This week’s post is going to be a doozy. But, as my wife is an accomplished juggler, she’s taught me how to handle multiple moving objects at once.
I spent this past weekend, in between time with the wife and kids, and all the errands that we couldn’t fit in during the previous week, rehearsals and new material for week 4, I was able to begin searching for context.
The webinar on Friday with Paul resulted in a number of new topics to research and a wealth of photographers to investigate further. As a result, this week/weekend’s readings included (a part from the module readings):
GUIDI, GUIDO, FRONGIA, ANTONELLO and SHORE, MARGUERITE. 2015. ‘Guido Guidi’. Aperture (220), 50–63.
DEBORD, GUY and KNABB, KEN. 2002,2005. The Society of the Spectacle England:Rebel Press. Available online at the following libcom.org.
CHENG, WENDY. 2011. ‘“New Topographics”: Locating Epistemological Concerns in the American Landscape’. American Quarterly. Available at: http://muse.jhu.edu/journals/american_quarterly/v063/63.1.cheng.html.
KENT, JAMES CLIFFORD. 2013. ‘Walker Evans’s Psychogeographic Mapping of Havana, 1933’. History of Photography 37(3), [online], 326–40. Available at: http://www.tandfonline.com/doi/abs/10.1080/03087298.2013.815458.
Photographers that I’ve been encouraged to research include:
And finally Barnaby Irish’s cyanotypes
So what to make of all this. In conversations with Paul in week 3 and Michelle in week 4, the conclusion that was reached was I needed to limit myself in some aspects, shooting with a fixed lens, fewer shots, more time considering the scenery.
Here are some of the resulting images:
As for course work, I took part in a mini-collab with Paul Moran, Kimberly Barry and Mark Crean called Colour of the night. To provide context for the collaboration, I wrote the text in collaboration with my partners for the exercise.