Missing Research

Luc Coiffait is a photographer who originates from England, but works mainly in NYC and LA. His work centers around fashion and capturing his subjects in “a striking yet natural way.” What I love most about this work is his use of color. He does not shy away from bright and bold clothing and patterns. It is through this that his work catches your eye. The orange hue in the last image adds another layer of detail to the work. Coiffait also takes advantage of good natural lighting when he is able to. Lots of his images are taken outside and the sunlight he uses to illuminate the shot only lures the viewer closer to the beauty of the work.

Adrian Martin is a Los Angeles based fashion photographer. His work really interests me because of his inclusion of scenery. He tells a story about the model using their surroundings. The interaction with the objects and background gives more insight to the person in the shot. The scenery helps to explain what is going on outside of the frame that we do not get to see. All that is given for viewers to see is what is in the frame and Martin takes advantage of that as best he can. His inclusion of objects reels you in as your eyes continue to scan the photographer for even more details. This work is a reminder for me to really make the best of what location I am at and how I can use it to tell the story I want people to see.

Mark Clennon is a New York based photographer whose work is primarily focused on editorial, commercial, and documentary projects. The thing I love the most about Clennon’s work is his use of lines, structures, and color in his backgrounds. He is able to find and use these interesting backgrounds that add geometrical shapes into the work. This, plus his use of various wild colors with the fashion selections, makes for a very captivating photograph. I also enjoy how he encourages the models to make weird shapes or look away from the camera. Clennon’s work isn’t conventional to say the least. Having models stick their arms out in a strange way or bend forward while looking away from the camera may seem unusual but that is what makes this work so unique and why Clennon is able to capture the attention of all who look at his photographs.

Tina Barney and Rineke Dijkstra

Tina Barney is a New York based photographer who creates large scale images of her friends and family. She uses striking colors and set ups to express the personal relationships she has with her subjects. Her work strikes interest because of how many intricate details she tends to in the shot. Your eyes can continually explore the image and find something new with each shift. The fashion element of Barney’s work is subtle, but captivating. The outfits aren’t over the top or glamorous. Their simplicity leaves room for the background to pop and together the scene feels balanced.

Rineke Dijkstra is a Dutch photographer who is known for her straight portraits of a single subject. She often chooses certain groups or communities of people to photograph for a single series. There’s a level of vulnerability within her work. She gives her subjects a platform to open up to her through a photograph. The fashion is not the main focus of the work but it is something that catches the eye. One of the main ways individuality is expressed is through dress so focusing on what each subject wears in their portrait gives you more insight into that person. How they pose and how the scenes are lit also provides more detail and context to the work which only aids in our interpretation of Dijkstra’s range of skills in photography.

the slow rush

I never posted this but this was what I wrote for our assignment where we sent letters to each other based on colors. Found it again and thought I’d share. I had an amazing year, and I hope to see you all again soon. Much much love to all!

The Slow Rush by Tame Impala.

‘Do you remember we were standing here a year ago?

Our minds were racing, time went slow.’

This is how the album starts. 

One year ago from today I has just met a man I thought would change everything. Our universes collided in the strangest of ways and it seemed only natural we would live out a beautiful story together. We had lived in the same exact places in reverse order. We spoke the same languages. We had so many weird coincidental things in common, almost too many to feel real. Sadly I quickly realized that was not enough, and he was not everything I had hoped him to be – too caught up in his own head and unable to give me what I needed most at the time. I had to let him go but every once in a while I am reminded of the brief time we spent together, of the tattoos he talked about getting, of he sound of his laugh.

‘And you could store an ocean in the holes 

in any of the explanations that you gave

And while you still had time, you had the chance

But you decided to take all your sorrys to the grave’

I remember the first time I heard this song, and mentally added it to my playlist called ‘songs I wish I could play for my mother one day if she could only understand’. I am reminded of the scene in a movie where a boy gets the call that his alcoholic father he hasn’t seen in many years is dying in the hospital. Without knowing it I am also waiting for this call. Posthumous Forgiveness is something I think about more often than anyone should. 

I wonder if forgiving her will bring me peace, or if I will pretend it did when people ask me how I did it.


‘Cause it might have been something, who’s to say?

Does it help to get lost in yesterday?’

I pondered this question many times as I cried over a boy I saw twice before deciding it wasn’t going to work. After I sent the decisive text I did not feel as certain as I usually do, and wondered if I had given it more time if we could have been something great. He reminded me that there are kind men out there with no ulterior motives, ones who have been hurt deeply and do not wish to inflict further pain on others but rather understand the responsibility of life. Today I heard the song we last danced to together. I hope he happy is doing what he loves most.

‘But strictly speaking, I’m still on track

And all of my dreams are still in sight

‘Cause strictly speaking, I’ve got my whole life

I lost a wheel a while back

But strictly speaking, I’m still on track’ 

I believe the existential questioning of oneself is something every artist does on a frequent basis. Not that we are the only ones who do this, but we certainly do it very well. ‘you’re not trying to cure cancer’, my mom’s words ring in my ears. It’s true, it is only art after all. I refuse to believe that covid has ruined my chances of becoming a successful artist living a fulfilled life, but I would be lying if I said I didn’t shudder every time someone brings up my future. Like it or not, my path has been altered and the situation I am in currently is not the best. I trust the process though. Something great awaits me. 

‘And in the air of today is tomorrow’s dust’

‘Ooh, life is strange

For one more hour

I can rage

For one more hour’

This is how the album ends.

This is actually my current boyfriend’s favorite album, and though I had listened to it long before I met him I had never really listened to it. To me these songs sound like 

the inside of his Mazda, the record player I gifted him for his birthday, being drunk off of red wine, our first date, the incredible hugs he gives, the roads in his town, the drive to his house, the cabin we rented in the woods, the first time he told me he loved me.

One time when I was drunk I found the photographer who created the album cover and I swore to my boyfriend that someday I would work with him.

I still mean it.

Listen to this album if you haven’t already, it will change your life. 

Listen to it once, go on with your day, then listen to it again. That’s when the magic happens. 

sadie.

Final Thoughts

Overall this year has been immensely challenging, but I can take away from this class how much I have grown as an artist. I can look back at my imagery and project and be proud. I also feel after this year we are all so much better equipped to speak about our work and help make a critique productive for everyone. This has been one of my favorite classes of all time, I know that I have learned so much and that our section really fostered an amazing classroom environment this year. I am beyond blessed and grateful to have worked with everyone in this class and I will truly miss it. Thank you Julie for being so consistently amazing and sending love to you all <3.

White

White is an annoying color for me. It harbors casts and specks and stains and wrinkles. It reflects the sun back into your eyes, stabbing them. White beach sand burns you and snow gives you frostbite. Unlike black, which is comforting in the nothingness it reveals, white simply shows you too much. White never lies.

Caroline Personal Research

Recently, I’ve been inspired by seeing the current senior shows. It is interesting to see how they each choose to manipulate the space and frame and arrange their prints. The first two images are from Logan Simon’s show and the third is from Brandon Foushee’s. I loved the conceptual cohesiveness of Logan’s work despite the diversity of medium and manipulation techniques being used within each individual piece. For Brandon’s work, the borderless frame and textured quality of his prints were amazing. His black and white prints present a wide gradation of tone, yet still capture the dark darks and white whites. His collage-like arrangement of the individual panels highlight the collaging of imagery within the prints themselves and create new connections between the pieces.

Cont Artist Research: Sara VanDerBeek

In honor of having her attend our morning panel, here’s my artist research on Sara, who I know Declan is very familiar with! Although her work is a more recent discovery for me, I can see how it connects to both my projects from both this and last semester. Her installations will continue to inspire the future ways I experiment with presenting my work.

Her Father Stan VanDerBeek was an experimental film maker during the 1960’s, who’s work explored motion and showcased famous dancers like Merce Cunningham. Sara’s work includes immersive sculptural installations and re-photographed collages which merge multiple planes of space into a flat print. Her past show Composition for Detroit, presented at MoMa in 2009, showcases large re-photographed collages of archival and found imagery. These works are an ode a specific place in time and show how memories can be re-contextualized.

My favorite works are from the show Rising Moon and Setting Sun (2017). They distort and manipulate the figure using color and solarization.

Last Research

To be totally honest I haven’t been actively working on this project in the last couple of weeks, but rather than feeling bad about taking a break I’m trying to think of rest as a part of my process.

I started reading this book, Look by Solmaz Shairf, that was recommended to me during our artist statement workshop a few weeks back and have really enjoyed thinking about it as toeing the line between hiding or blatantly reveal things which is some of what I was thinking about and struggling with when thinking about the website I made for last crit.

Look: Poems: Sharif, Solmaz: 9781555977443: Amazon.com: Books

Additionally, not directly related to this project, I visited a photo friend in LA last weekend and was able to get back into photographing someone else and spending time observing somebody else’s practice which I haven’t done in at least a year but made me a lot more excited to think and talk about the work I’m making for this class (if that makes sense).

Thomas Struth

I did a google image search for Thomas Struth and found this photograph and my immediate thought was “Andreas Gursky vibes’ or a little more eloquently, I wonder if he’s German? he is! and while these kind of flat architectural and city scape images immediately reminded me of other German photographers he is more so known for a series of photos of patrons in museums.

Thomas Struth. in conversation with Charlotte Cotton | by This Place | This  Place | Medium
City Hall, Tel Aviv 2011 

I don’t think the museum photographs are interesting but I also acknowledge that I have had a lot of first hand access to those types of spaces and even when I didn’t I had access to other people’s photos within them.

National Gallery I, London 1989', Thomas Struth, 1989 | Tate
National Gallery I, London 1989
Thomas Struth & a new visual language in photography – Public Delivery
Thomas Struth – Pergamon Museum III, Berlin, 2001

He also makes really nice portraits so if nothing else I really appreciate the variety in his approaches.

Thomas Struth - Hannah Erdrich-Hartmann and Jana-Maria Hartmann
Hannah Erdrich-Hartmann and Jana-Maria Hartmann, Düsseldorf 1987

Graciela Iturbide

Graciela Iturbide is a Mexican photographer born in 1942 known for her black and white photographs both in Mexico and across the world. Iturbide is also a founding member of the Mexican Council of Photography and a Guggenheim recipient. I think one of my favorite things I have noticed about her work is that there is a certain continuity to the way she photographs whether she is in Mexico City, where she grew up, or India, or Chile. Additionally when she is photographing Mexico I am struck by the way that she can photograph things that might be tropes for “outsider” photographers within Mexico (or Mexican communities in the US) with care and understanding so the photograph feels more personal than anthropological. These photos are all from the 80’s but begin to show the breadth of her work.


White Fence Group in their home, L.A. USA
1986


First communion, Chalma, México
1984


Cholos, White Fence, L.A.
1986
White Fence