Before going into any detail on my own assessment pack (in a separate post) I want to start with a little wider context on photographic presentation.
As I have probably mentioned frequently in these pages, Gesture & Meaning is quite an eclectic course, being made up of four genre-specific sections followed by two academic assignments. The challenge for assessment presentation is how to present such a diverse array of projects in a coherent manner.
Helen my tutor suggested looking at photographic presentation in other projects that contain a selection of different materials, to see if there were ideas or directions that I could pursue in some way.
Three projects sprang to mind: Eamonn Doyle’s End, the catalogue that accompanied the 2016 exhibition of evidential photography ?: the Image as Question and the Foto/Industria 2013 catalogue box. Each, in different ways, dealt with the point of collating multiple items into a coherent whole.
Eamonn Doyle’s End
The exhibition of Doyle’s trilogy of Dublin projects, I, ON and End was the highlight of my visit to Arles this year. It featured a breathtaking array of presentation methods, materials, colour schemes, sizes and sounds, turning the photography exhibition into more of a multi-sensory experience. It made me realise that there are many possible ways of presenting photography and 90% of exhibitions play it rather safe.
I ordered the book that specifically covered the most recent project, End, as soon as I got home. It’s not really a book as such, but I’m not quite sure that the right word is! It’s a kind of a boxset of photographic artefacts. It comes in a white leather-style slipcase, covered in yellow cellophane.
The contents include concertina fold card prints, pamphlets, posters, and even a translucent tracing paper-esque sheet that wraps around a 7″ single (haven’t seen one of them in a while). The prints and pamphlets are slim enough to mount and frame as pieces of art without dismantling them – as I did for my favourite image.
It’s a hugely impressive piece of work, and really plays with what an ‘art book’ is, or can be.
Thinking of how (or whether) to apply this approach to my own G&M assessment presentation: I concluded that this kind of diversity of material works really well for Doyle as he has the strong backbone of coherent content (the streets of Dublin) running through the work. My challenge is that the four photographic projects are really quite different in genre, content and tone – so applying an eclectic presentation approach might actually make the whole thing just too incoherent.
I came away from examining this particular work with the sense that there needs to be a strong line of consistency in either the content or the presentation method. I will return to this point.
?: the Image as Question
This exhibition at the Michael Hoppen Gallery in London was on evidential photography, an extremely broad and flexible subject – the kinds of images included reportage, forensic, investigative, judicial, astrological, even record sleeves. The catalogue that accompanied the exhibition was particularly interesting – so much so that I bought one.
It’s presented in the form of an evidence folder, with all the component parts inside held in place loosely by an elastic spine. It means that one can remove or order the contents in an almost infinite number of combinations. It also means that, like the Doyle work above, one can easily remove and frame an individual print (again, I did).
In contrast to the Doyle boxset, this has an eclectic set of contents in terms of subject matter. Like the Doyle set, it uses different materials and sizes of print, in this case tailoring each artefact to the content and format of the original image. So it’s kind of a hybrid format in this sense.
What makes this eclectic mix of both inner contents and presentation formats really work is the ‘wrapper’ – the conceit of treating all the diverse components as items of evidence. The existing cultural code of the ‘evidence folder’ is exploited to provide a veneer of consistency and coherence to what would otherwise be a bit of a mish-mash.
Again, though this execution is interesting and it ‘works’ for this set of images, I don’t believe that the contents of my four photographic assignments can really be crowbarred together into an arbitrary category like ‘evidence’ as used here, and even if I did go down that route, I’m not sure what the unifying theme and therefore ‘container’ would be.
A couple of years ago I bought this boxset of booklets when I was researching workplace photography. It was the catalogue for a photographic festival that I hadn’t attended (nor even heard of to be honest) in Bologna in 2013.
The catalogue is 17 individual square booklets presented in a grey shell box. The spines are all exactly the same thickness and designed with a small black bar that steps down the set like a staircase. The colour subtly shades from yellow to green and back again. The set is clearly designed to work beautifully together when filed in the box.
The contents are very eclectic though; the loose connection is that they are all somehow related to business, but they range from ad campaigns to company reports to corporate portraits to factories to offices.
I really like the format, as I find it gives a strong, professional backbone of consistency to what is in fact quite a diverse set of exhibitions.
Though they are physically quite different, this ended up being the strongest parallel to my own implementation. It marries very eclectic content to a highly standardised and consistent set of design principles – not just a surface ‘wrapper’ like the evidence set above, but a design style that persists throughout every one of the 17 booklets.
What I took from this is that if the overarching design ‘rules’ – layout materials, colours, typefaces and so on – are both consistent and professionally done, this provides the connecting thread to compensate for the component projects themselves being quite differentiated.
Doyle, E. (2016) End. Dublin: D1
?: the Image as Question (exhibition) Michael Hoppen Gallery, London autumn 2016
Various (2013) Foto/Industria: Bologna Biennale 01 Bologna: Contrasto