Charlotte Cotton – ‘we generally take pictures at symbolic points in family life, at times we acknowledge our relationship bonds and social achievements’
sally waterman – past present (2005)
Through transformative methods of constructed narratives, metaphorical landscapes and perforative re-eneactments – ‘waste land’ project became an attempt to work through marital breakdown and the divorce of her parents. – She adopts elusive modes of self representation in order to situate herself apart from the audience. Appearing as an anonymous figure or ghostly trace.
Engages the viewer with her candid exploration of universal emotions. well-known for her confessional art – she reveals intimate details about her life within her work to engage the viewer.
Emin shows us her own bed, in all its embarrassing glory. Empty booze bottles, fag butts, stained sheets, worn panties – revealing that she’s as insecure and imperfect as the rest of the world.
she establishes a generous dialogue between the viewer and the artist by the re-telling of her unique and intimate life events.
Jo Spence – picture of health?
A body of work where Jo Spence responds to her disease and treatment through photography. channelling her research and feelings about breast cancer into an exhibition. ‘photo therapy’ – using photography to heal ourselves. She used the exhibition to work on her stress and anxiety.
Her body of work is not just for a private record of a cancer sufferer. They tell us that having breast cancer is a social experience.
Spence identified photography as the complex site of ideological negotiation between family, class, gender and social life.
Goldin has taken intensely personal, spentneous, sexual, and transgressive photographs of her family, friends, and lovers.
She describes her photographs as a ‘visual diary’. The portrait of Nan one month after being battered was taken to prevent Goldin from forgotting the damage caused by her boyfriends violence.She applies the same frankness to the lives of her close friends. ‘there is no operation between me and what i photograph.’
Corinne Day – Ex-model and self-taught photographer. ‘diary” is a culmination of ten years work and is intensely personal and frank photographic account of her life. shocking and sad, bleak and tender, the series draws comparison with the work of Nan Goldin and Larry Clark for its uncompromising honesty. A chronicle of young lives lived on the edge of drugs and despair.
‘good friends make you face the truth about yourself and you do the same for them, as painful, or as pleasurable, as the truth may be.’
’10 years of life which i kept and intermittent photographic diary of friends, family,experiences and places I’ve been’. – 100 photographs some painfully intimate, some unbearably sad.
Sophie Calle ‘take care of yourself’
sent 107 women from a range of backgrounds and professions a break-up email from her partner. She asked them to interpret it how they wanted and made an art project from it. ‘After a month i felt better. There was no suffering. It worked. The project replaced the man’.
‘the rules of the game are always very strict. In take care f yourself i asked the participants to answer professionally, to analyse a breakup letter that i had received from a man.’ The parameters were fixed. For example i wanted the grammarian to speak about grammar. – i didn’t want the women expressing sentiment for me. except maybe my mother.’