Voici Paris Modernite’s Phographiques, 1920 – 1950

Voici Paris Modernite’s Photographiques, 1920 – 1950 (2012) Edited by Quentin Bejac and Clement Cheroux, Paris: Centre Pompidou. ISBN: 978-2-84426-584-5. This is an accompanying book to an exhibition held at the Centre Pompidou in Paris between 2012 and 2013, illustrating photographs of Paris in the modernity style taken between 1920 and 1950 by many great

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

Notes from my video link with my Tutor

My Tutor made four recommendations for my essay. One was simply a typo error the second was to refer to the various types of handmade drawings and the third and forth was to add some quotes to reinforce my statements. From: – The idea that the camera ‘never lies’ started at the very beginning of

The Presentation of Self In Everyday Life by Erving Goffman

Goffman, E. 1990, The Presentation Of Self In Everyday Life, London: Penguin Books. ISBN: 978-0-14-013571-8. First published in 1959, this book is a little dated in terms of reference to racial circumstances. However, on the whole this is a useful book to read, particularly for visual artists such as actors, and also playwrites, authors, and

Reading Photographs – In Our Own Image, by Fred Ritchin

Peter Kennard and Cat Phillips created the image, titled: Photo Op, in 2005. From Fred Ritchin’s book, In Our Own Image, his essay, Reading Photographs, (Ritchin, 2010) discusses the authenticity of a photograph. He asks, …after all that is happening in computer imaging can one safeguard the integrity of the photograph in its populist role

Self Image, Personal is political (1979) by Angela Kelly

Women’s Identity (1975 – 1979) Angela Kelly This essay, Kelly examines the use and mis-use of self portraiture, to quote Kelly: to determine what relevance a seemingly private practice has to a public audience. (p.410, Wells, 2003). Kelly suggests in her essay, that at the time of writing, self-portraiture had not been properly analysed. As

Assignment 1 – Written Feedback

Above is attached a WordDoc for my Tutor’s written feedback for my first assignment. Overall Comments A successful piece of work based on good preparation that meets the brief. Feedback on assignment Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity Notes on, and in addition to, video tutorial [You need to

Exercise 3.5 – The Theatre of Self.

Using the idea of ‘the theatre of self’ I have scanned photographs of a visit to Berlin on the 31, December 1989 to celebrate New Year’s Eve at a very historic moment when East and West Germany were in the process of reuniting back to one country. In order to represent an unrepresented story from

Summary for Part 1, Looking at Them – The Representation of the Other.

I began this section with a preliminary exercise as a kind ice breaker in which I took photographs of people incognito and this really reaffirmed my discomfort of street photography which I think has become much harder to practise in our modern society that is now always under the gaze of CCTV and the world

Planning and preparing for assignment 1.

Due to the COVID epidemic getting photographs of anyone outside my household is proving very, difficult; so for my first assignment I have elected to keep it simple and use my wife and myself as the subjects. The photographers and their projects that have inspired me are Larry Sultan, Pictures of Home (1992) and Tina