“But is is real, Simon?”
It is March 2003 and I am standing in the snow at the big crafts, antiques, art and soviet tat market at Ismailovsky Park in Moscow. Mike – a colleague from work – is holding a rather lovely bakelite radio that looks as if it is from the early sixties. In the end he will not buy it and then spend lots and lots of time regretting not having bought it, despite my answer that, a: it looked fairly real to me, and b: that it was a lovely thing and obviously gave Mike pleasure as an object. So what did its provenance really matter?
I thought about this exchange quite a lot during the first part of this course. Continue reading
after shafran – chirgwin, 2017
“Go to the artist’s website and look at the other images in Shafran’s series. You may have noticed that Washing-up is the only piece of work in Part Three created by a man. It is also the only one with no human figures in it, although family members are referred to in the captions.
1: Did it surprise you that this was taken by a man? Why?
While I cannot think of any male photographer’s whose work includes large chunks of the sort of scrutiny of their (naked) self that you find in Woodman’s work, or who would document the way going through IVF-treatment with their partner (or even just ” trying for a baby”) effects them in the way Brotherus does, there are plenty of women who take pictures of mundane details from their lives. Indeed, there is a strand of this running through Brotherus’ Annonciation.
So, I wasn’t at all surprised that Shafran’s washing up pictures were taken by a man, but I wouldn’t have been surprised if it had been taken by a woman either. Continue reading
There are three questions posed on page 80 of the coursebook; I shall try and deal with each of them briefly… Continue reading
I’ve just noticed that this post’s trigger from the coursebook says “Make some notes”. This is more like an essay. Or a short book.
The first time this post was saved was on – good grief! – the 28th of June 2015. I have written a bit, gone off to do an exercise, come back, written some more, gone away and done the assignment, put off writing up the other exercises and now come back here again, after I have completed all the write ups for part five and begin to prepare the module for assessment.
And so, for the umpteenth time, I realise that I really must start working in a way that produces shorter, more notey, blogposts…
Simon Chirgwin, April 2017
And now here is what I started writing last June; I have changed hardly anything; I cannot understand why I didn’t just hit “publish”… Continue reading
“Really well written descriptions and then interpretation of Cartier Bresson’s Alicante, Valencia Spain, 1933. The contextualisation with reference to surrealism […] is well formed […] the exploration of form and content which gives rise to these contextual meanings is well researched, looking at gesture, formal signs as well as the ambiguity (gender) of the subject and the way the ‘returned gaze’ questions these assumptions […] is well grounded […] This is a quite comprehensive review and a nice discursive style (yet still retaining a critical analysis).”
– Formative Feedback to Assignment 4, Garry Clarkson, OCA Tutor
Garry’s feedback – both during another marathon google hangout and in its distilled written-down form – to my short essay on Cartier-Bresson’s photograph taken in Valencia in 1933 was gratifyingly positive. Continue reading
Three women, frozen in time, are looking out at me, doing… something.
fig 1. Henri Cartier-Bresson; Spain – Valencia Province. Alicante. 1933.
Each woman touches one of the others. On the left – wearing a pointy hat and a floral-patterned dress – a Mexican-looking woman has one hand on the back of the head of the woman next to her while her other hand stretches around her right shoulder holding – bang in the middle of the picture – a straight razor. On the right, a dark skinned – African? – woman leans back. Her hair is pushed from her temple by the central figure’s left hand. She raises her left hand defensively towards her face; its palm is either warding off a blow or trying to block the camera’s view. The fingertips of her other hand brush delicately over the strap of the slip crossing the central woman’s right shoulder. This figure leans in towards us wearing a marvellously neutral expression, emphasised by the light patch of out-of-focus plaster behind her and her head’s size within the frame.
I looked again and paused. Is the woman in the middle a man? Her clothes are hard to read – is that slip actually a man’s vest? – the angle and the tangled arms mean you cannot see whether she has breasts. Her face is quite masculine, and her eyebrows, while shaped, are thick. But the arms and face are hairless, too – the razor? Is it a woman being dressed up as a man? Continue reading
scan of a print proof, made during my development of the final picture (post-poem, pre-guardian dimensions)
1: Demonstration of technical and visual skills
Described simply, the work for this assignment takes two things – a picture based on a French advertisement and one of TFL’s poems on the underground – and combines them into a single whole, capable of multiple readings. I think the picture hangs together conceptually and aesthetically, creating an image that is good to look at. Continue reading