Professional development by katiesmithdesign

Katie Smith Professional Development 169MC

Contents

Artist Reviews 4 Exhibition Reviews 8 Artist Biography 12 CV 14 Reflective Review 16 Gary Hill Research 18 Chloe Ostmo Research 34 Erik Kessels Research 36 Nobuhiro Nakanishi Research 42 Simon Baker Research 56 New Art West Midlands Exhibition 58 Roger Mayne Exhibition 68 Selfie to Self-Expression Exhibition 73 Jean PainlevĂŠ Exhibition 80 Wildlife Photography Awards 84 Artist Biographies 88 Reflections 94

Gary Hill Gary Hill is a visual artist who primarily uses video but produces work through collaborating with poets (George Quasha and Charles Stein in 2000), artists (Bruce Dorfman 1970-72) and experimental video artists (Dave Jones in 1977). Through this expansion, Hill opens his work up to wider audiences to bring a more visual aspect to literature. His work is however, through his own choice, limited to a ‘present audience’. Hill only features stills on his website meaning his promotional channels can sometimes provide minimal content but his constant positions as an artist-in-residence, for companies as big as SONY, provide a constant flow in production of work for audience members to come and visit. The installation cost is often a large part of this but when producing work without the support of companies to begin with, Hill relied on grants and fellowships, such as the Rockefeller Video Artist Fellowship (1981) and the National Endowment for the Arts Media Production grant (which Hill received 4 times). To begin with, Hill had to fund his own work however, external funding was received frequently from 1978 onwards but keeping up to date with the technology has become an expensive part of Hill’s cost structure.

Gary Hill, Remembering Paralinguay, 2014. 5

Nobuhiro Nakanishi Nobuhiro Nakanishi is an installation artist who uses his large installations, that mainly use plexiglass acrylic, in order to question his audience’s perception of time. The cost of such installations and exporting them to other locations means that the audience of Nakanishi’s work has largely been limited to Japan although on occasions it has expanded to Germany (in 2001 for a group exhibition) and to Switzerland (in 2010 for his first solo exhibition abroad). Like Hill, Nakanishi doesn’t feature videos on his website but this is for a different reason. Providing one video where every audience member experiences the same sense of time defeats the concept of his work, therefore, gallery visits are encouraged. However, through collaborations with the likes of Phillip Lim (2012), Nakanishi’s work has been expanded to the fashion industry where his collaboration was then picked up by VOGUE magazine. This kind of work has all required money from Nakanishi but unfortunately figures aren’t published. However, looking at the commissions that Nakanishi receives compared to the individual projects undertaken, Nakanishi must rely heavily on commissions for his income.

Nobuhiro Nakanishi, Fog, Layer Drawings, 2005.

New Art West Midlands is an exhibition put together across four destinations displaying the work of 31 emerging artists, in this case specifically the work displayed at Birmingham Museum and Art Gallery. Exploring issues such as gender stereotyping, the connections between masculinity and femininity as well as our digital perception of art, the artwork forces the audience to reconsider the views they have surrounding these issues. Pulling this artwork together is one of the central pieces by Jessica Maxfield. The large fractal piece featured as you enter the space, Maxfieldâ&#x20AC;&#x2122;s bold geometric digital print seems to link to each piece individually. Therefore, although the concepts may not be continuous across all the pieces, the exhibition connects visually as you leave questioning the relationship between humans and animals from Lisa Nashâ&#x20AC;&#x2122;s installation The Circle of Nature, the gender stereotypes explored in the steel work installation, Orbita, by Yasmin Boyle and the juxtaposed view between the black female and white female bodies by Lorna Brown. All being important concepts that we need to continually question, making the exhibition a worthwhile visit.

'Selfie to Self-Expression' at the Saatchi Gallery Self-expression has always featured in art but largely through the development of technology, self-expression, along with our viewings of art, has become digitalized. The ‘Selfie to Self-Expression’ exhibition, as curated by the Saatchi Gallery, primarily explores the distinction between self-expression and selfies but by doing so, an exploration also takes place in regards to the digitalization of both ourselves and art. From the start, these forms of self-expression are placed on to a screen, allowing paintings such as Picasso’s self-portraits to be put through a liking system similar to that of Instagram. As the role of the digital emerges throughout the rooms of self-expression, the role of the screen continues as a display method, being placed alongside prints and video installations that begin to push the boundary between ‘what is a selfie?’ and ‘what is self-expression?’. As a result, we realize how digital everything has become. By doing so, the Saatchi gallery are wanting us to question if there is such a spectrum between selfie and self-expression. The continued digitalization of works and the overall layout of the exhibition makes it an interesting space to reflect on the changes in modern day society.

My Artist Biography Social media has become a huge part of who we are and incorporating this into her work, Katie Smith uses identities from platforms such as Instagram and Facebook to make the audience question how far our identity is our own online. Using a more experimental approach and looking at the use of installation, Smith gives existing identities new contexts through adding more layers to what seems like an already complex development in the 21st Century. By placing these within new surroundings, the audience question the degree to which our identities are manipulated.

Katie Smith, Fractured Identities, 2017.

Proﬁle

towards colours, texture and form in a more detailed and refined way.

Employment history

Experience

Skills

Qualiﬁcations

www.katiesmithphotography.co.uk smithk70@coventry.uni.ac.uk Dedicated photographer and visual artist currently looking at the varying 07973601115 aspects of our online indentities through various installation methods. @katiesmithphotography_ Alongside this, interests in macro and wildlife photography emerge all steming from initial interior design experience, providing a key understanding for the fundamentals of photography, focussing on tones, form and structure. Drawing on these interests in interior design as well as photography theories gives a different undertone to the work, meaning, due to the nature of the work, each audience member has a unique experience. Exhibiting these works is an aim of mine as a lot of the experience with March 2013 Woodstock Designs, my work relies on this interaction, extending beyond a website platform. Oxford Work experience undertaken in order to gain an initial understanding of the fundamentals of design. Design September 2016 - June 2019 elements looked at can be applied Photography BA (Hons) Degree at Coventry University. Currently underto photography through picking out taking first year. complementing fabrics and the composing of a room similar to that of September 2014 – June 2016 composing a photograph. GCE A Levels in History, Maths, Extended Project Qualification and Photography at Cherwell School, Summertown. June 2015 Stella Mannering, GCE AS level also gained in German. Oxford Another design work experience un- September 2009 - June 2014 12 GCSEs including English, Maths, ICT, dertaken to deepen the understanding

Contact

Photographer and visual artist

Katie Smith

Self-motivated Eager to learn Enjoys overcoming challenges Good interpersonal skills Hands-on customer service experience Good understanding of DSLR Cameras Three years experience with Photoshop

Skills

Working as a brand ambassador within a small team, helping advise customers on appropriate products and finding complimentary fragrances. Always striving to meet daily targets for the store and remaining aware of all current promotions.

May 2016 – September 2016 Crabtree and Evelyn, Oxford

Bird of Prey Photography Experience led by Darren Harbar: Hands on experience with a photography, gaining an insight on how to achieve better wildlife shots. 2016 British Wildlife Photography Day at the British Wildlife Centre, Surrey: Working with the animal keepers this time giving more direction in regards to the style of photos desired.

Experience

Katie Smith

towards colours, texture and form in a more detailed and refined way.

Stella Mannering, GCE AS level also gained in German. Oxford Another design work experience un- September 2009 - June 2014 12 GCSEs including English, Maths, ICT, dertaken to deepen the understanding

June 2015

Curriculum Vitae Photographer, Writer and visual artist

Contact

Proﬁle

www.katiesmithphotography.co.uk smithk70@coventry.uni.ac.uk Dedicated photographer and visual artist currently looking at the varying 07973601115 aspects of our online indentities through various installation methods. @katiesmithphotography_ Alongside this, interests in macro and wildlife photography emerge all steming from initial interior design experience, providing a key understanding for the fundamentals of photography, focussing on tones, form and structure. Drawing on these interests in interior design as well as photography theories gives a different undertone to the work, meaning, due to the nature of the work, each audience member has a unique experience. Exhibiting these works is an aim of mine as a lot of the experience with March 2013 Woodstock Designs, my work relies on this interaction, extending beyond a website platform. Oxford Work experience undertaken in order to gain an initial understanding of the fundamentals of design. Design elements looked at can be applied to photography through picking out complementing fabrics and the composing of a room similar to that of composing a photograph.

Employment history

June 2015

Stella Mannering, Oxford Another design work experience undertaken to deepen the understanding towards colours, texture and form in a more detailed and refined way.

May 2016 – September 2016, June 2017 - September 2017, December 2017 Crabtree and Evelyn, Oxford Working as a brand ambassador within a small team, helping advise customers on appropriate products and finding complimentary fragrances. Always striving to meet daily and personal targets for the store and remaining aware of all current promotions , alongside being aware of personal targets to impor

Qualiﬁcations September 2016 - June 2019 Photography BA (Hons) Degree at Coventry University. Currently undertaking Second Year year. Overall grade at end of the first year was a First. September 2014 – June 2016 GCE A Levels in History, Maths, Extended Project Qualification and Photography at Cherwell School, Summertown. GCE AS level also gained in German. September 2009 - June 2014 12 GCSEs including English, Maths, ICT,

Reflective

Instead of just looking at an artist’s work, this module made me look that bit deeper. Looking into their business models has allowed me to gain knowledge of how to gain recognition for my work within the photography industry. Although I have a keen interest in macro and wildlife photography, I decided that these were areas that I want to pursue in my own personal work but they can also form a part of my larger interest in installation art. Due to the nature of installation art, and needing a space whereby I can play on the audience’s perception of the space, getting my work into exhibitions and galleries is going to be an aim of mine. People often say that at the start of your photography career you are going to have to be willing to work for nothing and with Gary Hill this was no different. Having to fund his own exhibitions to begin with to get his work noticed was something that I thought would occur but I soon found that there are multiple ways to try and get funding to help with these costs. Looking into fellowships, grants as well as artist-in-residence positions all provide this basis whereby I could continue making my work and displaying it. The ‘space’ which I mentioned doesn’t have to be traditional and looking at Nakanishi made me realize this. Linking strongly to his concept, commissioned work for a train station fitted well with Nakanishi but both he and Hill also display their work on their website. The website will be an advertising platform in many ways in order to encourage the audience to see the exhibition. Trying to make the display method look as strong as my installation has been a struggle so far and through this module, I have realized how important it will be for me to strengthen this as the audience will want a new dynamic to be provided by visiting the space instead of viewing it on a website.

Equally, hearing from Hill has brought a realization for me that it’s important to balance and work out who you are trying to conform to as an artist. Through this module I have started to develop my thoughts towards my professional practice. Seeing working examples and looking into the background of the pieces that I have seen in an exhibition, provides me with an outline of the overall process, from outlining your concept for funding to the final presentation compared to my current process that rarely goes beyond the final prints.

Review

Evaluating artist’s websites will become part of my development but also trying to gain experience with curators to see how they view the artwork that they are putting together. Viewing this in a separate way to the artists is all about now placing it in a more definite context instead of theorizing. Visiting the exhibitions provided an insight for this whether it be for numerous artists in the New Art West Midlands 2017 exhibition or a solo artist in the Roger Mayne exhibition at the Photographer’s Gallery. Specifically, Lisa Nash’s The Circle of Nature provided an installation alongside prints. This could be one way to break the space up. Originally this was something that I hadn’t thought would work but it cannot be ruled out until you see it in the space. This is what makes displaying in many different locations a change for the way you view the artwork.

Gary Hill Research

Gary Hill, I Believe It Is An Image In Light of the Other, 1991-92.

Participates in a group exhibition at 55 Mercer Gallery in New York entitled “Artists from Upstate New York”. Hole in the Wall, Hill’s first video installation, was made at the Woodstock Artists Association and some of these videotapes were then exhibited at the Kitchen Centre for Video and Music.

1973-4

1970-2

Hill works with the painter Bruce Dorfman and he becomes aware of the work of La Monte Young and Terry Riley who are two composers. He also produced his own first solo exhibition at the Polari Art Gallery in Woodstock which consisted of some of the work that Hill started to produce with constructions made of wire mesh, enamel, canvas and copper coated steel welding rod. Sound also became a part of his experiments in this time.

1973

By working with Woodstock Community Video, Hill was able to partake in some of his first experiments with video. This was a community centre so the initiative was government funded which in many ways allowed for him to start getting noticed by the government for future funding. Hill again experiments with sound constructions using welding rods at the Woodstock Artists Association.

“It is an artist-run organization whose members share no common aesthetic philosophy or style of work. They share the rent of the space and do with it what they want.” This is taken from the Mercer Gallery website and the submission guidelines say that the work has to be original works suggesting no commissions so this work created by Hill would have to have been self-funded.

Other than building video tools with Jones, he also meets poets George Quasha and Charles Stein who he later collaborates with in 2000 and they partake in other videos throughout Hill’s career.

1977

1974-77 1974-6

Hill’s role within community projects that were government funded increased as he became the Artists TV Lab Coordinator. This was supported by the New York State Council of the Arts and this role within the community could be argued to help him get noticed for future government funding. Image and sound combinations were also explored within this year.

Hill’s work was starting to get noticed undertaking an artist-in-residence position at the Experimental Television Centre in Binghamton. He also meets Dave Jones who is an engineer that he uses to commission computer technologies in 1977 as well as 1991.

Gary Hill, Painting with Two Balls (after Jasper Johns), 2016. Furthest Right: Gary Hill, Inasmuch As It Has Already Taken Place, 1990.

First pieces produced using image and voice.

Received grant from the New York State Council on the Arts. It was the production grant but would not have been given directly to Hill but instead to a sponsoring non-profit organization.

78 Received the Creative Artist Public Service Fellowship.

Received the National Endowment for the Arts Fellowship which was one of the four that Hill received over his career. He specifically got the Visual Artist Fellowship. Overall, during the course of this program, 6500 fellowships were granted to 5147 artists.

Fellowships

1978: Production Grant from the New York State Council on the Arts, a Creative Artist Public Service Fellowship and National Endowment for the Arts Fellowships. 1980-81: New York State Council on the Arts Production Grant 1981: Recipient of a Rockefeller Video Artist Fellowship 1981-82: National Endowment for the Arts Media Production Grant 1981-82: New York State Council on the Arts Production Grant 1982: Moved to Japan sponsored by the National Endowment for the Arts and the Japan/U.S. Friendship Commission 1983-84 : New York State Council on the Arts Production Grant 1984: Another move within Japan supported by a Japan/U.S. Exchange Fellowship 1984: New Works Grant, Massachusetts Council on the Arts 1985: National Endowment for the Arts Fellowship 1985-86: New York State Council on the Arts Production Grant 1985-86: New York State Foundation on the Arts Fellowship 1986 - Recipient of a Guggenheim Fellowship. 1986: American Film Institute Fellowship 1986: National Endowment for the Arts Production Grant 1987: Artist Trust Fellowship 1987: National Endowment for the Arts Fellowship 1988: Travels to Paris for six months as a National Endowment for the Arts Exchange Fellow 1989: Rockefeller Intercultural Media Arts Fellowship 1990: Guggenheim Fellowship 1990: Rockefeller Intercultural Media Arts Fellowship (stage two) 1991: Recipient of a second Guggenheim Fellowship. 1998: Recipient of a John D. and Catherine T. MacArthur Foundation Fellowship Award. 2000 â&#x20AC;&#x201C; 2001: Receives the Joseph H. Hazen Rome Prize Fellowship

Artist-in -Residence Positions

1979 – 1980: WNET/Channel 13, New York. 1985: SONY in Hon Atsugi, completes the first edit of URA ARU (the backside exists). 1991: L’Hôpital Éphémère, Paris. 1998: Capp Street Project in San Francisco, California. 2000 – 2001: American Academy in Rome. 2000-2001: Commissioned by the Science Museum, London. 2002: La Compagnie Marseille, France. 2011: Quartier 21/Tonspour, Vienna. 2012: Cazadoro, Mas d’Azil, France 2013: Ecole Nationale Supérieure Photographie Arles, Arles, France. 2013: Pilchuck Glass School. 1987: Museum of Contemporary Art, Los Angeles, California 1988: Musée national d’art moderne, Centre Georges Pompidou. 1989: Spanish Television as part of the series “El Arte del Video.” 1990: La Sept of Paris for “Live” 1996 – 1998: Westfälischer Kunstverein, Münster, Germany. 2003:Fondation Cartier pour l’art contemporain, Paris, France. 2005: Soprintendenza Archeologica di Roma for the Colosseum and Temple of Venus and Rome. 2006: Fondation Cartier pour l’art contemporain, Paris, France.

Large commission jobs

2008 – 2009: Holland Festival. 2013: La Foundation Nationale des Arts Graphiques et Platiques.

Business Model

Gary Hill, Spring from Undertime (Awaking Awaiting), 2000.

The main client list for Hill is listed above but Hill has also collaborated with other individuals. Not just artists but those that work with language as this is something that Hill began to explore more. To start with, Hill did collaborate with some artists but he then began to do more individual work. He started once more in 2000 working with George Quasha and Charles Stein on one piece and he collaborates with Christelle Fillod as well as Paulina Wallenberg-Olsson. Some of Hill's inspiration to begin with came from the painter Bruce Dorfman and Hill ends up collaborating with him later on. He also works with and commissions Dave Jones to build experimental video tools (1977) to help him create more developed works. Trying to keep up-to-date with the technologies (as he was working during a time when the technology was developing thick and fast) cost Hill quite a bit of money but the steady income flow from grants, artist-in-residence positions as well as money coming in from his book selling, Hill knew these developments would be good investments for future works.

Networking via social media isn't something that Hill utilises as much as other artists. Due to the physical nature of his work and not wanting to give too much away this is understandable. Instead he uses the fellowships and artist-in-residence positions in order to expand his network. Hill was an artist-in-residence across the world and as part of this he would have to commit to producing a certain amount of work. Through this commitment and the guaranteed funding, he is able to continue experimenting with work and gain experience in other areas. In a way this is an unconventional promotional method in order to expand his work across the World and his connections with other artists and poets means that this must be working.

Audiences Hill's work has also been shown at Film Festivals. His later work brings poetry into his work and can therefore in some ways be seen to widen his audience but also widen the audience of poetry as it has now been given a new context that may appeal to more people. His audience has to be present within the display of his work due to the video nature. This means that the audience is more limited as the videos cannot be seen online, it is just stills. However, by doing this, Hill is bringing a new dimension to his work and relying on the audience to perceive the work in a different way by having the moving nature and not being able to preview his work before visiting.

Costs Structure He paid some people with more technical skills to come up alternative programs, in 1991 Hill commissions Dave Jones to design a computer-controlled video switcher for a number of "switch" pieces. At the start he needed to fund his own exhibitions but this was soon changed once he got the fellowships.

Revenue Streams He received the Production Grant from the New York State council of the Arts, a Creative Artist Public Service Fellowship, and the first of four National Endowment for the Arts Fellowships all in 1978. Having worked within a government initiative to start his first experiments with video at the Woodstock Community Video in Woodstock, New York in 1973, Hill was able to get noticed for the work he was doing. Doing such activities that are there fore experience instead of money means he can then start gaining interest for his work and actually get grants for it. This took 6 years though to go from displaying his work to getting the first grant money. Main source of income towards the later part of his career comes from being an artist-in-residence. 27

Email between myself and Gary Hill. It was interesting to see a different perspective on his work and obviously he has created this work with the view outlined. I thought his last comment was the most interesting. There are so many different people or groups you could try and please with you work but which one is going to gain the best results?

Website

Hill keeps his website very simple and easy to navigate.

Placing his work in a non-chronological order he also splits the work up into sections such as performance, mixed-media installation or video. Sometimes it could be unclear where a specific work would be located however, there is a search bar for the whole of Hill's website meaning that if you are looking for one particular work, you can quickly find it amongst the large quantity of other work.

What interested me about Hill's website was the fact that no matter what the size of image, each original image as you can see here has been placed in a square so that if you know what the work looks like but you don't know the title, you can find the work but also the regular structure means that aesthetically, your eye is not interested by one piece over another due to the size that they have been presented. This works in favour of Hill as each piece of work is instead appreciated for the skill, content and concept. His website is kept up-to-date with details of exhibitions and the details are well organised with contacts for different studios being clearly labelled and any queries are replied to quickly by the artist. http://garyhill.com

Draft 1: Gary Hill is a visual artist exploring the connection between language and art practices, primarily the use of video. He was open to the dissection of technologies in order to de-construct and then reconstruct them in his own way where “representation played a relatively minor role in his work” as his theme of “disembodiment” is portrayed on both single and multi-channel installation pieces. Having been described as a ‘pioneer’ for video installation work, Hill’s work has been commissioned by international galleries in order to show variation in the changing structure of the art gallery. Many other projects had been funded through fellowships due to his unique art structure. This space provided within the art gallery is the main space where Hill presents his work. Digitalized versions of his installations do not exist which enables a new dimension to be provided when the audience receive his work within a gallery. This forces us to view it as art when we see the full version instead of seeing it online and not giving it this art status.

Draft 2: Gary Hill is a visual artist primarily using video. He was first introduced to this through government run programs and after 6 years of self-funded projects and exhibitions, such as a solo exhibition at the Polari Gallery in New York and the “Artists from Upstate New York” at 55 Mercer Gallery in New York City, Hill was able to gain wider recognition for his work. This began in 1978 when he received his first of many grants to produce new installations and artworks. Another part of this came from his position as an artist-in-residence in organizations such as SONY who encouraged the production of new works under their name. Without these numerous grants and positions across the World, Hill wouldn’t have been able to produce work that resulted in him being described as a ‘pioneer’ for video installation work.

Resources: http://garyhill.com http://www.djdesign.com/artists/ghgrant.html https://www.arts.gov/sites/default/files/nea-history-1965-2008.pdf https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/6846/releases/MOMA_1990_0097_100. pdf?2010 http://www.vasulka.org/archive/4-30d/SetinMotion(6014).pdf http://www.art-agenda.com/shows/gmg-gallery-presents-gary-hill/ http://www.woodstockart.org/submission-guidelines/ http://www.m55art.org/aboutus.htm http://www.experimentaltvcenter.org/manner-speaking-interview-gary-hill http://dig.henryart.org/northwest-artists/artist/gary-hill#the-artist https://en.wikipedia.org/wiki/Gary_Hill http://www.gladstonegallery.com/artist/gary-hill/biography

Chloe Ostmo Research 34

Chloe Ostmo, Falling, 2006.

“My work is broadly concerned with the negotiation between a three-dimensional original event or object and its two-dimensional copy. I am interested in the transformations that occur and their impact upon our perception and understanding of space.” (Chan n.d.) “Working predominantly with photography and video, I am interested in the spatial possibilities and generative potential of the photographic print as a complex ‘material’ that has the ability to confront the viewer as an object in the present as much as an image of some past event.” (Chan n/d/ This mimics the effect of glitch art but in a more physical way, Business details: Ostmo had a limited company that she used for her work, it was established on 1 November 2012 but it has since been dissolved (2 February 2016). Ostmo's website shows her work but the last piece of work that was created was in 2010, which is the same year that Ostmo finished her Masters in Fine Art. This would suggest some of this work, especially Falling (as can be seen on the opposite page), were created with her Masters Degree. Her LinkedIn profile still says she is an artist but the information I could find in regards to Ostmo's work was very limited. After trying to do some digging I found that very little information could be found on Ostmo's work therefore, although her work is something I could look towards for visual inspiration in my work, I couldn't look much further into how she funds her work and the business side of a career in the arts.

Resources: http://www.newcontemporaries.org.uk/artists/chloe-ostmo http://www.chloeostmo.com Chan, S. (n.d.) Chloe Ostmo 3D Installations Out Of 2D Photographs Will Trick Your Eye [online] available from <http://beautifuldecay.com/2015/03/05/chloe-ostmo-3d-installations-2d-photographs-willtrick-eye/> [11 April 2017]

Erik Kessels Research Erik Kessels, 24 HRS in Photos, 2011.

"Independent, communications agency" It's interesting to see that Kessels views his images as 'communication' he doesn't put the sub-heading as gallery instead he uses 'communication'. Either way, it is clear from the next topics that most of Kessels' work is being created through commissions. Other works, such as 24 hours in Photos, do not come under this heading of communication, instead it comes under exhibitions. The definition between these categories is unclear therefore, in some ways his website navigation is difficult but once the distinction is made in our own minds, it is easier to work out which works Kessels views as 'art' and which he views as 'communication methods'. Having these different segments to his work opens up more income methods for Kessels which is then furthered by Kessels publication company, KesselsKramer Publishing.

Drop-down menu on http://www.kesselskramer.com

Revenue streams are continuous with both companies so much so that Kessels has to employ a large team for his work. His original company, KesselsKramer, has 3 offices - one in Amsterdam, one in London and one in Los Angeles. Over all three offices, there are about 50 people employed meaning the work flow has to be constant for Kessels to employ such a large team. From the title of a 'communications agency', I can infer that Kessels doesn't just employ photographers or other artists, his team goes further than this. The publishing company of KesselsKramer do not publish works by outsiders. The work published is by the people employed at the publishing house. This in a way saves having to find work and employing people to do this but the publishing house would still need to have employees for the likes of proof-reading, printing and the publishing.

Doing the publishing this way, by bringing in employees who are expected to create publications as part of the publication house, KesselsKramer could be bringing in more income. The contract for each employee would have to have some sort of agreement in regards to how much they should be creating each year. As a result, there would be a continuous production of work meaning a continuous production of publications bringing in revenue. In theory, due to the fact that KesselsKramer Publishing employ the writers, you would suspect that KesselsKramer has full publishing rights to the book. This means that all the revenue generated from the book would go to the publishing company in whole and can then be distributed to the writers instead of having authors come to the company and only giving them a certain cut of the revenue that they make from the book. So in effect, this way, KesselsKramer Publishing have control over the money meaning they can take a larger cut and increase their profits. The information about the companies publications are on the separate website that KesselsKramer has created for their publication house however, revenue and costs structure have not been published. But the business model categories can be inferred from the details we are given from both websites.

Audiences

Due to the size of KesselsKramer, the audience of Kessels' work reaches a lot further. Not only is his work displayed in exhibitions, therefore, receiving similar audiences to those described for Hill, but his work is also published through his publishing company. Although this may seem like a cheaper way for him to publish his own work, by having a publishing house running alongside his work, it means he can get the full revenue stream from his own work this way. Anyway, looking at audiences, his work, due to the vast nature of it, is seen by a vast percentage of the population. The popular tourist spot with the I amsterdam sign is part of KesselsKramer's work. As part of a brand development program with Amsterdam, the company has reached wider audiences with tourists. Equally, with advertising campaigns being portrayed on billboards, TV campaigns and magazines, KesselsKramer's work is being continually viewed by the expanding public. His work is therefore being viewed by more than the likes of Hill who relies on his work being viewed in an exhibition space for the audience to gain a full understanding of his work. Kessels on the other hand, although some Erik Kessels, I amsterdam, work relies on the exhibition space, there are also other aspects to his 2005. work, such as the 'In almost every picture' series, that bring a new sense to the family album with his publications. This no longer relies on visits to a particular space but can be viewed from home and the audience will gain a full understanding of the piece. If these were viewed online, which is an idea later explored by Henry Rice who I viewed at the New Art West Midlands 2017, the full details of the art would be distorted and not understood to its full capabilities.

Costs Structure A large cost that Kessels would have to think of as part of KesselsKramer would be the employees and office space. The running of a company in 3 different locations can be expensive especially if each one has capabilities to publish books from these spaces. The cost of the equipment to produce on a large scale in quantities of 3 would have to be something that the company would also have to keep up-to-date and have maintained. Costs for an installation as large as '24 hours in photos' would also be something that would have to be looked into. Although this is just one project, the sheer scale of this work suggests that this is something that Kessels would undertake on more than one occasion, Other exhibitions that KesselsKramer have taken part in explore the exhibition space in more detail by using other details. For example, in the exhibition 'Graphic Design World', KesselsKramer don't just put the work on display, they design the space and the costs of doing this with other exhibitions would slowly add up.

Revenue Streams Although the costs of running KesselsKramer can easily add up, it means the revenue stream must be larger for two such companies to continue growing. Revenue streams come in from the publishing company and the profits, with a theory explored on the last page, can be increased depending on the contracts that KesselsKramer has with each of their employees as the contract will not be entirely the same for each. Also from the 'communications' side of things, a lot of this looks to be commissioned works for areas such as brand development and advertising. A continual flow of income from these areas (commissions and publishing) means that KesselsKramer can also explore their work in the exhibition space. The revenue from this may be less but having such a large expanse across the industry allows for these sort of explorations into less profitable works take place.

Artist Analysis: Erik Kessels is a photographer and artist who has collaborated with Johan Kramer on a much larger scale, it isnâ&#x20AC;&#x2122;t just a one of piece but they have co-founded two companies whereby the two work together on commissioned projects, exhibitions and publishing. KesselsKramer, the company, and KesselsKramer Publishing, works in 3 cities with a workforce of 50 people. The addition of other workers not only increases the costs, but these employees are the only ones that KesselsKramer will publish from. By doing this, KesselsKramer can regulate how often work is produced meaning that their revenue is consistent and in some ways, Kessels and Kramer are able to take more profits from the company depending on the contracts they have set up. As an individual artist, Kessels uses the publishing company to produce his own books and the exhibitions undertaken often feature some of his own work. Working part of a larger company means that the audiences for his work is expanded further. By helping with the brand development for Amsterdam, Kessels has had his work, and therefore name, put to a wider audience in the form of the tourist industry. But this is just one project, his work, as part of the KesselsKramer name, has brought more revenue and audiences together through his art and photography.

Nobuhiro Nakanishi Research Nobuhiro Nakanishi, Fog, Layer Drawings, 2005.

Nobuhiro Nakanishi, Fog, Layer Drawings, 2005. Nobuhiro Nakanishi, Cloud, Layer Drawings, 2005.

Nakanishi takes photos of a landscape changing over a period of time before he laser prints them on to plexiglass/acrylic. The results provided give this 2D change shown in photos a 3D appearance as the audience is encouraged to look at the piece in their own sense of time. Some will hurry past it whilst others will slowly engage with each sheet to notice the small changes. This means that each member of the audience will have a different experience with each of Nakanishi's pieces and this is something he wants to embrace within his work. 44

"We are all subject to the passing of time, yet each of us feels and perceives it in our own way. Time itself has no shape or boundary and cannot be fixed or grasped. When we look at the photographs in these sculptures, we attempt to fill in the gaps between the individual images. We draw from our physical experiences to fill in missing time and space, both ephemeral and vague. In this series, I attempt to depict time and space as sensations shared by both viewer and artist." Nakanishi, N. (2010) About Layer Drawings | Nobuhiro Nakanishi [online] available from <http://nobuhironakanishi.com/essay/layer-drawings-en/> [8 April 2017] Nobuhiro Nakanishi, Light of the Sunrise 2, Layered Drawings, 2012.

Solo-exhibitions London new York Japan china Switzerland New York

Group-exhibitions

3 3 7

Permanent collections Mori Art Museum, Tokyo, Japan The Museum of Modern Art, Wakayama, Japan Toyota Municipal Museum of Art, Aichi, Japan

Collaborations 2007: co-produced Tokyo Sunrise with Philip Lim for the reception of his store at Sak’s Fifth Avenue, New York. 2007: co-produced with COMME des GARÇONS, Hong Kong on a work involving video programming. 2010: co-produced with COMME des GARÇONS, Tokyo to produce some sculpture works.

Commissions

2009: “Stripe Drawing/Aqua” was produced for SKYPerfectTV! Tokyo Media Centre ART WORKS. 2010: the monument “Aomori Reflection” was produced for JR Shin-Aomori station at Aomori City. – What is interesting with this piece is that it is a train station. This is a large space where people will travel at lots of different paces so this is one of the most interesting places for Nakanishi to place his work if he is wanting to see the different experiences of time that each member of the audience has. 2010: “Celestial Air” was produced to then be installed in Blue Architects in Zurich, Switzerland. 2013: Etching on stainless steel created for “Reflection of Aqua” which was installed for Air Water at their Shinano Omachi Factory. 2014: “Layer Drawing – Azumino Forest” was commissioned for an office building in London. 2014: Commissioned for another office building, NEW TIME. 2014: “Stripe Drawing- Celestial sky” was commissioned for Ille de la Jatte in Paris. 47

Business Model The client list, as listed above, has been quite limited to office spaces. This is quite an unconventional exhibition space but I viewed it in the way that if the office can commission such a large work, then their function must be to assist those that have a larger amount of money. This means Nakanishi's work could gain interest from people that want to commission work for their own art collection. Similarly, having his work in a train station means that every day, his work is getting experienced in so many different ways as his audience can go from one extreme (running for the train) to the other (slowly wandering the platforms trying to find the right place). As a result so many experiences with time are had. Nobuhiro Nakanishi, Forest, Layer Drawings, 2012.

Looking at Nakanishi's artist statement, as shown on a previous page, Nakanishi's work is given value through the sense of time for both the audience and artist. But further to this, some of his work has been shown at cultural festivals so his work hasn't just got this monetary value but its exhibition at the Sharjah Islamic Arts Festival gives it some cultural value alongside the exhibits of traditional and contemporary Islamic arts. Talking about monetary value, the resources that Nakanishi uses do cost money. He doesn't just use plexiglass but other materials such as film plastic for some of his pieces. Different materials cost different amounts of money for the quantity that Nakanishi requires. Other than this, the camera Nakanishi uses would need to be of high quality to blow them up to such a large size and the printing method is another resource that Nakanishi needs. It is clear that Nakanishi's work is networked through a particularly client list, he keeps his social media running but it isn't always up-to-date and this is only done on the Facebook platform. Displaying his work within festivals provides some networking opportunities. The festival that it has been displayed at is based upon other Islamic arts which provides connections for future collaborations between traditional and contemporary Islamic artists.

Audiences The audience is therefore important in Nakanishi's work and no particular audience is targeted as this will provide more perceptions to his work which is almost encouraged as we each view the gaps in different ways. By not limiting his work to a particular audience, although destination could play some role, Nakanishi is keen to show that there is no boundary to relations between time and space. Although Nakanishi's work has been shown in many destinations, the exportation costs can have a limitation on the audiences he can reach.

Costs Structure Installation cost (the scale of his pieces is quite big so the cost of glass, printing and the installation space and installation display) all have to come into the costing when pricing up for a commission. Transporting his work between locations within Japan is hard enough but trying to expand further afield then the costs would only increase.

Revenue Streams Nakanishi gains money primarily through his commissions. Unfortunately, I cannot find any fellowships that Nakanishi has gained but due to the quantity of exhibitions that he has put on, it would suggest that some sort of funding has been obtained instead of trying to fund it all himself. In Japan art funding is provided by the Agency for Cultural Affairs they receive 103.8 billion a year for art and cultural promotion. This shows that art is promoted in Japan and having been put alongside works for cultural promotion at the Islamic Arts Festival, it seems as though Nakanishi's work would be suitable for funding and due to the quantity of work produced, it would suggest this is the case alongside commissions.

2015: CSP “The being of painting and sculpture”, Kuwasawa Design school, Tokyo Japan; ACT festival, ACT Centre Asia Cultural Centre(ACC), Kwangju, South Korea. 2014: “Art Stage Singapore 2014-We are Asia-Platforms”, Marina Bay Sands Expo & Competition centre, Singapore, Singapore; “What is print? - Beyond the Border”, Ichihara lakeside museum, Chiba, Japan. 2013: “Art exhibition about Kitakyushu Vol.5”, Kitakyushu Municipal Museum of Art, Fukuoka, Japan. 2012: “Visible / Invisible”, Toyota Municipal Museum of Art, Aichi, Japan; “Mukiesa? – Wearable Art”, Gallery Nomart, Osaka, Japan; “PEKE, Talk session and Exhibition”, Gallery Nomart, Osaka, Japan. 2011: “Invisible City - Anatomy of Place Names”, Operation Table, Fukuoka, Japan; “BOX”, Gallery Nomart, Osaka, Japan; “Utsusu”, Wakayama Prefectural Museum of Modern Art, Wakayama, Japan. 2010: “The 7th International Ink Painting Biennial of Shenzhen”, Art & Design Gallery, Shenzhen, China; “The Doors of Perception II”, Kirakutei/ Toyota Municipal Museum of Art, Aichi, Japan; “The Doors of Perception I”, Toyota Municipal Museum of Art, Aichi, Japan. 2009: “SIPA 2009-Asia Belt Artist Project Special Exhibition”, Seoul Arts Centre, Korea; “Collection/Connection – Fukuoka City Art Museum 30 Years, Layer Movies” Fukuoka City Art Museum Second Floor Lobby, Fukuoka, Japan; “Tanaka Tsuneko Collection Exhibition from Home to Museum”, The Museum of Modern Art, Wakayama, Japan; Floating Strokes, Galerie Kashya Hildebrand, Zurich, Switzerland; “Musashino Art University 80th Anniversary Exhibition”, Metamorphosis - Objects Today Vol.2. Motohiro Tomii x Nobuhiro Nakanishi “Transmutable Objects”, Gallery αM, Tokyo, Japan; “Reborn”, Gallery Nomart, Osaka, Japan; “The Fifth Art of Design 2009 Contemporary Artists - Transmutation” Tokyo Zokei University Yokoyama Memorial Manzu Art Museum, Tokyo, Japan. 2008: “Small Solid + drawing”, Gallery Monma, Sapporo, Hokkaido, Japan; “Senjiru – Infusion”, Galerie Kashya Hildebrand, Zurich, Switzerland; “The Vision of Contemporary Art (VOCA) 2008”, The Ueno Royal Museum, Tokyo, Japan; “Iwano Masahito revisited Tokushima by Contemporary Art”, The Tokushima Modern Art Museum, Tokushima, Japan. 2007: “Exhibition as media”, Art initiative project, Kobe Art Village Centre, Hyogo, Japan; “Roppongi Crossing 2007: Future Beats in Japanese Contemporary Art/Pulsation to the Future”, Mori Art Museum, Tokyo, Japan; “Arts & Technology”, Riverwalk Kitakyushu, Fukuoka, Japan.

Group exhibitions

2006: “Material: Books”, Nomart project space, cube & loft, Osaka, Japan; “Freeing the Mind Abstract Revisited”, Kyoto Art Centre, Kyoto, Japan; “Museum Wonderland Summer’s Life Alive” Azumino city Toyosaki Museum of Modern Art, Toyoshina, Nagano, Japan. 2005: “Drawings 2005”, Gallery Sowaka, Kyoto, Japan; “Premonition –I-”, Osaka Seikei University School of Arts undergraduate Arts Centre, Space B, Kyoto, Japan; Autumn artist-in-residence exhibition “transformation/ metamorphosis in the changing world”, Aomori Contemporary Art Centre, Aomori, Japan.

2004: “Yales - Garben”, Nomart project space, cube & loft, Osaka, Japan; “Multiples”, Nomart project space, cube & loft, Osaka, Japan. 2003: “Art Court Frontier 2003”, Art Court Gallery, Osaka, Japan; “Trans-”, Kyoto Art Centre, Kyoto, Japan; “Drawing and…”, SAI Gallery, Osaka, Japan. 2002: “Drawings 2002”, Gallery Sowaka, Kyoto, Japan. 2001: “Kobe Art Annual 2001”, Kobe Art village Centre, Hyogo, Japan; “Summer Vacation of Museums, exhibitions made by everyone”, Azumino City Toyosaki Museum of Modern Art, Toyoshina, Nagano, Japan; “Drawings 2001/part1”, Gallery Sowaka, Kyoto, Japan; “Omnipresence of motion/Ubiquity of Gestures”, O Gallery eyes, Osaka, Japan; “Boomerang Art Project in Bremen, Saw You”, GAK, Bremen, Germany. 2000: “Wool in Wool IWATE”, Koiwai Farm, Iwate, Japan; “Boomerang Art Project, First Throw”, Galerie WeissRaum, Kyoto, Japan; “Ego Berry”, Nagoya University, Aichi, Japan; “FEEDBACK”, Gallery Sowaka, Kyoto, Japan; “Boomerang Art Project in Kyoto”, Kyoto Art Centre, Kyoto, Japan. 2016: Standing on the earth, Looking up into the sky-Contemporary artist’s views of landscape, Gunma museum of art Tatebayashi, Tatebayashi, Japan 2016: Islamic art festival（19thedition)-BUNYAN, Department of Culture and Information, Sharjah, UAE.

Solo-exhibitions

2015: Memory of smoke, Yumiko chiba associates viewing room, Tokyo Japan 2015: Vanishment, Mizuho Oshiro Gallery, Kagoshima Japan. 2014: Reticulated time, GALERIE KASHYA HILDEBRAND, London, England. 2013: Visible invisible, Yumiko chiba associates viewing room, Tokyo Japan. 2013: Layered Landscape, JOYCE gallery Beijing, Beijing, China. 2013: Eclipse, Gallery Lot10, Brussels, Belgium. 2012: Breath of light, GALERIE KASHYA HILDEBRAND, Zurich, Switzerland. 2011: Transparent view, Aomori Contemporary Art Centre, Aomori, Japan. 2010: TIME+SPACE, GALERIE KASHYA HILDEBRAND, Zurich, Switzerland. 2010: Interference, Gallery Nomart, Osaka, Japan. 2010: Stripe, Layer Drawing, Yamane Art Lab. Viewing Room, Fukuoka, Japan. 2008: Nobuhiro Nakanishi, Halation, Nomart project space, cube & loft, Osaka, Japan. 2006: Nobuhiro Nakanishi, Inversion Landscape, Nomart project space, cube & loft, Osaka, Japan. 2006: Saturation, Osaka Contemporary Art Center, Japan. 2005: Nobuhiro Nakanishi, Pileup Motif, Nomart project space, cube & loft, Osaka, Japan. 2005: INAX Gallery 2,Tokyo, Japan. 2004: Supplement, Gallery Sowaka, Kyoto, Japan. 2003: Cave and Blanc, Nomart project space, loft, Osaka, Japan. 2002: Picture like smoke, Gallery wks., Osaka, Japan and New Works, Gallery Sowaka, Kyoto, Japan. 2000: SAI Gallery, Osaka, Japan. 51

Website

Nakanishi's website is also well-organised with works separated into 3 sections, Layer Drawings, Stripe Drawings and Other works. When any of these sections are selected, you are then taken to a slideshow of images that is controlled by the audience. They progress through with photos of the same installations being placed one after the other. Details can also be shown if wanted but these aren't in as much detail as Hill. The details do however, tell you how large the installation is. One thing I have found is that the title doesn't always line up with the same title featuring throughout the slideshow. This does therefore require some work when trying to find further details or articles about specific works. Other than this, because I have previously argued that the websites are an important aspect of both Nakanishi's and Hill's advertising, I think both websites provide an insight into their work that makes you want to visit an exhibition featuring some of their installations. Nakanishi in particular has varying images showing the different angles to take on his work but walking around it will just elevate this perception. http://nobuhironakanishi.com

Draft 1: Nobuhiro Nakanishi is an installation artist who explores the passing of time through each member of the audience’s experience with the installation. This unusual approach to time lapse photography does let every audience member have the same experience, it is reliant on the movement of the audience and how long they take to view the piece. He uses scenes that often go unnoticed in order to show beauty within them and by putting them on individual sheets of plexiglass acrylic, Nakanishi is forcing us to view each photo as a frame of time that we often overlook as a natural progression. Nakanishi’s work often features in large exhibition spaces due to the nature of his work whether this be in store fronts (Phillip Lim collaboration 2007), outdoor spaces (at JR Shin-Aomori station) or in exhibition spaces that Nakanishi has for solo or group exhibitions. Like Hill, this space provided within the art gallery is the main space where Hill presents his work and digitalized versions of his installations do not exist which enables a new dimension to be provided when the audience receive his work within a gallery. With Nakanishi this has a different purpose – so that each person still has the possibility to view it different to the next. TOO MANY WORDS AND I REPEAT MYSELF. OTHER THAN THIS IT IS LESS LOOKING AT THE BUSINESS BUT AN ANALYSIS.

Draft 2:

Nobuhiro Nakanishi is an installation artist who uses the transparency of plexiglass in order to portray the passing of time in just one of his series entitled Layered Drawings. Although this resource, in the scale required, can often be hard to access and print on without the right tools, Nakanishi installs his work in large spaces such as commissioned office works as well as SKYPerfectTV! Tokyo Media Centre. Other than providing commissions, this work is also a promotional method that can be permanently on display to potential clients. Furthermore, having his work on permanent display, Nakanishi is enabling his work to be understood in many more ways as his audience has no boundaries, much like the interpretations that his work is open to as we each “feel(s) and perceive it in our own way”. However, the cost of this is often high especially with exporting the larger pieces to London and Switzerland for exhibitions that have taken place. 54

Resources: http://www.spoon-tamago.com/2012/04/26/layer-drawings-by-nobuhiro-nakanishi/ http://beautifuldecay.com/2013/10/29/nobuhiro-nakanishis-mesmerizing-layered-landscapes/ http://mymodernmet.com/nobuhiro-nakanishi-layer-drawings/ http://www.nomart.co.jp/project/index.php http://nobuhironakanishi.com/essay/layer-drawings-en/ http://nobuhironakanishi.com/biography/ http://www.kashyahildebrand.org/zurich/nakanishi/nakanishi004.html https://www.sharjahevents.ae/en/event/Islamic_Arts_Festival_ http://www.kashyahildebrand.org/new_site/artists/nakanishi/biography.html http://www.acac-aomori.jp/work/2011-1/?lang=en

Nobuhiro Nakanishi, Transparent View, Stripe Drawing, 2011.

Simon Baker

Photography Curator at the Tate With a gallery as large as the Tate, you would expect the role of Photography Curator to have been one that has had numerous figures. However, Baker was the first one in 2009. His role was part of "a bigger strategic decision by the Tate to engage more with photography. But it's also a reflection of the fact that the old distinctions between art photography and conceptual art are increasingly hard to maintain. In the 80s, the Tate tried to make that distinction. It bought photography by artists such as Cindy Sherman or Richard Long but didn't buy art by photographers. That distinction no longer applies. It's impossible to maintain and it should never have been there in the first place." (O'Hagan 2011) Baker has said that his role as 'photography' curator should not be taken to try and build a distinction between photography and art, "we try to keep the photography displays integrated with all the other media, but also keep our ideas integrated. I'm always working on a broader context, which is that we are a contemporary art gallery." (O'Hagan 2011)

Cost Structure and Revenue Streams

Instead of being a freelance curator, Baker is a permanent employee. This means that there would be an income that he would get regardless. However, it depends on his contract as to any bonuses. Some curators find themselves receiving a percentage of the ticket sales from the exhibition. Alternatively, the curators can often find themselves having to fund the costs of any over-heads or the opening reception. But being an employee of Tate, it would be expected that Baker does not have to fund any of this. In many ways, having this permanent position can have benefits for both the employee and the company. For Baker, it means that he does not have to frequently search for jobs as an individual. Instead he can use the name Tate which would have a wider recognition and as a company they would have a wider profile. However, depending on the contract, it could have been more beneficial money wise, for Baker to be an freelancer. In the benefit of the company, working within the same space constantly, as well as having a knowledge of the other exhibitions, Baker may be able to make a more cohesive selection that means the exhibition works alongside coexisting works instead of seeming out of place. Either way, being part of a company that are finally bringing photography together in the gallery space with art on such a large scale has greater rewards.

Networking and audience Networking from a curator takes part on several layers. As a Curator, it is expected that talks will be given to visitors about the work as even though you are not the artist, you still have a deep understanding for the work. The artist has trusted you to put together their work in a way that will portray their concept but as the curator you are the one who knows how to piece it together to fit the space and for the audience to understand the work step by step. The audience of Baker's work cannot be specified to one particular audience. His work has no particular theme, he is a curator for numerous styles of work and adapting to these different styles is an important aspect of his role. Not only is it different styles of work, but different audiences that he has to adapt to. Resources: O'Hagan, S. (2011) Britain's Photographic Revolution [online] available from <https://www.theguardian. com/artanddesign/2011/oct/30/v-a-photographs-gallery-tate> [17 April 2017] http://www.tate.org.uk/about/who-we-are/tate-structure-and-staff/staff-profiles/simon-baker http://www.bjp-online.com/2016/06/simon-baker-on-the-new-tate-modern/ https://psmag.com/how-do-you-make-a-living-art-curator-f2562e238e4

William Klein and Daido Moriyama exhibition, Tate Modern, 2012. 57

Jessica Maxfield, Tiera-Zon, 2016.

New

Art West59

Midlands 2017

The works

"I'm fascinated by the instability of self-identity and that indeterminate place somewhere between personal intention and social dictation." Brown, L. (n.d.) Fine Art [online] available from <http:// www.lornajbrown.com/about.html> [10 April 2017] Brown's work was some of the work that I found most interesting from the exhibition so after gaining some initial information whilst I was there, I wanted to look further into it. The body of work is entitled Oburoni Ashaki and it explores the racial biases and perceptions towards the black female body. This much I found out at the exhibition as well as the fact that each piece is titled after a comment that has been made to Brown personally. Titling the body of work Oburoni Ashaki confused me slightly as this has to have some sort of meaning in relation to her work. After reading her blog, Brown explains the meaning:

Lorna Brown, Why are your thighs so big?, 2015.

Looking at this desire is furthered within the exhibition as she creates a piece based upon the white female body. To further the distinction, the pieces are portrayed on different walls, not only to create a distinction in themes but the changing of scene is forcing us to admit how far apart these two themes are. Brown, L. (2015) The Colour And The Shape [online] available from <https://lornajbrown. wordpress.com/2015/01/15/catharsis-throughthe-lens/> [10 April 2017] 60

"Oburoni is a West African Akan (or more specifically Twi) word used to describe someone who is white or a foreigner, it has a literal meaning of â&#x20AC;&#x153;person from beyond the horizonâ&#x20AC;?. Ashaki (also of West African origin) means beautiful woman. Together these two words form the semantic expression of a project that has existed within me from the day I first took a look in the mirror and wished for long, straight blonde hair." (Brown 2015). Brown's blog makes for an interesting read as she decided to provide the audience with more information than less in an attempt to create more discussion around the issue she is trying to explore. Furthermore, the project has come from a personal desire that when she was younger, she would rather be a white girl with blonde hair.

Natalie Seymour, Grand Entrance, 2016.

Bruno Grilo, The Sea Close By, 2016.

Kerry Farrell, Untitled (Blue Curtain), 2016. 61

Above: Lisa Nash, The Circle of Nature, 2016 Left: Lisa Nash, In Safe Hands?, 2016.

Top: Poppy Twist, Untitled, 2016. Above: Yasmin Boyle, Orbita, 2016.

The works

Henry Rice, Rustic, 2016. "When I saw the Mona Lisa in person for the first time I could not help but feel underwhelmed. I knew the face of the woman staring back at me but the intimacy was lost. I concluded that this was because I have seen her face repeatedly on TV and computer screens, which had become my definitive image of the painting. So I explored the positives and negatives of viewing oil paintings in this format; the celebration of accessibility, the image breaking out of the confines of the elitesâ&#x20AC;&#x2122; private collections and free for all with the internet." (Rice 2015) Through this work Rice wants to show the impact, both positive and negative, of how we now digitally consume paintings but there are limitations. We only receive parts of the image when we view them online so Rice imitates this with his pieces. Similarly, he creates the pieces so that they are a similar size to a computer screen. As a result Rice is exploring how we consume paintings, mainly from the 18th Century but bringing them into the 21st Century in another art form instead of on google images. 63

My exhibition notes Natalie Seymour digital prints Yasmin Boyle - gender stereotypes, "binaries between masculine and feminine" So far industrial link. Seymour ends on a piece called tunnel which links to the installation piece next which is like a tunnel Lorna brown - exploring " racial biases of the black female body". Curves of the installation from Boyle link to female body? Titles them from comments she has received attacking attitudes towards the black female body. Renata Juroszova relationship between femininity and domesticity. Act of watching and the privacy of domestic spaces Poppy twist Highlights pressure of performing. Drum roll fills the exhibition at the start then fails. Having no other noise aspects in the room makes you question the sudden silence and wonder what is going on. Gives a sense of awkwardness whilst we wait for a performance that doesnâ&#x20AC;&#x2122;t come. Video screen, drums out of the wall to give a sense of presence. Platforms to give a sense that we should be looking up to this performance. Frames sashes then given a spotlight at the side Other side of this another piece is shown by Juroszova and brown. Brown has a single piece when on the other side it's four. This separation is to show the difference as this piece entitled nice middle class white girl is showing browns view on the hypocrisy that sometimes exists in the interracial dating dynamic. Separates them to show different views and how the white female body is seen as a form of safety whereas "the black female bodies are fetishized by white men" Jessica Maxfield Large overall piece seen as you walk into the room. The colours of this act as something to tie the whole room together and the abstract nature gives a platform for the other installations and pieces to work from. The repeating pattern is almost like some of the repeated themes throughout the work yet they are shown in different contexts Fractals man made structure Gemma ford - physical consumer "Gemma ford's choice of objects and materials are associated with people's engagement with the digital world." She takes aspects that she classes as seductive qualities used to sell digital products online to people. 64

Installation is a bit hidden away so you don't see it at first but this can almost reflect that we don't realize all these qualities that make a product seem more interesting to start with. Bruno Grilo looking at human connection with the ocean Pamela Fletcher- shapes on top of a "densely patterned backdrop". The abstract shapes are influenced by life drawings and are references to the figure. Damian Massey - creates forms influenced by the natural world. Although the installation creates a sense of symmetry as you walk in the concept is very different Kerry Farrell "She aims to draw attention of the surface detail of her paintings and their physical flatness" Henry price digital print on aluminium Showing how we view images of paintings on computer screens. Includes distortions such as screen glare and presents them at a size that mimics the size of a computer screen. All are interpretations of paintings and gives us little information much like Google images. Lisa Nash Emotional connections between humans and animals but she gives no connection between the two rabbits and why she is holding one. She wants you to interpret in your own way based upon the connection you have to animals. Central position and can move all around it showing how we all can interact differently the animals Rob Hamp Characteristics of the supported and supporter combination of fragile and strong structures to try and show this. Utilizes the architecture of the room for final series Lisa Nash Photos connecting to the installation The photos suggest we have a power over animals but the installation leaves you to conclude it for yourself. These photos are by the main entrance but I didn't see them at first, instead drawn in by the installation element. This could be here to change your perception on the work as you leave or to make you look at the installation in a certain light when you walk in. Depending when you view it depends on the view you leave with. 65

7 9 10 2

11 1

1 - Natalie Seymour: 'Grand Entrance' (2016), 'Overlooked' (2016) and 'Tunnel' (2016). 2 - Yasmin Boyle: 'Orbita' (2016). 3 - Lorna Brown: 'Why are your thighs so Big?' (2015), 'You Should get a Weave' (2015) and 'If you grew your Hair Long' (2015). 4 - Renata Juroszova: 'Openness to Privacy' (2016). 5 - Poppy Twist: 'Mic Approach' (2016) and 'Untitled' (2016) 6 - Lorna Brown: 'Nice Middle Class White Girl' (2015) and Renata Juroszova: 'Heart Mirror' (2016). 7 - Jessica Maxfield: 'Tiera-Zon' (2016). 8 - Gemma Ford: 'Physical Consumer' (2016). 9 - Bruno Grilo: 'The Sea Close By' (2016). 10 - Pamela Fletcher: '726' (2016), 'Traces' (2016) and 'Baroque' (2016). 11 - Damian Massey: 'Triomemphis' (2016) and 'Amphipod' (2016). 12 - Kerry Farrell: 'Untitled (Blue Curtain)' (2016). 13 - Henry Rice: 'Ruin' (2016), 'Rustic' (2016) and 'Venture' (2016). 14 - Lisa Nash: 'The Circle of Nature' (2016) and prints on wall at right angles to Henry Rice, Lisa Nash: 'In Safe Hands?' (2016). 15 - Rob Hamp: 'Chapter 6 'undone by a pillar of society'' (2016).

Resources: Rice, H. (2015) Viewing [online] available from <http://www.henryrice.co.uk/viewing.html> [10 April 2017] Images all obtained from: http://www.birminghammuseums.org.uk/bmag/whats-on/new-art-west-midlands-2017

Roger Mayne Roger Mayne, Goalie, Brindley Road, off Harrow Road, 1956. 68

My exhibition notes White frames Brings out the high contrast In a way also highlights racial differences to lets the white people blend in and make the marginalised stand out Also playing on class so clean white frames contrasting the standards shown in the photographs Large prints - unsure what they are printed on but behind glass. Doesn't appear to be printed on the glass. No frame so trying to draw your attention to something else Each section of frames are grouped to have similar subject matter Girls doing handstands, Southam St, 1956 Boy, Southam St, 1955 Girl about to do a handstand, 1957 Screaming child, Southam St, 1956 These are grouped with children having pained expressions on their face. Side room with books etc All got photographs by Roger Mayne so interesting to see actual documents instead of a list Interesting titles look at picture From left to right Southam St West Indians, Southam St, 1958 Giggling girls, Southam St, 1956 Why title it West Indians- racial titling as not Giggling white girls. He is stating the obvious bit wanting to prove the point 60 white frames 4 other type prints Screens sectioned off but originally commissioned by Theo Crosby for the Milan Triennale in 1964 - room in darkness with images all in colour but then other work is in coloured room but black and white prints "Some forty years later, recurring themes from his work - urban renegeration, community integration, immigration, the built environment and a rapidly transforming youth culture remarkably relevant today." Curated by Anna Douglas and Karen McQuaid in collaboration with Katkin Tremayne Images courtesy of the Roger Mayne Archive and Bernard Quaritch and were printed by the artist. So grouped externally (hence being grouped on subject matter) and print methods being previously decided by artist so he had some control 69

Self trained so looked more in aesthetics Documents showing photography trying to become considered a fine art and these are in the exhibition Funded by father in a way When you take a photograph you aren't taking a photo of what you see but instead you are using an object that provides objectivity built in that allows for photography imagination Documents around the exhibition don't only show his work but show how photography is being increasingly used within magazines

Note: all quotes from exhibition notes have been taken from points around the exhibition. In this case it would have been the foreword as you enter the space. These photos are my own from the exhibition. Photos on the next page: Left: Roger Mayne, The British at Leisure, 1964. Right: (From Left to Right) Roger Mayne, Southam St. Roger Mayne, West Indians, Southam St, 1958. Roger Mayne, Giggling girls, Southam St, 1956. 70

Prints were previously done by Mayne but exhibition organized by Anna Douglas and Karen McQuaid in collaboration with Katkin Tremayne. Therefore, images were grouped not only in regards to subject matter but the size that Mayne had them printed would have been an influence for aesthetics. Exhibit includes a large selection of prints as well as books where Mayne’s photography have been used for covers and letters between Mayne and the likes of Vogue to show his influence on trying to make photography be viewed as a Fine Art. The works explore the recurring themes of immigration and the integration of community as part of this as well as the impact on the environment becoming more built up. Prints are displayed in smaller groups which are based upon subject matter. Black and white prints in rooms painted a light green whereas the screens with images by Mayne are in colour but a black and white room. – Interesting switch of roles. White frames are an interesting addition. For some these would be considered to lighten the photographs, some may think it brings a cleanliness to the overall piece which juxtaposes the conditions shown in the photographs. Alternatively, due to the titling of some of the images whereby Mayne highlights the ethnicity of immigrants and not the white British population, it could be considered to marginalize those in the ethnic minority within the photo. Worth visiting. Interesting to see Mayne’s work outside the context of prints and brings a new dynamic to just seeing a list of where his photographs have been used. Well thought out with subtle ways of making us question the issues raised and how we view photographs depending on the context we see them. The black and white photographs suggest it is an issue of the past but the same issues are still occurring.

Summary

Review Southam Street, 1950s. This is the main focus of Roger Mayne’s work looking at the diversity on a street close to his home. Through this one street and his photos, Mayne is able to explore the issues of immigration, integration and the built environment. These are all grouped within smaller sections by the curators, Anna Douglas and Karen McQuaid in collaboration with Katkin Termayne, primarily on the subject matter. Display methods, such as the prints and installation screens, further the audience’s perception of these issues highlighting the aspects of Mayne’s images that bring these to our focus. Through a development from black and white photos to colour, not only does Mayne highlight the continuation of themes through his lifetime, but we begin to notice the same characteristics within today’s society. The use of different mediums, from framed prints through to documents in the form of letters and books, all enhance this view making it an important documentation of not only Southam Street in the 1950s but unknowingly of our modern society.

Right: Andy Warhol, Self-Portrait, 1986.

Selfie to SelfExpression 73

My exhibition notes Updating old portraits with the screens of both TV and mobile where you can then like them on Instagram. Self portraits but not taken on the platform and instead showing the development of self portraiture in just one piece. But done on a large scale with loads scrolling through like you are actually scrolling through your feed. Picasso Chuck close Lucian Freud Those intended as prints have been made digital but those that were intended as film stills (Cindy Sherman) have been turned into prints Jean-Michel Basquiat Idris Khan - "by layering the eyes of all of Rembrandt's self-portrait and reducing them to the same size the image creates an exposure across the artists entire life" Nan Goldin Andy Warhol Tracey Emin Massive room installation with loads of screens and people with noise of them talking. Christopher baker - hello world! Or: how I learned to stop listening and love the noise 2008 "This large scale audio visual installation is comprised of thousands of unique video diaries gathered from the Internet. The project is a meditation on the contemporary plight of democratic, participative media and the fundamental human desire to be heard." Victor Obstatz Stanley Kubrick (created as a film photo, displayed as a print (?) Different to the other rooms idea.) Selfies on screens: Low definition on screen but high definition on print. One is of Ryan gosling taking a selfie with fans and looks like a paparazzi photo but the photo from the Oscars with Brad Pitt, Jennifer Lawrence, Ellen, Meryl Streepe is also put as a still. This continues around the room with celebrity selfies put on a combination of screens and prints. Currently don't understand why some are on screens and others are print. There is a definite distinction between quality of the two and some I know have been posted to social media yet they are high quality prints. Others that look like they have been taken for social media have then been put on a screen so this can't be the distinction. 74

Selfies in a different format being taken on go pro cameras whilst doing action sports. Integrated room with videos from a tourist spot and people taking photos and selfies. The noise instantly has this connection to selfies and we laugh at how repetitive the positions or how weird the positions are yet we are all known to do this. Videos by Simon Roberts. - "exploring how the Swiss landscape often resembles a theatre set, where tourists are transported to officially designated areas of natural beauty to gaze upon epic views from the safety of stage-managed viewpoints" Antoine Geiger - identity being absorbed by your phone Kirill Oreshkin - the willingness to be in danger for the sake of a selfie Gavin Turk - waxwork and as you walk in you find yourself asking why Alison Jackson- lookalike celebs to the royal family trying to show selfies are taken by all ranks of society. Does it with Donald Trump as well and makes it hypocritical through the models he uses - miss Mexico, miss Syria, miss Kenya Dan Rubin - fun and digitally manipulated selfies Looking at trends - tape face selfies Photojournalist - Terry Fincher also in exhibition Amalia Ulman- excellences and perfections - "staged elaborate performances that tricked her social media followers into thinking the images documented her attempt to make it as an "it girl" in Los Angeles Ivan Argote - all my girlfriends

I really loved this exhibition for the variation of styles that were portrayed and the way this was done. Although all the artwork is in different style etc, it is all brought together by the Internet in many ways. We are now able to search for millions of images online, no matter how old, or how they were done, whether digital or paint, we receive much of the information that we now obtain through the screen. This was an acknowledgement that was made throughout the whole exhibition but the first room had the most impact for me personally. We were in an art gallery, so art being hung on a wall would have been expected. Instead the Saatchi Gallery decided to portray the paintings on screens. No matter how famous, they were on screens and next to them was a phone whereby the audience could 'like' the painting. In many ways, this work reminds me of the work I saw at the New Art West Midlands show with Henry Rice. Both Rice and the work shown in this exhibition, or more specifically, how it is shown, all looks at the same idea yet they are portrayed in very different ways. Therefore, having previously thought that something can only be done so many times until it becomes boring, I began to realise that the spectrum spreads a lot further than I first thought.

Anyway, back to the exhibition itself. The screen played a large role in the rest of the exhibition but one of the pieces that was most powerful for me featured in room 3 where there was a massive collection of video diaries that were all playing at once by Christopher Baker. The sound from each diary played at the same time so the noise was effectively unrecognisable but this only enhanced my personal viewing as you began to realise how much 'noise' the Internet creates within our daily lives.

As you continue around the exhibition, screens and prints continued to feature alongside each other with celebrity self-portraits, or selfies, began to feature heavily. For some of them, you could hear people saying "why is this in an art gallery?" but this is the exact question that we all need to start asking ourselves. Although I did ask myself this question, another question that was playing on my mind in terms of how the exhibition was actually put together was "Is there a distinction between which photos were to feature on screen and which to be prints?". Every connection I could think of didn't fit. For example, I thought the screens, due to the lower resolution, would this mean they had been posted to social media? But then I look at the large group selfie to the furthest right of the below photo and I know that has been posted to social media yet it is printed in an art gallery. The print next to it is a paparazzi photo of a selfie which made me think of another reasoning but nothing fitted. Therefore, I have emailed the gallery to ask whether there is a distinction as people at the gallery were also unsure on the answer. The potential for this to become an online exhibition could have been really interesting as this is an underlying theme of the work. Top photo: Christopher Baker, hello world! Or: how I learned to stop listening and love the noise, 2008. 77

Draft 1: Self-expression has always featured in art, from Picasso’s self-portraits to Lucian Freud’s ‘Painter Working, Reflection’, but their appearance in this exhibition has been digitalized, like the rest of our experience with self-expression and art. The Saatchi Gallery has curated an exhibition entitled ‘Selfie to Self-Expression’ featuring many different artists and photographers to try and find a distinction between these two terms, if there is one that is. From the start, these forms of self-expression have been placed on to a screen, with old paintings being put on to a system that allows for ‘likes’. This in many ways is a combination of where we are within the art world now. We view everything online, no matter the origin, and we are forced to choose what we ‘like’ and what we scroll past. For many this realization comes in room 3 when we are hit by an overwhelming amount of video diaries collected by Christopher Baker. There are so many that you struggle to pick out one audio and follow it. Screens and prints continue to feature as we reach the ‘newer’ side of self-expression with selfies. These feature ‘regular’ selfies but then celebrities and political figureheads are also featured showing how wide the digitalization has become. Controlling our perception of what images we see in what way, the Saatchi gallery has put together a collection that makes us not only question this digitalization but admit to how far it has already gone from self-expression in art to a more widespread self-expression in the form of a selfie.

Draft 2: Self-expression has always featured in art, from Picasso’s self-portraits to Lucian Freud’s ‘Painter Working, Reflection’, but their appearance in this exhibition has been digitalized, like the rest of our experience with self-expression and art. The Saatchi Gallery has curated an exhibition entitled ‘Selfie to Self-Expression’ featuring many different artists and photographers to try and find a distinction between these two terms, if there is one. From the start, these forms of self-expression have been placed on to a screen, with old paintings being put on to a system that allows for ‘likes’. We now view everything online, no matter the origin, and we are forced to choose what we ‘like’ and what we scroll past. For many this realization comes in room 3 when we are hit by an overwhelming amount of video diaries collected by Christopher Baker. There are so many that you struggle to pick out one audio and follow it. Screens and prints continue to feature throughout the exhibition as we reach the more common side of self-expression, selfies. Featuring selfies of all types of society, peaking at political figureheads and the royal family, the Saatchi gallery is not only making us realize the digitalized nature of self-expression in today’s society but it wants to push the boundaries of what we see in the gallery space to question the spectrum of a selfie through to self-expression. 78

Draft 3: Self-expression has always featured in art, from Picasso’s self-portraits to Lucian Freud’s ‘Painter Working, Reflection’, but their appearance in this exhibition has been digitalized, like the rest of our experience with self-expression and art. The Saatchi Gallery has curated an exhibition entitled ‘Selfie to Self-Expression’ featuring many different artists and photographers to try and find a distinction between these two terms, if there is one. From the start, these forms of self-expression have been placed on to a screen, with old paintings being put on to a system that allows for ‘likes’. This highlights how even paintings are now consumed primarily through digital methods. For many this realization comes in room 3 when we are hit by an overwhelming amount of video diaries collected by Christopher Baker. There are so many that you struggle to pick out one audio and follow it. Screens and prints continue to feature throughout the exhibition as we reach the more common side of self-expression, selfies. Featuring selfies of all types of society, peaking at political figureheads and the royal family, the Saatchi gallery is not only making us realize the digitalized nature of self-expression in today’s society but it wants to push the boundaries of what we see in the gallery space to question the spectrum of a selfie through to self-expression.

Draft 4: Self-expression has always featured in art but largely through the development of technology, self-expression, along with our viewings of art, have become digitalized. The Saatchi Gallery has curated an exhibition entitled ‘Selfie to Self-Expression’ featuring many different artists and photographers to try and find a distinction between these two terms, leaving the audience to make their own judgement as to whether there is one. From the start, these forms of self-expression are placed on to a screen, with old paintings being put on to a system that allows for ‘likes’. The screens continue to feature throughout the exhibition alongside prints and moving images (room 3 is filled solely by a video installation by Christopher Baker, a real turning point in this exhibition). Slowly self-expression starts to turn into selfies through the progression of rooms whereby the Saatchi gallery are not only making us realize the digitalized nature of self-expression in today’s society but they want us to question the spectrum of a selfie through to self-expression and if there is a distinction. The overall layout and perception of this makes the ‘Selfie to Self-Expression’ exhibition one of the most thought-provoking exhibitions reflecting the changes in modern day society. 79

Jean Painlevé

Geneviève Hamon wallpaper designed for Painlevé 80

Through this exhibition, Painlevé explores marine life making science accessible through the equipment he invented for filming such a difficult subject at the time. Instead of focusing on marine life at random moments, each moment was carefully selected. The scenes for the films were taken at a crucial moment in each organisms life cycle, where Painlevé was able to change the pace of each moment so that the natural world became more accessible. Therefore, the audience of Painlevé's work was only introduced to the art industry but also photography and film making was introduced to the science world. One particular work shown at the exhibition, 'L'Hippocampe' which means the Seahorse, brings the moment of childbirth with seahorses into a more accessible domain. However, it isn't just this simple to show the shared experience, Painlevé has said: "The seahorse was for me a splendid way of promoting the kindness and virtue of the father, while at the same time underlining the necessity of the mother, In other words, I wanted to re-establish the balance between male and female." By making these films, Painlevé is exploring a much wider issue, not just trying to make the natural world experiences more accessible but trying to explore the more political dynamics between male and female. To go alongside this work, Geneviève Hamon designed wallpaper, bracelets, necklaces, dress clips and earrings that were later sold in boutiques and department stores. The details of contract between Hamon and Painlevé are not released but the collaboration would have expanded revenue in some ways. Both the wallpaper and jewellery were displayed in the exhibition and by having the prints displayed in a room that has the wallpaper on the walls, it gives the room a sense of homeliness. Having this homely atmosphere brings us back to this idea that Painlevé was trying to make science more accessible. By putting it back into this scene, this aim is made more obvious as the jewellery and wallpaper, along with prints and videos, made the natural world easier to access from the home.

Other subjects within his work, such as sea urchins, crabs and molluscs, would have previously been considered irrelevant subjects, ones that provide little interest to the audience yet Painlevé found their strange actions familiar in some ways so he decided to bring them into a different aesthetic. Information obtained from the IKON Exhibition Guide for Jean Painlevé and Oliver Beer. Opposite page: Top: Jean Painlevé, Lobster Claw, 1929. Bottom: Jean Painlevé, Female Seahorse, 1936. Jewellery design by Geneviève Hamon.

Review In a time when underwater photography was a desired effect, Jean Painlevé developed the equipment to film with his pioneering apparatus. This exhibition, his first solo one, explores marine life through prints, videos and jewellery. Each piece having been carefully thought out, with a specially designed wallpaper and jewellery by Geneviève Hamon, Painlevé is able to highlight the interest of subjects that would have otherwise been considered too boring for the camera. Starting and ending in the same room with a collection of prints, the rest of the space is filled documentary style videos, bringing the videos to a large scale that contrasts the size of the marine life documented. Bringing it back to this room that is almost made to feel homely with the wallpaper and prints, shows Painlevé’s desire to make marine life more accessible within the home environment.

The Wildlife Photographer of the Year award is something that I have followed for a few years now and having been in London, I decided to go and visit the exhibition. As I have previously bought the books, I originally didn't think there would be much distinction between the way I viewed them in the exhibition compared to the book. But I was wrong. The photographs are each illuminated on a screen whereby all the small details are able to be shown. This highlights all the textural detail and shadows which, personally, enhanced the viewing experience. Under each finalist or winner you are able to see a brief description of the photographer and their story about capturing the work, their camera details and where in the World they took the photo. These extra details make it more interesting as rarely do photographers show what camera settings they used. Whereas, with this, you are able to look at an image and go 'that's how they got it so sharp.' or 'I'm surprised the camera didn't create much noise with such a high ISO.'. 84

Presenting each photograph in the same way means that you treat each photograph the same. Despite being in the same category for the submissions, the subject matter varies so much that to present them any other way would create more noise for the audience. Although winners are announced as you go round the exhibition for each category, there is an additional area once you finish the main exhibition to show overall winners and winners chosen by people outside the overall governing body. This addition gives you a different view on the work as you begin going back to works that weren't put in the same category but re-judging them next to completely different images around the space. Above: Sam Hobson, Nosy Neighbour, Bristol Fox, n.d. 85

British Wildlife Photography Awards: Collection 7 Although this is a different wildlife competition, I wanted to compare the format of a book against the exhibition in terms of presentation methods. Having looked at each of the prints in the book, I now can't help but think that they would have a greater impact had they been displayed on a lightbox similar to the style of the exhibition. The dynamic this brings, as you can look closer in terms of seeing the textures and form created, shows the images in their full potential for me personally. The structure of the book is less consistent than the exhibition as the book has been put together with various page layouts. Changing the page layouts means that the book doesn't get boring as you continue to look through which works to its advantage. Equally, the repetitive structure of the exhibition works well as firstly, unlike a book, you don't walk round and get bored of the same structure with this style of images, but also, it provides a direct comparison. In the exhibition you wawnt to compare them and seeing them side-by-side encourages us to view the images as equals. Although this is also encouraged in the book, I feel as though it doesn't occur as much. This is mainly because there are a greater quantity of images to be shown within this award and trying to constantly compare images is harder in this format. Published by AA Publishing and the book competition is sponsored by names such as Canon, WWF and the BBC Wildlife Magazine. It is these sponsors that often provide the prizes, with Canon giving away a camera to the majority of the category winners.

Artist Biographies An Artist Biography needs to provide enough information to interest the audience but it needs to cause intrigue for the audience to look deeper into the artist's work. According to artsy.net, the three things a biography needs to do are: - Summarize. You need to inform the audience of what medium (s) the artist primarily uses, the key themes explored across their work, the techniques employed if they are not obvious from the mediums and the influences that are taken from other artists as this will allow for wider research. - Capture. Lots of people say this but the first sentence needs to capture the essence of the work and capture the attention of the audience. - Keep it short. Ideally keep the biography between 80 to 140 words but if aiming for a particular figure it is 120. You don't want to repeat comments and add in anything to fill the numbers out. (Backus n.d.) Any additional information that you want to provide shouldn't be done in the biography, if you want you can always do a press release or blog post that explains the reasoning behind separate works individually.

"Questions to consider when writing about an artist’s practice Physical - What medium/media does the artist work in? - What is his or her style like? - What work or works can you talk about that will give a visual description of the above qualities? Subject matter - What are common or characteristic themes depicted in the artist’s work? - What subjects drive the works or provide underlying themes? Art-Historical - Why is this artist important? - What impact has this artist made on history, or what precedent has he or she set in art-making? What other artists have impacted the artist’s practice? - How does this artist redefine a medium or media? - Who are the artist’s peers or teachers? Context - In what political or technological climate is the artist working in? I.e. what historical or political events might have influenced the work? Popular Culture - What areas of the arts or popular culture does this artist incorporate into his or her work? - What other areas of the arts or popular culture does this artist engage with? E.g. creating theatrical sets, costumes, music videos, etc. Quotes - Can any of the above questions be answered in a brief (1–2 sentences), engaging quotation from the artist?" (Backus n.d.)

Trudy Benson Artist Biography from artsy.net "Incorporating the appearance of digital graphics into her decidedly handmade work, Trudy Benson makes paintings for the 21st century. She describes her abstract pieces as “inspired by old imaging software,” but also expresses a desire “to prove that painting is better than computers.” She builds up her midto large-scale compositions in layers and uses a range of paints, including enamel, acrylic, spray paint, and oil. The richly textured surfaces feature geometric shapes, stripes, and other flattened forms interwoven with exuberant, sweeping scribbles and thick impasto lines that read as sculptural reliefs. Benson does not shy away from drips, scratches, and errant globs of pigment; she considers accidents an important part of her process and, by extension, the finished piece." I like the fact this biography doesn't just start with the artists name. It is introduced later on and gives the reader a chance to see what the artist does first as this is primarily what you would view first, the art then try and find the artist's name before looking for more work if this is a style you like. Quotes seem like a good idea although quoting myself feels a little bit weird - this could be something to edit into my biography after I become clearer what my work as a whole is trying to explore. Although lots of techniques are listed, in a way the biography doesn't just feel as though everything is being listed off to us as a reader. The biography works through her process and finishes where her work finishes, with a final piece.

By introducing the artist to have a large impact on the art world makes you feel as though you should read on because this person is important. Mentions where this artists work fits within the art industry. Maybe people don't know his name but by mentioning movements that he is part of, an image is built up in the reader's mind as to what sort of influences the artist could have had without yet seeing any of his work. Instead of putting his method then putting the significance of Calder, this biography almost says to realise the importance of him, you don't need to know his method. An overview is given over his career by saying what sort of work he produced at the end as well as to begin with - couldn't quite include that in mine just yet!

Alexander Calder Artist Biography from artsy.net "American artist Alexander Calder changed the course of modern art by developing an innovative method of sculpting, bending, and twisting wire to create three-dimensional “drawings in space.” Resonating with the Futurists and Constructivists, as well as the language of early non-objective painting, Calder’s mobiles (a term coined by Marcel Duchamp in 1931 to describe his work) consist of abstract shapes made of industrial materials––often poetic and gracefully formed and at times boldly colored––that hang in an uncanny, perfect balance. His complex assemblage Cirque Calder (1926–31), which allowed for the artist’s manipulation of its various characters presented before an audience, pre-dated performance art by some 40 years. Later in his career, Calder devoted himself to making outdoor monumental sculptures in bolted sheet steel that continue to grace public plazas in cities throughout the world."

Draft 1: Katie Smithâ&#x20AC;&#x2122;s work has begun to take on a more experimental approach in terms of looking at online identities that make the audience question how far our identity is our own online. Using social media as her primary source, new contexts are provided for already existing identities and layered up to retain some elements of the original whilst still placing the identities in a new surrounding in order to question to what degree is our identity manipulated. Currently these are all installation pieces that provoke further thoughts on how much we surround ourselves with these false online identities. The first sentence is too long and is starting to make the ideas seem too complex already. Keeping the opening simple is going to be important and I can grow on this through the small section or at least to a degree. After looking at this I would not be intrigued to look at the work. I think people would think that this doesn't live up to my current work.

Draft 2: Social media has become a huge part of who we are and incorporating this into her work, Katie Smith uses identities from platforms such as Instagram and Facebook to make the audience question how far our identity is our own online. Using a more experimental approach and looking at the use of installation, Smith gives existing identities new contexts through adding more layers to what seems like an already complex development in the 21st Century. By placing these within new surroundings, the audience question the degree to which our identities are manipulated and how common this is.

Draft 3:

Social media has become a huge part of who we are and incorporating this into her work, Katie Smith uses identities from platforms such as Instagram and Facebook to make the audience question how far our identity is our own online. Using a more experimental approach and looking at the use of installation, Smith gives existing identities new contexts through adding more layers to what seems like an already complex development in the 21st Century. By placing these within new surroundings, the audience question the degree to which our identities are manipulated as well as how easy it is to surround ourselves with these false online identities.

Final: Social media has become a huge part of who we are and incorporating this into her work, Katie Smith uses identities from platforms such as Instagram and Facebook to make the audience question how far our identity is our own online. Using a more experimental approach and looking at the use of installation, Smith gives existing identities new contexts through adding more layers to what seems like an already complex development in the 21st Century. By placing these within new surroundings, the audience question the degree to which our identities are manipulated. I felt like the last part needed cutting out as I was just listing different ideas that I explore. Instead by not giving everything away at the start, when viewing my work, the audience can begin to see what other ideas they think I'm exploring in my work. Resources: Backus, J. (n.d.) What We Learned From Writing 7,000 Artist Bios [online] available from <https://www.artsy.net/article/elena-soboleva-what-we-learned-from-writing-7-000-artist-bios> [11 April 2017] https://www.artsy.net/artist/trudy-benson

Why did I look primarily at Installation artists? With installation, I really like the interactive nature that it provides. You're able to see people's reactions to the piece and it creates a discussion about the work whereas, looking a at computer screen allows for a quick scroll to not appreciate the work. In many ways the exhibition space forces people to slow down their reception of images as although they can view it online, they don't gain a full understanding of the piece. Hill takes this limitation further by rarely providing videos of his pieces. Instead only stills are provided which gives enough information for Hill's website to act as a advertisement for his exhibitions. Doing so means a new dynamic is provided within the exhibition space. This is similar with Nakanishi who again provides stills on his website but in order to encourage an individual experience with the sense of time from each member of the audience, no video is provided to show the progression of time. If a video were provided, the experience of time would be the same for every person that viewed the video and this goes against the concept of Nakanishi's work so leaving it so that no video is provided on either accounts is something that I should consider with my work. Although a digital version is provided for both 'Fractured Identities' and 'x^3' at the moment, this would probably be altered for the reason that you get a very different impression of the work when viewed on screen and in an exhibition space. Despite not yet knowing exactly what the work would look like in a space, the projection plans suggest that surrounding yourself with 'Fractured Identities' instead of viewing them in a line would give a greater impression of surrounding ourselves in our online identities.

Why Nakanishi and Hill in particular? These two examples most fitted in to the direction where my work is currently going. After the first two bodies of work, video and interactive installations have taken my interest. However, through the research process I also looked at the likes of Kessels who has expanded his career a lot further into publishing, commercial and exhibitions as well as Simon Baker who is the photography curator at the Tate. Looking into all aspects of photography was important for me as I decided that even if I decided to be an exhibiting artist, being able to convey my intentions clearly would still take some requirements. Furthermore, having some knowledge in publishing in order to have a more in depth conversation with a publisher so that your idea is fully understood can have its benefits.

How am I going to be able to expand the audience of my work? Unfortunately, I couldn't find much on how Nakanishi funds his work but with Hill, it is clear that Fellowships, Grants and artist-in-residence positions played a key role in the large quantity of work that he produced and the funding for this. This is going to be important as large scale installations, along with the exhibition space and the cost of hosting a website to use as an advertisement, can add up and trying to self-fund this constantly would soon add up! 94

How do you go about getting the money from these scenarios?

Reflections

Grants and Fellowships are done based on an artist applying to an organization for funding. It isn't as though there is just one grant for each 'style' of photography. There are hundreds of grants that you can apply for but sometimes it can be a challenge to find one that fits perfectly with where you see your work going. Some applications for these kind of grants can be done on work that is already created or some want work that doesn't yet exist, they want to know your concept and you can receive money this way. However, with this, they will want to see previous works created. This begins to align with the timeline I have in regards to Hill's work. He self-funded two exhibitions before receiving funding. It is likely that the work portrayed in these exhibitions helped him obtain the funding that then came in 1978. Having the skill to be able to articulate this well and create a sense of interest from your audience is important. This is why I decided to also look at writers. The applications that Hill wrote are not accessible therefore, I thought that looking at writing styles that created interest for me about photographers would be important. When it comes to artist-in-residence positions they all vary dramatically. Some of them the artist has to pay for which can be difficult, especially if in another country, as the time it takes to adapt to a new working environment can take time. Others pay the artist and an agreement is made beforehand on the amount of work that is expected from the artist. These positions often require applications as well. Money doesn't just appear, it requires a lot of work to get your work out there and keeping your applications up-to-date is important. Once your work gets noticed, you can be approached for commissions which is one way that money approaches you. The commissions can often have more limitations. Some clients will be more involved than others and won't trust you to just produce a piece of work for them which in some ways is what occurs with grants and artist-in-residence positions. Having this role with a company can become more of a collaborative process but this has become a large part of Nakanishi's work. He does have a very particular style and this is what he would be commissioned for. Clients would almost know what they are getting when they hire him whereas with Hill, although he does have his own style, there is more variance within his work, he doesn't always use the same materials and even his videos all look very different but with Nakanishi you know you are more than likely going to have a hanging piece and each one takes the same structure. In a way commissions can be nicer to know that your work is getting noticed and you aren't having to apply for something but alternatively, commissions can provide less money in some ways if you have a tight budget from the client yet they still want a large piece.

Aims

Reflections

Over the past year I have started to realise that it isn't just about creating a body of work. This work will not just stay in my sketchbook or on my laptop, I want to publish it and to do this I need to think of the context that I want it portrayed within. Now that I have started looking more into the context at which I want it to be portrayed, I now need to start looking at the steps that can be taken for this to happen. The research I have done is just a starting point. Grants won't always be received on your first attempt and its about getting this process right so that when you do have a concept that requires more funding than you can give, you know that you can articulate your ideas clearly as an artist. One article I read suggested that contacting winning artists and asking to read their proposals can help if they are willing to provide them. Sometimes this isn't always the case and they don't want to give them out but a starting point for me now is to try and read some of these as keeping an up-to-date statement about where I see myself going is going to be important. Other than the funding aspects of my work, I want to begin to focus on the finish of my work. I always try and get the best finish on my work but if I want to start trying to use this work to promote my name and work, I feel as though there are some things I could do to try and make my work of a higher quality. Something that is obviously going to be a hurdle is the scale of my work and this would be something that is dependant on the amount of funding. Alongside projection plans, I could also produce small scale replicas of installations. This would provide an initial reaction from members of the audience, it would also provide myself and anyone interested in the pieces in regards to exhibiting, the opportunity to see what the work would turn out like. I was thinking of this more in terms of a Nakanishi style piece than something Hill would produce as small projectors can be used in a different space in order to see the quality etc of my work. Scale isn't just something I will need to think of in regards to what I can afford but also the scale can have a meaning. When hearing about Lisa Gunn's work, she created a large sculpture of her spine. The cause of her impairment is quite small yet her work shows how big of an impact it has had on her. Therefore, I need to think is it worth loosing some meaning because of the cost?