Part 1.Personal project development – you can use this time (90m) to work on your project’s presentation and/or have a personal tutorial
Part 2.Research presentation – during the last half of the session you will present your research project (or you final project if you are at that point)

The Project 2- the self and the masquerade- forms 37.5% of your assessment. Your production analysis counts 12.5%.
Submission deadline for the final prints: 7th May (in the unit guide), has now been extended to the 14th May due to bank holiday. the Mezz gallery is available for the project from the 9th of May, so those of you that have the work printed can start installing on the morning of the 9th

Guidelines for Research Presentation
For your research presentations you shoud show us:

• How your researched your topic of masquerade (in the popular media, in the history of art, in popular culture, etc)
• How you have done real library research and haven’t limited your presentation to information found on the internet alone.
• How you organised the information on the topic
• The concept for your photographic series and planning for your images if you have not produced them yet
• The use of the series (multiple images) to develop your concept

For this project you were required to produce a photographic series of portraits that explore the performative aspects related to the presentation of the self.

You were asked to engage with one or more of the following:
1.The concept of masquerade as a theoretical model to interpret photographically the staging of the self.
2. The relationship between performativity and cultural constructs such as gender, race, class, sexuality or disabilty.
3. The subversion of the gaze and visual pleasure in challenging fixed representations the body.

You were asked to produce a porftfolio of exhibition-quality prints according to these criteria (flexible for revision at the time of the exhibition):
- Printed for wall display
- Colour or black and white
- Size: A3
-Unmounted
Submission procedure: a cd in the following formats:
• Photographs selected for the exhibitiion must be digitised and saved as
1-tiff files at 300 dpi, 2-Jpeg files at 72dpi
• Text, including production analysis, as word documents.

photographic-art-project-2.doc

photographic-art-project-2-peerreview.doc

So i suggest those of you that have the work ready (like jens and patrick) start hanging it on the 9th; all the others can add their work on the 14 th (monday). Eileen, who is in charge of bookings requested we use the indicated times for seting up, but might be possible to use the space if there is no meeting happening there.

Also, I want to plan a visit to the two exhibitions currently at the Photographer’s gallery, both dealing with the everyday: Joachim Schmid’s Selected Photoworks 1982-2007 developed with found photography (in the main gallery) and Found, Shared: The Magazine Photowork on photomagazines that publish found photography (in the cafe gallery).

Joachim Shmid presents projects developed with material found both in the streets and online, as well as reinterpretation of archives, both his own and institutional ones.

Works produced from material found in the streets include:

From the project Pictures from the street 1982-, Joachim Schmid

Pictures from the street (1982-): an ongoing collection of photos found in streets throughout the world, some reduced to fragments, others badly damaged, all placed on individual A4 sheets of paper pinned to the wall with the location and date of the finding on vynil lettering placed right underneath on the wall, fixing the finding to time-space coordinates that evolve to the moment of the exhibition with the latest finding as a polaroid from London, collected when the current exhibition was being installed.

From the project Belo Horizonte,Parque Municipal 1993-, Joachim Schmid

Belo Horizonte,Parque Municipal (1993), a black and white series of brasilian people’s photographs, developed after Joachim collected the negatives thrown away by street photographers that are the equivalent of photo booths, and produce “automatic photos” , right ont he spot for people to take away for id purposes. Enlarged and placed on a grid format, this found material gets a different dimension, like a detournement from street to gallery portraits.

Works produced with material from the Institute for Recycling Old Photos, an organisation created by the artist to recycle photography sent by people that want to dispose of their photographic possessions, include:

From the project Statics((pinup postcards), 1998, Joachim Schmid

Statics (1995-2003), a series of collages produced by assembling shredded photos and photopublications following specific thematics such as baseball cards and pinup cards;

From the project Photogenetic Drafts 1991, Joachim Schmid

and Photogenetic Drafts (1991), a series of collages produced from a collection of negatives from people’s portraits, sent by a professional photographer who sliced them in half to prevent them from being re-used; however their similarity of pose and framing suggested a possibility of creating combined portraits, juxtaposing front and back from different sitters;

From the project People and Things 2006, Joachim Schmid

In addition to working with material found in streets, Joachim also scavenges the internet for the sort of vernacular photography that is so abundant online. He has assembled this in a multichannel digital photo installation (2006). with 853 images assembled in a 58 minutes loop titled People and Things: 853 Pictures for the 21st Century with the material organised in 22 groups of images which include students ids, real estate, bycicles and corporate photography.

From the project Very Miscellaneous 1996, Joachim Schmid

Finally, two project revealing two diffferent approaches, complement the exhibition.Very Miscellaneous, (1996): created during a residency at the Museum, is a recontextualisation of a collection of portraits of local people taken by a local studio photographer, with photographs taken by Joachim of pages from newspapers, where the effect blurr/sharp helps to abstract/ emphasise the newsprint.

From the project Thousand skies 2005, Joachim Schmid

Thousand skies (2005) is an archive of 1000 digital photographs taken by Joachim of helicopters flying over Berlin, when he was diagnosed with hyperacusis, a hearing problem that led to hyersensitivity to certain noises, namely of the helicopters; His painful reaction to the environment worked as a mechanism to take out his camera and shoot the skies everytime an helicopter crossed them above his head; part of the series are the many shots where he only succeded in taking the clouds, all images being shown in two monitors, as well as a small format 60 pages publication, produced to coincide with the exhibition.

Found, Shared: The Magazine Photowork is an installation culled from the archives of four magazines that publish found photos. All dealing with popular, found photography, they reveal however quite distinct stretegies. These are:
Found Magazine (USA), is a participatory printed and online project (www.foundmagazine.com) set up by Davy Rothbarth, to collect contributions from people who find things and want to share them with others, these including a propensity for photographic material; a sister publication Dirty Found, set up by Jason Bitner and Arthur Jones, specialises on the porno side of found photography;

Useful Photography (Netherlands), is a collaboration between Erik Kessels and Hans Aarsman, Hans Van Der Meer, Julian Germain and Claude de Cleen, and began publishing in Amsterdam in 2000. It marries usual A4 magazine size with an anti-glossy attitude, organising its issues around specific thematics that illustrate the vernacular uses of photography , such as shots of missing persons, or online photos of ebay articles. Edited about once a year.

Ohio(Germany), is a project by Uschi Huber and Jorg Paul Janka, the first six issues co-edited in collaboration with Hans-Peter Feldmann and consisting of photography only publications (no cpations, no editorial statements) of the editors’ personal collections of found photography, a concept that enlarged in the following issues to more systematic thematic collaborations with amateur photographers on topics such as corporate or hunting photography. Edited about twice a year. Online: www.ohiomagazine.de

Permanent Food (Italy-France) is a collaboration between Maurizio Cattelan and Dominique Gonzalez Foerster, consisting of a photography magazine assembled from pages scanned from other glossy magazines, appropriating images from a variety of magazines circulating in the commercial market, it started in 1995 and is also available in a modified online version as Permanent Foam at: http://www.adaweb.com/context/pf/foam/toc.html, allowing visitors to compile a website from found websites.

Today, however is presentation day and we will be discussing everyone’s work. I devised an experimental form that extends some of the evaluation criteria used for the production analysis into the assessment of photographic work. You can find it here. Please use it to mark your class mates work and place it in the shared folder, photographic art subfolder (yellow). Best wishes for the presentations!

photographic work marking criteria

You are required to produce a porftfolio of exhibition-quality prints according to these criteria:
- Printed for wall display
- Colour or black and white
- Size: A3
-Unmounted

Submission procedure:
In addition to the hardcopy(print) you need to submit your work in a cd in the following formats:
1-tiff files at 300 dpi, no larger than 10×12 cm in size
2-Jpeg files at 72dpi, no larger than 10×12 cm in size.
• Text, including production analysis, must be sent as word documents.

We’ll be meeting in the Loach Lab and Studio 54 is booked for studio work. This is will be a studio/lab session for development of your project.

Hi, it was great seeing you this afternoon. We should go out to galleries more often like we did last week so we can see photos in installations mimicking 1920′s salons (did you notice both level 3 display and level 2 gallery relied on similar curatorial approaches?), and come back inspired and aware of the legacy of surrealism, but remember in spite of your enthusiasm for the tate art world the rule of gold i passed you this afternoon is the real lesson. If you want to succeed in your next assignment, don’t try to make art, instead behave like a detective, follow Sherlock Holmes example and make it your next task to investigate the real. Ben Highmore*, author of the article surrealism: the marvellous in the everyday, which i based my presentation on, is the writer who put it well. Highmore suggests two approaches:
¬ to follow surrealists’ tactical refusal to treat surrealism as an art form
¬ to see your work as a form of research into the everyday life.

*Read another of his insightful essays on everyday life here, part of an exhibition with researchers of the everyday. And if you’re in the mood, you can buy Sherlock’s costume here. Brown jacket made of a heavy-duty fabric and matching hat. One size fits most adults. (Pipe NOT included.)

Photographic Art is a unit that examines the nature of photographic art through historical and theoretical analysis and practical projects. It will focus upon the understanding of representational strategies developed in the context of surrealism, both in terms of the material aspects of photographic practices and the psychological and social constructs involved. It will also examine contemporary photographic work develop in dialogue with surrealism, in terms of representation of the everyday and the self. In the course of this unit participants will also look at the relationship between photography and other visual media such as fine art, moving image and synthetic world.