PAST, PRESENT, FUTURE
Past
pɑːst/
adjective
meaning : gone by in time and no longer existing.
Present
ˈprɛz(ə)nt/
adjective
meaning : existing or occurring now.
Future
ˈfjuːtʃə/
adjective
meaning : at a later time; going or likely to happen or exist.
pɑːst/
adjective
meaning : gone by in time and no longer existing.
Present
ˈprɛz(ə)nt/
adjective
meaning : existing or occurring now.
Future
ˈfjuːtʃə/
adjective
meaning : at a later time; going or likely to happen or exist.
MINDMAP
EXHIBITION
Performing for the Camera
AMALIA ULMAN
Every week Ulman would engross her tens of thousands of followers on instagram with lavish, luxurious photos that made her appear like she was "Living the Life". However , what her fans were oblivious of was the fact that everything was fake. Every post belonged to a project titled "Excellence and Perfections." The project began in April 2016, and Ulman has explained she researched before posting her photographs. " I was acting : it wasn't me." I think this project links in withs the exam topic of past, present , and future as it reveals how easily social media can be used to hide identity in the present day. Ulman said “femininity is a construction, and not something biological." This reveals present day ideas that suggest there is no gender which is an idea that is becoming very popular amongst people now.
YVES KLEIN
French artist chiefly noted for his blue monochrome paintings and for his audacious experiments with new techniques and new attitudes to art. Born in Nice; both his parents were painters. Began to paint in the late 1940s and formulated his first monochrome theories. Lived in Japan 1952-3. Became expert at judo, which he later taught in Spain and in Paris, where he lived from 1955. First public one-man exhibition at the Galerie des Solitaires, Paris, 1955. Early monochrome pictures in orange, yellow, pink, red and green, but from 1957 worked mainly in blue; also made from 1960 a number of monogolds, with gold leaf. Murals for the opera house at Gelsenkirchen 1957-9. Began in 1957 to experiment with fire paintings and 'immaterial zones of sensibility', and in 1958 with 'Anthropométries' made by a nude model pressing herself against the canvas under his direction. Member of the group Nouveaux Réalistes with Arman, Raysse, Spoerri, Tinguely, Pierre Restany and others 1960. Died in Paris of a heart attack, at the age of 34.
JEMIMA STEHLI
In this new body of work, Jemima Stehli is an identifiable presence, but far from creating self-portraiture we see her engaging in a series of ‘performances’ in which she uses her naked body to challenge notions of desire, narcissism, and sexuality. Whether or not she is enjoying using her body in this way is provocatively ambivalent. In Standing Nude (2001/2002) Stehli stages a full-length nude photograph of herself in the setting of her studio. Holding the remote shutter release in her left hand, she gazes directly into the camera yet employs a pose more reminiscent of the classicism of Botticelli’s The Birth of Venus, 1485-86. The coupling of the traditionally formal posture with her command of the circumstances indicates her complicity in the image building process while simultaneously subverting our received perceptions of the tractability of feminine beauty.
Every week Ulman would engross her tens of thousands of followers on instagram with lavish, luxurious photos that made her appear like she was "Living the Life". However , what her fans were oblivious of was the fact that everything was fake. Every post belonged to a project titled "Excellence and Perfections." The project began in April 2016, and Ulman has explained she researched before posting her photographs. " I was acting : it wasn't me." I think this project links in withs the exam topic of past, present , and future as it reveals how easily social media can be used to hide identity in the present day. Ulman said “femininity is a construction, and not something biological." This reveals present day ideas that suggest there is no gender which is an idea that is becoming very popular amongst people now.
YVES KLEIN
French artist chiefly noted for his blue monochrome paintings and for his audacious experiments with new techniques and new attitudes to art. Born in Nice; both his parents were painters. Began to paint in the late 1940s and formulated his first monochrome theories. Lived in Japan 1952-3. Became expert at judo, which he later taught in Spain and in Paris, where he lived from 1955. First public one-man exhibition at the Galerie des Solitaires, Paris, 1955. Early monochrome pictures in orange, yellow, pink, red and green, but from 1957 worked mainly in blue; also made from 1960 a number of monogolds, with gold leaf. Murals for the opera house at Gelsenkirchen 1957-9. Began in 1957 to experiment with fire paintings and 'immaterial zones of sensibility', and in 1958 with 'Anthropométries' made by a nude model pressing herself against the canvas under his direction. Member of the group Nouveaux Réalistes with Arman, Raysse, Spoerri, Tinguely, Pierre Restany and others 1960. Died in Paris of a heart attack, at the age of 34.
JEMIMA STEHLI
In this new body of work, Jemima Stehli is an identifiable presence, but far from creating self-portraiture we see her engaging in a series of ‘performances’ in which she uses her naked body to challenge notions of desire, narcissism, and sexuality. Whether or not she is enjoying using her body in this way is provocatively ambivalent. In Standing Nude (2001/2002) Stehli stages a full-length nude photograph of herself in the setting of her studio. Holding the remote shutter release in her left hand, she gazes directly into the camera yet employs a pose more reminiscent of the classicism of Botticelli’s The Birth of Venus, 1485-86. The coupling of the traditionally formal posture with her command of the circumstances indicates her complicity in the image building process while simultaneously subverting our received perceptions of the tractability of feminine beauty.
SOUTHWARK
PORTRAIT
THE AGEING TASK
MY RESPONSE
INITIAL TASK
ARTIST ANALYSIS - TAYLOR JONES
It all began May 25th, 2011. Taylor Jones was sitting at the kitchen table looking through old photo albums with his family. As he sat there turning the pages of photographs from so many years ago, he noticed his brother, Landon, was sitting in the chair in the exact same spot as the photo that he was pictured in from his 3rd birthday. He held up the photo from the past and lined it up with the present scene and suddenly the light bulb idea appeared.
These photographs are all sharing the common theme of childhood. In all three images, Taylor Jones has aligned a childhood photo and matched its original location with the current one highlighting all the changes that have taken place over the years. Each photograph he holds is at the focal point of the shot and more often than not, is in the front and centre of the picture. he has taken care when aligning all the old photos to the new ones by looking for, e.g. a door or a bench to match up so the photographs all look smoothly merged. His photographs are effective to an audience as it's almost moving seeing the old and new combined in one photo bringing back old memories of what once was and maybe now is no longer. It emotes a sense of permanent memories that will remain weather it be in the form of old photographs or in the form of the land and places those memories were created and never will be forgotten.
MY RESPONSE
SECOND RESPONSE
AGEING
ARTIST ANALYSIS - IRINA WERNING
MY RESPONSE
3 STRANDS
FIRST STRAND - Past, Present and Future of Dance
In my second strand I will be creating a GIFF of someone dancing through the frame in the outfit and genre of dance of a certain period of time. I will then create a triple fame GIFF showing that person travelling through each frame in a new style for every frame as if in one smooth movement.
SECOND STRAND - Past meets Future
For my third strand, I will be taking photographs of my sister sitting in an old and broken down building, dressed in modern female steriotype clothes with a laptop and iPhone incorporating both past and present extremes.
THIRD STRAND - Vintage Photography
For this strand I will be taking pictures using a polaroid camera to represent the old of photography however I will be photographing modern things showing two time periods within one image.
In my second strand I will be creating a GIFF of someone dancing through the frame in the outfit and genre of dance of a certain period of time. I will then create a triple fame GIFF showing that person travelling through each frame in a new style for every frame as if in one smooth movement.
SECOND STRAND - Past meets Future
For my third strand, I will be taking photographs of my sister sitting in an old and broken down building, dressed in modern female steriotype clothes with a laptop and iPhone incorporating both past and present extremes.
THIRD STRAND - Vintage Photography
For this strand I will be taking pictures using a polaroid camera to represent the old of photography however I will be photographing modern things showing two time periods within one image.
FIRST STRAND
SECOND STRAND
THIRD STRAND
HARRY BORDEN
MY RESPONSE
SECOND RESPONSE
JEMIMA STEHLI
FINAL PIECE
TIMELESS SEXUALISATION OF WOMEN
For my last response of my chosen strand, "The Timeless Sexualisation of Women", I wanted to recreate what Jemima Stehli photographed as I think this proved to be the most effective way of showing the way women are unintentionally sexualised today, have been since the start of mankind and will be for the forseable future. As It was an inconvenience capturing the real reaction of the boys looking at the women whom undressed, I captured a variety of images of the boys either looking at where the woman would be, trying to casually look at her, trying to sneak looks or awkwardly looking away. I then got images of a 27 year old actress and 24 year old makeup student (whom both wish to remain un-named), selected her body and pasted their bodies onto the blank space next to the boys. I took the images with a polaroid camera to represent the old fashioned way that we still live in. That, despite having progressed with technology and lifestyles in futuristic way, we are still a world trapped in its old ways of seeing women as, first and for most, sexual beings,