part two

Reflection: The Emperors New Clothes

For this exercise I am going to use the example of Bloomberg & Chanarin. As they represent much of what I have been exploring more in Part 2. Namely confronting art or artists that initially aggravate me. When reflecting earlier on the examples from the genre Conceptual Photography, I saw the response of Sean O’Hagan, art critic for The Guardian and Observer to B&C’s work The Day Nobody Died (see fig. 1.). Like O’Hagan my threshold for self-righteous grandstanding was crossed when I learned the concept behind the work. Writing later in The Guardian, he sums it up perfectly saying “The phrase "when viewed from the right perspective" is crucial here, suggesting that there is only one "right perspective" – their own.” (O’Hagan, 2011).

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Reflection: Accidents

When first engaging with BoW I spent a day playing around with the absolute basics of photography, light itself. I had a macro adapter connected to my camera and passed light through a prism. Getting up close with a home-made colour spectrum was fun. Later on when I returned to my desk I had left the live view function on the camera where I could see the abstraction below. I aligned the camera more centrally and took a few frames. What engaged me was that all of the elements in frame are what we would call white. The shadows, the walls, window frame, blind and paper lamp.

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Reflection: The Frank Album and Thomas Ruff's JPEG

I have a sense of ambivalence to The Frank Album. I am not particularly against the use and reuse of image sharing on the internet. For studies I frequently do so myself, referencing other artists work to articulate or support my points. However I am not seeking profit from this, as in keeping with current copyright laws I am referencing for academic and personal purpose. This is the area I find problematic.

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