Final draft and Bibliography.
And my bibliography:
Thursday, 29 May 2014
Tuesday, 27 May 2014
Exhibition blog (End of year show contribution & evaluation).
http://lynnunit9exhibition.blogspot.co.uk/
This is a blog I set up purely for the Exhibition side of our Units. It has a detailed Daily/weekly blogs cataloguing what has happened each week. There are plans and minutes. A full guide to my imvolvement from onset to completion. Please click the link above.
This is a blog I set up purely for the Exhibition side of our Units. It has a detailed Daily/weekly blogs cataloguing what has happened each week. There are plans and minutes. A full guide to my imvolvement from onset to completion. Please click the link above.
Albert Renger-Patsch
The World is Beautiful.
One of the most influential photographers in the New Objectivity movement. Renger-Patsch created photographs "To capture the essence of an object" (Renger-Patsch et al 1998). For Renger-Patsch the camera was a way for him to photograph an object as it was, aesthetically pleasing, without any manipulations, basic and real. He wanted to let the beauty of the object be what you viewed. In 1928 Renger-Patsch created a book, originally named "Things", however this was changed by his publicist before printing to "The World is Beautiful". The book contained over 100 prints of his work and went on to be one of the most influential books of the New objectivity movement, bringing their work to the interest of the public.
Renger-Patsch photographs in his book are all very sharply focused, his work concentrates on what is there, he gets in close to his objects from all conceivable angles to make the photograph as aesthetically pleasing to the eye as possible. This style of photography flourished in the art world of the Wiemar Republic post WW1.
One of the most influential photographers in the New Objectivity movement. Renger-Patsch created photographs "To capture the essence of an object" (Renger-Patsch et al 1998). For Renger-Patsch the camera was a way for him to photograph an object as it was, aesthetically pleasing, without any manipulations, basic and real. He wanted to let the beauty of the object be what you viewed. In 1928 Renger-Patsch created a book, originally named "Things", however this was changed by his publicist before printing to "The World is Beautiful". The book contained over 100 prints of his work and went on to be one of the most influential books of the New objectivity movement, bringing their work to the interest of the public.
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| Snake Head 1928 |
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| Glasses 1927 |
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| Renger-Patsch |
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| Renger-Patsch |
Monday, 26 May 2014
Blurb book & Ebook
Blurb Book
For the purpose of the show I have created a book to go with my final exhibition photographs. The book is named Borderline. blow is a ebook copy of the first 30 pages (in all there is 36 pages). Unfortunately I have ordered the book, but it will not arrive in time for the hand in deadline date of 30th May 2014. You can however view it online, or purchase the eBook at £4.99 from blurb.co.uk
draft Report Take 3
I needed help in condensing my work, I had already reached 1650 works and still had plenty of research to add, I was worrying about the 2000 word deadline. Sian has outlines area's of text i can remove to free up the word count, as well as highlight any issues within my text.
Sian text in blue
My text in Red
This is my biggest problem... The bibliography. Still Sian has shown me which is correct so it is just a matter of altering the incorrect titles.
Draft Report Take 2
Sian asked me to remove the part "However after educating myself" as she felt the examiner would already know I have educated myself in this matter, therefore this sentence is redundant, I agree. There is a quote at the end of the first paragraph, I was advised to find the reference for this quote and to place it within my work and be included in my bibliography.
At the end of the second paragraph I was asked to reference where I have found my facts and to reference them, however I was advised if the quotes are from many different readings and the work is mine (which it is) I could reference Myself as (O'Hanlon 2014).
I also needed a date for the Gustav Hartlaub Quote.
Here I questioned if New Objectivity was indeed a unified art movement because of the variety and diversity of the artists, I was asked to expand on this statement.
We also looked at perhaps bringing in the likes of Guy Debords situationists and the work of 1980's Deadpan.
Friday, 23 May 2014
Competition entry The Syngenta Photography award 2014
One of the photographs I took whilst wandering in and around the Pennines didn't quite fit in with all the other photographs and has been left out of my final images.
This is the image:
All my other images have no waste in the photographs as I wanted to keep the work about the borders and boundaries created by mankind, be that a fence or imaginary boundary line. This scene interested me and is the only reason I photographed it, separate from my other photographs by content and by thought process. The above scene was purely about the lack of human decency, people travel up to the Pennines and dump their waste in this beautiful landscape, they have absolutely no concern or care for this land of ours, or the people who have fought and died for this patch of land. You have rolling hills and grasslands all around you and then a garbage dump, it looks out of place and quite surreal! It's not a small patch either an covers approx 40 sq foot of land. With Government run garbage disposal plants in every town and city it is
beyond human comprehension why someone would travel to the back of beyond just to dump their waste!
Anyhow today I noticed a photography competition run by Syngenya Global, in reference to Global Waste and the encroachment of civilization onto farm lands or rural spaces.
The Syngenta Photography Award
The second Syngenta Photography Award invites photographers from all over the world to explore the tensions and relationships between scarcity and waste through compelling imagery. Photographers can submit their images in two categories – The Professional Commission and the Open Competition.The Award, worth a total of US$65,000 in prize money, is now open for entries until September 15, 2014.
I have entered the above photograph in the Open Competition and have named the photograph Calderdale. Kirklees. Oldham. This photograph was taken on the boundary lines for these three districts, none are doing anything to stop the dumping of waste onto the Pennines, a heritage site, close to the Pennine way and an absolute eyesore on the landscape.
I think this image fulfils the criteria for the competition.
In a world that is so desperately short of resources, how can we ensure that there is land, food and water for everyone? How can we protect farmland against soil erosion and urbanization? How can we conserve vital ecosystems and biodiversity?
And what can we learn from the efforts of innovative communities to conserve, re-use and recycle?
The Syngenta Photography Award is a celebration of artistic skill and outstanding photography. It is a call for photographs that tell stories about scarcity, waste and the tensions and relationships between them. Photographers, whatever their approach, are invited to submit images that explore these important issues, and to spark a dialogue about our changing planet.
This is the image:
All my other images have no waste in the photographs as I wanted to keep the work about the borders and boundaries created by mankind, be that a fence or imaginary boundary line. This scene interested me and is the only reason I photographed it, separate from my other photographs by content and by thought process. The above scene was purely about the lack of human decency, people travel up to the Pennines and dump their waste in this beautiful landscape, they have absolutely no concern or care for this land of ours, or the people who have fought and died for this patch of land. You have rolling hills and grasslands all around you and then a garbage dump, it looks out of place and quite surreal! It's not a small patch either an covers approx 40 sq foot of land. With Government run garbage disposal plants in every town and city it is
beyond human comprehension why someone would travel to the back of beyond just to dump their waste!
Anyhow today I noticed a photography competition run by Syngenya Global, in reference to Global Waste and the encroachment of civilization onto farm lands or rural spaces.
The Syngenta Photography Award
The second Syngenta Photography Award invites photographers from all over the world to explore the tensions and relationships between scarcity and waste through compelling imagery. Photographers can submit their images in two categories – The Professional Commission and the Open Competition.The Award, worth a total of US$65,000 in prize money, is now open for entries until September 15, 2014.
I have entered the above photograph in the Open Competition and have named the photograph Calderdale. Kirklees. Oldham. This photograph was taken on the boundary lines for these three districts, none are doing anything to stop the dumping of waste onto the Pennines, a heritage site, close to the Pennine way and an absolute eyesore on the landscape.
I think this image fulfils the criteria for the competition.
In a world that is so desperately short of resources, how can we ensure that there is land, food and water for everyone? How can we protect farmland against soil erosion and urbanization? How can we conserve vital ecosystems and biodiversity?
And what can we learn from the efforts of innovative communities to conserve, re-use and recycle?
The Syngenta Photography Award is a celebration of artistic skill and outstanding photography. It is a call for photographs that tell stories about scarcity, waste and the tensions and relationships between them. Photographers, whatever their approach, are invited to submit images that explore these important issues, and to spark a dialogue about our changing planet.
Monday, 19 May 2014
Otto Dix
Otto Dix
Otto Dix was born in Untermhaus, Germany 1891. In 1910 he became a student at the Dresden School of Arts and Crafts, and did commissioned portrait paintings to help him through school. Dix volunteered in to join the army when The Great war broke out in 1914. In 1915 Dix was assigned to he Western Front and he served as a non-commissioned office in the Machine gun unit. He was a part of the battle of the Somme during the allied offensive in 1916. In 1917 he fought on the eastern front. By the end of the war in 1918 Dix had been injured several times, one almost fatal when shrapnel hit him in the neck. Dix was awarded the Iron Cross (second class) and had reached the rank of Vice-Sergeant Major. Of his time in the German army Dix stated:
"I had to experience how someone beside me suddenly falls over and is dead and the bullet has hit him squarely. I had to experience that quite directly. I wanted it. I’m therefore not a pacifist at all – or am I? Perhaps I was an inquisitive person. I had to see all that myself. I’m such a realist, you know, that I have to see everything with my own eyes in order to confirm that it’s like that. I have to experience all the ghastly, bottomless depths of life for myself…" - Otto Dix Interview with Maria Wetzel (1963)[1]
In 1924 a body of work named Der Krieg (War) came about as a direct result of Dix experiences during the war. Der Krieg was a cycle of prints (51 in total) and was modelled on Goya’s cycle of 82 etchings from his experiences during the napoleonic war"Los Desastres de la Guerra" [The disasters of war].
"Dix manipulated the etching and aquatint mediums to heighten the emotional and realistic effects of his meticulously rendered images of horror. He stopped out ghastly white bones and strips of no man's land, leaving brilliant white patches; multiple acid baths ate away at the images, mimicking decaying flesh." - Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.
Belonging to an movement of artists who emerged at the end of the Great War called 'Neue Sachlichkeit' or New Objectivity, Dix along with Georg Grosz became one of the fundamental figures in the Verist camp of painters. Dix's paintings were hugely political, creating historical, satirical paintings outlining the social inequalities of Weimar Germany post war. Dix's works heavily left wing, and clearly depicted his anger at the way the wounded and crippled ex-soldiers were treated in post war Germany.
Dix worked for years one a masterpiece called 'Trench Warfare' a triptych, the first panel shows German soldiers marching off to war, the central panel is a painting of destruction of homes and bodies, and the final panel shows the soldiers struggling home from the war.
"I had to experience how someone beside me suddenly falls over and is dead and the bullet has hit him squarely. I had to experience that quite directly. I wanted it. I’m therefore not a pacifist at all – or am I? Perhaps I was an inquisitive person. I had to see all that myself. I’m such a realist, you know, that I have to see everything with my own eyes in order to confirm that it’s like that. I have to experience all the ghastly, bottomless depths of life for myself…" - Otto Dix Interview with Maria Wetzel (1963)[1]
In 1924 a body of work named Der Krieg (War) came about as a direct result of Dix experiences during the war. Der Krieg was a cycle of prints (51 in total) and was modelled on Goya’s cycle of 82 etchings from his experiences during the napoleonic war"Los Desastres de la Guerra" [The disasters of war].
"Dix manipulated the etching and aquatint mediums to heighten the emotional and realistic effects of his meticulously rendered images of horror. He stopped out ghastly white bones and strips of no man's land, leaving brilliant white patches; multiple acid baths ate away at the images, mimicking decaying flesh." - Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.
Belonging to an movement of artists who emerged at the end of the Great War called 'Neue Sachlichkeit' or New Objectivity, Dix along with Georg Grosz became one of the fundamental figures in the Verist camp of painters. Dix's paintings were hugely political, creating historical, satirical paintings outlining the social inequalities of Weimar Germany post war. Dix's works heavily left wing, and clearly depicted his anger at the way the wounded and crippled ex-soldiers were treated in post war Germany.
Dix worked for years one a masterpiece called 'Trench Warfare' a triptych, the first panel shows German soldiers marching off to war, the central panel is a painting of destruction of homes and bodies, and the final panel shows the soldiers struggling home from the war.
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| Trench warfare 1932 |
Along with these large scale paintings Dix also created many satirical pieces of work, many showing the ill treatment of wartime service men.
His paintings were exhibited in the state-sponsored Munich 1937 "Entartete Kunst" exhibition of degenerate art, and later burned. The artist was also compelled to join the Reich Chamber of Fine Arts (Reichskammer der bildenden Kuenste), a subdivision of Goebbels' Cultural Ministry (Reichskulturkammer), and required to confine himself to landscapes, but he continued his allegorical paintings criticising Nazi ideals.
Shortly after this masterpiece in 1933 Adolf Hitler came into power the figurehead of the Nationalist Socialist Party. Hitler and his newly elected government disliked the content of Dix's paintings, they demanded his removal as art tutor from the Dresden Academy, it stated in his letter of dismissal from the Academy that his work "threatened to sap the will of the German people to defend themselves". Eventually Dix along with other members of New Objectivity Painters were banned from exhibiting any of their works publically and he was labelled a "degenerate artist".
"It is not the mission of art," the Führer proclaimed to the assembled crowd in September 1935, "to wallow in filth for filth's sake, to paint the human being only in a state of putrefaction, to draw cretins as symbols of motherhood, or to present deformed idiots as representatives of manly strength."[2]
Dix was allowed to continue after this date as an artist under the strict policy he was only allowed to paint landscapes. occasionally Dix would break free from his artistic restraints and produce paintings again depicting the Horrors of war, such as Flanders Painted in 1939.
In 1945 Dix was forced to join the German army and fight in WWII, Dix was however caught and was held as a prisoner of war. On his release in 1946 he returned to Dresden and continued his artwork.
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| War cripples 1920 |
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| Dix's Die Skatspieler ( The Skat Players ) 1920 |
His paintings were exhibited in the state-sponsored Munich 1937 "Entartete Kunst" exhibition of degenerate art, and later burned. The artist was also compelled to join the Reich Chamber of Fine Arts (Reichskammer der bildenden Kuenste), a subdivision of Goebbels' Cultural Ministry (Reichskulturkammer), and required to confine himself to landscapes, but he continued his allegorical paintings criticising Nazi ideals.
Shortly after this masterpiece in 1933 Adolf Hitler came into power the figurehead of the Nationalist Socialist Party. Hitler and his newly elected government disliked the content of Dix's paintings, they demanded his removal as art tutor from the Dresden Academy, it stated in his letter of dismissal from the Academy that his work "threatened to sap the will of the German people to defend themselves". Eventually Dix along with other members of New Objectivity Painters were banned from exhibiting any of their works publically and he was labelled a "degenerate artist".
"It is not the mission of art," the Führer proclaimed to the assembled crowd in September 1935, "to wallow in filth for filth's sake, to paint the human being only in a state of putrefaction, to draw cretins as symbols of motherhood, or to present deformed idiots as representatives of manly strength."[2]
Dix was allowed to continue after this date as an artist under the strict policy he was only allowed to paint landscapes. occasionally Dix would break free from his artistic restraints and produce paintings again depicting the Horrors of war, such as Flanders Painted in 1939.
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| Flanders 1939 Otto Dix |
Tuesday, 13 May 2014
Business Cards
I have created some business cards to hand out at our exhibition and also to give out to potential clients. For the purposes of the exhibition, I have chosen a fairy simplistic design. The design represents me as an individual and my style of photography.
Here is the front of the card, I toyed with a photograph in the centre panel, but felt it was clean and professional looking without. I did not like the colour black for the writing and the colour I decided on is dark enough to be clearly read by the client and has a similar colouring to my exhibition work.
This is the rear of my card, again simple, lettering matches the front of the card,image is central. the image chosen is one of my photographs from my exhibition work Borderline. I have ordered initially 150 for hand out at the exhibition, the design has been saved and I can order more when necessary. I can now offer any client a professional service in any genre of photography.
Here is the front of the card, I toyed with a photograph in the centre panel, but felt it was clean and professional looking without. I did not like the colour black for the writing and the colour I decided on is dark enough to be clearly read by the client and has a similar colouring to my exhibition work.
I have also arranged for a selection of mini cards. These are of a similar design and match with the work I have created for my exhibition and book. These are below:
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