You remember to write it down. You even look at the list in the morning because you remember writing it down last night. That look comes over your face, a sort of cringe, your brow furrows just a bit.
That has been my routine for quite a while. Intentions are just that, intentions.
There have been two things on my perpetual list: continue my work of documenting aging and dementia through art and blogging. The first began while I was a student at Rollins College. My digital photography course required a semester long project culminating with a peer review of our work. Throughout the semester, we were also required to blog about our ongoing work. Well, the end of the semester came, as did my time to graduate. Silence.
Through much encouragement from my own family, I am picking up the torch (a.k.a. camera) and getting back in to the driver’s seat or saddle (which ever applies to you) and moving forward with my art and this blog.
Until next time…
I must admit, the title of this blog caught my eye before the photographs. Village People. Need I say more? Well, if you were not at a teen in the 1970’s and saw them perform live at a Disney sponsored event, I guess the title would mean something a bit different. This blog is about the costal village of Ainsdale, England. More specifically, the bus station in Ainsdale.
Photographer Craig Atkinson captures the architectural genre of the 1970’s, evident in the Preston Town Bus Station. He began photographing the people and then the building. The simplicity of the photograph and the “raw materials” featured, such as the wood, metal, and glass show an authentic identity, as opposed to a staged or altered image.
As I read the blog post, the term “Brutalism” was mentioned and I had to look up the meaning. Repeated modular elements; concrete is used for its raw and unpretentious ability; and brick, glass, and steel are also used. Even though the artist mentions the modernity of the images, his referral to Brutalism now makes sense. Just as he remembers and enjoys the architecture and function of the 1970’s, I, too, remember the functionality of my own home and the simplicity of the wood coffee table and end tables.
Creating images that reflect a life experience so close to your heart can be difficult. Aging and dementia are part of the daily thoughts that run through my head. I, at least, am able to verbalize those thoughts. The images I have posted today communicate a story, a life, which is no longer able to tell his or her story.
The images are simple and capture the eyes of a loved one. They say you can see much through ones eyes; pain, sadness, anger, love. I hope to tell the audience the untold story that may not be spoken, but is told through the eyes. As I continue with this project, I hope to expand the story beyond the eyes of the one affected and incorporate a broader view of the topic.
Photography class is not just about taking photographs or learning how to manipulate them. It also includes research and presentations on photographers from the 20th century.
Below is a list of photographers that I am interested in researching and presenting to the class. They are listed in order of preference from 1 to 10.
- Garry Winogrand
- W. Eugene Smith
- Candida Hofer
- Jan Groover
- Sally Mann
- Simon Norfolk
- Walker Evans
- Martin Parr
- Florian Maier-Aichen
- Joel Sternfeld
In the course Photography II that I am taking, I am using the textbook, Photography, A Critical Introduction by Liz Wells. We are asked to post three chapters that we would like to lead a discussion on in class during the semester.
The chapters that I am interested in leading are as follows:
Chapter 2:Surveyors and Surveyed, discusses the place that photography has in documenting history. Making an official record of what has happened or what is happening is an important way for future generations to learn about history, whether it was one year or 100 years ago.
Chapter 3: ‘Sweet it is to scan…’ shares an interesting perspective of photography and its private and public in society. From the personal family portraits to the public galleries, photography is available to anyone, anywhere.
Chapter 5: Spectacles and Illusions photography as a commodity, such as coffee or precious metals. Photography now has the opportunity to persuade targeted markets and say a thousand words with one image. This is a powerful form of communication.
I have been perusing a new sight designed to give a platform for artists whose work crosses different mediums, Insivity.com . While looking through the site, I came across, Chris Burkard, an artist who was first drawn to photographing landscapes, but now his favorite canvas is the ocean. He says, “I aim to be inspired by what I do.” Check out this video about the process and passion of Chris Burkard