[07 Feb 2020]
JEMIMA STEHLI ‘CHAIR’ (1997-8)
What immediately drew me to this photograph was its large size; I was fascinated by the high quality of detail kept in an image blown up so large. This got me wondering if it was shot on large format film and exposed onto a huge piece of light-sensitive photographic paper. Even if it was shot digitally, this has got me interested in shooting and printing in large format in future projects. I think Stehli was brave to use herself as a model then print the image to almost life-size, and it works well to communicate reclaiming her own female image.
Upon research I found this photograph was a response to Allen Jones’ controvesial sculpture ‘Chair’, which caused outrage in feminist groups, and was protested against for objectifying women and fetishising the female body. I think by recreating the sculpture using herself with no makeup, in black and white, strips away the problematic “male gaze” aspect of the original piece. She has recreated it with a natural looking woman, stretch marks visible, to celebrate and exhibit the female form on her own terms.
TIM HEAD ‘GRAVITATION’ (1979), ‘LEVITY II’ (1978)
Tim Head’s photographs were very experimental for the time; exploring optical illusions and playful perspectives of simple objects. I found it inspiring how Head managed to take regular everyday objects and play with composition and angles to make interesting and confusing images. Especially ‘Levity II’ which made me feel dizzy looking at it; once looking at the photograph upside down (or the right way up) my eyes could make sense of it.
HAYLEY NEWMAN ‘STEALTH’ (1996-8)
I find this photograph visually stunning. The contrast of the pale, naked figure and pitch black background completely isolates the subject. I really admire the lighting used to completely freeze this leaping motion, which looks strong and bright, but the figure’s movement still appears soft and silent. I find this photograph captivating because it is showing the female form performing in a dynamic way that I haven’t seen in art pieces before.
However I do struggle to comprehend the concept by going solely off this photograph. Newman’s photograph is intended as an exploration of the documentation of performance art. I understand what it is exploring, but I don’t understand how it questions the nature of performance art. Perhaps it is a take on the visual genres most associated with the documentation of performance art? This would explain the theatrical photography vibe I get from the aesthetic of ‘Stealth’.
SARA BARKER ‘ALL CLOCKS ARE CLOUDS, ALL CLOUDS ARE CLOCKS’ (2020)
I found Sara Barker’s mix of materials used in her pieces interesting, I liked the 3D layers to her pieces, and how dreamlike they appeared. It was her intention to explore spaces within our minds, memories and literature (spaces that can’t be touched), using the contrasting materials of rigid metal work and flowing paint texture. Looking at her work got me wondering how it would look to add a photographic element to her pieces, or, how to justify adding paint or sculptural layers to my own photographic work.
oliverclarkephotoppp1 