He is today spoken of perhaps more often as a social reformer than as a
picture-maker. He realized, however, that his pictures "proved" nothing; if they
were to contribute to social change they must first affect the sensibilities of
those who saw them. Much of Hine's work is not a protest but a celebration of
people who had nerve, skill, muscle, and tenacity. There is in his pictures little
pity and much love and respect for those who were casually called the
common people.
I visited this exhibition in November
2013, in New York. The exhibition was a mixture of all Hines major series of
work, or at least a carefully selected handful from each series. One particular
series of work that was of great interest to me was the series “Men At Work”,
an impacting set of photographs that document the courage and skill of the men
behind the machines of this ever computerized world. The brave men who you see
in his photographs look almost unreal through the eye of Hine, in this set of
work he portrays the brave men as heroes in which they deserve to be praised
for. Below are some photographs from Hines series of images, "Men At Work".
The above image is my favourite by Lewis Hine, I can see how he has chosen to photograph the man as if he was a part of the machine, something that drives the machine, the main workings of it in fact. The mans body curves similar to the machine and the circular machine in the background almost frames the worker. A beautiful image. I take note that the black and white film that the photograph has been took on gives somewhat of a dirty look to image, adding to the grimy and hard life that the subject has.
The image above is the sort of photograph that Hine is most well known for, due to how striking and scary the scenes in his photographs are. They really do put across what he set out to achieve, to show the TENACITY of the work men who worked on building the empire state building.
Having visited Hines exhibition in New York, this gave me great passion and
enthusiasm for my own assignment. This was a great experience and has made me
very enthusiastic and excited to start this project.
Walker Evans
Walker Evans is one of the most influential artists of the twentieth century. His elegant, crystal-clear photographs and articulate publications have inspired several generations of artists, from Helen Levitt and Robert Frank to Diane Arbus, Lee Friedlander, and Bernd and Hilla Becher. The progenitor of the documentary tradition in American photography, Evans had the extraordinary ability to see the present as if it were already the past, and to translate that knowledge and historically inflected vision into an enduring art. His principal subject was the vernacular—the indigenous expressions of a people found in roadside stands, cheap cafés, advertisements, simple bedrooms, and small-town main streets. For fifty years, from the late 1920s to the early 1970s, Evans recorded the American scene with the nuance of a poet and the precision of a surgeon, creating an encyclopedic visual catalogue of modern America in the making.
I visited this exhibition in November 2013, I wanted to see first hand the way that Walker Evans himself wanted to put across his work to others. This exhibition and presentation gave me huge enthusiasm and passion to drive my project forward, his work was impacting and beautiful. In this exhibition, I really got to see the huge changes that were happening in America around the time Evans took the photographs. The beautifully crafted dead pan portraits of American people and life with moving contrast to the rundown buildings show the ideas of Evans by proving to the viewer that the basics of documentary photography can make this style into a widely accepted art form.
Below is a link to a really in-depth look into Evans' work as well as a description into each of his most famous images and the story behind them. One thing that is really useful for my assignment that I can take from this website is the format on which his shot these subjects on, what size camera. This is a massive part of my experimentation, finding the right way to photograph my chosen subject, using which camera. I have to try out different equipment in different ways and see which works the best in a given situation. I personally cannot wait to start experimenting with old film and new digital equipment.
Below is also a description of the size of camera and equipment that he used to take one of his photographs.
Alabama Tenant Farmer Wife, 1936
Walker Evans (American, 1903–1975)
Gelatin silver print; 8 1/4 x 5 11/16 in. (20.9 x 14.4 cm)
Purchase, 2000 Benefit Fund, 2001 (2001.415)
http://www.metmuseum.org/toah/works-of-art/2001.415
Below are some of my favourite of Evans' photographs.
One thing that initially hits the viewer is the beautiful clarity of the photographs, the high detail and perfectly exposed photographs can be read for hours.
August Sander
German photographer. After seven years as a miner and a period of national service, he studied painting in Dresden from 1901 to 1902, which allowed him to approach photography artistically. Sander started his major project, Menschen des 20. Jahrhunderts, with which he was involved until the 1950s. The theme for the project grew out of the portraits he made of Westerwald farmers, in whom he saw the archetypal contemporary man. Building on this, Sander developed a philosophy that placed man within a cyclic model of society. In these terms, the peasant class constituted the basis of society, hence his title for the series of 12 peasant portraits,Stamm-Mappe. The next group, of skilled workers, is the foundation of civic life, from lawyer to member of parliament, from soldier to banker. These are followed by intellectuals: artists, musicians and poets. The cycle closes with the Letzte Menschen, the insane, gypsies and beggars.
Although this cyclic model of society was anything but progressive, Sander came into conflict with the Nazis. The political activities of his son Erich were also held against him, and he had to interrupt work on this project between 1933 and 1939, when he devoted himself mainly to the themes of the Rhine countryside and the city of Cologne. The unusual quality of his portraiture is, above all, its systematic manner; this made the work a well-designed unity, not only in a sociological and philosophical sense, but also in photographic terms.
Sander’s portraits, whether half- or full-length, are always set in a simple environment. He gave a controlled and intentional hint at the origin and profession of the sitter through the background or through clothes, hairstyle and gesture. There is no doubt of the peasant origin of the Three Young Farmers in Sunday Dress, Westerwald on their way to a dance, for example, despite their clothing. They are given away by the landscape background, their physiognomy, their clumsy shoes and the rough walking-sticks they are carrying. In contrast, Three Generations of a Farming Family shows clearly that the group had sat on their chairs especially for the photograph. In the same way, the Master Cobbler is sitting almost demonstratively at his work table, looking into the camera. In the picture of the Publisher , posing nonchalantly with stick and newspaper, it is apparent that the subject’s relationship with the countryside behind him is not that of a farmer but of a walker.
Below is a link to the MOMA website who have a huge catalogue of his work and a brilliant write up which informs the reader about the life and practice of August Sander.
Although Sanders work producing a cyclic model of society isnt of much relevance to my work, there has always been on of his photographs which really stands out to me. Below is his photograph titled "three farmers on their way to a dance". The thing that connects my own work to his is that of the connection between the subject and the photographer. Sander grew up around farms and lived on a farm during his early years. I believe that due to this he is able to relate somewhat to the farmers in the photograph. I have a similar connection to the metalworking industry in that I grew up around this way of life. It is this connection that makes me love Sanders work, especially the below image.
Below are some other examples of his photographs.
These photographs are truly stunning, impacting and perfectly shot.
Ian Beesley
A social documentary photographer whose work in coal mining communities
really appeal to my own photographic practice. Ian’s work is held in high
esteem across the world and examples of his photography can be found in
major collections in some of the world’s best-known museums and galleries.
These include The Imperial War Museum, The Victoria and Albert Museum,
The National Museum of Coal Mining, The National Media Museum and The
Smithsonian Museum in Washington DC.
The thing that I like about Beesleys' work is that of the truth that he tries to purvey about the conditions of working in the mines. He hasnt tried to use bright flashed in the mines to photograph the people because this wouldnt have shown the viewer the reality of working underground. Below is a piece of text from his website where he tells us about his feelings towards other coal mining photographs and their work and how his work differs and surpasses theirs (in my eyes).
"The photographer’s gaze is often from the outside looking in. Photography underground by official coal board photographers (for illustrative and record purposes) was, and is often very brightly lit, unnaturally we see every detail, every nut and bolt every pit prop and support, the atmosphere of working underground has been obliterated in a single flash of electronic light.
I decided I wanted to try and capture the atmosphere of working underground, photographing the darkness, the claustrophobia, and the physicality of the work."
Below are some photographs taken from his set named "The Drift". I also went to an artist talk where Beesley talked us through his work and how he came about it. This was a great way to get more of a true feel for how passionate he was about his work and it really gave me lots of drive!
Brian Griffin
"After working extensively for Rosehaugh Stanhope, photographing the construction of Broadgate in the City Of London, they commissioned me to photograph a Broadgate subject of my choice. At this time I was still morning the loss of my father through industrial pollution. I feel I have always treated the worker with dignity and on this occasion photographed the worker not unlike a knight lying in state in some cathedral."- Taken from his website.
The above paragraph summarises Griffins work, a very nobel and interesting way to approach such a subject, he literally took the workmen and used them as if they were knights in state. Again, this project came out of the back of the fact that he has an emotional connection between the subjects and the photographer, some what of a recurring theme within the photographers that I have selected.
Below are some of Griffins photographs from the series "Workers".
One thing that I love about his work which influences mine directly is the use of angles that Griffin chooses to use. He chooses angles which make the subject look mighty and very important. A great way to praise someone for their work!! I will take note that angles are very important for my current project.
Another great review of the artist is below by Michael Hoppen.
http://www.michaelhoppengallery.com/artist,show,3,185,271,1585,0,0,0,0,michael_hoppen_contemporary.html
Chris Coekin
Chris Coekin was a name that came up after a feedback session with my peers and a tutor, it was said that he would be a great photographer to research so when I looked at him I was very surprised at how he manages to put across a similar idea as my own in such a unique way. It certainly got me thinking of an innovative way to put across my idea. As with Sander, I had the immediate connection with Coekin, as mentioned below his work is "frequently based upon personal experiences", it is this personal connection that I highlight again due to the great importance of this within my own work.
Below is a great piece of text from his website about himself and his work.
His work is predominantly concerned with contemporary British culture. His
work is frequently based upon personal experiences and is often
collaborative. He works mainly with photography and often combines, text,
ephemera, audio and archival imagery within his projects.
Manufactory Part 1
Manufactory Part 1 investigates the overlooked industrial space, attempting to
get beyond the physical surface and explore the psychological experiences of
working in the factory.
A collision between nature, toil and the manufacturing process has occurred,
resulting in a metamorphosis and the formation of a geological microenvironment.
Here Coekin discovered ‘another place’, a world untouched for
years ad constantly evolving, in which he found imagined exotic locations and
landscapes within the factory itself.
Manufactory Part 2
Manufactory Part 2 (AKA Made In England) is born out of the investigative
process of Manufactory Part 1. During Coekin’s explorations of the overlooked
places, he started to unearth old manual tools. These actions took on the
process of an archaeological pig and the artefacts that he unearthed became
metaphors and symbols of a ‘lost work force”. These ‘finds’ were then
photographed in a studio environment, floating on a bed of processes
industrial oil.
The Altogether
The Altogether is the latest exhibition by the artist Chris Coekin. Over the past
five years he has been visiting and producing artwork in a factory based in
Sandbach, Cheshire. The factory began manufacturing copper wire in 1834,
making it one of the oldest industrial environments in the UK. Unfortunately,
due to the present economic downturn, the factory recently closed and the
entire workforce was made redundant.
The Altogether is a multi-layered project that investigates the notions of art,
work and struggle. Conceptually, it continues and expands upon ideas seen
elsewhere in Coekin’s photographic practice and in his collaborative working
methodology. Along with a series of staged photographic portraits, Coekin has
produced music sourced from the factory floor and pressed on to seven-inch
vinyl records. The exhibition audience are invited to play the records on
vintage Dansette record players.
The Altogether, is a series of photographic portraits depicting the employees
of the factory – the manual workers, the backbone of the production, the
people who occupy the workspace. Coekin considered how he wanted to
portray them and found his inspiration in the iconography of Trade Union
banners. Skilled artisans produced the paintings depicted on the banners,
many of which date back to the 19th century. The final images appropriate the
poses and stances that the banners portray.
Below are some of my favourite images by Chris Coekin, taken from his set of named "The Altogether".
John Spinks
"John Spinks, now London based was born in the UK in 1970 and grew up in the Midlands. His interest in photography began when as a teenager he discovered the darkroom at his school was a good place to hide.
An established photographer for over 15 years John has shot major advertising campaigns for Levi’s, Shinola, Selfridges and Richard James. He contributes to magazines such as Port, Le Monde, New York Times and Wall Street Journal Magazine.
Fascinated by heritage brands, John spent two years photographing the factories of the British menswear label, Albam. ‘Factories’ was published as a book and documents the environments, people and tools used in the process of manufacturing clothes and shoes in England at the beginning of the 21st Century." - Taken from John Spinks' website.
My initial research into John Spinks' photographic came from an instant attraction to the aesthetics of his images, they struck me as beautifully minimal, very artistic photographs, especially the portraits! His work has a very clean crisp and consise theme in terms of look, his style is very unique and his work is can be spotted a mile off. I feel like I need to create my own individual style, like Spinks has done. The images below help to back up my feelings, you will be able to see how much time he has put into each portrait and I think these shots come from building up a great rapport with the subject before photographing them.
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http://www.creativereview.co.uk/cr-blog/2010/november/factories-photoraphy-by-john-spinks--an-albam-book-designed-by-no-days-off
The above artists are amongst some of my favourite photographers, mainly due to either their reasons for photographing such things or for the emotional connection between them and their sitter. That connection is something that is of great importance for me in this assignment because I want to idolise and praise these men for their work.
The above photographers have really given me great drive for producing a great body of work myself! I now need to push forward and get photographing and experimenting in order to develop and create my own unique style.
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