Curatorship Task
In this task I created a mock exhibition centred around three primary photographers, or in my case two photographers and one curator. I began with a presentation of some of my main influences, that would all go on to be my focuses for the rest of the task. I followed this up by creating a leaflet for the exhibition, that highlighted the central themes, works and thesis behind it.
Photography Heroes Presentation
Mind Map
I began my research process into abstract fashion photography with a catalogue of the various works of Rei Kawakubo, highlighting her creative process and influences. In this book there were references to several photography series that she had curated and a short segment on a short-lived Comme des Garcon off-shoot magazine called 'Six'.
This provided my first major branch. I researched the short lived magazine and found that the original prints are now incredibly rare, going for around $5000 (for the complete set), however in 2015 an app was released featuring interactive collages and mash ups of shots from the magazine. This app known as 'Moving Sixth' was removed after a few months but some of the media is still available in various forms, so I scrounged a cohesive impression of the 'Six' project from these segments. The principle of 'Six' became the mission statement for my curatorship task, an illustration of the central conceit of my chosen topic. In her project Kawakubo had sought to take fashion photography in an abstract direction, one that explored ideas of a collective unconsciousness, dreamlike worlds and the 'in-between' world that had been her primary influence throughout her career. The difference being that in 'Six' Kawakubo flipped the focus to make the clothes and models a vehicle for the themes (captured through the photographic medium) as opposed to the typical fashion approach, that placed the emphasis in reverse.
Following on from this focus I decided to take the tone of 'Six' and look for congruent elements to craft a cohesive exhibition. I was immediately reminded of the more dreamlike and distorted works of Erwin Blumenfeld. His mastery of darkroom editing had translated to an uncanny ability to create strange, hazy images that played with light and reflection in a way that epitomised the 'in-between world'. He also had experimented with partially obscuring the subject of a photograph in a way that played with their silhouettes in a manner that enhanced the image in an incredibly unique manner. In essence he both encapsulated much of Kawakubo's vision as well as pushing it further.
Finally I had a very clear idea of whom I would choose to complete the set. Nick Knight had been a close collaborator of Kawakubo's, as well as a legendary fashion photographer (who had carried the torch of Blumenfeld) in his own right. Like Blumenfeld he has a knack for accentuating silhouettes, in a brilliant manner. Unlike Blumenfeld however, Knight fully utilises modern technology, creating elaborate diorama's that are only achievable with modern editing techniques. Knight represents the progression of Blumenfeld's ideas and Kawakubo's vision. Together they form the perfect trifecta and cohesive vision for what fashion photography can be.
This provided my first major branch. I researched the short lived magazine and found that the original prints are now incredibly rare, going for around $5000 (for the complete set), however in 2015 an app was released featuring interactive collages and mash ups of shots from the magazine. This app known as 'Moving Sixth' was removed after a few months but some of the media is still available in various forms, so I scrounged a cohesive impression of the 'Six' project from these segments. The principle of 'Six' became the mission statement for my curatorship task, an illustration of the central conceit of my chosen topic. In her project Kawakubo had sought to take fashion photography in an abstract direction, one that explored ideas of a collective unconsciousness, dreamlike worlds and the 'in-between' world that had been her primary influence throughout her career. The difference being that in 'Six' Kawakubo flipped the focus to make the clothes and models a vehicle for the themes (captured through the photographic medium) as opposed to the typical fashion approach, that placed the emphasis in reverse.
Following on from this focus I decided to take the tone of 'Six' and look for congruent elements to craft a cohesive exhibition. I was immediately reminded of the more dreamlike and distorted works of Erwin Blumenfeld. His mastery of darkroom editing had translated to an uncanny ability to create strange, hazy images that played with light and reflection in a way that epitomised the 'in-between world'. He also had experimented with partially obscuring the subject of a photograph in a way that played with their silhouettes in a manner that enhanced the image in an incredibly unique manner. In essence he both encapsulated much of Kawakubo's vision as well as pushing it further.
Finally I had a very clear idea of whom I would choose to complete the set. Nick Knight had been a close collaborator of Kawakubo's, as well as a legendary fashion photographer (who had carried the torch of Blumenfeld) in his own right. Like Blumenfeld he has a knack for accentuating silhouettes, in a brilliant manner. Unlike Blumenfeld however, Knight fully utilises modern technology, creating elaborate diorama's that are only achievable with modern editing techniques. Knight represents the progression of Blumenfeld's ideas and Kawakubo's vision. Together they form the perfect trifecta and cohesive vision for what fashion photography can be.