Artists – Page 2 – Georgina's Body of Work

Kaupo Kikkas

October 25, 2019 georginie

Kaupo Kikkas

In his project, La Bella Morte, Kaupo Kikkas explored cemeteries around the world. His images show how various cultures deal with their death, it also shows a social and cultural aspect as we can see how they graves and cemeteries are kept. His images are quite peaceful, he himself stated that he has built his project in a quite area of landscape photography. This is also what I like about his images, the fact that he see them as landscapes, it is just different from what we are use to seeing. “You may view this as a documentation of graveyards, a death cult, or simply landscape photography” (Kikkas). I find his images fascinating as it looks at a part of life which people tend to avoid like the plague, but it is a fact of life, death is inevitable. It is visually interesting to see how various cultures deal with their dead, where they end up, and how it is maintained. Some of his images are quite haunting. They are moving, as these were people and now they have been laid to rest. I get a peaceful feeling from his images, but at the same time quite an isolating one too. The images he has taken vary in landscape, but also the graves vary, some have one, others may dozens. This image (see fig. 1), show one lone grave.

This image has an empty alt attribute; its file name is kk-1.jpg — (Fig. 1. *Untitled #1*9)

The cross is nestled among the long wild grass, obviously not a maintained or regularly visited site. The image has a darkness to it. Kikkas has taken the image from ground level, it almost feel we are on the same level as the dead person, it gives the reader a closer connection. The next image (see fig. 2) shows dozens of graves stacked up.

This image has an empty alt attribute; its file name is kk-2.jpg — (Fig. 2. *Untitled #*3)

They are quite colourful and visually and aesthetically beautiful in my opinion. You can see some graves with flowers, others look very old where people probably haven’t visited. The difference is staggering. I like this image as it shows that despite each grave has a name and a date, they are just one of many. It feels to me that everyone ends up on the same level, which is true really, as we all end up dead. Who we are living, doesn’t change that fact. This last image (see fig. 3), shows a startling comparison between the living and the dead.

This image has an empty alt attribute; its file name is kk-3.jpg — (Fig. 3. *Untitled #*13)

In the foreground, we see a very well kept cemetery. Several headstones look new and clean, there are flowers, the paths are maintained and neat. Yet separated by only a fence is some sort of industrial site, where life goes on. I would say the cemetery was probably there first, and the industrial site was built after, could this be seen as a bit disrespectful being right next to a cemetery or not? Or the fact that life continues for those outside the cemetery grounds. I feel his images have influenced my direction, as this is a similar scene I am photographing. It has been helpful, to see how he has approached this subject and how he has maintained the respect. His images are interesting, I do like his low position for figure one, I believe this is quite effective, something I am using in my work.

Kikkas also created another series which has been of interest. It is called Ansel. Kikkas was inspired by Ansel Adams, his images are quiet similar. They are perfectly composed, and infocus, they are also in monochrome, with an impressive grey tonal range. His images are striking. I may try my images in black and white, I think this might be a good move for my project. Monochrome gives the images a timeless feel, coupled with the church landscape I think my images will become quite haunting an mysterious.

Bibliography

Kikkas, K. Ansel. At: https://www.kaupokikkas.com/ansel-1 (Accessed on 10th of September 2019).

Kikkas, K. La Bella Morte. At: https://www.kaupokikkas.com/la-bella-morte-1 (Accessed on 10th of September 2019).

Figures

Fig. 1. Kikkas, K. Untitled #19. [Photograph – Online]. At: https://www.kaupokikkas.com/la-bella-morte-1 (Accessed on 10th of September 2019).

Fig. 2. Kikkas, K. Untitled #3. [Photograph – Online]. At: https://www.kaupokikkas.com/la-bella-morte-1 (Accessed on 10th of September 2019).

Fig. 3. Kikkas, K. Untitled #13. [Photograph – Online]. At: https://www.kaupokikkas.com/la-bella-morte-1 (Accessed on 10th of September 2019).

Nina Berman

October 25, 2019 georginie

Nina Berman

Nina Berman has explored the concept of newly constructed churches in America in her series entitled, Megachurches. These particular churches are massive and have a large congregation. In her accompanying text, Berman states that “every two days, a new megachurch emerges in America” (Berman, 2005). This shows the scale and popularity of these churches. Her images were taken in Florida, Ohio, Kentucky, Colorado and Arkansas between 2004 and 2005. A few of her images show a small section of the congregation but the images that stand out to me are the ones that show the buildings. The images that show the building also feature people, but only two. This image of the United States Airforce Chapel in Colorado (see fig. 1) is very eye-catching.

This image has an empty alt attribute; its file name is nb-1.jpg — (Fig. 1. *United States Airforce Chapel, Colorado* (2004-2005))

Berman took the image from just of the side of the church. It shows the straight lines and geometric shaping of the building which rises up to the sky. She has taken the image from a lower point, this gives the building an impressive profile, it fills the sky. The sky is absolutely clear and blue, this teamed with the glass and white building gives the image a very light feel. It looks almost ‘pure’.

This next image is of the Ave Maria Oratory in Florida (see fig. 2). This particular church cost in the region of $24 million. The grandeur of the building is evident, you can see this is a building of importance. It is placed in the center of a residential area, and as such the tall structure raises high above it all. It looks at home there, the curves of the building seem to follow the survey of the road. The grey walls match the grey skies. The only problem is the Berman have cut the top of the building off in her image, this may be intentional of course. To me it may symbolise how the church is reaching up into the heavens to something we cannot see.

This image has an empty alt attribute; its file name is nb-2.jpg — (Fig. 2. *The Ave Maria Oratory* (2004-2005))

Berman has given me a chance to see how artists have tackled the challenge of photographing churches. It is a documentary style approach, a bit different form my approach but I feel her images have been of use to me. I like the positioning she has used, she has taken a low angle, which were I would like my images to go.

Bibliography

Berman, N. (2005). Megachurches. At: www.ninaberman.com/megachurches (Accessed on 10th of September 2019).

Figures

Figure 1. Berman, N. (2004-2005). United States Airforce Chapel, Colorado. [Photography – Online]. At: https://www.thecaprareview.com/?page_id=1417 (Accessed on 10th of September 2019).

Figure 2. Berman, N. (2004-2005). The Ave Maria Oratory. [Photography – Online]. At: https://www.thecaprareview.com/?page_id=1417 (Accessed on 10th of September 2019).

Marie Yates

August 8, 2019 georginie

Marie Yates

Marie Yates is a British photographer who investigates representation of certain groups of people, in particular women. She was a founding artist of the conceptual feminist art. She uses several techniques and combines text and her images. She started out as a painter but went onto study fine art. She found is difficult to be an artist in a male dominated world, these feelings remained even as she became a photographer. Her 1976 work Oppositional Frameworks 1(see fig. 1), shows a forest with four words around the image; external, female, underdeveloped, body.

(Fig. 1 Oppositional Frameworks 1 (1976))

She is using the trees as a metaphor for the female figure. It is interesting as she is using landscapes combined with text to make her point, there is no people shown. The image itself is quite banal, it is just a scene from a forest, it is not picturesque or what you would expect, but it works. Another series that she address feminism in is Image/Woman/Text (see fig. 2), which shows images of women which have been covered with text.

Her aim was to look at the preconceptions people have about women. This is quite a task as in society it seems to be ingrained in us to question everything a woman does, as if she has to justify just living. Women are often held to extreme expectations, which makes it hard to be yourself, it becomes a difficult world for young girls to grow up in. It is something that needs addressing, and Yates does this in a creative way, which draws your attention away from the women to the text. The actual images of the women are cropped, blurry or obscured, the women have lost their identity by doing this. Preconceptions are usually completely off, and they put a woman in a difficult state of mind, this hasn’t changed over time, this problem still remains. But Yates managed to note it in 1979. Even though it was a completely different time to it is now, the problem still remains.

Bibliography

Woodward, D. (2016). The Artist using Landscape to make a Bold Feminist Statement. At: https://www.anothermag.com/art-photography/8790/the-Artist-using-landscape-to-make-a-bold-feminist-statement(Accessed on 25th of July 2019).

Yates, M. (1984-1985). The Only Woman. [Photograph – Online]. At: www.users.otenet.gr/~mates/theonlywomanproject.html(Accessed on 25th of July 2019).

Yates, M. (1989). Both Sides Now. At: www.users.otenet.gr/~mystery/bothsidesnowproject.html(Accessed on 25th of July 2019).

Yates, M. (1982). The Missing Woman. [Photograph – Online]. At: www.users.otenet.gr/~myates/themissingwomanproject.html(Accessed on 25th on July 2019).

Figures

Fig. 1. Yates, M. (1976). Oppositional Frameworks 1. [Photograph – Online]. At: www.otenet.gr/~mystery/signalsproject1975.html(Accessed on 25th of July 2019).

Fig. 2. Yates, M. (1979). Image/Woman/Text. [Photograph – Online]. At: www.users.otenet.gr/~myates/imagewomantextproject.html(Accessed on 25th of July 2019).

Tim Hall

August 8, 2019 georginie

Tim Hall

Tim Hall photographed a ‘pilgrimage’ on the banks of the River Ganges, in India. Hall stated that he became fascinated by the mass of humanity there, he believes that religion provides the answer. I like his images as they are candid images, as they show people carrying on with their lives. But some of his images are very misty for example Ganges (see fig. 1) and Turban (see fig. 2), it gives the image a unique and mysterious look, it is very effective.

The series contains a mixture of colour and black and white images, personally I prefer the colour images are they really stand out against the misty background. The majority of his images contain people, there is the odd one which shows the landscape, I do not feel they are consistent with there rest of the series. The images that make the series flow are the colour one depicting people in the Ganges. They are clear but hold a mysterious quality. I found one image, Water Carrier(see fig. 3), that doesn’t really make the rest, it looks as if it was taken in a studio, it just gives the series a slight inconsistent feel to it.

Bibliography

Hall, T. Pilgrimage. At: www.timhallphotography.com/-/galleries/Varanasi/(Accessed on 6th of July 2019).

Figures

Fig. 1. Hall, T. Ganges. [Photograph – Online]. At: http://www.timhallphotography.com/-/galleries/varanasi(Accessed on 6th of July 2019).

Fig. 2. Hall, T. Turban. [Photograph – Online]. At: http://www.timhallphotography.com/-/galleries/varanasi(Accessed on 6th of July 2019).

Fig. 3. Hall, T. Water Carrier. [Photograph – Online]. At: http://www.timhallphotography.com/-/galleries/fine-art-limited-edition-prints-by-tim-hall/fine-art-photographs-of-india-and-ganges(Accessed on 6th of July 2019).

Muhammad Sadiq Bey

August 8, 2019 georginie

Muhammad Sadiq Bey

Muhammad Sadiq Bey was one of the first photographer to photograph the pilgrimage to Mecca. Bey took images using a wet-plate collodion camera, which used glass plate negatives. His photographs include images of the exterior and interiors of both Medina and Mecca. He also took a stunning panoramic image of the holy mosque at Mecca. His images are taken from an insider perspective which does give them value. He is showing the area, more than the actual pilgrims, but he is a pilgrim, so his images are actually documenting his journey. We get an insider view of undertaking the Hajj, which is interesting in an anthropological viewpoint but also the images are aesthetically interesting. His images were inspiring as they followed a pilgrimage, which is what I want to do (see figures).

(Fig. 1. Mina, near Mecca (Arabia) (1924))

(Fig. 4. Mecca (Arabia) The Mosque (1924))

Bibliography

The British Museum. Photographers of the Hajj. At: https://www.britishmuseum.org/explore/themes/hajj/narratives/photography_and_the_hajj.aspx (Accessed on 6th of July 2019).

Figures

Fig. 1. Bey, M. S. (1924). Mina, near Mecca (Arabia). [Photograph – Online]. At: https://www.britishmuseum.org/explore/themes/hajj/narratives/photography_and_the_hajj.aspx(Accessed on 6th of July 2019).

Fig. 2. Bey, M. S. (1924). Mecca (Arabia). [Photograph – Online]. At: https://www.britishmuseum.org/explore/themes/hajj/narratives/photography_and_the_hajj.aspx(Accessed on 6th of July 2019).

Fig. 3. Bey, M. S. (1924). Medina (Arabia). [Photograph – Online]. At: https://www.britishmuseum.org/explore/themes/hajj/narratives/photography_and_the_hajj.aspx(Accessed on 6th of July 2019).

Fig. 4. Bey, M. S. (1924). Mecca (Arabia) The Mosque. [Photograph – Online]. At: https://www.britishmuseum.org/explore/themes/hajj/narratives/photography_and_the_hajj.aspx(Accessed on 6th of July 2019).

Annie Leibovitz

August 8, 2019 georginie

Annie Leibovitz

Pilgrimages aren’t always a religious journey. Many artists have used the premise for exploring their spiritual journey. One such artist, is Annie Leibovitz, with her series entitled Pilgrimage. Leibovitz created this series by photographing places with meaning to her, it allowed her travel without an agenda; it also became her first primarily digital series. None of her images in this series contain people, but they do contains traces of life. She explored places such as Niagara Falls (see fig. 1) and Georgia O’Keeffe’s house (see fig. 2). She also photographed objects like Sigmund Freud’s couch (see fig. 3). The results are a truly personal project which show portraits of the past, without featuring people. I found her images interesting especially the museum pieces, as the light she utilises was very atmospheric. But I did find some of the images more like snapshots that any one could take, for example her image of Niagara Falls; it was as if no thought had gone into the image process. The series doesn’t feel complete, it doesn’t feel like there is a consistent narrative. Whilst I understand it document her journey, I think it would be beneficial to have more consistency. I found a copy of the book, the major problem is that the images and text don’t often match up, which makes it difficult to fully engage with the project.

(Fig. 2. Door in abode wall at Georgia O’Keeffe’s home (2011))

Bibliography

Hamilton’s Gallery. Annie Leibovitz. At: www.hamiltonsgallery.com/artists/Annie-Leibovitz/series/pilgrimage/(Accessed on 6th of July 2019).

Wood, G. (2011). Pilgrimage by Annie Leibovitz: review. At: www.telegraph.co.uk/culture/books/bookreviews/8928816/pilgrimage-by-Annie-Leibovitz-review.html/(Accessed on 6th of July 2019).

Figures

Fig. 1. Leibovitz, A. (2009). Niagra Falls. [Photograph – Online]. At: https://www.theguardian.com/theobserver/gallery/2012/jun/03/annie-leibovitz-pilgrimage-photographs-gallery(Accessed on 6th of July 2019).

Fig. 2. Leibovitz, A. (2011). Door in abode wall at Georgia O’Keeffe’s home. [Photograph – Online]. At: https://www.theguardian.com/theobserver/gallery/2012/jun/03/annie-leibovitz-pilgrimage-photographs-gallery(Accessed on 6th of July 2019).

Fig. 3. Leibovitz, A. (2009). Sigmund Freud’s Couch. [Photography Online]. At: https://www.theguardian.com/theobserver/gallery/2012/jun/03/annie-leibovitz-pilgrimage-photographs-gallery(Accessed on 6th of July 2019).

Karen Miranda-Rivadeneira

August 8, 2019August 8, 2019 georginie

Karen Miranda-Rivadeneira

Karen Miranda-Rivadeneira is a Photography who looks at identity, memory, feminity, and memories in particular in nature. Her landscapes are engaging and though provoking, in her series MEDA, her images show the body embedded in the landscape. The female body and nature unite and become one. She is using the body as a metaphor for knowledge. It is a symbol for knowledge and being at one the land. She is also comparing the female body and the land as nature is not the first land we live in, the body is. They share similarities. Stardust Woman(see fig. 1)reminds me of a far away galaxy. The swirls of the rock teamed with the ‘stardust’, looks like something cosmic.

The image from the series I like the most shows a women tangled among the branches. Th woman looks like an extension of the tree (see fig. 2). Her limbs blend with the limbs of the tree.

In her series Rowing Chants, Rivadeneira uses it as a chance to document her personal journey in Toas. This series only contains seven images, and for Rivadeneira it is her thank you to nature. Each image is presented with two images and with a poem. One image is of nature and the other is a female body. La Medida (see fig. 3)shows trees branches reaching to the sky, in the other image is a woman reaching her arms up to the sky. One line of the accompanying text states, “the outline of my body is always the inline of nature” (Miranda-Rivadeneira (2019)).

The next images is entitled 13:42 (see fig. 4), and shows a textured wall next to the back of a woman. Her images are comparing the body to nature.

The contrast between nature and the female body is a strong one. The artist is saying that this is how close she feels to nature, how we and nature can become one.

Bibliography

LensCulture. About Karen Miranda-Rivadeneira. At: https://www.lensculture.com/Karen-Miranda-Rivadeneira(Accessed on 25th of July 2019).

Miranda-Rivadeneira, K. Stories. At: www.insgain.com/user/karenmirandarivadeneira/495640902(Accessed on 25th of July 2019).

Miranda-Rivadeneira, K. (2019). MEDA. At: https://phmuseum.com/katenmiranda/story/MEDA-/b24faf75e(Accessed on 25th of July 2019).

Figures

Fig. 1. Miranda-Rivadeneira, K. (2018-2019). Stardust Woman. [Photography – Online]. At: https://phmuseum.com/katenmiranda/story/MEDA-1624faf75e(Accessed on 25th of July 2019).

Fig. 2. Miranda-Rivadeneira, K. (2018-2019). Untitled. [Photograph – Online]. At: phmuseum.com/karenmiranda/story/MEDA-1b24faf75e(Accessed on 25th of July 2019).

Fig. 3. Miranda-Rivadeneira, K. La medida. [Photograph – Online]. At: karenmiranda.com/rowing-chants(Accessed on 25th of July 2019).

Fig. 4. Miranda-Rivadeneira, K. (2019). 13:42. [Photography – Online]. At: karenmiranda.com/karenmiranda.com/rowing-chants(Accessed on 25th of July 2019).

Catherine Opie

August 8, 2019January 30, 2021 georginie

Catherine Opie

Catherine Opie is an American photographer who investigates issues surrounding feminism, whilst utilising portraiture and landscape photography. Opie’s series, As long as they are wild, documents her exploration of Yosemite National Park as a feminist. The series is a mixture of in focus or blurry images. There is no text, so the images are hard to pin point, as there is no narrative. There are purely landscapes, there are no people. At face value, you could look at her images are think they were taken by someone on holiday, someone who got the composure wrong, who didn’t focus them, basically images that would be binned when editing. But when you look deeper, you can see her reasoning. Her images, in particular Untitled #2 (see fig 1), reminds me of Ansel Adam’s Mirror Lake(see fig. 2). Whereas Adams images are sharp, in focus and meticulously detailed, Opies is blurry. Adam’s image is through a male gaze, it is perfect. It is almost as if she is doing the exact opposite, as if her images could never be taken through a male gaze, as they are not perfect. They are through a female gaze, fighting against the traditions.

Her images hold an uncertainty, there is nothing to go on, they show vulnerability and even loss. It strikes as she is taking a stand against the traditions of landscape photography, but also shows almost her loss of identity. I like her series as they hold a deeper more complex meaning, one which has been influential in my body of work.

This is the effect I want in my Body of Work images. I want the uncertainly, I want the images to show an uneven stance, like something is wrong. I think this will be an effect way of portraying a problem. Whilst I am investigating the inequality in landscape photography, I believe this Technique can show something is not quite right and make the reader think.

Bibliography

Tam, P. So Long As They Are Wild. Catherine Opie. At: Art Asia pacific.com/magazine/WebExclusive/SoLongAsTheyAreWild(Accessed on 24th of July 2019).

Tate. Catherine Opie. At: htttps://www.tate.org.uk/art/artists/Catherine-opie-4641 (Accessed on 24th of July 2019).

Tsui, E. (2018). Yosemite in all its intimacy: feminist photographer Catherine Opie’s first solo .hong Kong show features Western landscapes. At: https://www.scmp.com/culture/arts-entertainment/articles/2147211/Yosemite-all-its-intimacy-feminist-photographer-Catherine(Accessed on 24th of July 2019).

Figures

Fig. 1. Opie, C. (2015). Untitled #2 (Yosemite Valley). [Photograph – Online]. At: https://ocula.com/art-galleries/Lehmann-mauling/artworks/Catherine-opie/Untitled-2-yosemite-valley/(Accessed on 24th of July 2019).

Fig. 2. Adams, A. (1925). Mirror Lake. [Photograph – Online]. At: https://shop.anseladams.com/mirror_lake_signed_special_edition_photograph_p/1701807106.htm(Accessed 24th of July 2019).