Monthly Archives: July 2016

A4 Research: John Goto Capital Arcade

Staying with the theme of digital art based on photography I have been considering the work of John Goto, a British artist who extensively uses his own photographs to create montages that represent social and political critiques. In my earlier … Continue reading

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John Goto: Lover’s Rock

Continuing with the theme of digital art based on photography I have been considering the work of John Goto, a British artist who extensively uses his own photographs to create montages that represent social and political critiques. However, before looking at … Continue reading

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A4 Research: Photography in the Digital Age

Photography has always had an unavoidable, arguably symbiotic relationship with science and technology; the development of processes to capture light and fix an image on substrate materials parallels scientific and technological advancement whilst scientists and technologists have been prime users … Continue reading

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The Written Word

I looked at Kaylynn Deveney’s The Day-to-Day Life of Albert Hastings as part of my research into assignment 2 (here). Sources Books (1) Deveney, Kaylynn (2007) The Day-to-Day Life of Albert Hastings. New York: Princeton Architectural Press  

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Joel Sternfeld: Stranger Passing

In an age when so much contemporary photography features flat, grey skies, deadpan, desaturated colours and pale, wan portrait subjects it is refreshing to review Joel Sternfeld, one of the early colourists, who along with William Eggleston and Stephen Shore, wrested colour photography … Continue reading

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Rhetoric of the Image

Johnathan Culler (1) suggests that the cultural theorist Roland Barthes (1915 – 1980), outside France at least, has replaced Jean Paul Sartre as the leading French intellectual; whilst soon after his death, The New York Times described him as “one of the high … Continue reading

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A4 Research: Images and Text in the Real World or the Politics of Captions

Clive Scott reminds us that “photography in its entirety is an unstable medium” (1: p.78); a point proven, at least to myself, when considering how the intentions of Dorothea Lange’s photographs have been interpreted and reinterpreted as their textual context has changed over many … Continue reading

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