BIBLIOGRAPHY

References

Baker, G., Daly, A., Davenport, N., Larson, L. and Sundell, M. (2003). Francesca Woodman Reconsidered: A Conversation with George Baker, Ann Daly, Nancy Davenport, Laura Larson, and Margaret Sundell.Art Journal, 62(2), p.52.

Bial, R. (2015). Friedlander, Lee. Family in the Picture. Library Journal,, 139, p.102.

Birnbaum, D. (1996). Sam Taylor–Wood. Artforum International, 35, p.88.

Brant, C. (2015). ‘Dozens who thought they knew her’: Finding Vivian Maier?. European Journal of Life Writing, 4(0), p.C1.

Coffee, K. (2014). Misplaced: ethics and the photographs of Vivian Maier. Museum Management and Curatorship, 29(2), pp.93-101.

Fraenkel Gallery, (2015). Lee Friedlander | Fraenkel Gallery. [online] Available at: http://fraenkelgallery.com/artists/lee-friedlander [Accessed 5 May 2015].

Fraenkel Gallery, (2015). 1960s Self Portraits | Fraenkel Gallery. [online] Available at: http://fraenkelgallery.com/portfolios/1960s-self-portraits [Accessed 5 May 2015].

Friedlander, L. (1985). Lee Friedlander portraits. Boston: Little, Brown.

Friedlander, L. (2000). Lee Friedlander. San Francisco: Fraenkel Gallery.

Griffiths, A. (2015). Luminous-Lint – News. [online] Luminous-lint.com. Available at: http://www.luminous-lint.com/app/news/LL/BL/0/ [Accessed 5 May 2015].

Helfand, G. (1997). Whitman’s sampler. (presentation of Duane Michal’s latest book which is inspired by poet Walt Whitman). The national gay & lesbian newsmagazine, (728), p.47.

Jones, M. (2005). The View Master; A stunning new retrospective boasts hundreds of Lee Friedlander’s images. Newsweek, p.59.

Lam, C. (2012). Chi Lam: Research in artist: Duane Michals. [online] Chi-photo.blogspot.co.uk. Available at: http://chi-photo.blogspot.co.uk/2012/12/research-in-artist-duane-michals.html [Accessed 5 May 2015].

Maloof, J. (2014). Vivian Maier: A Photographer Found. Harper Design.

Michals, D. (1976). Real dreams. Danbury, NH: Addison House.

Michals, D. (1988). Album. Pasadena, Calif.: Twelvetrees Press.

Quinones, P. (1999). Sam Taylor–Wood. Parachute: Contemporary Art Magazine, (99), pp.56-57.

Salter, K. (2012). Blurred genius: the photographs of Francesca Woodman. [online] Telegraph.co.uk. Available at: http://www.telegraph.co.uk/culture/art/art-news/9279676/Blurred-genius-the-photographs-of-Francesca-Woodman.html [Accessed 5 May 2015].

Samtaylorjohnson.com, (2015). Sam Taylor-Johnson | Photography. [online] Available at: http://samtaylorjohnson.com/photography [Accessed 5 May 2015].

Sherlock, A. (2013). Multiple Expeausures: Identity and Alterity in the ‘Self-Portraits’ of Francesca Woodman. Paragraph, 36(3), pp.376-391.

Sobchack, V. (2004). Carnal thoughts. Berkeley: University of California Press.

Stepan, P. (1999). Icons of photography. Munich: Prestel.

Stone, M. (2014). Secret selfies in the 1950s: Vivian Maier’s photography – in pictures. [online] the Guardian. Available at: http://www.theguardian.com/artanddesign/gallery/2014/jul/15/secret-selfies-in-the-1950s-photographer-vivian-maier-in-pictures [Accessed 5 May 2015].

Storyteller: the photographs of Duane Michals. (2015). Choice Reviews Online, 52(09), pp.52-4592-52-4592.

Tate, (2015). Francesca Woodman, ‘Providence, Rhode Island, 1976’ 1976. [online] Available at: http://www.tate.org.uk/art/artists/francesca-woodman-10512 [Accessed 5 May 2015].

Taylor-Wood, S. and Taylor-Wood, S. (2006). Sam Taylor-Wood. Göttingen: Steidl.

Taylor-Wood, S., Bracewell, M., Millar, J. and Carolin, C. (2002). Sam Taylor-Wood. Göttingen: Steidl for the Hayward Gallery.

Taylor-Wood, S., Crutchfield, M., London, B. and Nochlin, L. (2008). Sam Taylor-Wood, 1995-2007. [Cleveland]: Museum of Contemporary Art Cleveland.

Thebucketshop.com, (2015). duanemichals. [online] Available at: http://www.thebucketshop.com/lessonplans/duanemichals.html [Accessed 5 May 2015].

Tranberg, D. (2008). Sam Taylor–Wood. ArtUS, 23(31), p.1.

Vivian Maier Photographer, (2015). About Vivian Maier | Vivian Maier Photographer. [online] Available at: http://www.vivianmaier.com/about-vivian-maier/ [Accessed 5 May 2015].

Woodman, F. (1988). Photographs by Francesca Woodman. Frontiers: A Journal of Women Studies, 10(1), p.50.

Woodman, F., Schor, G., Bronfen, E., Berne, B., Binotto, J., Solomon-Godeau, A., Söntgen, B. and Woodman, F. (n.d.). Francesca Woodman.

Woodman, F., Sollers, P., Strauss, D., Janus, E., Rankin, S. and Chandès, H. (1998). Francesca Woodman. Zurich: Scalo.

Artist Profile 5) Lee Friedlander

Lee Friedlander

Friedlaner is an American social landscape photographer who was born in 1934 who’s images on self-portraits which he explored from 1960-1999 are well known and celebrated.  His self-portraits break the convention has he very rarely shows a full facial profile, instead he uses is own shadow, reflections and small parts of his eyes to create his very own style of self portraiture and social street photography.

His work is all about mystery and only giving the audiences glimpses of  himself which entices the audiences and makes for a really strong body of exciting work. With witty and comedic themes running through most of his images, he shows the audience ways that self portraiture can be used  within photography and that other people can be used as tool to convey certain ideas or messages.

I think that his work really opens peoples eye into what can be preserved as self portraiture and this as inspired me to try and experiment with my style of image and methods used. Much like Freidlander I chose to simply take my camera out and let fate decide what images I will take and where, this then lead me to the location of my final image and I found the method really soothing and something will constantly surprise you.

“He enjoys visual puns and conundrums” –Erika Billeter (Icons of Photography 1999)

Shadow-New York City, 1968

Self portrait. Lee Friedlander 1969.

His influences have been Walker Evans, Robert Frank and Eugene Atget, this is very clear by the choice of composition, choice of location, framing, and concepts. He studied at Art Centre College of Design in California, then moved to New York city where everything was upbeat, new and things were fast paced. This was the perfect place to explore and create, I feel like this really shaped his later work as he became older and developed arthritis so couldn’t explore the city as much which then lead to self study and evaluation.

Friedlander wants to give the audience a different perspective and content of what self portraiture could be, within his images he only exposes a little piece of himself to the world, this is so each image unlocks more and more of the artist and creates a character. Friedlander can then chose what part of his personality he wants the audience to see, I think he represents himself as a charming and witty.

I want my images to unravel different traits of my personality so my body of work will eventually show my full personality, but this body of work is a great start visually and has enabled me to find a method that I enjoy and is quite therapeutic.  The tones and low lights have an immense amount of detail, he has a characteristic of reflecting his mood with the lighting so you know exactly what his thoughts and feelings are when taking the image, this all helps audience to unravel his personality and the mise en scene also is important to his detailed work. The outcome of this work is for the audience to grasp the different ways you can incorporate yourself within your art and how you can represent yourself to the world.

REFRENCING

Books:

Icons of Photography, published by Prestel, edited by Peter Stepan, written by many sources the main source being Erkia Billeter, 1999.

Lee Friedlander : self-portrait. 3rd ed., author: Friedlander, Lee, edition: 3., publisher: MOMA, 2005

Self portrait. 2nd ed., author: Friedlander, Lee,edition: 2, publisher: Distributed Art Publishers,  1998

Websites:

http://fraenkelgallery.com/portfolios/1960s-self-portraits

http://fraenkelgallery.com/artists/lee-friedlander

http://www.theguardian.com/books/2012/jan/22/lee-friedlander-in-picture-review

Journals: 

Title: The View Master; A stunning new retrospective boasts hundreds of Lee Friedlander’s images. Here’s what just one can tell us, Author: Malcolm Jones, Is Part Of: Newsweek, June 6, 2005, p.59

Title: Friedlander, Lee. Family in the Picture, 1958-2013.(Brief article)(Book review), Author: Bial, Raymond, Is Part Of: Library Journal, Sept 1, 2014, Vol.139(14), p.102(1)

400 Word Work Statement

WORK STATEMENT

My Representation Part 2 project is a continuation of the idea of self discovery and finding the place where one can simply just be within self portraiture. I have been heavily inspired by Vivian Maier’s extremely intriguing angles and use of reflection, Francesca Woodman’s use of surrealism and dimensions, also Sam Taylor-Woods cinematic approach to photography and her use of simplistic yet affective composition.

The content of my work tells a story through reflection as a key tool to translate my concept. The images visually explain a conversation which is taking place between myself and myself on the other side of the glass/mirror. By using different props within the image I allow the audience to speculate what is happening and why.  In my final image you can see  the strong sense of relationship between the two reflections and by using the fore and background are able to understand.

The context within my project stems from my early teenage years where I had little self worth and my reflection was a big issue for me to the point where some days I wouldn’t go to school as I didn’t have the confidence. I have over come this over the years with help from friends and family, but it is something that will always be personal to me. So within this project I wanted to revisit my reflection to explore the relationship I have now and show conversation between myself now and the young me and the journey we’ve been on.

The concept of my project is about trying to find that place in the reflection where you are content and can just be. The series by Sam Taylor-Wood called Suspended has had a big effect on my work as the main concept of her work is to find a place where you can get away from all the stress of modern life to just float and be in a  hyper-reality world. My work suggests this but more with appearance and how you deal with yourself.

There have been many different outcomes of my work, one of them being it a way of self therapy as it allowed me to revisit this personal subject now I’ve over come it and exploring the reasons why it was such a big issue for me and photograph it. Also I wanted to audience, my online followers, too see that it’s a subject that you can over come and my images could help them understand.

Choosing My Final Print

Here are my 4 work prints, out of these 4 I will need to decide which one reflects my context and concept the best. I will be explaining how each image does this and why I could pick it as  my final.

1)

This image is very mysterious and conveys a strong narrative. The use of shape is very present within this image the circled mirror is in the middle of the image and is the predominantly in focus. The valentines card with hearts on it makes audience question about; Who it was sent by, Why it was sent, Why I have sun glasses on and if I’m hiding something. I like the way the audience will be drawn into the image because they will want to figure out whats going in within the image. The actual print has the perfect colour correction and border which makes it a strong contender. However I’m not sure if this image is strong enough to convey the message I want, there’s not enough layers and the idea of mutli-diemention isnt clear enough.

2)

This image I like because of the use of multi reflections and the angle is interesting. Also the use of the mirror is more of a border than an object which is a different way of using it. However the image was poorly focused and rather than my face its focused on the focus finder, which could be found as ironic and humorous, but my image is supposed to provoke questions rather than be funny so on this aspect alone I wont be using this image. The composition is also wrong as the mirror isn’t central and there’s objects on top of the wardrobe which could have been moved. It wasn’t until the image was printed on a 12×10 image that I found out all these factors.

3)

I like this image because of it composition and mirror use, I also like the way I look very disconnected from the camera and the audience. After printing out the previous image I was much more aware of the focusing and so put the camera on f11 and the shutter for 1sec in order to get more in focus and not have the same issues as last time. The real print as great colour correction and border, however much like the previous image it doesn’t convey my message and idea across well enough.

4)

This image is one of my favorites as the composition has very strong leading lines and use of rule of thirds which is something that is important when taking landscape style images. The use of colour is also strong and punchy,  colours like the reds make it stand out and the green in the shrubbery compliments it well.  The van being the background of only one side suggests that they are two different places but the same person, giving a Sam Taylor-Wood multi-diemention feel to the image. My body language also suggests that there’s a relationship between the two subjects and that there’s some sort of convostion taking place. The border of the image is also perfect. I think that I will be choosing this image to represent my series the best, I did submit an image like this for part 1 however that image only showed the reflection and has composition issues. This image a more refined, controlled and is printed better also.

Recent Shoots.

Here are all my recent shoots taken over a few days.

I took these 7 contact sheets over the space of a few days, however I wanted it to look continuous so  I wore the same clothes and let my tripod in the same position so the angle and comopostion would stay the same.

I wanted to go down a more of a simple direct approach to the images just to see what would happen if to my images and project to make sure that I am happy with my concept and don’t need to change it before the deadline.

I don’t feel like these images are strong, I like them visually however my concept is so important to my project and these images do not explain or show it through these photographs. However the images where I am holding the book over my head is very interesting and could be another project that I look at in the future.

My light meter didnt work so I had to estimate what aperture and shutter speed to use, for the better exposed images I set them at 1/11 and then the others was 2/16.

I don’t think Im going to be printing any of these images and I think I would confuse the concept. I am going to decide which print to make my final image with the prints I already have as they will represent my concept better.

Artist Profile 4- Duane Michals

Duane Michals

Michals is an American photographer who was born in 1932, he uses photo-sequences to show the characters development and narrative, he also uses text to accompany his images which enables him to project a strong and direct message to the audience. Within his work he explores themes include homosexual rights, life and death, reality and illusion.

This sequence shown is called Dr. Heisenberg’s Magic Mirror of Uncertainty, 1998 and as you can see from the title Michals is exploring how humans observe themselves and the in-between world of uncertainty and acceptance, if were good enough for societies standards and dissecting ourselves in the process.

This idea of acceptance is one that I will be looking at in within my work, how its such an important part of society and that I has to start with by accepting yourself. These images show the process of ones acceptance and how sometimes what we see isn’t true reflection because we already have insecurities that we heighten and make a larger issue of them.

He has been influenced by artists like Lewis Carroll and Walt Whitman as they are amazing writers and poets which transport you to into another time and place, this is why Michals uses text as tool to further his images and his use of sequences. His text use tells the audience the title and rough outline about the themes and ideas within the series, also a sentence underneath some of the images to create a strong narrative for the audience to get transported, like the writers, into a another time and place and get lost in it. The layout use is something that I really like and I may not use it for this project but in the future I think that accompanying a series with text is really affective and lets the audience grasp your concepts and ideas at a higher level.  He was also influenced by painters such as René Magritte and Balthus, this is why his use of life and death and sexuality themes are so predominant in other aspects of his work, not only in this series.

He uses a medium format camera to get high quality images as his series are printed out large. The use of the large mirror which is warped and is showing a disorientated image of the girls face to show what parts of her she is uncertain about, as told in the title. I really like this idea of a heightened reality to purposely show a message.  The composition has inspired me as I like the idea of having the mirror by the window as its conveying the idea that although she is obsessed with what the mirror is showing, however there’s a window which could suggest that there is more to life than just being obsessed with what’s looking back at you in the mirror.

 

REFRENCES

Websites:

http://www.thebucketshop.com/lessonplans/duanemichals.html

http://chi-photo.blogspot.co.uk/2012/12/research-in-artist-duane-michals.html

Books:

Real dreams : photo stories by Duane Michals.,

Author: Michals, Duane,

Publisher: Addison House

Creation Date: 1976

Album : the portraits of Duane Michals.

Author: Michals, Duane

Publisher: Twelvetrees press

Creation Date: 1989

Journals:

Title: Whitman’s sampler. (presentation of Duane Michal’s latest book which is inspired by poet Walt Whitman)

Author: Helfand,Glen,

 Is Part Of: The Advocate (The national gay & lesbian newsmagazine), March 4, 1997, Issue 728, p.47(2)

Title: Storyteller: the photographs of Duane Michals

Author: Lacayo, Richard

Is Part Of: Time International (Asia Edition), Sept 8, 2014, Vol.184(9-10), p.91(1)

Artist Research 3) Francesca Woodman

Francesca Woodman

Woodman’s interests within identity, performance, self portraiture, life and death lead her to tragically take her own life in 1981.  She was born in 1958 and studied art at Rhode Island School of Design in 1975 before moving to Rome and studying there, she died at the young age of 22.

Her works surrounds gothic art, surrealism with modern traits, the forefront of her work being performance.  Woodman is known for her avant gard self-portraits, she embodies a type of movement within her images,  representing somebody who is trying to break free  and escape from herself.  I feel like her work doesn’t stop when the cameras turned off, these images are a sequence of moments occurring her life, mind and dreams which she then projects into her photography as an outlet. Max Klinger has been a strong influence to Woodman, both the Angel Series 1978 and Eel Series 1977, his work is symbolic, mainly black and white and also used dreams as a way of inspiration.

Italy 1977-78 from the series Self Deceit

Her use of performance and psychedelic universes is explored through tools such as mirrors, masks and shadows which strongly convey the content of what’s in her mind and what she wants others to see. Within my work I wish there to be mystery and a sense of emptiness in which the audiences takes away what they wish too, they will be open to interpretation much like Woodman’s work, It what ever you need it to be.

Woodman uses angles to depict a multi-layerd image, she uses corner of room and doorways to allow the sense of transportation and new begging to be a key feature of her pathway through self discovery. This is a key element within my work also, I will be interacting with myself through reflections to convey the many sides of ones personality. The audience she made her images for were mainly herself, her personal log of thought however she was a student during the time period she took these images and show were probably used for her degree.

 REFRENCING

Books:

Francesca Woodman, author: Woodman, Francesca

Keller, Corey ; Blessing, Jennifer ; Bryan-Wilson, Julia ; San Francisco Museum of Modern Art. ; Solomon R. Guggenheim Museum.

Statement of Responsibility: edited by Corey Keller ; with essays by Jennifer Blessing and Julia Bryan-Wilson, publisher: D.A.P./Distributed Art Publishers , 2011

Francesca Woodman, author: Chandes, Herve

Statement of Responsibility: edited by H Chander, publisher: Fondation Cartier pour l’art contemporain ; Scalo, 1998

Francesca Woodman : [exhibition catalogue], Author: Pierini, Marco, Statement of Responsibility: a cura di Marco Pierini, publisher: Silvana ,2009

Websites:

http://www.theguardian.com/artanddesign/2010/nov/21/francesca-woodman-photographs-miro-review

http://www.tate.org.uk/art/artists/francesca-woodman-10512

http://www.telegraph.co.uk/culture/art/art-news/9279676/Blurred-genius-the-photographs-of-Francesca-Woodman.html

Journals:

Title: Francesca Woodman, Author: Williams, Rachel Marie – Crane, Is Part Of: Woman’s Art Journal, Spring-Summer, 2013, Vol.34(1), p.54(2)

Title: Exposing the body, baring the soul.(Francesca Woodman )(Movies, Performing Arts/Weekend Desk)(ART REVIEW), Author: Johnson, Ken, Is Part Of: The New York Times, March 16, 2012, p.C25(L)

Title: Francesca Woodman’s Photography: Death and the Image One More Time, Author: Phelan, Peggy, Is Part Of: Signs June 2002, Vol.27(4), pp.979-1004

Artist Profile 2) Sam Taylor-Wood

Sam Taylor Wood

Sam Taylor Wood is an English photographer and film maker and is known for her unconventional self portraiture and levitation work. She started in small short films, which then lead to bigger films like Nowhere Boy 2010,  she worked alongside different actors and visual artists and has won a number of awards with her films.  She has been nominated for annual Turner Prize in 1998 and as one of the most inflectional artists of the 21st century which you can see very clearly in her images the way her film maker past gives her an edge to her images.

Are approach to photography is always incredibly dramatic and have great lighting that give a immense atmosphere. I think that this is affected by her background in film making has she wants her images to say a thousand words and grab your attention, as in her previous projects she has 2 hours worth of context and content to give to the audience however in photography she only has a single frame. Her use of composition gives whatever subjects she showing in the image enough space for maximum impact on the viewer. She uses negative space to achieve this effect and works amazingly with her series called Suspended.

“Its about there being a physical limit but in an emotional space, its about being caught in an inbetween space, no mans land, a momentary space, neither up nor down, here nor there”- Sam Taylor Wood 2002

Self Portrait Suspended 2004, C-type print

Her series of work called Suspended is where the image shown is from, challenges the way reality is held up by fickle strings of society and how we have to find a way of release. She’s breaking the link between dream and reality, a place where your suspended from all worries and stress. The dream like elements are shown the large window symbolises freedom and opportunity, the brightly coloured walls and soft halo effect around her body and floor convey an angelic feel to the image, creating other-worldly

She experiments with dark humour, performance and characters. In her images she disregards and looses all sense of  place and time allowing it to exist in a hyper-reality world where the audience can escape to. Like Vivan Maier’s work, Taylor-Wood creates her own world where her characters, which are all different aspects of her personality, flourish and co-exist.

This is something that I really admire about her work and wish to translate over into my own work because it is important for the audience to understand that it is okay to escape from real life and this is my way of doing so. I wish to address her use of character within my work by showing myself looking at myself and also incorporate her ability of a hyper-reality  to convey the release and self preservation.

REFRENCES

Books:

Sam Taylor Wood- Still Lives, publisher Steidl BALTIC 2006

Sam Taylor Wood, publisher Steidl for the Haywood Gallery London, Essays’ by Micheal Bracewell and Jeremy Millar

Websites:

http://samtaylorjohnson.com/photography

http://whitecube.com/artists/sam_taylor-johnson/

Journals:

Title: Sam Taylor–Wood, Author: Tranberg, Dan, Is Part Of: ArtUS, Summer, 2008, Issue 23, p.31(1)

Title: Sam Taylor–Wood, Author: Birnbaum, Daniel, Is Part Of: Artforum International, Nov, 1996, Vol.35(3), p.88(2)

Title: Sam Taylor–Wood (exhibition), Author: Quinones, Paul, Is Part Of: Parachute: Contemporary Art Magazine, July-Sept, 1999, Issue 99, p.56-7 

Artist Profiles 1)- Vivian Maier

Vivan Maier

Maier is an American photographer who was born in 1926, she travelled around America to different cities such as New York, Chicago and LA to take images of their beautiful architecture experimenting with street photography, self portraiture and reflections.

In October 2009 a blogger called Maloof linked this work with that of Maier’s on the image sharing website called Flickr, after this exposure her work became viral. She got the rewards from the critics and her work has been exhibited all around the globe.

She used a variety of cameras including the Kodak Brownie and a  square format Rolleiflex. Has her work developed so did her approaches and methods, she became much more aware about composition and the message she wanted to convey within her images rather than taking simple city snap shots with her Brownie Box . She then started to use larger format cameras  that need a high level of precision, technical skills and clear visions of what you want to achieve with the image.  By studying the method of practice Vivian Maier used, I started purely going out and shooting snap shot style images of what I felt was right within the city, reflected upon the images I had taken to highlight my strengths and refine my weaknesses.  By working in this fashion I found what the best places were to shoot and discovered the  correct angles that would enhance my image for maximum context to be shown.

Her artistic influences have been Lisette Mode and Andre Kertsez, these artists style and use of the camera has been clearly translated into Maier’s work within the black and white tones, composition and their ability to be at the right time at the right place to take a snapshot image that was left to chance. Maier as used these artists ability of using chance to decide her images but with a much more controlled approach.

Her personality and opinions were very strong and she has been described as eccentric and unapologetic person who liked to dress unisex and wear men’s shoes. I feel like this is very important factor within her work,  as she herself if asking a bold question of identity in the society and culture of the 50’s.  Who she was allowed to be? In this time period photography was mainly an all male profession,  for a women dressed in unisex clothing taking a picture in the middle of the city was a very big public statement. However this is what drove her as she was asking questions such as, where is a women’s place?

A repetitive tool that she used within her image is reflection, I feel like she didn’t know herself which is why we was always travelling from city to city taking images where she is preserved within reflections as she hops from one world to another. She created her very own dimension where she could be anything or anyone she wanted to escape the pressures of social classification in the time period.

This sense of preservation is one that I connected with as in modern day we are constantly being told who and what we are by others, parents, friends and even now an even bigger source, social media. Within my images I wish to escape it all and like Maier, create my own space where I can just exist without anyone putting me into a box.  I will be using similar ideas like muilt-dimensions and layering which will link mine and Maiers work together, however I will be using colour rather than black and white to convey more ideas and theories.

References

Websites:

http://www.vivianmaier.com/about-vivian-maier/

http://www.theguardian.com/artanddesign/gallery/2014/jul/15/secret-selfies-in-the-1950s-photographer-vivian-maier-in-pictures

Books:

Carnal thoughts embodiment and moving image culture, Author: Sobchack, Vivian Carol, Statement of Responsibility: Vivian Sobchack., Publisher: University of California Press, Creation Date: 2004

Vivian Maier, Author: John Maloof, Publisher: Powerhouse Books, Creation Date: 2011

Exhibition 

Vivian Maier

Chris Beetles Fine Photographs, London , United Kingdom Mar. 11, 2013 – Apr. 03, 2013

Journals: 

Title: Camera Shy.(Culture)(Vivian Maier), Author: Chayka, Kyle, Is Part Of: Newsweek, Dec 13, 2013, Vol.161(45), p.1

Title: Vivian Maier: ‘Photographs from the Maloof Collection’.(Movies, Performing Arts/Weekend Desk)(ART IN REVIEW), Author: Smith, Roberta, Is Part Of: The New York Times, Jan 20, 2012, p.C29(L)

Title: Introduction: Vivian Maier, Author: Merriman, Ben ; Seeder, Andrew, Is Part Of: Chicago Review, Wntr, 2013, Vol.57(3-4), p.102(10

Work Print

These are 2 new prints that I am highly found of. I feel like they both have very different styles but unique none the less. I like the one on the left more visually as my idea of self portraiture is clear, the colours all work really well and its has heavy links to the work of Vivian Mair.

But I think my idea of finding your own in between world where you can just be is very strong in the one on the right, the use of reflection has been used as a tool and the composition is something that I’m very happy with.