Exhibition

Listening @ The Bluecoat

The current exhibitions at The Bluecoat in Liverpool go by the name of "Listening". Having had both eardrums rebuilt (one 20 years ago, the other 6 months due to a tissue eating infection), I entered with a certain amount of trepidation. I can't hear all frequencies of sound, and the stereo balance isn't perhaps what it should be, but I do like music so I thought it might be worth a punt, and Laurie Anderson appears on the list of exhibitors. However, it didn't really work for me, probably for the obvious reasons. Yeah, I liked Mikhail Karikis' SeaWomen, perhaps as this wasn't so subtle (a video accompanied by sounds of the sea and the Haenyeo making their distinctive shrieking noise), but some of the other things... I found Imogen Stidwokrthy's The Whisper Heard a little uncomfortable to experience - disorienting and confusing, probably because of the projected sounds end up where I don't expect them, either by design or through my hearing, I'm not sure which.

Still, at least I know not to expect too much from this type of thing in future, and the trip to Liverpool was actually for Marc Feustel's talk on Japanese photography at the Open Eye Gallery...
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Metamorphosis of Japan... @Open Eye

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Anyone that knows me and my ‘likes’ as far as photography goes will know that Japanese photography ranks high on the scale of things that get me buzzing, so it was a certain amount of excitement that I headed off to Liverpool last Wednesday for opening night, even if my “thing” is more centred around the (admittedly more predictable) Provoke era, the exhibition includes the work of some of those that went on to form the short-lived Vivo collective (after Fukushima’s Junin-no-Me, or Eyes of Ten exhibition in 1957). I do tend to like most of the stuff that’s come out of Japan though, from the really early to the contemporary. Something to do with their way of seeing I suppose. It’s not necessarily tied to the Western art practice, although it does feature from time to time (I’me thinking Yasumasa Morimura here).

Looking around the exhibition, there’s a good mix of work there; 11 different photographers according to the little catalogue, from Ken Domon to Yasuhiro Ishimoto, through Eikoh Hosoe and Shomei Tomatsu, amongst others. Much of the work can be considered to be in a social documentary vein, and that’s exactly what it is. However, whilst the work is effectively documenting the tumultuous post-war years from the A-bomb and occupation to becoming an economical power-house, it also represents a shift from a realism movement (Domon) to a more humanist style of photography, inspired by HCB and Doisneau…

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There is much to enjoy, but a particular pleasure was seeing a wall of Eikoh Hosoe’s photographs, from Man and Woman, Kamaitachi and Barakei. These are much more ‘artistic’ than many of the others, in Kamaitachi, Hosoe photographed Tatsumi Hijikata performing the role of the titular “weasel-demon” in a butoh dance, so is deviating from the mantra of Domon and the “absolutely unstaged snapshot” (Vartanian et al, p21). I’m really captivated by the depth of the blacks in the image from Barakei (leftmost in the image above), it drew me into it. I have Kamaitachi in book form, together with others in a compilation, and whilst the book form is really nice, the “problem” when compared to the gallery print is that the image is rotated and spread across two pages. The gallery print is also much better quality, although it has to be said my copy is a reprint and I can’t comment on the original, those original artists books are something to behold.

There were also some prints from Kikuji Kawada’s
Chizu (The Map), a photobook of considerable reputation; it’s regard it as the “ultimate photobook-as-object” (Parr and Badger, p286 ). Here, Kawada looks at the aftermath of the war, the bombs and the American occupation. He uses the camera and the contrast in the black and white printing to introduce a level of abstraction in the documentary – it’s really effective at what it does.

An excellent collection of images – I’ll be going back to the exhibition at least once before it’s ended, I’ve booked into a talk by Marc Feustel and I’m thinking about the book-binding course as well…
 
Bibliography
Parr, M and Badger, G (2004) 
The Photobook: A History volume I. 2010 reprint. London. Phaidon Press Limited.
Vartanian, I, Hatanaka A and Kambayashi, Y (2006) 
Setting Sun: writings by Japanese photographers. New York. Aperture Foundation Books.

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Warhol @ The Tate

A rare day to look around galleries in Liverpool took me to the Tate, Open Eye Gallery and The Bluecoat. Fitting three galleries in was always going to be dangerous, especially on my own, as there would be a danger of image fatigue setting in. There’s also the lack of people to bounce thoughts back from; see something, comment, response, new train of thought….

Warhol was first and walking through the door I was confronted with both the familiar and the unfamiliar. There was Monroe, there was soup and Brillo boxes, and there was some dance steps and other things.
Dance Diagram, 1962 on the floor as you walk in was something I hadn’t seen before, or at least not remembered seeing before. The transference from the (almost) everyday item to art is classic Warhol ideology, and whilst these dance steps maybe a thing of the past, here is a snippet of one preserved as art. Maybe the obscurity of this source material on the truly contemporary stage diminishes it somewhat, or maybe it’s just my view on things, but this wasn’t that interesting for me, thankfully there was more.

A lot could be said about the well known works, I’ve already mentioned the Campbell soup tins, of which there was a selection, the Brillo boxes and, of course, the iconic portrait series of Marilyn Monroe. A pleasure to see for real (although I’d already seen some a few years ago – MoMA I think) but a suppose a certain familiarity with them meant I felt an urge to look at some of the other things. Electric Chair was far more intriguing. It was new to me, and it made me think about my own work.

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Andy Warhol. Electric Chair, 1971 [screen print on paper]
(
http://www.walkerart.org/collections/artworks/electric-chair)


As might be expected, there was a series of these images too, the same but in different colours. The repetition of the images might be thought of as desensitising the viewer to the subject matter, much as the constant flood of media in general can do, and the colours, do they serve to mask the subject matter? (an instrument of death at Sing Sing Correctional Facility in New York State) Perhaps the purple version above is still quite dark, but the yellow? I’m undecided on this, but it did resonate with me in terms of some of my own work on the war films, the colours they have are, in some instances, quite ‘pleasing” which can work in contrast to the subject matter.

Other work triggered thoughts. A pair of images of snub-nosed revolvers (
Gun, 1981) also triggered (groan) thoughts of my own work, with the images overlapping / out of register being visually similar in some ways to the movement blur I’ve been capturing. Am I moving towards Pop Art with this current project? Maybe I am, I’ve bought a book about the subject from the gallery shop…

The next room was noisy, too many people, all chatting and I couldn’t hear the various videos and whatnot. Off to the other annex of the exhibition and an artist I hadn’t actually heard of but I did know some of her work; Gretchen Bender worked with video, some of which as I say, I knew (REM for a start). There wasn’t a lot here, but it was definitely worth the look, and in many respects brought me back to the video I watched on Sonic Outlaws
 

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Gretchen Bender
http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/gretchen-bender


After sitting and watching the multi screen presentation (above), I moved back in to Warhol, and his large video room and The Exploding Plastic Inevitable. Now this I really liked – wrap around video, music from Velvet Underground and really quite immersive. The video from YouTube doesn’t come across as the same thing – the audio is shocking (it wasn’t at the Tate), an you really don’t get the same feeling of being in the middle. No-one was dancing at the Tate either.

https://www.youtube.com/watch?v=HsR4ghMfq0U

This was worth the admission on its own.

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Papergirl Blackburn mention

I mentioned the other day that I was taking part in the Papergirl Blackburn initiative (exhibition in November, from the 6th to the 16th), well they ran an entry on my submission the other day whilst I was in France – I was lucky to catch it really. Anyway, here’s the start of it, and there’s the full entry here.

Papergirl

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Alumni mention...

Apparently there's an OCA alumni newsletter, although for some reason I don't receive it. In a recent edition of the newsletter, summer's exhibition in Sheffield received a mention. I've blogged about some of the work going into [( 6 )] earlier on, so won't go into it too much more, other than to say it's nice that people are still talking about it and generally in a favourable light. I just wish that they'd not misspelled my name, that's something that has irked me for many, many years now...

alumni

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Papergirl Blackburn

About a week ago I received an e-mail from ACE Nelson about a community mixed arts project in my area called Papergirl Blackburn, part of the Blackburn is Open initiative. The idea has come over from Germany where there was some legislation introduced about displaying arts in the streets so an idea was born to hand the art to people instead. I don’t know the nitty-gritty of the back story, but basically the art is distributed free of charge, loosely rolled like a newspaper might be. Or something like that. I kind of like the idea, although of course it will never make an artist rich (or even afford the beans to go on the toast) to give work away, but there is always the possibility people will see the work that might not otherwise see it, and who know where that might go?

As
Speak My Language was originally printed as a (roughly) A3 newsprint book, and A3 is the size of the work requested it seemed to be an obvious choice to submit. Unfortunately the newspaper was snagging in my printer this time, so it’s now on a thicker inkjet paper stock. A compromise, but this wasn’t a project I was willing to sacrifice hundreds of pounds worth of printer for...

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The prints are ready now, packaged up ready for posting before the deadline, so that’s a done deal.

The work will be exhibited in November for 10 days prior to distribution at the St John’s Centre in Blackburn, I’ll try and get in to see what’s on show, but there’s no guarantee with that.

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Heather & Simon @ GAG

Back in July there was a talk and walk by Simon Roberts at the Grundy Art Gallery, a session I fully intended to attend. Unfortunately though, when the day came I was still in a recovery period following surgery and I couldn’t make the trip over to the seaside. I have now finally managed to make in to the gallery and look at Roberts’ prints, and the video installations by Heather Phillipson too.

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Whilst I was there predominantly to see Roberts’ work Pierdom, the ground floor was taken over by Phillipson, so the entrance into her exhibition beckoned and seemed to be the logical place to start. Prior to the exhibition, I knew nothing about Phillipson. I still know little, other than she can be a bit risqué and works with video installations that are more welcoming than others I have seen. Now, in the past, video has been weak for me. As the art form itself, it has not been particularly captivating, and many have been what I would consider highly pretentious or just plain dull as yesterday’s dishwater. Here though, after being rebirthed from the dark and into the light of an odd new world, there is something that I found interesting. They weren’t slow and ponderous, if anything they were quite surreal which will always pique my interest a touch. And watching a video from the back seat of an old Peugeot or a speedboat on bottles of water is not something you do everyday.
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It was A is to D what E is to H that I found most compelling, viewing the video projected on to the screen of the aforementioned car. Seemingly random images flowing together, narrated by a woman (I assume this to be the artist). I really don’t know why I liked this. Yes, it was different. No, I don’t know what it means or why... Well, just why in general I think. It’s left me confused but wanting more. The delivery of the audio is still in my head.

A is to D what E is to H - excerpt from Heather Phillipson on Vimeo.



So, back into the real world and upstairs to Simon Roberts’ photographs of piers... an odd transition, but somehow also a strangely appropriate coupling - can a pier really have phallic connotations, or is that something that only comes to mind when married with Phillipson’s work? Will this be something that occurred to Roberts as he carried out his survey of Britain’s Victorian piers, recording them before they deteriorated into nothing but memory - I recall that on the day of the intended talk, Eastbourne pier was badly damaged by fire.
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Physically, the 4 main prints were large and impressive. They’re packed with detail and clearly not taken with an iPhone on a family trip to the seaside - no, they’re slow, deliberate and considered. They’re also very “matter of fact”, objective; not hiding the fact that they’re deteriorating, not hiding the fact that there’s a certain unsavoury underbelly in the surroundings that may actually be lost on those that were not born in a seaside town. Maybe, as a “Blackpudlian”, I have a certain view on living in a seaside time for much of my life, a view that is not particularly favourable (can anyone look favourably on a town that was reported as heading upwards by a local councillor because a Nando’s was opening?). I see beyond the dazzle of a theme park, which I suppose I liken to put glitter on a skin cancer. But the theme park is also a subject in one of the photographs, representing an escape from reality that seaside towns can be to those that visit and leave before the gloss has had time to tarnish.

Is the theme park otherwise relevant to these images? I mention it because with it it became obvious that Roberts is not searching to show everything in the scene. Yes, the pier is there, but whilst it juts out into the sea, it’s also connected to its surroundings, and these surroundings go beyond the edge of the frame. We are allowed to explore the pier, but we are stopped from going too far from it. I guess it should be obvious that there needs to be an edge to the frame, but some might want to neatly encapsulate things - perhaps that would be the sign of a vernacular image? What I have done though is leave that frame and bring a lifetime of experience of seaside life to them, seeing beyond them. It’s a clear embodiment of Barthes’ theories that the images are different to us all because of who we are. I’ve never been to Weston-Super-Mare or Southend-on-Sea but still feel I know more through a shared experience. I may be well off the mark, but the photographs stir up feelings. I’m fairly sure these aren’t what Roberts was expecting, I suspect he would rather recall happy times, playing on the sands near the shadow of the pier or visiting the “amusements”, but there we go...
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Despite what might come across as negativity for these images, I actually found them really interesting. They’re very relevant to my own approach to landscape, of how I am planning to approach my next significant project exploring what might be forgotten histories of conflict. They illustrate how a measured approach to the subject does not have to become a tightly controlled Becher-esque typology, although typology is clearly what this is.

Perhaps a “complaint” that I might raise about the exhibition is that it’s small; there are only 4 large photographs and 2 smaller ones. However, this weakness might also be considered a strength, the exhibitions USP. You see, it’s not just in Blackpool, but also in a range of other seaside towns at the same time. It’s not for people in the big cities with the fancy galleries, but it’s back with the places that it came from. It’s odd, but whilst it takes something away, I also think it’s given back something else and it’s strangely stronger for it.

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Current Conflicts @ ACE Nelson

1324 - Space2  September postcard-11

Saturday’s visit to ACE in Nelson didn’t start well. Study visits have usually been organised via e-mail, detailing start times and what have you, this time though... Perhaps I just misunderstood - there was indeed an e-mail that said a talk started at 1pm, and had a hyperlink to a Pendle Art Gallery. I assumed that there would be a gathering beforehand to look around the work, then the talk would be given. My mistake, but to be fair this wasn’t necessary due to the size of the show and the way the talk was organised (previously, talks have been away from the art, not in front of it). It very nearly didn’t happen though, as I didn’t find ACE. The weblink was to a different location, not the ACE and I hadn’t realised this when I grabbed the postcode for my GPS. Still, I got there in the end and I’m glad I did as it was a really interesting talk and very relevant to where I see myself going in the coming years.

Jamie Simonds was first up with a series of photographs of American troops.

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from Jamie Simonds website - ©Jamie Simonds Photography


Apparently taken when he was en route to his honeymoon whilst delayed in Atlanta, these photographs show the soldiers waiting, delayed whilst heading off to serve another tour in either Iraq or Afghanistan. The soldiers looked just as bored as any other traveller stuck in an airport lounge, with very little sign of what they may be heading off towards showing on their faces. What was interesting here is the method of presentation, shown printed to what was probably 6x4, framed in cheap white IKEA frames such as might be found on any mantlepiece. Whilst this uniformity has sometimes been eschewed for an approach that might reflect actual prints on mantlepieces (potential memento mori?), i.e. a completely random one in terms of framing, here it served a few purposes. Firstly, it means that the images appear less kitsch, less gimmicky and would sit well together on a gallery wall (here they were actually displayed on boxes). Secondly, it matches the uniformity of the military dress - yes, I know that some of the soldiers are wearing a different pattern of DPM, but in general terms, I see a connection - uniformity and the military.

Olivia Robinson’s appearance in the exhibition comes by way of a book of photographs depicting levels of domesticity in a war zone. Olivia’s husband is a serving member of the armed forces, and went to the Middle East with a camera and a set of instructions of what to photograph. It could be argued therefore that Olivia is not the artist, that her husband should be credited (and I’m sure he will have been somewhere within the text of the book), however it was Olivia who directed the image making process (perhaps not quite like Gregory Crewdson, but still...), curated the images and, if I’ve understood correctly, responded to the images with some of her own. The result is something that feels extremely domestic and extremely personal whilst not really showing any people (one of the back of a man’s head is all I can recall). Due to the domesticity of the photographs, some are a little harder to place - are they home, or is war really like that now, behind the scenes at least? I didn’t spend enough time looking at the book, and the link I have for her website is dead, so this was quite a superficial reflection, which is a shame.

Another book was on show with Christopher Down’s
Visions from Arcadia, a thought provoking collection of images that blended the rural idyll with men in combat gear. The landscape images are not “chocolate box” images of that idyll, but I suppose they might be termed as being quite contemporary; not “beautiful” by layman standards, but definitely pleasing in a certain way. I suppose some of the images are not so dissimilar to some of those I took for A Forest, slightly matter-of-fact and a record of what was there rather than anything overly saccharin and romanticised. Juxtaposing these with soldiers at rest gives them a very different feeling, rather than being a rural idyll, maybe there’s a calm before a storm. Soldiers in woodlands can bring many things to mind, but here they are at rest. Whilst this was presented as a book, it was a limited edition artists book; there is however a possibility that it will be published and if that is indeed the case, it will be one to look out for.

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from Christopher Down’s website - ©Christopher Down

Richard Monje was next in the path through the exhibition, facing the work of Les Monaghan in a corridor. Monje’s photographs were of misshaped pieces of metal, what at first I had assumed was shrapnel but it transpired that they were all bullets, fired at something, hitting something that generally resulted in a level of deformation that is quite surprising. Seen as they are, without knowledge of what has happened to produce them, they are presented as quite beautiful objects, reminiscent in some respects of Weston’s Pepper. Why should they be shown in this way? Is it a glorification of their purpose? A romanticisation of their creation and the demise of their target? Or does the juxtaposition/conflict created between the beauty of presentation and the object itself raise rather more difficult questions for the viewer, with the moral objections they might have with admiring weapons of destruction? Personally, they also tempted me towards a forensic approach - one round was still formed, was it armour-piercing, or had it just not met with something hard? Questions...
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Les’ work (
From the Forest) focusses on the subject of pilot survival training, and in terms of content is perhaps closest to that of Christopher Down, in that they both feature servicemen in forest locations. Les’ work is much darker though, this darkness/bleakness perhaps intending to impart the images with a greater feeling of hardship, especially those on the website of the winter survival, thus echoing the experience of the pilots. It’s also much more within a documentary vein, he has not been allowed to even talk to the subjects, let alone direct or collude with them - doing so would be a fail in their survival training. I found a strange connection with these photographs, they connected in my mind with those I took of the forests for my own project. They’re familiar yet not. A forest is a forest you would think, but speaking as someone who has ventured into a few, there are huge differences. Would these differences mean anything to a pilot trying to survive after an aircraft has come down? Not in Europe, the courses are teaching them how to forage, how to adapt to the landscape. Maybe those operating in different climates have different training, maybe this training will become a thing of the past with the growing use of UAVs?

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from Les Monaghan’s blog - ©Les Monaghan


The final two images were large format black and white prints of fortifications by Matthew Andrew, reminiscent of the type of conflict photography images produced many years ago by Roger Fenton (those from the Crimean in the 1850s). Perhaps these images are the odd ones out though in that they are not of actual conflict or real soldiers, but have been informed by such so that they can be used for the leisure activities spawned by conflict - laser tag and military re-enaction/simulation for enthusiasts from within the general public. Being large format, they’re crammed with detail, but I can’t help but feel that they stood apart, a feeling enhanced by their location at the end of the exhibition.

On the whole, an enjoyable visit, enhanced greatly by having Les on hand to discuss the work, adding snippets of information about the exhibition as a whole.


Exhibiting artists websites, as provided (2 website URLs are unavailable to me, these have been omitted)

christopherdown.com
jamiesimonds.com
lesmonaghan.blogspot.co.uk
matthew-andrew.com

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[( 6 )] : The video

This video was produced by Mark Lomas of the OCA on the evening of the Private View for the exhibition, [( 6 )] - the filming was absolutely the worst thing about the night, as my mouth went dry and my mind went blank... Mark’s done a pretty good job at making me seem quite “normal”, probably by using more of the footage of Keith and Nigel...



The video can be found online here, together with the many other videos produced by OCA.

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[( 6 )] : Half way through...

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Ok, so on the 12th and 19th of July I headed over to Bank Street Arts in Sheffield to man the exhibition, to talk to anyone visiting if they were in the mood for talking about it. The 12th of July was pretty much a waste of time as there weren’t any visitors, well not really. My sister came with me to look around as she had been unable to make it to the PV (she then went into Sheffield centre), and a friend who gran still lives in Sheffield popped in on his way to see her. Other than that, there was an architect who as an office in the building... I was quite demoralised, but to be fair it was a scorching day and visiting galleries would be fairly low on my list of priorities too - we don’t get that many of them, so why waste it indoors?

The 19th was better. It was raining!! Actually, when I arrived, there were a group from OCA looking at Pete’s work (he’d also made the journey), and the group then proceeded to wander around the rest of the gallery too (Gareth unfortunately had to leave early). There was some good discussion going on, questions to Pete about his work, to me about mine and then some commentary and suppositions on the work of the others. Later, there were even other people coming into the gallery to look around - not just people from the OCA! Fantastic!! These people all seemed appreciative, willing to discuss their thoughts. It’s fair to say that not everybody liked everything, and indeed that would be impossible - we’re 6 quite different photographers, covering different genres and whatnot. I’d like to think that everyone got something from part of it though.

There has been quite a bit of feedback, with 99.9% of it being overwhelmingly positive - with comments such as:

I’ve seen a few shows at Bank Street and this is one of the best presented. Not overloaded with work and beautifully produced. Congratulations to all of you. (B Eccleshall)

It was great to see those images on the wall! Well-done all of you. What role models! (C Banks)

I can't express how proud I think you should be of your show at Bank Street Arts. If I could visualise what I thought success looked like when I joined the OCA in 2008 it would be this exhibition. You have shown other students what can be achieved. (G Dent)


Next it will be packing it all away at the beginning of August. Hopefully, I’ll receive some more feedback then, from the gallery, from wherever. And then it’s onwards to the next one - this has been quite a learning curve, but I do like to think we got it well and truly in the bag. it’s just a shame Dewald and Tanya haven’t managed to get over...

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[( 6 )] : Vernisage

Well, last night was the Private View - I think it went well, just got to hear some proper feedback now...
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[( 6 )] : Hanging

So, Saturday 5th July was the day of the hang. However, in the run up to that there was a lot of prep work to be done, not least of all ensuring everything was printed. Now, the other prep to be done will vary depending on the hanging method and the gallery, etc. but for mine, Dewald’s and Tanya’s work I was planning to use battens and velcro to attach the photographs to the wall - you can’t use velcro alone as it damages the walls. Keith used a dibond material, which is heavier so his are on sub-frames. Anyway, back to the prep - all of the battens had to be cut to length, pre-drilled (to avoid splitting the wood) and velcro attached to save time. I also gathered all the bits and bobs I thought I would need - saw, drill, screwdriver, tape measure, knife, rule, spare battens, spare velcro, screws, white cotton gloves... all sorts of stuff.

Bank Street Arts opened a little earlier than their normal 11:00 start to allow us to have a fighting chance at getting 6 photographers work up in the 5 gallery spaces. Tom from Bank Street was on hand at first to give some guidance to getting started, including the useful nugget of info that the accepted norm is that the centre of the photograph should be at a height of 157cm. Obviously, like any rules this one is made for being broken, but for the most part we stuck with it.

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Anyway, there were 3 of us (plus 2 wives) there for the hanging. I started with A Forest in Gallery 1, Keith started with Ironman Family in Gallery 5 and Nigel with Shattered Coast in Gallery 3. After sorting out the hanging order, the first photograph seemed to take an age to hang, but no, not really. As I was using prints mounted on forex (a kind of plastic foam board), velcro’ed onto battens which were screwed on to the walls (no idea what the wall was made of, but it didn’t need drilling and plugging), the process was really straight forward, made even more so because I had a laser level to hand that projected a perfectly square cross onto the walls, the centre of which was aligned variously to the centre height, the edge of the print or whatever. Because of this, hopefully everything I hung should be level, and all done quicker than if I’d used the string and spirit levels the others were using.

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With hindsight, I probably could’ve taken a couple more prints from A Forest, the space would have accepted them without feeling too crowded - another 2 would probably have been fine. However, I do think they need a bit of space to be seen in isolation - too close and there might have been a bit of a danger that the adjacent prints would have interfered with the narrative of the one being looked at.

Speak My Language
was a little more problematic to hang because the walls were not completely flat - this image is made up of two parts, and I wanted them butted up to make a single panel. With the wall being uneven, the corners of the right hand panel stood proud of the left. Taking it down and adding another batten with more velcro along the joining edge seems to have resolved it (a bit of cork or similar might be added next time I see it...)

After that, it was Dewald’s and Tanya’s work (Nigel hung some of Tanya’s), more battens and velcro and more of the same activities - measuring, marking, drilling, squaring up, fastening to the wall...

The gallery informed us they’d be tidying up the walls afterwards, rearranging the lighting, etc. so that was something we didn’t have to consider, good job really, because we kept them from closing for 10 minutes as we were finishing off. Still, job done, and I think it looked alright!

Note: in hindsight, we should have left some notes for the gallery staff as they changed some parts of the gallery between the hanging and the PV - I positioned two prints above some glass shelves that were fastened to the wall, rather than measuring where they should be. The shelves were taken down, and whilst they may well have been correctly spaced, I was sort of relying on them still being there, otherwise I would have done some more measuring. Maybe not a big problem, but there is a shadow of a doubt. Also, Pete’s work was hung deliberately 20cm lower than everyone else’s, but the gallery staff thought a mistake had been made and moved them up to the normal height - they were quite sorry when they realised why Keith had done what he had done... So yeah, post-its or a sheet of instructions would’ve been useful.

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[( 6 )] : Getting the word out there

Without an audience to communicate with, the exhibition is just an exercise in spending money. In terms of telling that audience about the show, most of what I have done has been via Twitter, although with just a few characters to use with each tweet, there needs to be something to back it up. I’ve also been using Tumblr for longer posts, which auto-tweet anyway, and my normal blog on robtm.co.uk. I’m not a Facebook user, so that’s out of the question, but I know some of the others are, so hopefully they’ve been using it.

I also have a mailing list which I use to let people know about things that are happening, the last couple of these have been about the exhibition. It’s not got a huge distribution list at the moment, but it does get to a few people in the industry. Whether they read it or not is another matter...

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Add to this an exhibition website that Dewald has created, then there’s a certain amount out there. He also created a flyer, which I will print up and put in the gallery window.

Elizabeth Underwood, from Underwood Works and OCA has been helping in terms of the Private View, gathering lists of invitees and co-ordinating the press-release and a
handout (which we had to provide the material for). The PV has been handled via Eventbrite, which I suppose in many ways is similar to Mailchimp that I use for my mailing list.

There’s probably more I should be doing, but I’m lacking the physical capacity at the moment...

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[( 6 )] : Other considerations

There are many considerations to take account of: for the work itself, supplementary material, promotions... there are bound to be things we didn’t think of, but here are some of things that I have:

Sponsorship - is it possible to get some money towards the show? Well, the other 5 didn’t seem to bothered about this as the costs weren’t astronomical, however I did manage to get some discounted printing from Paul Graham Image Specialists, and the OCA agreed to fund the PV. I also got something via the company I help run, but this is much like paying for it myself... If the show was to be bigger, and everyone was in agreement, then sponsorship would be more of a consideration to take onboard.

Presentation of the prints - My prints are going to be full bleed and on forex. Using forex means that a frame is unnecessary, and the prints come across as more “immediate”, to me at least. Also, not having glass means that there will be far fewer reflections - what there is will likely be a sheen, rather than a mirror like one as seen in these installation shots of Simone Lueck’s
The Once and Future Queens.

IMG_0128
That’s me in the left hand image - not the woman, the reflection!

How to hang the prints - mirror plates, strap hangers, “D” hooks... there’s many options here. I’ve opted for wooden battens to which I can attach velcro, then to the back of the forex. I suppose traditional battens would be the split kind, but then how are they attached to the forex print? Velcro seems much more versatile, and forgiving which is maybe more important - if we don’t get the batten 100% level, the velcro will allow it to be corrected. This is my first time you know...

Should I use captions - my immediate answer to this is “no”. I’m not a huge fan of individual captions, although it does of course depend on the photographs and the style of captions. Sometimes they’re really important, other times less so, especially if there is a good artists statement available. So, no captions for me, although having said that there is a small sheet with the credits for the various lyrics on it for
Speak My Language.

Postcards - should I create postcards or some other promo items? Many of us have, myself included - I used Moo, a fairly cheap and flexible option, giving reasonable quality results on a rigid card stock (some offering are on slightly thicker than normal paper - very poor). I opted for two different styles of postcard for
A Forest - one featuring the “official” juxtaposition, the correct images if you like, and another that just has half the image pairing so that they can be combined with another half to make a different object/forest juxtaposition when placed together. Obviously, these won’t be where the item was found, but I thought it might be nice to be a little playful... I’ve also got some postcards of Speak My Language from a while ago, so will be using those.

A catalogue - we originally decided not to have a catalogue, but in the end I wanted something for my own gratification which is developing into a full-on catalogue. Maybe I’ll make it available...
(note: the catalogue has indeed materialised with a nice introduction from Sharon Boothroyd. The catalogue is available from
Blurb.)

Displaying
A Forest book with the exhibition - there’s more images in the book than the exhibition, so should I also include the book with the exhibition? I’ve decided to do this, but only whilst I’m there in person (for the PV, and if I make it to the gallery any other time). I could also ask for the Gallery copy of Speak My Language to be wheeled out, but it was looking a little damp/tired last time I saw it.

Sales - do I sell my work, and if so at what sort of price? Obviously, I’d be very happy to seek my work there, but I’ve no idea about pricing. It’s a headache just thinking about it...

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[( 6 )] : The blurb

As I've produced each body of work, I've written statements for them, so these acted as the starting points for the blurb that will be used in the exhibition. I've also used the bio from my main website as the starting point too - little tweaks have been made, which have sometime been fed into the other works. It's all too easy to keep on refining things over and over, with the danger that the original thoughts become muddied. Hopefully this hasn't happened here though.

With the bio and statement largely in hand, thoughts turned to publicity. I'm really grateful to Dewald for pulling together the website but before we could do that, we had to decide on a name. E-mails were pinging back and forth with various names on - I favoured something abstract like "Show" (which also, rather selfishly, fitted in with my current habit of naming everything after songs, or in this case an album), whilst others wanted something more descriptive. We finally settled on 6 : Personal Explorations in Photography as there was 6 of us, and all the projects are quite personal to us... As for a logo, I asked the graphics guys for help, but none was forthcoming (maybe because I asked for a freebie), so I did the basics myself and came up with [( 6 )], with the textual elements intending to represent a camera. Whether people pick up on that, I've no idea, but it's what I see.

Dewald's
[( 6 )] website uses the weebly engine, and is pretty straightforward, but clean and to the point. I like it. We opted for three images each as any more might actually mean that there's not really any point in seeing the exhibition, it would all have been seen already (although, to be fair, if you know us, you've seen them anyway). Dewald also pulled together the header image that's being used in the marketing.

six

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[( 6 )] : The space

With the space provisionally booked, we set about working out the details of who could go where, what would be exhibited and such. Now, there are 5 rooms at BSA, and 6 of us exhibiting so someone was going to have to share. Sharing the biggest room would have been the obvious solution, but the obvious is not always the best solution and there was some thought as to what would visually work.

Knowing the available space also helps in defining the works to be shown. Three of the artists are urban landscape, so it makes sense to keep them together. I was exhibiting a (loosely) landscape piece and a documentary one, there was some more social documentary and some portraiture. Dewald was initially looking at showing video, so would need a darkened room which precluded sharing with someone with prints, which meant that the logical choice would be for Tanya and Nigel to share a room. By putting Dewald, Tanya and Nigel in the "left wing" of the gallery, this meant that my two pieces could take the central room and act as a transition from the landscape to the left, and the soc-doc and portraiture to the right. Well, it makes sense in my mind although I'm not too sure how well I'm visualising how it will ultimately look. Time will tell!

With the rooms agreed, I set about working out which, how and where my prints would be displayed. I toyed with more prints from A Forest; maybe 8 or 9 might have worked but in the end I decided on a bit more space around them and have had 7 printed. I also toyed with the idea of printing Speak My Language up as a series of 6x4s, pinning them loosely to the wall, but opted to stick with a large mosaic print, similar to the A0 foldout map version that I'd produced previously, but going bigger... It wasn't until Keith pointed out that shorter people like him might have problems seeing it all that I had to have a slight rethink. Whilst it will be a large print overall, the individual elements won't be so I've changed the layout now, and hopefully it will be more accessible to all.

Screen Shot 2014-06-11 at 19.29.57

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[( 6 )] : The gallery

So, as I said, first thing to sort out is the space. I say first thing, but there's lots of other stuff going on at the same time but whilst there's uncertainty about the space, you can't sort out everything else. The amount of space is one thing, how much is cost is another and who will be there a third. Obviously there are other things too, but hopefully these will get wrapped up as I go along.

Whilst not officially a "graduate" show, the fact is that the people who'd expressed an interest are all graduates or almost-graduates due to the flexible nature of the OCA assessment events. With this in mind, one of the first ports of call was the London based Free Range exhibition space. I spent a good 30 minutes or so talking with Tamsin O’Hanlon whilst she was in South Africa, and she outlined the various opportunities that they had available during the Photography period (they apparently do different weeks for different arts). The cheapest they had going was circa £2500+VAT for the week, that was for what sounded like a reasonable sized space, probably a little too large for the half dozen of us interested though, and certainly it would've ended up far too expensive at circa £500 just for the space. The space is unmanned too, so this would need to be factored in meaning time off work (unpaid), hotel bills for a week (or whatever I attended for) and then time for putting up and taking down. Together with printing, any promo stuff and odds and ends, I was looking at the thicker end of about £5-6k. It was never going to happen...

Don't get me wrong, I'm not saying that a London show is not value for money. If I was at the beginning of a photography career, was sharing the venue with a few more people, didn't have to forego a week's income or pay for a London hotel and associated travel expenses (I'm too old and set in my ways to slum it anymore), then the added footfall and media attention that something like Free Range would attract would be invaluable, and a good show could be the start of a good career. The fact is, I don't ever really see photography as completely replacing my day job, well, not until I slip into semi-retirement or something and then maybe do a bit of lecturing (not sure I have the right mentality) or maybe sell a few prints (are they desirable?). So, for me at the current time, it seems a lot to spend for dubious benefit.

So where else? Well, bearing in mind the locations of those that stated an interest, Bank Street Arts in Sheffield came to mind. It's not on anyone's doorstep, but it is probably roughly equidistant between us - halfway between Suzhou and NYC! Well, there's 2 of us in the NW of England, and 2 in the south anyway. It also helped that I knew of BSA, and more to the point I like the place. It's not precious, it's not somewhere to fill me with awe, but it feels accessible and that's pretty important for me in what will be my first "major" show, well a show with my name in lights above the door (well, not really but you know what I mean) and more than one or two images installed anyway.

Initial enquiries revealed the costs (much cheaper than London at £550 for 2 weeks for the whole ground floor) and the submission procedure. This procedure was basically to provide some practical information (who, what, how many, how long, etc.) and also a written
submission proposal with brief artist bios and the like. I let the others write something in this respects, then sought to homogenise them into something cohesive. I'm not sure how rigorous the selection process is - was it space available and you're in? But there was space available a week before our proposed dates, so we were in! We had a space for July.
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Kicking things off with [( 6 )]

I know, I know. I’ve not formally started the MA yet but here I am banging some notes down in a blog. Well, I figured that doing so would be relevant and beneficial in this case, because it’s all to do with putting on an exhibition.

Earlier this year, I put out a call to see if anyone was interested in putting something on the Source website and grabbing some exhibition space to show our wares to the public. Five others rallied to the exhibition call (well, 4 at first, one came later and another one to Source), and so the six of us had to sort out an exhibition, this entry will merely set the scene, and the following posts will cover off some of the things I’ve been up to in order to pull it all off (others have done stuff too, don’t get me wrong on that - I’m just really blogging about what I’ve done).

So, a bunch of people, some photographs and where do we go from there?

Well, I suppose the first thing is the space, and from there we can decide how many, which and whatnot. A big space means big costs, both in terms of hiring it and filling it with prints.

There’s also the artist bios and the statements, which are needed up front as you often need to provide a proposal (I suppose this isn’t necessary for everywhere)

Publicity is a beast all by itself, where and how to promote. Private views to arrange and all that stuff.

Printing and then installing....

Stressing the PV, people are going to want to talk about the work! Actually, it will be worse if people DON’T want to talk about the work, but still, talking about the work is a big thing.

Oh, what am I thinking?!?
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