Graphic Playground

Graphic novels are a world of color and light. The images contained in each novel are bound only to the reality of the artists' imagination. Mice become men, creatures from other worlds invade reality in a burst of color, doors open in the sky, and bodies are distorted at the whim of the creator. 

In this set, "Graphic Playground", I wanted to explore the imaginary playground of imagery that is the world of graphic novels. By translating images from nine different works, I was able to test the limits of my photoshop and interpretive abilities. Each novel was carefully chosen for its fantastical qualities pertaining to light source, color and subject matter. 

Artist Analysis #9

Image from the series "Wonderland"
by Kirsty Mitchell

The set "Wonderland" was created by photographer Kirsty Mitchell as a way of honoring her mother who had recently passed away. Mitchell described her mother as a great storyteller and felt that creating a fantasy world through her photography would be a good way to keep her mother's memory alive. The entire set uses bold colors, costuming, props and location to create a story through imagery rather than words. The color purple is used to keep a running continuity throughout the images in this series.

I chose this image in particular both for its bold colors and graphic qualities. This image features a model running through a field, holding an umbrella that releases above it a cloud of blue smoke. The image is cropped in such a way that the model fills the frame from top to bottom. The background elements (the ground, horizon, and sky) recede behind her, with the horizon intersecting at the model's waist. The rows of flowers on the ground create a graphic element that pulls the viewers' eyes to center, further focusing attention on the model/actress (the heroine of the "Wonderland" story). The expression on the subject's face, as well as the cloud of smoke billowing from the top of her parasol, create the illusion of movement, giving the audience the impression that she is running from something. This image (as well as the rest of the images in the "Wonderland" series) are, in my opinion, an excellent example of a photographer's ability to create a narrative solely through imagery.

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A gif of my delicious and nutritious breakfast, courtesy of the Sub Market and Ritz...

Artist Analysis #8

Artist Analysis #8

Morimura Yasumasa

"Exchange of Devouring" (2004)

Photographer Morimura Yasumasa stands posed on a black background, gripping the remains of a corpse as he howls into the air. His photograph "Exchange of Devouring" is a recreation of the Francisco Goya painting "Saturn Devouring His Son". Known for his recreations, Yasumasa uses a mixture of photography and digital manipulation to emulate various works by other artist. In this image, Yasumasa uses both lighting and digital enhancement to recreate the Goya painting (he also relies on the fame of the image and the audience's ability to immediately recognize the subject matter). Interestingly, Yasumasa's pose is not an exact mirror of the original work. He stands upright with one leg lifted into the air, his body facing to the right. The subject looks into the air, screaming. In the original Goya painting, however, the subject is crouched down, with his victim's remains still hanging from his mouth. It is Yasumasa's use of light and setting that most help the viewer recognize this as a replication of the Goya painting (as well as the tiny, headless body the model holds). 

Researching Yasumasa, it is clear to see a divide in the art community's feelings towards his recreations. Some do not believe that his photography can be elevated to the level of "high art" because they are merely recreations and not original works. Other's see his body of work as an appropriation of popular images. Yasumasa has also been know to incorporate audience participation into his exhibitions, once including a photo booth at his show that allowed audience members to superimpose themselves on to famous works. 

Not So Final Project Proposal

Laura Brunette 

10/31/12

Arts 188

Not So Final Project Proposal

A close friend of mine has just started the process of transitioning from male to female. Recently, we were discussing the relationship everyone has (transgendered or not) between the masculine and feminine aspects of their personality. For my final project I would like to explore that relationship through photography and image manipulation. I have spoken with several other friends that are willing to act as models for this project. I plan to take two pictures of each model, one representing their masculine side, and one feminine. I then plan to composite the images together to create a single image of the interaction between the two sides of each model's personality. 

In my conversations with the models I have asked them to consider what they perceive the to be the interaction between these aspects of their personality. I plan to work with the model to create an image that represents their own personal feeling on the subject. 

This project was inspired in part by the recent trend in "alter ego" photography that has become popular among celebrities (having been featured on several reality television series). It is partially inspired by Leland Bobbe's drag queen set that I referenced at the beginning of the semester. 

Artist Analysis #7

Artist Analysis #7

Nan Goldin

"Misty and Jimmy Paulette in a taxi, NYC" (1991)

The photograph "Misty and Jimmy Paulette in a taxi, NYC is a large scale color print (30 x 40inches) of two drag queens in a taxi. The subjects, Misty and Jimmy, fill the majority of the frame, staring directly into the camera. Both seem to have an attitude toward their photographer, as if the lens is an unwanted intruder in a private moment. This image has a snap-shot aesthetic, and the majority of the light in the image seems to be provided by a natural source (the daylight coming in through the windows). The subjects are backlit by the window behind them, but it is not over exposed, and their faces are also properly exposed. The queens provide a pop of color in the photograph (blue hair, red lips, a gold top) while their surroundings are relatively muted (except for the yellow taxis in the background, which (according to the title) are an important aspect of the image). 

I chose this photograph because, as our recent section has been about documentary photography, this was an interesting example of an image that has both documentary quality and a "staged" feel. Goldin's work often involved performers from the drag culture in New York (a group in which she had many friends). While this shot initially appears to be a moment in time caught by an objective viewer (the documentary lens), knowing that Goldin was probably friends with Misty and Jimmy, as well as the fact that the image is take from the front seat of a cab (which is not a shot that would happen "by chance"), the image then takes on a staged feel. Were the subjects coached to give attitude to the camera? Does this image accurately represent the mood of that moment? Much of Goldin's work focused on the drag culture (again, which she was personally close to), so it is clear that she was not an objective viewer. 

Artist Analysis #6

Alec (and Carmen) Soth

from "Brighton Picture Hunt"

This image is credited to photographer Alec Soth, but it was actually taken by his seven-year-old daughter Carmen. When Soth arrived in England to work on a commissioned photo-shoot in early 2010, he was denied a work visa. The photographer was told that he would be allowed into the country only under the stipulation that, were he to be caught taking photographs, he would be arrested. In response, Soth gave his camera to Carmen, and allowed her to photograph anything she found interesting. He was interested in his daughter's "open-eyed" view of the world, her lack of inhibitions, and her work, untainted by knowledge of photographic cliches. 

I chose the image of a woman walking down the street, not paying attention to the photographer (Carmen), because I think it represents the overall theme of the work that Alec Soth was trying to portray. The woman in the photograph completely ignores the photographer, looking over her, focused on her path ahead. Had the photographer been the elder Soth, the attitude of the subject may have changed greatly. A child taking a photograph is innocent, the subject can assume that there is no possibility of being subjected to a photographer's agenda. This also highlights the concept the reality of documentary photography; how real is the expression of a subject that is being  watched? How does the presence of a photographer influence the subject matter?

Technically, the image is strong (especially when you consider that it was taken by a child with no formal training). The woman's head and torso are framed in the center, making her expression the focal point. The image is evenly exposed for both the sky in the background, and the woman. The depth of field is shallow, falling off right behind the woman. Overall, this image is interesting because it illustrates the importance of context and intent in photography. The story behind the image elevates it beyond the snap-shot that it is in reality.