Bibliography

Meiselas, S. and Magnum (2016) Latin America (1978-2004). Available at: http://www.susanmeiselas.com/latin-america/el-salvador/#id=liberatedzones (Accessed: 4 November 2016).

Bernd and Becher, H. (no date) New topographics. Available at: http://www.tate.org.uk/learn/online-resources/glossary/n/new-topographics (Accessed: 4 November 2016).

Young, C. and Chamberlain, F. (2011) No Place Like Home.

Clark, E., Stallabrass, J. and Deghayes, O. (2010) Guantanamo: If the light goes out. Stockport, England: Dewi Lewis Publishing.

Tate (2013) Peter Fraser. Available at: http://www.tate.org.uk/whats-on/tate-st-ives/exhibition/peter-fraser (Accessed: 26 October 2016).

Home (2016) Peter Fraser. Available at: http://www.peterfraser.net/projects/nazraeli-monograph-2006/ (Accessed: 26 October 2016).

Cotton, C. (2014) The photograph as contemporary art. 03rd edn. London, United Kingdom: Thames & Hudson.

Howarth, S. and McLaren, S. (2011) Street photography now. New York: Thames & Hudson.

Francesca Woodman, ‘providence, Rhode island, 1976’ 1976 (1976) Available at: http://www.tate.org.uk/art/artists/francesca-woodman-10512 (Accessed: 25 October 2016).

Townsend, C., ’Extracts, F.W., Woodman, F. and Berne, B. (2006) Francesca Woodman. Edited by George Woodman and Betty Woodman. New York: Phaidon Press.

Francesca Woodman

An influential contemporary photographer, which developed a large body of work over a short period of time before her suicide. Francesca Woodman’s death greatly heightens the value behind her work – who at the time had still been developing her practices and understanding herself as a person. Woodman’s raw yet playful archive reveals surreal notions, combining her interest in art history with her practices. Woodman invites us to view her perspective, depicting forms in contrast to their surroundings and the objects in which they come into contact with. Carrying narrative throughout her work, seeking a sense of freedom beyond her surroundings. Francesca Woodman’s response of form to signify an object as if they belong on a display are elements in which I will introduce into my practice, combing natural lighting with playful poses – exposing myself and other personal objects.

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Townsend, C., ’Extracts, F.W., Woodman, F. and Berne, B. (2006) Francesca Woodman. Edited by George Woodman and Betty Woodman. New York: Phaidon Press.

Peter Fraser

Peter Fraser demonstrations found through the simplest of elements although to another of a materialistic nature, these depictions may not deem as worthy of a discovery. The stimulus of Fraser’s work centres around spontaneous encounters with the banal, documenting objects without interfering. Fraser investigates the beauty, significance and strangeness of the everyday through the use of natural lighting and digital cameras.

cocktailsticks-nazraeli

The discovery of the polystyrene cup in which Fraser’s documented questions the objects narrative, relevance and mean. As the viewer you are left pondering why were the cocktail sticks placed in such manner? Who composed such an object? These queries reflect the importance of found and the surrealism behind the everyday. With this reflection upon Fraser’s work, I am engrossed by his use of natural lighting to capture such banal yet intriguing objects in which serve no narrative to another yet piece together elements of an environment – forming an overall body of work. Inspired, I will introduce simliar methods to the environments around me. With the use of natural light, documenting objects in which serve no significance to another yet form a narrative as a whole.

paper-plane-nazraeli

Tate (2013) Peter Fraser. Available at: http://www.tate.org.uk/whats-on/tate-st-ives/exhibition/peter-fraser (Accessed: 26 October 2016).

Home (2016) Peter Fraser. Available at: http://www.peterfraser.net/projects/nazraeli-monograph-2006/ (Accessed: 26 October 2016).

Cotton, C. (2014) The photograph as contemporary art. 03rd edn. London, United Kingdom: Thames & Hudson.

Guantanamo: If The Light Goes Out

Edmund Clark 

The studies of three concepts of home – the naval base, the camps where detainees have been held and the homes where they now find themselves re-sculpting their lives in. The series reflects the perplexity of these men through documentation of their personal environments and belongings.

The narrative provokes the sense of disorientation and dislocation reflected within “still-life” imagery. Banal objects symbolise the control and trauma the military have upon the detainees. Tangible reminders of home – an example letters & cards are vigorously checked and copied. This control further interfered with Clarks preferred choice of camera, switching from medium format to digital equipment. In addition photographs could be censored at the the end of each day by security personnel.

To the viewer the control echoes through repetition within the series. The usefulness of the light to focalise everyday objects hinders upon the emptiness of the rooms and the lack of life, yet forming some sort of human presence. This thorough imagery narrates the psychological contradictions of Guantanamo, permitting a brief insight on a hidden domain.

Exploring simliar notions myself, Clarks use of intimate objects and light will inspire my own practice, especially the use of digital. Studying simliar environments of relations around me, aspiring to document presence without the use of portraiture.

Clark, E., Stallabrass, J. and Deghayes, O. (2010) Guantanamo: If the light goes out. Stockport, England: Dewi Lewis Publishing.

No Place Like Home

Faye Chamberlain / Chris Young

No Place Like Home, a diverse arts project documenting Cardiff’s city centre homeless hostels, Tresillian House and The Huggard – soon to be demolished for new homeless facilities. The project encouraged participants, staff and service users to reflect on the environment, producing a memoir highlighting the difficulties and successes within the building.

During a summer workshop sessions were held for staff, who were shown how to use photography to visualise and translate a sense of place and wellbeing. The outcomes confirm this, depicting a lasting testament of the homeless hostels and the residents.

The series confronts the stigmas attached to such a vulnerable group whilst challenging the viewers perceptions of homelessness. This very personal insight is by far a world away from the medias portrayal of homeless today.

As the viewer, you are invited into an immediate world – exposing us to an environment many would never experience. Captured through banal frames of empty rooms and objects, its hard to relate to such an uninviting environment. However, it must be noted these rooms and belongings are in fact a workplace and bring a sense of normality to the residents – home.

In contrast to the empty rooms, portraits of the residents were also provided. Forming a more sombre attitude towards the project, whilst admitting trust between the artists and participants.

The series radiates a raw insight into an environment heavily avoided in todays society. Overwhelmed by a world we are all guiltily to confront, your assumptions carried towards the homeless are lifted as a result of the works produced.

Motivated by the narratives depicted, my practice will continue with simliar notions regarding the environment surrounding myself. An example, portraits of subjects intruding upon their personal space and belongings. Through the use of medium format and 35mm, alongside digital outcomes.

Faye Chamberlain / Chris Young – No Place Like Home, Publication Date January 2011, hardback.