I have attached below my tutor report for Assignment 3 – Body of Work. I have also reflected on what my tutor has written so I can get a better grasp on some of the concepts we talked about in our video tutorial. Lastly, I have responded to some of my tutor’s criticisms/suggestions by creating subsequent posts which I have linked to this post.
Looking at the tutor report I can firstly see that I have taken on board what my tutor and I commented on with regards to the project being less about regeneration and more about my deconstruction of the photographic decisive moment. I have subsequently created several more diptychs which deconstruct this trope by placing people in the composites at roughly the same locations in each part of the diptych.
Examples of these diptychs can be found in the posts:
Although I have created diptychs, I have only experimented with a grid of 4 once. I think idealistically a grid would be better for an exhibition but how feasible this is in light of the pandemic is questionable. Speaking of grids, I attempted reading Krauss’ Grids (1979), recommended to me by my tutor but found it hard-going. I may try reading it again at a later date. Shooting each of the locations 4 times to make several grids would allow me to pick and choose from the images for the diptychs too. However, it is just not possible under lockdown.
I have responded to my tutor’s main point of criticism: not necessarily linking clearly enough my coursework with the progression of my body of work. I feel I did link my coursework for Chance to Assignment 3 – Body of Work in text only but perhaps it wasn’t clear enough. Therefore, I’ve made several posts regarding Showing Not Telling, the third part of coursework for Body of Work, which I will be sure to label and link to Assignment 4 – Body of Work. Showing Not Telling consists of how text is related to image and I’ve experimented with this in two ways:
I think I’ve settled on a map-based approach to titling the images but I still have another post to make about this.
I looked as recommended by my tutor at two of the projects of artist Alexander Gronsky in depth. It was very enlightening seeing how his approach was similar to mine in some cases. Also it was enlightening to see how much Gronsky experimented with the same theme of deconstructing the decisive moment in his work. I am familiar with the work of Keith Arnatt, in particular Self-Burial (1969) where his work is more conceptual. It does deconstruct the decisive moment in the form of a grid of 9 similar but crucially different images.
Lastly, I have responded to my tutor’s suggestion I talk to some of my fellow students and other artists (not just photographers) for feedback on how my work is read by them. I sent out an email to my fellow students which some answered. I have listened to their feedback, suggestions and criticism which I will also respond to in a separate post.
Update – 07/04/2020: I have now made the mentioned blog post detailing my fellow students’ feedback and my responses in the Fellow Students’ Feedback on My Body of Work Project So Far post.
Arnatt, K. (1969) Self-Burial. [Photograph] At: http://www.keitharnatt.com/works/w20.html (Accessed 06/04/2020).
Gronsky, A. (2016) SCHEMA. At: https://www.alexandergronsky.com/6069674-schema (Accessed 02/01/2020).
Krauss, R. (1979) Grids. At: http://art.yale.edu/file_columns/0000/2996/krauss.pdf (Accessed 14/12/2019).