Since I have started Body of Work and Contextual Studies modules and to a certain degree with the previous Documentary module, I have become more and more interested in regeneration and its issues. I came across Frank Laws while I was specifically searching for artists who address gentrification etc in their work. Admittedly, I was looking for artists like Laws to help contribute to my extended written project’s argument but nevertheless I feel I stumbled upon an artist who raises pertinent topics and whose practice is evolving. Moreover, it was interesting to see an artist whose work specialises in something other than photography.
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.
David Aylward is a musician and artist whose art takes the form of installations which intervene with the street. His work uses street art painted onto the floor as well as music to get his points across.
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 attached below my tutor report and annotated literature review for Assignment 2 - Contextual Studies. I have also reflected on what my tutor has written in the report and the annotated literature review so I can get a better grasp on some of the concepts we talked about in our telephone call.
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.
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.
Tuggar’s work in general disregards the believability element of photography (even though it is largely comprised of photographic elements). Instead Tuggar concentrates on constructing believable and telling relationships in the subject matter from which her montages are assembled.