A crucial element of success in the 4 saints in 3 acts was the ground breaking employment of an all African-American cast. The portraits of Jessye and several cast members afford insights into the importance of the African-American contribution to the opera's popular success.
In this captured shot of one of the first scenes of the production the cast is in all white as they are being represented as angels in heaven. Light colours are usually used to represent innocence, beauty and purity, which might mean it is being used as a metaphor for the freedom and choice white individuals within society had at the time in contrast to the racism black individuals faced. In contrast the simplistic black fabrics background has connotation with misery - this may be symbolic of the real life for such individuals as this is merely a performance and not reality. |
The writing and directions of the play went on during the African-American civil rights movement which meant it was a very prominent factor of the play and the story behind it had many links to do with this particular movement between the 1920's and 1930's.
This image is captioned "How many saints are there in it. There are very many many saints in it." This speech within the performance, may have reference to how the 'saints' created the benefits of finical support for the black community. As if the Socialist Party of America, were the four saints for black lives within the 1920's and 30's, as they allowed them the freedom in which they deserved. This presents the play as powerful and enduring. |
This is the first polaroid in the exhibition. It displays the artist himself staring out of a car window. This is one of the two images in the whole series of photographs presented in Black and white. the other is shown in the last section of the exhibition. This is interesting as i think this not a coincidence and it shows the dull beginning and start in black and white whilst the exiting parts of his life are shown in colour. The photograph is titled 'Introduction' for potentially two reasons - simply is the first photograph in the gallery. Yet, it is also the introduction into his life surrounding photography. His introduction into the art form. This is exemplified by the way he is looking out of the window as if he is admiring another member of societies life, much like we are his. The use of his side profile within the picture, paints the idea that Weber is showing one side of his life style within the gallery, and that this may not be an accurate representation of his reality.
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Wender was born and raised in Germany so his first time abroad was to NYC where he was able to experience a much more intense and busy version of society. Although the city is represented as coatic in many cases, Wender's photographs represented something much more subtle. The use of dark tones and colours created a more peaceful and overwhelming mood to his photos. This juxtaposition between the representation and reality is effective in his work as it teaches the audience something new.
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These images were taken in the Valley of the Gods in Utah in 1977 which is a scenic sandstone valley. In this year Wenders directed a film called The American Friend. Within the movie an American expatriate treats Hamburg, Germany, like it's the Wild West and makes a living by hawking art forgeries, but decides to take part in a murder plot for extra cash. The plot has small connections to Wenders life that we have been presented with through out the last images within the gallery, such as America and Germany
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33) DIRECTORS OF LIGHT AND SHADOW
Wender himself is a director and the title above portrays the negatives and positives to his life story.
The polaroid on the left signifies the light in the title. This is because his job has allowed his to have opportunities of a life time and allowed him to take a role on the incredible journey he has displayed in polaroids. The polaroid is only the second photograph in his series which is black and white, which also makes the image look brighter. |
New York photographer Mary Ellen Mark’s long term project, Streetwise (1983) focuses on her time spent with Erin Charles, a street kid known as ‘Tiny’, who she first met as a 13 year old and shows the harsh realities of life on the streets of Seattle. Tiny was at that time supporting her crack habit as a prostitute in Seattle. Now thirty‑five, she has nine children, the youngest four of whom are by her husband Will. In this 2005 interview with Mark and Bell. In the interview shocking content about her background and upbringing is talked about which immediately changes our perception of Tiny. She is a mum of 9 children. In her interview with Mary Ellen Mark (the photographer) she talks about her dug use whilst being pregnant with her last son
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Chancel's photography series is devoted to troubled young youth and transgender communities. He was intrigued by the fact that, while most gang members in Paris at the time were white, working-class youths who espoused ultra-rightwing views and racist attitudes. At 20 years old he encountered 'The Vikings' a street gang whose teenage members hung out on the streets of central Paris in the early 1980s. He was immediately struck by their retro style, based on 50s rock’n’roll: check shirts, pleated trousers and sculpted quiffs for the boys; gingham tops, hooped earrings and polka-dot headscarves for the girls. Chancel photographed the Vikings and the Panthers throughout 1982.
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With the help of friends in Nigeria, Hugo found the group in a shantytown outside of the capital, Abuja. They were not necessarily criminals, but rather what Hugo describes in an artist’s statement as “itinerant minstrels... a group of men, a little girl, three hyenas, four monkeys and a few rock pythons,” who subsist by staging performances and selling traditional medicine. Hugo traveled with the group for weeks at a time over the course of two years, taking a series of portraits of the men posing with their animals.
These portraits describe a trans-species relationship unfolding in a setting of poverty and uncontrolled urbanization. They constitute a stark tableau of life on the margins, but also raise questions of how and to what extent this life can be something shared by human and non-human subjects. Hyenas are startling animals. Though they can resemble predatory cats or large feral dogs, they comprise a unique species and occupy their own back alley of the animal kingdom. |
For my response to Robert Longo's work, I asked my mum and my sister to act as if they were being shot or like something terrible had just happened. This allowed their body's to move differently to if i asked them to just copy the same poses as Longo's models, as it makes them use their imagination and so there actions and movements became more dramatic. However to improve my response and make my work more like the artist i could have dressed my models up in smart suit. For example Longo's models were dressed in suits and dresses, which becomes a juxtaposition as the idea of moving differently to what is socially accepted in society would also not be accepted in a workplace such as an office which is where is seems those models are from.
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This is one of my favourite images from Bluminfield's work. i like the way he's kept a 3 way colour code, as the red in her dress lips and nails really stands out and makes the image pop out and catch the eye easier.
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I like the way he has used flower prop in this image. i think this may represent a personality or feeling of the girl in the picture, the image also looks very abstract in the way her legs are positioned.
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This photograph captured my eye as it is in black and white. The shadows in the image create the detail. and gives us a sense of the dark mysterious mood of the character holding his arm up high.
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This video shows Willi Dorners work at its finest. he shows off his incredibly creative mind through shapes and colours.
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I tried picking random and abstract spaces for my friends to lie in. I think the effectiveness of the image depends on the location of the person and the difficulty of getting to it. For example the image with the girl lying across the tree is the most effective in my eyes as effort has been made.
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To improve this response i should get a group of 6-10 people and tell them to create shapes with their bodies. This is what Weller does and he manages to fit them in small confined spaces swell as maintaining a group structure. The people have matching colours and clothes so it captures an audience.
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In this image i dipped a small textures spounge into a mixture of red and yellow paint. i then dapped the sponge at the bottom of my printed photograph to add vibrance and texture. I think this would of looked more effective of a black and white photograph as the image already has bright colours as well as a texture background. I also sued think wire to scratch the face of he object. The purpose of this was to create censorship so that the image became more mysterious, which allows the audience to become more intrigued behind the character of the subject.
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For this image i firstly printed it out onto photographic paper. This allowed me to have a wider range of things to destroy it with. I poured bleach onto the women face to discolour the image. This made the paper have an undertone of light blue which i thought worked well with the black and white because it was subtle and not overpowering. I then added blue paint onto the women's clothing and hair. I think this helped her receive a more extreme character which could also help the audience to identify with her.
I think i ruined the image by adding the yellow and red paint as it overpowered the subtle tones and created a cold and warm contrast. |
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The wild passionate atmosphere is shown in these photographs as i managed to capture the attitudes of each individual thought their facial expressions. For example the man on the right shows anger and no fear through his facial expression and body language. This strong language expresses the difficulties people are dealing with because of their race and the only way for them to overthrow this is by raising their voices. The march helps people gain more freedom and so it is ironic that within my photographs each individual is trapped in one specific area. However this is
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On the left are the 8 different photographs of graffiti taken in the Leake street tunnel that i used to create my graffiti board. I selected different images and font styles and pasted them onto a plain white background. I think this shows development in my thought process as i have managed to select the most inspiring pictures from large prices of art work and chosen designs that fit well together.
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I first selected he polygonal lasso tool so i could select the area from the image where i wanted to focus on and edit. I made sure that for each different tone of colour on the original image i created a new solid colour onto. This is so that the image looked more realistic and unlike Broadbecks work it was also more detailed.
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By using the average tool it allowed me to create a more realistic picture as the colour tones were more suited from the original picture. The final outcomes of this response therefore look both realistic and surreal as the image colours and tones are realistic however the perfection of the texture and straight lines make the image look more surreal. However this has an interesting effect and the juxtaposition can capture the readers attention.
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