Exhibition Review: Monsters of the Id by David Cotterrell

John Hansard Gallery, Southampton

11 February 2011 - 31 March 2012

Image: Taken by myself at the exhibition

Although I visited this exhibition 20 Feb 2012 I am currently reviewing all the exhibitions I attended this year to practice my reviewing skills. This exhibition, co-curated with Helen Sloan was close to home based on University of Southampton campus and was interesting to see a different approach to art: using video installation, still life and interactive media. Although not being particularly ‘blown away’ by the art itself Cotterrell’s representation of his journeys to Afghanistan has an underlying eeriness that compels the viewer to take notice of his message. Also hearing the use of software used for military training in the exhibition made it more convincing. Though ‘conflict’ may come to mind thinking of war zones, Monsters of the Id ‘takes a deliberately oblique approach’ [1]; it is refreshing to see a different take on this current subject. The advanced interactive installation in the ‘Observer Effect’ absorbs the population in the room and trajects the data to ‘Searchlight 2’ revealing ‘illusory human shadows’ [1] on a desert landscape (see photo above). Landscape is the main theme in his work and how people interact with this space.This gives an idea of surveillance. My first thought of the human shadows was that it reminded me of ants representing how insignificant we are (see video below). I was most compelled by this room giving the illusion that it is lighted underneath however light is being projected from above. The idea of using viewers as part of the exhibition is the talking point making us more involved leaving a disorientated effect. The different rooms feel connected through similar theme however the rooms also feel disconnected too. Walking through the exhibition, despite not being impacted at first leaves an unsettling message, a ‘quiet anxiety between periods of violence’ [1] and makes us think of our unconsciousness, our id and the underlying effects of war.

Observer Effect room using interactive generative installation 

Close up of Searchlight 2 using generative mobile data-projections

Back room showing a military field desk raising the question, are we in control?

Apparent Horizon, 6 channel-HD collimated display

References: 

1. Exhibition Guide document- John Hansard Gallery, David Cotterell: Monsters of the Id

Useful Links:

John Hansard Gallery http://www.hansardgallery.org.uk/

David Cotterrell http://www.cotterrell.com/
Id http://en.wikipedia.org/wiki/Id,_ego_and_super-ego

Beauty: Kelly Moreira by Daemian Smith + Christine Suarez

May 6 2011

Image Source: http://blog.daemianandchristine.com/post/5250496081/kellymoreira

Although this isn’t commissioned work I believe it’s one of Smith’s strongest works where he photographs models as a simple headshot showcasing their natural beauty rather than made up in unnatural poses selling garments. These portraits are like the Polaroids casting agents take when looking for models however don’t show the depth and detail that Smith captures. Much of his portraits in this style are shot black-and-white but I believe colour adds complimentary softness unlike the monochrome images which have a hint of harshness. I particularly chose to highlight this image as in the fashion world fair-skinned models dominate the catwalk and billboards so it is a rare occasion to see natural dark skinned beauty. Looking into beauty, Smith shows that modification doesn’t necessarily mean automatic attractiveness as Kelly Moreira (above) is naturally stunning. With today’s society obsessed with fair skin and sleek hair, Moreira goes against the norm and stands beautiful in her own skin. I especially like portraits with a shallow depth of field and believe this is shot on a 50mm lens to create the depth that is desirable in head shots. The soft focus accentuates her soft skin and draws focus on her dark eyes where the viewer is transfixed.

References:

Check out Daemian Smith and Christine Suarez blog 'Should Have Taken More Pictures'

Useful Links:

Check out my Sept 2010 post on my blog M.A.S.H on this photographer and their model portraits: http://mashthings.blogspot.co.uk/2010/09/black-white-portraiture-by-daemian.html

More images of fresh faced models:

[Above, captions left-right]

1. The hypnotic eyes of beautiful Kristina at New York Models. Shot with the Leica S2. / 18 Apr 2012

2. TSANNA / 22 May 2010

3. Rose Cordero / 16 Nov 2010

4. The beautiful skin tone of Jenny Albright at New York Models. / 5 Apr 2012

[Above, captions left-right]

1. Enyelisa at IMG. Shot with the Leica S2. / 16 Apr 2012

2. Flawless Fanny Fournier. / 17 Aug 2010

3. The graceful and expressive face of Lise Aanes at Root Management. Shot with the Leica S2 / 22 Mar 2012

4. Our beautiful friend Nina De Raadt at Ford. / 27 Apr 2012

Exhibition Review: Taylor Wessing Photographic Portrait Prize 2011

National Portrait Gallery, London

10 November 2011 - 12 February 2012

Image Source: http://www.guardian.co.uk/artanddesign/2011/nov/09/taylor-wessing-portrait-prize-woodward#zoomed-picture

Though this exhibition has ended I am still inspired by the 60 shortlisted entries that were exhibited at the National Portrait Gallery that I visited 31^st Jan. My memory may not be as vivid however there are a few images that still stick in my head yet this does not involve the winning photograph by Jooney Woodward, ‘Harriet and Gentleman Jack’ (2010) (above). After reading various reviews and comments about the £12,000 winning photograph I agree that it’s rather underwhelming especially considering the controversy in the previous year of Panayiotis Lamprou's explicit photograph, Portrait of My British Wife and has the same characteristics to David Chancellor‘s ‘Huntress With Buck’ that also features a solemn looking teenage girl with ginger hair with an animal. One can’t help but compare the two and come to the conclusion that this is the winning formula for a portrait prize. Reading Martin Jordan’s review of this exhibition I too believe that ‘Portraiture can depict a range of emotions, give insight, and really connect with the viewer. The best portraiture is subtle, never obvious. This is an odd concept that a serious portrait has to be melancholy.’ [1] Wandering through the exhibition I rarely saw a smile either but serious looking expressions; apparently a photograph is taken more seriously if the photograph itself is serious.

Image source: http://artandphotography-uog.blogspot.co.uk/2011/11/taylor-wessing-photographic-portrait.html

Despite my discontentment with the same style of expression I am still compelled by entries such as ‘Malega Surma Boy Ethiopa’ by Mario Marino (above) which was used as the cover for the exhibition catalogue (they must have thought this was an eye-catching photograph as well!), ‘Erica E. Born In 1910.’ By Karsten Thormahlen, ‘Kiera Knightly’ by Michael Birt, ‘Old Truman Brewery/Claudia’ by Darren Hall, ‘Dolly Parton’ by Zed Nelson and ‘Leo Gormley, The Ugly Face of Prejudice’ by Mark Johnson and ‘Bibi Aisha’ by Jodi Bieber. With these photographs I was drawn to their stories and I found the characters interesting; despite two sitters that I mentioned being famous, the photographers captured them in a way that wasn’t necessarily cashing on their fame but showing them as another human being too, as being ‘real’.  Mario Marino’s Malega Surma Boy Ethiopa was a particular favourite of mine, a concoction of deep earthy brown, like rich dark chocolate with a break up of ivory and rust making this image exquisite in colour and technicality as well as capturing a beautiful portrait. Out of the 6000 entries I believe this should have been in the top 3 winning photographs.

Despite visitor numbers dropping considerably from 2009 [2] this exhibition did prove more popular than its previous year regardless of comments calling this exhibition ‘dull’ and ‘uninspiring’; I believe this is referred to the prize winners rather than the other exceptional shortlisted portraits. Attending this exhibition with my fellow photography course mates I was able to engage with many thought-provoking portraits proving that we still have something to talk about. Applications are open for 2012 entry with a closing date 9 July 2012. The Taylor Wessing Photographic Portrait Prize is one of the biggest photography events across the globe and I hope for more diversity in this year’s entries. Let’s hope it’s not another teenage girl with an animal as the winning photograph.

References

1. Jordan, Martin; Ephotozine; http://www.ephotozine.com/article/taylor-wessing-portrait-prize-2011-exhibition-17855 [Accessed 13/05/12]

2. National Portrait Gallery past Exhibitions; http://www.npg.org.uk/whatson/exhibitions/past.php [Accessed 13/05/12]

O’Hagan, Sean; The Guardian; http://www.guardian.co.uk/artanddesign/2011/nov/09/taylor-wessing-portrait-prize-woodward# [Accessed 13/05/12]

Tyrrell, Katherine; Making a Mark blog; http://makingamark.blogspot.co.uk/2011/11/review-taylor-wessing-photographic.html [Accessed 13/05/12]

Useful Links:

National Portrait Gallery - Taylor Wessing Photographic Portrait Prize http://www.npg.org.uk/photoprize1/site12/index.php