Category: Project 4

20200115-Sarah Pickering’s Public order

Road-Block-River-Way_F_2200px
Fig 1 Sarah Pickerings Public order gallery River Way (Roadblock), 2004
20200115-village
The long road
20200115-PB Order
Caught in the middle

At times I find I’ve been privileged to be able to work in some unusual areas throughout the years. The two images above have for me the other side of the coin Sarah mentioned within her project. These show the action within a desolate village location where hers show the emptiness within them. Having been through and worked in places like her images I can fall well understand what it is she is capturing. It’s interesting to see the emptiness however to feel the anticipation of what is around the corner waiting for them!

  • How do they make me feel?
    • I kind of like them, as I’ve mentioned above its the anticipation of what waiting around the corner effect.
  • Is Public Order an effective use of documentary or is it misleading?
    • Had I not known what these images where about it may sway me to say yes, but it’s having an understanding of what is captured within the images, roadblocks empty streets, key locations (jobcentre, night club) areas of tension, old tyres and objects that have been thrown. The images that may confuse people are they facades of houses/buildings and empty rooms etc unless you know what they are.

      Bibliography

      (n.d.). Sarah Pickering Public Order. Retrieved January 15, 2020a, from https://vimeo.com/11931505 [assesed 20200115]
      (n.d.). Public Order – Sarah Pickering. Retrieved January 15, 2020b, from https://www.sarahpickering.co.uk/works/public-order/

 

20200115-Project 4-The gallery wall – documentary as art

 

Dandy Street.jpg
Fig 1 taken from Paul Seawright’s Sectarian Murders gallery

When I look at any image where I know some of the backgrounds and what has gone on it that particular part of the world, I start to look closer as Paul mentions in the Vimeo clip about taking no more than 15 seconds and you turn the page and move on. I hadn’t heard of his work but the word “Sectarian” straight away resonated with me. Partly because Belfast is somewhere, I’ve been before.

The text above mentions the detail of what happened. The motorcycle, the street corner. You can then visualise the youth standing there minding there own business and then bang the noise of the submachinegun going off!

Had the images shown bodies or even items of the deceased I would say it is documenting the findings as such. These I feel show an emotional side to it. Reading into the picture and the text and place yourself at the scene. Of which they also document what happened just minus the victims. It is like a crime scene without the body. A photo I feel no matter what documents something whether it is a place in time or moment. Surely it is the same. It is how the individual looks at something as we know art is subjective from one person perspective to another. Had these images not had the text to them id find them harder to look at searching for any connection, with the text you see and understand what he is showing.

Bibliography

Murder, S., & Seawright, P. (1970, January 1). Sectarian Murder — Paul Seawright. Paul Seawright. Retrieved January 15, 2020, from http://www.paulseawright.com/sectarian
(n.d.). Paul Seawright’s Sectarian Murders. Retrieved January 15, 2020, from https://vimeo.com/76940827 {assesed 20200115}