- Returning to processes
- Different attitudes to medium
- Earliest photogram.
- Tactile, physical contact with the emulsion.
- Shadow world.
- Potential in technology.
- 20s made their own version (Rayograph).
- 3D, away from flatness, moving light around.
- Photograms and self-portrait.
- 3D effect.
- Solarising photograms, flash light onto the paper.
- Remains, sites in Hiroshima; weeds overlooked.
- Inspiration for From the Weeds of Hiroshima.
- Flowers, colour paper and emulsion.
- Conceptual art.
- Abstractions, dropping onto the paper.
- Working with accidents.
- Metaphor, round about way of referring to the events.
- Parallel to Welling’s work.
- Cyanotype invented by John Herschel.
- Directly imprinting with blue paint.
- Work inspired by shadow imprint from Hiroshima.
- Multimedia, music, records. Hybrid.
- Uses medium most appropriate.
- Abstract expressionism.
‘Artists have always been attracted to detritus. Because by the time something reaches the dustbin, we have had enough interaction with it to finally reflect on it. When something is too new we are still under its spell, too seduced to take enough distance and be disrespectful or critical’.
Christian Marclay cited in Lyle Rexer, ‘Blue Tape: Christian Marclay’s old Masters’, in DAMN Magazine, no.33, May-June, 2012, p.104.
- Edgy, playful, uses humour.
- Big in frames, leaned against the wall.
- Any material/flat surface.
- History of the studio, objects which went through it.
- Different size print.
- Turns rooms into camera obscura’s.
- Big works.
- Urban views on sensitized paper.
- Negative prints.
- Alternative reality.
- Montage, multiple different images put together.
- Re-working, potential.
- Big piece of work, sculptural.
- Micro monuments, places of nuclear weapons (trinity site)
- Watch frozen at time of bombing was painted on.
- Physicality of object.
During this lecture, we looked at artists who have returned to old technology and how this can be related to materiality. Different ways of thinking about this and photography experience; optical sensations, engaging, embodiment.
Thompson, Matthew, ‘The Object Lost and Found’, in Thompson, The Anxiety of Photography, Aspen Art Museum, 2011 – available online at: http://old.aspenartmuseum.org/archive/archive_aop_thompson.html
George Baker, ‘The Absent Photograph’, in Speaker Receiver, Basel: Kunsthalle Basel; Berlin: Sternberg Press, 2010.