Art of Arrangement: Photography and the Still Life Tradition.
Taken from the National Media Museum Photography Collection, The Holburne Museum is currently showing the still life work of many famous photographers including Ansel Adams, Edward Steichen and William Henry Fox Talbot as well as more recent practitioners such as Don McCullin and Chris Kemp.
'Still life', something which spans from the beginning of painting history when objects were represented through work on canvas, to current day photography. This exhibition is an investigation into the artistic genre, managing to explore how still life has now moved on to become very popular in photography.
Even in modern day still life photographs we can recognise elements that were incorporated by painters in their work, and visa versa. For example, in this painting below (on display at the museum), includes fruit and veg - items which are a sign of wealth, often ones which are dying and rotting away are a metaphor for life. Another element which is less obvious but still very meaningful is the pocket watch. The aspect of time is something which is very common to spot in photographic still life work nowadays.
Even in modern day still life photographs we can recognise elements that were incorporated by painters in their work, and visa versa. For example, in this painting below (on display at the museum), includes fruit and veg - items which are a sign of wealth, often ones which are dying and rotting away are a metaphor for life. Another element which is less obvious but still very meaningful is the pocket watch. The aspect of time is something which is very common to spot in photographic still life work nowadays.
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| Still Life with Shellfish and Fruit, 1960. |
We were shown around by the Director of the Museum, Alexander Sturgis and he spoke about what was on display, saying:
''The exhibition is about the relationship between photography and still life.. it is about a dialogue.''
''Relationship with photography and time is different to that with painting.''
''Showing that photography can do what painters do.''''Relationship with photography and time is different to that with painting.''
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| Roger Fenton - Still Life with Ivory Tankard and Fruit, 1860 |
Welcomed by Roger Fenton's photograph from 1860 we can straight away see the progression from painting to photography at this early time.
He was clearly interested in the relationship between light and shadow as well as the arrangement of objects, again surrounding the idea of decay.
This photograph could be seen under the title 'Light and Dark'.. as well as this, the exhibition was split into many more sections, such as 'Order and Disorder', 'Still Life with Figures' and 'Movement and Stillness.'
The most important thing I realised from this visit is that 'a still life' photograph doesn't have to be what I first stereotypically imagine. In this exhibition I viewed work which I wouldn't usually class has a still life, only because it breaks conventional ideas and aesthetics.
But when I saw the photographs under 'Movement and Stillness', it became clear to me that I just needed to think of the words 'still life' more literally. These basically show situations but in a frozen photographic shot.. life which is still, or 'still life'.
But when I saw the photographs under 'Movement and Stillness', it became clear to me that I just needed to think of the words 'still life' more literally. These basically show situations but in a frozen photographic shot.. life which is still, or 'still life'.
These photographs really caught my attention and I started
to think about time with still life in a whole new way.
to think about time with still life in a whole new way.
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| Arthur Clive Banfield The life history of a splash 1905 |
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| Harold Edgerton Bullet through Jack |
Another section which made me think was with the 'figure', the traditional still life image doesn't include people whereas they are shown here. Even though they aren't the main focus, they are still present and very important for the image as a whole.
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| Frederick William Bond Contents of an Ostrich's Stomach, 1930 |
My favourite photograph from the whole show is this, 'Contents of an ostrich's stomach' by Frederick William Bond in 1930. This unconventional piece was taken after he retrieved all of these items out of a dead ostrich's stomach at London Zoo where he worked as assistant treasurer and photographer.
I think this image shocked me more than anything, especially as I didn't expect to see it as a still life.
I learnt a lot from this visit and would definitely recommend seeing it!
I think this image shocked me more than anything, especially as I didn't expect to see it as a still life.
I learnt a lot from this visit and would definitely recommend seeing it!
ARNOLFINI
Sophy Rickett: To The River.
Sophy Rickett: To The River.
After visiting Bath we drove to Bristol to see two other artist creations held at the Arnolfini Gallery.
Firstly we viewed 'To The River' created by Sophy Rickett. This work was in the form of a video instillation and was very different to what I was expecting.
It was created in 2011 but the filming was taken in 2010 during the spring equinox, at night time along the bank of the River Severn.
We entered a large dark room where there were 3 projection screens, each showing a different piece of footage. Lit by specially installed lights, it depicted crowds all waiting for the Severn Bore to pass.
Recordings are played around the gallery space as if we are among the group waiting, sometimes making it feel quite uncomfortable and claustrophobic. As we stood there I was quite unsure about what was going to happen, but then the longer the gatherings wait, the more inpatient they become and I even heard one of the men say ''How long do we have to wait?''
As a viewer you need to engross yourself into these conversations going on around you in order to get a true understanding. As time goes on, narratives emerge through people talking and you start to gain a feeling of everyday life and the 'natural world' - something that Rickett is very interested in and continues to explore. If you listen carefully you can pick up discussions about a dead fox on the shore, people and their dogs, even an old man who says he hopes to have ''a little more time left.''
Firstly we viewed 'To The River' created by Sophy Rickett. This work was in the form of a video instillation and was very different to what I was expecting.
It was created in 2011 but the filming was taken in 2010 during the spring equinox, at night time along the bank of the River Severn.
We entered a large dark room where there were 3 projection screens, each showing a different piece of footage. Lit by specially installed lights, it depicted crowds all waiting for the Severn Bore to pass.
Recordings are played around the gallery space as if we are among the group waiting, sometimes making it feel quite uncomfortable and claustrophobic. As we stood there I was quite unsure about what was going to happen, but then the longer the gatherings wait, the more inpatient they become and I even heard one of the men say ''How long do we have to wait?''
As a viewer you need to engross yourself into these conversations going on around you in order to get a true understanding. As time goes on, narratives emerge through people talking and you start to gain a feeling of everyday life and the 'natural world' - something that Rickett is very interested in and continues to explore. If you listen carefully you can pick up discussions about a dead fox on the shore, people and their dogs, even an old man who says he hopes to have ''a little more time left.''
This work is about spectator reactions and as she tries to create an exciting sense of anxiety and anticipation throughout as they wait for this event to happen.
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