Tuesday, 29 November 2011
Friday, 25 November 2011
Thinking about my emulation
Emulation =
1. Effort or ambition to equal or surpass another.
2. Imitation of another.
3. Computer Science The process or technique of emulating.
4. Obsolete Jealous rivalry.
Luckily i own numerous books on paintings - one i will be using in reference to these images will be "A Brief History Of Art - Flame Tree Publishing"
I have been looking at paintings to use as inspiration for my Tom Hunter emulation.
There as many, however to be in keeping with Tom Hunters style i need to link them to a social issue also.
Some of the issues i have initially considered to draw upon are;
Teen pregnancy - in a way could link to Hunters "woman reading a possession letter" and his "nativity scene image"
The recession and shortage of job opportunities
(I remember reading an article in paper recently which spoke about hundreds of people all queuing for 10 vacancies at a pound land store, and how amongst the applicants were professionals and graduates) in many ways Paul Graham's "beyond caring" series could be a significant reference for this also.
Homeless projects - links to the idea of hunter's empty tower block series
book information
| Creators: | Hunter, Tom | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| Description/Abstract: | a monograph of tom hunter photographic works with essays | |||||||||
| Type of Research: | Book | |||||||||
| Publisher/Broadcaster/Company: | unknown | |||||||||
| Divisions: | Colleges > London College of Communication Research Centres/Networks > Photography & the Archive Research Centre (PARC) | |||||||||
| Date: | 2012 | |||||||||
| Copyright Holders: | tom hunter | |||||||||
| Related Exhibitions: | I promise to love you, Kunsthal Rotterdam, HOTOLITA EXHIBITION AT FIVE HUNDRED DOLLARS, London | |||||||||
| Projects or Series: | Research Outputs Review (April 2010 - April 2011) | |||||||||
| Locations / Venues: |
| |||||||||
| Material (Media of the physical object(s) you are uploading): | photographs |
Thursday, 24 November 2011
Keith Arnatt
I loved the way Keith Arnatt presents groups of images - a series of work to explore ideas around identity and location. The use of series, exploring a subject, a place or moment, focuses us the smaller details. The concepts behind the photographs are really interesting, for example the work which plays with the idea of making art out of rubbish.
The images demonstrate the ability a photographer has to alter the perception through placement arrangement and location. The photographs reveal the beauty contained within everyday events.
it's really interesting how by removing an object from it's environment changes the reading and perception of those images.
The images of the sticky notes left by his wife, i think are brilliant. they are humorous and strangely romantic in the sense that they reveal the sort of relationship he had with his wife.
i think it is interesting that he chose to share these, as they are fairly personal in a way, i don't think he wife ever wrote them aware that they would be viewed by millions world wide.
it also interests me that he is exhibiting his relationship with his wife as comical and jovial.
there is a feeling of "banter" and role play in the photographs.
The images demonstrate the ability a photographer has to alter the perception through placement arrangement and location. The photographs reveal the beauty contained within everyday events.
i think it is interesting that he chose to share these, as they are fairly personal in a way, i don't think he wife ever wrote them aware that they would be viewed by millions world wide.
it also interests me that he is exhibiting his relationship with his wife as comical and jovial.
there is a feeling of "banter" and role play in the photographs.
fellow student's photographers
The best part about the presentations was the fact that i was introduced to 7 other photographer whom others were presenting about. Some i was already aware of and others i hadn't ever even heard of.
I have looked into some of the ones i wasn't familiar with to extend my knowledge.
Peiter Hugo (www.pieterhugo.com)
PERMANENT ERROR
"For the past year Hugo has been photographing the people and landscape of an expansive dump of obsolete technology in Ghana. The area, on the outskirts of a slum known as Agbogbloshie, is referred to by local inhabitants as Sodom and Gomorrah, a vivid acknowledgment of the profound inhumanity of the place. When Hugo asked the inhabitants what they called the pit where the burning takes place, they repeatedly responded: ‘For this place, we have no name’"
I really like these images - they are a representation of consumer societies to me, they illustrate the horrible living circumstances that the local community are surrounded by.
THE DOG’S MASTER
"These photographs came about after a friend emailed me an image taken on a cellphone through a car window in Lagos, Nigeria, which depicted a group of men walking down the street with a hyena in chains. A few days later I saw the image reproduced in a South African newspaper with the caption ‘The Streets of Lagos’. Nigerian newspapers reported that these men were bank robbers, bodyguards, drug dealers, debt collectors. Myths surrounded them. The image captivated me"
Although these images weren't discussed at part of my fellow students presentation, the images came up in discussion afterwards, as soon as i saw the images i was intrigued and knew i had to look at them once i got home.
The images speak volumes about control and status, when looking at the images i examine the relationship between the men in the images and the wild dogs. i noted that the body language of the men in the photographs illustrates their desire to display authority yet retaining a distance from the animals, you can see them edging forward towards the dogs in an attempt to show comfort in the situation, yet there awareness and uncertainty is evident. I think it is interesting that all the people in the images are men, i see the images as a statement of masculinity and power!
video's of Tom Hunter talking about his projects
http://www.bbc.co.uk/dna/collective/A7771160
Father & Son run £2m Vice Racket (detail) & Living in Hell (detail) by Tom Hunter.
This exhibition of large-scale photographs is a fascinating play on the frantic sensationalism of the media, particularly in Hunter’s local newspaper, The Hackney Gazette. He parallels the violence, murder, poverty and madness within the pages of the paper with the same themes in the paintings at The National Gallery. He draws on compositions and content from artists like Cranach and Piero di Cosimo to frame stories of strippers on the Hackney Road, people being attacked with swans, and wedding parties turning into brawls. A supposedly innocent cupid in Velasquez’s Rokeby Venus, for example, becomes, in Hunter’s world, a dirty voyeur paying a pound to watch a naked woman.
Rokeby Venus (detail) by Diego Velazquez & Ye Olde Axe (detail) by Tom Hunter.
The images are staged and very filmic, with strong light capturing the characters’ poses, so the work recognizably plays with the original paintings. Part of what makes these photographs so engaging is that they’re a perfect combination of beautiful and ugly. They’re stunningly shot and filled with warm colours, which makes the realisation of the warped subject matter even more intense. Hunter aligns himself far more with a film director than a photojournalist, and the Hell he creates is exaggerated, a version of Hackney created in the media but not the whole picture.
The work is extreme, but then so are many of the paintings in The National Gallery, and Hunter firmly points out that non-contemporary art played with the same age-old themes of human experience and life. Here, then, contemporary art highlights the relevance of old masters.
All content sourced from (http://www.bbc.co.uk/dna/collective/A7771160)
Angels and devils in Hackney at The National Gallery.
It’s a rare thing to see cutting-edge contemporary art in The National Gallery. But that’s what makes photographer Tom Hunter’s latest exhibition, Living In Hell And Other Stories, so ideal. Father & Son run £2m Vice Racket (detail) & Living in Hell (detail) by Tom Hunter.
This exhibition of large-scale photographs is a fascinating play on the frantic sensationalism of the media, particularly in Hunter’s local newspaper, The Hackney Gazette. He parallels the violence, murder, poverty and madness within the pages of the paper with the same themes in the paintings at The National Gallery. He draws on compositions and content from artists like Cranach and Piero di Cosimo to frame stories of strippers on the Hackney Road, people being attacked with swans, and wedding parties turning into brawls. A supposedly innocent cupid in Velasquez’s Rokeby Venus, for example, becomes, in Hunter’s world, a dirty voyeur paying a pound to watch a naked woman.
Rokeby Venus (detail) by Diego Velazquez & Ye Olde Axe (detail) by Tom Hunter.
The images are staged and very filmic, with strong light capturing the characters’ poses, so the work recognizably plays with the original paintings. Part of what makes these photographs so engaging is that they’re a perfect combination of beautiful and ugly. They’re stunningly shot and filled with warm colours, which makes the realisation of the warped subject matter even more intense. Hunter aligns himself far more with a film director than a photojournalist, and the Hell he creates is exaggerated, a version of Hackney created in the media but not the whole picture.
The work is extreme, but then so are many of the paintings in The National Gallery, and Hunter firmly points out that non-contemporary art played with the same age-old themes of human experience and life. Here, then, contemporary art highlights the relevance of old masters.
All content sourced from (http://www.bbc.co.uk/dna/collective/A7771160)
My presentation - 1
My slides as presented in class yesterday.
my presentation notes (even though i actually forgot them on the day - ooops!)
my presentation notes (even though i actually forgot them on the day - ooops!)
I want to show you a variety of Hunters projects, including my personal favourites and some of his most famous.
When researching Tom Hunters work, I was fascinated by the way in which he talks about his own work, He never allows his images to be used in conjunction with text which hasn’t been written or approved by him.
He is extremely passionate as his work is closely linked to himself…
He photographs his local area – Hackney in London.
He speaks a lot about his work, and I have included quotes.
***CHANGE SLIDE****
Hunter is strongly influenced by pre-Raphaelite artists, he depicts his local area in his photographs drawing upon historical references to adapt and shape the perceptions generated by the media.
He displays strong commitment to Hackney and has both lived in and photographed the area for over a decade.
Such engagement with his local neighbourhood has resulted in him receiving multiple prestige awards.
Hunter favours a traditional approach, shooting mostly with a WISTA 4 by 5 camera, and more recently a large format pin hole camera also.
***CHANGE SLIDE****
He was born in 1965 in Dorset. He left school at the age of 15 and then spent 7 years as a manual labourer. You can see from his quote on the slide why he decided in 1986 to move to Hackney, there he enrolled on an A-level class after discovering his love for photography in Pueto Rico. After graduating from the London college of printing in 1994 he began photographing his friends and neighbours living alongside him in the squats.
The series is titled the ghetto in reference to an article in the local paper which described the area as “a crime ridden, derelict ghetto, a cancer, a blot on the landscape.”
***CHANGE SLIDE****
The images were taken between 1993 and 1994 as part of a campaign to save the community from developers and the plans of the council.
Years on the same community remains and Hunter still lives there too.
***CHANGE SLIDE****
***CHANGE SLIDE****
The series of images were shown at the museum of London in 1995
***CHANGE SLIDE****
.
Hunters most famous photograph was taken whilst he was studying for his Masters degree. The portrait of a young mother references vemeers 17th centaury painting “a girl reading a letter by an open window”
This work was exhibited as part of a group show at the Saatchi gallery a year after he was awarded the John Kobal photographic portrait award in 1998.
***CHANGE SLIDE****
Hunter says he favours photography as “it has it’s feet in reality”
All of his work is produced in location so no matter how staged some of the elements are, the image retains historical documentation.
The photograph of the girl reading the eviction letter was a real eviction note, and she really was living in a squat – Hunter says he looks at the image as a historical document.
***CHANGE SLIDE****
This series, titles UNHEREALD STORIES is inspired by the tales of Hackney residents. It has been shown at Purdy hicks gallery and references great TABLEAUX (TABLO)
Painters whilst relating such to stories from the social history of Hackney.
In this image, “anchor and hope” We see a woman crawling through long grass.
It is influenced by the painting “Christina’s world” by Andrew Wyeth.
***CHANGE SLIDE****
Hunters art historical references lend gravity to the people and the scenes he depicts in his images.
“newspaper headlines come and go, I want to show they are very serious and that what goes on around you is important! Says hunter.
***CHANGE SLIDE****
The next series titled Empty Tower block stands as a symbol of failure in social policies.
The dystopia and waste of housing projects which were abandoned.
In terms of contemporary art, the images evoke the sensation where one feels oddly as though someone has just left the room, in other words, that experience of recognising something as having being touched by the human hand yet sensing the distinct lack of presence.
***CHANGE SLIDE****
This photograph of hunters frien Leyila and her daughter is set in her living room and based around michealangello’s painting titled “the nativity with St Francis and St Lawrence.
Hunter adopted michealangello’s style by using ordinary people as his subjects.
He used tungsten lighting to create contrast between the cold blue light outside and the stark reality of the flat, “above all I wanted to show the beauty of the simple connection between mother and child” – says Hunter.
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