The tutor’s report for the assignment is Here.
All Related Posts for the assignment can be found either Here or by using the link nested beneath the heading Identity and Place in the blog’s top navigation.
File versions of the five A4 prints contained in the physical submission can be found on the assessment G: Drive as can a revised artist’s statement.
Assignment 2 – Revised for Assessment
In its original form, this assignment was not well received by my tutor, who described it as just a selection of my holiday pictures. Which in a way it was.
What I had been trying to do was to take posed, photographs in uncontrolled places (beaches, on the windy upper deck of the ferry north) at times when the lighting seemed suitable, and to take unposed observational pictures in more controllable conditions indoors. As Robert pointed out, I was probably over-thinking things.
However, the phrase ‘holiday photos’ started me thinking about the differences between vernacular uses of photography and the more rarefied designation of some photographs as ‘art’. Rather than submitting a set of varied portraits of James for assessment – a suggestion made during the online tutorial – I have instead taken Grayson Perry’s definition of art being anything that an artist says it is from Playing to the Gallery and run with it!
The physical submission for this assignment consists of two observational photographs from the original submission for the assignment, one portrait of my son taken after visiting the Ruff retrospective at the Whitechapel Gallery and two constructed ‘installation views’ featuring my pictures, elevated to art status on the walls of the National Portrait Gallery (replacing two of the Ruffs) and – at the top of this post – the Photographer’s Gallery (in the frames for three of Wim Wenders’ polaroids).
In the end, I think this assignment examines my twin identities as a parent with a camera and (vice versa!) as a photographer (an artist, even?) who is also a parent…
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