Page 1


THE COMMISSION Unit RPHC4002 The lectures and accompanied seminar programme will help the students Unit Introduction

understand the important aspects of each artists’ visual language, their

Contemporary practising photographers from various contextual

motivation and particular choice of representation embracing the theme

backgrounds make interesting work through a commission. The

of waste. Additionally, the students will be informed about the important

commissioning process is a unique, distinctive and dialogical one. Each

aspects regarding the particular context of an exhibition.

commission presents its own terms and conditions. Successful

B R I E F I N G Indicative Practical Content - Workshops

of briefs. This part of the unit aims to encourage the students to familiarise themselves with the demands and expectations of a commission as part of


their growing professional practice. This unit will introduce you to a variety of technical workshops providing the This unit delivers a ‘commissioned’ project assignment that encourages the

students with knowledge and experience of a range of image-related

development and creative execution of work regarding the theme of waste.

concerns such as the theory and use of alternative image-making processes.

The assignment encourages the students to consider the theme of waste as

The unit will enable you to revise your understanding and further your techni-

an index for the industrial globalized world we live in. Global actions such as

cal printing skills of analogue printing processes.

consumption, recycling and the artefacts of waste have an interconnected The technical workshop programme aims to guide and support your visual

relationship with people at every local level and the theme for this commis-

ambitions, encouraging the development of practical skills and expertise necessary to successfully create visually stimulating photographs. The students are asked to create a body of photographic work using the

This Unit Aims to:

photographic genres of portraiture, environment or still-life.


The photographs for this commission have to be produced in the local Med-

sioned work

way area.

The student have a choice how to approach the subject matter: a set of por-

construct meaning in published form

traits of local people working with waste refusal or waste management could


be created, a photographic piece dealing with discarded objects of the local

ence in relation to viewing of work in published context

area could be produced, fashion photographs using clothing from recycled

The Unit Technical Toolbox :

option – the options are manifold and invite the students to be innovative. The commission unit aims to extend the development of visual vocabulary, whilst promoting an understanding of the social, political and cultural narratives. The resulting images have to be presented in a simulated exhibition form. The student must consider carefully through the vehicle of an exhibitionw hot

Assessment Criteria:

to reach their relevant audience.

Creative Project/Images - 100% (LO1, LO2, LO3, LO4)

Indicative Theoretical Content - Lecture Programme

It is requirement to attain a pass in each of the criteria set out below: LO1) Creative project methodology in the production of commissioned

the unit aims to investigate the theme of waste through the different genres


of portraiture, environment and still-life accompanies the unit.

LO2) Research methods, knowledge and understanding of the context for

The lecture programme considers photographers’ current positions regard-


ing the theme of waste, their concerns, opinions and different visual ap-

LO3) Visual strategy employed in response to a commissioned project.

proaches investigating the work of Richard Wentworth, Pieter Hugo, Yao

LO4) Management, communication and professional skills

Lu, Chris Jordan, August Sander, Melissa Moore, John Stezaker, Richard Prince and many others.





THE BRIEF: TASK 1 You are required to submit a set of images (minimum of three) based upon


your personal conceptual approach to representing the theme of waste. Drawing upon the knowledge of your references, you must formulate your

must select one of the following photographic genres: portraiture, still-life, fashion or environment. There may be political or environmental aspects you may wish to consider, or investigate the relationship between recycling and fashion, or there may be ideas of the worker dealing with waste refusal that interest you. You may also consider ideas of the archive in that some contemporary photographers Yao Lu, ‘Fishing Boats Berthed by the Mount Fuchun’

rework existing archival images as an act of recycling. Whatever area you wish to work, it is paramount to consider the relationship between your visual strategy and how that affects the representation of the


theme of waste.

You are required to select two exhibitions in London and contrast and compare them. You must study both exhibitions carefully and note the similarities and dissimilarities between how the images have been displayed and consider the exhibitions in terms of aesthetics and concepts. Please investigate both exhibitions and examine how each curator haspositioned the images in relation to one another and also in relation to the intentions of the curator and the particular context of the exhibition’s concept/theme. Through the process of your interrogation, you will be able to understand the narrative behind each individual exhibition. Please collect your research and prepare

deadline of the unit submission on the 25th March 2013 at 10am. Additionally, you must select two 2nd year exhibitions and undertake the same research task. Make a comparison between your chosen two student exhibitions, discussing the images in relation to each other and in relation to the chosen theme of the exhibition. Your selected exhibitions could be similar or contrasting in their chosen theme or their visual display style of the images. You must become a ‘critic’ or ‘reviewer’ of your chosen images and engage in the conceptual as well as technical exploration of these exhibitions, paying attention to the particular contexts in which the students have chosen to display their images and what methods they have chosen to do

Kevin Newark, ‘Protoplasm’, 2007

so: pay attention to the sequence of the images, the size of the images, the Kevin Newark, ‘Bag 9’ from the series Protoplasm, 2006

framing of the images, the lighting of the exhibition venue, the press-release, the title of the exhibition, the general feel/atmosphere of the exhibition, the way the audience is adressed and the chosen exhibition venue. Again your individual blog-entry must highlight your ability to critically engage with your chosen student exhibitions. You have to submit a 300-500 words blog-entry by the 25th March 2013 at 10 am that presents your ability to de-

context to engage with an audience.







images in an exhibition. You must choose the context of your exhibition carefully refering to the content of your work and the relevant audience. You must establish an informed framework for commissioned projects, as you are challenged to explore the relevant exhibition context for your visual images. Your exhibition must engage an audience and creatively display your ages included. This is a group exersice and you must work within a team. You must assign each other roles and have a clear group structure that enables you to plan, manage and create your exhibition proposal for the Zandra Rhodes Gallery

As part of your assessment, each group will be asked to ‘pitch’ their proposal to the assesment panel in a simulated manner of a ‘real’ professional situation. The unit therefore presents students with a professional ‘dragons den’ experience in which they must communicate their research, concepts and rationale for their visual solutions of their exhibition proposal.

Andreas Gursky, Untitled XIII, Chimalhuacan, Mexico City. Mexico, 2002

Melissa Moore, Know the Edge, 2004




Schedule Monday 7th January 2013 Tuesday 5th March 2013 and Thursday 7th March 2013 Wednesday 9th January 2013 All Day - Gallery Visists in London (Students) Wednesday 16th January 2013

Wednesday 6th March 2013 10am Guest-Lecture - Sandra Plummer ‘Photography’s Materiality as Deconstructed Form’

Thursday 17th January 2013 Research Development Tutorials (Tracy Ashmore)

Tuesday 12th and Wednesday 13th March 2013 Research Review Support Presentations (Marie-Therese Shortt)

Fridday 18th January 2013 10.30am Lecture: Fashion in the Context of Waste - Ulrich Lehmann

Tuesday 19th and Wednesday 20th March 2013 Colour Printing Support Sessions (Andrew Lacon)

Wednesday 23rd january 2013

Final Summative Assessment - Submission Deadline Monday 25th - Tuesday 26th March 2013

11.30-1pm Research Support Seminar (Marie-Therese Shortt) 2-3.30pm - Research Support Seminar (Marie-Therese Shortt)

Group Concept Development Tutorials - See Timetable for detailed information.

Submission Requirement:

Wednesday 13th February 2013 10am Artist Talk - Jessica Potter 11.30-1pm Research Seminars 2-3.30pm Research Seminars

Your visual references, the concept and your self evaluation - the appraisal is designed to help you place yourwork into context when you present. What were the reasons behind your photographic choices and how do think they support the represntation of the individual in the photograph.

Final Review Part 1 Commission Unit - Landscape and City (Andrew Lacon) TBC Final Review

The ‘Blog’ should be kept up to date and demonstrate your research

Thursday 14th February 2013

initial self-evaluation of the project prior to your shoot.

approach to the project, contact sheets from the workshops and an

Wednesday 20th February 2013 10am Guest-Lecture - Sandra Plummer ‘The Photogram’ 11.30-1pm Research Seminars 2-3.30pm Research Seminars


Wednesday 20th February 2013

Thursday 21st and Friday 22nd February 2012 Colour Darkroom (Colin Jackson) 10am - 1pm - Workshop: Alternate Processes: Photograms 2pm - 5.00pm - Workshop: Alternate Processes: Photograms


Project Deadline (Commission): 25th March 2013



Indicative Reading List. Much of your research for this project is visually based so range widely using the books but also magazines, and other forms of commercial Resources

image publishing in regards to the context of fashion. A general investigation

Silverprint: (Film Supplies)

context or gallery visits to gain a better knowledge of the exhibition context. The following books are only an indication of some you may wish to

Process Supplies: (Film)

consult for your research. This is not a compulsory reading list - most of the appropriate titles are available from the library. Please be aware that you must become more self-initiated regarding your

Bob Rigby: (Pinhole cameras)

chosen subject matter.

Linhof Studio: Walker Cameras:

Campany, D (2007) Art and Photography (London: Phaidon)

Robert White:

Cotton, C (2009) The Photograph as Contemporary Art (London: Thames-


Barnes, M (2010) Shadow Catchers, Camera-less Photography (Merrell) Teamwork:

Sontag, S (1979) On Photography (Various: Penguin) BBC, The Genius of Photography, DVD 2009

Sekonic Light Meters:

Scott, C (1999) The Spoken Image, Reaktion Books

Alternative Processes: Photogravure:

Wang) ford University Press Arden P (2006) Whatever you Think, Think the Opposite (Various: Penguin) Bayley S, Mavity, R (2007) Life’s a Pitch (London: Bantham Press)

Celine-Jaeger, A (2010) Image Makers, Image Takers, The Essential Guide to

Flusser, W (2000) Towards a Philosophy of Photography (Reaktion Books)

Thomas,G (2003) Beyond the Lens: Rights, Ethics and Business Practice in Professional Photography (AOP) Source Magazine Next Level Magazine Hotshoe Magazine Portfolio Magazine (past issues)


Commission Unit - Part 2 - Waste  

UCA Rochester Photography, Commission Project on Waste