For the first part of our Cover Story schedule on Friday we watched a film documenting Annie Liebovitz' work. I had seen it before last year but I was interested to watch it again. The first time I had watched it, it was the photographs of Liebovitz dying father that had captured my interest. But this time it was the overall style of her imagery and how her work evolved that was of interest to me.
The film began by showing her work with rock bands of the 1960's. I have always liked this era, probably because it is my era . I grew up in the 1960's and have fond memories of the music of that time and the connotations it holds for me in my life.
Liebovitz images are pure documentary, showing life as it was on the road. They are insightful, and capture an intimacy that no other photographer before her had been able to capture. The images tell a story of how life was for bands such as The Rolling Stones, and they hide nothing.
When she moved on to more elaborate themes and settings for Vogue Magazine, her work became "stylised" and these images had no "heart" in them. They are majestic and strong yes, but there is no emotion or feeling of intimacy as in her early work which I much preferred.
She documented both her father's and her partner's(Susan Sontag) illness and subsequent deaths, which I felt was much more in keeping with her true style of work. These show all the emotions of sadness and grief, and give a better picture of the woman behind the camera. I feel that her work has much more impact on the viewer when she allows herself to explore her feelings, and to show the essence of the person sitting in front of the camera.
It has been said that the essence of a person cannot be captured in a photograph, but I don't agree with this. I think if there is intimacy, and if time is taken by the photographer to "know" the sitter, then you can see the essence of the person in their eyes. The eyes, in my opinion, being the windows of the soul and the expression on the face giving information about what lies within the soul. Great photographer's have for years been able to capture these things on film. Nadar, David Bailey and Cecil Beaton being but a few.
Annie Liebovitz is a great photographer and her work moves me.
About Me
- Penelope Davies
- Carmarthen, West Wales, United Kingdom
- All images Copyright of Penelope Davies.
Sunday 27 March 2011
Lloyd Scott Tyler - Visiting Lecturer
www.ana-rchy.co.uk
Lloyd Scott Tyler spoke of the types of work involved in the Fashion Industry. i.e. Production, Editorial, Shows and Commerical. He spoke of it as a fast paced and competitive environment. It was interesting to hear his advice to those students who are inclined towards this type of work, but it is not something that I would ever consider or be suited too. I will enjoy a more slow paced life when I finish college!
He imparted some sound advice ..... to be inventive with style and clothing ..... to source clothes from many different people, friends, family, street style ....to mix high street fashion with high fashion .... to look at all kinds of sources from Hollywood to Music to the objects and sculpture around us, to how emotions affect us and then to look at fabrics...the colour ... the patterns and the themes.
The evolution of fashion is very much in line with the evolution of the photograph ...taking sources from history ...using derivation and evolving a style to suit the individual artist/designer.
As a more mature student I have seen many fashions come and go. But the one thing I do notice is that nothing is really original. Everything is derived from history .... everything makes a re-appearance in one form or another.
I enjoyed Lloyd Tyler's lecture/discussion,he portrayed someone who is enthusiastic about his work and remains excited about what he does. He was generous in his sharing of knowledge, and seemed like a friendly and helpful person to get in touch with if Fashion is your "bag."
Lloyd Scott Tyler spoke of the types of work involved in the Fashion Industry. i.e. Production, Editorial, Shows and Commerical. He spoke of it as a fast paced and competitive environment. It was interesting to hear his advice to those students who are inclined towards this type of work, but it is not something that I would ever consider or be suited too. I will enjoy a more slow paced life when I finish college!
He imparted some sound advice ..... to be inventive with style and clothing ..... to source clothes from many different people, friends, family, street style ....to mix high street fashion with high fashion .... to look at all kinds of sources from Hollywood to Music to the objects and sculpture around us, to how emotions affect us and then to look at fabrics...the colour ... the patterns and the themes.
The evolution of fashion is very much in line with the evolution of the photograph ...taking sources from history ...using derivation and evolving a style to suit the individual artist/designer.
As a more mature student I have seen many fashions come and go. But the one thing I do notice is that nothing is really original. Everything is derived from history .... everything makes a re-appearance in one form or another.
I enjoyed Lloyd Tyler's lecture/discussion,he portrayed someone who is enthusiastic about his work and remains excited about what he does. He was generous in his sharing of knowledge, and seemed like a friendly and helpful person to get in touch with if Fashion is your "bag."
Darren Regan Visiting Lecturer
Darren Regan was quietly spoken, and I think quite a shy young man. It was difficult to hear him and the inflection in his voice was non existent, which made the whole experience of listening to him a bit of a chore. His work was contemporary and did not particularly appeal to me but had he been a little more enthusiastic and a little less shy, I would have enjoyed his lecture more. There was a humorous side to his work but this didn't come across very well.
He began by showing us his early work which was of more interest to me than his later pieces. His BA Series of clothing hung on trees in the midst of a misty landscape, had a haunting feel to it. He said that it was a reaction to his background growing up in a Christian Family and of leaving it behind to embark on a new chapter in his life. I found this quite moving. It was a difficult subject for him to discuss, he said that he rarely talks about this work which was unfortunate because I felt that this particular work would have captured more of my imagination.
His next work were multiple exposure prints, again shot in the landscape. I could see what he was trying to achieve experimenting with the contrasts and allowing the camera to pick up details as he moved it from side to side. But personally I wasn't that enamoured with the work.
One of the things he spoke of did resonate with me. He said that it wasn't until he left college that he began to experiment with Studio Lighting and the Large Format Camera. I was a little relieved when I heard this as I thought that I was one of a very few students who avoids using this equipment because of some kind of fear of it. So his admittance of this fact gave me a little hope!
He went on to talk about his more recent work, shooting images of stuffed animals. It was the idea behind the work that struck me more than the actual images themselves, which I did not like. The idea of stuffed animal doesn't appeal to me at all because of the connotations of people keeping their "pets" or "hunting trophies" in their homes as opposed to giving them back to the land. But his idea behind the work is in the context of "What is natural" and "What is not"..... our perceptions of "natural" like everything else are limited in our knowledge of a subject. He referenced Squirrels. There are now more grey squirrels in the UK than red squirrels, and the general consensus is that the red squirrel is more "natural" than the grey squirrel, when in fact it could be an evolutionary factor that has seen the growth of more grey squirrels in recent years. This did make me think about my own idea of what is "natural." I have mourned the passing of the red squirrel thinking that it is the fault the grey squirrel being brought into our country,but have to admit that it could indeed be a consequence of societies need to construct more building thereby making the countryside appear more "grey." This may be a nonsense way of thinking but I think I see what he was getting at!
By the end of the lecture I'm sorry to say that I was incredibly bored and fidgety. I had had enough of looking at images of stuffed birds perched on a stick placed in front of a mirror, and I am bored writing about it so I am sorry but I cant write any more!
He began by showing us his early work which was of more interest to me than his later pieces. His BA Series of clothing hung on trees in the midst of a misty landscape, had a haunting feel to it. He said that it was a reaction to his background growing up in a Christian Family and of leaving it behind to embark on a new chapter in his life. I found this quite moving. It was a difficult subject for him to discuss, he said that he rarely talks about this work which was unfortunate because I felt that this particular work would have captured more of my imagination.
His next work were multiple exposure prints, again shot in the landscape. I could see what he was trying to achieve experimenting with the contrasts and allowing the camera to pick up details as he moved it from side to side. But personally I wasn't that enamoured with the work.
One of the things he spoke of did resonate with me. He said that it wasn't until he left college that he began to experiment with Studio Lighting and the Large Format Camera. I was a little relieved when I heard this as I thought that I was one of a very few students who avoids using this equipment because of some kind of fear of it. So his admittance of this fact gave me a little hope!
He went on to talk about his more recent work, shooting images of stuffed animals. It was the idea behind the work that struck me more than the actual images themselves, which I did not like. The idea of stuffed animal doesn't appeal to me at all because of the connotations of people keeping their "pets" or "hunting trophies" in their homes as opposed to giving them back to the land. But his idea behind the work is in the context of "What is natural" and "What is not"..... our perceptions of "natural" like everything else are limited in our knowledge of a subject. He referenced Squirrels. There are now more grey squirrels in the UK than red squirrels, and the general consensus is that the red squirrel is more "natural" than the grey squirrel, when in fact it could be an evolutionary factor that has seen the growth of more grey squirrels in recent years. This did make me think about my own idea of what is "natural." I have mourned the passing of the red squirrel thinking that it is the fault the grey squirrel being brought into our country,but have to admit that it could indeed be a consequence of societies need to construct more building thereby making the countryside appear more "grey." This may be a nonsense way of thinking but I think I see what he was getting at!
By the end of the lecture I'm sorry to say that I was incredibly bored and fidgety. I had had enough of looking at images of stuffed birds perched on a stick placed in front of a mirror, and I am bored writing about it so I am sorry but I cant write any more!
Saturday 12 March 2011
Monday 7 March 2011
Client Brief Reflections ....
I decided to go out and take a few more shots of the Public Art today. I wanted to see what "art" there was at Scott Business Pk and Woolsley Business Pk. Its all a bit laughable really, none of the pieces that I've seen and recorded up to now have had any impact on me apart from "Is that It?" I'm finding it hard to believe that the Council have actually commissioned (?) and paid for this stuff. There is so much talent out there and I'm sure that more thought could have been put into the choice and installation of art around Plymouth. I actually find it quite a tragedy that so much money has been wasted and that the art has not been chosen with any kind of discernment. This is obviously only my opinion but I don't believe that I am alone in my thinking.
I have now shot about 35 of the Public Art Pieces; these will be my contribution to the first part of the brief. I have created folders for the images to show to the Client, but I have yet to edit and name them. I'm not sure that my images are sharp enough or that they are shown in the context required by the Client. But I have found it very difficult to photograph the images from straight ahead or to show them clearly in their setting. The Client asked that they were not shot at an angle, but with some of the art, that is actually quite impossible. I have done the best I could to show the pieces in the allocated space and I feel that there is very little more I can do.
The second part of the brief is the "Creative" ... the client has highlighted some pieces for myself and Nicholas to consider photographing for this part. But after my tutorial last week with Tim and Dave, I feel that it is more appropriate to create something a little more original. My intention is to write to the Evening Herald and ask the readers to send me an email giving me their opinions on the Public Art, if indeed they have noticed it or if they even know where the art is. If I do not get enough response for this, I have decided that I may give my own opinions about some of the pieces and I will do this in Book Form. I'm not sure yet if this will be humorous/satirical, or if I will point out how little the art is cared for after it is set in place. I have noticed on so many of the pieces that either the plantation around the piece is completely unkempt, how rusty some of the work has become and there is little or no "aftercare," or I may give a brief factual and statistical informative account, such as who was the Artist, how much did it Cost, when the work was put in place etc. Another idea is to photograph the pieces in a more abstract manner using a Macro Lens to show the rust, graffiti or peeling paint. There are numerous ways I could fulfill the creative brief. At this point I am sifting through ideas.
Here are a few images I shot today.
I have now shot about 35 of the Public Art Pieces; these will be my contribution to the first part of the brief. I have created folders for the images to show to the Client, but I have yet to edit and name them. I'm not sure that my images are sharp enough or that they are shown in the context required by the Client. But I have found it very difficult to photograph the images from straight ahead or to show them clearly in their setting. The Client asked that they were not shot at an angle, but with some of the art, that is actually quite impossible. I have done the best I could to show the pieces in the allocated space and I feel that there is very little more I can do.
The second part of the brief is the "Creative" ... the client has highlighted some pieces for myself and Nicholas to consider photographing for this part. But after my tutorial last week with Tim and Dave, I feel that it is more appropriate to create something a little more original. My intention is to write to the Evening Herald and ask the readers to send me an email giving me their opinions on the Public Art, if indeed they have noticed it or if they even know where the art is. If I do not get enough response for this, I have decided that I may give my own opinions about some of the pieces and I will do this in Book Form. I'm not sure yet if this will be humorous/satirical, or if I will point out how little the art is cared for after it is set in place. I have noticed on so many of the pieces that either the plantation around the piece is completely unkempt, how rusty some of the work has become and there is little or no "aftercare," or I may give a brief factual and statistical informative account, such as who was the Artist, how much did it Cost, when the work was put in place etc. Another idea is to photograph the pieces in a more abstract manner using a Macro Lens to show the rust, graffiti or peeling paint. There are numerous ways I could fulfill the creative brief. At this point I am sifting through ideas.
Here are a few images I shot today.
This sculpture stands at Scott Business Pk. It is inspired by the interaction of water and ice on the underneath of icebergs. Artist Steve Geliot (1967)
Affectionately named by Local People as "Weetabix"
Gates at the Entrance to Scott Business Pk.
Artist Noah Taylor (2003? Exact Date Unknown)
Sculpture of a Figure with a Chain
Woolsley Business Pk
Artist Unknown. Date Unknown.
Back View of Figure with Chain
Stainless Steel Dove Sculpture (2007)
Milehouse Junction
These images were shot early afternoon which is not the best time of day to take photographs, but as my Client wants Blue Skies I have been going out with my camera when the weather conditions are appropriate. I am also having to walk everywhere and it is at this time that I have time to go out. If I can, I may re-shoot some of the pieces.
Sunday 6 March 2011
Reflections to Date ... Cover Story
I've just realised that both the deadlines for our Assignments Cover Story and Client Brief are due on the 5th May. I have decided that I may use one of the images from my "Shadows" project as one of my book covers. I like it and feel it is appropriate; in the light shadow, there is the shape of what looks to me like a skeleton, it looks male and as my book is "The Invisible Man," I think that it's quite creative.
For my second book cover I will try and use the "eye" idea, photographing the eye as it drops into a glass of water. It will probably take a few experiments to do this but if I can get my daughter to help me, it will make the process easier.
I am worried about the Author Portrait, but I still have time to find someone. I would like to get that done soon, as I will have to process it in the Dark Room and as I haven't spent much time in there this term, I will need to hone my skills to perfect the final print. But I am getting ahead of myself as I said, I haven't yet taken any. I had originally asked the guy in the library IT Dept, but as I haven't spoken to him recently and he wasn't too keen on the idea, I think I will have to find another model. My friend's son is dark skinned so maybe I could ask him. I'm not confident enough to ask a total stranger in the street. It's not something I would find easy to do.
In fact the whole process of a Portrait Photography is out of my comfort zone and I don't enjoy the experience. I'm not comfortable asking people to pose, and I am not good at putting other people at ease either. The last portrait sitting I did was for the Work Based Learning; my artist looked very uncomfortable in the image I shot of her. I will of course have to get over this somehow.
Reflecting on the assignment so far, I enjoyed reading the Penguin Modern Classic but wish I had chosen a book with a different author. I have been working on my Sketch Book and am fairly up to date with this. I need to complete the section on Penguin History and I need to shoot more images, the sketch book is fairly devoid of images. After the Lecture and Workshop last Friday, I now need to research some photographic history and add this to the mix. There is still a lot to do.
I am finding the work load relentless because we are working on so many different assignments at the same time. I feel under a lot of pressure to get the work done, but at the back of my mind is the thought that I wanted to study for this degree to discover if I had any creative talents, and to develop my photography and conceptual awareness. My motivation for enrolling on the course was not commercial or work based, and I am wondering if maybe I have taken on too much.
My own projects are far more enjoyable than the projects I'm having to do for college. Was this the right choice for me ... I really don't know. I am drawn to photography of the soul, not photography that is a challenge to my technical skills as I am realising that technically I am not really very good at all. Its the mood of an image that draws me, not whether it is sharp or not. If I was intending to be for example a Wedding, Portrait or Commercial Photographer, I know that technical skill would be imperative. But I don't intend being any of these things, I just want to continue being creative with my cameras for the sake of being creative.
Time will tell if I am able to complete this year's work, but I am not going to beat myself up about it if I don't make the grade. From a personal perspective as a mature student, I dont have the same drive or energy as the younger students.
For my second book cover I will try and use the "eye" idea, photographing the eye as it drops into a glass of water. It will probably take a few experiments to do this but if I can get my daughter to help me, it will make the process easier.
I am worried about the Author Portrait, but I still have time to find someone. I would like to get that done soon, as I will have to process it in the Dark Room and as I haven't spent much time in there this term, I will need to hone my skills to perfect the final print. But I am getting ahead of myself as I said, I haven't yet taken any. I had originally asked the guy in the library IT Dept, but as I haven't spoken to him recently and he wasn't too keen on the idea, I think I will have to find another model. My friend's son is dark skinned so maybe I could ask him. I'm not confident enough to ask a total stranger in the street. It's not something I would find easy to do.
In fact the whole process of a Portrait Photography is out of my comfort zone and I don't enjoy the experience. I'm not comfortable asking people to pose, and I am not good at putting other people at ease either. The last portrait sitting I did was for the Work Based Learning; my artist looked very uncomfortable in the image I shot of her. I will of course have to get over this somehow.
Reflecting on the assignment so far, I enjoyed reading the Penguin Modern Classic but wish I had chosen a book with a different author. I have been working on my Sketch Book and am fairly up to date with this. I need to complete the section on Penguin History and I need to shoot more images, the sketch book is fairly devoid of images. After the Lecture and Workshop last Friday, I now need to research some photographic history and add this to the mix. There is still a lot to do.
I am finding the work load relentless because we are working on so many different assignments at the same time. I feel under a lot of pressure to get the work done, but at the back of my mind is the thought that I wanted to study for this degree to discover if I had any creative talents, and to develop my photography and conceptual awareness. My motivation for enrolling on the course was not commercial or work based, and I am wondering if maybe I have taken on too much.
My own projects are far more enjoyable than the projects I'm having to do for college. Was this the right choice for me ... I really don't know. I am drawn to photography of the soul, not photography that is a challenge to my technical skills as I am realising that technically I am not really very good at all. Its the mood of an image that draws me, not whether it is sharp or not. If I was intending to be for example a Wedding, Portrait or Commercial Photographer, I know that technical skill would be imperative. But I don't intend being any of these things, I just want to continue being creative with my cameras for the sake of being creative.
Time will tell if I am able to complete this year's work, but I am not going to beat myself up about it if I don't make the grade. From a personal perspective as a mature student, I dont have the same drive or energy as the younger students.
Secon Idea for my Book Cover
Friday 4 March 2011
Chasing Shadows, Sensing Light
This morning I shot some images at home of the shadow and light patterns created by the sun, continuing with my "Chasing Shadows, Sensing Light" project. I find the patterns quite serene, and there are often pictures of "faces" visible in them. There is a sense of time, time passing, time I can't return too, time ticking away, time forever moving ..... I've wondered why I'm watching these shadows.
Is it because I am growing older and I can't turn back time? Is it because I'm thinking about what I've learned over the years and how my experience has informed my outlook and created the person that I am today? I expect its all those things and much more. I see the light in the shadows and know that I can stand in it (in a spiritual sense) but that even the light doesn't always give me the peace that I long for.
As far as my college work goes, I do feel that I'm forever trying to "catch up" or that I'm chasing the next part of the weeks' projects. There is always some task to do; there is so little respite in the relentless amount of work I have piled on my desk, and I am beginning to feel disheartened with it.
I've reached a low point with this term's work. I'm not really enjoying it much, I'm finding it too demanding and I'm struggling to keep up.
Today we did a very small presentation of our Book Cover images. I knew mine was rubbish but I felt I had to contribute something and I tried to sound enthusiastic, but I could tell that my effort was a waste of time. I did enjoy the lecture and workshop but they only made me realise that I have so much yet to do. I'm struggling with the Chiaroscuro lighting, and although I have ideas for my Book Covers, at this point in time, my heart just isn't in it. In fact I just want to do something simple, I don't particularly want to try and challenge myself. But maybe, hopefully, its just a phase I'm going through. I had thought that my lack of motivation last term was my "blip" but now I'm not so sure.
I'm asking myself why am I putting myself through this pressure? Why exactly do I want a Degree? What do I want to achieve? And why am I continuing with the course? Is it really worth it? I just don't know.
Awakening
Influenced and Inspired by the work of Uta Barth using "Blur"
Is it because I am growing older and I can't turn back time? Is it because I'm thinking about what I've learned over the years and how my experience has informed my outlook and created the person that I am today? I expect its all those things and much more. I see the light in the shadows and know that I can stand in it (in a spiritual sense) but that even the light doesn't always give me the peace that I long for.
As far as my college work goes, I do feel that I'm forever trying to "catch up" or that I'm chasing the next part of the weeks' projects. There is always some task to do; there is so little respite in the relentless amount of work I have piled on my desk, and I am beginning to feel disheartened with it.
I've reached a low point with this term's work. I'm not really enjoying it much, I'm finding it too demanding and I'm struggling to keep up.
Today we did a very small presentation of our Book Cover images. I knew mine was rubbish but I felt I had to contribute something and I tried to sound enthusiastic, but I could tell that my effort was a waste of time. I did enjoy the lecture and workshop but they only made me realise that I have so much yet to do. I'm struggling with the Chiaroscuro lighting, and although I have ideas for my Book Covers, at this point in time, my heart just isn't in it. In fact I just want to do something simple, I don't particularly want to try and challenge myself. But maybe, hopefully, its just a phase I'm going through. I had thought that my lack of motivation last term was my "blip" but now I'm not so sure.
I'm asking myself why am I putting myself through this pressure? Why exactly do I want a Degree? What do I want to achieve? And why am I continuing with the course? Is it really worth it? I just don't know.
Thursday 3 March 2011
Plymouth Public Art Brief
Collaboration between the Local Community of Mt Wise working with Artists from the Greenlink project to design decorative metal grilles. (2000)
I had been feeling under pressure with the number of Public Art Pieces that I have to photograph for the Client Brief (There are over 80 Pieces). I have been regretting having chosen this Brief to undertake. The Tutorial I had with Tim and Dave today was a great help in giving me a different perspective on the task. They reassured me that I don't need to feel that I have to shoot all of the pieces, and that I should concentrate more on myself as a practitioner, and think about how I would like to express my reactions to the Public Art.
I have photographed around 30 - 40 of the pieces, and I will look through these to find the best shots to fit the first part of the brief, and make any editing changes required. But from now I will begin to work on the second part of the brief which is the "Creative." I have been given plenty of options to consider and hope that this will be more enjoyable.
Metal Trees, Clowance St, Mt Wise, Plymouth Artist Katie Lake (1999)
Tate Gallery St Ives: Exhibition by Simon Starling
Our next task for the Contextual Module is to create a Virtual Exhibition linking it to one of the Series of Lectures from this term. Today I decided to take myself off to St Ives to visit the Tate Gallery and the Barbara Hepworth Museum. It was a beautiful day and I enjoyed the change of scene away from Plymouth.
The main exhibition at the Tate today, was a work by Simon Starling who won the Turner Prize in 2005. His art is seen as a cultural anthropology; he researches historical incidents and produces new narratives through sculpture, video, photography, slide projections and film. Throughout the exhibition he alludes to various histories in technology, science, geology and archaeology, social and political history. The work emphasises his interest in the interplay between culture and nature.
"Gallery 5" houses two pieces of marble called "The Long Ton"; one that he has imported in its original form from China, and the other weighing and looking the same as the original but which is an Italian Sculpted Stone which has been precision machined with data scanned from the larger Chinese stone. Starling's emphasis here is the monetary worth of the two pieces. He comments on the economics, authenticity and value to his art. The work is a balancing act. The two pieces are hung from the ceiling by a pulley system and sit in perfect equilibrium. The question is "Why is one piece worth more that the other?" They have the same market value even though the Chinese marble is twice the size of the Italian marble.
After spending an hour or so with Starling's Exhibition, I walked to the Barbara Hepworth Museum. I had visited the museum before, but it was an interesting comparison to Starling's work. Hepworth's sculptures are forms based on the landscape which share space with the land. There is no emphasis on value but the work, as I see it, is more about the aesthetics and the link between land and sculpture.
After viewing the work of Simon Starling, my first choice of the lecture to link with our Virtual Exhibition is "Production and Consumption." I have asked the rest of the group to make their choices so that we can decide which to use, and then I can start to work on the project set.
The main exhibition at the Tate today, was a work by Simon Starling who won the Turner Prize in 2005. His art is seen as a cultural anthropology; he researches historical incidents and produces new narratives through sculpture, video, photography, slide projections and film. Throughout the exhibition he alludes to various histories in technology, science, geology and archaeology, social and political history. The work emphasises his interest in the interplay between culture and nature.
"Gallery 5" houses two pieces of marble called "The Long Ton"; one that he has imported in its original form from China, and the other weighing and looking the same as the original but which is an Italian Sculpted Stone which has been precision machined with data scanned from the larger Chinese stone. Starling's emphasis here is the monetary worth of the two pieces. He comments on the economics, authenticity and value to his art. The work is a balancing act. The two pieces are hung from the ceiling by a pulley system and sit in perfect equilibrium. The question is "Why is one piece worth more that the other?" They have the same market value even though the Chinese marble is twice the size of the Italian marble.
After spending an hour or so with Starling's Exhibition, I walked to the Barbara Hepworth Museum. I had visited the museum before, but it was an interesting comparison to Starling's work. Hepworth's sculptures are forms based on the landscape which share space with the land. There is no emphasis on value but the work, as I see it, is more about the aesthetics and the link between land and sculpture.
After viewing the work of Simon Starling, my first choice of the lecture to link with our Virtual Exhibition is "Production and Consumption." I have asked the rest of the group to make their choices so that we can decide which to use, and then I can start to work on the project set.
Image Courtesy of
http://www.allartnews.com/important-works-made-in-the-last-five-years-by-turner-prize-winner-simon-starling-at-tate-st-ives/
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