‘Strange & Familiar’ – The Barbican (2016)

‘Strange & Familiar’ at The Barbican (2016)

here’s looking at us: and what do we see?

‘You take a photo and the image is there on the back of the camera or phone and you immediately want to see how it looks. You know the moment; you were there, experiencing it. But the real thrill is seeing how the camera has turned the moment into an image that can last forever’ (Parr, in Pardo & Parr (ed.s), 2016, p.12)
Sergio Larrain (1958) London. Baker Street

The Barbican (2016) show Strange and Familiar was a vision of ‘Britishness’ envisaged by 23 international photographers from the 1930’s to present day, each seeking to explore social, political and cultural aspects of British ‘identity’. Its curator, Martin Parr, is known for his affectionate yet satirical images of British life. He asks the question, ‘What is it about all these photographers that we find fascinating?’ I think it’s really interesting to understand and see that we are really a strange nation.’ (Parr in Klingelfuss, 2016). This session aims for participants to critically consider such representations of ‘Britishness’ as viewed through foreign eyes.

‘We cannot claim to have really seen anything before having photographed it’ (Zola in Sontag, 1977, p.87)
Raymond Depardon (1980) Glasgow

this session could be run in conjunction with:

Aims & Outcomes:

  • To investigate the representation of ‘culture’ and national identity? Are we merely a visual stereotype? Is Strange and Familiar really different? How might it show us something ‘new’? (or not?) Do we remain in a heterogeneous view of the (Western) world?
  • To reflect on positive / negative / stereotypical representations of ‘Britishness’ and consider the impact of these. How do we feel when the lens is trained on ‘Us’ not ‘Other’?
  • To consider the percieved ‘truth’ of such representations of icultural dentity
  • Participant Outcome: Research and identify / produce 2 truthful representations and 2 sterotypical representations of ‘Britishness’
‘The exhibition will reveal a very different take on British life than that produced by British photographers. It is both familiar and strange at the same time’ (Parr in bBC, 2016)
Gian Butturini (1969) A Calm Day

Martin Parr’s curatorial intent for Strange & Familiar is a simple one; and one that is inherent to the photographic enterprise (from a Western perspective anyway). Can these 23 foreign eyes provide us with new ways of looking at, understanding even, our own ‘British’ culture? In the age of Brexit – do we even have a unifom British identity anyway? Or, does the work shown fall back (at best) on visual tropes we have all seen before – despite thier combined focus on different areas and aspects of a so called ‘United’ Kingdom. Or (at worst) does it succumb to the voyeurism that is implicit in all imagery of ‘foreign’ lands. As John Taylor (1994) reminds us ‘By chance, the words ‘site’ and ‘sight’ in English sound the same, and thier meanings can overlap (a land is both a ‘site’ (as in a place) and a ‘sight’ (as in a view) (Taylor, 1994, p.15).

‘Be it on holiday or assignment, many of us relish the opportunity to take photos abroad – to document the architecture, the people and the rituals of the foreign lands we visit. That alien feeling of being somewhere unfamiliar breeds an excitement to get behind the camera and shoot. (Life Framer, 2016)
Robert Frank (1951) London

Consider the work from London / Wales included by Robert Frank for example, if we merely change the ‘site/sight’ from the USA to the UK – are we presented with a similaly (if not stylistically) darkened view of cultural identity? Might we say that Frank’s work in the UK is slightly more tame? Or, the work of Tina Barney, with her focus on the social elite, was notably introduced to her British subjects from contacts at Sotheby’s. Yet, in The Europeans her painterly tableau of these British upper classes continue to remain on the cusp of fact and myth, the staged and unstaged, and yes, certainly the familiar but strange with it. Is it really ‘British’? Or is it a subjective ressponse which is more irrespective of nationhood?

Tina Barney (2001) The Two Students

What is clear, is that the work contained in the exhibition is fluid in appropach but it is also cumulative in it intent. Like any ‘self’, it changes and evolves, and these 23 different subjective visions provide a plethora of ‘portraits’ of a British selfhood. Are they too politically motivated? Is there too much concentration on a percieved British class system? An external view, yes, but we must wonder what Google Earth /  and ‘photographers’ like Doug Rickard, Micheal Wolf and Jon Rafman might have to say?

Akihiko Okamura (1969) Day after the Battle of Bogside, Northern Ireland

presentation: Strange & Familiar (Barbican, 2016)

But not only is this exhibition a multifaceted history of Britain charted by very different sensibilities through the decades, it also charts the developing medium of photography itself, as various strands of social documentary give way to fine-art photography and colour floods in. In the show’s later rooms, places and people are increasingly given separate portrayals’ (Buck, 2016)
Bruce Gilden (2014) from Strange & Familiar exhibition

Suggested Session Outline:

‘So what do we learn about ourselves by studying the many different ways of looking at the United Kingdom? clichés have not become clichés without good reason…it makes us as a country more aware of our own diverse identity’ (Parr, in Pardo & Parr (ed.s), 2016, p.15)
  • Ask participants to conduct independent and in-depth research into the work of at least 2 of the practitoners included in the Strange and Familiar exhibition at The Barbican (2016).
  • Compare the works included in the Strange and Familiar exhibition with thier other projects / practices. Are they similar or is there anything ‘peculiarly’ British about thier approach?
  • Ask participants to read Lucy Buck (2016) ‘Martin Parr’s strange and familiar face of Britain at The Barbican (2016) in The Telegraph (1st April 2016) available here
  • Like any ‘portrait’, there is an interaction between photographer, sitter and audience Who’s view is it? Is it the photographers view? Is it an stereotypical identity? Is it a collaboration? How is it ‘read’ by its audience? What happens when we have a lens trained on us?
  • Brainstrom stereotypical representations of ‘Britishness’
  • Create 2 images of the same scene – one sterotypical, and one more subjective.
  • Critique and Review.
‘A way of certifying experience, taking photographs is also a way of refusing it – by limiting experience to a search for the photogenic, by converting experience into a souvenir (Sontag, 1977, p.9)
Candida Höfer (1968) Liverpool XVI

Postcards from Home

the Photogenic or the real?

‘A way of certifying experience, taking photographs is also a way of refusing it – by limiting experience to a search for the photogenic, by converting experience into a souvenir (Sontag, 1977, p.9)
Paul Reas (1993) Flogging a Dead Horse, Constable Country, Flatford Mill

This session aims to consolidate ideas of the Picturesque and introduce ideas of the ‘image world’ / simulacra through critical analysis of vernacular tourist and postcard imagery. It encourages in depth research into Corrine Vionnet’s practice and the recycling of photogenic imagery as it ‘becomes’ the truth. It asks participants to be critical about the presumed truth of such imagery and position thier own practice accordingly.

 

‘Every day the urge goes stronger to get hold of an object at very close range by way of it’s likeness, it’s reproduction’ (Benjamin, 1936, p.23)
Martin Parr (1990) from Small World
‘It seems positively unnatural to travel for pleasure without taking a camera along. Photographs will offer indesputable evidence that the trip was made, that the program was carried out, that fun was had’ (Sontag, 1977, p.9)

This Session could be run in conjunction with:

Jennifer Bolande (2017) from Visible Distance/Second Sight
‘Postmodern culture is often characterised as an era of ‘hyper-representation’ in which reality itself begins to be experienced as an endless network of representations’ (Mitchell, 1995, p.16)

Aims & Outcomes:

  • To consider vernacular / stereotypical postcard representations of the land / local environment / landscape
  • To investigate the relationship between postcards and more subjective photographic practices as it applies to representations of place / landscape
  • To understand the nature of the vernalular postcard as it ‘tames’ and transforms the land into an advert
  • To introduce the idea of an ‘image world’ / simulacra
  • Participant Outcome: 1 10×8 digital print
‘It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real’ (Baudrillard, 1994, p.2)
Corrine Vionnet (2006 – 2019) from Photo Opportunities
‘Photo Opportunities tries to speak about our collective memory and the influence of image through films, advertisements, postcards, the Internet, etc. It attempts to raise questions about our motivations to make a photograph and our touristic experience. It tries to speak about our image consumption and how ubiquitous images actually are’ (Vionnet in Jones, 2013)

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • Tripods
  • Flashguns if you plan to practice lighting techniques
  • An Introductory Brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
John Hinde (c.1965+) from The John Hinde Collection
‘Hinde hoped to create a visual rendition of happy holiday memories – seen now, the postcards seem to indicative of a breezy post-war optimism’ (smythe, 2018)

Research: The work of Corrine Vionnet

‘Famed landmarks appear to float gently in a dream-like haze of blue sky. Each construction espouses the ‘touristic gaze’, its distorted visual referent functions as a device for memory transport by funneling many experiences into one familiar locale.’ (Yale, 2018)

Preparation Work:

  • Find a number of postcards / tourist information / vernacular representations of the local environment / landscape / place
  • Ask participants to read Gregory Jones (2013) ‘Corrine Vionnet and the Democratic Snapshot’ in The Inbetween 23rd February 2013 available here
  • Ask participants to read Diane Smythe (2018) ‘Picture Postcard Perfection with the John Hinde Collection’ in The British Journal of Photography 29th August 2018 available here
  • Ask participants to read Jonas Larsen ‘The Aspirational Tourist Photographer’ in Either / And available here
  • Ask participants to watch Tony Ray Jones & Martin Parr: Only In England (2014) in National Science & Media Museum available here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers or projectors

Presentation Ideas: the Photogenic or the real?

‘The most grandiose result of the photographic enterprise is to give us a sense that we can hold the whole world in our heads, as an anthology of images’ (Sontag, 1977, p.3)

suggested Session Outline:

  • Show participants a number of postcards / tourist iconography of famous / local scenes. Have they visited them? Why do they recognise them?
  • Give the Presentation (above). Invite participants to compare the tousist work with its reality. What are the similarities and differences?
  • Provide participants with a list of local areas / and postcards of these (or they can think of thier own). Identify the key elements of the scene and its aesthetic. Is it authentic?
  • Identify how these might be translated in new / more realistic ways
  • Sketch out / brainstorm initial ideas
  • Location lighting induction. How does light colour / black and white / aesthetics influence the scene?
  • Shoot the image individually / in groups
  • Print / Project and critique the images with the original tourist ‘scene’ in mind /  on view and considering aspects of a subjective response / aesthetics  / audience respsonse
Denver & Rio Grande Railroad Advert (c.1940)

We seek him Here: We seek him There

A photographic treasure hunt

‘Photography is a system of visual editing. At bottom, it is a matter of surrounding with a frame a portion of one’s cone of vision, while standing in the right place at the right time. Like chess, or writing, it is a matter of choosing from among given possibilities, but in the case of photography the number of possibilities is not finite but infinite. The world now contains more photographs than bricks, and they are, astonishingly, all different (Szarkowski, 1976)
William Eggleston (1973) The Red Ceiling

This session is very adaptable and encourages participants to ‘notice’ the world around them, as well as encouraging to ‘see’ it in photographic terms. In very structrured terms, it instigates a new / differnt type of vision to encourage participants to really notice the world around them, explore the role of aesthetics, framing, vantage point and depth of field, and investigate the idea of ‘photographic seeing’ as the world is transformed / constructed into an image.

This Session could be run in conjunction with:

‘The best photographs always inspire curiosity, rather than satisfy it.  I think that this ambiguity is one of the most thrilling aspects of the medium.  A photograph is only a minute fragment of an experience, but quite a precise, detailed, and telling fragment.  And although it might only provide little clues, the photographer is telling us that they are very important clues’ (Soth in Schuman, 2004)
Alec Soth (2004) from Sleeping by the Mississippi

Aims & Outcomes:

  • For participants to visually notice and explore the nature of a ‘photographic’ way of seeing and framing the world around them
  • For participants to ‘notice’ the world and produce 5 (edited) images which visually / aesthetically transform and change the objects / scenes they have photographed
  • For participants to conduct in depth research on the work of William Eggleston and apply these ideas to thier practice.
  • *This session works best when participants are encouraged to really ‘look’ at the world around them rather than construct or interfere with the scene.
  • Participant Outcome: 5 6×4 digital prints

Research: the work of William Eggleston:

‘The empire of photography expanded, or perhaps shrunk, the world into a grain of sand’ (Badger, 2007, p.48)
Todd Hido (2011) from A Road Divided

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An introductory presentation for participants to outline the ideas and provide examples
  • A printed ‘Treasure Hunt’ list
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments

Presentation ideas: Hunting The Photograph

Find Something; Ephemeral / Liminal / Low / Strange / Mundane / Framed / Broken / Red / Decayed / Quiet / Light / Dark / Living / Empty / Alien / Boring / Fake / Shiny / Slow / Useless / Re-purposed / A Non Place / A Portal

‘The very act of photographing something makes it special and indeed its significance and our understanding of it can change dramatically once it is turned into a subject.’ (Bright, 2011, p.107)

Preparation Work:

    • Ask participants to read Bruce Wagner (1999) ‘Mystagogue’ in American Suburb X  available here
    • Ask participants to read John Szarkowski (1976) ‘Introduction’ to William Eggletons’s Guide available here
    • Ask participants to watch Martin Parr (2007) from TateShots available here
    • Ask participants if they have thier own digital cameras and cards
    • Make sure you have access to computers
    • Make sure there are enough team members to support participants (never assume thier prior knowledge)
    • Decide whether you will project the work or print it.
    • If you are printing it (6×4) make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
    • *If you are running this session off campus, make sure there is access to printers or projectors

Suggested Session Outline: