visiting lecturer in Plymouth University
- use your imagination – doesn’t have to be true
- what are you really interested in?
- if you like a photographer – chase them – (photography assistants)
- make time for your own photography – that you enjoy
- pictures don’t always have to make sense
- start with feelings/ get to the ideas later
- say things with pictures not words
- don’t have to understand your projects / work / do it on feelings and just because you want to…
- do something that years ago would have been drawn – do it years later your own way… e.g. – drawing a bomb / damaged buildings after an air raid – years later doing the same things except with a camera.
a visiting lecturer in Plymouth University
- strobe lighting
- plate cameras
- too dark and dark contrast can still be effective
- work doesn’t need meaning
- polaroid – date and what is happening ( a way of recording process)
- use photographs like a diary
- all started on a whim
- didn’t matter how good photos were – just i they fitted with concept – meaning behind them..
- always write down camera used – with lens – to record process – to remember how that image was create
- use objects in pictures that help date the book.
- ideas for covers – doesn’t matter where you get inspiration from – film covers
- don’t have to have smart titles – can literally be describing
- badly shot pictures can have meaning
- always good to include quotes – walker Evans, Agnes Martin
- everything around you effects you
- time and space away rom your usual environment and obligations.
- time and reflection, research, presentations and/ or production
- allows individual to explore his/ her practice within another community
- meeting new people, using new materials experiencing life in a new location
Historical perspective –
- early 20th century
- art loving philanthropist
- US and Europe (Germany)
- 1960s – new models emerged : seclusion or involvement (sense of community, social engagement)
- 1990s – globalisation – much more world wide – easier to travel.
- linked to organisations, museums, galleries, universities
- some solely exist for offering residency places
- national/ international
- length vary greatly – minimum 2 weeks – can be as long as 2 years
- different disciplines
- Age – varies greatly – no younger than 18
- country of origin – some are vary specific – ( only want people from a specific country) others its not so important
- some residencies are invitation only
- A plan outlining your work during the residency : concept, context, methods, outcomes
- usual requirements: proposal, CV, resume, artist statement, portfolio, letter of recommendation.
Funding/ Finances –
A residency should be a beginning, not an end.
A list of inspiration.
1 – My mum
2 – Mine and my mums cake hobby
3 – Rothko
4 – nature – Orlie common – Ipplepen / stover country park / Walls hill – Torquay/ Staverton
5 – The seaside
6 – My house
7 – My family and friends
8 – My dads house
9 – Totnes
10 – Line, texture, tone of different objects
11 – Sophie Calle – ‘Take care of yourself.’
12 – Going out most nights in the week and helping the homeless in Torbay
The gallery at PCA
Program in seasons 3 seasons – usually 2 artists per season
To reflect the full ecology of the art world
To reflect what gets delivered within the college- connect with the programs.
White cube gallery space – neutral
Works with lots of different partnerships – Uni, museum, cast
Tab for gallery on pca website – can see archive
Teaching and learning resource- supporting artists, to reach a wider audience
Solo exhibitions, group shows, touring shows, partnerships
Online presence – no research budget
Websites are crucial
Who is the show for?
how long is the show for?
how long do you have before the show?
actual space – limitations – can/ can’t do
need a plan for the space – in advance – always changes – helps you make decisions
fixed work – where things have to go – can’t move because of impossibities –
contract/ artist agreement/ insurance
condition checking – before and after – marks on work – from artists and then when you get the work – about reliability.
invidulators – look at work all the time – look after it
if no invidulator – can use other security measures –
a-n – (artist newsletter) public liability insurance
funding – the college invests in the gallery –
arts council – grants for the arts
how does it benefit the public
captive audiences – where people are already standing and waiting – bus stops/ trains/ toilets/ laundrette
1)What models of working exist for the photographer in the 21st Century? (Marcus mapped out a portfolio of income streams.) Consider how or whether the model Marcus described might be sustainable. State what the risks are of working in this way and what are the benefits. Consider whether there are there any other models of working?
• Photo libraries (Millennium) not a constant supply of money, don’t know when you will get paid or how much or if you will get paid at all. But do get a lump some of money and I can be quite a lot of money if you did get paid, good for extra money but not as your main income. Only get 50% of the profit. Not in total control of how your work is used and portrayed. Have to pay money to be represented, if you are only starting out then it can become pricey.
• Teaching – constant supply of money, but not a lot of money. Have some extra time to do photography on the side. Have to work out times to create time to do personal work.
• Galleries – only get about 50% of the profit, not certain if anyone will buy anything, good to make contacts within your profession,
• Collaborating with other people – (group exhibitions) there is a bigger variety of artwork so more people are likely to come.
• Collaborating with other people (represented by a gallery) (Amsterdam) you have permanent work which gets exhibited, like a bigger photo library it is not a constant supply of money so you can’t depend on it, because it is a smaller organisation there will be less people looking there. Because it is a smaller organisation there is more probability of it becoming bankrupt.
• Board game design – selling his own work
• Illustrations – Maisy mouse
• Nathaniel Davies – selling his dads work
• Employed directly by newspapers/ magazines.
2) Give an essentialist and materialist definition of artist and/or photographer and consider how these operate in society.
• Essentialist definition: is the view that, for any specific entity (such as an animal, a group of people, a physical object, a concept), there is a set of attributes which are necessary to its identity and function.
• Materialist definition:
• be able to compose a picture “a good eye”
• Can use the equipment
• Natural ability – something you can’t be taught
• The world you have been brought up in, the upbringing you have had. If you were brought up in a third world country, then you wouldn’t be thinking about it as much as becoming something more academic.
• More doing it for yourself
• You can be taught the technical ability but can’t be taught the passion
• Technology need
• Need to be taught technical ability
• Essentialists want to go out and take pictures but don’t care so much about making money because they only care about photography.
• Materialists take picture to make money purely for material gain, so they can make the money to buy material objects.
3)What is your class position as an artist/photographer and what is the place of your practice with the broader socio-political setting? What level of privilege do you enjoy as student in the 5th richest country in the world? Does this alter the kinds of work you produce or how you consider you should earn an income?
• We live in a Western country where we are able to do a degree in almost anything ad you are free and can make money from doing an art degree
• In a third world country it is highly on academic education because that is useful.
• The idea is that because of the loan system it is that everyone can end up with a degree, because of Btec courses you don’t necessarily need to have A-levels.
• Access to high standards of equipment and teaching, basic privileges in terms of loads for housing, course funding.
• Allows opportunity for us to study art as its own career path.
• Work should never cause harm, as someone who comes from a Western environment that is quite liberal you must be mindful of social differences and show them the utmost respect.
• background of different student
• after graduation many things limit your ability to practice – class as background.
• Exploiting subject matter to benefit you – from a moral standpoint is wrong.
• class as established in photography:
• where my work is valued in the hierarchy of art and photography.
• Constantly nurtured by the education system. They take us along and through school it is constantly there for us and we have to go to school but in third world countries its pure luck because they don’t have the same education system, you also need to pay where as unless you go to private school it is free.
steal like an artist – Austin Kleon
newspaper black out poems
Nothing is completely original – everything is a mash up of previous experiences/work.
– Picasso ‘good artists copy, great artists steal’
Transformation is flattery – if you steal something, expand and transform it – because it is your work.
where do we steal?
- people watching/ strangers
- other students
- bloggers/ bloggs
- re-visiting past memories
- drugs/ alcohol – 60s/70s