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rephotography and reenactment

by London South Bank University, University of Westminster on Mar 15, 2011

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paula roush presentation on rephotography and re-enactment

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paula roush presentation on rephotography and re-enactment
part of developing the digital image/ project 2, week 7, march 2011

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captions, written with an alphabet stencil ruler and marker, indicate the girls’ names, and the photos’ dates and locations
girls posing in their clubs and the streets
Brown Sisters-- a series of thirty-one portraits of his wife and her sisters that he's made since 1975.The women are always shot with a view camera, and appear in the same order:Heather, Mimi, Bebe, and Laurie.
Cross-culture reenactements
cross gender reenactements
Hiatorical re-enactements This photo Is based on a photograph of the Lingchi executions, also known as Death by 1000 cuts in 1904 0r 1905 Genealogy of Self,
Genealogy of Self,Chen Chieh-Jen placed himself in the left-hand side of the background as one of the on-lookers. This picture presents a scene in “Linchi.”[12]
Being Castrated, a continuity of the previous theme but also a crude contrast to it, presents a scene in which all figures lined up, except the victims, all posed in front of the camera, looked into the camera eye, and inviting the viewer’s gaze. This picture is based on a photograph taken around 1904-1910, a scene in the street of Shanghai, the photographer unknown. Chen Chieh-Jen added two figures at both sides in the foreground, he himself as the model, suffering the penalty of castration, serving as a frame of the spectacular scene.
Self Destruction The artist juxtaposed two historical photographs in this picture, the right-hand part of this picture using Jay Calvin Huston’s photo taken in 1927 during the Qingdang period (purging the party), a scene in which Chiang Kai-shek’s soldiers slaughtering the communists in Canton, and the left-hand part using a photo in around 1928 in the street of Shanghai, also a scene in the Qingdang period, the photographer unknown. The theme of the self-destructive violence is even more clearly exposed through the twin figures in the center, fiercely but happily killing each other. Again, Chen Chieh-Jen placed his images in the twin figure in the center, as the falling head in the foreground, and as one of the spectators in the background
“Factory” is the videotaped testimony of women who for many decades worked in one Chinese factory and, shortly before retirement, were sacked and the factory closed only so that the owner would not need to pay their pensions. The women, thanks to Chen Chieh-jen, were able to return to their jobs, and relate their story, without words, to the camera.
Positive reenactementsLibera, Che.Next Picture, 2003, photograph, 120 x 175 cm
Emotional reenactements ‘These portraits are about how we inhabit each other , reside in each other, and how we always leave traces in each other’. In this sense Hansen;s portraits capture emotional rather than physical likeness
Being under the surveillance of her own camera is the theme of the mockumentary “Living for the camera” by Jessica Kril.
“Twin Subcultures,” Nicola Penfold created a set of double self-portraits that play with masquerade and the duplication of the self via digital manipulation.
“Twin Subcultures,” Nicola Penfold created a set of double self-portraits that play with masquerade and the duplication of the self via digital manipulation.
“Twin Subcultures,” Nicola Penfold created a set of double self-portraits that play with masquerade and the duplication of the self via digital manipulation.
Queer creative lives are the subject of “Our creative youth” by Robbie Sweeney, “Alternative to ‘subculture’ gone mainstream” by Karel Polt
Karel Polt, Alternative to ‘subculture’ gone mainstream, 2007, photobook, 88 pages, 15.24 cm x 22.86 cm, perfect binding, full-colour interior ink
The book examines three Cosplay-like characters developed and maintained by a female artist in her everyday. Cosplay (or costume play)a contemporary subculture sustained by the rise of Internet and fan fiction. Cosplayers develop their characters based on their favourite film, television and game characters and join web forums to chat about their characters and organise off-line meetings.
;Bug Workaround;
Alex’s role-play also presents similarities to the ‘Visible Girls’: “the characters she portrays are not technically fictional. They are representations of her different moods and styles. Each character has a well defined background and individual style of clothing, so you are able to ascertain her mood on any one day by the character she chooses to portray. This could be seen as a heavily intricate form of theatrical exhibitionism; however it is very akin to the way that the girls in Corbin’s archive portrayed themselves.”Lee Slaymaker. The Pop Cosmopolitanist: A Blank Canvas, 2009.
In “In real life”, Christopher Kamper follows off-line three young people that he knew from online chat and discussion boards but had never met in real life: “Ever since reaching their adolescence, the world wide web became the very centre of their social lives”

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rephotography and reenactment

by London South Bank University, University of Westminster on Mar 15, 2011

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rephotography and reenactment — Presentation Transcript