31
ASSESSMENT TASK 1 Title: PAIR (LHS—Object) Assessment Synopsis That is, the pair form, by virtue of the condition of being double, actively refuses the possibility of being experienced as a thing in itself. The simple state of doubleness includes, as integral, the space or interval between. Roni Horn, as quoted in Roni Horn by Mimi Thompson, BOMB Issue 28 The noun ‘pair’ is defined as two corresponding things that have been designed for use together or as something that is made up of two pieces. As both a means to acquire lighting technical skills/proficiency and as a process to engage thoughtfully with the idea and possibilities of PAIRING, you are required to make two photographs—one of an object (or objects) and one of a person (or persons)—in the photographic studio. Your ‘object’ photograph will be reviewed first in Week 5 and your pair of photographs will be reviewed together in Week 9.
32
PAIR (LHS—Object): Choose, purchase or construct an object or a group of objects to photograph in the studio in week 4. Work in small support groups and use either an analogue camera (you may use a medium format camera if you have proficiency) or a digital camera (minimum 8 MB) to photograph your object(s) in black & white using tungsten lights. This image comprises the left hand side of your PAIR.
33
ASSESSMENT TASK 2 Title: PAIR (RHS—Portrait) Assessment Synopsis Work in small support groups and use either an analogue camera (you may use a medium format camera if you have proficiency) or a digital camera (minimum 8 MB) to photograph a person(s) for the right hand side of your PAIR. Your model(s) must be photographed in colour in the studio using electronic flash.
34
ASSESSMENT TASK 3 Title: AFTER ... (imitation is the sincerest form of flattery) Assessment Synopsis Throughout history, writers and artists have employed the techniques of imitation, mimicry, pastiche and quotation for both creative and critical purposes. To undertake a process of imitation can be not only an effective form of learning and skill acquisition but also requires a level of sophistication and intelligence in the ability to both select what is appropriate to imitate and to successfully reproduce or interpret it. 1. Thoughtfully select a painting or photograph from any source for the purpose of making a photographic imitation of it in the studio environment. 2. Undertake research into your selected picture—e.g. its social, political and cultural contexts; its content and its history. Carefully consider the implications of reproducing, mimicking, imitating or making a pastiche of your selected picture and propose how you will go about your imitation. Also analyze both the quality and quantity of light as depicted and reproduced in your selected picture. 3. On an A4 sheet reproduce your selected painting or photograph with full acknowledgements (artist or photographer name, title of work, date, medium and size of original image as well as any copyright information). Below the image, include a half page of text summarizing your research as outlined in 2. Also include the reasons for your image selection and what you
35
would like to achieve through the process of imitation as well as propositions for its reception by viewers. 4.
Draw a basic diagram of your proposed studio lighting setup. 

5.
Produce a set of preliminary or test photographs (based on your selected painting or photograph) for your final work (Assessment Task 3: Part B). Experiment with the quality and quantity of light.
36
IRVING PENN Tuberous Begonia, New York, 1973 Pigment print, printed 2007. 42.5 x 52.5 cm (16 3/4 x 20 5/8 in.) Signed, initialed, titled, dated in ink, copyright credit (courtesy Vogue) reproduction limitation, credit and edition stamps on the reverse of the flush-mount. One from an edition of 12. PROVENANCE Private Collection, Europe LITERATURE For undertake the reproduction of one selected image, I choose Penn, Flowers, London: Cape, one of images which were taken by aI.famous American 1980, back cover and Penn, photographer, Irving Penn, who is acknowledged as p.a 91 I. fashion Life,been Boston:taken Bulfinchportraits Press, photographer in Vogue magazine andStillhas 2001, of n.p.photographs that for a period of time. “Flowers” is a series initiated from an assignment by Vogue USA Christmas edition. The photographer devoted himself to one particular flower each year and these photographs were collectively published as a book “Flowers” in 1980. He presents us the pictures of the cut flowers on the details within the pattern, tones and a vision of forms. The genre of Penn’s photographs implied not only the mortality of nature but also celebrated its sensual beauty. I am intrigued by the way he used of capturing the details and the organic beauty of flowers while he is concerned with the short lifespan of flowers as well as celebrated its aesthetic form. In this work, I took photos of live flowers and dead flowers as a way of presenting the living thing towards death. Furthermore, how different that the patterns and the colors of flowers have
37
changed when they are not alive. However, we looked at different way we are not used to when we take pictures. Although the flowers are dead, we still can find another form of beauty on them. That is what I would like to achieve by using studio lighting and nature light to shot my objects.
38
39
40
41
42
43
44
Title: Studio Exhibition Task: The presentation of a body of work Assessment Synopsis Based on the feedback to your exhibition proposal in week 6 you will complete a body of work that consolidates your material, technical and conceptual approach to studio based practice. You will be required to write an artists statement that articulates your position, complete a comprehensive body of work and work collaboratively with your peers to prepare a designated space as a gallery in which to display your works for assessment. Artist Statement
Dance and Nature In my current work, I am concerned with the slaughter of endangered animals by profiteers. Some species are at risk of extinction if animal protection laws are not maintained. Animals have an inherent connection to the environment, and this has been a significant influence in my work. A significant influence has been Rudolf Von Laban, a Slovakian choreographer, who correlates his spiritual awareness of nature through abstract-patterns, in particular, the crystal dance. The crystal is interpreted as simultaneously organic and artificial, tangible and intangible, rational and irrational.
I construct images that are connected
45
to Von Laban’s crystal based dancing and my awareness of nature. Martha Rosler has been another influence in my work. In her photomontage series, Bringing the War Home: House Beautiful, Rosler appropriates images from women’s magazines of the period and juxtaposes them with violent imagery from the Vietnam War. I undertake my work by drawing the shapes and shadows of dancers, and taking photographs of flowers to represent nature. I then combine my images with images from different media to construct my own unique image. 2015. One of four collage and photographic prints, 420mm x 297 mm.
46
47
48
49
50