25/10/2024 – PICTURE PERFECT:  

• Internet banking: all the references that Jane uses are free for us to use, so ask! Get involved – richer and wider engagement with the world! 

• “When the image is new, the world is new” – Gaston Bachelard 

• A flat image as being under continuous construction as different audiences interpret something 
• The Photographer’s Gallery – cheap to get in, interesting exhibitions 

• Last Seen- an empty chair in a room, holding the memory of someone that was once there.  

• Jasleen Kaur, Hans-Peter Feldmann 
• Dziga Vertov (1929) – Man with a Movie Camera. Set out to capture “Film truth” 
• Vivian Maier – very interesting archive of street photography of the 1950’s 
• Martin Parr – interesting photography from gross technicolour angles 
• Narrative choices are framing choices – Fan Ho 
• Yuri Norstein –  The Tale of Tales 
• Art is a form of framing an experience – the more art you look at the more you are able to reflect on your own consciousness 

• Rebecca Soulnit – the field guide to getting lost 
• The relation between what we see and what we know is never entirely settled 

• An image is/can be: 

• A representation? 
• Temporal/time related. Something that can outlast what it seeks to represent 
• A contract between viewer and maker 
• A signature/ a mark? 
• Something constructed/composed? 
• A story? 
• A point of view/ a perspective. It exists in the mind of viewer and maker. 
• A truth? 
• A language? 
• We never look at just one thing, we are always looking at the relation between the things and ourselves. Berger J. 1972 – Ways of Seeing. 

• Brainwashed – Camera Sex Power 
• Don McCullin – Every image embodies a way of seeing 
• How do they communicate ‘information’ and tell stories? How do I read them? 
• Does it make you a viewer or a participant? 
• How are they shaped by the CONTEXT in which they are made, and the materials and tools used? 
• What VALUE do they have? 
• What POWER do they have? 
• What effects can they have on the people that consume them, on society as a whole? 
• How do they shape our ATTITUDES to each other and our sense of ourselves, our identities? 
• What kinds of MEANING do they have and who gives them meaning, the people that create them or the people that view them, appropriate them, remake and reinterpret them? 

In all images, things are included, and things are excluded, and the world is presented in a particular way. These choices are never neutral 

Christoph Niemann – seeing things from things that aren’t necessarily there. All sorts of angles to play with and stop taking the world for granted 

Your vision – “To know what you’re going to draw you have to begin drawing.’  

Be a careless artist and a ruthless editor 

Jan Švankmajer 

Consider: 

• Point of View 
• Language 
• Is the language consistent? 
• Authority 
• Choreography 
• Storytelling 
• Is there a clear sense of authorship, or story? 

Russel Weekes – Nature Spotting