Patrick Cornillet painted pictures of concrete buildings with parts missing, he missed out the background and parts like the windows missing. He altered his images in this way to draw attention to parts of the building that you might not look at before. he chose to represent concrete institutional buildings that would normally fall into the background.
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Brodbeck takes photos of plain, forgettable everday buildings, and edits the buildings out and turns the space into a plane colour. he edits the buildings this way to make the images look sureal, and to prove that you cant recall what the buildings look like.
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Genius Loci explores the character and the spirit of a place. Each work is composed of numerous photographs of buildings and landscape forms that are specific to an area. These works balance between documentary and fiction, factual and imaginary spaces, and become keepers of the memory and the spirit of the place. Anastasia uses different buildings from a specific area to represent that area as a whole.
For this task, i went around my neighborhood and took photos of the buildings so that i could edit them into her style. |
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I think my edit fit the brief well, i took photos of buildings around where i live so i could edit them in the style of Savinova. i think i could have experimented with putting the edit in black and white, or trying to add a landscape background to make the edit looks more unique and more like Savinova's work.
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This exhibition showcased Chris Killip's work, where he documented fragments of people's lives which were effected by the deindustrialisation of the North of England through the 1970s and 80s. This retrospective exhibition of more than 140 works, serves as the most comprehensive survey of the photographer's work to date and includes previously unseen ephemera and colour works. His sustained immersion into the communities he photographed remains without parallel. Whilst marking a moment of deindustrialisation, Killip's stark yet tender observation moves beyond the urgency to record such circumstances, to affirm the value of lives he grew close to - lives that, as he once described 'had history done to then', who felt history's malicious disregard and yet, like the photographer himself, refused to yield or look away. Against a background of shipbuilding and coal mining, he witnessed the togetherness of communities and the industries that sustained them and stayed long enough to see their loss.
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Simon Phipps, born in Leeds, is an artist based in London. He is a graduate in sculpture from the Royal College of Art and a renowned photographer of post-war modernist architecture.
He focuses on photographing brutalist buildings because he wants to show how the potential for artistic and social change is embodied in the uncompromising realisations of Brutalism. 'My hope is that some of the architectural vision that drove the modernist architecture of London shines through the photographs in this book,' he says. Brutalist architecture is an architectural style that emerged during the 1950s in the United Kingdom, among the reconstruction projects of the post-war era. Brutalist buildings are characterised by minimalist constructions that showcase the bare building materials and structural elements over decorative design. |
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Annegret Soltau is a German visual artist, born in Lüneburg, Germany. Her work marks a fundamental reference point in the art of the 1970s and 1980s. Photomontages of her own body and face sewn over or collaged with black thread are the most well-known works of the German artist. Since the beginning of her career in the 1970s, Annegret SOLTAU has championed an experimental approach to art, challenging the conventional notions of representation through performance, photography and collage. At the heart of her practice is an inexhaustible search for identity and meaning.
This is similar to the original source- make sure it's in your own words. Which one of her pieces are you responding to. Be more specific. |
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“Visually [the mirror] created an 'in camera' collage, shards of mirror reflecting peoples’ faces within other faces work seamlessly with the paper collage. When looking in the mirror we question our own beauty. At first I thought the video would be about vanity, through the process of shooting the models of the show the narrative very quickly became more about what people find attractive in others and what insecurities they overcome in their own beauty on a daily basis,” director Frank Lebon.
How are you going to be influenced by this work? In this development I want to do something similar to Lebon's work, while also still experimenting with the contrast of black and white images and colour images |
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