Fly on the wall – the American way of life – often tongue in cheek seeing humourous juxtapositions
Gursky interested in both vast scale and the mundane – his images often of the everyday but, because he casts an overview, patterns and abstact ideas emerge. Could be seen as existential metaphor? Collectivism rather than individuality.
Fashion photographer who pictures models with outlandish masks – obscuring beauty, changing perception, questioning protocols of fashion imagery
Futurists early 20thC Italian Art movement. Interested in their Modern Society with its emphasis upon factory manufacture/machinery, speed, noise and War (WW1). Early experimenters with photography.
It could be argued that the invention of photography freed artists from strictly representational Art and, without it,some images, such as these, would have been unlikely. Photography informed Futurist Art.
Form defined by tone
The late photographer Jan Groover's work belongs to the type known as formalism, wherein the relationships between objects are implied through their formal properties. The older and more familiar Pictorialist photography told stories deliberately. Paradoxically, Groover's concentration on the formal properties of objects resulted not in dryness but rather in a rich visual experience. Like Daniel Boudinet in France, Jan Groover demonstrated that color and artistry in photography were not incompatible, an idea that was still debatable in the 1970s. In that struggle for recognition, Groover's exhibition at the Museum of modern Art in 1978 was a milestone. John Szarkowski, who curated the exhibition, wrote that "her works were good to think about because they were good to look at." The public was dazzled and when Groover's forks appeared on the cover of Artforum, she was vindicated.Groover studied painting at Pratt Institute, inspired by the works of Morandi, de Chirico, and FraAngelicao, and the thrill of seeing Cezanne's painting of a lemon. Around 1970, she turned to photography at the moment that a minimalist aesthetic looked fresh, after a decade of Pop Art. With some success in New York under her belt, Groover received her first NEA fellowship in 1978. She bought a different camera anf tried photographing stillelifes of dried flowers but her efforts proved fruitless. "They were disgusting" Groover later recalled. "You're having a hard time? Why don't you go to the kitchen sink and take a look?' suggested her husband, the art critic Bruce Bois."So I did. I was there for a long time, in one way or another, with those kinds of objects. It was great. I could deal with all the things that I knew about art."Things like foreshortening and playing around with space. In her kitchen still lifes, Groover reprised the history of photography, calling up the ghosts of such French masters as NicephoreNiepce and Dauguerre.The next year Groover began to work with platinum printing, a process used by many 19th century photographers. Platinum prints were known for their subtle tones, from silvery-greys to rose-browns, and were weel-suited to Groover's formal, restrained style."What does a lemon do? A lemon lies down. It can't do anything else but lie down. an apple sits. It doesn't lie down, it doesn't do anything but sit. A pear lies down and stands up... So all these objects have these attitudes. Now some objects have bigger attitudes. An apple could have a big attitude, depending on what it sits with. A lemon has somewhat of a private-language attitude to me because Manet did a beautiful painting of a lemon. Then there are some objects like bottles that are containers, and its containership means something. ...So building up still life to have all these characters - I don't know what the sentences are, but I know the sentences make sense to me, when they make sense." As for the plastic fish and little dog in the lower right corner, the viewer can only speculate.http://thebluelantern.blogspot.co.uk/2013_05_01_archive.html
Among the twentieth century’s most influential art photographers, Edward Weston (United States, 1886–1958) is widely respected for his many contributions to the field of photography. Along with Ansel Adams, Weston pioneered a modernist style characterized by the use of a large-format camera to create sharply focused and richly detailed black-and-white photographs.The combination of Weston’s stark objectivity and his passionate love of nature and form gave his still lifes, portraits, landscapes, and nudes qualities that seemed particularly suited for expressing the new American lifestyle and aesthetic that emerged from California and the West between the two world wars. He spent the years 1923–1926 in Mexico City as a part of an international milieu of creative minds attracted by the post-revolutionary excitement of political activists and artists such as Diego Rivera, Jose Clemente Orozco, Tina Modotti, and others. From the moment he returned to the United States, he began making work that would fundamentally change the direction of photography in this country.In 1932, Weston, his son Brett, Ansel Adams, Imogen Cunningham, and a handful of other Bay Area photographers formed a group of like-minded realists who called themselves Group f/64, in honor of an aperture setting on a lens one might stop down to in order to attain the sharpest focus in a photograph. They introduced their work in an exhibition at San Francisco’s DeYoung Museum, and the exhibition still stands as a landmark in the history of photography. In 1937 Weston became the first photographer to be awarded a John Simon Guggenheim Memorial Fellowship. He continued working until Parkinson’s disease forced him to give up the camera in 1948.
BishopLuffa GCSE photography exam support 2014
Time allowed: Preparation time + 10 hour exam
•Read the paper carefully. Before you start work, make sure you
understand all the information.
•Respond to one question and produce a personal response.
•You have a preparatory period to research, investigate and
develop your ideas. Your work during
this period could be in sketchbooks, journals, blogs, PowerPoints
or any other appropriate form of
•You are allowed ten hours to produce your personal response
•The work submitted for this examination must be your own
•You must hand in your personal response outcome(s) and the
preparatory work at the end of the examination.
•Your work will be marked out of 80.
• All your work, including the work done during the preparatory period, will be
• You should discuss your ideas with your teacher before deciding on
your starting point.
• You should make sure that any materials or equipment which you might need
are available before you start the examination sessions.
•You may take all your preparatory work into the examination sessions.
• You should, when developing your personal response, make appropriate
connections with other
sources such as the work of photographers, artists, craftspeople and/or
•You may work on further supporting studies (between controlled conditions
sessions) until you have completed your personal response
•You may use any appropriate photographic medium, method(s) and materials,
unless the question
Your work will be marked according to how well
you have shown evidence of:
Developing ideas through investigations informed
by contextual and other sources,
demonstrating analytical and cultural
Refining ideas through experimenting and
selecting appropriate resources, media,
materials, techniques and processes
Recording ideas, observations and insights
relevant to your intentions in visual and/or other
Presenting a personal, informed and meaningful
response demonstrating analytical and critical
understanding, realising intentions and, where
appropriate, making connections between
visual, written, oral or other elements.
These are equally
And are worth 25% each.
The whole of the exam is
40% of your final mark.
Openings such as doors and windows are important parts of
the composition in some of the photographic work of Lee
Friedlander and Andreas Gursky. Dragan Todrovic often
uses the light that comes through doors or windows, to
emphasise a subject or to create a silhouette.
Research appropriate sources and produce your own work
in which openings play an important part.
Inge Morath collaborated with the artist Saul Steinberg to
produce a series of photographs in a book called
‘Masquerade’. These were based upon people wearing
masks which had facial expressions drawn on them.
Richard Burbridge has produced portraits for fashion
magazines in which the model wears a surreal mask, often
made from found materials. Photo manipulation using digital
software can be used to alter features or to add to a
person’s appearance or identity.
Investigate relevant sources and create your own portraits
which disguise or add to the appearance of the sitter.
Inge Morath & Saul
USA. Untitled. (from the Mask
Series with Saul Steinberg), 1959.
Photograph by Inge Morath
Artists of the Futurist Movement sometimes used
photography and film making to celebrate the energy, speed
of change, technological advances and the power of
machinery in the early 20th C.
Research appropriate sources and produce work in
response to one of the following:
a) Working with today’s technology
b) What a wonderful world
Polyphysiognomical Portrait of Umberto
Anton and Arturo Bragaglia (1913)
Portrait of Marinetti’, Tato (date unknown)
Typist’, Anton and Arturo Bragaglia (1911)
Natalya Goncharova, The Cyclist (1913)
Umberto Boccioni, Unique Forms of
Continuity in Space (1913)
Laura Letinsky uses the edges of objects such as tables
and shelves and the line where one colour meets another
as important features of the composition of her still-life
photographs. Jed Devine and Jan Groover use similar
compositional devices in their work. Lines formed by the
edges of parts of buildings, shadows and silhouettes are an
important part of the composition in the photographs and
photograms of Laszlo Moholy-Nagy.
Research appropriate sources and produce your own work
where edges are an important part of the composition.
The White Jug (ca. 1984)
Laura Letinsky's photo for an
article on fruit gelatin desserts
in Martha Stewart Living.
Untitled, #3, Hardly More Than Ever series,
1997 | Images courtesy of Yancey
Untitled #23, 2009
Untitled #34, 2001
The London Festival of Photography defines Street
Photography as, ‘ …un-posed, un-staged, photography
which captures, explores or questions contemporary society
and the relationships between individuals and their
surroundings.’ It has been suggested that Henri CartierBresson and Robert Frank, amongst others, are Fathers of
Research Street Photography and produce work based on
your observations of individuals and their surroundings.
PES (real name Adam Pesapane) is an animator and
director who uses the distinctive textures and colours of
objects and materials in his stop-frame animations. In the
animation ‘Western Spaghetti’, bubble wrap is used to
represent boiling water and silver foil to represent cooking
oil. Photographers such as Ansel Adams and Edward
Weston have sometimes used close focus techniques to
explore textures in the landscape and natural forms.
Study relevant sources and produce your own work inspired
Edward Weston (1948 film) YouTube
Images from Adams’ ‘Yosemite
National Park ‘ series
You should make connections with appropriate selected
sources when developing your personal response to one of
the following suggestions.
a) Develop your own interpretation of the starting point
b) You could make a poster by combining fragments of
photographic images with fragments of lettering
c) You might develop ideas by looking at the qualities of
texture in fragments of rocks, wood or peeling paint.
Webology & Resources
Inge Morath & Saul
Example of GCSE
recorded as a blog
Another example of
a GCSE Exam blog