Externally set assignment 2012.13 anchorage
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Externally set assignment 2012.13 anchorage
- 1. Anchorage and Polysemy AS Photography Externally Set Assignment
- 4. Anchorage and Polysemy • Images are POLYSEMIC – they can have many meanings; we are all different so see things differently • Adding text to an image can ANCHOR or guide the reader/audience to make the PREFERED meaning (the one the artist intended) or to make it more polysemic • This all came from Roland Barthes
- 5. Artists use ANCHORING text to either change the meaning or make it more POLYSEMIC John Hilliard, cause of death, 1974
- 7. Jim Goldberg
- 10. Jeff Wolin
- 11. Babara Kruger
- 12. Robert Frank, Halifax Infirmary Text scratched onto images (polaroids).
- 15. Gillian Wearing Gillian Wearing Signs that say what you want them to say and not Signs that say what someone else wants you to say,
- 16. TASK • Choose one or two images that relate to the theme you have chosen in your exam • Write on, under or around the image to either make it more polysemic or to anchor it • Be prepared to explain back to the group why you wrote what you did and how it changed or anchored the original meaning
- 17. Summary • You have one minute to write down one thing you learned from today • You have one more minute to share this with the class and write down at least one other thing someone else has learned.
- 18. Keith Arnett
- 19. Sally Mann
- 21. Tina Branney
- 22. Thomas Hoepker
- 23. ‘Dust Breeding’ Man Ray, 1920
- 24. Jim Kazanjian
- 25. ‘Calveras Dam II’ Alma Lavenson, 1932 ‘New York at Night’ Berenice Abbott, 1933
- 27. Arturo & Anton Giulio Bragaglia - Alchimia musicale, 1932
- 28. Jim Marshall
- 29. Samantha Maple
- 30. Rukes
- 33. ‘Typologies - Gravel Plants’ Bernd and Hilla Becher, 1981
- 35. Nan Goldin
- 36. Zoriah Miller
Notas do Editor
- In this famous artwork, John Hilliard uses the same photographic image, but by changing the crop and title he manages to completely change the meaning of each image.The text ‘anchors’ the meaning to a different interpretation or meaning for each image.
- He began to explore experimental storytelling and the potentials of combining image and text with “Rich and Poor”, (1977-1985), where he juxtaposed the residents of welfare hotel rooms with the upper class and their elegantly furnished home interiors to investigate the nature of American myths about class, power, and happiness. In “Raised by Wolves” (1985-1995), he worked closely with and documented runaway teenagers in San Francisco and Los Angeles to create a book and exhibition that combined original photographs, text, home movie stills, snapshots, drawings, diary entries as well as single and multi-channel video, sculpture, found objects, light boxes and other 3-D elements.
- Jeff Wolin invades, or perhaps violates, the photographic space by writing extensive commentary of his own over images of his family and other evidence of his life experience. The shock that we feel seeing his dense writing seems like clear evidence of our confidence in the power of the photograph to communicate by itself.
- he power of Lorna Simpson’s work is founded on her ability to place powerful words and powerful pictures in the same ring and make their battle cooperative to her ends. Aware of the loss of textual meaning in most of American culture, she pulls words from areas where they still have strength for better or worse—race and sex. Unlike Kotch and Goldberg, she retains complete control—the referee—hoping that whichever half of her complex synthesis wins, somebody will learn about race and/or sex in a more complex way.
- Gordon Matta-Clark's Conical Intersect (1975) was a torqued, spiraling "cut" into two derelict seventeenth-century Paris buildings adjacent to the construction site of the controversial Centre Pompidou. With this landmark work of "anarchtecture," Matta-Clark not only opened up these venerable residences to light and air, he also began a dialogue about the nature of urban development and the public role of art. Considered three and a half decades later, Conical Intersect reveals the multivalent nature of the artist’s practice and his prescient focus on sustainability and creative reuse of the built environment.
- merican photographer. Tina Barney was born into a wealthy, upper class New York family. Her grandfather introduced her to photography when she was a young girl, and Barney began collecting photographs at the age of 26. It was not until the mid-1970’s that Barney personally started working with photography. Initially, as a bored housewife living a life of leisure, Barney focused on candid snapshots of her well-to-do family and relatives set amongst an array of lavishly decorated backdrops, including classy New York apartments and plush New England vacation homes
- The mask in his photos plays with deliberate vagueness and mystery, the same way a Zen riddle is constructed to promote contemplation. For me, it takes away all emotion from the photos, creating a dead, blank stare. The static postures of the people along with the gritty scenery also adds a kind of depressing look. I have no idea what Ralph wanted people to feel when they looked at his photos, but the deliberate anonymity of his photos allows the viewer derive any meaning they want from it.