My tutor feedback is shown below and my comments in italics.
This was via a zoom meeting with my tutor posting his feedback to my critical evaluation.
Assignment Four Submission:
I previously commented on the 1975 'New Topographics' exhibition in exercise 2.3. (Linked Button). I described basic details about the exhibition, photographers and my impressions of their work. Once I'd completed the exercise, I wanted to delve deeper into their work, to understand more. Assignment 4 was an excellent opportunity to revisit the subject. I, therefore, chose to research 'New Topographics' photographers Bernd and Hila Becher and Lewis Baltz as a starting point. I reviewed Ansel Adams for contrast and then moved forward ten years to examine if this style of photography had remained or evolved. Finally, onto modern-day practitioners Mishka Henner and Edward Burtynsky for an informed conclusion. regarding the longevity of their class and how this can influence my projects in the future.
Artists Statement: It's easy to look upon the beautiful but not so the bland, lifeless objects around us. We have to look with different eyes to see beauty in these things. Everything has its place in this world, with no exceptions. My aim with future projects is to look into what's considered bland or uninteresting and find the beauty in them.
Introduction: Before starting the Landscape course, I'd never taken an interest in landscape photography. Reflecting on what I have photographed in the past indicated my interest in pattern, shape, tone and groups. For example, I photographed cobblestone pavements or shop facades in some initial exercises in 'Expressing Your Vision', revealing that I produced work on a theme similar to artists like Lewis Baltz and Robert Adams. These factors, the connection with nature and the environment, drew me into this subject. For this reason, I have chosen to write about 'New Topographics' in 1975, moving forward ten years, then asking, can the term 'New Topologies' also be applied to modern-day artists?
Researching the Assignment:
My primary research focuses on William Jenkin's 1975 New Topographics exhibition entitled 'New Topographies', observing what made their approach to landscape so radical and different to established landscape photographers.
Critical Evaluation, comparisons and contrast:
The artists who exhibited in 1975 took a different viewpoint on landscape photography, choosing not to follow the traditional route and rules applied to previous artists. Probably the most recognised and revered landscape photographer of its time, Ansel Adams, is famous for producing grand vistas and picturesque scenes. Adams was meticulous in his preparation, using his creation 'The zone System'.
On the other hand, in 1975, new topographical works were considered bland, creating monotonous images of blank walls, shopping malls and home complexes. By who? I greatly admire Ansel's Adams’ body of work for its creative and technical aspects and was initially sceptical when reviewing the body of work produced by the 'New Topographics'.
At this time, society became more in touch with environmental issues prompting a change in the concept of landscape photography. These new topographical photographers are at the forefront of this movement, demonstrating a man-altered landscape, in contrast to traditional landscape photographers who concentrated on highly detailed picturesque vistas.
I observed that the photographers recorded scenes of everyday life and surroundings or typographies of subjects not typically considered to be photogenic. Water towers and grain silos by Bernd and Hila Becher wouldn't usually be a subject of interest for photographers at this time. Their format was very simplistic, which initially seemed uncomfortable to first-time viewers.
Lewis Baltz, another photographer who exhibited at the 'New Topographics' exhibition, chose to take photographs of brick walls, shopping malls, factory buildings and doors to represent his impression of humanity invading the landscape. In an interview by Matt Witkovsky held in the Archives of American Art, Witkovsky asked the question? " Very interestingly, though, in the Prototypes at least, you eliminate the human figure."? Baltz replied, "I don't know when I had this little epiphany, but if you have a human subject, the person is in the picture. Right? And an uninhabited picture has the possibility of the viewer projecting him or herself into the picture. That interested me. missing quote marks – this is a citation, need to reference
In this case, I agree with Baltz that the omission of people from his images help encourages the viewer to think more about the surroundings. Placing themselves into the image creates a more immersive condition when experiencing the viewpoint. Concentrating on surroundings that are not natural, he continues that the sky is the only part of the photograph that is not man-made.
My evaluation of his style compared to similar projects I have completed. I have always been aware of trying to put figures in the frame, believing that the image would benefit if I had at least one subject there. In hindsight, my photo's message would have improved if I had used Baltz's philosophy. More than style – think of NT as ethos/manifesto, cite this
Discovering a much more detailed methodology in their typography, as an example, the simplicity of Robert Adam's photography demonstrates an alternative theme to traditional landscapes. Observing Adam's mobile homes series in Jefferson County, Colorado. Contrasting his images to his predecessors, such as Ansel Adam's, opens up a juxtaposition of what landscape photography was and how the viewpoint of environmental landscapes has changed. Robert Adams has written on his methods
Photography has and always will push the boundaries of experimentation; this is the case with the 'New Topographies' movement. After more detailed examination, their landscape photography reveals more layers to the images, telling about man's intrusion on the natural world and isn't as apparent when first viewed. The Oxford Languages Dictionary defines topography as "the arrangement of the natural and artificial physical features of an area." Importance of the man-made Understandably, as a result, these artists' original reviews were not favourable compared to the traditional landscape photographers of this time.
As stated at the beginning of this assignment, when reflecting on my work, I have discovered similar themes running through them. For example, I recently captured images showing various tracks in the Pindan (red soil) approaching Jologo beach, where I live and work. The erosion and impact on the area's plant life so much the Government set up a task force to save the environment.
My series intends to look simple but with an underlying message about the landscape. I spoke earlier in this review about using the lack of people in the images. My images are an example of when I've experimented with this idea taken from Lewis Baltz. I'm positive the images have a more significant impact than if I'd included people or cars in the exact location to deliver my message.
I feel my thoughts about these photographers were the same as those who visited that exhibition in 1975. Upon first viewing, I questioned what the photographers were trying to say. It took me some time to truly understand which direction their images were taking me. After much thought and consideration, I concluded that there was much more to their work than I had first thought.
My secondary research moved forward for ten years, observing artists in the mid-80s. Edward Burtynsky's produced a series of images in 1985. Burtynsky's style of photography was very akin to the work of the New Topographics relating to environmental issues and man's effect on the landscape.
His 1985 work, 'Homesteads, demonstrates this theme by showing suburban housing in an area of British Columbia, Alberta, Montana, or upstate New York and depicting scenes of local homesteads, all shot from the same viewpoint. Relating to man's balance with the surrounding landscapes and its damaging consequences.
Comparing his work to new topographical works ten years earlier showed parallels within their theoretical application of each subject. His images follow the same style and focus more on the photograph's purpose of man's impact on the environment. This recurring theme in much of his work reinforces the idea that topographical photography has continued to be present.
I would consider the last five years to be modern-day photography, so with this in mind, I recalled another piece by Burtynsky entitled 'Urban Mines'. Burtynsky quotes in his artist statement: "I wanted to build a branch off the main core of my work and not locate it strictly within the realm of the landscape. I wanted to find the next place."
It is interesting to note the difference between this work and the previous one. Images of discarded oil drums or oil filters fill the framing of the pictures, and the red colours of rusting materials dominate. Would I consider this to be a topographical landscape?
In this case, I agree; although not reminiscent of his previous work, I believe it still presents manufactured impacts on the environment.
As I wrote this essay, Edward Burtynsky announced a new work entitled 'In the wake of Progress'. A celebration spans over 40 years of work in photography. Although limited information was available at the time, the released images informed me this exhibition follows the same theme as 'Urban Mines' imagery using photographs of pipes, roads and oil processing factories to highlight their impact on the earth. It is a sad fact that, unfortunately, after 40 years, he still questions man's destruction of our biggest commodity on earth, which is the earth itself.
To review this research and apply the question of whether today's artists are the same as their predecessors brought me to the work of Mischa Henner. Check typo
According to Mischa Henner's quote, "Photography is nothing – it's life that interests me. • Photography is the beauty of life, captured". (Henner book date).
Mischa Henner, a creative artist using various mediums, born in Belgium but living in the UK, is best known for appropriating images, for example, from Google Maps and producing his artworks from them. Using mainly digital media, Henner uses digital technology to convey political, environmental and geographical points of view.
The connection to the topographical movement is his typography and topology, visualising images of airports, waste sewage plants or wind turbines reminiscent of Bernd and Hila Becher's typology. Henner does have an environmental message to deliver in these works. For example, in Fields 2012/13, his appropriated satellite images show US oil fields, or Lybian Oil Fields 2011 also show oil fields from above.
Henner makes us aware of today's environmental issues in a simple but direct way. By displaying images using technology accessible to everyone but sourcing locations that wouldn't be accessible under normal conditions to the viewer and drawing you into their beauty only to discover the harsh truth underlying.
I agree with Henner on the concept of recording life. Still, I can't entirely agree that photography is nothing, considering a great deal of his work involves appropriating others' imagery for his artistic requirements. However, I agree Mischa Henner's work is relevant in today's climate but incorporates images that could mirror 'New Topologies' in nature.
Conclusion:
Completing exercise 2.3 in this course and comparing these artists with my aims and vision of landscape photography brought similarities to their work in the 70s. Fifty years after their exhibition, the world has the same issues: the earth's resources depleted, the landscape contaminated, overcrowding and minimal action to resolve these issues. I believe this could be applied to the artists in 1975 and the 80s as it is today and mirrors the same message.
I've constructed my critical review on whether the artisan approach can be applied the same today for its creators. Over fifty years, I would deduce that the answer to this question would be yes. Demonstrating meaningful statements in their work, all these artists interpreted their viewpoint of the damage subtly caused to our environment. Their distinctive approach is not in a conventional landscape style but still managed to evoke an emotional response from the viewer.
I am reviewing my practice and how I can use their examples to improve my understanding of themes and styles in landscape photography. When thinking about my landscape photography, I assumed they should follow the traditional rules of scenic landscape views. Trying to follow this approach was difficult for me to achieve a satisfactory result. Researching and discovering that I don't have to follow the standard style has helped me find my voice.
This assignment has been beneficial to me to look further outside and experiment more in future than following the expected route.