The Guardian, The Times, The Telegraph and The Financial Times
Every paper I have looked at has had some degree of lifestyle and celebrity content, and in each paper this content has superseded the visual arts for space. Given the status of visual art as a niche interest this is understandable. Each paper also takes a unique approach to its visual arts coverage; the Times marginalising it in favour of more populist celebrity and television coverage, the Guardian ‘celebratising’ the visual arts themselves, the Telegraph maintaining an old-fashioned, perhaps reactionary stance and
the Financial Times embracing a modern, but safe, jazz-era critique. How, though, will these approaches transition from the analogue to digital realm? If the Guardian and Times are bringing a casual, celebrity approach to their arts coverage, does this imply that the more traditional Telegraph or Financial Times might become redundant?
Sunday, 5 December 2010
Tuesday, 30 November 2010
1. EXHIBITION REVIEW
'The Magnum Mark' Magnum Print Room, London
The Magnum Mark sets out to celebrate the legacy of Magnum's print archive, uncovering the processes behind traditional, manual image dissemination. Included in the exhibition are previously unseen “press” prints featuring the work of Magnum’s founding member, George Rodger, recreating one of Magnum’s original distribution sets and including some of the magazines in which the work was first shown.
A graphic panel translates the meaning of the mysterious marks and stamps on the back of Magnum’s vintage press distribution prints and a selection of print maps, produced by Magnum’s in-house printer, illustrate the craft involved in printing Magnum’s famous photographs.
The darkroom print maps feature popular photographs of James Dean by Dennis Stock, Marilyn Monroe and Arthur Miller by Inge Morath, Sofia Loren by David ‘Chim’ Seymour and Sammy Davis Jr. by Burt Glinn. The process of printing a photograph as a final ‘object’ is a labour of love for most photographers and to see their handwritten notes is incredible. It felt like I had an insight into a photographers work at first hand.
In addition to examining the processes behind Magnum’s traditional image distribution, the exhibition includes a small selection of some of agency’s greatest known images; the controversial ‘Falling Soldier’ by Robert Capa, Marilyn Monroe on the set of the Misfits by Eve Arnold, a student defying tanks in Tiananmen Square by Stuart Franklin, and Thomas Hoepker’s image of September 11th.
One thing to mention, although this is an 'exhibition', on entrance I was handed a price list; many prints were over £2000 and the books on the shelves were 'not to be touched'!
The Magnum Mark sets out to celebrate the legacy of Magnum's print archive, uncovering the processes behind traditional, manual image dissemination. Included in the exhibition are previously unseen “press” prints featuring the work of Magnum’s founding member, George Rodger, recreating one of Magnum’s original distribution sets and including some of the magazines in which the work was first shown.
A graphic panel translates the meaning of the mysterious marks and stamps on the back of Magnum’s vintage press distribution prints and a selection of print maps, produced by Magnum’s in-house printer, illustrate the craft involved in printing Magnum’s famous photographs.
The darkroom print maps feature popular photographs of James Dean by Dennis Stock, Marilyn Monroe and Arthur Miller by Inge Morath, Sofia Loren by David ‘Chim’ Seymour and Sammy Davis Jr. by Burt Glinn. The process of printing a photograph as a final ‘object’ is a labour of love for most photographers and to see their handwritten notes is incredible. It felt like I had an insight into a photographers work at first hand.
In addition to examining the processes behind Magnum’s traditional image distribution, the exhibition includes a small selection of some of agency’s greatest known images; the controversial ‘Falling Soldier’ by Robert Capa, Marilyn Monroe on the set of the Misfits by Eve Arnold, a student defying tanks in Tiananmen Square by Stuart Franklin, and Thomas Hoepker’s image of September 11th.
One thing to mention, although this is an 'exhibition', on entrance I was handed a price list; many prints were over £2000 and the books on the shelves were 'not to be touched'!
2. EXHIBITION REVIEW
'Small Acts of Resistance' - The Black Rat Press, London
In ‘Small Acts of Resistance’ Black Rat Projects brings together six international contemporary artists whose work bears the stamp of both the artist’s aesthetic vision and the activist’s world changing ambition.
Works by Peter Kennard, .Masters, Matt Small, Know Hope and Armsrock are on display from 4th Nov - 30th November 2010.
Occupying public space - whether it is within the realms of media and advertising or the architectural surface of the cities in which they work and live - has become a core characteristic of the way these five artists work. They have had their work published in books and magazines, shown in galleries, pasted in the streets and have performed in front of audiences. Between them they disrupt the smooth image that corporate capitalism seeks to spread at once highlighting its repressive character. An interventionist spirit informs their artistic practices and they are constantly engaged in a process of understanding how their work might function in the world, in a way that supports, and not conflicts with their ideals. It was apparent this project brings a group of likeminded artists together under one roof to explore common threads in their work and world views.
In relation to creative histories and industries, I felt this exhibition brought into perspective how work as personal as it may be connects and is viewed by the wider world.
The installations were inventive, stencils and sketches on rotten pieces of wood, and ceiling to floor floating sheets.
Probably not the place for a 'quick look' but an underground art world offering contemporary artists the chance to work along side eachother to create their vision.
In ‘Small Acts of Resistance’ Black Rat Projects brings together six international contemporary artists whose work bears the stamp of both the artist’s aesthetic vision and the activist’s world changing ambition.
Works by Peter Kennard, .Masters, Matt Small, Know Hope and Armsrock are on display from 4th Nov - 30th November 2010.
Occupying public space - whether it is within the realms of media and advertising or the architectural surface of the cities in which they work and live - has become a core characteristic of the way these five artists work. They have had their work published in books and magazines, shown in galleries, pasted in the streets and have performed in front of audiences. Between them they disrupt the smooth image that corporate capitalism seeks to spread at once highlighting its repressive character. An interventionist spirit informs their artistic practices and they are constantly engaged in a process of understanding how their work might function in the world, in a way that supports, and not conflicts with their ideals. It was apparent this project brings a group of likeminded artists together under one roof to explore common threads in their work and world views.
In relation to creative histories and industries, I felt this exhibition brought into perspective how work as personal as it may be connects and is viewed by the wider world.
The installations were inventive, stencils and sketches on rotten pieces of wood, and ceiling to floor floating sheets.
Probably not the place for a 'quick look' but an underground art world offering contemporary artists the chance to work along side eachother to create their vision.
4. EXHIBITION REVIEW
'Ever Young' by James Barnor
Rivington Place, London. 17th Sept - 27th Nov 2010
Barnor's archive was produced during a career spanning more than sixty years. It covers a remarkable period in history, and bridges continents and photographic genres, as it creates a transatlantic narrative marked by his passionate interest in people and cultures.
His street and studio portraits from the late 1940s to 1970s are shown for the first time in the UK in this exhibition.
Through the medium of portraiture, Barnor's photographs represent societies in transition: Ghana moving towards its independance and London becoming a cosmopolitan multicultural metropolis.
In the early 1950s, Barnor's photographic studio Ever Young was visited by civil servants and dignitaries, performance artists and newly-weds. Introducing a newly preserved body of work from the late 1940s to the early 1970s, the exhibition showcases fashion portraits in glorious colour, social documentatary, and street and studio photographs with elaborate backdrops.
His photographs simply draw you in; with 1940s family photo albums in glass cases, the exhibition makes you feel as if you've walked into a party
of history offering both documentary and fashion photography.
Rivington Place, London. 17th Sept - 27th Nov 2010
Barnor's archive was produced during a career spanning more than sixty years. It covers a remarkable period in history, and bridges continents and photographic genres, as it creates a transatlantic narrative marked by his passionate interest in people and cultures.
His street and studio portraits from the late 1940s to 1970s are shown for the first time in the UK in this exhibition.
Through the medium of portraiture, Barnor's photographs represent societies in transition: Ghana moving towards its independance and London becoming a cosmopolitan multicultural metropolis.
In the early 1950s, Barnor's photographic studio Ever Young was visited by civil servants and dignitaries, performance artists and newly-weds. Introducing a newly preserved body of work from the late 1940s to the early 1970s, the exhibition showcases fashion portraits in glorious colour, social documentatary, and street and studio photographs with elaborate backdrops.
His photographs simply draw you in; with 1940s family photo albums in glass cases, the exhibition makes you feel as if you've walked into a party
of history offering both documentary and fashion photography.
Thursday, 25 November 2010
Friday, 19 November 2010
'CREATIVE HISTORIES & INDUSTRIES'
Do artists/creative practitioners have more responsibility than other members of society for addressing social issues?
Contemporary artists are in an interesting place because they're one of the few sets of people who are allowed to think and create without any rules or boundaries. In one respect, their job is to keep imagining the unknown and the until-then-impossible.
In relation to the responsibility they 'may' have for addressing social issues, artists seem to be the only sector who can operate freely across disciplines and across issues; they seem to have that mobility that most people in most disciplines find incredibly difficult.
I also think that artists are licensed to ask questions, and that they do. They have the choice to address social issues and the art of being an artist is to freely express yourself in any way. Does that mean they have more of a responsibilty? They may have to answer to their work more so than say a journalist who covers social issues but I don't feel they carry more responsibility.
They can move across disciplines, work along side different practioners so should have the same or less responsibility than say someone who's sole job is to adress social issues.
Whether they create art that adresses social issues or not, artists and creative practioners will always cause controversy.
Contemporary artists are in an interesting place because they're one of the few sets of people who are allowed to think and create without any rules or boundaries. In one respect, their job is to keep imagining the unknown and the until-then-impossible.
In relation to the responsibility they 'may' have for addressing social issues, artists seem to be the only sector who can operate freely across disciplines and across issues; they seem to have that mobility that most people in most disciplines find incredibly difficult.
I also think that artists are licensed to ask questions, and that they do. They have the choice to address social issues and the art of being an artist is to freely express yourself in any way. Does that mean they have more of a responsibilty? They may have to answer to their work more so than say a journalist who covers social issues but I don't feel they carry more responsibility.
They can move across disciplines, work along side different practioners so should have the same or less responsibility than say someone who's sole job is to adress social issues.
Whether they create art that adresses social issues or not, artists and creative practioners will always cause controversy.
exhibitions
'Small Acts Of Restistance' The Black Rat Press - Rivington Street, London
Taylor Wessing Photographic Portrait Prize - National Portrait Gallery, London
'Shaped By War' Don McCullin - Victoria Art Gallery, Bath
'The Magnum Mark' - Magnum Print Room, London
'Ever Young' James Barnor - Rivington Place, London
Taylor Wessing Photographic Portrait Prize - National Portrait Gallery, London
'Shaped By War' Don McCullin - Victoria Art Gallery, Bath
'The Magnum Mark' - Magnum Print Room, London
'Ever Young' James Barnor - Rivington Place, London
Monday, 8 November 2010
'CREATIVE HISTORIES & INDUSTRIES' - Photography Controversies
Legal, ethical and political controversies have accompanied the entire history of photography since its invention in 1839. The rules that apply – or do not apply – to journalistic and artistic photographs today are the consequences of these conflicts and debates. Nevertheless, they are constantly being questioned and challenged anew.
The photographic image has been at the centre of important ethical debates and legal questions throughout the 19th and 20th centuries. As a symbol of free expression and the rights of individuals, but also of power and money, it has frequently come into conflict with authority and has had to face censorship and manipulation. It has provoked impassioned debates in the worlds of art, science, politics, journalism, fashion and advertising that have often ended in court. Most major photographers have been drawn into legal proceedings or controversies that have had important repercussions on their careers.
Photography is a symbol or free expression and the rights of the individuals, but also power and money.
It's at the heart of art, science, politics, journalism, fashion and advertising and although photographers are bound by a series of laws whose limits are constantly being tested the photography image has always and will always be at the centre of important ethical debates and legal questions.
The photographic image has been at the centre of important ethical debates and legal questions throughout the 19th and 20th centuries. As a symbol of free expression and the rights of individuals, but also of power and money, it has frequently come into conflict with authority and has had to face censorship and manipulation. It has provoked impassioned debates in the worlds of art, science, politics, journalism, fashion and advertising that have often ended in court. Most major photographers have been drawn into legal proceedings or controversies that have had important repercussions on their careers.
Photography is a symbol or free expression and the rights of the individuals, but also power and money.
It's at the heart of art, science, politics, journalism, fashion and advertising and although photographers are bound by a series of laws whose limits are constantly being tested the photography image has always and will always be at the centre of important ethical debates and legal questions.
'CREATIVE HISTORIES & INDUSTRIES' - London 2012 logo
Mixed reviews...mainly bad ones.
Although I understand that designing a logo that is representational and impact provoking is difficult, this logo doesn't initially do it for me.
Although the 2012 logo has been presented with promising descriptive text (besides the date) I don't think the logo itself attempts to reference anything of significance.
The logo alone works well, the typo is well balanced and constructed but the colours don't seem to compliment it.
However I do think that once the logo is applied to various applications, people will grow to like it.
Maybe this was an amazing piece of brand stratedgy from Wolff Olins...?
Friday, 5 November 2010
Friday, 22 October 2010
'CREATIVE HISTORIES & INDUSTRIES' - drug of consumerism
Dame Vivienne Westwood, a British fashion designer and businesswomen.
Best known for and largely responsible for bringing modern punk and new wave fashions into mainstream.
I've decided to post a blog about this excentric lady because I feel she pushes the boundries of 'mainstream' fashion.
Its as much about well tailored suits as it is cultural influences.
As a political activist she's joined forces with Liberty - the British civil rights group and launched a limited selection of tshirts bearing the slogan 'I AM NOT A TERRORIST, please don't arrest me' illustrating that fashion is not just about style but about communicating with the world whether it be representing culture or something not directly linked to fashion like climate change.
Shes most famous for her style of branding; Westwoods branding is entirely built around her own personality and charisma as a designer. Over time the brand and its 'orb' logo has become the designers identity. The amazing thing about her is that she controls her own branding, although graphic designers are at the route of the initial design process the brand is totally revolved around her and her fashion line.
Although still an independant and relatively small organisation/company, Vivienne Westwood has unconsiously managed to create a graphic identity that is focused, instantly recognizable and cosistent throughout her collections; it's this that makes her so iconic.
Thursday, 21 October 2010
Wednesday, 20 October 2010
creative practices....
I was planning on taking 24hrs to record all signs of creative practices, however there just isn't enough time in the day to even begin thinking about it.
Absoulutely everything I look at has been touched by the creative industries, from newspapers to school uniforms to paintings hanging in rooms yet never noticed.
The creative industry is behind all of this, from graphic designers to photographers to fine artists, they are the people behind everything we see.
Since researching the world of creative practices I've noticed the tiny details in a magazine, the difference in advertising and the difference a font can make.
The creative industry is the most powerful way of communicating to people who are often oblivious to the real design behind what they see.
Monday, 11 October 2010
What was the last image/object/artefact that excited you? How, why & where did you encounter it?
St. Nic Horizon 202 photograph by Markus Hartel, found whilst reasearching the world of blogging.
A gritty, black and white timeless collection of street photographs.
He says "kids, take a seat and let me take the photographs".
What excites you about your chosen area of Creative Practice? Why have you chosen to study it further?
I like being able to capture something that won't be here forever, I like feeling like i'm the only one who saw it at that moment.
When you photgraph somebody in colour you photograph their clothes. When you photograph people in black and white, you photograph their soul.
What do you hope to achieve at the end of these 2 years? What would you like to be doing?
I'd like to grow as a photographer, have the opportunity to photograph the extraordinary and possibly move into the world of photojournalism.
What sorts of things have you written about and/or researched specifically before? E.g are you particularly interested in a specific area, issue, theme, genre, subculture, type of design etc?
Documentary photography, street art, the decline in tradition and the effect of mass production.
What excites you now? What sorts of arts, design, performance, media, spectacles etc do you go & see/take part in? What do you read? What feeds your interests?
I like Bruce Davidson's style, the Brooklyn Gangs and the wonders of street life.
Street renegades, the new underground art. Artists frustated by wholesale corporate theft or street creativity and using different materials and techniques to get their work noticed.
St. Nic Horizon 202 photograph by Markus Hartel, found whilst reasearching the world of blogging.
A gritty, black and white timeless collection of street photographs.
He says "kids, take a seat and let me take the photographs".
What excites you about your chosen area of Creative Practice? Why have you chosen to study it further?
I like being able to capture something that won't be here forever, I like feeling like i'm the only one who saw it at that moment.
When you photgraph somebody in colour you photograph their clothes. When you photograph people in black and white, you photograph their soul.
What do you hope to achieve at the end of these 2 years? What would you like to be doing?
I'd like to grow as a photographer, have the opportunity to photograph the extraordinary and possibly move into the world of photojournalism.
What sorts of things have you written about and/or researched specifically before? E.g are you particularly interested in a specific area, issue, theme, genre, subculture, type of design etc?
Documentary photography, street art, the decline in tradition and the effect of mass production.
What excites you now? What sorts of arts, design, performance, media, spectacles etc do you go & see/take part in? What do you read? What feeds your interests?
I like Bruce Davidson's style, the Brooklyn Gangs and the wonders of street life.
Street renegades, the new underground art. Artists frustated by wholesale corporate theft or street creativity and using different materials and techniques to get their work noticed.
T
T
Sunday, 10 October 2010
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