Formative Assessment- 5th October 2015
17:51The photographers is always trying to colonise new experiences or find new ways to look at familiar subjects- to fight against boredom. for boredom is just the reverse side of fascination; both depend on being outside rather than inside a situation and one leads to another.
Do we agree with Sontags opinion?
Photoshop gives us another way of looking at the world. 513,517 have watched the tutorial this proves that many people are interested in this skill. It's a skill not needed to survive and so it's a way of entertainment and fascination.
https://www.youtube.com/watch?v=VAeSGAoFLTE
Solomon Godeau discusses 'the problematic nature of the photographic representation of the other' in relation to sonatas and rosters texts. the author states:
'and although the inside/outside dichotomy for sontag pivots on the possibility (or lack) of empathy and identification and where for roster it devolves on issue of power and powerless, it is nonetheless significant that from either a humanist or a left perspective, the inside/outside couple is a central theme.'
Research and find an image (s) / art work which will enable you to illustrate and support your own thoughts and understanding of 'the possibilty (or lack) of empathy and identification' and/or between 'the power and the powerlessness'
'woman turning while carrying fan and flowers' -Plate 156
'man lifting and heaving 75lbs boulder' Plate 32
Muybridge, E. (1955) The human figure in motion. New York: Dover
The author uses Ed Ruscha's Every building on the sunset strip (1966) to illustrate her point of the evacuation of subjectivity, the refusal of personality, style - in short, the rejection of all the hallmarks of photographic authorship, no less than the nature of the subject matter itself - that would seem to situate such work logically at the 'outside' pole of photograph practice'.
Nan Golins and Larry clarks work are used as examples to discuss 'the mediums capacity to render subjectivity and these are photographers, according to the author, 'who deploy a photographic rhetoric of lived experience, privileged knowledge, and who declare both rhetorically and visually the photographers personal stake in the substance of the representations.
Do you think a body of work or a photographers position to his/her subject(s) matter can be considered as either subjective work/ subjective approach (insider position) or objective work/ objective approach (outsider position)
Richard Billingham
"I was just trying to make order out of chaos."
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