Tag Archives: Week 2

M2 Wk2: Strategies of Meditation

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Forum: ‘Joywar’

Joy Garnett is known for her paintings inspired by accessible digital images. Following an exhibition of her work in 2004, Garnett received a cease and desist letter citing infringement of copyright, from a lawyer representing Susan Meiselas. After a debate, which became known as ‘Joywar’, both put forward their perspectives in an article for Harpers Magazine titled ‘On the Rights of the Molotov Man’.

Think about how you would feel if someone created an artwork that appropriated, referenced or remixed your image. Other than legal action, how could you use your practice to resolve the issue?

Post a concise summary of your thoughts.  Try to think about the debate at different scales as well as in different contexts.

It is often said that imitation is the sincerest form of flattery, although Oscar Wilde was rather less sympathetic of imitators in his appendage to that adage: “imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

How many times in this course have ween been asked to produce an image in the style of, or inspired by a particular artist? While not necessarily the same as mimicking work, there could be a fine line between the two. ‘Research’ is a useful get-out for such works.

Clearly there is always the chance that reworking of an image could be unflattering, inappropriate or damning of the original. However, if the copy is not defamatory to the subject or artist, and its usage or sale is not detrimental to the market value of the original image, then such mimicry may prove beneficial in drawing a wider audience to one’s photographic work. I would always wish to ensure an appropriate credit to my image in any usage of the artwork, but beyond that I would not be overly concerned.  Perhaps such actions could be used to foster a mutually beneficial collaboration with photographer and artist each promoting their own work as well as that of the other’s.

There is a notable caveat to one field of my photography: a significant part of my portfolio is for the school in which I work, depicting the pupils therein. GDPR and a host of other limitations would render the use these images inappropriate and necessitate firm control over any such appropriation, reference or remixing.

The origins of photography were often heavily influenced by classical art. Oscar Rejlander mastered the very complicated process of combination printing to produce an image that harks back to the Renaissance tradition of multi-figural paintings such as Raphael’s School of Athens. Perhaps it is fitting to go full circle with art now imitating photography.

The Two Ways of Life, Rejlander (original)Oscar Rejlander (1857) – Two Ways of Life

M2 Wk2: Strategies of Mediation

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Week 2: Independent Reflection

Can a photograph be considered finished?

My research project is based entirely on the copying of other artist’s work. Driven by the wants of Oxford University and the Colleges, whose permission I require in order to photography their stained glass windows, my intentions are to represent accurately and precisely the stained glass found within the chapels of Oxford, in contrast to almost all existing reproductions of the windows.  Consequently, the published results need to be truthfully representative and with minimal opportunity to be interpretative.  That said I am disinclined to wish to reinterpret works of world renowned artists – I lack the arrogance to think that I could produce something that was ever anything more than a bastardisation of the excellence exhibited by  William Morris, Henry Holiday, Dante Gabriel Rossetti, Edward Burne-Jones, et al.

With the majority of artists whose work I am photographing no longer alive, I am happy to consider their artwork ‘finished’ – perhaps ‘completed’ would be a better word.  However, the nature of stained glass is such that it is brought to life by an ever changing medium: daylight.  Their appearance is changed dramatically by the weather, seasons and time of day, but equally by foliage and the ever-changing construction of buildings around them.  If my aim is to recreate perfectly an image of a stained glass window, I believe that this can only be done with the window removed, cleaned and backlit by a uniform daylight-balanced light.  Until that is achieved, none of my photographs can be considered truly representative and as such, until then , the work cannot be considered ‘finished’.  The best I can achieve is to aim to photograph windows in the optimum light: bright, but overcast conditions where they are lit by diffused, full-spectrum light (a colour temperature around 6500K).

I have already photographed some of the lights within Harris Manchester College, but am yet to focus upon any of The Days of Creation series (1895-1899) by Edward Burne-Jones.  In keeping with almost all stained glass, prior to commissioning drawings and watercolours were produced, but in this case, they themselves became famous works of art.  From 1870 to 1876, Burne-Jones’ composed using various media depictions of God’s six days of creation.  He designed modelli in pencil cartoons for watercolour paintings on gouache, containing shell gold and platinum paint.  In turn, these modelli were employed to compose stained glass windows and porcelain tiles for several chapels.  When I do revisit HMC, it will certainly be interesting to see the similarities and differences between my photographs of these stained glass windows and Burne-Jones’ watercolours and ceramic tiles.

Following my research this week, I will try to find the time to investigating how significant is the impact of differing daylight on a stained glass window.  It would be fascinating to make such a study throughout the seasons of a year, but this would be far from practical or practicable.  However, more achievable is a day long study which might disprove my beliefs that I should only photograph the windows in bright, but overcast conditions.

Thus far, I have only viewed my stained glass window images on computer screens, in a book or printed on 310gsm standard fine art paper.  Despite the nature of the originals, I am very much taken by the art paper prints.  However, it would seem foolhardy not to investigate assorted backlit options.

M3 Wk2: You are a business

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Week 2: Whose Image is it Anyway?

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Image on left: original photography by Patrick Cariou / image on right: artwork by Richard Prince

Copyright law.  There have been some notable art copyright cases in recent decades. One of the most significant is French photographer Patrick Cariou’s claim, suing Richard Prince and his gallery, Gagosian, for copyright infringement. Read more about the case here  or an even more detailed report here.

I am no fan of this style of work – how can a few crude daubs of paint and a magazine cutting make this a new work of art (or indeed ‘art’). There seems far too much sympathy in using the work ‘appropriation’ – there is no synonym that can make it acceptable. If it necessary to exhibit such work, I could come close to tolerating it if there were clear apologies to the original artist/photographer and if the exhibition was clearly labelled as being one of intellectual property theft and vandalism.

I cannot begin to agree with the decision of the court.

I find it saddening that one level of argument in favour of the court is that Cariou did at least gain publicity for his work. When Cariou took the original photography, he had no intention of gaining from the exposure of this case. It must be rather galling to be better known as the person whose work was appropriated by someone else, rather than for your skills as a photographer.

Cariou was not approached with regard to permission, so it would seem improbable that the subject in the photograph received that common courtesy. I wonder how such a case would be handled in Europe? The GDPR issues alone could be sizable.

In the back of my mind is the thought that my project could be seen as being repurposing of other people’s art: the project sees me photographing then editing stained glass windows. However, the artists are all deceased, I always seek permission from the owner of the art work prior to any photography, and I gain approval for use of the photograph once the editing is complete. My project does not see me reinterpret the works (despite Course-based encouragement to do so) and the only editing is corrective (removing cracks in glass; erasing grime and dirt; removing support bars). Any publication of the images sees full reference to the original artist, the copyright owner of the original item and details the location of the item: I am working in collaboration with the owners (in the absence of the artist). I believe that this is the only acceptable way of ‘using’ pre-existing art works… however, for the benefit of my project, should you feel that I am omitting an important step, please do comment to that effect.

M3 Wk2: You are a business

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Week 2 Challenge: Let’s Talk Business

This week’s activity therefore, requires thought about the following three areas in relation to my practice:

  • A Mission Statement
  • The Product
  • The Market

This is an opportunity to consider them from a more commercial angle.

Mission Statement
The fantastic beauty of stained glass windows is rarely replicated in a photography as there are so many factors inhibiting the process: the weather and lighting conditions may be unfavourable; a camera lacks sufficient dynamic range; there may be a build-up of years of dust and grime; the horizontal support bars detract from the original design.  Dominic Price’s vision is to record an image that is a lasting memory of a stained glass window, viewed as fresh and clear as the original artist would have wanted.

The Product
An initial site visit ascertains the logistics of the shoot, together with the most opportune time of day and time of the year to take the photograph.  Diffused, bright light is optimal, avoiding harsh shadows created by the lead calmes that hold the individual panes of glass together.  However, vegetation and surrounding buildings can have a dramatic impact on the anticipated lighting were one to carry out remote calculations.  If the site lends itself to a straightforward set up, then the photography stage typically takes no more than an hour per light (an individual vertical division of a window), with up to 30 exposure bracketed images being taken for each view.  The stained glass window or light is then reconstructed individual pane at a time, by selecting the most appropriately exposed fragment of an image from the exposure bracketed range.  With the image reassembled, any damaged or overly dirty panes are corrected.  A follow-up location visit allows the chance for a final comparison with the original prior to the digital removal of any support bars.  The final image can be supplied in a number of ways, from digital file to a host of print options, with a Giclée print on 310gsm standard fine art paper; double mounted in white card, then black box framed, being the preferred finish.

The Market
With scarce competition in the field, the potential market is huge: any location with stained glass.  Beyond individual images, there is the opportunity for exhibiting works to local communities as well as publishing the images within guide books or as greetings cards.  Clearly religious festivals are well documented within stained glass windows and lend themselves well to the greetings card market.

M3 Wk2: You are a business

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Week 2: Independent Reflection

This has been a week where necessity had placed project-related practical work on hold.  However, I have sourced some useful publications to which I have committed time in the evenings…

Waters, W. (2012) Angels & Icons Pre-Raphaelite Stained Glass 1850-1870. Worcester: Seraphim Press Ltd. (Photography: Carew-Cox, A.)

Angels & Icons.jpgThis stunning 368-page hardback came direct from the photographer and represents nine years of research by author William Walters.  The detail is impressive and it has already proved its worth in helping with my research.  Possibly more importantly and certainly more uniquely within this field, it is illustrated throughout with exquisite images taken by photographer Alastair Carew-Cox.

I have been in communication with Alastair a few times with regard to his work.   For Angels & Icons he used 5″x4″ film and a plate camera to correct perspective.  However, in his most recent publication Damozels & Deities, in addition to plate he has used high end digital with tilt and shift lenses.  Because of the academic importance of the publications, he has to photograph what is actually in front of him, warts and all.  Consequently, unlike my images, his receive minimal post production, with the support bars, blemished and damage, etc., left in.

Volume three of the series is currently being researched and photographed, featuring far more of the works of Henry Holiday – a favourite artist of both of us.

Lifelines 12With a number of my recent site visits featuring the works of Edward Burne-Jones, another book purchase was also by William Walters:

Waters, W. (1973) Burne-Jones: An Illustrated Life of Sir Edward Burne-Jones 1833-1898. Aylesbury, Shire Publications Ltd.

One of the earlier publications by Walters, this 48-page small paperback is illustrated throughout in black and white.  It provides an interesting life story of Burne-Jones, but sadly (for me) only touches on his stained glass work, focusing instead more on his watercolours and pencil drawings.

Rather less of an easy read and substantially harder to source, was one of Henry Holiday’s books:

Holiday, H. (1914) Reminiscences of My Life. London, William Heinemann.

I was hoping that this autobiography would mention some of Holiday’s works for the Chapel of St. Nicholas, but sadly there is no reference at all!  I outlines the varied and numerous interests of the artist and in particular his involvement with the Pre-Raphaelites,  and is illustrated with his work.  Thus far I have only dipped into the pages, having prioritised work, research and sleep ahead of the 465 pages!