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“There is nothing worse than a sharp image of a fuzzy concept.”
Ansel Adams
Critical & Contextual Studies
Welcome to AS/A2 Contextual Studies
in Photography.
Over the next 3 weeks you will be exploring an understanding of a narrative in an image. The relationship created by the maker with the audience and your demonstration of its context.
Art through photography have had a long relationship giving you a rounded exposure to different aspects of artistic endeavour, allowing you to display your abilities in a variety of disciplines and demonstrate your understanding of these contexts.
You will encompass breadth and depth theough your studies by building on the strengths.
You will produce a portfolio of work which has a personal significance.
An investigation to include a related personal study that must be between 1000 – 3000 words.
And finally select one starting point from an early release question paper in which a 15 hours of controlled assess piece of work will be submitted demonstrating Planning, Preparation and Realisation with outcome.
A critical awareness of the social, cultural, historical and economic meanings contained within own and others’ art and design work.
Knowledge is the communication of meaning through a critical and contextual response. This includes methodologies such as visual analysis, materials and technical analysis and critical discourse.
Understanding is demonstrated by applying appropriate analytical skills in a variety of differing situations, for example, studio based work; design in the environment, paintings in a gallery. This can be evidenced through both theoretical and practical outcomes.
Skills are defined as the use of formal elements, techniques and technologies and their application to a selected media.
Semiotics
" the study of signs and symbols and their use or interpretation."
Semiotics can translate a picture from an image into words. Visual communication terms and theories come from linguistics, the study of language, and from semiotics, the science of signs. Signs take the form of words, images, sounds, odours, flavours, acts or objects, but such things have no natural meaning and become signs only when we provide them with meaning.
The semiotic theories are not definite but constantly being reviewed, extended and developed to become more precise and improve the significance of the information gathered when these theories are applied to works of art.
Visual Art consumers have become highly sophisticated readers of signs and signals, decoding subconsciously art work compositions. Everything surrounding us human beings today, including our own identities are all moulded and manipulated by signs, words, images and our visual language.
Communication can be a form of mind control, the same happens with artworks with a conceptual meaning that stand and activate other people’s minds.
The principles of semiotics come in use when we begin to map out and decode
Begin by selecting an image/ link from the collection below and begin to decode the meaning in which the image has be presented allowing you to explore, develop and extend the true hinden meaning.
Henri Cartier-Bresson
David Bailey
Nick Knight
Ken Grant
Your initial task is to select one of the images above and begin to research in depth the work and artist. Through this task you will learn how to place photography within a historical, political and social context and establish links and connections between different times, ideas, artists and events.
Share your outcomes with another person to form a connection which will link you to the next task.
Create a mood boards: presenting a collection of images and text related to a design/artists as a reference point and elaborate with your own critical judgements.
THE PROJECT
In groups, you will be making a Photography History Timeline banner. There are several points you will need to know for this unit:
The first photograph – When, where and who.
What was the process? The Daguerreotype Process – When, where and who.
What was the process? George Eastman – What company did he start? What did he invent?
What is a “Camera Obscura?”
Each group must choose a different theme, but they all must have the main Photography History line. Your group will need to pick one of these themes:
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Sports
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People/Documentary
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National Geographic
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World Events
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US Events
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Fashion Styles
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Photo/Camera Types and Styles
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Architecture
You will have two weeks to complete it. And then we’ll hang them in the unit, so make it rock!
COLLABORATE AND COLLECT
Choose a leader, make assignments and delegate responsibilities.
First, PLAN OUT YOUR TIMELINE. Check out To get an “A” grade, timelines must include the following items:
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First photographic image – by whom, where and when
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Daguerreotype process – created when and by who and what is it (include sample image).
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3 important events in photography by George Eastman/Kodak with dates and description
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6 photographic historical developments – from Camera Obscura to Digital with dates/what (include images)
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At least 6-10 photos based on your theme, infused into your timeline with dates and descriptions.
Second, use online research tools to gather photos, diagrams, drawings, etc. Or make them yourself through photoshop!
CREATE AND COMPLETE
Create your timeline banner for placing your people, places, photos, things and events using the provided banner paper, starting from Your date of birth on the left to the present on the right. Be creative and artistic! You may use all of the materials in class, glue, paper, scissors, markers, etc. Think QUICK SCRAPBOOK. Make it any style (steampunk, grafitti, classical, Deco, whatever). Indicate what THEME you chose on your banner.
Hang your timeline in the hallway at EYE level.
Review
First images are encoded by the producer, then decoded by the viewer.
Reading the sign...
The aim of the next project is to develop your own work rather than duplicating your source.
This makes your work more personal and can be a valuable way of discovering new possibilities and developing your ideas further.
"it is a miracle that curiosity survives formal education."
Albert Einstein
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An object, an artefact or a person that have cultural, religious or symbolic significance from different times or places.... Curiosity..."FINDERS KEEPERS"
BEGIN......Write an introduction that leaves the reader wanting more…
Your introduction should explain your interest in the subject and the personal connection that you have to this. Use it to narrow down your focus and make it more specific. For example: “I am choosing to focus on… (Artist / art movement) because…it astounds me how…/ I find it fascinating that…/ I’m curious to know why…/I hope to show / share / highlight / discover…”. Aim to draw the reader in with each step.
Other aspects to consider:
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What is the relationship that you want to establish with the reader?
For example, do you have a deep understanding of this subject that you will share? – Is your tone that of an expert sharing insights? Or, alternatively, is the reader on a journey of discovery with you? – Are you using an investigative question at the start that you then set out to answer? -
Introducing key aims or investigative questions
For example: “I’m particularly interested in how moving to the coast influenced the work of Per Bak Jensen - metaphysical realism; capturing his surroundings has had a big impact on my own creative development…”Doing this will also help when it comes to writing a conclusion, planting markers to revisit. -
The meat in the sandwich
In this main section you might wish to:
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Focus on specific artworks – analyse and unpick these in depth, in relation to your own work and experiences.
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Reference wider contexts – this might include other works (by your chosen artist, yourself, or relevant others), or other significant moments, events, or connections – for example, of personal, historical or cultural significance (see below)
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Include explanatory illustrations – for example, overlaying artworks with explanatory graphics / text to support your insights.
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Consider where to place most emphasis – for example focusing on TECHNICAL, VISUAL, CONCEPTUAL or CONTEXTUAL analysis. (You might cover all of these but, for example, if your focus for the year has been developing observational and technical skills with painting, conceptual insights might be less relevant).
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Writing your thoughts
When writing personal opinions there is a danger that these can be too simplistic. Consider the progression in the points below:
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Your initial reaction – informed by instinct, taste, likes and dislikes, interest in / relevance of subject matter.
This can offer valuable insights when justified E.g. “I like this because…”. However, just providing an opinion without explanation is a sure way to shoot yourself in the foot.
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A basic / superficial understanding of wider contexts. This might demonstrate growing understanding but can be even more dangerous: “I’m interested in fashion because I like how Tim Walker images fuse art with photography”; “I like photography because it uses a camera to capture time”. Not good; quiet despair.
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Based on a deeper understanding / complex grasp of wider contexts – demonstrating a confident stance and justified, well-informed opinions: “I’m interested in space in photgraphy particularly how the depiction of multiple viewpoints – stimulated by Andreas Gursky explorations of form – revolutionised…”; “I’m interested in how Pop Art draw inspiration from sources in popular and commercial culture through the printed image which sore images emerged as a response to Abstract Expressionism, it strikes me as a mischievous movement that counter-balanced…”
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From an alternative perspective – Perhaps more of an expectation at degree level, but are you able to place yourself in sombody else’s shoes? For example, can you argue or justify an alternative viewpoint e.g. from a feminist, modern, or post-modern perspective?
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Concluding your essay
This is an opportunity to:
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Summarise your study and show the benefits of doing it.
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Revisit your introduction – specifically the aims or investigative questions set out at the start. (You do not need to have definitive answers though; reflective, new, unanswered questions can have value too).
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Summarise key findings that have come from your research and analysis.
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Offer reflective, personal opinions on your research, and how this has shaped your own practical work.
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Share thoughts on potential opportunities for future exploration – themes / artists / experiments you might explore if given more time.
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Include a short reflection on the process of the study itself – the research and thinking skills that you have developed.
No need to cover all of these in your limited word count. Identify the insights that resonate most; don’t let your hard work whimper out in these final stages.
Including a bibliography
This details any resources that you have used for your essay, including websites, books, articles and videos. Try to list these as you go along rather than having to back-track. Set it out like this:
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Author – put the last name first.
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Title – this should be underlined and in quotation marks.
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Publisher - in a book this is usually located on one of the first few pages.
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Date – the date/year the book/article was published.
Contextual Studies: Esssay Questions and Ideas.........
Is a photograph ever alone?
What is the relationship between art and media
Can a still image speak?
How does photography expanding the boundaries and traditional uses?
How does an image captured by a camera reveal the moment of a living being yet does this stay trapped forever?
How does the notions of objectivity and empiricism in the photographic image since disappeared ?
The photographer assumes a role of tremendous responsibility in reporting literally as a communicator. The mind dexterity and the ability of the person with the camera can become the vehicle.... But HOW?
Using one image that you feel is representative of the work of a particular photographer, movement or genre, contextually deconstruct the image, in an objective and considered way.
'Photography has played a controversial but an important role in the arts for the last 150 years'. The question is still debated whether photography is an art or a form of documentation seen by the eye instead of the mind
To explore how photography and film have changed our notion of art, When you look at a photograph from your favorite photographer what do you see? Does it remind you of your past or make you think of the future? What if there was a photographer that made you think of not only the past but also the future as...
Why is the photographic image so powerful & iconic, how do they produce connections of timelessness, and emotional context. What are the perspectives around image making in addition, what is its relationship to painting?
Personal Investigation
Stuck: You could select one of the following starting points and begin to research 4 artists that depict, convey or reflect your ideas.
Learning Objectives:
Analyse the work of the selected artists you chose.
Explain the relationship the selected artists work has on your own ideas and your own personal planned work.
Your outcomes can be presented in any appropriate format.
How to present your reseach /essay...
In your personal responce decide on the narrative in which you will be investigating and final representing.
This is key to the success of your project and overal grade to be achieved.
How could you denote the information and your personal responce in a innovative and creative maner.
You may wish to create a short film, create a ebook through iBook author or indesign, produce a series of posters, or maybe a magazine cover and double page spread....the posibilities are endless.
Your representition of the critical and contextial investigation must challenge and signify the information yet accessable to the auidence in a new creative context.