A5 Prep 3: B/W dummy run with accompanying texts


After dabbling with a torturous self-imposed battle with myself and which type(s) of text to use with this set, I have finally decided to stick with a Duane Michals’ inspired poetry idea under each photo ( from my original ideas). Even accompanying text will be ‘rendered’ poetic by the way it will be presented – to hopefully keep some homogeneity and cohesion both visually and conceptually. The texts will also incorporate some type of reference to an original image or concept (or will be direct quotes) that inspired me to create my image – then using and adapting those texts or quotes – to appear as a poem under each shot, to become an intergrated part of the sequence.
I will probably remove the source references directly after the text and will leave them in the resource and notes section following the images. The text, at a later date, will then be added to the photos themselves (a thicker bottom border) when I print them later.
Exif data will be added in the final draft.

“This city is afraid of me
I have seen its true face
Of what Reinhart and Malevic didn’t see
And of which Robert Fludd left no trace.”

“If I were dim as the sun,
Night I’d drill
with the rays of my eyes.”

“Mapplethorpe’s anguish like Margaret’s smile,
Was De Mesquita’s pupil with no mathematical guile;
Volkmann’s impassiveness would make Kertész ask,
If like Gillian we’re always wearing a mask;
And if Moore opened the door to perception,
Would Ted Hughes’ muse be Godwin’s intention?;
Marjane’s stories and Andy’s construe,
Would make Rodchenko black you out too;
Then what of Peggy Sue in a Daguerreotype?
And Amelie in a Hollywood stereotype?
As Muslim girls dance in Amsterdam,
Was Strand more French than Uncle Sam?
From those amazing blueprints by Sir Herschel,
To Turk’s fake portrait commercial;
In awe of Cameron’s Iago with his downward gaze,
Never to see Gaiman’s gift to amaze;
Yet here I am to witness them stand tall,
On my train ride going nowhere, nowhere at all.”

Squealing under city stone
The millions on the millions run,
Every one a life alone,
Every one a soul undone:
There all the poisons of the heart

Branch and abound like whirling brooks
And there through every useless art
Like spoiled meats on a butcher’s hooks
Pour forth upon their frightful kind
The faces of each ruined child:
The wrecked demeanors of the mind
That now is tamed, and once was wild.

“I’ll use you when I want to – not when you do.
I’m so in control, so strong, so deluded it’s untrue.
A modern God making me the walking dead,
Who knows what it’s doing to my head.
I’ve become like a ‘mombie’ on the march and prowl,
Vacant and social and so very in the now.

Immediately I sprang into action,
experimenting toward realizing
this vision.
Dressed up as a tourist, I walked
into a cheap cinema
in the East Village
with a large-format camera.
As soon as the movie started,
I fixed the shutter
at a wide-open aperture,
and two hours later when the movie finished,
I clicked the shutter closed.
That evening, I developed
the film,
and the vision
exploded behind my eyes.

“…What this one here?
Yeah, well,
she gave it to us
years ago
when she last visited us
– can’t remember now when exactly
but it was years ago.
I never really liked it at the time,
to tell you the truth,
seemed pointless
to give us something like that.
I mean, we see that sort of stuff
all the time here, you get me?
– ten to the dozen round here
they are.
Don’t get me wrong,
we weren’t
ungrateful or anything,
it’s just, you know,
what could we do with it?
No disrespect
or anything,
but we would’ve been better off
with the bleedin’
you know? [laughs]…”

“Conscious of looking
not only at the clearly depicted subject
But also at the photographic form
into which they have been projected
Reveal much about collective cultural behaviour
Public yet strangely isolated and mannered
as they individually engage
with the spectacle of history
 the potential for including a marriage
of a contemporary moment and a historical moment
in one photographic plane
to retrieve masterpieces
from the fate of fame
 the depicted scene
deliberately and conspicuously engages
the idea of the physical permeability
Nothing more than a pictorial fiction
 in the end almost actively indifferent
to her very existence

that sense of exclusion
the sense of uncommunicating realms”

“Evans explored the United States of the 1930s
—its people, its architecture,
its cultural symbols (including photographs)—
with the disinterested eye of an archaeologist
studying an ancient civilization.
Penny Picture Display might be interpreted
as a celebration of democracy
or as a condemnation of conformity.
Evans takes no side.

“All these years
of arseholes;
arseholes farting on
and staining me
with their putrid stenches;
Bitches and wenches,
drunks and punks,
leaving their dust and tears to enter every part of me like I don’t do enough for them as it is; plastering me
with their symbols,
and images
all of which come and go;
sad as it is, I am not alone,
there are the others with me
they too ripped from their duties,
stripped of their meanings,
placed in this place,
put in the dungeon
this prison of nostalgia,
in this resource wasting waste of space;
gazed upon
like freaks of nature, freaks in a show;
relics of your vanity,
remnants of your passage through time,
watching your noisy brief journey,
your wonderfully sad raping of everything;
we are glorified by your lights
as ours have grown dim
you shelter us,
this at least we accept;
let us decompose naturally as all things should,
without your eyes,
and photographs,
without your pity or your pride;
I have wheels yet I cannot move,
let me move again,
roar again;
let me live once more.”

“Variable 3 or 4
Becoming southeasterly
at times
Rough, or very rough
occasionally high
Showers everywhere
Moderately good
occisionally very poor
eventually dark
or even black”

“Suffice is to say,
proud though we are of this work of fiction,

We humbly acknowledge that the truth
is infinitely more wonderful;
depressing though it is to consider
that Richard Nixon’s signature
is on the moon,
the fact that there really is a smiley face
on the planet Mars
is strangley heartening.

Keep smiling.”



Dcmooregallery.com. (2016). Duane Michals – Artists – DC Moore Gallery. [online] Available at: http://www.dcmooregallery.com/artists/duane-michals#3 [Accessed 3 Nov. 2016].

YouTube. (2016). David Hurn at The Eye Photography Festival. [online] Available at: https://www.youtube.com/watch?v=2hLCisOI0Xw [Accessed 1 Nov. 2016].

Wales Arts Review. (2016). David Hurn at The Eye International Photography Festival – Wales Arts Review. [online] Available at: http://www.walesartsreview.org/david-hurn-at-the-eye-international-photography-festival/ [Accessed 1 Nov. 2016].

YouTube. (2016). Photographer Duane Michals Talks About His Career. [online] Available at: https://www.youtube.com/watch?v=pZa_oOzXVkY&list=LLQaHf9JAWYjHV3RrR8ozYCg&index=3 [Accessed 1 Nov. 2016].

Rockpaperink.com. (2016). Undercover: XXXXXXXX XXX XX XXXXXXXXX XXX. – RockPaperInk. [online] Available at: http://www.rockpaperink.com/content/column.php?id=485 [Accessed 9 Oct. 2016].

Moma.org. (2016). MoMA.org | Interactives | Exhibitions | 1998 | Rodchenko | Portraits of Mayakovsky. [online] Available at: https://www.moma.org/interactives/exhibitions/1998/rodchenko/texts/portraits_mayakov.html [Accessed 8 Dec. 2016].

Mayakovsky, V. (2016). Poems of Vladimir Mayakovsky. [online] Marxists.org. Available at: https://www.marxists.org/subject/art/literature/mayakovsky/1916/own-beloved-self.htm [Accessed 8 Dec. 2016]. -Vladimir Mayakovsky, 1916, excerpt from:
To his Own Beloved Self The Author Dedicates These Lines

Veoh.com. (2016). Watch Videos Online | Genius of photography – 2 | Veoh.com. [online] Available at: http://www.veoh.com/watch/v7279508h5dT6DeQ [Accessed 18 Nov. 2016].

Zoecrosher.com. (2016). ZC. [online] Available at: http://www.zoecrosher.com/polaroided [Accessed 1 Nov. 2016].

Moore, A. and Gibbons, D. (1987). Watchmen. New York: DC Comics Inc.
Shot 1 – First two lines from Alan Moore, Dave Gibbons, Watchmen, 1986-1987, DC Comics (p1 issue 1 caption one); shot 12 – end page Absolute Watchmen edition, Dave Gibbons’ final comments.

DC. (2016). WATCHMEN. [online] Available at: http://www.dccomics.com/graphic-novels/watchmen [Accessed 4 Nov. 2016].

McCloud, S. (1994). Understanding comics. 1st ed. New York: HarperPerennial.

McCloud, S. (2016). The visual magic of comics. [online] Ted.com. Available at: https://www.ted.com/talks/scott_mccloud_on_comics#t-825156 [Accessed 18 Nov. 2016].

The Museum of Modern Art. (2016). Walker Evans. Penny Picture Display, Savannah. 1936 | MoMA. [online] Available at: https://www.moma.org/collection/works/58181?locale=fr [Accessed 1 Nov. 2016].

The Metropolitan Museum of Art, i.e. The Met Museum. (2016). Walker Evans | Penny Picture Display, Savannah | The Met. [online] Available at: http://www.metmuseum.org/art/collection/search/265556 [Accessed 8 Dec. 2016].

Short, M. (2011). Context and Narrative. 1st ed. 1000 Lausanne: Ava Publishing SA.

Moma.org. (2016). MoMA | Walker Evans. Subway Portrait. from the series Subway Portraits. 1938–41. [online] Available at: https://www.moma.org/learn/moma_learning/walker-evans-subway-portraits-1938-41 [Accessed 17 Nov. 2016].

Reuter, K. (2016). eCUIP : The Digital Library : Social Studies : Chicago: City of Neighborhoods. [online] Ecuip.lib.uchicago.edu. Available at: http://ecuip.lib.uchicago.edu/diglib/arts/public_art/gallery/paint/paint_undercit.html [Accessed 8 Dec. 2016].
Shot 4 -James Agee, 1937 (Reuter, 2016)

Sugimotohiroshi.com. (2016). Hiroshi Sugimoto. [online] Available at: http://www.sugimotohiroshi.com/theater.html [Accessed 9 Dec. 2016].

Collections.vam.ac.uk. (2016). Young Boy, Gondeville, Charente, France | Paul Strand | V&A Search the Collections. [online] Available at: http://collections.vam.ac.uk/item/O1059589/young-boy-gondeville-charente-france-photograph-paul-strand/ [Accessed 23 Nov. 2016].

Barthes, R. and Heath, S. (1990). Image, music, text. 1st ed. [London]: Fontana.

Pro.magnumphotos.com. (2016). Magnum Photos Photographer Profile. [online] Available at: https://pro.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_9_VForm&ERID=24KL53ZHEN [Accessed 8 Dec. 2016].

Pro.magnumphotos.com. (2016). Magnum Photos. [online] Available at: https://pro.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2K1HRGROLS [Accessed 9 Dec. 2016].

O’Hagan, S. (2014) The photographer who caught the heartbreak on both sides of America’s social divide. Available at: https://www.theguardian.com/artanddesign/2014/jul/03/jim-goldberg-rich-and-poor-photography (Accessed: 8 December 2016).

Goldberg, J. (2016) Raised by wolves. Available at: https://vimeo.com/39715337 (Accessed: 8 December 2016).

Higgins, J. (2013.). Why it does not have to be in focus. 1st ed. London: Quintessence Editions.

Cotton, C. (2009). The photograph as contemporary art. 1st ed. London: Thames & Hudson.

Fried, M. (2008). Why photography matters as art as never before. 1st ed. New Haven: Yale University Press.

Marien, M. (2014). Photography. 1st ed. London: King

Shot 8  complete texts with page references:
“…The conditions that structure images;
Conscious of looking not only at the clearly depicted subject
But also at the photographic form into which they have been projected
Rarely proposed as an experience into which we can immerse ourselves psycholocically
The pleasure of scrutinizing them as photographs
Reveal much about collective cultural behaviour
Public yet strangely isolated and mannered
as they individually engage with the spectacle of history…”
(Cotton, 2009, pp97-8)
“…This suggested to me the potential for including a marriage of a contemporary
moment and a historical moment in one photographic plane
to retrieve masterpieces from the fate of fame…”
(Higgins, 2013, p61)
“…The painting might be held to beckon the viewer into the depicted scene
deliberately and conspicuously engages the idea of the physical permeability
Nothing more than a pictorial fiction
The painting in the photography is not only closed to her but in the end almost actively  indifferent to her very existence
the difficulty of determining how much of that sense of exclusion is based on the actions of the figures in the painting and how much on those of the persons in the photographs
the sense of uncommunicating realms…”
(Fried, 2008, pp119-121)


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