Workshop week 1 (14th march)
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Workshop week 1 (14th march)






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Workshop week 1 (14th march) Workshop week 1 (14th march) Presentation Transcript

  • Tracy AffleckArchive Film and Photography workshop coFWD 14th March 2013
  • “I never take photographs myself. I don’t feel like a photographer, more like a recycler.” Christian Boltanski
  • Structure and Aims of Workshop 14th MarchIntroduction using archive images as a practice Talk about my own practiceLook at some techniques of working with archive imagesDiscussion on any images that you may want to work with
  • Structure and Aims of Workshop 21st MarchMore hands on workshop – I will set up 3 or 4 different areas where you can start to experiment with using your imagery. There will be Collage/working and photographing slides/ I will also look at how to use and work with Super 8mm and 16mm film.
  • Possible collaborative exhibitionPossibility of having a collaborative exhibition for those who are interested
  • Carte de visite (Cabinet Cards)
  • Abraham Lincoln by Matthew Brady
  • Who is this person? How old are they? What do they do for a living? What are they wearing?Any details that you notice, hair, shoes, clothes? Are there any objects in the picture?
  • Imagine this person lived today? Give them a name. A profession. A Hobby A place where they live.
  • Imagine that person is alive today – who are they? Make up a name Make up what does he do for a profession Does he have a family Where do they live What hobbies do they have? Christian Boltanski
  • 10 Portraits Photographiques de Christian Boltanski, 1946-1964Artists book featuring photographs that claim to be of Christian Boltanski at ages 2, 3, 5, 7, 9,10, 11, 14, 17, and 20: "All the photographs were taken one afternoon by Annette Messager, near the waterfall in the Parc Montsouris in Paris. Only the last photograph really portrays Christian Boltanski, but at the age of 28, not 20."
  • "My work is about the fact of dying, butits not about the Holocaust itself."
  • Tacita Dean - Floh“Dean found that the photographs had one fixed andclear meaning in their original context, which was thentotally inverted through their presentation in an art work.The initial; and eventual meanings are opaque.”Photography Found and Lost: On Tacita Deans Floh,Mark Godfrey October 114 Fall 2005
  • Tacita Dean - FlohIn her monograph, FLOH (2001), Dean delicatelyarranges photographs that she has discovered at fleamarkets across Europe and America – as, in a sense, afinal gesture (or “a beautiful swan song to analogphotography”).
  • Tacita Dean - Floh
  • Tacita Dean - Floh
  • Joachim Schmid“No new photographs until the old ones are used up”
  • Joachim SchmidThe Institute for the Reprocessing of UsedPhotographsSchmid put a fake advert in the paper warning of thedangers of old negatives and photos and asked that anyof these be sent to the Institute of Reprocessing of UsedPhotographs for ‘reprocessing’. He was inundated withparcels of photos and negatives that people wanted todispose of, safely.
  • Joachim SchmidIn a series of parcels, he discovered decades ofmedium format negatives from a professional photostudio. The trouble was, they were all sliced in half,in an effort to destroy their value. What Schmiddiscovered, happily, was that he could shuffle theleft half of a negative with the right half of anothernegative to come up with bizarre composites thatwere uniformly lit and fit together in an uncannyway. It seems the photo studio always positionedits lights exactly the same way for years, and nevermoved the camera closer or further away fromeach model.
  • Joachim SchmiddUsing other people’s (often mundane) photographs,he creates artwork that is alluring, intriguing, andcaptivating. He revels in photographs that otherpeople lose or throw away in public, especially if theyseem to have been discarded with some animosity orintense feeling. He is very much a modern dayanthropologist who tries to understand contemporarycultures by studying its visual rubbish.
  • John Stezaker
  • Maurio Anzeri
  • Maurio Anzeri
  • Hans Peter Feldman –collecting, ordering, re-presenting
  • Ongoing Body of Work Tracy Affleck ‘Content Unknown’
  • Working Methods• Notions of the Archival (both analogue and digital)• Collections• Found and sourced photographic objects – eg negatives/glass plate/slides• How the objects are acquired have as much bearing and are as important as what they are and how they are used within a body of work. I look for these objects compulsively.• The object can then a ‘starting point’ for a more complex narrative which unfolds over time, this can be from a comment to the nature of photography to a connection with a relationship or another object or story whether fact or fiction
  • Andre Breton & the Surrealist Movement Objective ChanceAndre Breton was a dealer in art objects, particularly African, andthe Surrealists were all passionate about the kind of bearing an object inthe external world could have on their imagination, or on their inner world.The definition Breton often gave of Objective Chance," or thething discovered by luck, like the found object, was that it was runningacross in the outside world of an answer to a question you were notaware of having.So the Surrealists, wherever they were, would make expeditionsto parks, but in particular to flea markets and to antique stores, in order todiscover objects with primitive power, able to unleash those passions intheir possessors.
  • Ebay as an ‘Organisation of coincidences’At times the repetitive practices of everyday life (such as browsingon eBay) are thought of as mundane. “Mundane” refers to theordinary, and it encapsulates a sense of belonging to or being inthe world.Lodged within the mundane, however, is also an idea of thecosmic, and an examination of the everyday speaks to theorganisation of coincidences that eBay draws together for its users: the unexpected and the ephemeral, the sublime and the kitsch, theiconic and the cultural, the sacred and the profane.
  • Ammassalik, Greenland Images
  • Ammassalik, Greenland Images
  • Ammassalik, Greenland Images
  • Ammassalik, Greenland Images
  • Ammassalik, Greenland Images
  • Ammassalik, Greenland Images
  • Process for Images1. Bought transparency negatives off ebay found them randomly whilst looking for something else.2. Sandwiched 2 transparency negatives together to make a composite image.3. These were then put together and put into a Projector so that light passed through both of the objects to make a composite projection.4. I then used a large format camera and rephotographed the projection.5. I then hand printed these in the colour darkroom. No Photoshop was used at any point.
  • Narratives for Landscape1. The changing landscape in which we live both literally and metaphorically.2. The changing nature of photography – as Tacita Dean said we are seeing a new landscape develop one in which analogue will have a very different place.3. Creation of a new landscape, a completely new world. Control over that creation something fantastical and mythological.4. Through re-photographing the original and then the projection has element of postmodernism (ie. rejection of one story) having gone through several processes.5. Although the landscapes are composites you cannot see where one joins and when another finishes, although you are aware there is something not quite ‘whole’ about them that they have been subject to a process.
  • Things to think about….• How are you going to source the images?• How will you work with them and re- present them?• What do you want to achieve? What is your story/narrative…what are you trying to say?
  • Things to think about• The History of the image/film? How you read the image/film?• What techniques are you going to use?• How are you going to edit the images?• How would you exhibit them?• Keep a journal….
  • Techniques?• Multiples• Layers• Cutting and Collage• Photocopying onto different surfaces• Adding wax/sewing onto the photo?• Re-photographing projection• Sound? Installation?• Changing narratives/titles
  • Techniques?• Physical archive vs Digital Archive