Why I chose this?
I chose architecture as it appealed to me most, It stuck out to me because I am interested in buildings as they have a lot of background and hard labour put into them. Designing building's requires talent and intelligence and could change history, they also portray different tastes and styles
I chose architecture as it appealed to me most, It stuck out to me because I am interested in buildings as they have a lot of background and hard labour put into them. Designing building's requires talent and intelligence and could change history, they also portray different tastes and styles
Our end of year final project is more of a personal project, focusing on our own responses.
Her work was included in many influential exhibitions of the era, including the Salon de l’escalier, 1928; Fotografie der Gegenwart, 1929; Film und Foto, 1929; and Photography: 1839–1937, 1938; as well as in a solo-exhibition at the Julien Levy Gallery in 1932. In 1970, The Museum of Modern Art hosted a career retrospective.
Berenice's photographs vary of landscape street photographs and full silhouette buildings/ landmarks. My personal favourite photographs of hers are the street views as they portray societal productions which allow us to have a deeper understanding of her own views, idea's and (at the time) current lifestyle.
"Photography can only represent the present. Once photographed, the subject becomes part of the past."
I had decided to go to Tate Modern as I wanted to see how much it has changed since the last time I had been there (six months ago).
The main thing I focused on this Tate visit was the design of the actual building and the decorations excluding what is inside the exhibition/ gallery. This gallery trip was needed as It made me realise that I should not focus on what is on display but where the display is, how it works, what it is inspired by and the biggest question- why?. I expanded my thinking and kept focus on not just one thing but everything surrounding; which portrays needed qualities to have in life and Tallis character and habits.
Bill Leslie:
Is currently undertaking a practice-based Fine Art PhD at Kingston University, London with the title What Happens to Sculptures When They Are Filmed and Photographed. He studied theatre, before turning to sculpture, film and photography, and receiving an MA in Visual Performance and Time-Based Media at Dartington College of Art. He has shown work in the UK and Germany. He currently lives and works in London.
He has recently begun working in collaboration with Lucy Cran under the neame LEAP THEN LOOK running workshops and participatory projects for people of all ages and abilities. www.leapthenlook.org.uk
Is currently undertaking a practice-based Fine Art PhD at Kingston University, London with the title What Happens to Sculptures When They Are Filmed and Photographed. He studied theatre, before turning to sculpture, film and photography, and receiving an MA in Visual Performance and Time-Based Media at Dartington College of Art. He has shown work in the UK and Germany. He currently lives and works in London.
He has recently begun working in collaboration with Lucy Cran under the neame LEAP THEN LOOK running workshops and participatory projects for people of all ages and abilities. www.leapthenlook.org.uk
In my opinion, the main goal Bill Leslie was looking to achieve was to make us explore different ways of perceiving and capturing certain objects or large landscapes. We usually think about framing and predict the outcome, Leslie has shown us that not all images and films have to follow these guidelines, we have full freedom and we should use that to the full extent. I was put in a group with Scarlett and Asli, our jobs were making a floor-based structure so that later we could place them in a landscape of boxes, bricks and structures; a town of chaos. To create our structures we used a wide range of materials like cardboard, fabric, paper, plasticine, wooden sticks, thin metal sticks and paint rollers.
We, as a class created everything shown in the photographs, we also took video's and decided we could edit them together and project them onto the wall. They were edited in various ways, inverted, reversed and merged one into the other. The most surprising thing was how we can create something without meaning into something with a complex back story and I'm left with new photographic possibilities which have an effect on my future. I enjoyed changing the perspective of the structures I made, they were made to look on a larger scale when in reality they are 7cm long and 3cm wide.
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The concept of merging animation and architecture is ingenious to me and has inspired me to create something like this but with a few of my own differences. The artist who created this animation is unknown. This idea would not be suitable for this final project as it takes up more time than we are give, however I will incorporate a few idea's from this.
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I decided to make some photograms with the theme of architecture, I found some famous photographs of buildings from around the world and I edited them make them black and white so that the photogram would turn out more vibrant, I'm not using my own photographs at this point because I want to experiment first to see how my first idea turns out.
When we look at the photograph, straight away our eyes are drawn to the centre. This is because most of the light is directed into the centre, it highlights the buildings and draws attention to the young running girl, whom is placed at the bottom of the photograph- also in the middle. She is also the closest to us/camera making her more bold and in larger proportion compared to the other children in the photograph, who are placed onto of a building, most likely on the roof, they seem to be facing the running girl as she is running towards them. The storyline of this photograph is quite uncertain as the placing of the camera and children is unnatural, making me believe this photograph was planned and not just taken out of the blue. The composition of this photograph is not chaotic but perhaps perfectly placed as there is obvious framing (the dark matter framing the top half of the photo) and patterns seen if carefully observed. Almost everything is made of straight, man made lines (buildings, ground) except for the children, making the children stand out even more and making them look even more out of place. The style of the buildings seems to be ahead of its time, futuristic but retro, the timing of this photograph is clear as the small section of sky we see is clear and bright; from maybe from 10am to 4pm around spring/ summer. I believe this image was taken around 1950 on a film camera, making the photograph tonal black and white, objects in the sun having much definition, emphasising the contrast between light and dark. This photograph is considered abstract as it is not completely explainable, I would name this photograph 'Childs play' because the overall feel of this photograph is playful even with the mature black and white colouring and there is physical children who seem to be enjoying life at that moment in time.
About Mario Rossi I was born in Naples (Italy) and now I live in Rome the city that I set off from and the city I go back to. I’m involved in photography since the late seventies years gradually supporting the need … Read More
Education:I studied Architecture in Rome (Italy).
Exhibitions:Main solo-exhibitions:
Evidenza della forma, Officine Fotografiche, Roma, 2001;
Museografie, galleria Acta International, FotoGrafia Festival Internazionale di Roma, 2006;
Walking, galleria Gallerati, Roma, 2007;
Flussi Geometrici, Complesso di Vicolo Valdina della Camera dei Deputati, Roma, 2014.
Main group-exhibitions:
Territori di Confine, galleria PrimoPianoLivinGallery, Lecce, 2008;
Fuori3, galleria Gallerati, Roma, 2008;
Expectations NY, The Invisible Dog, New York, 2010;
Affordable Art Fair, Amsterdam, 2011;
Prix de la Decouverte, Salon de la Photo, Parigi, 2013;
The Photo Review, Best of Show, Gallery 1401, Philadelphia, 2013;
Out of Norm, Werkkunst Gallery, Berlino, 2015;
START Fair, Saatchi Gallery, London, 2015;
Italian Art Fair Dubai, Gallery of light, Dubai, 2015;
Affordable Art Fair, StudioPiù, Milan, 2016
Main awards:
Honorable mention at the FNAC Attention Talent Photo for the work Evidence of shape, 2006;
selected author for competitions Premio Celeste and Celeste Prize International, Italy, 2009;
overall winner in the category Photography and Digital Graphics in the 2010 edition of the Premio Celeste Italy;
finalist at the second edition of Donkey Art Prize, 2012;
winner at XVI International Art Award Massenzio, Roma, 2013;
winner at The Best Shots International UK, Richmond, 2013;
finalist at the International Fine Art Award at The Gran Prix de la Decouverte, Paris, 2013;
third place winner at The Photo Pholio Review, Philadelphia, 2013;
honorable mention at IPA, International Photography Awards in 2011, 2013 e 2014;
honorable mention at Mifa I, Moscow, 2014;
honorable mention at Mifa II, Moscow, 2016;
finalist at Premio Arte Roma, 2016;
second place at IPA 2016, International Photography Awards, professional section, Architecture, Interiors Less
Education:I studied Architecture in Rome (Italy).
Exhibitions:Main solo-exhibitions:
Evidenza della forma, Officine Fotografiche, Roma, 2001;
Museografie, galleria Acta International, FotoGrafia Festival Internazionale di Roma, 2006;
Walking, galleria Gallerati, Roma, 2007;
Flussi Geometrici, Complesso di Vicolo Valdina della Camera dei Deputati, Roma, 2014.
Main group-exhibitions:
Territori di Confine, galleria PrimoPianoLivinGallery, Lecce, 2008;
Fuori3, galleria Gallerati, Roma, 2008;
Expectations NY, The Invisible Dog, New York, 2010;
Affordable Art Fair, Amsterdam, 2011;
Prix de la Decouverte, Salon de la Photo, Parigi, 2013;
The Photo Review, Best of Show, Gallery 1401, Philadelphia, 2013;
Out of Norm, Werkkunst Gallery, Berlino, 2015;
START Fair, Saatchi Gallery, London, 2015;
Italian Art Fair Dubai, Gallery of light, Dubai, 2015;
Affordable Art Fair, StudioPiù, Milan, 2016
Main awards:
Honorable mention at the FNAC Attention Talent Photo for the work Evidence of shape, 2006;
selected author for competitions Premio Celeste and Celeste Prize International, Italy, 2009;
overall winner in the category Photography and Digital Graphics in the 2010 edition of the Premio Celeste Italy;
finalist at the second edition of Donkey Art Prize, 2012;
winner at XVI International Art Award Massenzio, Roma, 2013;
winner at The Best Shots International UK, Richmond, 2013;
finalist at the International Fine Art Award at The Gran Prix de la Decouverte, Paris, 2013;
third place winner at The Photo Pholio Review, Philadelphia, 2013;
honorable mention at IPA, International Photography Awards in 2011, 2013 e 2014;
honorable mention at Mifa I, Moscow, 2014;
honorable mention at Mifa II, Moscow, 2016;
finalist at Premio Arte Roma, 2016;
second place at IPA 2016, International Photography Awards, professional section, Architecture, Interiors Less
Mario rossi's photographs have inspired me to create fairytale like photographs of serious structures. Even though the colours and patterns are unrealistic, there is still a sense of sophistication .
this idea came to me in a science lesson randomly, so i have decided to try to recreate what i saw in my head. I envisioned a large photograph of flats with the windows cut out and my photograms which would be printed on acetate and they would peek through the window. This lesson i have made more image transfer photograms and i will pring them out on acetate.
The making: