Tag: Research

MA Bibliography – Complete

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The Repeat Photography Project (no date). Available at: http://repeatphotography.org/intro/ (Accessed: 17 June 2018).The Repeat Photography Project (no date). Available at: http://repeatphotography.org/intro/ (Accessed: 20 June 2018).

What is Repeat Photography? – Exploring Land Cover Change Through Repeat Photography (no date). Available at: http://denalirepeatphotos.uaf.edu/index.php/about-the-project/what-is-repeat-photography/ (Accessed: 20 June 2018).

The Social Turn: Collaboration and its Discontents :: Artificial hells; participatory art and the politics of spectatorship (no date). Available at: https://content.talisaspire.com/falmouth/bundles/590c4a61646be007c630a054 (Accessed: 22 June 2018).

The Collaborative Turn :: Taking the matter into common hands; contemporary art and collaborative practices (no date). Available at: https://content.talisaspire.com/falmouth/bundles/590c9d26540a2665d636d414 (Accessed: 22 June 2018).İki

Deniz Arası – Between Two Seas – Home | Facebook (no date). Available at: https://www.facebook.com/ikidenizarasi (Accessed: 24 June 2018).

Highland fury as Trump rival drives golf course plan forward | UK news | The Guardian (no date). Available at: https://www.theguardian.com/uk-news/2018/jun/23/highland-fury-trump-rival-drives-golf-course-plan (Accessed: 25 June 2018).

Embo’s Coul Links golf course backed by councillors – BBC News (no date). Available at: https://www.bbc.co.uk/news/uk-scotland-highlands-islands-44537876 (Accessed: 25 June 2018).

Councillors defer decision on Coul Links golf course – BBC News (no date). Available at: https://www.bbc.co.uk/news/uk-scotland-highlands-islands-44371329 (Accessed: 25 June 2018).

Coul Links Conservation Case | Our Work – The RSPB (no date). Available at: https://www.rspb.org.uk/our-work/our-positions-and-casework/casework/cases/coul-links/ (Accessed: 25 June 2018).

Highland councillors defy their officials by voicing unanimous support for Coul Links plans | Press and Journal (no date). Available at: https://www.pressandjournal.co.uk/fp/news/highlands/1491262/highland-councillors-defy-their-officials-by-voicing-unanimous-support-for-coul-links-plans/ (Accessed: 25 June 2018).

jenny odell • travel by approximation (no date). Available at: http://www.jennyodell.com/tba.html (Accessed: 27 June 2018).

You Talking To Me? On Curating Group Shows that Give You a Chance to Join the Group :: What makes a great exhibition? (no date). Available at: https://content.talisaspire.com/falmouth/bundles/59145899540a2631415f8494 (Accessed: 8 July 2018).

John Hallmén (no date). Available at: http://www.johnhallmen.se/2016/4/25/morning-stretch (Accessed: 8 July 2018).

John Hallmén (no date). Available at: http://www.johnhallmen.se/2016/12/8/emus-hirtus-1 (Accessed: 10 July 2018).

walead beashty cyanotypes – Google Search (no date). Available at: https://www.google.com/search?q=walead+beashty+cyanotypes&client=firefox-b-ab&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjttqT3uJzcAhWU0aYKHbPUBMwQ_AUICigB&biw=1440&bih=733 (Accessed: 13 July 2018).

Alex MacLean, Aerial Photographer (no date). Available at: http://www.alexmaclean.com/ (Accessed: 13 August 2018).

Marilyn Bridges photography: Ancient and Contemporary locations worldwide, Prints and books available. (no date). Available at: https://marilynbridges.com/ (Accessed: 13 August 2018).

Yann Arthus-Bertrand (no date). Available at: http://www.yannarthusbertrand.org/ (Accessed: 13 August 2018).

The Dunes — Sophie Gerrard (no date). Available at: https://www.sophiegerrard.com/work/the-dunes/ (Accessed: 17 August 2018).

POWERS OF TEN AND THE RELATIVE SIZE OF THINGS IN THE UNIVERSE | Eames Office (no date). Available at: http://www.eamesoffice.com/the-work/powers-of-ten/ (Accessed: 20 August 2018).

Kevin Murray Golf Photography | Golf Photos | Top Golf Photographer (no date). Available at: http://kevinmurraygolfphotography.com/ (Accessed: 22 August 2018).

Golf Photography – Mark Alexander (no date). Available at: http://www.markalexandergolfphotography.com/golf-photography/ (Accessed: 22 August 2018).

11 tips: How to make amazing golf course photos – Golf Photography by Kaia Means (no date). Available at: http://golfvisuals.com/amazing-golf-course-photos/ (Accessed: 22 August 2018).

Paul Severn Golf Photographer /Golf Course Images/Golf Tournaments/Golf Picture Library (no date). Available at: https://www.severnimages.com/index (Accessed: 22 August 2018).

Power and the Camera: Gregory Halpern Talks Intuition, Reflection and Representation • Magnum Photos (no date). Available at: https://www.magnumphotos.com/theory-and-practice/gregory-halpern-profile-intuition-representation/ (Accessed: 27 October 2018).

Learning from the Master • Inge Morath • Magnum Photos (no date). Available at: https://www.magnumphotos.com/theory-and-practice/learning-from-the-master/ (Accessed: 27 October 2018).

History of Art Timeline (no date). Available at: http://www.visual-arts-cork.com/history-of-art-timeline.htm (Accessed: 19 November 2018).

History of Photography (no date). Available at: http://www.visual-arts-cork.com/photography/photo-history.htm (Accessed: 19 November 2018).

Biography of Axel Hutte | Widewalls (no date). Available at: https://www.widewalls.ch/artist/axel-hutte/ (Accessed: 20 November 2018).

Biography of Axel Hutte | Widewalls (no date). Available at: https://www.widewalls.ch/artist/axel-hutte/ (Accessed: 24 November 2018).

Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/ (Accessed: 24 November 2018).

Work – Simon Roberts (no date). Available at: https://www.simoncroberts.com/work/ (Accessed: 27 November 2018).

Coming-soon–of-love-war : lynsey addario, photographer (no date). Available at: http://www.lynseyaddario.com/ (Accessed: 27 November 2018).

Biography — Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/about/biography/ (Accessed: 2 December 2018).

Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/ (Accessed: 3 December 2018).

Axel Hütte | artnet (no date). Available at: http://www.artnet.com/artists/axel-hütte/ (Accessed: 3 December 2018).

Cindy Sherman: Me, myself and I | Art and design | The Guardian (no date). Available at: https://www.theguardian.com/artanddesign/2011/jan/15/cindy-sherman-interview (Accessed: 14 December 2018).

THE DETACHED GAZE | THOUGHTS AND SOURCES ON ALTERNATIVE WAYS OF SEEING (no date). Available at: https://thedetachedgaze.com/ (Accessed: 16 December 2018).

The Anthropocene Project — Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/projects/the-anthropocene-project/ (Accessed: 9 January 2019).

Sprawling Anthropocene project shows humanity’s enormous impact on the planet | The Star (no date). Available at: https://www.thestar.com/entertainment/visualarts/review/2018/09/30/sprawling-anthropocene-project-shows-humanitys-enormous-impact-on-the-planet.html (Accessed: 9 January 2019).

Edward Burtynsky – The Anthropocene Project – Photo Review (no date). Available at: https://www.photoreview.com.au/stories/edward-burtynskys-anthropocene-project/ (Accessed: 9 January 2019).

Anthropocene art show and documentary will shock you with a view of human impact on the planet – The Globe and Mail (no date). Available at: https://www.theglobeandmail.com/arts/film/reviews/article-four-year-collaboration-project-looks-to-evangelize-the-term/ (Accessed: 9 January 2019).

Aerial Photographs Convey Humanity’s Devastating Effects on Nature (no date). Available at: https://hyperallergic.com/474175/burtynsky-anthropocene-project/ (Accessed: 9 January 2019).

Anthropocene reveals the scale of Earth’s existential crisis – NOW Magazine (no date). Available at: https://nowtoronto.com/culture/art-and-design/anthropocene-burtynsky-baichwal-ago/ (Accessed: 10 January 2019).

Landscape Stories: 80/2014 Axel Hütte (no date). Available at: http://www.landscapestories.net/interviews/80-2014-axel-hutte?lang=en (Accessed: 10 January 2019).

Axel Hütte (no date). Available at: https://www.deutscheboersephotographyfoundation.org/en/collect/artists/axel-huette.php (Accessed: 11 January 2019).

Axel Hütte (no date). Available at: https://www.zingmagazine.com/zing3/reviews/034_hutte.html (Accessed: 11 January 2019).

Aerographica – About (no date). Available at: http://aerographica.org/about/ (Accessed: 30 January 2019).

Safety in Numbness: Some remarks on the problems of ‘Late Photography’’ – David Campany’ (no date). Available at: https://davidcampany.com/safety-in-numbness/ (Accessed: 30 January 2019).

Unequal Scenes – Locations (no date). Available at: https://unequalscenes.com/projects (Accessed: 31 January 2019).

Layla Curtis (no date). Available at: http://www.laylacurtis.com/work/project/45 (Accessed: 4 February 2019).

Matthew Murray — Elliott Halls Gallery (no date). Available at: https://www.elliotthalls.com/matthew-murray (Accessed: 4 February 2019).

Sean O’Hagan | 1000 Words (no date). Available at: http://www.1000wordsmag.com/sean-o-hagan/ (Accessed: 14 February 2019).

Francis Hodgson | 1000 Words (no date). Available at: http://www.1000wordsmag.com/francis-hodgson/ (Accessed: 14 February 2019).

Charlotte Cotton | 1000 Words (no date). Available at: http://www.1000wordsmag.com/charlotte-cotton/ (Accessed: 14 February 2019).

20+ Examples Of Media Manipulating The Truth That Will Make You Question The News (no date). Available at: http://news.shareably.net/20-examples-media-manipulating-the-truth/?utm_source=fb_ads&utm_medium=facebook&utm_campaign=con-20-examples-media-manipulating-the-truth-43210373-1828482422&utm_identifier=61ebf249-eb13-ab34-dacb-1fb2315789e6 (Accessed: 14 February 2019).

Pete Davis Tin Sheds of Wales (no date). Available at: http://www.pete-davis-photography.com/sheds.html (Accessed: 14 February 2019).

gaze | The Chicago School of Media Theory (no date). Available at: https://lucian.uchicago.edu/blogs/mediatheory/keywords/gaze/ (Accessed: 3 March 2019).

Jane Austen believed beauty could come in every shape and size. What else can she teach us about wellness? – The Washington Post (no date). Available at: https://www.washingtonpost.com/lifestyle/wellness/jane-austen-thought-every-body-was-beautiful-what-else-can-her-works-teach-us-about-wellness/2019/03/08/9787dbda-3eba-11e9-a0d3-1210e58a94cf_story.html?utm_term=.4a08d894ebcb (Accessed: 18 March 2019).

Saddleworth — Matthew Murray Photography (no date). Available at: https://www.matthewmurray.co.uk/saddleworth (Accessed: 25 March 2019).

Menie: TRUMPED — Alicia Bruce (no date). Available at: https://aliciabruce.co.uk/menie/nky2fh0zmtn37cvcnspxtr1mrdy64m (Accessed: 17 June 2019).

chrystel lebas home (no date). Available at: http://www.chrystellebas.com/index.htm (Accessed: 20 June 2019).

(221) Charlotte Davies – Éphémère, Responsive Environment 1998 – YouTube (no date). Available at: https://www.youtube.com/watch?v=Oa_aiw7yhpI (Accessed: 17 November 2019).

Say NO to a golf course at Coul Links | Scottish Wildlife Trust (no date). Available at: https://scottishwildlifetrust.org.uk/our-work/our-advocacy/current-campaigns/coul-links/ (Accessed: 18 November 2019).

Glasgow School – Wikipedia (no date). Available at: https://en.wikipedia.org/wiki/Glasgow_School (Accessed: 18 November 2019).

Coul Links – Beyond the Noise (no date). Available at: https://www.northern-times.co.uk/news/coul-links-beyond-the-noise-185174/ (Accessed: 18 November 2019).

Zeeland flood museum – Google Search (no date). Available at: https://www.google.com/search?q=Zeeland+flood+museum&tbm=isch&tbs=rimg:CcrAu8mRlPtZImCW5AVy4_1BD2nUEGytn5Pfx4Qifz3xAz5sd0WgQEeLYvAdH0sG1wlV6zRvTHgGOG34384m4fnXQQnYTbW-IV2zPc3op0CgfibhkMU-E4c-CwRc6dEpHadvcSConAYiHb2oqEgmW5AVy4_1BD2hGxYbgOf44z_1yoSCXUEGytn5PfxEcH78g0sawc6KhIJ4Qifz3xAz5sRFe7vxunYJYcqEgkd0WgQEeLYvBHJ6xXpagYBFCoSCQdH0sG1wlV6Ec7CG5sJnAftKhIJzRvTHgGOG34RNxXJV4a4QFMqEgk384m4fnXQQhGDi723rz9G3ioSCXYTbW-IV2zPEdyGsVasbDrCKhIJc3op0CgfibgRVxBJCnQJsz0qEglkMU-E4c-CwRGd_1L1oADSeXioSCRc6dEpHadvcEbYPvJ8wN53_1KhIJSConAYiHb2oR0qSm9pyK7Wc&tbo=u&sa=X&ved=2ahUKEwjgjPjNnYjmAhWHDxQKHftMAeMQuIIBegQIARAv&biw=1536&bih=722&dpr=2.5#imgrc=pnRqmzVieyiDpM: (Accessed: 26 November 2019).

watersnoodmuseum – Google Search (no date). Available at: https://www.google.com/search?q=watersnoodmuseum&rlz=1C1SQJL_enGB858GB858&sxsrf=ACYBGNTJGL7yrEvoUBoHVn5FXupXsgbtPQ:1575040231161&tbm=isch&source=iu&ictx=1&fir=ysC7yZGU-1kaxM%253A%252CwfvyDSxrBzoZpM%252C_&vet=1&usg=K_Y6jnw8wUbLDAOQ3yFZa27MvPgBs%3D&sa=X&ved (Accessed: 29 November 2019).

Scottish Government – DPEA – Case Details (no date). Available at: http://www.dpea.scotland.gov.uk/CaseDetails.aspx?ID=119883 (Accessed: 1 December 2019).

Photographs Gallery — Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/projects/photographs (Accessed: 3 December 2019).

Adams, R. (1994) Why People Photograph. 1st edn. New York: Aperture.

Alexander, B. and C. (2011) Forty Below. Manston: Arctica Publishing.

Arnold, D. (2011) ‘Hegel and Ecologically Oriented System Theory’, Journal of Philosophy. Kathmandu, United States Kathmandu, Kathmandu: Society for Philosophy and Literary Studies, 7(16), p. 0_3. Available at: http://ezproxy.falmouth.ac.uk/docview/1170929513?accountid=15894.

Arthus-Bertrand, Y. (2001) The Earth From The Air 365 Days. London: Thames and Hudson, Ltd.

Auge, M. (2008) Non-Places: An Introduction to Supermodernity. London, New York: Verso.

Azoulay, A. (2016) ‘Photography Consists of Collaboration: Susan Meiselas, Wendy Ewald, and Ariella Azoulay’,

Camera Obscura: Feminism, Culture, and Media Studies, 31(1 91), pp. 187–201. doi: 10.1215/02705346-3454496.Barker, E. (1999) ‘Introduction [IN] Contemporary cultures of display’, in Barker, E. and University, O. (eds) Contemporary cultures of display. New Haven: Yale University Press in association with the Open University, pp. 8–21.

Barnes, R. (no date) Civil War — Richard Barnes. Available at: http://www.richardbarnes.net/civil-war-1/ (Accessed: 9 August 2018).

Barrett, T. (2000) Criticizing Photographs: An Introduction to Understanding Images. New York: McGraw Hill.

Barthes, R. (1977) Image Music Text. New York: Hill and Wang.

Barthes, R. (1981) Camera Lucida: Reflections on Photography. New York: Hill and Wang.

Bate, D. (2016) Photography; The Key Concepts. 2nd edn, The Key Concepts. 2nd edn. London and New York: Bloomsbury Academic.

Bear, J. and Albers, K. P. (2017) Before-and-After Photography; Histories and Contexts. 1st edn. London; New York: Bloomsbury Academic.

Benjamin, W. (1931) Selected Writings 2, Part 2 1931-1934. Edited by G. Eiland, H., Jennings, M.W., and Smith. Cambridge, MA and London: Belknap Press.

Berger, J. (2013) Understanding a Photograph. Edited by G. Dyer. 2013: Penguin Books Ltd.

Berger, J. (1972) Ways of Seeing. London: Penguin Books Ltd.

Billcliffe, R. (2002) The Glasgow Boys : the Glasgow school of painting, 1875-1895. John Murray.

Boerma, P. (2006) ‘Assessing Forest Cover Change in Eritrea—A Historical Perspective’, Mountain Research and Development. doi: 10.1659/0276-4741(2006)026[0041:AFCCIE]2.0.CO;2.

Bright, D. (no date) The Machine in The Garden Revisited American Environmentalism and Photographic Aesthetics. Available at: http://www.deborahbright.net/PDF/Bright-Machine.pdf (Accessed: 14 March 2019).

Brogden, J. (2019) Photography and the Non-Place: The Cultural Erasure of the City. First. Cham, Switzerland: Palgrave Macmillan.

Bullock, S. H. et al. (2004) ‘Twentieth century demographic changes in cirio and cardón in Baja California, México’, Journal of Biogeography, 32(1), pp. 127–143. doi: 10.1111/j.1365-2699.2004.01152.x.

Burkhauser, J., Canongate Publishing and Red Ochre Press (no date) Glasgow girls : women in art and design, 1880-1920.

Burton, C., Mitchell, J. T. and Cutter, S. L. (2011) ‘Evaluating post-Katrina recovery in Mississippi using repeat photography’, Disasters, 35(3), pp. 488–509. doi: 10.1111/j.1467-7717.2010.01227.x.

Burtynsky, E., Baichwal, J. and De Pencier, N. (2018) Anthropocene. Gottingen: Steidl.

Campany, D. (ed.) (2007) The Cinematic. London, Cambridge: Whitechapel Gallery and MIT Press.

Carroll, H. (2018) Photographers on Photography: How the Masters See, Think & Shoot. London: Laurence King Publishing Ltd.

Cupido, P. (2019) Ephemere. Zurich: Bildhalle.

Darwent, C. (2007) Weblet Importer. Available at: http://danielgustavcramer.com/infotxt.html (Accessed: 1 April 2019).

Day, A. (2019) Every Photograph You’ve Ever Taken Is a Lie: Steve McCurry, Tom Hunter, and the Problem With Visual Storytellers | Fstoppers, Fstoppers. Available at: https://fstoppers.com/documentary/every-photograph-youve-ever-taken-lie-steve-mccurry-tom-hunter-and-problem-334178 (Accessed: 13 February 2019).

Delaney, H. and Baker, S. (eds) (2015) Another London. London: Tate Publishing.

Deleuze, G. (1997) Essays Critical and Clinical. University of Minnesota Press.

Deleuze, G. (2002) Desert Islands: and Other Texts, 1953-1974. Los Angeles: Semiotexte.

Deleuze, G. (1997) Negotiations. NYC: Columbia University Press.

Derges, S. (no date) Susan Derges. Available at: http://susanderges.co.uk/ (Accessed: 6 July 2018).

Dupre, B. (2007) 50 Ideas You Really Need to Know- Philosophy. First. London: Quercus Editions, Ltd.

Durden, M. (ed.) (2013) 50 Key Writers on Photography. First. Milton Park: Routledge, Taylor & Francis Group.

Emerson, R. W. (2000) The Essential Writings of Ralph Waldo Emerson. Edited by B. Atkinson. New York: Modern Library; Random House.

Ewing, W. A. (2014) Landmark: The Fields of Landscape Photography. New York: Thames and Hudson.

Flusser, V. (1983) Towards a philosophy of photography, English. London: Reaktion Books Ltd. doi: 10.1016/S0031-9406(10)62747-2.

Garnett, J. and Meiselas, S. (no date) ‘ON THE RIGHTS OF MOLOTOVMAN Appropriation and the art of context’. Available at: http://www.firstpulseprojects.com/On-the-Rights-of-Molotov-Man.pdf (Accessed: 15 June 2018).

Gerrard, S. (no date) The Dunes. Available at: https://www.sophiegerrard.com/work/the-dunes/.

Gill, S. (no date) Stephen Gill Portfolio. Available at: https://www.stephengill.co.uk/portfolio/portfolio (Accessed: 6 July 2018).

Groom, A. (ed.) (2013) Time. London, Cambridge: Whitechapel Gallery and MIT Press.

Hand, M. (2012) Ubiquitous Photography. Cambridge: Polity Press.

Hariman, R. and Lucaites, J. L. (2016) The Public Image: Photography and Civic Spectatorship. Chicago and London: The University of Chicago Press.

Heiferman, M. (2012) Photography Changes Everything. First. New York: Aperture.

Hendrick, L. E. and Copenheaver, C. A. (2009) ‘Using Repeat Landscape Photography to Assess Vegetation Changes in Rural Communities of the Southern Appalachian Mountains in Virginia, USA’, Mountain Research and Development, 29(1), pp. 21–29. doi: 10.1659/mrd.1028.

Hooper, R. (no date) Jesus, Buddha, Krishna &Lao Tzu: The Parallel Sayings. Charlottesville, VA: Hampton Roads Publishing Company. Inc.

Hume, D. (2015) A Treatise of Human Nature. USA: Jefferson Publication.

Hurn, D. and Jay, B. (2009) On Being a Photographer. Third. Anacortes, WA: LensWork Publishing.

Jay, B. (2000) Occam’s Razor: An Outside-In View of Contemporary Photography. Third. Tucson, AZ: Nazraeli Press.

Johnson P and Rogers, G. (2003) ‘Ephemeral wetlands and their turfs.’, Science for Conservation, 230.

Juniper, A. (2003) Wabi Sabi – the japanese art of impermanance. First. North Clarendon, VT: Tuttle Publishing.

Kempton, B. (2018) Wabi Sabi – Japanese Wisdom for a Perfectly Imperfect Life. London: Piatkus.

Kholief, O. (ed.) (2015) Moving Image. London, Cambridge: Whitechapel Gallery and MIT Press.

Kleon, A. (2012) Steal Like an Artist: 10 Things Nobody Told You about Being Creative, Steal Like an Artist. New York: Workman Publishing Company. doi: 10.1017/CBO9781107415324.004.

Kleon, A. (2014) Show Your Work: 10 Ways to Share Your Creativity and Get Discovered. New York: Workman Publishing Company.

Klett, M. (2003) Yosemite in Time. Available at: http://www.markklettphotography.com/yosemite-in-time/.

Klett, M. (1979) Rephotographic Survey Project. Available at: http://www.markklettphotography.com/rephotographic-survey-project/.

Lao-Tzu (1993) Tao Te Ching. Edited by S. Addiss and S. Lombardo. Indianapolis: Hackett Publishing Company, Inc.

Lao-Tzu (2011) Tao Te Ching: The Book of the Way. Edited by S. Mitchell. London: Kyle Books.

Lebas, C. (2006) Between Dog and Wolf. London: Azure Publishing.

MacCaig, N. (no date) Between Mountain and Sea: Poems from Assynt. Edited by R. Watson. 2018: Polygon Books.

McCall Smith, A. (ed.) (2018) A Gathering: A Personal Anthology of Scottish Poems. London: Polygon Books.

McCullin, D. (2019) Don McCullin. Edited by A. Mehrez. London: Tate Publishing.

Miers, M. (ed.) (2012) Highlands and Islands: A Collection of Poetry of Place. London: Eland Publishing Ltd.

Miller, J. (no date) Unequal Scenes – Locations. Available at: https://unequalscenes.com/projects (Accessed: 4 February 2019).

Misrach, R. and Orff, K. (2010) Petrochemical America. New York: Aperture.

Murray, M. (2017) Saddleworth. Amsterdam: Gallery Vassie.

Murray, M. (2017) Saddleworth. Available at: https://www.matthewmurray.co.uk/saddleworth (Accessed: 25 March 2019).

Muybridge, E. (1979) Muybridge’s Complete Human and Animal Locomotion, Volume III. New York: Dover Publications.

Oorthuys, C. and Zoetendaal, W. van. (1992) Cas Oorthuys, guaranteed real Dutch, Congo. Uitgeverij DUO/DUO. Available at: https://www.google.com/search?q=cas+oorthuys+photographer&rlz=1C1ZKTG_enUS685GB690&tbm=isch&tbo=u&source=univ&sa=X&ved=2ahUKEwj_pd7hrvPeAhUSSK0KHTqoBwIQiR56BAgBEBE&biw=1536&bih=723 (Accessed: 27 November 2018).

Parisi, C. (2010) Essays and Interview with Daniel Gustav Cramer, Klat Magazine #04. Available at: http://danielgustavcramer.com/infotxt.html (Accessed: 1 April 2019).

Pauli, L. (2003) Manufactured Landscapes: the Photographs of Edward Burtynsky. 7th (2014. Ottawa: National Gallery of Canada.

Polanyi, M. (1966) The Tacit Dimension. 2009th edn. Chicago and London: University of Chicago Press.

Ritchin, F. (2013) Bending the Frame: Photojournalism, Documentary, and the Citizen. New York: Aperture.

Ritchin, F. (2009) After Photography. New York: W.W. Norton and Company, Inc.

Rosenfeldt, J. (no date) The Ship of Fools, 2007 | Julian Rosefeldt. Available at: https://www.julianrosefeldt.com/film-and-video-works/the-ship-of-fools-2007/ (Accessed: 17 November 2019).

Rosler, M. (1982) In, Around and Afterthoughts on Documentary Photography in The Contest of Meaning (1992). Edited by R. Bolton. Cambridge, MA: MIT Press.

Schiel, S. (no date) What is Social Landscape Photography? | Teeksa Photography—Skip Schiel. Available at: https://skipschiel.wordpress.com/2016/11/29/what-is-social-landscape-photography/ (Accessed: 13 August 2018).

Sekula, A. (1982) ‘On the Invention of Photographic Meaning’, in Burgin, V. (ed.) Thinking Photography. London: Palgrave Macmillan.

 

 

Shore, S. (2007) The Nature of Photographs. 2018th edn. London and New York: Phaidon Press.Smiles, S. (no date) ‘Critical Contexts’. Available at: http://www.tate.org.uk/research/publications/in-focus/mousehold-heath-norwich-john-crome/critical-contexts (Accessed: 13 April 2018).

Smith, T. (2007) ‘Repeat Photography as a Method in Visual Anthropology’, Visual Anthropology, 20(2–3), pp. 179–200. doi: 10.1080/08949460601152815.

Snyder, J. and Allen, N. W. (no date) ‘Photography, Vision and Representation’, Critical Inquiry, pp. 141–169.

Solnit, R. (2001) Wanderlust: A History of Walking. London: Penguin Books.

Sonnentag, O. et al. (2012) ‘Digital repeat photography for phenological research in forest ecosystems’, Agricultural and Forest Meteorology, 152, pp. 159–177. doi: 10.1016/j.agrformet.2011.09.009.

Sontag, S. (2004) ‘Regarding the Torture of Others’, The New York Times Magazine, (23 May 2004). Available at: ttps://goo.gl/PwSVZ.

Sontag, S. (1977) On Photography. Hammondsworth, UK: Penguin Books Ltd. doi: 10.1007/s13398-014-0173-7.2.

Southam, J. (2007) The Painter’s Pool. Portland: Nazraeli Press.Southam, J. (2018) The Moth. UK: Mack Books.

Stallabrass, J. (ed.) (2013) Documentary. London, Cambridge: Whitechapel Gallery and MIT Press.

Stanford University and Center for the Study of Language and Information (U.S.) (1997) Stanford encyclopedia of philosophy. Stanford University. Available at: https://plato.stanford.edu/entries/deleuze/ (Accessed: 21 December 2018).

Sternfeld, J. (1996) On this site : landscape in memoriam. Chronicle Books.

Sternfeld, J. et al. (2009) Walking the High Line.

Steidl.Stichweh, R. (no date) ‘Systems Theory’. Available at: https://www.fiw.uni-bonn.de/demokratieforschung/personen/stichweh/pdfs/80_stw_systems-theory-international-encyclopedia-of-political-science_2.pdf (Accessed: 12 April 2018).

Suzuki, R. (2015) Stream of Consciousness. Tokyo: Edition Nord.

Suzuki, R. (2017) Water Mirror. Tokyo: Case Publishing.

Szarkowski, J. (1966) The Photographer’s Eye. 7th printi. New York: The Museum of Modern Art.

Tagg, J. (1988) The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press.

Thoreau, H. D. (2017) Walking. Los Angeles: Enhanced Media Publishing.

Thoreau, H. D. (2016) Walden. Milton Keynes: Penguin Random House U.K.

Trachtenberg, A. (ed.) (1980) Classic Essays on Photography. Sedgwick, ME: Leet’s Island Books, Inc.

Vartanian, I., Hatanaka, A. and Kambayashi, Y. (2006) Setting Sun: Writings by Japanese Photographers. New York: Aperture.

von Bertalanffy, L. (2008) ‘An Outline of General System Theory’, Emergence: Complexity & Organization. Emergent Publications, 10(2), pp. 103–123. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=34099391&site=ehost-live.

Walker, J. A. (1997) The Camerawork essays: context and meaning in photography ’, in Evans, J. (ed.). London: Rivers Oram, pp. 52–63.

Webb, R., Boyer, D. and Turner, R. (2010) Repeat Photography: Methods and Applications in the Natural Sciences. Washington, DC: Island Press.

Wells, L. (2015) Photography: a critical introduction. Fifth. London ; New York: Routledge, Taylor & Francis Group.

Wells, L. (2011) Land matters: landscape photography, culture and identity. London ; New York: I.B. Tauris.

Wells, L. (2011) Land matters: landscape photography, culture and identity. London ; New York: I.B. Tauris. Available at: http://www.loc.gov/catdir/enhancements/fy1208/2011293251-b.html.

Wells, L. and Standing, S. (eds) (2009) Relic. First. Plymouth, UK: University of Plymouth Press.

Whitman, W. (2006) The Complete Poems of Walt Whitman. Edited by S. Matterson. Ware, Hertfordshire: Wordsworth Poetry Library.

Wright, J. (2017) Cubby’s Tarn. Purton, Wiltshire: JW Editions.

Yates, M. (2019) Week Seventeen Reflections – Cromarty – Yatesweb. Available at: https://www.yatesweb.com/week-seventeen-reflections-cromarty/ (Accessed: 3 December 2019).

Zier, J. L. and Baker, W. L. (2006) ‘A century of vegetation change in the San Juan Mountains, Colorado: An analysis using repeat photography’, Forest Ecology and Management, 228(1–3), pp. 251–262. doi: 10.1016/j.foreco.2006.02.049.

Explorations on the Concepts of Place and Non-Place

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Place and the concept of place has become an important part of my photographic work. I had a commonly held simplistic view of place for most of my life. Certainly, there were places to which I had a strong connection, and which felt quite different than places for which a connection was less significant or absent, but I didn’t really think beyond the physicality of the space.  A perfect example would be the difference in how I feel about the two places I own homes.  Dornoch in northeast Scotland is where my heart truly lives.  Of the 26 places I have lived in my life it is more home to me than any of the others.  I feel healthier mentally, spiritually and physically there.  In contrast, my South Carolina home is lovely, but I feel no connection to the place or anyone there.  I feel as alien there as if I had set foot on Mars and I am uncomfortable there. But the concept of place has expanded for me by reading the works of Marc Augé (2008) and Jim Brogden (2019) and I have found it has been key to informing my work in Coul Links.

We commonly consider place in terms of the physical; a space occupied by something or someone. Historically, before people were able to travel physically across the globe in hours and virtually across the globe in milliseconds, place was very much about physical proximity, about connectedness to one’s surroundings.  Marc Augé (2008, VIII-IX) notes that while “there are no ‘non-places’ in the absolute sense of the term” there are non-places in anthropological and sociological contexts and that ‘globalisation’ contributes to “unprecedented extension of spaces of circulation, consumption and communication.”

While Augé principally analyses place in terms of globalisation and urbanisation in a phenomenon he terms ‘supermodernity’, Brogden’s view is narrower and focuses on what he terms the ‘cultural erasure of the city’. Both accept that place has elements beyond the physical which are encompassed in the sociological and anthropological significance of spaces.  Both illustrate how more and more ‘places’ have become ‘non-places’ while also accepting that that status is both fluid and bi-directionally reversible, and to a degree subject to individual perception.

“If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place. The hypothesis advanced here is that supermodernity produces non-places…” (Augé, 2008: 63)

“We should add that the same things apply to the non-place as to the place.  It never exists in pure form: places reconstitute themselves in it; relations are restored and resumed in it; … Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations are ceaselessly rewritten. (Augé, 2008: 64)

Jim Brogden’s photographic practice focuses currently on the urban landscape and in particular those places which are essentially holes in the urban landscape; places where people once had a presence, and which have been abandoned.  He writes, “By discussing the significance of photographic representations in revealing the meanings attached to the visual evidence of human agency in non-place, I hope to show what people leave behind provides us with important information about why they left it and what it meant to them.” (Brogden, 2019: 111) Brogden’s notion of non-place differs from Augé’s, but both are rooted in the anthropological and sociological significance associated with spaces.

Both use the term palimpsest in their respective discussions of place and non-place.  Coul Links is a landscape that could well be described as a palimpsest.  It has had many uses inscribed upon it over the centuries. It has been a battlefield twice, in the 13th century and again in the 18th just before Culloden, a bombing range during WWII and a burial ground for surplus military equipment, grazing land, farming land, shooting ground, a tip, a tree plantation that has been harvested, home to a railroad through it, golf holes near the Embo school, a Site of Special Scientific Interest, a Special Protection Area and a RAMSAR Wetlands of International Importance treaty site, and likely other uses I have not yet discovered.  It was at one time key to the survival of many residents in the village of Embo, but in the past 50 years has lost much of its former significance to the local population.  It has fallen to neglect and the links land itself sees little human use. Those few who do still use the land do so almost exclusively at the perimeters and then only just.

I believe it is fair to argue that Coul Links while once a place of great significance to the villagers of Embo who survived from the land and the sea, the death of the herring fishing industry and the decline of the need to live from the land caused by taking jobs further afield has decreased the significance of Coul Links and it has become by either Augé’s or Brogden’s definitions a non-place.  It has been largely abandoned and left to rewild and to those that do visit it is often a transient interaction at the fringes.  But as described above, place and non-place are never fully formed and there remain some few people who have a deep and enduring relationship with Coul Links and for who it remains very much, a place.

I came to Coul Links in response to the new significance being attributed to it when a proposal was put forth to add to the palimpsest and build a world class golf course on the site. I came as a stranger, with no sense of its history and with some degree of concern for its future, but over the course of the two years I have spent roaming and photographing Coul Links, I have developed a deep connection to and affection for the uniqueness and complexity of the land itself and its multi-faceted history.  I am endlessly fascinated by the chameleon like response to the force of nature the landscape exhibits.  I am disturbed by the hyperbole and misinformation promulgated by the groups who have opposed the development and their failure to recognise the complex history the site has had.  And I am aware too of the environmental issues extant at this point in human history, both globally and at this place specifically, and the need to proceed carefully and sensitively with any future development.

The proposal to develop Coul Links has to a degree re-established its significance anthropologically and sociologically and begun the process of its re-emergence as a place.  It is something of a reversal of the phenomena described by both Augé and Brogden who note more places becoming non-places in modern society and this I think is an interesting point to note.  It has altered my thinking about Coul Links and when I discussed this point during my talk during my recent exhibition, I found it was the point that resonated most with the people in attendance.  Virtually all local people, they recognised how Coul Links had lost its significance over the years and the how the prospect of another layer on the palimpsest had altered the way in which the site was perceived.

 

References

Auge, M. (2008) Non-Places: An Introduction to Supermodernity. London, New York: Verso.

Brogden, J. (2019) Photography and the Non-Place: The Cultural Erasure of the City. First. Cham, Switzerland: Palgrave Macmillan.

 

Venue Selection

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The choice of venue was a critical determinant in the in the design and curation of the exhibition.  There were two underlying factors that were key to and a number of secondary and tertiary factors that would weigh in on the final choice.

First, I felt strongly that the venue had to be reasonably local because the subject was principally one with strong local interest and those whose interests were most vested in the outcomes should have both first and easiest access to seeing the work.  Second, the venue had to support the creation of the immersive experience I hoped to create.

With those as the initial primary criteria, three possible venues were candidates; the Dornoch Social Club in the centre of Dornoch, The Embo Old School 3 miles to the north and immediately adjacent to Coul Links, and the Carnegie Hall in Clashmore 3 miles to the south which was also the site of the Government’s Enquiry Hearings in February and March of this year.

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Dornoch Social Club – photo courtesy Mick Yates 2019

 

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The Embo Old School – Rose 2019

 

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Carnegie Hall Clashmore – Rose 2018

 

 

Additional evaluation criteria

Factor Dornoch Embo Clashmore
Capacity for 100 people Yes No Yes
Ability to be darkened sufficient for video Yes No Yes
Wall space suitable for hanging No No No
Audio and visual equipment installed on-site Yes No No
Lighting conducive to exhibit No Yes No
Distance from most likely visitors Best Mid Worst
Parking Marginal but most could walk Limited Extremely limited
Entry flow control Yes No Yes
Kitchen/ Catering capacity Yes Yes Yes
Availability Limited Limited Limited

 

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Dornoch Social Club interior – Rose 2019
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Embo Old School interior – Rose 2019
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Carnegie Hall Clashmore – Rose 2018

All of these spaces are community assets and as such are heavily scheduled on a continuing basis for a variety of uses.  Scheduling was going to be a challenge at all of them.

Embo was recently renovated but the space was too small, was largely glass walls with no ability to darken the space, and video would have only been possible on the large television.

Clashmore is a lovely hall and certainly large enough to have allowed flexibility in the exhibition design.  It would have required hiring audio visual equipment and the colour of the walls in the hall plays havoc with the way the photographs would be seen.  It was also the furthest from the target audiences and would have required everyone to drive to a place with limited parking.

Based on the considerations above it was clear that no place was perfect, but the Dornoch Social Club was the best choice for a number of reasons.  Having cinema grade projection and sound systems and the ability to darken the hall was a key factor as was its location relative to most visitors and for me.  It was a space with which I was very familiar and because of my involvement with the organisation that administers it and the cinema club, I  had virtually unlimited access to the DSC as required to measure, plan, and test video whenever the hall was not otherwise occupied.  It also had an entry foyer adjacent which led into the hall at the end opposite the cinema screen which allowed me to apportion the space and control the flow into the exhibition.  However, lack of suitable wall space and poor lighting dictated that I would have to construct bespoke display fixtures and lighting to control how the work was viewed and to create the immersive experience I was seeking.

The size of the space was only just large enough to accommodate the display fixtures without interfering with the cinema projector, so planning had to be thorough and precise as dis the design and construction of the fixtures. More detail on that process can be found in a subsequent post on the Design and Construction of the displays.

In the end, the venue decision proved a good one and the extensive planning and subsequent execution resulted in a very successful event. It was unfortunate the venue was only available for two days, but subsequent to the Dornoch exhibition, the Embo venue asked me to bring the exhibition there.  It required a different approach and resulted in a more traditional gallery type exhibition, but it did get the work exposed to an additional number of people over the 2+ weeks it was on display.

 

 

Week 9 – Curating an Exhibition

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I had the opportunity to curate the hanging of the exhibition of the East Sutherland Camera Club (ESCC) at the Grace of Dornoch Café and Deli.  The photo collection was comprised of the regular contest winners in the three categories of colour, monochrome, and creative (altered reality), along with the club’s selected entries for the Highland Challenge, an annual interclub competition among a half dozen or so camera clubs in the Highland’s.

While in the past ESCC has only shown their work in the Brora Library during the month of August, the committee (of which I am part) was convinced to exhibit in other communities to promote the club and showcase the excellent work of local photographers.  As I had done an exhibition of my own work last August at the Grace Café I was able to secure the space again this year for the ESCC show.  In the past, the exhibition was always hung in the 4 categories in conventionally oriented fashion without necessarily considered visual or topical continuity. For the Grace exhibit I was given free rein to organise the show as I saw fit, so I chose to group the work differently and to arrange it with an eye to visual continuities and transitions.

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At the extreme right are a group of portraits.  At the center is a puffin, while surrounding are 4 portraits of people arranged such that their gaze is directed a the puffin.  To the left of that grouping are the landscapes with the upper row arranged such that there is a gradual transition through the colour palette and the horizons are roughly aligned.  The lower row is slightly more eclectic mix of photos in the landscape category that include colour, monochrome and some altered reality photos.

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One next wall to the left are a grouping that are based around a theme of circular forms and next that grouping another of more linear geometric forms.

The two photos that did not fit into any of these other groupings, an owl and a highly manipulated image of a boy gazing at the sea each got their own space on a smaller section of wall.

 

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I am pleased to say the exhibit was generating a good bit of interest and discussion among café customers on the opening day and hopefully will continue to generate footfall as the word of mouth and the social media advertising take hold.

I believe these opportunities to think critically about how work should be exhibited and viewed to develop a hang plan as well as the logistics involved with securing locations, planning the use of space and the actual logistics and process of getting work on the wall are valuable bits of education and experience that will continue to serve me well in future.

 

FMP Week 6 – Proposal feedback

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I had my proposal feedback session with my tutor.  Some of the key points included:

  1. Thorough and detailed
  2. Showed excellent scholarship and communication
  3. Felt that I may be hedging my bets too much and that I need to adopt a clear stance
  4. Title is not strong enough yet
  5. Noted the significance of the Liz Wells quote – “… our relation to the environment in which find ourselves, and of which we form a part, is multiply constituted: the real, the imaginary, the symbolic, memory and experience, form a complex tapestry at the heart of our response to our environment, and, by extension, to landscape imagery.” (2011: 2)

 

The questions and suggestions that followed included:

How, why and if people are in this story then how can they be contextualised. E.g. how have people used and abused; political conflict, etc.?

It was suggested that I revisit Feldman’s 9-11 work and Mathieu Asselin’s Monsanto

It was also suggested that I research news clippings  and consider rephotographing those and the history of the development proposal.

WELLS, Liz. 2011. Land Matters: Landscape Photography, Culture and Identity. London; New York: I.B. Tauris.

FMP Research – Week 4

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I travelled to the Netherlands and Belgium to visit museums and galleries in Rotterdam and Antwerp to further research how work was being exhibited and how those techniques might be applied to my work for FMP.  I also looked at many photobooks and had the benefit of the principal exhibition in the Fotomuseum Antwerp be about the history of Belgian Photobooks.

My first stop was Nederlands Fotomuseum in Rotterdam. The main exhibit was a retrospective of the Dutch photographer Ed van der Elksen titled “Lust for Life.”  It was quite differently curated and hung than the Cas Oorthuis, “Dit is Cas” exhibition I saw last September, and I appreciated how the museum’s curatorial staff adapted their techniques to the suit the artist’s work so effectively. Several aspects stood out in the “Lust for Life” exhibition: 1) Simplicity of the photographic installation – edge to edge printing, no mounting except very thin backing board (Fig 1);

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Figure 1- Minimal mounting

2) How effective both solid white and solid black walls were in making the colour photos stand out with neither being more or less effective or detracting (Fig 2);

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Figure 2- Black and White Walls

3) The use of simply constructed temporary modules to augment fixed wall space and to direct flow (Figs 3-5). Simple, relatively inexpensive, but effective construction that served multiple purposes as display space and traffic director.  Being exposed also provided a contemporary and almost casual feel that suited Ed van der Elksen’s style and subject matter;

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Figure 3- Temporary Walls

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Figure 4 – Temporary Wall construction

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Figure 5 -Temporary construction

4) How effective projected images with either some narration or music were (Fig 6);

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Figure 6 – Projected Images with Temporary Construction

and 5) Perhaps my favourite part of the exhibition was a multi-screen projected  series of images set to music and introduced with text slides at the major transition points presented in a ‘living room’ setting with a mix of sofas and chairs randomly arranged (Fig 7).  Viewers were provided with headsets to listen to the music that accompanied the images and it made the viewing very intimate and personal.

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Figure 7 – Multi-Screen projected display

This images projected were in many cases the same as those shown in the main gallery upstairs as individual images on the walls, but I found this to be very engaging and dynamic as the images changed at different times on each of the screens and required the viewers eyes to move quickly between images in contrast to upstairs where one could linger with an image and study it in detail.  While upstairs didn’t promote a narrative and the photos were somewhat randomly arranged in terms of location and time frame, the downstairs projected version was far more narrative and organised in logical segments, topically or chronologically.

I can see this as a very viable approach to exhibiting my work if I can find the appropriate space and solve the technological aspects as it would allow a fast paced, coherent narrative approach while the still image prints in another section would allow the viewer to engage with specific images more fully.

Antwerp was the next stop and I took in several venues while there.  Fotomuseum Antwerp was largely between major exhibitions and was a flurry of activity preparing for 3 openings the following week.  However, the exhibit that was open was on the history of the photobook in Belgium. Figure 8 is an except from the exhibition introduction. It describes the significance of the photobook as a media form as well as the history of the place the photobook has held in Belgian history.

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Figure 8 – Photobook Belge Exhibition Introduction

Many of the books were understandably behind glass cases, but the curators used tablet computers with video of the books being turned page by page which I found a clever way of allowing the public to see inside these rare books.  There we also a number of books located throughout the exhibition that were available to the visitor to sit and look through selected books.  A large number of the books on exhibit were created during the colonial period and dealt with the African colonies and their inhabitants.  Many were propaganda and the curators addressed the notion of “colonial gaze” head on in the introduction to that section of the exhibit.

Mounted on one wall were pages from a 1911 book that chronicled a vegetation survey in the various districts of Belgium (Fig 9-10).  I found this interesting and relevant in its similarity to work I have been undertaking, but also in something that I have perhaps been remiss in recording in my work; latitude and longitude information.  That is an omission I intend to correct, particularly since the camera can be set to record that information in the metadata automatically.

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Figure 9 – 1911 Vegetation Survey Plate

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Figure 10 – 1911 Vegetation Survey Plate

The exhibition also touched on the inter-relationship between words and images.  I thought the introduction to this section displayed in Figures 11 and 12 summarised the issue well.

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Figure 11 – Photobook Belge exhibit section

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Figure 12 – Detail of above

So while the prints in the Nederlands Fotomuseum exhibition were unframed and uniform in size and placement, the Saul Lieter exhibition at Gallery FIFTY ONE and the exhibits in the Antwerp Museum of Contemporary Art (M HKA) were decidedly different.  While the Lieter photos were all mounted and framed in a similar way, they were not all the same size and they were hung quite differently on different walls.  Some were evenly spaced and set at uniform height, while others were arranged in patterns nearly symmetrical, but not quite (Fig 13).

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Figure 13- Lieter Exhibition at Gallery FIFTY ONE

I was unable to discern a reason for the arrangement and order in which these photos were hung, but it shows that it is not essential to have symmetry in a hanging plan.  Similarly at M HKA there were exhibits that demonstrated asymmetry, but also there were others that were more traditionally arranged (Figs 14-16).

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Figure 14 – M HKA asymmetry example 1

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Figure 15 – M HKA asymmetry example 2

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Figure 16 – M HKA symmetry example 1

As is evident in Figures 14-16 all the photos were mounted and framed in a similar way, however, in other areas, simple thin backing with edge to edge prints were used (Fig 17), and in another area bordered prints were pinned to the wall with no mounting at all (Fig 18).

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Figure 17 – M HKA thin backing, edge to edge print

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Figure 18 – M HKA pinned print

The final point from M HKA was an installation of newspaper clippings that occupied 4 walls in a large section of the gallery.  The clippings were seemingly each randomly mounted on coloured backing paper and then arranged according to the colour together on one wall (Fig 19).

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Figure 19 – M HKA Newspaper clippings

As I am considering using references to on-line and print media as part of my exhibition, this was informative.  I don’t believe I would choose to replicate this format, but it was interesting to see how current news was gathered and collated to create an art installation.

In summary, this research provided some valuable insights into the ways exhibitions can be staged and proof that there is no one correct way to stage a successful exhibition.  It also offered some stimulating ideas that I plan to explore further in coming weeks.

Photographer Research – Chrystel Lebas

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While Ms. Lebas had been recommended to me earlier on the course and I had looked at her work, I didn’t find it as relevant to what I was doing at the time.  Now, as I move into FMP and the work of prior terms is coming together into a conceptual framework that brings together elements from each of my prior sets of work I find her work especially relevant and directly related to work I am doing.  I am particularly interested in her publications and exhibitions, but also how she has revisited places and used rephotography to show how those landscapes have changed over the intervening years.

Her website is Chrystel Lebas.

I am also interested in how she has incorporated video into her exhibit installations; something I believe is important to mine. Video provides a a perspective and is by its nature immersive, drawing the viewer into scenes they could not otherwise have experienced.

Another interesting element is now that my aesthetic has evolved over the course, I see similarities with much of her work.  When I first looked at it many months ago, I discounted it in part because the aesthetic and way she approached her subject matter was quite different than what I was doing and the way that I was doing it at the time.  Re-examining it now, Lebas’ work bears some commonality with that of Daniel Gustav Cramer with the slightly darker feel that I have evolved to embrace i much of my recent work.  I find it much more evocative and moody, and it encourages the viewer to linger a while in order to really see what is in the photo and feel what is in the scene.

Research – Exhibitions

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Over the next week I will be visiting museums and galleries in Rotterdam, Antwerp, Liege and Brussels with an eye toward seeing different ways of exhibiting work that will help to inform the way that I will chose to exhibit my FMP.  I will be looking specifically for effective exhibition strategies, particularly with a series of work that includes a narrative sequence.  I want to see how artists and curators create a visual narrative and to see how much it depends on explanatory or accompanying text, or whether it can also be done without.

As I refine the theme of my FMP and begin to collect the work that will be required, I am also considering how it will be edited, curated and displayed. Among the ideas for my exhibition is a concept published in my FMP proposal and repeated below.

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I look forward to reporting on what I will have seen next week.

MA Bibliography as of 10 April 2019

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ADAMS, Robert. 1994. Why People Photograph. 1st edn. New York: Aperture.

ARNOLD, Darrell. 2011. ‘Hegel and Ecologically Oriented System Theory’. Journal of Philosophy 7(16), [online], 0_3. Available at: http://ezproxy.falmouth.ac.uk/docview/1170929513?accountid=15894.

ARNOLD, Darrell. 2011. ‘Hegel and Ecologically Oriented System Theory’. Journal of Philosophy 7(16), [online], 0_3. Available at: http://ezproxy.falmouth.ac.uk/docview/1170929513?accountid=15894.

AZOULAY, Ariella. 2016. ‘Photography Consists of Collaboration: Susan Meiselas, Wendy Ewald, and Ariella Azoulay’. Camera Obscura: Feminism, Culture, and Media Studies 31(1 91), [online], 187–201. Available at: https://read.dukeupress.edu/camera-obscura/article/31/1 (91)/187-201/97593.

BARKER, Emma. 1999. ‘Introduction [IN] Contemporary Cultures of Display’. In Emma BARKER and Open UNIVERSITY (eds.). Contemporary Cultures of Display. New Haven: Yale University Press in association with the Open University, 8–21.

BARNES, Richard. 2018. ‘Civil War — Richard Barnes’. [online]. Available at: http://www.richardbarnes.net/civil-war-1/ [accessed 9 Aug 2018].

BARRETT, Terry. 2000. Criticizing Photographs: An Introduction to Understanding Images. New York: McGraw Hill.

BARTHES, Roland. 1977. Image Music Text. New York: Hill and Wang.

BARTHES, Roland. 1981. Camera Lucida: Reflections on Photography. New York: Hill and Wang.

BARTHES, Roland. 1981. ‘Camera Lucida: Reflections on Photography’. New York Hill and Wang [online], 134. Available at: http://scholar.google.co.il/scholar?q=camera+lucida&btnG=&hl=en&as_sdt=0,5#0.

BATE, David. 2016. Photography; The Key Concepts. 2nd edn. The Key Concepts. London and New York: Bloomsbury Academic.

BATE, David. 2016. Photography; The Key Concepts. 2nd edn. The Key Concepts. London and New York: Bloomsbury Academic.

BEAR, Jordan and Kate Palmer ALBERS. 2017. Before-and-After Photography; Histories and Contexts. 1st edn. London; New York: Bloomsbury Academic.

BEAR, Jordan and Kate PALMER ALBERS. 2017. Before-and-after Photography: Histories and Contexts. Bloomsbury. Available at: https://www.vlebooks.com/vleweb/Product/Index/959280 [accessed 20 Jun 2018].

BENJAMIN, Walter. 1931. Selected Writings 2, Part 2 1931-1934. Edited by G. Eiland, H., Jennings, M.W., and Smith. Cambridge, MA and London: Belknap Press.

BERGER, John. 1972. Ways of Seeing. Ways of Seeing. London: Penguin Books Ltd.

BOERMA, Pauline. 2006. ‘Assessing Forest Cover Change in Eritrea—A Historical Perspective’. Mountain Research and Development.

BRIGHT, Deborah. n.d. The Machine in The Garden Revisited American Environmentalism and Photographic Aesthetics. Available at: http://www.deborahbright.net/PDF/Bright-Machine.pdf [accessed 14 Mar 2019].

BULLOCK, Stephen H., Nora E. MARTIJENA, Robert H. WEBB and Raymond M. TURNER. 2004. ‘Twentieth Century Demographic Changes in Cirio and Cardón in Baja California, México’. Journal of Biogeography 32(1), [online], 127–43. Available at: http://doi.wiley.com/10.1111/j.1365-2699.2004.01152.x [accessed 17 Jun 2018].

BURTON, Christopher, Jerry T. MITCHELL and Susan L. CUTTER. 2011. ‘Evaluating Post-Katrina Recovery in Mississippi Using Repeat Photography’. Disasters 35(3), [online], 488–509. Available at: http://doi.wiley.com/10.1111/j.1467-7717.2010.01227.x [accessed 17 Jun 2018].

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