Continuing on from watching Age of the Image: Series 1, episode 1, I have decided to rewatch episode 2 while making notes. My reasoning for this is there is a lot of useful information regarding art and its history in the series. Therefore while making notes, I could get a better insight into these topics and look at the age of the image in art, not just from a photography perspective. I feel this last point is important because in the past I have focused a little too closely on only the photographic discipline in art.
I recently watched Age of the Image, a BBC4 documentary on the history of images and how they are used up until present day. I really enjoyed this series even if it did try to pack a whole lot of information into each episode.
I found and read an interesting article titled: 'The property billboards that reveal the truth about Britain's luxury housing market' on the Guardian by Oliver Wainright (2017). The article explored the role of hoardings and billboards in promoting regeneration projects. These hoardings make up some of what I would describe as the glossy facade that pervades regeneration’s front. These are my thoughts after reading the article and how I feel it may inform my Contextual Studies’ extended written project.
I have been encouraged to look more closely at Chris Dorley-Brown’s Continuum (2014) series than his The Corners (2009-17) work. That is because both my tutor and I believe this series is more pertinent for my upcoming extended essay and my project in general. Continuum (2014) shows change more explicitly than The Corners (2009-17) and utilises repeat photography like my body of work. I was a bit frustrated that Continuum (2014), which I consider to be an enlightening series of diptychs, has been covered so little by writers on photography. However, while looking for sources, I found that an essay by Stewart Home had been written inside Dorley-Brown’s Continuum (2014) book, available on Apple Books. Luckily, I have access to an Apple device so I downloaded it and here are my thoughts on the interactive book and its introductory essay.
David Campany, the curator of This Must Be the Place (2010) and who is interviewed in the same-titled article by Aesthetica magazine, is an advocate of the spatial in photography, rather than just time-based photographic practice. I found various extracts from the interview interesting and have outlined my thoughts in this post.
The essay Some Times of Space (2003) by Doreen Massey has been quite influential in my understanding of how space and time are interconnected. Furthermore, Massey touches upon representation of space and time; in particular representation in the form of the map.
I actually found the introductory essay by Jordan Bear and Kate Palmer Albers in Before-and-After Photography (2017) to be the most useful and interesting one for me. Throughout the book, diptychs where time has elapsed between each photograph, are referred to as 'before-and-after photographs’.
I was recommended by my Contextual Studies tutor to have look at The Town of Tomorrow - 50 Years of Thamesmead (2019) by Here Press. My tutor didn’t explicitly say why he recommended it but I think it might have been to show me how other photographers have approached large-scale regeneration in different ways. He did also say he was fascinated himself by the older, mostly black and white photographs, which pointed to happier, more hopeful days. I feel looking at other photographers is important even if they’re approaching a similar subject in a different way because it can open new avenues to explore or just show how there is more than one route to follow.
I have decided to conduct some more thorough research into Deptford, specifically its regeneration. This is in order to gain a better understanding of how it is seen from the outside perspective as well as inside the community
I have read Land Matters by Liz Wells before although I must have somewhat glossed over the final sixth chapter. I didn’t have much recollection of the details of it but by rereading it, I found it one of the most thought-provoking chapters of a very incisive book.