I’ve got my feedback for Assignment Three. I’m very pleased with the report though there are a few things my tutor mentioned that I felt I had done. My response is highlighted in a block quote.
An ambitious submission that fulfilled your brief. Further research always benefits a submission. In this case it makes sense to hone down your submission to one, possibly two, ways of working. Great explorations though!
I presume by this, Les means the many ideas that come from my finished Assignment. As physically all that was involved was the photo of the seafront and the overlaid text. I always find it difficult to hone the resulting meanings down to one straight meaning but that is the beauty of art, so many responses are gleaned from one piece of work.
I understand your aim is to go for the Photography/Creative Arts* Degree and that you plan to submit your work for assessment at the end of this course. From the work you have shown in this assignment, providing you commit yourself to the course, I believe you have the potential to pass at assessment. In order to meet all the assessment criteria, there are certain areas you will need to focus on, which I will outline in my feedback.
Feedback on assignment
Demonstration of technical and Visual Skills, Quality of Outcome, Demonstration of Creativity
Feedback notes from our phone conversation and some after thoughts:
Well done for challenging yourself and producing plenty of work.
Contextualisation is always key whilst studying – who is influencing you, whose is the work that aligns with yours, look for historical and contemporary references.
Aesthetic level, experiment much more, upper nad lower case, many different fonts, take lead from refs
Chloe – I did include with my assignment a few pages featuring over twenty different versions of font which I included as we had discussed it in an earlier Skype session. Including the foreign translations he had mentioned.
I’d noted that I liked the ‘type set’ look, which harked back to the original cut and paste styles of montage. The new handwritten notes work well too, signpost your references for choosing to work this way – Jim Goldberg?
I mentioned in my Assignment that I had come to this conclusion myself after deciding the type set was too mechanical. I wanted to bring my own energy into the work via the hand written personal text; I also referenced James Smolka – Falling Sickness. And discussed handwriting here
Perhaps look at Barthes’ critique of text alongside image.
The references we discussed – Kippin, Knorr, Burgin (check your spellings), Kruger, Doherty, Ken Lum – you have mainly looked at. Gillian Wearing takes you into Strand/Evans territory
Perec is a great reference. Great to see you emulate the methodology.
Mark Durden’s Photography Now is a very handy resource for answering, ‘who’s doing work around this…?’
On how to find other references: spin off from the first artist you find, look at who they’re curated with, who curated them, where they were shown, what else was shown there, geographically and historically who are they close to…
This is very helpful
As you’ve seen Sophie Calle’s explorations and psychogeography are both great resources for you to hook a project around, this ‘solid ground’ helps you branch out on your own.
Take care with using “My opinion” change to “my understanding” (“based upon…”)
Overall good writing again, make sure you signpost your understanding of the works you are discussing and how they influence your assignment
Very happy with this.
Demonstration of technical and Visual Skills, Demonstration of Creativity
Lots of honest reflection, as you progress you will return to these. Your film was very poignant. I felt the footage of pyres from 2:50 onwards had more impact than the ‘stock’ flames.
Perhaps I will repost the video with the flames engulfing my face at first. I had imagined the little flame starting soft and rising up but perhaps the subtle approach isn’t required for a piece of such pain. I’m glad the video was well received. I will try and create some more personal projects in response to the course reading.
Context, reflective thinking, critical thinking, analysis
Don’t be afraid to return to Bate, Bull, Wells (or Barrett, Clarke, Jeffrey, la Grange) to build on what the course points you to. Many of them would reference John Taylor, for example.
I have quite a big order coming from Amazon now
Context, reflective thinking, critical thinking, analysis
Your blog is well laid out and easy to read. You have signposted much of your process but you need to demonstrate the linkages to reading (as opposed to internet searching). Again, good reflection, you are still very critical of your work, or even ideas. Picking the camera up and ‘doing’ is one way to break through these blocks – we all have them, but they’re not negatives, they are what we wrestle with to move on.
This is great to read as I’d been trying to make my blog a lot more neater and easier to navigate. It is hard with such long posts but I’m glad it has worked. I like what Les wrote about these blocks not being negative but instead are a part of the process.
For assignment 4 – discuss how text/caption affects photographs, don’t be afraid to build from Bate/Bull/Wells.
For Assignment 5 – Kennard Phillips, Jo Spence, Loraine Leeson, Allan Sekula and Martha Rosler. From among your tutors – Garry Clarkson, and my recent http://www.relativepoverty.org
This is all great. I will start working on Assignment Four now and continue with side projects in the background.
|Strengths||Areas for development|
Very happy this. I do love researching but I need to increase the amount of reading research. I was given another armful of art magazines, The Review, from the nearby art gallery so will start contextualising from there. I’m not sure what Les means by highlighting the final pieces so shall ask him.