Curatorship Task |
The curatorship task is an idea in which me, as the curator will attempt to set up a photography exhibition exposing a range of different photographers and certain works of theirs that relate to one theme. As different as these photographer's type or work may be I, as the curator will justify how they can all be linked through this one theme and how each bring out a different and alternative way or portraying this theme.
My theme is: |
True Identity: Exploring the ways in which a person's identity can be expressed through photography. Which aspect shows greater identity?
In my curatorship task I will be researching three different ways identity can be seen through photography. I chose this theme because I like figurative photographs that hold some sort of story or atmosphere that you can sense when looking at. My research will consist of examples of various photographers that portray such ideas and more specifically how identity can be highlighted through their images. I will also be exploring if such images arise certain messages or hold an underlining theme in their work and ultimately make the audience to my research be able to themselves make a decision as to which idea they believe portrays a persons true identity.
1. Posed Identities |
In this section I will explore what I believe to be the most obvious way of presenting a person's identity, looking specifically at set-up/studio photography and portraiture photography. In these cases, it should be obvious to the observer as to the identity of the figure in the image.
|
Cindy Sherman - Bus Riders (1976/2000)
BACKGROUND
Cindy Sherman is an American, feminist artist. After graduating from the State University College at Buffalo, New York where she studied art (1972-6), Sherman producted a series of fifteen black and white photographs named Bus Riders. However, the were not publically exhibited until Sherman had them reprinted in late 2000 for an exhibition at Glen Horowitz Booksellers at East Hampton, New York, together with another series from the same period, Murder Mystery People (1976/2000).
CONCEPT
Bus Riders features Sherman as a variety of acuratly observed characters reinacted in her photo of people she had witnessed on a bus. In this series, Sherman uses elaborate costumes and make-up to transform her identity for each image. She is show-casing the various identities that she has encountered during the time period in which these were shot, however these stereotypical identities are still noticeable in modern day. To provide additional elements to the possible narratives evoked by each bus rider, Sherman uses a variety of different props e.g. wigs, glasses, cigarette, a make-up mirror, a breifcase, a paper bag overflowing with shopping or a book. In each of the fifteen photographs, Sherman appears in not only a completely different outfit and set up but a variety of poses, stances and positions suggesting how different every individual is and how contrasting our identities can be between one another. It also portrays the idea that so much of who we are as indivduals is brought to life and is recognisable mostly through our choice of clothing and the way we are seen from the outside. This concept is enhanced and stengthened by the fact that Sherman herself plays each different character in each shot yet we forget this once she is in full costume.
SET UP
Sherman was particularly obvious in wanting to show that this shoot was staged - in some ways, this obviousness is very much needed because of how accuratly Sherman has transformed herself into each character that you don't want the observer to lose or misunderstand the real concept of this series. She achieves this by having a messy foreground consisting of cables or as in several images, shoes from a previous characterisation left casually on the floor appearing at the edge of the frame. To provide further theatrical references, Sherman uses two parallel lines of masking tape on the floor boards, presumably marking the intended limits of the bus rider's position. The photographs were clearly shot in a studio against a white wall on which the shadow of each character emphasises the stage quality of the images. As seen in the shot, Sherman is also taking the photos herself by using an extended shutter release connected through a wire, set off by the pressure of her foot.
Cindy Sherman is an American, feminist artist. After graduating from the State University College at Buffalo, New York where she studied art (1972-6), Sherman producted a series of fifteen black and white photographs named Bus Riders. However, the were not publically exhibited until Sherman had them reprinted in late 2000 for an exhibition at Glen Horowitz Booksellers at East Hampton, New York, together with another series from the same period, Murder Mystery People (1976/2000).
CONCEPT
Bus Riders features Sherman as a variety of acuratly observed characters reinacted in her photo of people she had witnessed on a bus. In this series, Sherman uses elaborate costumes and make-up to transform her identity for each image. She is show-casing the various identities that she has encountered during the time period in which these were shot, however these stereotypical identities are still noticeable in modern day. To provide additional elements to the possible narratives evoked by each bus rider, Sherman uses a variety of different props e.g. wigs, glasses, cigarette, a make-up mirror, a breifcase, a paper bag overflowing with shopping or a book. In each of the fifteen photographs, Sherman appears in not only a completely different outfit and set up but a variety of poses, stances and positions suggesting how different every individual is and how contrasting our identities can be between one another. It also portrays the idea that so much of who we are as indivduals is brought to life and is recognisable mostly through our choice of clothing and the way we are seen from the outside. This concept is enhanced and stengthened by the fact that Sherman herself plays each different character in each shot yet we forget this once she is in full costume.
SET UP
Sherman was particularly obvious in wanting to show that this shoot was staged - in some ways, this obviousness is very much needed because of how accuratly Sherman has transformed herself into each character that you don't want the observer to lose or misunderstand the real concept of this series. She achieves this by having a messy foreground consisting of cables or as in several images, shoes from a previous characterisation left casually on the floor appearing at the edge of the frame. To provide further theatrical references, Sherman uses two parallel lines of masking tape on the floor boards, presumably marking the intended limits of the bus rider's position. The photographs were clearly shot in a studio against a white wall on which the shadow of each character emphasises the stage quality of the images. As seen in the shot, Sherman is also taking the photos herself by using an extended shutter release connected through a wire, set off by the pressure of her foot.
EXAMPLE
Cindy Sherman - Untitled Film Stills (1977-1980)
BACKGROUND
The Untitled Film Stills is a creation of over a hundred publicity shots where Sherman herself appears as B-movie, foreign film and film noir style actresses. The series consists of a variety of black and white and coloured photographs of Sherman herself posing as different stereotypical female roles. Sherman began making these picture in 1977, at the age of 23. Interestingly, the first six were an experiment; fan-magazine glimpses into the life of an imaginary blonde actress, played by Sherman. When asked if she considers herself to be acting in her photographs, Sherman said, “I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn’t depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened.”
CONCEPT
Sherman appears as fabricated characters in scenarios resembling moments in a film. Being a feminist herself, Sherman wanted to reveal gender as unstable and force the audience to reconsider common female stereotypes and cultural assumptions. In this series, female identity is the real concept here and a variety of typical female stereotypes are brought to life from an immature schoolgirl to an attractive seducer and from a glamour diva to a caring housewife. Sherman's photos express a concept that has been present in society for many decades - the role of women. Her images illustrate to the audience that women are forced to be interpreted as a certain stereotype and even without being conscious of it many women plant themselves as one of these stereotypes rather than being thier own indivdual, unique identity. Because of this it arises such issues that female identity is being lost. Sherman's work encourages self-reflection in the audience as she argues, “I’m trying to make other people recognise something of themselves rather than me.”
SET UP
Sherman uses vintage clothing, wigs and make-up to create a variety of female personas. She then photographed such set ups in solitary situations and portrays the characters as natural as can be showing the character in almost unguarded moments of reflection or even as if in conversation with somebody off set or outside the frame. I believe this creates a more believable setting such like a film would intend. The stills are set in a variety of inside locations as well as outside in urban and rural landscapes. She took many of the pictures herself using an extended shutter release (similarly to those in Bus Riders) however in others, particularly outdoor locations required a second person to take the photograph. For example, Sherman's father took #48, in which she appears as a vulnerable young woman waiting with a suitcase at the side of a darkening country road - the first of my examples.
EXAMPLES
The Untitled Film Stills is a creation of over a hundred publicity shots where Sherman herself appears as B-movie, foreign film and film noir style actresses. The series consists of a variety of black and white and coloured photographs of Sherman herself posing as different stereotypical female roles. Sherman began making these picture in 1977, at the age of 23. Interestingly, the first six were an experiment; fan-magazine glimpses into the life of an imaginary blonde actress, played by Sherman. When asked if she considers herself to be acting in her photographs, Sherman said, “I never thought I was acting. When I became involved with close-ups I needed more information in the expression. I couldn’t depend on background or atmosphere. I wanted the story to come from the face. Somehow the acting just happened.”
CONCEPT
Sherman appears as fabricated characters in scenarios resembling moments in a film. Being a feminist herself, Sherman wanted to reveal gender as unstable and force the audience to reconsider common female stereotypes and cultural assumptions. In this series, female identity is the real concept here and a variety of typical female stereotypes are brought to life from an immature schoolgirl to an attractive seducer and from a glamour diva to a caring housewife. Sherman's photos express a concept that has been present in society for many decades - the role of women. Her images illustrate to the audience that women are forced to be interpreted as a certain stereotype and even without being conscious of it many women plant themselves as one of these stereotypes rather than being thier own indivdual, unique identity. Because of this it arises such issues that female identity is being lost. Sherman's work encourages self-reflection in the audience as she argues, “I’m trying to make other people recognise something of themselves rather than me.”
SET UP
Sherman uses vintage clothing, wigs and make-up to create a variety of female personas. She then photographed such set ups in solitary situations and portrays the characters as natural as can be showing the character in almost unguarded moments of reflection or even as if in conversation with somebody off set or outside the frame. I believe this creates a more believable setting such like a film would intend. The stills are set in a variety of inside locations as well as outside in urban and rural landscapes. She took many of the pictures herself using an extended shutter release (similarly to those in Bus Riders) however in others, particularly outdoor locations required a second person to take the photograph. For example, Sherman's father took #48, in which she appears as a vulnerable young woman waiting with a suitcase at the side of a darkening country road - the first of my examples.
EXAMPLES
Rineke Dijkstra - Olivier (2000-2003)
BACKGROUND
The Olivier series (2000–03) follows a young man, Olivier Silva, from his enlistment with the French Foreign Legion through the years of his service in Corsica, Gabon, the Ivory Coast and Djibouti, showing his development, both physically and psychologically, into a soldier, developed over the course of more than three years.
CONCEPT
A main feature of Dijkstra’s photography is her desire to show the true personality of her subjects. In a very clever way, Dijkstra's very simplistic portrait images encapsulate a much deeper meaning and in the Olivier and Shany series present the concept of constantly evolving identities. In Olivier, Dijkstra portrays the crucial moments of the soldier's intense training in France and Africa. The photos illustrate the transformation underwent over the course of the years; the naive, guiltless looking boy becomes a professional, elite soldier enlisted in one of the world’s "toughest and most controversial army corps". It is clearly revealed by the look in the figures look in his eyes, his posture and actual facial features and his general attitude that the growth of Olivier, as an individual has been triumphant and how his personality and identity has evolved through the course of his training. Through her artistic minimalist photographs, Rineke Dijkstra illustrates the change in identity from the effects of certain lifestyle choices and the growth that her subjects underwent because of such choices.
SET UP
Her creation of particularly bare and disconnected photos in which the main figure display an inevitably frail and vulnerable air are achieved by her simplistic work method; she gives the subject very few directions and usually posed front on. Against a simple white background, the figure is captured as themselves at exactly that moment in order to capture a true representation of the figures identity.
EXAMPLES
The Olivier series (2000–03) follows a young man, Olivier Silva, from his enlistment with the French Foreign Legion through the years of his service in Corsica, Gabon, the Ivory Coast and Djibouti, showing his development, both physically and psychologically, into a soldier, developed over the course of more than three years.
CONCEPT
A main feature of Dijkstra’s photography is her desire to show the true personality of her subjects. In a very clever way, Dijkstra's very simplistic portrait images encapsulate a much deeper meaning and in the Olivier and Shany series present the concept of constantly evolving identities. In Olivier, Dijkstra portrays the crucial moments of the soldier's intense training in France and Africa. The photos illustrate the transformation underwent over the course of the years; the naive, guiltless looking boy becomes a professional, elite soldier enlisted in one of the world’s "toughest and most controversial army corps". It is clearly revealed by the look in the figures look in his eyes, his posture and actual facial features and his general attitude that the growth of Olivier, as an individual has been triumphant and how his personality and identity has evolved through the course of his training. Through her artistic minimalist photographs, Rineke Dijkstra illustrates the change in identity from the effects of certain lifestyle choices and the growth that her subjects underwent because of such choices.
SET UP
Her creation of particularly bare and disconnected photos in which the main figure display an inevitably frail and vulnerable air are achieved by her simplistic work method; she gives the subject very few directions and usually posed front on. Against a simple white background, the figure is captured as themselves at exactly that moment in order to capture a true representation of the figures identity.
EXAMPLES
Olivier Series |
Shany Series |
2. Natural Identities |
In this section I will concentrate specifically on the way documentary photography can portray a figures identity. I believe that certain atmospheres and moods brought out through the images will help the observer gain an idea of figure/s identity. By using the style of documentary photography I hope that I will be able to capture very natural, realistic outcomes of settings and people so that I can present their true identities.
|
Martin Parr - Black Country Stories (2010)
BACKGROUND
Martin Parr spent a year photographing the Black Country Stories and his work centres around daily like in the area. The series provides an insight into the society and cultural make- up to the region. From market stalls to Mosques, cafes to clubs, Parr has captured the nature of the region from behind his lens. Parr specifically wanted to capture the essence of the Black Country as he believed the spirit of its culturally diverse community had a revitalising effect after the industrial decline, placing this area far behind the times of modern, regenerated cities but very interesting to capture. Parr is the most modern photographer that I am researching which I believe is most interesting for a modern audience.
CONCEPT
Black Country Stories has captured the essence of diverse identities. I believe documentary photography captures a very realistic and true representation of a subject/s identity as it captures those in their own habitat and completely naturally so they can only be themselves. Parr has managed to capture the people of the Black Country in their work place, their place of worship or the area in which they live in, things that make-up a persons identity in a very realistic way. The identities are established more to the audience from the certain atmospheres and moods that are brought out through Parr's work but also other documentary photography in general. The humorous atmosphere form the Black Country Stories series suggests the idea that identity is treasured here and that the variety of identities is celebrated amongst the community
SET UP
Little editing was done in this series and the pictures taken in the natural light in order for the most realistic outcome to be achieved. Parr spent a year delving into life in the Black Country acting as a constant observer so to capture decisive moments within the community. Parr tried to stir away from setting up any of these moments captured in order for his work to achieve an incredibly honest outcome and therefore be a representation of the people's and community's true identity.
EXAMPLES
Martin Parr spent a year photographing the Black Country Stories and his work centres around daily like in the area. The series provides an insight into the society and cultural make- up to the region. From market stalls to Mosques, cafes to clubs, Parr has captured the nature of the region from behind his lens. Parr specifically wanted to capture the essence of the Black Country as he believed the spirit of its culturally diverse community had a revitalising effect after the industrial decline, placing this area far behind the times of modern, regenerated cities but very interesting to capture. Parr is the most modern photographer that I am researching which I believe is most interesting for a modern audience.
CONCEPT
Black Country Stories has captured the essence of diverse identities. I believe documentary photography captures a very realistic and true representation of a subject/s identity as it captures those in their own habitat and completely naturally so they can only be themselves. Parr has managed to capture the people of the Black Country in their work place, their place of worship or the area in which they live in, things that make-up a persons identity in a very realistic way. The identities are established more to the audience from the certain atmospheres and moods that are brought out through Parr's work but also other documentary photography in general. The humorous atmosphere form the Black Country Stories series suggests the idea that identity is treasured here and that the variety of identities is celebrated amongst the community
SET UP
Little editing was done in this series and the pictures taken in the natural light in order for the most realistic outcome to be achieved. Parr spent a year delving into life in the Black Country acting as a constant observer so to capture decisive moments within the community. Parr tried to stir away from setting up any of these moments captured in order for his work to achieve an incredibly honest outcome and therefore be a representation of the people's and community's true identity.
EXAMPLES
Richard Billingham - 'Ray's A Laugh' (1996)
BACKGROUND
Richard Billingham is and English photographer and artist, best known for his photo book Ray's A Laugh which documents his alcoholic father Ray, and his heavily-tattooed, obese mother Liz. Billingham raided the door into family life in order to create a much more believable, real-life interpretation of family life, taking the concept of a family album to a whole new level, where fake smiles and awkward calendar events are not present. Billingham loathes sensationalism, has no dealings with image consultants and discusses his work in the same matter-of-fact way in which he points his camera lens. It's this view that turned Billingham from a wannabe painter into a celebrated photographer. The Ray's A Laugh series led to the creation of Fishtank, a fifty-minute film shown on Channel 4 in 1998 that uncovered the grim reality of daily life in all its unscripted desperation.
CONCEPT
Billingham's Ray's A Laugh is a portrayal of the poverty and deprivation in which he grew up. On first glance, Billingham's father Ray, mother Liz and brother Jason appear as grotesque figures; with his Dad's alcoholism, his Mum's obsessive smoking and his brother Jason's frustrations mostly taken out on the playstation. Billingham has captured certain decisive moments, for example, their pet cat being thrown directly at Ray or Liz shaking a fist at Ray. After the recession, in the 90's, critics and dealers urgently tried to encourage a wider audience for contemporary art, in order to abolish the popular belief that art was only to be enjoyed as an elusive past time for elite, wealthy societies. Billingham's work fitted their strategy perfectly, his images were understandable to all audiences and had no heavy intellectual request from viewers but only presented the stuggles of working class daily lives during Thatcher's Britain in a very blatant, direct way. Similarly to documentary photography, I feel that Billingham's work (although not intirely on the lines of documentary photography) is a social documentation of family life, maybe not for everyone but for him and most living at this time. By using the idea of capturing the decisive moment, used in documentary photography, Billingham has been able to capture the believable identities of his family and portrayed them in a very unconcealed and realistic manner. I feel that although the first interpretation of the identites of his family are some what negative and grotesque, the honesty within Billingham's work make his family shine through as troubled yet deeply human with such endearing personalities.
SET UP
The photographs for Ray's A Laugh were taken on the cheapest film Billingham could find which provide bad focus and brash colours that enhance the authenticity and frankness of the series. Like documentary photography, natural lighting is used and there is no set-up involved in the series which is what makes these photographs so naturally beautiful and intriguing. Flash is used in several of the photos which creates a bright, abrasive effecy on the photo which I believe makes them stand-out and pop out from a wall when displayed in exhibition.
EXAMPLE
Richard Billingham is and English photographer and artist, best known for his photo book Ray's A Laugh which documents his alcoholic father Ray, and his heavily-tattooed, obese mother Liz. Billingham raided the door into family life in order to create a much more believable, real-life interpretation of family life, taking the concept of a family album to a whole new level, where fake smiles and awkward calendar events are not present. Billingham loathes sensationalism, has no dealings with image consultants and discusses his work in the same matter-of-fact way in which he points his camera lens. It's this view that turned Billingham from a wannabe painter into a celebrated photographer. The Ray's A Laugh series led to the creation of Fishtank, a fifty-minute film shown on Channel 4 in 1998 that uncovered the grim reality of daily life in all its unscripted desperation.
CONCEPT
Billingham's Ray's A Laugh is a portrayal of the poverty and deprivation in which he grew up. On first glance, Billingham's father Ray, mother Liz and brother Jason appear as grotesque figures; with his Dad's alcoholism, his Mum's obsessive smoking and his brother Jason's frustrations mostly taken out on the playstation. Billingham has captured certain decisive moments, for example, their pet cat being thrown directly at Ray or Liz shaking a fist at Ray. After the recession, in the 90's, critics and dealers urgently tried to encourage a wider audience for contemporary art, in order to abolish the popular belief that art was only to be enjoyed as an elusive past time for elite, wealthy societies. Billingham's work fitted their strategy perfectly, his images were understandable to all audiences and had no heavy intellectual request from viewers but only presented the stuggles of working class daily lives during Thatcher's Britain in a very blatant, direct way. Similarly to documentary photography, I feel that Billingham's work (although not intirely on the lines of documentary photography) is a social documentation of family life, maybe not for everyone but for him and most living at this time. By using the idea of capturing the decisive moment, used in documentary photography, Billingham has been able to capture the believable identities of his family and portrayed them in a very unconcealed and realistic manner. I feel that although the first interpretation of the identites of his family are some what negative and grotesque, the honesty within Billingham's work make his family shine through as troubled yet deeply human with such endearing personalities.
SET UP
The photographs for Ray's A Laugh were taken on the cheapest film Billingham could find which provide bad focus and brash colours that enhance the authenticity and frankness of the series. Like documentary photography, natural lighting is used and there is no set-up involved in the series which is what makes these photographs so naturally beautiful and intriguing. Flash is used in several of the photos which creates a bright, abrasive effecy on the photo which I believe makes them stand-out and pop out from a wall when displayed in exhibition.
EXAMPLE
3. Non-figurative identities |
In this section I am going to steer away from the obvious ways of portraying identity to investigate how objects and personal belongings can instinctively create and interpret a persons identity through the eyes of the observer. Can this concept present identity more effectively than other ways?
|
Sophie Calle - The Hotel (1981)
BACKGROUND
Sophie Calle is a French artist who works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. She has been called a 'detective' and a 'voyeur' and her pieces involve serious investigations as well as natural curiosity. For The Hotel, Calle was hired as a temporary chambermaid in a hotel in Venice. Based on personal belongings, she made a piece of work about her imagined ideas of who the hotel guests were.
CONCEPT
The concept behind The Hotel was for Calle to act almost as a stalker or investigator in order to get an insight to the lives of people she knew nothing of and from that make assumptions and attempt to interpret the identity of such people. It reiterates the idea that I have discussed in Cindy Sherman's work that our possessions and belongings are seemed to be the make-up to our identity. The Hotel is a good example of how Calle's work frequently portrays human vulnerability and examines identity and intimacy. This specific series is a very interesting and hands-on approach to discovering a persons identity and highlighting how diverse our identities are.
SET UP
'On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to an end.' (Quoted in Calle, pp.140-1.)
The display consisted of two-part framed work comprising photographs and text. The title of the room is printed below a colour photograph of the bed frame in each room. Below the title, three columns of italic text are diary entries describing findings in the hotel room and in the lower frame a grid of nine black and white photographs show things listed in the text above. I think the display of this work is very interesting and works very well in presenting this series in the exact way it was taken; as a diary entry from the view of a stranger.
EXAMPLES
Sophie Calle is a French artist who works with photographs and performances, placing herself in situations almost as if she and the people she encounters were fictional. She has been called a 'detective' and a 'voyeur' and her pieces involve serious investigations as well as natural curiosity. For The Hotel, Calle was hired as a temporary chambermaid in a hotel in Venice. Based on personal belongings, she made a piece of work about her imagined ideas of who the hotel guests were.
CONCEPT
The concept behind The Hotel was for Calle to act almost as a stalker or investigator in order to get an insight to the lives of people she knew nothing of and from that make assumptions and attempt to interpret the identity of such people. It reiterates the idea that I have discussed in Cindy Sherman's work that our possessions and belongings are seemed to be the make-up to our identity. The Hotel is a good example of how Calle's work frequently portrays human vulnerability and examines identity and intimacy. This specific series is a very interesting and hands-on approach to discovering a persons identity and highlighting how diverse our identities are.
SET UP
'On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to an end.' (Quoted in Calle, pp.140-1.)
The display consisted of two-part framed work comprising photographs and text. The title of the room is printed below a colour photograph of the bed frame in each room. Below the title, three columns of italic text are diary entries describing findings in the hotel room and in the lower frame a grid of nine black and white photographs show things listed in the text above. I think the display of this work is very interesting and works very well in presenting this series in the exact way it was taken; as a diary entry from the view of a stranger.
EXAMPLES
Lucas Simoes - Desretratos
BACKGROUND
Lucas Simoes, born in Catanduva, lives and works as an artist Sao Paulo, Brazil. Desretratos is a series that takes a very modern interpretation of portraiture in a way that makes you wonder whether it can be classified as portraiture. Even with saying this, Simoes still portrays a body of work that is original and interesting and stands him out as a modern, innovative, budding artist.
CONCEPT
For this series of work, Simoes invited his close friends over to tell him a secret as he took their portrait. Simoes intentions was not to hear their secret but to capture their expressions of each one at the moment they revealed their secret. Alongside this method, he also asked each of his friends to choose a song for Simoes it listen to in his ear phones whilst he took the photographs. Once Simoes had taken the photos, he asked if the secret they told had a colour and these were the colours the portraits carry. Each portrait is created around the subjects own natural expressions that come in conversation and immediate answers to questions asked that make up the whole composition of the photo. By using these methods in order to create these photos, Simoes is portraying each persons personal preference that show their personalities. Even though these photos are very distorted and make it hard to even see certain facial features the concept behind these photos represent each individuals identity as the choice of colour, song and their facial expression when talking show their mood and interests which are the make-up for a persons personalities.
Lucas Simoes, born in Catanduva, lives and works as an artist Sao Paulo, Brazil. Desretratos is a series that takes a very modern interpretation of portraiture in a way that makes you wonder whether it can be classified as portraiture. Even with saying this, Simoes still portrays a body of work that is original and interesting and stands him out as a modern, innovative, budding artist.
CONCEPT
For this series of work, Simoes invited his close friends over to tell him a secret as he took their portrait. Simoes intentions was not to hear their secret but to capture their expressions of each one at the moment they revealed their secret. Alongside this method, he also asked each of his friends to choose a song for Simoes it listen to in his ear phones whilst he took the photographs. Once Simoes had taken the photos, he asked if the secret they told had a colour and these were the colours the portraits carry. Each portrait is created around the subjects own natural expressions that come in conversation and immediate answers to questions asked that make up the whole composition of the photo. By using these methods in order to create these photos, Simoes is portraying each persons personal preference that show their personalities. Even though these photos are very distorted and make it hard to even see certain facial features the concept behind these photos represent each individuals identity as the choice of colour, song and their facial expression when talking show their mood and interests which are the make-up for a persons personalities.
SET UP
Once Simoes had taken the photos, he chose 10 different portraits cut segments out and overlapped them onto his first print. Here is a step by step example of how Simoes creates his images.
EXAMPLE
Press Release:
Who's who?: Identity captured through the lens.
There are over 7 billion people in this world but who's who?
This major photography exhibition explores the ways in which a person's identity can be expressed through the medium of photography. This exhibition takes an in-depth look into what makes up our identity and as observers what we recognise to create certain stereotypes that classify us as specific identities. It brings together five works produced by four versatile photographers, Sophie Calle, Martin Parr, Cindy Sherman, Lucas Simoes, Richard Billingham and Rineke Dijkstra all seen and exhibited in different countries around the world but never brought together for sharing the theme of identity. Bringing to attention certain social and cultural issues, expect audiences to leave recognising something new of themselves and questioning the method in which they distinguish the identity of one another.
This major photography exhibition explores the ways in which a person's identity can be expressed through the medium of photography. This exhibition takes an in-depth look into what makes up our identity and as observers what we recognise to create certain stereotypes that classify us as specific identities. It brings together five works produced by four versatile photographers, Sophie Calle, Martin Parr, Cindy Sherman, Lucas Simoes, Richard Billingham and Rineke Dijkstra all seen and exhibited in different countries around the world but never brought together for sharing the theme of identity. Bringing to attention certain social and cultural issues, expect audiences to leave recognising something new of themselves and questioning the method in which they distinguish the identity of one another.
Dissertation
True Identity: Exploring the ways in which a person's identity can be expressed through the medium of photography. Which aspect shows greater identity?
Rationale
Since starting A Level photography,I have been exposed to a wide variety of photographers, photographic techniques and genres. My interest in portraiture photography has grown with me through my exploration in the subject. The concept that every person is physically and biologically different is what inspired me into creating a body of work that explores how a single or set of images can convey a person's identity.
The portraiture photographer, Richard Avedon said, "All photographs are accurate. None of them is the truth". I was immediately struck by this statement and it enthused me to investigate this idea further by making my own comparisons to other portraiture photographers works to determine how far I agree with this. I was also interested in the reaction of other photographers to this statement and wanted to discover their personal ways of showing the truth of a person through the medium of photography.
As my interest grew into this idea, I discovered many photographers such as, Rineke Dijkstra and Sophie Calle who attempt to address this concept. I recognised the variety in which such photographers were attempting to portray a person's or a range of people's identity and I wanted to investigate further and decipher why they chose to capture this.
In doing this I became inspired by some of the powerful social messages that arose from such photographers work and the variety between controversial and creative techniques used. Different atmospheres were evoked from such work's; laughter being one that inspired me and mostly spurred from the variety of identities presented in a way that makes the audience compare and contrast. These photographers were in one way or another all attempting to capture a person's true identity, which made me come to the question; Which way is most effective?
The portraiture photographer, Richard Avedon said, "All photographs are accurate. None of them is the truth". I was immediately struck by this statement and it enthused me to investigate this idea further by making my own comparisons to other portraiture photographers works to determine how far I agree with this. I was also interested in the reaction of other photographers to this statement and wanted to discover their personal ways of showing the truth of a person through the medium of photography.
As my interest grew into this idea, I discovered many photographers such as, Rineke Dijkstra and Sophie Calle who attempt to address this concept. I recognised the variety in which such photographers were attempting to portray a person's or a range of people's identity and I wanted to investigate further and decipher why they chose to capture this.
In doing this I became inspired by some of the powerful social messages that arose from such photographers work and the variety between controversial and creative techniques used. Different atmospheres were evoked from such work's; laughter being one that inspired me and mostly spurred from the variety of identities presented in a way that makes the audience compare and contrast. These photographers were in one way or another all attempting to capture a person's true identity, which made me come to the question; Which way is most effective?
Introduction
For this body of work I will explore the variety of ways a person's identity can be expressed through the medium of photography and which concept I believe is most effective. The Dictionary defines identity as the fact of being who or what a person or thing is and the characteristics determining this. My own interpretation of identity agrees with this statement but for this body of work I am going to delve deeper and ask the question; what makes us who we are? For the photographers that I will use in order to gain knowledge on this subject, I will investigate why these photos have been captured and unveil any deeper-rooted issues that may arise from such images; what were the photographers intentions? In order to discover this concept effectively I will use three different approaches into capturing a person's identity:
CHAPTER 1: Natural Identities will focus on documentary photography in order to capture a person completely as they are and in their own surroundings. I will examine whether witnessing their 'habitat' contributes to a greater understanding of their identity.
CHAPTER 2: Posed Identities will discuss portraiture photography and our make-up; the things we wear, mannerisms that suggest a subjects identity. This will also touch on the effects of social stereotyping and how we make assumptions about who someone is just by observing what we see on the outside.
CHAPTER 3: Non-figurative Identities will focus on non-figurative photography and how our belongings and personal interests can determine our personality and capturing them in a way that is suggestive of our identity.
As I proceed into my investigation, in order to reach a successful conclusion, I will maintain a set of consistent success criteria to measure each approach against one another. I will question:
a) How well I believe the subjects identity is being expressed.
b) What it is specific to the concept and method behind these images that make them (un)effective.
CHAPTER 1: Natural Identities will focus on documentary photography in order to capture a person completely as they are and in their own surroundings. I will examine whether witnessing their 'habitat' contributes to a greater understanding of their identity.
CHAPTER 2: Posed Identities will discuss portraiture photography and our make-up; the things we wear, mannerisms that suggest a subjects identity. This will also touch on the effects of social stereotyping and how we make assumptions about who someone is just by observing what we see on the outside.
CHAPTER 3: Non-figurative Identities will focus on non-figurative photography and how our belongings and personal interests can determine our personality and capturing them in a way that is suggestive of our identity.
As I proceed into my investigation, in order to reach a successful conclusion, I will maintain a set of consistent success criteria to measure each approach against one another. I will question:
a) How well I believe the subjects identity is being expressed.
b) What it is specific to the concept and method behind these images that make them (un)effective.
Chapter 1 - Natural Identities
In this chapter I will be exploring photographers such as, Sophie Calle and Richard Billingham who use photography as a way of documenting a person's life. Aspects of this that lead you closer to revealing a persons's identity are how subjects being captured completely as themselves and in their own habitat produces photographic evidence of this person and how they live their life. Another aspect is how real and natural this evidence is, showcasing this person's identity to its best potential and in the most truthful way.
Sophie Calle
3 images from Sophie Calle's, 'Suite Venitienne'
'Suite Venitienne' is a result of Calle's most controversial approach to this theme. Calle met a man at a party in Paris whom she followed to Venice in disguise and stalked him around the city, photographing him. Calle's observation of the man who she identifies as Henri B, includes black and white photographs accompanied with text. The series presented as a book, is a detailed photographic and written report that captures and orders the full range of feelings the endeavour provokes in her.
This series does not stand as photography alone. The accompaniment of the text attached to this piece of work is important to the observer's experience of the work. Calle's diary entries describe how she followed people innocently to start with until she coincidentally met one of these people at a party, Henri B. She felt that this coincidence gave her no choice but to follow him. The obvious identity of Henri B, as in his facial features, is kept hidden from the observer but the photographic 'snapshots' into Henri's life is what brings out suggestions of the figures identity. Calle has documented this mans life; where he lives, the clothes he wears, where he travels, the places he sees etc. All of these aspects bring together photographic evidence of this man's life and who he is. The variety of angles used within this series makes the observer intrigued. You are almost left wanting to know more and fascinated to know who this person is and how Calle came about to capturing this specific person. As I researched further into this, I discovered how the theme of identity is linked in another way. Within Calle's diary entries she also describes that by following Henri B and becoming obsessed with the whereabouts of him, she felt that it was as if her whole identity, her meaning as a person, had become caught up and engulfed by the act of following Henri. Calle has been called a detective and a voyeur and her pieces involve serious investigation as well as natural curiosity.
Success Criteria:
I believe Calle is very much a photographer as well as a narrator and 'Suite Venitienne' is a perfect example of this. Calle's ability to merge photographs and performance, placing herself in real-life situations is what I believe makes her work so infamous and so interesting to research. However, I feel as though on photograph the identity of the figure is not wholly being expressed. Without Calle's words, the photos are simply confirmations of the time and place. Although the images do remain incredibly personal to 'Henri B' and are clear and real snapshots of his life, when justifying them to my theme and comparing them against other works, I believe that the portrayal of this mans identity is overridden by Calle's irrational infatuation and personal feelings that she expresses in her diary-like entries. It is down to Calle's documentary style photography that makes this series without question one of the most truthful and real portrayals of identity I have researched. Even though I feel this outcome doesn't fully express my theme, her concept remains original, spurring from natural human curiosity, something that everyone possesses.
This series does not stand as photography alone. The accompaniment of the text attached to this piece of work is important to the observer's experience of the work. Calle's diary entries describe how she followed people innocently to start with until she coincidentally met one of these people at a party, Henri B. She felt that this coincidence gave her no choice but to follow him. The obvious identity of Henri B, as in his facial features, is kept hidden from the observer but the photographic 'snapshots' into Henri's life is what brings out suggestions of the figures identity. Calle has documented this mans life; where he lives, the clothes he wears, where he travels, the places he sees etc. All of these aspects bring together photographic evidence of this man's life and who he is. The variety of angles used within this series makes the observer intrigued. You are almost left wanting to know more and fascinated to know who this person is and how Calle came about to capturing this specific person. As I researched further into this, I discovered how the theme of identity is linked in another way. Within Calle's diary entries she also describes that by following Henri B and becoming obsessed with the whereabouts of him, she felt that it was as if her whole identity, her meaning as a person, had become caught up and engulfed by the act of following Henri. Calle has been called a detective and a voyeur and her pieces involve serious investigation as well as natural curiosity.
Success Criteria:
I believe Calle is very much a photographer as well as a narrator and 'Suite Venitienne' is a perfect example of this. Calle's ability to merge photographs and performance, placing herself in real-life situations is what I believe makes her work so infamous and so interesting to research. However, I feel as though on photograph the identity of the figure is not wholly being expressed. Without Calle's words, the photos are simply confirmations of the time and place. Although the images do remain incredibly personal to 'Henri B' and are clear and real snapshots of his life, when justifying them to my theme and comparing them against other works, I believe that the portrayal of this mans identity is overridden by Calle's irrational infatuation and personal feelings that she expresses in her diary-like entries. It is down to Calle's documentary style photography that makes this series without question one of the most truthful and real portrayals of identity I have researched. Even though I feel this outcome doesn't fully express my theme, her concept remains original, spurring from natural human curiosity, something that everyone possesses.
Richard Billingham
4 images from Richard Billingham's 'Ray's A Laugh'
Billingham's series 'Ray's A Laugh' is a social documentation of family life maybe not for everyone but for him and most working class people living in Thatcher's Britain. The photographs document Billingham's parents, his heavily tattooed, alcoholic father, his obese mother Liz and his angry brother Jason. His documentation is very much a raw and gritty interpretation of family life that holds an undeniable truth that I believe shocks and awakens the audience. In relation to my theme, Billingham's truthful and honest documentation of his seemingly dysfunctional family portrays a realistic interpretation of the identity of his mother, father and brother.
Documentary photographers attempt to produce truthful, objective and usually candid photography of a particular subject, most often pictures of people. This is why I believe Billingham has produced a very truthful and real interpretation of his parent's lives and their identity. The realistic approach to Billingham's work has been enhanced in the way that he has used the decisive moment in some of his images. For example, the fourth image in my display is the moment when his mother is about to hit his father, not the most pleasant example of his family life but undeniably real and genuine. The second of my images shows Ray laying slumped next to the toilet, representing his alcoholism and depression. Billingham used the cheapest film he could find to capture this series that produces the bad focus and brash colouring of the photos, that almost mirrors the way in which Billingham views, and an observer would view his family life. I believe by doing this, Billingham has enhanced the authenticity and frankness of the photos and made the characteristics and identity of his family more obvious to the audience. Billingham has created a snapshot into his family life, a story of these people going about their day to day lives. The images you see are incredibly mundane and frank - Billingham has refused to hold anything back to the audience - that I believe creates a more realistic and believable interpretation of the identity of his family,
Success Criteria:
Billingham's technique and concept behind his series 'Ray's A Laugh' expresses the identity of his mother, father and brother very well. He has gone beyond the traditions of 1990's photography in Thatcher's Britain to shock and grab the audience's attention so that the interpretation of his family is not one that is false yet holds the deeper rooted issues of this time for the working class. What is specifically made clear to the audience is the relationship between his mother and father, brought about by Billingham's honesty that makes these characters both separately and together shine through as troubled yet deeply human with such endearing personalities. The fundamental aspect of Billingham's work that expresses the characters of his family so well is his documentary photography style that highlights both their identities and specific social issues present at this time.
Documentary photographers attempt to produce truthful, objective and usually candid photography of a particular subject, most often pictures of people. This is why I believe Billingham has produced a very truthful and real interpretation of his parent's lives and their identity. The realistic approach to Billingham's work has been enhanced in the way that he has used the decisive moment in some of his images. For example, the fourth image in my display is the moment when his mother is about to hit his father, not the most pleasant example of his family life but undeniably real and genuine. The second of my images shows Ray laying slumped next to the toilet, representing his alcoholism and depression. Billingham used the cheapest film he could find to capture this series that produces the bad focus and brash colouring of the photos, that almost mirrors the way in which Billingham views, and an observer would view his family life. I believe by doing this, Billingham has enhanced the authenticity and frankness of the photos and made the characteristics and identity of his family more obvious to the audience. Billingham has created a snapshot into his family life, a story of these people going about their day to day lives. The images you see are incredibly mundane and frank - Billingham has refused to hold anything back to the audience - that I believe creates a more realistic and believable interpretation of the identity of his family,
Success Criteria:
Billingham's technique and concept behind his series 'Ray's A Laugh' expresses the identity of his mother, father and brother very well. He has gone beyond the traditions of 1990's photography in Thatcher's Britain to shock and grab the audience's attention so that the interpretation of his family is not one that is false yet holds the deeper rooted issues of this time for the working class. What is specifically made clear to the audience is the relationship between his mother and father, brought about by Billingham's honesty that makes these characters both separately and together shine through as troubled yet deeply human with such endearing personalities. The fundamental aspect of Billingham's work that expresses the characters of his family so well is his documentary photography style that highlights both their identities and specific social issues present at this time.
Chapter 2 - Posed Identities
In this chapter I will be exploring photographers who predominantly use set-up and studio produced images to portray a subject's identity to its best potential. The photographers I will be focusing on are Cindy Sherman and Rineke Dijkstra.
Cindy Sherman
'Untitled' - 3 images taken from 'Bus Riders' (1976-2000)
'Bus Riders' is a series consisting of 15 black and white photographs of reenacted characters she witnessed on a bus. Elaborate costumes, props and make-up are used here to accurately transform herself into the people she observed on the bus. In addition, Sherman also uses varied facial expressions and body language to portray the different identities in each image.
After research into Sherman herself and her works, I came to discover her underlining message that she conveys in not only 'Bus Riders' but throughout her photography; the 'visual tyranny' of television, advertising and magazines. The approach Sherman takes reveals a controversial and ironic message that creation isn't possible without the use of stereotypes; 'identity lies in appearance, not in reality'. In relation to her series 'Bus Riders', her outcome sparks one thought for me: to what extent do we rely on a person's appearance on the outside in order to signify or categorize that persons identity? I myself as an observer, can pinpoint the different identities in each image purely from the way this figure is dressed and how they look from the outside. What is also interesting is that Sherman is showcasing the various identities that she has encountered during the time period in which these were shot (late 1970's) yet these stereotypical identities are still recognised by a modern audience and therefore still present and current. Sherman enhances the power behind her overall concept that I stated at the beginning as Sherman herself plays each different character in each shot. It is only through her costume and body language that we distinguish the difference between each identity. What reiterates this point even further is that Sherman has placed herself in the same spot in each image which allows us to recognise the different identities conveyed.
Success Criteria:
For Cindy Sherman's, 'Bus Riders' I believe that she has portrayed a subjects identity moderately well. The range in her work for the variety of identities is excellent but I feel the overall message that she is attempting to portray is monumental in its own right but swamps the concept I am trying to portray through my body of work. I feel, as an observer that I am only exuded to the appearance of these identities when my aim is to discover the most effective way of expressing a subjects true identity.
After research into Sherman herself and her works, I came to discover her underlining message that she conveys in not only 'Bus Riders' but throughout her photography; the 'visual tyranny' of television, advertising and magazines. The approach Sherman takes reveals a controversial and ironic message that creation isn't possible without the use of stereotypes; 'identity lies in appearance, not in reality'. In relation to her series 'Bus Riders', her outcome sparks one thought for me: to what extent do we rely on a person's appearance on the outside in order to signify or categorize that persons identity? I myself as an observer, can pinpoint the different identities in each image purely from the way this figure is dressed and how they look from the outside. What is also interesting is that Sherman is showcasing the various identities that she has encountered during the time period in which these were shot (late 1970's) yet these stereotypical identities are still recognised by a modern audience and therefore still present and current. Sherman enhances the power behind her overall concept that I stated at the beginning as Sherman herself plays each different character in each shot. It is only through her costume and body language that we distinguish the difference between each identity. What reiterates this point even further is that Sherman has placed herself in the same spot in each image which allows us to recognise the different identities conveyed.
Success Criteria:
For Cindy Sherman's, 'Bus Riders' I believe that she has portrayed a subjects identity moderately well. The range in her work for the variety of identities is excellent but I feel the overall message that she is attempting to portray is monumental in its own right but swamps the concept I am trying to portray through my body of work. I feel, as an observer that I am only exuded to the appearance of these identities when my aim is to discover the most effective way of expressing a subjects true identity.
Rineke Dijkstra
'Olivier' (2000-2003)
Rineke Dijkstra's 'Olivier' series follows a young man, Olivier Silva, from his enlistment with the French Foreign Legion through the years of his service in Corsica, Gabon, the Ivory Coast and Djibouti. They are presented as a set of seven images all taken from a front-on angle against a white background, showing the young man's development both physically and psychologically into a soldier, over the course of three years. These photos are artistically minimalist, illustrating how Olivier's identity has evolved.
Researching Dijkstra's photography, a desire of hers is to show the true personality of her subjects, which is akin to the aim of my dissertation. Dijkstra presents the concept in 'Olivier' of constant evolving identities. The transformation in the look in the subjects eyes, his physique, posture and facial expressions accurately unveil the growth of Olivier form a young boy to a soldier. Dijkstra has authentically captured the transformation in this person's identity and how he has developed through the course of his training. As an observer, by getting to see Olivier's development you begin to increasingly understand with each photo who this person is, the choices he has made in life and most significantly you feel an emotional connection with him as you oversee his progress. I think that because Dijkstra choose a notorious and well-known subject of war, audiences from all over will be able to configure this persons identity. Furthermore the way in which Dijkstra's directions were minimal for her subject (they were only told to stand straight on) means that the figure is captured being exactly themselves, presenting an almost faultless representation of their true identity. The composition in Dijkstra's work is something that remains the same throughout, asking us to compare these images. The comparison we make is what presents Olivier as an identity evolving, being moulded into a man due to his experience as a part of the French Foreign Legion.
Success Criteria:
I believe that Dijkstra has simplistically captured a true representation of the subjects identity. At first, the subject almost seems disconnected but the story and meaning behind the series tells us a great deal behind the vulnerable and vacant glare in his eyes. Dijkstra's simplistic method has lead to the subject being as natural as possible but still posed at the same time. Her concept makes the audience feel emotionally connected which brings you closer to the subject and by being presented as snapshots into the boys evolving life makes you feel as though you understand the boy and know him better.
Researching Dijkstra's photography, a desire of hers is to show the true personality of her subjects, which is akin to the aim of my dissertation. Dijkstra presents the concept in 'Olivier' of constant evolving identities. The transformation in the look in the subjects eyes, his physique, posture and facial expressions accurately unveil the growth of Olivier form a young boy to a soldier. Dijkstra has authentically captured the transformation in this person's identity and how he has developed through the course of his training. As an observer, by getting to see Olivier's development you begin to increasingly understand with each photo who this person is, the choices he has made in life and most significantly you feel an emotional connection with him as you oversee his progress. I think that because Dijkstra choose a notorious and well-known subject of war, audiences from all over will be able to configure this persons identity. Furthermore the way in which Dijkstra's directions were minimal for her subject (they were only told to stand straight on) means that the figure is captured being exactly themselves, presenting an almost faultless representation of their true identity. The composition in Dijkstra's work is something that remains the same throughout, asking us to compare these images. The comparison we make is what presents Olivier as an identity evolving, being moulded into a man due to his experience as a part of the French Foreign Legion.
Success Criteria:
I believe that Dijkstra has simplistically captured a true representation of the subjects identity. At first, the subject almost seems disconnected but the story and meaning behind the series tells us a great deal behind the vulnerable and vacant glare in his eyes. Dijkstra's simplistic method has lead to the subject being as natural as possible but still posed at the same time. Her concept makes the audience feel emotionally connected which brings you closer to the subject and by being presented as snapshots into the boys evolving life makes you feel as though you understand the boy and know him better.
Chapter 3 - Non-figurative Identities
In this chapter I will be exploring photographers who use the style of non-figurative photography as a way of capturing a person's identity. Primarily focusing on the essence of people and the effect that has on an environment that suggests their personality and lifestyle, portraying an aspect of their identity. I am going to be researching into the photographers of Sophie Calle and Eugene Richards who use alternative and at times controversial methods in order to capture their series.
Sophie Calle
These are two images taken from 'The Hotel', a series in which Calle's natural curiosity lead her to undergo serious investigations into the life of strangers. She was hired as a chambermaid at a hotel in Venice were she photographed the occupants personal belongings in order to create a body of work of her imagined ideas of who the hotel guests were. The series was accompanied by a diary entry describing her findings in the hotel room.
The idea behind Calle's series, 'The Hotel' was to almost build a mental image of the occupants identity simply from the possessions they own and the way they are living in their hotel room. My first interpretation of these images were that they reminded me of glimpses of a crime scene; the way in which the evidence of the crime scene is photographed as it lays within the scene of the crime, untouched. This enhanced the investigative and detective role that Calle took on when taking this series that created an intrusive atmosphere to the series. Calle made no adjustments to the way the occupants left their room which gave a more personal and accurate insight into the residents identity. Even though the composition is different because of the variety between each room, the layout of the series remains similar throughout which makes us compare the differences. Creating comparisons and contrasts enhances each inhabitants identity and is an effective way of magnifying the idea that everybody is different, something that enthused my interest in this theme.
Success Criteria:
Calle's series 'The Hotel' is effective in expressing the identity of the inhabitants of each hotel room. The photos themselves stand alone as just images of belongings and possessions but what make them so effective is the context in which Calle puts them in. The photos, combined with her diary entries are different pieces of this puzzle that when fitted and presented together create the make-up to all the different occupants identities. Calle's natural human curiosity, that I believe most people behold as to the interest in strangers, has lead her to create a piece of work that so effectively brings all it's audiences to be thoroughly interested in the difference between one another. This for me is why I believe Calle's work is so effective for my investigation as she has also taken an interest in to how every single human's identity is different. Her non-figurative way of photographing and documenting this idea is inventive, original yet still subtle which draws you in as an observer wanting to know more and discover who these people are, mirroring the way in which Calle felt herself when endeavouring on this series, therefore being an effective piece of work for my theme.
The idea behind Calle's series, 'The Hotel' was to almost build a mental image of the occupants identity simply from the possessions they own and the way they are living in their hotel room. My first interpretation of these images were that they reminded me of glimpses of a crime scene; the way in which the evidence of the crime scene is photographed as it lays within the scene of the crime, untouched. This enhanced the investigative and detective role that Calle took on when taking this series that created an intrusive atmosphere to the series. Calle made no adjustments to the way the occupants left their room which gave a more personal and accurate insight into the residents identity. Even though the composition is different because of the variety between each room, the layout of the series remains similar throughout which makes us compare the differences. Creating comparisons and contrasts enhances each inhabitants identity and is an effective way of magnifying the idea that everybody is different, something that enthused my interest in this theme.
Success Criteria:
Calle's series 'The Hotel' is effective in expressing the identity of the inhabitants of each hotel room. The photos themselves stand alone as just images of belongings and possessions but what make them so effective is the context in which Calle puts them in. The photos, combined with her diary entries are different pieces of this puzzle that when fitted and presented together create the make-up to all the different occupants identities. Calle's natural human curiosity, that I believe most people behold as to the interest in strangers, has lead her to create a piece of work that so effectively brings all it's audiences to be thoroughly interested in the difference between one another. This for me is why I believe Calle's work is so effective for my investigation as she has also taken an interest in to how every single human's identity is different. Her non-figurative way of photographing and documenting this idea is inventive, original yet still subtle which draws you in as an observer wanting to know more and discover who these people are, mirroring the way in which Calle felt herself when endeavouring on this series, therefore being an effective piece of work for my theme.
Eugene Richards
Images from 'The Blue Room'
Eugene Richard's is a noted American documentary photographer. Richards' published photographs are mostly intended as a way of raising social awareness, have been characterised as "highly personal" and are both exhibited and published in a series of books. Richard's series, 'The Blue Room' has been described as a "melancholy documentation of the large, open spaces of rural United States". His colour photographs are of decaying and abandoned rural structures, that were one time classified as a house. At some point these structures would have been called a home to those who once vibrantly lived and used to function in them. However, that period of time has now expired and all that remains for Richard's to capture is decaying evidence that the essence of someone's identity had been there at some point.
"As I slowly make my way through the collapsing rooms and begin sifting through what's been left behind", Richard writes, "the old places spawn what can only be called memories that come and go in fragments of broken glass, in the convergence of shadows and light in the dust rising up from the floors."
What struck me about Richard's description of his experience visiting these places, was how he envisioned the memories of these people or families simply from the bleak remnants of the abandoned remains. This made me think about how the essence of people and their identity can be at times so powerful if not more powerful than the presence of that person themselves as the mind is left to wander and be even more curious. And that is what I believe Richard's has achieved through his work. The chaos of what has been left behind in some of these images is well correlated with the simplicity how Richard's has captured the image. The environment very much speaks for itself and Richard's has captured that through his lens. His use of colour is beautiful for the way in which he has simply pulled out the tonality and intensity of the natural colours that leave an almost emotional and eerie atmosphere with the observer. Richard's has used his documentary photography skills to capture these photos at an angle that it is as if you are actually there seeing these places for the first time, like Richards. Not only do they make for a more interesting image, they also make you realise there is nothing false about these places. It makes the essence of these people whom once lived there more real and their identity more apparent. Another thing that reveals the identity of these people well, is the specific objects that Richard's has chosen to capture. The baby doll in the first of my images is suggestive of children and the essence of youth which creates a chilling atmosphere, whilst the army cap hanging on the mirror in the second image makes you think about the pasts of these people, their stories that make them who they are.
Success Criteria:
Eugene Richard's series 'The Blue Room' are mostly successful in showing the essence of people and identity. The images themselves aren't strictly speaking an obvious way of portraying a person's identity, figurative or not, however that is why I am most drawn to this work. Richard's subtlety and the simplicity in his work stands him out as a photographer who is very able to find something interesting and worth while showcasing to an audience and capture it in its true form. This was also an element of my investigation that I was interested in discovering, "true identity", the authenticity of the subjects identity, therefore I believe Richard's work is successful in this aspect also. What I think is most successful in Richard's work is the interest and curiosity is provokes. Instead of obviously stating or showing a person's identity, this series aims to and does in fact leaving you eager to know more and lets you build and discover the actual identity of such people for yourselves, resulting in a much more powerful, lasting thought in your mind.
"As I slowly make my way through the collapsing rooms and begin sifting through what's been left behind", Richard writes, "the old places spawn what can only be called memories that come and go in fragments of broken glass, in the convergence of shadows and light in the dust rising up from the floors."
What struck me about Richard's description of his experience visiting these places, was how he envisioned the memories of these people or families simply from the bleak remnants of the abandoned remains. This made me think about how the essence of people and their identity can be at times so powerful if not more powerful than the presence of that person themselves as the mind is left to wander and be even more curious. And that is what I believe Richard's has achieved through his work. The chaos of what has been left behind in some of these images is well correlated with the simplicity how Richard's has captured the image. The environment very much speaks for itself and Richard's has captured that through his lens. His use of colour is beautiful for the way in which he has simply pulled out the tonality and intensity of the natural colours that leave an almost emotional and eerie atmosphere with the observer. Richard's has used his documentary photography skills to capture these photos at an angle that it is as if you are actually there seeing these places for the first time, like Richards. Not only do they make for a more interesting image, they also make you realise there is nothing false about these places. It makes the essence of these people whom once lived there more real and their identity more apparent. Another thing that reveals the identity of these people well, is the specific objects that Richard's has chosen to capture. The baby doll in the first of my images is suggestive of children and the essence of youth which creates a chilling atmosphere, whilst the army cap hanging on the mirror in the second image makes you think about the pasts of these people, their stories that make them who they are.
Success Criteria:
Eugene Richard's series 'The Blue Room' are mostly successful in showing the essence of people and identity. The images themselves aren't strictly speaking an obvious way of portraying a person's identity, figurative or not, however that is why I am most drawn to this work. Richard's subtlety and the simplicity in his work stands him out as a photographer who is very able to find something interesting and worth while showcasing to an audience and capture it in its true form. This was also an element of my investigation that I was interested in discovering, "true identity", the authenticity of the subjects identity, therefore I believe Richard's work is successful in this aspect also. What I think is most successful in Richard's work is the interest and curiosity is provokes. Instead of obviously stating or showing a person's identity, this series aims to and does in fact leaving you eager to know more and lets you build and discover the actual identity of such people for yourselves, resulting in a much more powerful, lasting thought in your mind.
Conclusion:
One thing that struck me most after my research into the portrayal of identity through photography, was how natural human curiosity was one of the most common inspirations behind the body's of work I researched. For example, both Sophie Calle and Eugene Richards were enthused and captivated by the context of their work's primarily from utter curiosity, very similar to the way I felt when beginning this investigation. This made me wonder - is it by beholding this same natural, human curiosity the underlining feature in order to discover a person's identity?
Therefore, I believe the conclusion to my investigation into capturing a subject's identity in its most effective form, is obtained by instilling curiosity and fascination into an audience. The most effective way in portraying a subject's identity is by having someone figure it out, interpret it and delve deeper themselves. Anyone can observe someone from a far and guess or assume the identity of that person, but the most real aspects of that identity that make that person who they are and different from everyone else can only properly be deciphered by natural, human curiosity. I believe the works that are most interesting and engaging for an audience, portray identity at its best. Not only because it strongly suggests a subjects identity, being present or not, but because the image in itself draws you in along with personal feelings and atmospheres from what is more visually and conceptually interesting. That interest I believe is what fascinates the audience into wanting to discover more about that person's life, belongings, habitat, family - all of which amount to the identity of a human being.
I statement I made at the beginning of my investigation, was how I was inspired by the concept that every single human being is physically and biologically different. As I strove to discover how these different identities could be captured through photography, I came to understand the improbability in this task and the reasoning behind Avedon's comment, that sparked a new light to this investigation for me. Where's the mystery in identity? As I said myself, every single being is different, therefore how are we to know precisely, the identity of each stranger we see every day? That natural curiosity that spurs throughout most of us as to who the people they meet truly are should be left unkempt. If we are to never fully understand who each person we know is or are yet to meet are, then why not let that curiosity flourish. What interested me most in this investigation was the mystery and enthralment I felt when looking into Sophie Calle or Eugene Richards work. They so obviously keep the figure/s away from the lens so that they are left anonymous to you, yet so powerfully draw you in to be curious and want to know whose identity you can feel through the image, exerting the exact feeling they felt when capturing the image. I truly believe that by achieving this with an audience, is the most real and exciting way of attempting to capture identity.
Therefore, I believe the conclusion to my investigation into capturing a subject's identity in its most effective form, is obtained by instilling curiosity and fascination into an audience. The most effective way in portraying a subject's identity is by having someone figure it out, interpret it and delve deeper themselves. Anyone can observe someone from a far and guess or assume the identity of that person, but the most real aspects of that identity that make that person who they are and different from everyone else can only properly be deciphered by natural, human curiosity. I believe the works that are most interesting and engaging for an audience, portray identity at its best. Not only because it strongly suggests a subjects identity, being present or not, but because the image in itself draws you in along with personal feelings and atmospheres from what is more visually and conceptually interesting. That interest I believe is what fascinates the audience into wanting to discover more about that person's life, belongings, habitat, family - all of which amount to the identity of a human being.
I statement I made at the beginning of my investigation, was how I was inspired by the concept that every single human being is physically and biologically different. As I strove to discover how these different identities could be captured through photography, I came to understand the improbability in this task and the reasoning behind Avedon's comment, that sparked a new light to this investigation for me. Where's the mystery in identity? As I said myself, every single being is different, therefore how are we to know precisely, the identity of each stranger we see every day? That natural curiosity that spurs throughout most of us as to who the people they meet truly are should be left unkempt. If we are to never fully understand who each person we know is or are yet to meet are, then why not let that curiosity flourish. What interested me most in this investigation was the mystery and enthralment I felt when looking into Sophie Calle or Eugene Richards work. They so obviously keep the figure/s away from the lens so that they are left anonymous to you, yet so powerfully draw you in to be curious and want to know whose identity you can feel through the image, exerting the exact feeling they felt when capturing the image. I truly believe that by achieving this with an audience, is the most real and exciting way of attempting to capture identity.
BIBLIOGRAPHY
http://www.tate.org.uk/art/artworks/sherman-untitled-p78499/text-summary
http://en.wikipedia.org/wiki/Cindy_Sherman
http://www.webexhibits.org/colorart/sherman.html
http://www.tate.org.uk/art/artworks/sherman-untitled-film-still-53-p11519/text-summary
http://www.moma.org/interactives/exhibitions/1997/sherman/
http://en.wikipedia.org/wiki/Rineke_Dijkstra
http://www.mariangoodman.com/exhibitions/2003-09-10_rineke-dijkstra/
http://artblart.com/tag/rineke-dijkstra-olivier/
http://en.wikipedia.org/wiki/Sophie_Calle
http://www.tate.org.uk/art/artworks/calle-the-hotel-room-44-p78303
http://www.iniva.org/dare/themes/space/calle.html
http://www.theartstory.org/artist-sherman-cindy.htmhttp://areamagazine.wordpress.com/2010/10/26/martin-parr-black-country-stories/
http://www.martinparr.com/blog/?p=178
http://www.martinparr.com/index1.html
http://www.bbc.co.uk/photography/genius/gallery/billingham.shtml
http://www.a-n.co.uk/artists_talking/artists_stories/single/63664
http://www.tate.org.uk/art/artists/richard-billingham-2749/text-artist-biography
http://www.saatchi-gallery.co.uk/artists/richard_billingham.htm
http://en.wikipedia.org/wiki/Richard_Billingham
http://www.lucassimoes.com.br/
http://ir.canterbury.ac.nz/bitstream/10092/4831/1/thesis_fulltext.pdf
http://www.egs.edu/faculty/sophie-calle/biography/
http://thephotobook.wordpress.com/2009/08/04/eugene-richards-the-blue-room/
http://en.wikipedia.org/wiki/Eugene_Richards
http://www.tate.org.uk/art/artworks/sherman-untitled-p78499/text-summary
http://en.wikipedia.org/wiki/Cindy_Sherman
http://www.webexhibits.org/colorart/sherman.html
http://www.tate.org.uk/art/artworks/sherman-untitled-film-still-53-p11519/text-summary
http://www.moma.org/interactives/exhibitions/1997/sherman/
http://en.wikipedia.org/wiki/Rineke_Dijkstra
http://www.mariangoodman.com/exhibitions/2003-09-10_rineke-dijkstra/
http://artblart.com/tag/rineke-dijkstra-olivier/
http://en.wikipedia.org/wiki/Sophie_Calle
http://www.tate.org.uk/art/artworks/calle-the-hotel-room-44-p78303
http://www.iniva.org/dare/themes/space/calle.html
http://www.theartstory.org/artist-sherman-cindy.htmhttp://areamagazine.wordpress.com/2010/10/26/martin-parr-black-country-stories/
http://www.martinparr.com/blog/?p=178
http://www.martinparr.com/index1.html
http://www.bbc.co.uk/photography/genius/gallery/billingham.shtml
http://www.a-n.co.uk/artists_talking/artists_stories/single/63664
http://www.tate.org.uk/art/artists/richard-billingham-2749/text-artist-biography
http://www.saatchi-gallery.co.uk/artists/richard_billingham.htm
http://en.wikipedia.org/wiki/Richard_Billingham
http://www.lucassimoes.com.br/
http://ir.canterbury.ac.nz/bitstream/10092/4831/1/thesis_fulltext.pdf
http://www.egs.edu/faculty/sophie-calle/biography/
http://thephotobook.wordpress.com/2009/08/04/eugene-richards-the-blue-room/
http://en.wikipedia.org/wiki/Eugene_Richards