#PICBOD is now in hibernation until next spring…

#PICBOD is now in hibernation until next spring…

We are signing off for another year! To celebrate all the work that has been produced the #PICBOD cohort class of 2016 took over Coventry University photo hub. The hub was transformed  and the audience were asked to participate in a number of interactive installations. The students responded to the tasks and developed highly personal bodies of work.  You can see more examples of the different bodies of work on the G+ community page - it would be great to hear your responses and thoughts!

Keep an eye on the twitter feed and we will let you know when we are up and running again early 2017.  You can also check out our other open courses Phonar - @CU_phonar and Community Culture and Identity - @ComCultureID

Images ©Niall O’Connor

Visualising the Other

Visualising the Other

In 'Visualising the Other' we discussed the relationship between early photography and colonialism, knowledge and power. Photography as a tool for objectification and photography as a tool for Orientalism. We looked at early attempts to represent the ‘other’ and how contemporary practioners have reclaimed their own identity. Key words to think about: The ‘Other’ - Objectification – Orientalism – Colonialism – Post-colonialism – Reclaiming identity – Power & Ideology. Click on the image below to see the lecture slides: Screen Shot 2016-05-06 at 5.36.55 PM           This week's task -  A dialogue with a stranger Due to the timings of this module, the task that corresponds with this session was set last week. Please see last week’s post.   List of relevant Photographers/Artists discussed: Paul Gaugin (1899) Two Tahitian Women Edward Curtis (1903/4) The Vanishing Race Irving Penn (1960s-1970s) Worlds in a Small Room Al Jolson (Actor) (1886-1950) Ingrid Pollard (1989) Seaside Series (1992) Wandsworth Heritage Dave Lewis (1995) Responses to the Haddon Photographic Collection Yinka Shonibare (2010-12) Nelson’s Bottle Kara Walker (2014) A Marvellous Sugar Baby   and some further reading... (Ed) Behdad, A. & Gartan, L. (2013) Photography’s Orientalism. New essays on Colonial representation. Getty Foundation (Ed) Edwards, E. (1992) Anthropology and Photography 1860-1920. Yale University Press. (Ed) Hight, E. & Sampson, G. (2002) Colonialist Photography Imagining race and place. Routledge Franz, F. (1951) Black skin, white masks. Editions de Seuil Gilroy, P. (1991) There Ain’t No Black in the Union Jack: The cultural politics of race and nation. Chicago press. Pinney, C. (2011) Photography and Anthropology. Reaktion Books (Ed) Pinney, C. & Peterson, N. (2003) Photographers Other histories. Duke University press. Pollard, I. (2004) Post cards home. Autograph Said, E. (1976) Orientalism. Readon Publishing Catalogues Art and Empire (2015) Tate In Visible light (1998) Museum of modern Art Oxford The impossible science of being (1995) The photographers Gallery Native Nations Journeys in American Photography (1998) Barbican   Further references and resources are on the end of the powerpoint slide presentation and will continue to be disseminated through  @picbod and G+ community page.    
Mediated Intimacies

Mediated Intimacies

We were joined today by guest lecturer Dr Adrienne Evans, Principal Lecturer and convener on MA Media Communications at Coventry University who gave a lecture on mediated intimacies. She discussed gender representation and media intimacies, focusing on privacy, sexism and consent in a digital age. Listen to the audio recording of this session and check out the suggested supportive reading to add context to the lecture. Key words to think about: Gender – Representation – Visibility – Networked Intimacies The audio for the lecture can be found here:   This weeks task - 'A Dialogue with a Stranger'  Post on G+ community page by May 5 for peer to peer feedback
In preparation for next week’s session Visualising the ‘Other’, you are asked to record a dialogue with a stranger. This task needs to be practice-based but can be any lens-based media or an audio piece. It needs to represent and/or respond to the dialogue with the stranger. Experimentation is encouraged. What medium are you going to use? Colour, Black and White? What format are you going to use? What presentation may support the portrait? Do you need to make more than one image? How did you negotiate the story with the participant?
Suggested reading prior to next week's session:  Evans, A. (2015) Diversity in gender and visual representation: a commentary in the Journal of Gender studies. 24:4, 473-479 Routledge. Taylor & Francis Gill, R. (2009) Mediated intimacy and postfeminism: a discourse analytic examination of sex and relationships advice in a women’s magazine. Discourse & Communication. Vol 3 (4): 345-369 Sage Publications Gregg, M. (2011) The Break-Up: Hardtand Negri’s Politics of Love in Journal of Communication Inquiry. 35 (4) 395-402 Sage Publishing http://www.cost-ofliving.net/tubecrush-privacy-sexism-and-consent-in-the-digital-age/   Further references will be disseminated through @picbod and G+ community page    
Identity and Self-portraiture

Identity and Self-portraiture

Self-portraiture was the central theme for this week's sessions.  We discussed self-portraiture in the context of gender, politics, constructing identity, challenging stereotypes and as photo-therapy. We looked at primary artists who have influenced contemporary thinking about self portraiture and some contemporary practitioners who build on these ideas. We discussed the intentionality of the work and discussed the appropriateness of self portraiture. Key words to think about: Performance – Embody – Self Portraiture – Selfie – Identity – Phototherapy – Stereotype – Role play Click on the image below to see this week's lecture slides: Screen Shot 2016-04-22 at 4.19.46 PM           This week's task - A ‘Self Portrait’ Portrait (Post on G+ community page by April 27 for class feedback)
Building on the class discussions your task is to make your own self portrait. This brief can be interpreted as broadly as you like. Consider what point you would like to make and how best to perform that role. Experimentation is encouraged. What medium are you going to use? Colour, Black and White? What format are you going to use? What presentation may support the portrait? Do you need to make more than one image? Whose image is it? How did you negotiate the story with the participant? What are you trying to reveal in the image?
List of relevant Photographers/Artists discussed: Juno Calyso (2015) Honeymoon Suit Claude Cahun (1912-1932) Self Portraits Catherin Opie (1993/4) Self Portraits Jo Spence (1979) Beyond the Family Album Jo Spence (1981-82) Remodelling Photo History Jo Spence (1982-1986) The Picture of Health Frida Kahlo (1944) The Broken Column Sam Taylor-Wood (2001) Self Portrait in a Single Breasted Suit with Hare Elina Brotherus (2009-14) The Annunciation Cindy Sherman (1977-80) Film Stills & (2008) Society Portraits #Untitled Gillian Wearing (2003) Album Hans Eijkelboom (1970’s) Family Portraits Trish Morrissey (2001-04) Family Portraits Nicki S Lee (1997-2001) Projects Samuel Fosso (1970’s) Self Portraits Shadi Ghadirian (2008-09) Self Portraits Amalia Ulman: (2014) Excellences and perfections Tracy Emin (1998) My Bed Tim Soter (2001) Self-Portrait Ben Eldin (2016) Self Portrait Grayson Perry (2015) Who do we think we are?   and some further reading... Bright, S. (2010) Auto Focus. Thames & Hudson Doy, G (2005) Picturing the self: Changing view of the subject in visual culture. I. B. Taurus Hall, S. (1997) Representation: cultural representations and signifying practices. London Thousand Oaks, California: Sage in association with the Open University. Miller, D. (2015) Photography in the Age of Snapchat. RAI Olin, M. (2012) Touching Photographs. University of Chicago Press Moorhouse, P. (2014) Cindy Sherman. Phadion Publishing Spence, J. (1986) Putting myself in the picture: A political personal and photographic autobiography. Camden Press.   Catalogues (2010) Identity & Identification. Black Dog Publishing. London (2016) Performing for the camera. Tate publishing   Further references and resources are on the end of the powerpoint slide presentation and will continue to be disseminated through @picbod and G+ community page. Featured Image
Relationships and Intimacies

Relationships and Intimacies

This week focused on Relationships and Intimacies. We were joined by artist George Saxon who discussed his practice, specifically his body of work A record of Undying (2013), which was created in collaboration with his late partner D. John Briscoe and uses film and photography to depict death and dying and Saxon’s response to loss. Key words to think about:  Intimacy - Personal – Knowledge – Representation - Power – Authority – Performance – Privacy - Collaboration Audio from his talk can be found here: In preparation for Saxon’s talk the students were asked to research around the following artists: Tina Barney: (1983-87) Theatre of manners Larry Sultan: (1982-91) Pictures from home Elinor Carucci: (2004) Mother Emmet Gowan: (1970’s) Edith Richard Billingham: (1994) Rays a Laugh Nicholas Nixon: (1980) Family Pictures Sally Mann: (2010) Proud Flesh Ledare, L. (2009) The Mother Project Nan Golding (1986) The Ballard of Sexual Dependency Briony Campbell (2011) The Dad Project Belinda Whiting (1995) Sophie’s story   ...and answer the following questions in small groups, feedback to the group and using #picbod to tweet discussion points:
  1. What could be the benefits and drawbacks from an insider perspective?
  2. What could be the ethical issues when documenting your nearest and dearest?
  3. How could the choice of camera effect the kinds of images created?
  This week's task - A Familial Portrait  (Post on G+ community page by April 21 for class feedback)
In preparation for the artists talk today you were asked to research a number of artists who have made substantial bodies of work in collaboration with friends and family. You were asked to pose questions about the bodies of work in relation to ethics, benefits of working with someone you know and potential drawbacks of working with someone you know. In addition to which you were asked to consider the effects of the choice of camera may have on the final body of work. Your task is to create an image or series of images of someone you know well, either a family member, partner and close friend. The image needs to explore the space in the personal relationship. Consider how this could be visually illustrated? Experimentation is encouraged. What medium are you going to use? Colour? Black and White? What format are you going to use? Do you need to make more than one image? Whose image is it? How did you negotiate the story with the participant?
  and some further reading... Bright, S. (2013) Motherhood Family Politics (2015) Photoworks: Photography, Art & Visual Culture. Issue 20 Holland, P. Spence, J. (1992) Family Snaps: The meaning of Domestic Photography. Rose, G. (2012) Doing Family Photography: The Domestic, the Public and the Politics of Sentiment. Ashgate.   Further references and resources are disseminated through @picbod and G+ community page  Featured Image: George Saxon
Nude and Naked

Nude and Naked

This week we looked at framing the discussion around Nude and Naked, we discussed historical euro-centric Christian theories of representation of the body. Challenging notions of power and authority, we looked at specific artists/photographers and how they respond to and challenge notions of representing the body. Key words to think about: The Body - Nude – Naked – Representation - Power – Authority – Commodification   Click on the image below to see this weeks lecture slides: Screen Shot 2016-03-10 at 5.31.20 PM This weeks task -  A ‘Revelatory’ Portrait (post your responses on the G+ community page by 16th March for feedback and discussion)
We have discussed nude and naked in the context of reclaiming representation. We have looked at some classical photographers who challenge notions of representation and contemporary photographers who use the body to comment on the body as an object, representation and commodification. For the students at Coventry University you will need to work with a class mate, for our remote students please work with someone you know. Working in pairs your task is to make an image of your partner, that reveals something about them. This brief can be interpreted as broadly as you like. It could be anything from a favourite food, idiosyncratic habit, what they like to do in their spare time. The challenge is to navigate a successful way of representing this in the image. Experimentation is encouraged. What medium are you going to use? Colour, Black and White? What format are you going to use? What presentation may support the portrait? Do you need to make more than one image? Whose image is it? How did you negotiate the story with the participant? What are you trying to reveal in the image?
*This task does not require nudity   Take a look at the work of... Jenny Saville & Glen Luchford: Close Contact 1995-6 Melanie Manchot: Gestures of Demarcation 2001 Robert Maplethorp: Nudes Mid 1970’s-late 1980’s Jemima Stehil: Strip 2000 John Coplands; Nudes Circa 1984 Manabu Yamanaka: Gyahti series circa 2000 Steve Tynan: Underpants late 1990s-early 2000 Jessie Darling: Photoshop 1(Healing brush, clone stamp, paint bucket) Photoshop 2 (free transform, Difference/Exclusion: tolerance: 60) 2013 Erica Scourti (2014) Body Scan   and some further reading... Berger, J. (1972) Ways of seeing. Penguin Books. Shilling, C. (2005) Contemporary social theory. 2nd Edition SAGE Publishing.   Further references and resources are on the end of the powerpoint slide presentation and disseminated through @picbod and G+ community page Featured image ©Jenny Saville.