We do not see things as they are…

New York City (1974) by Elliott Erwitt Notes & Quotes from, Theory, Articulating Critical Practice Section 1, (2020) Dr. Ariadne Xenou, Barnsley: Open College of the Arts. The French poet and essayist Anaïs Nin posited that “we do not see things as they are; we see them as we are.” Anaïs Nin, The Seduction of the

Blumenfeld a fetish for beauty

Blumenfeld a fetish for beauty, 1996, Edited by William A Ewing in collaboration with Marina Schinz, London: Thames & Hudson. ISBN: 0-500-54202-3. A good reference book with an essay on Blumenfeld’s life and the artistic movements that influenced him. Examples: Eva Penninck, Amsterdam, 1932, Erwin Blumenfeld. Momie vivante, Amsterdam, 1932, Erwin Blumenfeld. The Art Dealer

The Nude Figure A Visual reference for the Artist

The Nude Figure A Visual Reference for the Artist, (1998) Mark Edward Smith, New York, Watson-Guptill Publications. ISBN: 978-0-8230-3232-9 Another book I picked up from my charity bookshop last year. This is a book of black-and-white photographs of nude poses for ideas and guidance, based on many typical poses found in paintings and art photographs.

Final Project – Essay.

Behind this laughing mask of mine. Firstly, I would like to apologies to my audience with regards to my artistic project, for I am asking you to interpret my images as I see them. To be seen to represent an invisible metaphor for the political identity of self, but a photograph is not a literal

Critical reflection

The Brief: Produce a story with a social theme. Your project should combine portraits, objects and spaces to describe your subject matter. You should produce between 8 – 12 images to demonstrate an ethical practice. At the time of producing this project, I found myself in the middle of a world pandemic as a result

Summary for Part 6: Pre-Assessment Tutorial.

Untitled, (2021) Shaun Mullins. For my final assignment I had decided to explore ideas of the politics of self with masks as metaphor for the front that we all put up when with others. This front is a kind of guard that protects as well as projects. At the time of preparing and conducting this

Planning and Preparation

For this assignment, I have taken my Tutor’s suggestion of recruiting volunteers to be my subjects from beyond my friends and family. I am involved with a student group that meets by internet video link once a month and I put out a request for my fellow students to take part. This is my original

Assignment 6 – Final Project

Behind this laughing mask of mine 2020 – 2021 ‘Every profound spirit needs a mask’ Nietzsche, Beyond Good an Evil, 1888. In the politics of self we put up a front to others, and this is worn as a type of mask that projects as well as it guards. For identity we wear many masks

The Cruel Radiance

The Cruel Radiance, 2012, Susie Linfield, Chicago: The University of Chicago Press. ISBN: 978-0-226-48251-4. This is a very interesting book and I found it to be a good read. Linfield writes in defence of photography against what she describes as a popular and institutional attack on the medium by critics and even other photographers. She

The Self-Portrait A Cultural History

The Self-Portrait A Cultural History, 2015, by James Hall, London: Thames & Hudson. ISBN: 978-0-500-29211-2 This book examines the history of the self-portrait, unfortunately I purchased a Kindle edition which unhelpfully doesn’t provide page numbers, this option is greyed out in the menu; so I am only able to quote location numbers (Loc) as provided