The term gaze is frequently used in photography theory, applied by those seeking to explore the spectatorial nature of the image and the image-making process. Laura Mulvey’s theory of the male gaze in cinema is often referred to in photographic literature. Mulvey suggests that women are “bound” by and within the deeply embedded male-ness of culture; Continue reading
“Why does it have to be flat? Why does it have to be a rectangle? Why is it in a frame? Why is there mount board? Why is there glass?” (Wilson, 2015)
The camera is/has been many things to me, but in recent years has become a kind of ‘aide to thought’. Of the images that result from use of my camera, I still find it very difficult to place them into any particular category of photography, and I can’t seem to consign myself to any one project at a time. I am always thinking about the practice element and in project terms I tend to follow up on the ideas that spring on me at the least expected moments as they form steps to understanding, in their own way.
Snyder and Allen begin their 1975 essay, Photography, Vision and Representation by acknowledging a division in thinking about photography between those “who think that photographs are inferior to paintings” and those who believe the photograph to be “superior” in some way (Snyder and Allen, p143). Continue reading
A couple of days ago, I was shown a photograph made by Patricia Townsend; a circular image that at first looked kaleidoscopic, then cross-like, then moth-like. On closer inspection I could see what appeared to be rock and moss. Then I read the title of Long Meg, a large stone at an ancient circle in Cumbria that I used to visit frequently Continue reading
Previous to this week, I was not very familiar with Laura Hynd’s work, but when I visited her website today in advance of this talk, I knew that I must attend it. Here are my notes from the talk, and connections I have made between Laura Hynd’s work and my own. Continue reading