This untitled work is my initial test to create a large grid-like print. Made using traditional (or straight) photography on 35mm film combined with alternative and experimental darkroom processes. I hand tore six 330x300mm (approx) sheets from a large roll of gelatin silver (light-sensitive photographic) paper. The individual sheets were then placed in a grid on the wall of the darkroom and exposed with a single 35mm negative. Next, the sheets were taken into the darkroom where I hand-painted each individually with developer to bring out the image (rather than swishing them around in developing trays).
Group crit feedback
What do Pictures Want by W. J. T. Mitchell
According to W. J. T. Mitchell, we need to reckon with images not just as inert objects that convey meaning but as animated beings with desires, needs, appetites, demands, and drives of their own.
https://press.uchicago.edu/ucp/books/book/chicago/W/bo3534152.html (Links to an external site.)
Pictures with drives =? agency of pictures... see Isabelle Isabelle Graw: https://www.perimeterbooks.com/products/thinking-through-painting-reflexivity-and-agency-beyond-the-canvas (Links to an external site.)
& related Graw lecture on the value of liveliness here:https://www.youtube.com/watch?v=1JDthDEcmAs&ab_channel=thejewishmuseum (Links to an external site.)
Indexicality & its “desire for
referentiality": indexicality (Links to an external site.)
Richard Hamilton's update: https://www.tate.org.uk/art/artworks/hamilton-just-what-is-it-that-makes-todays-homes-so-different-p11358 (Links to an external site.)
(I'll try & find the catalogue where RH says that he wants to make something that isn't just a photograph)
On the proprietorial and ways of thinking about the studio this lecture by Kerry James Marshall might be of interest (specifically about 30 mins in):https://www.youtube.com/watch?v=6sv-YptD9Bc&ab_channel=CANTV (Links to an external site.)
On Daichi Saito:
Working against the contemporary urge to capture Instagram-worthy vistas and gussy them up with filters, Saito practices an old fashioned, stubbornly material form of alchemy to transmute relatively ordinary landscape footage into cinematic magic