Archive for November, 2013

Responding to a live research brief on location


Artist in Residence


Timespan Museum




May-July 2013





  • Aim to give artists time to focus and develop their practice
  • Offer space for personal creative exploration and experimentation
  • Raise artists profile
  • Career development


  • Sponsors and programmers providing them tend to expect something in return for pricing artists with fees and also studio space, accommodation and a production budget.
  • Interface with the public in some form or another is an inherent part of many residencies.
  • Can have very strict deadlines


Artist in Residence


Residencies can be self-funded


About her work


  • Homes
  • Invasive TVs
  • ‘Semi Detached’
  • Belonging
  • ‘Realm’ (2009-2013)
    • Double Exposure – layering of reality
    • A lot of
    • ‘Realm XI (Shapeshifter)
    • Photographing areas suspected of having supernatural happenings.
    • Derelict areas
    • ‘Sites of myth’
    • Involved solo show and funded residency in May 2013


Translocation Residency


  • Linked to ‘Clearances’ (farmers evicted from land because could make more money by sheep farming on the land around 200 years ago)
  • Given a loose brief
  • Funding (artist fee and materials budget) and accommodation (live/ work space)
  • Aim of project is to produce work in relation to Timespans Translocation Excavation Project.
  • No photographic evidence of how people lived back them (1813)
  • The stories of what happened have become more like whispered
  • Objectives
    • 2 month residency in Helmsdale
    • Become part of the excavation team
    • Themes
      • Notions of home
      • Kildonan clearances
      • Before the excavation
        • Tranquil highland valley
        • Just visible ruins of longhouses
        • In 1813 before it was a thriving settlement
        • Dig began two weeks into residency
        • Time to research
        • Longhouse excavation at Caen, Strath of Kildonan
        • Looking into what was discovered and examining/ discussing it helped create narrative of evictions
        • Thoughts on art and archeology
          • Archeology: Shadows in a mud – archeologists use poetic term to describe how different types (colours) of mud can reveal different types of architectural or domestic features.
          • Carolyn interpreted this term as being the shadows of the people who used to live here
          • In a way, documenting the derelict houses was like what archeologists do with excavations
          • The way the archeologists photographed there process was slow and incredibly scientific (measuring and documenting everything)
          • Archeological plans: use drawings to document as photographs can cause distortions with the lens
          • Cyanotypes
            • Using two chemicals on paper to make it sensitive to UV light
            • Then place objects over the top to create beautiful images
            • Can be done outside
            • She used the local stream on site to wash the paper
            • Photographs of the descendants among the excavation
            • Make practice of using human forms for reference: had a possible relative to the ancestors standing around the longhouse
            • Image within an image practice: photograph of descendants fireplace printed then re-photographed at the excavation site near where they found the hearth


Had assistants working with her from university of Hertfordshire

They had there travel and accommodation paid for


Community events helped develop project


Key themes

  • ‘If these stones could talk’
  • Diaspora (dispersion or spread of any people from their original homeland)

Prototype: ‘Diaspora Stone’ Using Matte Medium Transfer (Not a very professional finish)

Prototype: ‘Diaspora Stone’ Using Liquid Emulsion (LOOK THIS UP: SOUNDS AWESOME) – SE1 Brand

The Stones ended up being displayed in the museum next to the excavation finds


Translocation Residency Archive

  • Drawers
  • Wanted to keep things together
  • Look like specimens
  • ‘Sun print fabric’ (look it up)



  • There were challenges of being in such a remote area
  • Intensive seven week period of personal development and research
  • Collaboration with experts in other fields
  • Broad brief but related to practice
  • Inspiration of learning about new disciplines
  • Pushed myself out of usual practices

Questions and Answers


  • What first inspired you to start looking at ‘homes’/ derelict areas?
  • Do you already have plans for a new project?
  • Did you have a lot of freedom with the brief?
  • How did the local community respond to the work? Did they enjoy it?


Making a proposal

  • Good practice
  • Makes you think about where you are with your practice
  • Even if you don’t get the submission, it helps move your work forward
  • See gaps in experience
  • Usually about 500 words
  • I want to be a teacher, but this is still a good practice idea.



Creative Writing Lecture 

Often the most arresting photojournalism reveals an emotion you can empathise with.

  • Grief
  • Pain
  • Anger
  • Sympathy
  • Sadness
  • Joy


Your Values


  • Equality
  • Caring for others


  • Happiness
  • Religion
  • Creativity
  • Relationships
  • Intelligence


What would you die/ fight for?


Protecting another: If I saw someone about to die or being hurt I would rather risk my own life to try and help them than live the rest of my life knowing I did nothing.


My family

My friends

My pets probably


Story or Prose Poem

I want to take everything, my family, friends, pets, everyone and everything that I hold most dear. The incapability to do this tears through my heart. But I still have my memories and my life, something others are not so fortunate to have. But I want more, I want to keep a document of everything that happens to me so that, one day, this time I spent apart from the ones I love can still be shared with them. So I will take a camera, so that I can keep these memories safe, and pictures of everything I hold dear so they never fade from my memory.



  • Work on story
  • Use story as inspiration for a series of photos
  • Bring your images so you can read an show your images.

Appropriation Archives and Vernacular 

Why was Duchamp’s Urinal (‘Fountain’) the most important piece of art in the 20th century?

  • It’s a joke on art.
  • It was shocking; we wouldn’t have Damien Hurst’s shark and Jeff Koon’s inflatable bunny without Duchamp’s urinal from 1917

An Archive

A place in which public records or historical documents are stored.

Walter Benjamin’s Archive

  • More than just institutional archive
  • Modern day archives
  • Contemporary archives


Vernacular photography

  • Refers to creations of photographs, usually by amateur or unknown photographers, who take everyday life and common things as subjects.

In almost every picture

  • Ria at shooting gallery
  • Ria would, every year, go to the shooting gallery at a travelling fair and hit the bulls eye so would get a photo taken
  • Happened for 70 years
  • Vernacular photography

Kesel Kramer

  • Puts images together
  • Swan song for family albums: believes they are over
  • Vernacular

Book: ‘Taliban’ 2005

  • By Dworzac
  • What was officially being done and what people were actually doing was very different
  • Put together the images of the Taliban in the book: quite surreal

Joachim Schmid

  • Very Miscellaneous
  • Made sense of archive with found portraits
  • Drew peoples eyes to the text

Mohini Chandra

  • Book of photographs but only the back of the photograph
  • So you never actually see the photograph
  • Believed all the information you needed about that photograph was on the back

Rachel James

  • I know you Lucy Booth

John Stezaker

Christian Boltanski

  • Uses archive images to tell a story
  • Uses a lot of holocaust stuff
  • Immortalize ordinary people
  • Shows the plight of the jews

Shuka Glotman

Unhistorical moments

Photos of a town that doesn’t exist

  • Time capsule
  • Sees the images as a testament to the towns existence
  • Uses leaves on background of photos because they are indigenous to the area

Adam Broomberg and Oliver Chanarin

  • People in trouble (Contacts)
  • Asked to intervene in the archives of Belfast exposed
  • Kept the tags, dots, circles that were used to highlight images and reprinted them
  • Currently being shown in the Saatchi gallery
  • People in trouble (dots)
  • Peeled back the dots to find out what was underneath and printed what was underneath

Walid Raad

  • Let’s be honest the weather helped
  • Grew up during bombings
  • Took photos of town disintegrating around him
  • 70’s
  • Spots on images corresponds with country supplied bombs to which side
  • As a boy would collect shells and could figure out who supplied the bomb to the militia

Susan Meiselas

  • Kurdistan
  • In the shadow of history
  • Plight of the Kurdish identity
  • How they are being written out of history
  • Kurdish hid their photos underground because they had to suppress that they were of a different ethnic background
  • Website asks people of Kurdish nationality to send in pictures
  • About identity


Giving us two videos made entirely of archives: none was shot by the filmmakers.


Grizzly Man

  • Whose Archive is it?
  • Whose story is it?
  • Who is the Author?

Could these stories be told without found footage/ archival material?


Further Viewing

  • Tarnation 2004
  • Capturing Freemans 2003
  • Look at images put on Google docs: without knowing anything, figure out what you know about the image.