I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
Heading 4
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
I'm a paragraph. Click here to add your own text and edit me. It's easy.
Heading 4
Heading 4
Heading 4
Exercise 5.1 -
Part Two: The Archive and the Found Image
Research Point 1
Sharon Boothroyd - Joachim Schmid
Read Sharon Boothroyd’s interview with Joachim Schmid at Link 1
Listen to Joachim Schmid talking about his collection and curation of discarded vernacular
photography at Link 2
This interview with Joachim Schmid explores his approach to "found photography" and the cultural implications of our collective photographic habits. Schmid's work stands out for its incisive critique of vernacular Photography as a shared human practice, demonstrating how repetitive patterns in snapshots reveal aesthetic preferences and deeper cultural and psychological tendencies.
Schmid's refusal to label himself a "collector," instead preferring "gatherer," underscores his anthropological perspective. His interest in average snapshots as raw material for cultural analysis distances him from traditional notions of Photography as a quest for unique images. Instead, he reveals the ubiquity of visual clichés, such as pictures of smiling children, romanticised vacations, and celebratory moments, that mask the more complex realities of life.
A particularly compelling aspect of the interview is his recognition of how new technologies, like digital platforms and search engines, have transformed his process. The shift from physically searching flea markets to mining the endless internet archives illustrates the evolution of photographic consumption and production. Despite these advancements, his preference for books as a medium highlights a critical insight: tangible formats encourage a deeper, more thoughtful engagement than fleeting digital presentations.
Schmid's commentary on the psychology of Photography—how it sustains comforting narratives while avoiding inconvenient truths—touches on why many take the same pictures. His critique of the broader art world's economic and structural challenges is a sobering reminder of many artists' precarious position despite Photography's growing recognition as an art form.
Ultimately, this interview presents Schmid as both a critic and participant in the photographic ecosystem. He deftly navigates the tension between personal creativity and cultural critique, allowing viewers to reflect on their relationship with Photography and a call to reimagine its role in our lives and society.
Note: A full transcript of the YouTube video viewed in relation to this interview is via the blog button at the bottom of this page.
Exercise 2.1
Bring together a series of 12 images (a typology) in which a particular motif appears againand again. Select an appropriate way to display your series (as an animated slide
presentation, in grid form, as single images, etc.) and present them on your learning log.
Introduction:
The feedback I received in previous coursework was to look further than just photographic images. Considering this, when looking at this exercise, I decided to research Banky's famous artwork, 'Girl with a Red Balloon,' and look for copies of his work online. A recurring theme more often in the digital age has been appropriation, and this was a good example. Banksy appropriated others to produce some of his work, so I found that others used his images to adapt their appropriation, an interesting observation.
Music Credit: Epidemic Sounds
Image Credit: Corinne Vionnet
Exercise 2.1 also asks us to look at the work of Corinne Vionnet, a Swiss-French artist known for her series "Photo Opportunities." Vionnet creates composite images in this series by layering numerous tourist photographs of iconic landmarks online. By blending hundreds of snapshots taken by different people at the exact location, she captures these landmarks' collective memory and experience. The resulting images offer a unique perspective on how people perceive and interact with these popular destinations. Vionnet's work prompts viewers to reflect on the shared cultural significance of these places and the impact of mass tourism on our collective visual memory.
References:
(30) Pinterest [WWW Document], n.d. . Pinterest. URL https://www.pinterest.com.au/pin/337981147009881786/ (accessed 11.14.23a).
(30) Pinterest [WWW Document], n.d. . Pinterest. URL https://www.pinterest.com.au/search/pins/?q=person%20with%20red%20balloon&rs=typed (accessed 11.14.23b).
99 Red Balloons by Risachantag on DeviantArt [WWW Document], 2006. URL https://www.deviantart.com/risachantag/art/99-Red-Balloons-43032339 (accessed 11.14.23).
“99 red balloons Floating in the summer sky Panic bells, it’s red alert There’s something here from somewhere else” - AI Generated Artwork [WWW Document], n.d. . NightCafe Creator. URL https://creator.nightcafe.studio/creation/mJLnmGj8TVWkEOJPd2Mq (accessed 11.14.23).
ANGEL, GIRL WITH RED BALLOON Painting by AUGUSTO SANCHEZ | Saatchi Art [WWW Document], n.d. URL https://www.saatchiart.com/art/Painting-ANGEL-GIRL-WITH-RED-BALLOON/630646/6206153/view (accessed 11.14.23).
artwork using a red balloon - Google Search [WWW Document], n.d. URL https://www.google.com/search?q=artwork+using+a+red+balloon&tbm=isch&ved=2ahUKEwiP0dXfx8OCAxUu3DgGHUraCM0Q2-cCegQIABAA&oq=artwork+using+a+red+balloon&gs_lcp=CgNpbWcQAzoECCMQJ1CYB1iCRmDbSWgAcAB4AIAB1waIAYpUkgEENi0xNJgBAKABAaoBC2d3cy13aXotaW1nwAEB&sclient=img&ei=U3FTZc_bEq644-EPyrSj6Aw&bih=741&biw=1428&client=firefox-b-d (accessed 11.14.23).
Banksy Girl With Balloon (Unsigned Print) 2004 [WWW Document], n.d. URL https://www.myartbroker.com/artist-banksy/series-girl-with-balloon/artwork-girl-with-balloon-unsigned-print (accessed 11.14.23).
Banksy [WWW Document], n.d. URL https://www.banksy.co.uk/ (accessed 11.14.23).
Boy with a Red Balloon, n.d.
Boy With a Red Balloon Street Art [WWW Document], n.d. URL https://www.artworks.ae/Boy-With-a-Red-Balloon-Street-Art (accessed 11.14.23).
Download Red Balloon Flying Mural Royalty-Free Stock Illustration Image [WWW Document], n.d. URL https://pixabay.com/illustrations/red-balloon-flying-mural-art-8335305/ (accessed 11.14.23).
Girl With Red Balloon Art Print. Street Art Graffiti. Modern Art Poster | URB-27 [WWW Document], n.d. . eBay. URL https://www.ebay.com.au/itm/234909192342 (accessed 11.14.23).
Limited, A., n.d. Paris. Street Art. Child in Yellow Raincoat with Red Balloon. Rue Lepic. Montmartre. Paris Stock Photo - Alamy [WWW Document]. URL https://www.alamy.com/paris-street-art-child-in-yellow-raincoat-with-red-balloon-rue-lepic-montmartre-paris-image402300828.html (accessed 11.14.23).
One Red Balloon, n.d. . Jim Warren Studios. URL https://jimwarren.com/portfolio/one-red-balloon/ (accessed 11.14.23).
Pop Art Sculpture Boy With Red Balloon “Hope (23/25)” Original Artwork by Nayla Saroufim | Chairish [WWW Document], n.d. URL https://www.chairish.com/product/7762631/hope-2325-original-artwork-by-nayla-saroufim (accessed 11.14.23).
Red Balloon Painting [WWW Document], n.d. . Saatchi Art. URL https://www.saatchiart.com/art/Painting-Red-Balloon/1228151/9139597/view (accessed 11.14.23).
Red Balloon Paintings | Saatchi Art [WWW Document], n.d. URL https://www.saatchiart.com/paintings/red-balloon/feature (accessed 11.14.23).
The Girl Chasing Red Balloon Canvas Art | Pretty Art Online [WWW Document], n.d. URL https://prettyartonline.com.au/products/the-girl-chasing-red-balloon-canvas-art (accessed 11.14.23).
The Red Balloon Canvas Wall Art by Matt Dixon | iCanvas [WWW Document], n.d. URL https://www.icanvas.com/canvas-print/the-red-balloon-mdx20#1PC6-40x26 (accessed 11.14.23).
Top 100 Strangest Cameras from Around the World Part 1 [WWW Document], 2015. . cameraville. URL https://cameraville.co/blog/top-100-strangest-cameras-from-around-the-world-part-1 (accessed 11.14.23).
Weirdest cameras of the DPReview era [WWW Document], n.d. . DPReview. URL https://www.dpreview.com/news/6244567767/weirdest-cameras-of-the-dpreview-era (accessed 11.14.23).
Exercise 2.2
Write 500 words in your learning log on a piece of work by one contemporary artist- photographer who uses the archive as source material.
Mishka Henner's Appropriated Images: Redefining Artistic Expression in the Digital Age
Lost Connection 2023
Image Credit: Mishka Henner
Young Woman at her Computer 2023
Image Credit: Mishka Henner
Introduction:
In contemporary art, Mishka Henner emerges, pushing the boundaries of traditional artistic methods by incorporating appropriated images into his work. Henner's approach challenges conventional notions of authorship, originality, and the role of technology in shaping artistic expression. This essay explores Mishka Henner's unique creative vision, examining his use of appropriated images to provoke thought, challenge established norms, and redefine the landscape of contemporary art.
Appropriation as a Creative Strategy:
Henner's distinctive artistic practice revolves around appropriating existing images, often sourced from publicly available satellite imagery, Google Earth, and other online platforms. By manipulating and recontextualising these images, Henner transforms the mundane into the extraordinary, prompting viewers to reconsider their perceptions of the familiar. This creative strategy allows him to go beyond the limitations of traditional artistic mediums, using the vast digital landscape as his canvas.
Henner's use of appropriation is not merely an act of copying; instead, it involves a meticulous process of selection, curation, and reinterpretation. Henner breathes new life into mundane or overlooked scenes through his discerning eye, inviting viewers to contemplate the hidden narratives and latent meanings embedded within the images he appropriates. An excellent example of this is his 2022 work 'Putin's Prison.'
11:16:17, 04-04-2022
Saransk, Mordoviya Respublika
Image Credit: Mishka Henner
00:57:41, 04-04-2022
Stavropol', Stavropol'skiy Kra
Image Credit: Mishka Henner
Redefining Authorship and Originality:
In a digital age characterised by information overload and the rapid dissemination of visual content, Henner challenges the traditional concepts of authorship and originality. The notion of the singular artist creating from a blank canvas gives way to a collaborative and interconnected approach where Henner acts as a curator and manipulator of existing visual materials. This shift prompts us to reconsider the value we place on the idea of the "original" in contemporary art.
Henner's work raises important questions about the nature of creativity and the artist's role in a world inundated with images. By embracing appropriation, he challenges the romanticised idea of solitary genius, suggesting that creativity can manifest in reinterpretation and recontextualisation.
Critical Engagement with Technology:
Henner's use of appropriated images also serves as a commentary on the ever-expanding role of technology in shaping our perception of the world. Through his lens, technology becomes a tool for exploration, critique, and artistic expression. In appropriating images from satellite views, he unveils hidden aspects of our environment, shedding light on both the beauty and the ecological challenges that exist on a global scale.
Conclusion:
Mishka Henner's work is a testament to the transformative power of appropriated images in contemporary art. Through his innovative approach, he challenges preconceived notions, prompting viewers to engage critically with the images that saturate our digital landscape. By redefining authorship, originality, and the relationship between art and technology, Henner invites us to reconsider the very essence of creativity in the 21st century. As we navigate the complexities of a digital age, artists like Henner pave the way for a new era of artistic expression that transcends traditional boundaries and invites us to see the world with fresh eyes.
References:
Archive Fever: Uses of the Document in Contemporary Art | International Center of Photography [WWW Document], n.d. URL https://www.icp.org/exhibitions/archive-fever-uses-of-the-document-in-contemporary-art (accessed 10.22.23).
Eva Stenram [WWW Document], n.d. URL https://www.evastenram.net/pages/m-work.htm (accessed 10.27.23).
Tokyo teamLab Planets full walk・4K HDR, 2023.
Wunderwall, n.d. David Wills. URL https://www.davidwills.xyz/wunderwall/ (accessed 10.22.23).
Exercise 2.3
In your exercise for this section, you’ll produce a piece of work that either explores the family album and its iconography or reflects on representations of the self in digital culture.
Do ONE of the following:
1. Produce a series of six photographs (photomontage, staged photography, work using found images, work including images from your own family archives, etc.) that somehow reference the family album.
OR
2. Produce a series of six photo-based self-portraits that use digital montage techniques to explore different aspect of your identity.
Produce a 500-word blog post outlining your working methods and the research behind your final submission. (Whose work did you study in preparation for this exercise? Why did you choose your techniques and how effective do you think your choices have been, for example?)
The evolution of family photo albums from the 1960s to Millennials and Gen Z reflects technological advancements and shifts in culture, values, and how we document our lives. In the 1960s, family photo albums were tangible treasures, meticulously curated and stored in physical albums. The process involved film cameras, darkrooms, and the anticipation of waiting for developed prints.
The Millennial era and the advent of digital photography revolutionized how memories were captured and shared. The transition from film to digital cameras brought instant gratification, with photos easily viewed on screens rather than printed and organized in albums. Social media platforms became the new albums, showcasing curated glimpses of family life to a broader audience. Millennials embraced the convenience of smartphones and the instant sharing culture.
Gen Z, born into a digital age, witnessed the rise of smartphones with high-quality cameras, making photography an integral part of everyday life. The concept of a physical photo album has become antiquated, replaced by cloud storage, social media stories, and instant sharing on platforms like Instagram and Snapchat. The emphasis has shifted from preserving memories in a physical form to creating a digital narrative that is easily accessible and shareable.
While the 1960s photo albums capture a more private and personal history, the Millennial and Gen Z approaches highlight a more public and interconnected narrative. The evolution signifies a technological change and a shift in how we perceive and share our family stories. The tangible albums of the past have given way to curated digital timelines that reflect personal moments and the desire for connection and validation in the online world. The family photo album, once a cherished keepsake, now exists in the cloud, telling personal and communal stories.
Please click the button for research, reflection and projects