The austerity of the scene is overwhelming, compounded by the booming heartbeats that seem to emit from nowhere and yet all around – time being measured out by human life.

Cummings, 2010

ART or DESIGN

TEMPORARY or PERMANENT

LARGE SCALE or SMALL SCALE

TRANSFORMING and/or DEFINING and/or FORMING

IMMERSIVE and/or DISTANT

PATTERN and/or COLOUR and/or REPETITION and/or SHAPE

In addition to the garments, the noise of heartbeats permeates the exhibition, why do you think that may be?

Seeing the pieces of peoples lives through the clothes in a graveyard layout as well as hearing the heartbeat spread across the exhibition really brings it to life and not in a good way. It makes you feel sad and grieve for those who lost their lives.

To what extent are the textiles transformed into something other than fabric?

The textiles piled up towards the back of the exhibition is transformed into a mountain of clothes and the individual squares of clothes could represent the multiple campsites and base camps along the way up the mountain. However, the textiles could also represent a concentration camp. The organised squares implies human organisation such as victims being controlled in these camps.

What’s the significance of the installation title – and of the mechanical grabber?

Personnes in French means person or nobody. The title of this exhibitions means nobody. This emphasises the empty clothing on the floor that once was a human. The mechanical grabber could connote God’s hand reaching out choosing the next life to come to heaven. Boltanski refers to it as ‘the finger of god’.

What associations does this work conjure up in your mind?

It almost instantly reminds me of the concentration camps in Germany. So many innocent people went though these camps so all these clothes on the floor represent the individuals that once wore these clothes. All being grabbed by a ‘hand’ which really emphasizes the dehumanisation.

Cumminds, 2010. Christian Boltanski: Personnes. In: The Guardian [online] At: https://www.theguardian.com/artanddesign/2010/jan/17/christian-boltanski-personnnes-paris-review [accessed 12/06/20]

The term ‘CRAFT’ means using a skill to construct a piece of art, often made by hand.

To a designer, ‘craft’ is about workmanship of risk and – most recently – the slow design movement

Frayling, 2011. pg.11

Slow Design is a new concept within sustainable design which promotes slowing the metabolism of people and resources while also creating positive behaviour changes. It originates from Slow Food movement in Italy. The Slow principles don’t shun everything fast, but allow for a ‘healthy speed’.

Slow Design Principles

1. REVEAL – Slow design reveals experiences in everyday life that are often missed or forgotten, including the materials and processes that can be easily overlooked in an artefact’s existence or creation.
2. EXPAND – Slow design considers the real and potential “expressions” of artefacts and environments beyond their perceived functionalities, physical attributes and lifespans.
3. REFLECT – Slow Design artefacts/environments/experiences induce contemplation and what slowLab has coined ‘reflective consumption.’
4. ENGAGE – Slow Design processes are open-source and collaborative, relying on sharing, cooperation and transparency of information so that designs may continue to evolve into the future.
5. PARTICIPATE – Slow Design encourages users to become active participants in the design process, embracing ideas of conviviality and exchange to foster social accountability and enhance communities.
6. EVOLVE – Slow Design recognises that richer experiences can emerge from the dynamic
   maturation of artefacts, environments and systems over time. Looking beyond the needs
   and circumstances of the present day, slow designs are (behavioural) change agents.

If artists and designers can portray their products in a correct manner then it could have a positive impact on the consumption of goods/products and potentially consumer attitudes. However, in a world where fast-production and mass profits are top priority, it could be hard to change peoples behaviour. A lot of people buy things without thinking about the knock on effect it could have.

I believe if these principles have been used when creating a product, it places more value on it. More thought has gone into the making of the product and it has not just been made purely for profit. Personally, I would be more drawn to the hand-crafted products because it has more meaning and a story behind it. But I am also a firm believer that you should support your fellow artists and designers.

Click to access Slow_Design_Principles.pdf

Click to access Slow_Design.pdf

For this exercise, I was instructed to take two images of the same subject, one from afar using the telephoto lens on my camera, the other from close using the widest setting on the normal lens. Unfortunately, I don’t have access to a telephoto lens so I could try out this exercise myself which was a bit frustrating but it is what it is. So instead I will make some notes on the differences between the images below in terms of point of view and the information the viewer can get from each image.

The first image a photo taken with the normal lens and at an elevated viewpoint, it looks like the photographer was stood at the top of a hill. At first, the eyes are drawn to the metal gate in the foreground and the scattered litter on the floor. Then the you focus on the background where there is a city full of houses and buildings. It looks like the sun is shining and theres blue skies with clouds. The image below is a photograph taken from the same elevated viewpoint but using the telephoto lens. The human eye is naturally drawn to the larger buildings, then the houses and then the greenery in the background. The difference between the two photographs are that the normal lens allows the human eye to focus on many points because of the wide angle whereas the zoomed image doesn’t have as many focus points so there is less context. Telephoto lens is good for landscape photography.

I have made some notes on the images below:

Derek Trillo, The Cheshire Plain from Beeston Castle and OCA Student, Peter Mansell

These images are taken from an elevated viewpoint such as a building and or a hill for example. Being at this height when taking a photo allows you to see certain things that you wouldn’t see at ground level because of the elements in the foreground would obstruct the view. For example, in the first image you wouldn’t see the form of trees in the circle shape from ground level, you would just see a line. Some in the foreground and some in the back. It’s a similar thing with the skyscrapers, you will see the ones in the foreground but you will struggle to see the ones in the back. From an elevated viewpoint, it allows you to see the 3D aspects of the objects and it shows the scale of the elements.

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John Davies, Agecroft Power Station

The effect of taking this photograph from the elevated viewpoint and from a far distance allows you to see the vast scale of the landscape and how much the power plant takes up, especially in comparison to the football players. If you took the photograph from the ground level, you couldn’t see how far the landscape goes. Even though the ground is relatively flat, other elements would obstruct the view.

In the foreground of this photograph, there is what looks like scrap vehicles, rubbish scattered over the floor and a treeline. Further up, there is a football match taking place in the shadow of the towers. This emphasizes the scale of the power station towers but it does not effect everyday life. The landscape continues all the way up to the horizon so there are very many focus points within this photograph, however, this could only be seen at this elevated viewpoint.

Bernd & Hilla Becher, Water Towers

Bernd and Hilla Becher are known for repetition of subject matter, often in grids. They are usually all the same but slightly different. This encourages the viewer to look more carefully at the differences between the 9 images emphasising the detail.

After reading an article on the Guardian: New Topographics: photographs that find beauty in the banal, I had noticed that all the photographs were produced in black and white which creates a dramatic effect, however, Stephan Shore was the only photographer to exhibit coloured pictures. I had to research what banal meant and the title basically means finding beauty in the ordinary. I pulled a quote from this article that really stood out to me because it is a real shame to see the beautiful natural landscape being destroyed by roads and buildings. It is clear to see this statement is proven to be true as I continued my research.

the growing unease about how the natural landscape was being eroded by industrial development and the spread of cities.

S, O’Hagan. February 2010

Robert Adams (b. 1937) who took part in the New Topographics project continued to produce subtle, thought-provoking and environmentally aware photographs of natural scenery with urban sprawl. I scrolled through his website and looked at all the photographs that Adams had taken. Accompanying the photographs was paragraphs explaining his thoughts on man-altered landscape. One series that I quite like was 27 Roads, it shows many different kinds of roads from fresh tarmac to dirt back road. It portrays that over time the man-made altercations have become more significant than nature. These photographs could be argued that they are just evidence of the changes made over time, but that may not have been intended by the photographer. I have just chosen 3 from the series.

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Mitch Epstein’s American Power project is a totally different kind of photographic statement in terms of man-altered landscape. The photograph below shows an oil refinery with the American Flag on the side of it. This is a massive man-made altercation to the natural landscape and America had to make it clear that this huge change was all on them.

I feel my research here has influenced my own choice of subject within photography for the future because you need to be cautious about whats within the frame of your photograph. I usually try to avoid getting houses and telegraph lines in the frame when taking a photo of the beautiful sunset. It’s difficult to show the natural landscapes content because each element obscures whatever is behind it. This is more so now than in past times because of the mass industrial development.

For this exercise, it asked me to review my holiday photos and try to remember my motivation for taking them. Also, to what extent did I consider the composition, viewpoint or lighting? I will pick out the ones that are more than just a record of place, images that take you back to your past.

I have so many photographs so I have selected quite a few. Some photos are took spontaneously and I go a little wild when I see something that I like. For example, funky building designs, colourful shops, everyday life but the different culture. Other photos are taken with care, to capture a moment, people we visited or things that are a once in a lifetime thing. moments like these are where I considered the lighting, viewpoint and composition.

Everyone always told me in school, I have a good hand-eye co-ordination and a good eye for photography. I always used to take photos on my phone until my Nan bought me a Sony A58 DSLR and I took so many more artistic photos. I even entered some of my photos into a competition and came 2nd place.

Back to the exercise, the main reason we take photos is because we want to capture moments in our life that are significant but also to show others the beautiful scenery. For example, I went on holiday to Amsterdam and took a variety of photos from the coffeeshops to the canals. The main photos I took was of the buildings because they are all so beautiful. Obviously most of these images look better in the daylight and I wanted to make sure the sunlight didn’t make a glare on my camera.

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The image below is from when we went to Scotland in our camper-van. I took this photo because of the amazing scenery but it also shows the scale of the mountain.

This photograph below was taken on my iPhone 7+ in Glencoe, Scotland. I remember taking this photo because I find nature very soothing, calming and it’s beautiful to look at. I was pleased with how this image came out as you can see so much detail. Further towards the back of the image is blurry creating the depth of field.

The next photograph is one that takes me back to when my family and I went to a festival together. The motivation for taking this photo was purely because we wanted to keep the memory alive. Capturing the moment.

I think that you could say that if no thought has gone into taking the photo then it could devalue it. But you have to put even a little thought into taking it otherwise why would you do it? I believe that the best quality photographs come from proper equipment like a DSLR for example. I still like to take photos on my camera and poloroid because they’re nice and vintage and its nice to have physical copies.

Malcolm Andrews was an Australian author born 1944. He wrote a book called Landscape and Western Art in 1999. I read a couple pages of it and picked out some quotes that made sense.

• Landscape is often viewed as the “raw material waiting to be processed by an artist”
• “land into landscape; landscape into art”

Space, placement and depth in images are shown by juxtaposition and perspective. Placing small objects closer to the camera can balance the composition with objects further away. Ive been asked to look at Ian Berry‘s images of Whitby in North Yorkshire. Imagine the same images without the people, how would this affect your sense of Whitby as a place?

Looking at these photos, Whitby looks like a nice holiday town that families visit for a day on the beach. However, if you picture the images without the people, it just becomes a landscape. Almost abandoned-like rather than a tourist spot. Naturally, the eye would be drawn to the houses, buildings and the ruins.

What is the effect of an absence of familiar subjects in Rene Burri’s Sao Paolo, 1960?

By placing the people on top of the building, it emphasizes the scale of it. If you remove the people, you will still notice the scale because of the cars in the background but it wont be as effective.

Is the photography simply providing an authentic record of the artwork – photography as evidence – or is it part of the artwork itself?

I think it is down to context when answering this question. Although, all photographs are art because each one is unique and no two can be the same. You can say that a single photograph wouldn’t be considered art whereas a series of photographs along with titles in a gallery or a photo album would be. For example in the previous exercise, Keith Arnatt took a series of photographs of him slowly being buried. One single image would be slightly confusing without any context but when placed together, it can be understood.

Photography is a necessity when it comes to land art, purely for documentation reasons. The photograph of the artwork is considered the art itself to the viewers who have never seen it. Some may say that the photographs are just evidence that the artwork ever existed, but could the same question be asked about all artworks that no longer exist?

Notes on Curators Talk ‘Richard Long: Heaven and Earth‘ by Clarrie Wallis:

https://www.tate.org.uk/context-comment/audio/richard-long-curators-talk [accessed 20/02/20]

mentions one of his first works, ‘Snowball Track’.

“he mainly works in the landscape but sometimes takes it into the gallery”

“Long never makes significant altercations to the landscape through which he passes. Instead, he adjusts the natural placement of rocks or vegetation .”

‘The forms of his sculptures are simple and straightforward; the line, the cross, the circle and the spiral “

“he uses only the earths natural raw materials”

Aleksandra Mir – https://www.aleksandramir.info/projects/first-woman-on-the-moon/ [accessed 20/02/20]

In comparison to Richard Long, she has used large machinery to move the earth materials in order to create a giant lunar landscape.

However, they both have to use photography as a way of documenting their land art otherwise there would be no way of proving it ever existed.

Keith Arnatt – Self-Burial (Television Interference Project) 1969

This particular piece involves sequence photography, each frame shows Arnatt slowly disappearing into the ground. Photography plays an important role in this piece because if you see one photograph by itself then it would be hard to understand but with them all together as a sequence, it’s clear to see what the intentions are.

Self Burial (Television Interference Project) 1969. At: https://www.tate.org.uk/art/artworks/arnatt-self-burial-television-interference-project-t01747 [accessed 20/02/20]

Documenting photography are photographs about something rather than of something. Paul Graham’s spent 2 years completing the A1 project, it is a series of photographs documenting a ‘road trip’ down the A1 that portrays the life and landscape.

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Although these photographs could be considered art by themselves because of the pretty landscapes etc, however, they are better together. You can see the journey through the series of photographs. I guess you could say the photographs explore the theme of time because the sky in some photos look darker than other which implies time has passed through the day.

Reading through pages 98 and 99 in Place ‘Room Four: Myth/History‘, it mentions the artist Rodney Graham who produced a series of photographs in tribute to Kurt Cobain completed in 2000.

Photography and Land Art

Photography has a special relationship with art forms that are transient, ones that can only ever be temporary such as land art or performance art. Land art developed in the late 1960s America, the landscape became the artwork but photography was the only way they could survive.

Can’t access Hamish Fulton’s website. www.hamish-fulton.com/hamish_fulton_v01.htm

Sir Richard Julian Long is an English sculptor, born June 1945. He is one of the best known land artists and he won an award for White Water Line in 1989. One of his artworks that caught my eye was ‘A Snowball Track’, he completed it in Bristol 1964. The piece consists of snow on a field with a long snowball track and footprints. I found and article in the Guardian by Sean O’Hagan in May 2009 about this piece, he mentions something that stood out to me. “Pure and simple. And, in its purity and simplicity, it denoted all that would follow.” I believe this statement is correct because as proven his most recent works are ‘pure and simple’ but thats what makes it unique to Long.