Project Three

Context & Narrative Part Three

Project 3

Self-absented portraiture

Telling the viewer something of who I am. Using other people as stand-ins, in a metaphorical sense, or conveying self by other means. We’re given these examples to look at:-

Maria Kapajeva

A Portrait of the Artist as a Young Woman

An ongoing project to ‘open debate on imagery of women in contemporary society in the context of the historical, cultural bias and the global changes we are each going through’. Portraits of her peers, represented a new generation of young intellectuals who are unafraid to take risks or to break the rules. Women photographed in their own working environment. Looking at the camera with clear eyes. Looking ready to engage and debate.

I read the Photoparley article where Kapajeva talked about her creative process with Sharon Boothroyd and the changes she has made to follow her passion for photography . From Estonia, she went to the University of the Creative Arts in Farnham to study photography – leaving her job and own flat to start from scratch.

I was interested in the way she talked about two ways of working as an artist – to “ …. start from a technique and develop/master/transform it” or “to start from an idea and find a technique for it”. She thinks most of her works follow the latter path and I think that’s my path as well. Kapajeva also says that it isn’t her intention to involve herself in her work as the main character, although she is in it of course as it’s her work. I was so pleased to read as well her comment about the massive volume of information artists all confront and how we need to learn how to select the right subject and focus on it. I was complaining a while ago about how photography teaching must have changed so much over the years because there are so many more photographers to learn about and absorb.

I was also fascinated by the way in which Karpajeva used the technique of cross-stitching and quilting for her series I Am Usual Woman – making a quilt from a selection of website images that recommend how women seeking husbands should be photographed. She links this with the distinction between creative work done by men and women in the European and Russian side of the world e.g. painting icons is a most privileged art for men whilst women are unrecognised for the embroidering they do for domestic items and for the church. Karpejeva uses such creative ideas to continually look at and question the way in which cultures shape and view women and how women respond to this.

Sophie Calle

Take Care of Yourself (2007)

I wrote about this work here . The 107 views on the email from her lover add layers and layers of meaning and subtlety to the work. It’s almost like exposure therapy to desensitize response to such an email, as well, of course, as heaping reprimands on the head of the its writer! That apart, in my own experience, it’s the kind of thing that women often do with their friends when such a situation occurs so there’s an air of reality to it even though (I’m guessing) it was all carefully orchestrated. Quite a collaborative effort.

Anna Fox

I wrote about her here  and that post  includes a link to a video of Fox talking about the Cockroach Diary and other work. Looking at Cockroach Diary again, I’m reminded that this project “marked the start of her exploration of autobiographical story telling, and her questioning of the power of the camera in documentary practice”. Remember – to her, documentary is ‘telling a story about the truth’, which fits with the genre that seems to be named more regularly now as ‘subjective documentary’.

Nigel Shafran

Washing Up (2000)

There’s mention in the Handbook of captions and I’m sure I’ve seen some somewhere where he names what was eaten – maybe it’s in the book. Shafran uses everyday scenes of daily life and “gives the viewer a point of resonance and a sense of shared experience in the commonplace activity of ‘doing the washing up’”. I actually looked closely at the images to work out if it was the same areas in different lights/times of day or different ones but couldn’t come to a conclusion on that.

Exercise

  • Did it surprise you that this was taken by a man? Why?
  • In your opinion does gender contribute to the creation of an image?
  • What does this series achieve by not including people?
  • Do you regard them as interesting ‘still life’ compositions?

To be honest, no thought came into my head concerning the gender of the person who made these photographs. I live with a man who does the washing up and other household chores (more often than I do sometimes) and is also a keen photographer, can quite easily imagine him taking a photograph of the washing up. I didn’t think it was a woman either because I was too busy wondering what the rest of the house/flat looked like! Looking at other series on Shafran’s website I was very taken with Ruth on the Phone (1995-2004) because my husband could create a book of his many photographs over the years of me at the computer (think he’s trying to give me a message but we won’t go into that!).

Does gender contribute to the creation of an image? I think it can. I’ve certainly had discussions with fellow students regarding landscapes and whether women make different photographs.  Of course we’ve also had discussions regarding ‘the gaze’ and whether a woman’s gaze is different from that of a man. I’ve recently been reading a lot about Francesca Woodman and whether she was a femininist photographer or not. Would someone look at my photographs and think they had been taken by a woman rather than by a man? If so why? I’d be interested to know whether my work is seen as ‘feminine’. Bearing in mind of course that I have written, and taken photographs, as a man (see Assignment 2)

I think the absence of people can provide a more blank canvas upon which the viewer can project their own story. Do I regard the images as interesting ‘still life’ compositions? I wouldn’t have called them that. If anything I would see them as documentary images. It’s may well be that Shafran arranged the kitchen areas in those particular ways but they don’t look ‘arranged’, they look natural, almost banal and yet interesting for all that. They have a certain professional style about them so couldn’t be called vernacular photography. Remembering of course that Shafran has also worked in the commercial photography world and so he can bring those techniques into play.  I’ve thought about that previously when looking at the work of Laura Letinsky whose work also alludes to the presence of people in domestic spaces whilst not including them. Letinsky also does commercial work. I’m thinking at the moment that the difference is to do with lighting. Her style is different though and not auto-biographical. I have previously written that I want to experiment more with her work and will post some images in due course.

Back to Nigel Shafran – I found him an enjoyable photographer to follow and there’s an interview here from 2009 that I enjoyed watching where he talks about his photography books. Shafran’s work does prove that even the most ordinary environment can be made interesting if you have the right skills and creative approach. I also think he’d be a good photographer to talk with about creating photo books.

Some interim conclusions

On the theme of – what have I absorbed for myself from looking at these photographers?

  • Using other forms of Art and Craft to add to the layers of photographic work. I’m very much attracted towards that but have this anxiety regarding ‘not being artistic’ which leads to fear of failure.
  • Getting other people to engage in a collaborative project, whilst still remaining ‘producer/director’ overall.
  • An autobiographical project is subjective but it can also have universal application. To me it’s important as well to retain my own sense of truth even though viewers may add their own layer of perception to it. Additionally I think it’s also important to know when I’m steering away from my own sense of self-truth to add the colour of drama to my work.
  • Ordinary life and reality can provide stories just as interesting as dramatic events.

Of course, I was led on to looking at other photographers and adding to my evergrowing Pinterest Boards and collection of PDFs (and books!). I’ll refer to some of these when writing about research for Assignment 3 and won’t forget about Laura Letinsky.

5th August 2015

 

References

https://vimeo.com/17770986

http://lauraletinsky.com

http://www.mariakapajeva.com

http://www.mariakapajeva.com/a-portrait-of-the-artist-as-a-young-woman/

http://nigelshafran.com

http://nigelshafran.com/category/washing-up-2000-2000/page/13/

https://photoparley.wordpress.com/category/maria-kapajeva/

 

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20 thoughts on “Project Three

  1. Excellent well though out review Catherine. I plan to follow up on Kapajeva as I share her way of approaching work by coming up with an idea and then lfinding fa technique which adds layers of meaning.

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    • Your posts are similarly interesting and informative – let’s say we spur each other on! Please remember as well to let me have the link to your new blog as well when you start on UVC.

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  2. I think that it is reductive to talk about photographers as either male or female, this bipolar determination prevents any nuance, I think, like many things, that we are all on a spectrum of sensibility/awareness. Interestingly my niece abstained a 1st recently with a body of work all using textiles – images were printed on cloth, stitched or embroidered onto material – which whilst being the highlight of her years grad’ show – was a very personal work about her grandfather who was a haberdasher. Gender mashing, playing with perception and beautiful work.

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    • I do understand what you mean and I know we’ve discussed this several times. Could we re-discuss in terms of whether men and women might approach a topic in different ways. For example do you think a male photographer would create a project like Calle’s. Actually writing that now I remembered that I meant to ask myself (and others) whether culture and nationality affect types of work. Again thinking of Calle for example. I think of her work as typically French but haven’t really established why I think that. “Why does it matter?” you might ask. Well we are products of our environment to a certain extent.

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  3. This is really interesting. I have to say I disagree, John, that it may be reductive to discuss gender, as appealing a thought as that may be. It plays such an enormous role in how we perceive and are perceived, at a very deep level. I’m just reading something where people who have been through se changes discuss how they are treated very differently in the world according to which sex they are – and that they then have to learn how to react accordingly, and how that in turn affects how they view themselves – and then others. Our social positions either way are influenced profoundly by gender . I wish I had seen the washing up images before knowing whether they were male or female… I have a strong suspicion I’d have guessed male but I have no way of knowing now! So much information here Catherine!

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    • Yes – it would be good to discuss this more (as in my reply to John above). Had a discussion the other day and came away wondering whether I see the world through ‘female’ eyes. I’m not sure whether I do or not.

      Hope the information made sense to you by the way.

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      • Yes, great discussion to have. I have to say I find it very hard to believe someone could avoid seeing through gender biased eyes, no matter how hard they try. It’s so deeply embedded in the psyche by society. Yes. Made sense!

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      • I’m convinced that I see the world through both female and male eyes dependent upon what I’m doing and what my mindset is at that particular time.

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      • Really good post Catherine. The idea of gender gazing is interesting. Maybe we could raise it at a TV meeting. Can’t remember off the top of my head (commuting at moment) but the female who was picture editor at Sunday Times mag believed very much that there was a female aesthetic which we generally try to suppress in order to succeed in a patriarchal society. Whether that aesthetic is innate or develops as a part of the society in which we find ourselves, is also open to discussion.

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      • Yes – could be an opportunity for further discussing I remember we looked at this some time ago with examples of various images. Seem to remember we all focussed on other aspects rather than whether we could detect a ‘feminine’ slant.
        I did an internet search on female aesthetic – did find a review on a book about novelists and there’s also a fair amount on ‘feminist’ viewpoints although to my mind that’s looking through a different lens from “Do women ‘see’ life in a different way from men.
        Sarah has also sent me a link to a book that looks interesting so I’ll report back at some point.

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    • Does that mean you put yourself in his place and/or is it based on anything he’s written about it? I was just wondering as well, do you see what’s missing there from female perspective?

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