography, but still have something in common. Both photographers express what is important to them and convey their ways of looking at the world to the viewer. It is rather fascinating how the media of photography - the camera - can express such different things, depending on what the photographer wants to convey
Jan Jörnmark – Deserted places
Josef Koudelka
Koudelka’s photos from the Soviet invasion of Prague in August 1968, were shown in the Irish Gallery of Photography. The format for this exhibition was a slide show with commentary by presumably Koudelka in French. There were no subtitles, which was a shame. During the slide show eerie music was playing, which made the exhibitions remind me of a Tarkovsky film.
All the photos were in black and white. It shows masses of people who have gone out in the streets and convey urgency, desperation and fighting spirit. It captures moments as some look scared, some angry, some passive. There is a bewildered old man and scared looking Soviet soldiers. Koudelka takes close ups of faces, patterns of masses of people, and steps up on the tanks to capture a different perspective and to be on the same level as the soldiers. Not many people are looking into the camera. They are too busy looking at everything else going on. There is smoke, fire, destruction and menace everywhere.
Koudelka explains how there where photo opportunities in every direction he looked, and his photo journalism really succeeds to tell the story of what happened during the invasion.
Koudelka’s photos from the Soviet invasion of Prague in August 1968, were shown in the Irish Gallery of Photography. The format for this exhibition was a slide show with commentary by presumably Koudelka in French. There were no subtitles, which was a shame. During the slide show eerie music was playing, which made the exhibitions remind me of a Tarkovsky film.
All the photos were in black and white. It shows masses of people who have gone out in the streets and convey urgency, desperation and fighting spirit. It captures moments as some look scared, some angry, some passive. There is a bewildered old man and scared looking Soviet soldiers. Koudelka takes close ups of faces, patterns of masses of people, and steps up on the tanks to capture a different perspective and to be on the same level as the soldiers. Not many people are looking into the camera. They are too busy looking at everything else going on. There is smoke, fire, destruction and menace everywhere.
Koudelka explains how there where photo opportunities in every direction he looked, and his photo journalism really succeeds to tell the story of what happened during the invasion.
Josef Koudelka – Invasion Prague 1968
Eoin O Conaill - Common Place
On a sunny Tuesday afternoon in September, I went to see an exhibition in the Gallery of Photography by Eoin O Conaill called Common Place.
Eoin O Conaill is the Winner of Gallery of Photography’s Artist’s Award 2009, so I was curious to see this exhibition. The images depicts recognisable contemporary scenes, I don’t know where, but they could be anywhere in Ireland of today. They are of buildings, shop windows, empty streets with litter lying around, a young guy in a tracksuit posing in the flash light in his neighbourhood, housing estates, car tracks in the frost in and empty car park.
The program explains the exhibition as “a subtle exploration of Ireland during the recent period of cultural and economic change. The evocative stillness of O Conaill’s images, bathed in the uncertain light of early morning or late evening, reflect the visual contradictions embedded in urban and rural topography.”
There is an atmosphere of stillness, uncertainty and loneliness running as a common theme in all the images. The bleak streets are empty. There are no cars in the car park. The people are on their own. They are covered in mist or low light in dawn or dusk. The photographs are in muted tones almost monochrome in some instances.
It seems to me that the artist is trying to convey how uncertain people feel today about the future and how it effects the soul a nation and a country. The image of a girl in a track suit posing on a lawn in her housing estate, reminds me of that plaque of human beings attached to the Pioneer space craft. It says “This is what we look like in 2009”. It is a study of contemporary living, far away from the glitzy Celtic tiger.
I thought this exhibition was quite thought provoking. It has a great impact in a quiet way. It is not forceful when you start glancing and but as a whole set, the images tell an interesting story. I thought “I could have taken that picture” But I didn’t. I didn’t come up with the ideas. The set of pictures are seen from the artist’s point of view, created in the context of how he feels about contemporary life. As a whole, I really enjoyed the exhibition.
On a sunny Tuesday afternoon in September, I went to see an exhibition in the Gallery of Photography by Eoin O Conaill called Common Place.
Eoin O Conaill is the Winner of Gallery of Photography’s Artist’s Award 2009, so I was curious to see this exhibition. The images depicts recognisable contemporary scenes, I don’t know where, but they could be anywhere in Ireland of today. They are of buildings, shop windows, empty streets with litter lying around, a young guy in a tracksuit posing in the flash light in his neighbourhood, housing estates, car tracks in the frost in and empty car park.
The program explains the exhibition as “a subtle exploration of Ireland during the recent period of cultural and economic change. The evocative stillness of O Conaill’s images, bathed in the uncertain light of early morning or late evening, reflect the visual contradictions embedded in urban and rural topography.”
There is an atmosphere of stillness, uncertainty and loneliness running as a common theme in all the images. The bleak streets are empty. There are no cars in the car park. The people are on their own. They are covered in mist or low light in dawn or dusk. The photographs are in muted tones almost monochrome in some instances.
It seems to me that the artist is trying to convey how uncertain people feel today about the future and how it effects the soul a nation and a country. The image of a girl in a track suit posing on a lawn in her housing estate, reminds me of that plaque of human beings attached to the Pioneer space craft. It says “This is what we look like in 2009”. It is a study of contemporary living, far away from the glitzy Celtic tiger.
I thought this exhibition was quite thought provoking. It has a great impact in a quiet way. It is not forceful when you start glancing and but as a whole set, the images tell an interesting story. I thought “I could have taken that picture” But I didn’t. I didn’t come up with the ideas. The set of pictures are seen from the artist’s point of view, created in the context of how he feels about contemporary life. As a whole, I really enjoyed the exhibition.
Eoin O Conaill - Common Place
David LaChapelle - American Jesus
David LaChapelle’s photography can nearest be paralleled to renaissance paintings. It is colourful, religious and naked. I visited the exhibition “American Jesus” at the Sebastian Guinness Gallery on an autumn Saturday afternoon.
I would describe his style as artificial reality. Models, some of which are very famous like Michael Jackson and Courtney Love, are placed as if they were in a painting. Whereas the models obviously are real, the environment they are in is fake looking, creating a look of reality on steroids. The images are vibrantly colourful, glitzy and processed. Sometimes very glamorous models are contradictively placed in a gritty scene. The overall themes are religion, nakedness and water. The scenes are always brightly lit.
In the series of photos called American Jesus, a Jesus figure dressed as from the traditional biblical stories appears in modern time environment. As an example this image shows Jesus with twelve modern day disciples who all look like American rappers. There is a back light behind Jesus in each image, giving the figure a religious glow.
David LaChapelle blends the look of renaissance paintings in a museum with today’s technology and distance from reality. It is a mix between fantasy and modern life. It reminds me of American Pop Idol, where the wannabe artists are real people, but not real pop star. They are puppets with bleached teeth and pompous background music, and the purpose of their appearance on the show is purely commercial. In one way LaChapelle pinpoints this commercialism, for instance in this image where brand names seem to be on the brink of destruction in a dooms day like scene. But on the other hand his photography is part of commercialism itself. I’m sure he has profited nicely from his photos. In a way it might be a summary of today’s general imagery; processed, fake and commercial. It wants to make us think it is real, and we have to keep our heads cool and analyse why it wishes to manipulate our view of reality.
Overall I thought this was a very interesting exhibition. I had seen some photos by him earlier, but didn’t find them too interesting. His style still wouldn’t be my favourite, but it clearly shows that only imagination is your limit. I think it ties in very well to this course, specifically to the chapter “Reality and intervention”.
This was my first visit to the Sebastian Guinness Gallery, which is on the ground floor to an office building, and since it’s walking distance from my own workplace I could easily visit future exhibitions there.
In addition, LaChapelle has created quite a few music videos for artist such as Moby, No Doubt and Britney Spears. But one video that realy struck a chord with me was Elton John's Believe. It stands out from his normal colourful glitz. I like the black and white photography, geometry and the symmetry. It makes the dancer stand out and has kind of an art deco feel. And the song is excellent too.
David LaChapelle’s photography can nearest be paralleled to renaissance paintings. It is colourful, religious and naked. I visited the exhibition “American Jesus” at the Sebastian Guinness Gallery on an autumn Saturday afternoon.
I would describe his style as artificial reality. Models, some of which are very famous like Michael Jackson and Courtney Love, are placed as if they were in a painting. Whereas the models obviously are real, the environment they are in is fake looking, creating a look of reality on steroids. The images are vibrantly colourful, glitzy and processed. Sometimes very glamorous models are contradictively placed in a gritty scene. The overall themes are religion, nakedness and water. The scenes are always brightly lit.
In the series of photos called American Jesus, a Jesus figure dressed as from the traditional biblical stories appears in modern time environment. As an example this image shows Jesus with twelve modern day disciples who all look like American rappers. There is a back light behind Jesus in each image, giving the figure a religious glow.
David LaChapelle blends the look of renaissance paintings in a museum with today’s technology and distance from reality. It is a mix between fantasy and modern life. It reminds me of American Pop Idol, where the wannabe artists are real people, but not real pop star. They are puppets with bleached teeth and pompous background music, and the purpose of their appearance on the show is purely commercial. In one way LaChapelle pinpoints this commercialism, for instance in this image where brand names seem to be on the brink of destruction in a dooms day like scene. But on the other hand his photography is part of commercialism itself. I’m sure he has profited nicely from his photos. In a way it might be a summary of today’s general imagery; processed, fake and commercial. It wants to make us think it is real, and we have to keep our heads cool and analyse why it wishes to manipulate our view of reality.
Overall I thought this was a very interesting exhibition. I had seen some photos by him earlier, but didn’t find them too interesting. His style still wouldn’t be my favourite, but it clearly shows that only imagination is your limit. I think it ties in very well to this course, specifically to the chapter “Reality and intervention”.
This was my first visit to the Sebastian Guinness Gallery, which is on the ground floor to an office building, and since it’s walking distance from my own workplace I could easily visit future exhibitions there.
In addition, LaChapelle has created quite a few music videos for artist such as Moby, No Doubt and Britney Spears. But one video that realy struck a chord with me was Elton John's Believe. It stands out from his normal colourful glitz. I like the black and white photography, geometry and the symmetry. It makes the dancer stand out and has kind of an art deco feel. And the song is excellent too.
David LaChapelle
Erik Johansson
At the far end of the continuum from reality to intervention lies Erik Johansson's photos. He creates a fantasy world which is clearly manipulated and uses Photoshop as a tool for his magic. His influences are artists like Salvador Dali and M.C. Escher so they are clearly surrealistic.Erik Johansson is not a celebrated photographer like the ones I have previously talked about in this learning log. He is a member of a photograpic forum and has been featured in a photo magazine, so he is on his way to becoming a well respected photographer. And talking about being on this way, an example of his images is "Go your own way" in which a guy is seen paving the way by pulling a sheet behind him. Erik Johansson is clearly very proficient in image manipulation, but I think the skill to come up with these ideas is even greater. There is no question about the real or fake argument in his images. Apart from the artistic qualities, I also think this is a very honest approach. The viewer doesn't need to ask themselves if the image is real, because it clearly is not. To some extent, less manipulated images can be more deceitful because the intent of the artist is less clear.
Miss Aniela
Miss Aniela's photos were first made famous on Flickr and she has thereafter been published in magazines and at exhibitions. She manipulates images in a very imaginative way and often puts in her self as a model, as a mode of self expression. In many of her pictures she is naked, but not in a flaunting way. I especially like her mystical images, some of which are taken in a derelict asylum. She depicts herself as an angel within the abandoned environment, example here.
In the video below she talks about her inspiration, which she finds from books and films, but even more from anything that catches her eye. She then keeps the ideas in her bank of ideas and uses them when a possibilty comes up. A sense of movement is often present in her images, as she finds it more interesting. Looking at her images I agree and am quite impressed.
Miss Aniela's photos were first made famous on Flickr and she has thereafter been published in magazines and at exhibitions. She manipulates images in a very imaginative way and often puts in her self as a model, as a mode of self expression. In many of her pictures she is naked, but not in a flaunting way. I especially like her mystical images, some of which are taken in a derelict asylum. She depicts herself as an angel within the abandoned environment, example here.
In the video below she talks about her inspiration, which she finds from books and films, but even more from anything that catches her eye. She then keeps the ideas in her bank of ideas and uses them when a possibilty comes up. A sense of movement is often present in her images, as she finds it more interesting. Looking at her images I agree and am quite impressed.