rephotography and reenactment
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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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rephotography and reenactment
- 1. DEVELOPING THE DIGITAL IMAGE-project 2: week 7 http://www.msdm.org.uk/miniarchive
- 3. Assessment of PROJECT 2 Project 2 -weeks 1-6 – 50% breakdown: Personal project +projects 1 & 2- 30% 1500 words written report of personal project - 20%
- 4. Cockpit Gallery/Camerawork archive, currently held in the Arts, Media and English Department at the London South Bank University (LSBU).
- 5. Assignment 1- Re-enacting the archive A one week assignment, exploring the theme: Re-enacting the archive. Task: Produce the design and finished outcome of a photographic diptych pairing an image from the box GS and your image. Select a strategy of re-enactment to re-imagine the theme of youth cultures approached by Anita Corbin in her Box GS
- 7. Assignment 2- the found archive A one week assignment, exploring the theme: The Found Archive. Task: Produce the design and dummy of an artist’s publication use images from the Found Photo Foundation or from another archive of found imagery. Use the strategy of editor/author to appropriate photographs that lost their original author.
- 8. Assignment 3- Personal Project A six week long personal project, exploring IN-DEPTH one of the three themes: Re-enacting the archive, The Found Archive or The Institutional Archive. Task: select an archive to work with and use an artistic strategy to develop new photographic work Outcome: exhibition piece + report
- 10. generic def ( to revise) archive ( ) n. A place or collection containing records, documents, or other materials of historical interest.
- 11. Box labelled GS [Girls Subcultures] dated 1981 contains the project ‘Visible Girls’ by Anita Corbin
- 13. Anita Corbin, Visible Girls, 1981, 26 images on 13 photo panels,part of the box GS Girls Subcultures, touring exhibition, Camerawork/Cockpit Gallery archives.
- 14. girls posing in pairs sharing a subcultural style
- 17. “The project involved two different approaches. One; my immediate impressions of the groups in their clubs and pubs or in the street and the second based on interviews with some of the girls in their homes.” Anita Corbin, 1981
- 18. 2 approaches 1-re-photographing those that recreate earlier images with a concern for the ‘original’ 2-re-enacting those that reproduce image/media accepting there is no original and all events are mediated representations
- 22. An excerpt from the Third View interactive DVD
- 23. 1.“rephotography” def: ‘the act of retaking a historical photograph: locating the original vantage point, under the original lighting conditions in the present day and taking a second photograph that reproduces the earlier shot’ Modrak, 2011, p. 204
- 24. Nicholas Nixon, the Brown Sisters, 1975-2005
- 25. New Canaan, CT, 1975
- 26. E. Greenwich, RI, 1980
- 30. 2. post-modern practices: re-enactements of unreality Ken Josephson, New York State, 1970
- 31. … a reproduction, as well as making its own references to the image of its original, becomes itself the reference point for other images. John Berger, Ways of Seeing (1972)
- 32. Cindy Sherman Untitled Film Stills series, 1977-1980 Untitled Film Still #3. 1977. Untitled Film Still #7. 1978. Untitled Film Still #6. 1977. Untitled Film Still #14. 1978.
- 33. Untitled Film Still #13. 1978. Untitled Film Still #35. 1979. Untitled Film Still #50. 1979.
- 34. Untitled Film Still #13. 1978.
- 35. Nikki S. Lee, Projects 1997-2001 Nikki S. Lee, #4 from The Yuppie Project (1998)
- 36. Nikki S. Lee The Yuppie Project (17), 1998 Fujiflex print 21.25 x 28.25 inches 54 x 71.8 cm
- 37. Nikki S. Lee The Hispanic Project (5), 1998 Fujiflex print 21.25 x 28.25 inches 54 x 71.8 cm Nikki S. Lee, #18 from The Hispanic Project(1998)
- 38. Nikki S. Lee, #7 from The Skateboarders Project(2000) Nikki S. Lee, The Punk Project (7), 1997 Fujiflex print, 21.25 x 28.25 inches, 54 x 71.8 cm
- 39. The Schoolgirls Project (2000)
- 41. The Lesbian Project (1997)
- 44. The Hip Hop Project (2001) The Hispanic Project (1998),
- 45. The Hip Hop Project, 2001, WATCH THE FILM
- 46. YasumasaMorimura, Self Portrait, After Marilyn Monroe', gelatin silver print, 1996,
- 47. YasumasaMorimura, Self-Portrait/After Audrey Hepburn 1, 1996, gelatin silver prints, 44 x 29 cm
- 50. YasumasaMorimura, To My Little Sister-For Cindy Sherman, 1998
- 51. Cindy Sherman, Untitled Film Still # 96, 1981
- 53. Janine Antoni, Mom and Dad, 1994
- 54. “Historical reenactments..are one method that contemporary artists frequently use to frame and reframe the past. Performing history is literally embodied experience that opens other ways of knowing the past from the vantage point of the present. The dramatic staging of historical events brings to the foreground questions regarding what and how we remember (and what we choose to forget).”Desai, D. and Hamlin, J., 2009
- 55. Chen Chieh-Jen, Revolt in the Soul and Body series, 1996-
- 57. Chen Chieh-Jen, Being Castrated, (1996), based on a photograph taken around 1904-1910
- 58. Chen Chieh-Jen, Self Destruction, 1996, based on 2 photographs taken 1927-1928
- 59. , Chen Chieh-Jen, Factory, 2003, Artist talks about this and photomontage works (3m)
- 60. ZigniewLibera, Positives, 2002-2003 Che.Next Picture, 2003, photograph, 120 x 175 cm
- 65. Nick Ut’s (Huynh Cong) “Vietnam Napalm” 1972,
- 66. H.T.:: How did you choose pictures that you call negatives?Z.L.: In two ways. I wanted to have the really scary ones. But who can judge what is scary and what is not? I had to rely on my own judgment and memory. So I chose from my memory, from my childhood memory. The napalm photo by Nick Ut is from Vietnam, shot in 1972. The negative of the "Residents" was a still from the film, a Soviet chronicle from 1945. This still was very often used as a photograph ... The last one is Che Guevara's body in the morgue somewhere in Bolivia, a famous photo; the photo was staged of course. Actually, many of these photos were staged. Another important point was that the photographs should be very well-known and recognizable. In order to play that game--I show you a photograph that is innocent and you remember--I had to use well known pictures so that people would recognize them. The series consists of eight photographs. Not all of them are well known. But if you have two or three very well known images, even if you are not sure if you know this or that picture, you can read the method
- 67. The Centre of Attention 2008 , Obama löst sein Ticket für den 4. November
- 69. The Centre of Attention, Does this picture show British soldiers broke Geneva Conventions?2009
- 71. The Centre of Attention 200, Iran seizes Nobel Winner’s medal
- 73. Markus Hansen Other People's Feelings Are Also My Own — Soul Drawings (2004-06)
- 74. Markus Hansen and Virgil de Voldere Gallery, Philippe, 2006. C-Type print.
- 75. Presented as three slide shows of 23 portraits each (watch the video)
- 76. Ursula Endlicher, Facebook Re-enactments (2009) (Jessica Curry, Narinda Reeders, Ben Woodeson, and Ursula Endlicher).
- 78. Strategies of re-enactement in the GS box project
- 79. The Visible Girls box is best understood as a reaction to the sub-cultural studies in the 1980s and their focus on male subcultural style
- 80. “I have chosen to focus on girls, not because the boys (who where present) were any less stylish, but because girls in subcultures have been largely ignored or when referred to, only as male appendages.”
- 81. “global mainstreams and local sub-streams produce new, hybrid cultural constellations.” David Muggleton and Rupert Weinzierl, 2003
- 83. Jessica Kril, Living for the camera, 2007, photobook, 91 pages, 15.24 cm x 22.86 cm, perfect binding, full-colour interior ink
- 86. Nicola Penfold, Twin subcultures, Inkjet photographic print, 2007
- 88. John and danny, march 2010
- 90. Robbie Sweeney, Our creative youth, 2008, photobook, 115 pages, 15.24 cm 22.86 cm, casewrap-hardcover binding, full-colour interior ink
- 91. Robbie Sweeney, Our creative youth, 2008, photobook, 115 pages, 15.24 cm 22.86 cm, casewrap-hardcover binding, full-colour interior ink
- 93. “Pop Cosmopolitanism: a blank canvas” by Lee Slaymaker
- 94. 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.
- 95. ah “ ashren was first character I developed…. She could be akin to a faerie…she’s heavily based on my interest in Japanese culture” Lee Slaymaker, The Pop Cosmopolitanist: A Blank Canvas, 2009, photobook, 54 pages, 15.24 cm x 22.86 cm, saddle-stitch binding, full-colour interior ink.
- 96. jack’s sex and therefore sexuality is pretty ambiguous..Jack would be my inner-drag-king or prince” Lee Slaymaker, The Pop Cosmopolitanist: A Blank Canvas, 2009, photobook, 54 pages, 15.24 cm x 22.86 cm, saddle-stitch binding, full-colour interior ink.
- 97. “ jim is a sort of amalgam of of my favourite fictional characters from film and literature..” Lee Slaymaker, The Pop Cosmopolitanist: A Blank Canvas, 2009, photobook, 54 pages, 15.24 cm x 22.86 cm, saddle-stitch binding, full-colour interior ink.
- 98. “In real life” by Christopher Kamper
- 99. Philip is an Otaku, a Japanese term used to refer to people with obsessive interests, particularly in anime, manga, and video games) Christopher Kamper, In Real Life, 2008, photobook, 80 pages, 22.86 cm x 17.78 cm, perfect binding, full-colour interior ink
- 100. Ming is a Lolita, a Japan-based fashion subculture that is primarily influenced by Victorian children’s clothing as well as costumes from the Rococo period. Christopher Kamper, In Real Life, 2008, photobook, 80 pages, 22.86 cm x 17.78 cm, perfect binding, full-colour interior ink
- 101. Cindy is a LARP-gamer. LARP or live action role-play is a form of role-playing game where the participants physically act out their characters’ actions. Christopher Kamper, In Real Life, 2008, photobook, 80 pages, 22.86 cm x 17.78 cm, perfect binding, full-colour interior ink
- 103. In the archival process, gaps and erasures occur in the archived materials. The challenge then becomes to ‘(create) ways to bring amnesia and forgetting out into the open’ Helen Lorenz, “Amnesia/ Countermemory.” 2004.
- 104. This is achieved through the work of ‘counter-memory’ or ‘effective history’ to deal with "events in terms of their most unique characteristics, their most acute manifestations" Michel Foucault, Language, Counter-Memory, Practice. 1977
- 105. artist-archivists approach the archive as a space of creation and a ‘construction site’ for “alternative knowledge or counter-memory” Hal Foster, An Archival Impulse. 2004
- 106. explore the archive as a site for personal research and self discovery Sue Breakell, Perspectives: Negotiating the Archive. 2008
- 107. artists publications offer counter archival strategies and ways of registering the lived and the ‘everyday.’ Charles Merewether, Ed. The Archive. 2006
- 108. Thank you!
Editor's Notes
- 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”