- Thesis outlinef

What do you want your thesis to be about? Introduction (500 words)



Three strands of thought could be considered in my practice. Researching the photographic medium, but also the idea of 'seeing' in itself, making the (gay) cinematic language my own, and LGBT issues/identity. In the thesis I would like to investigate further on the above mentioned lines of thought and by doing so reflecting and relating it to my own practice and methodology.



In the first chapter I will do this by first looking at my past and current work, I will divide this chapter in three parts. First I will talk about my photographic practice and work. Then I will address my use of video and my interest in gay cinema, and lastly I will formulate how these two have overlapping thematically and aesthetically.

In chapter two I will look at the broader context of my work, how it relates to other practitioners/writers. This will be divided in two parts. In part one I will look at the photographic medium, and the artists in that field that I feel I related to, for example Wolfgang Tillmans. In part two I will look at gay cinema, what gay or queer cinema is but also put the work of these Avant-garde artist in a specific context of the time the work was made, and how their work has been absorbed by the mainstream, and in what way I can make a different approach but using bricolage to appeal to certain audiences. (Kenneth Anger, Gregg Araki etc.)

In the final chapter I will make a conclusion/reflection on the development of my process throughout the year.

Chapter one, past and current work (2000)

Photography:

To understand my current methodology and work I have have to look back at my previous graduation project. In 2012 I graduated from the Academy of Fine Arts in Maastricht where I studied Visual Communication with photography as main focus. For my graduation project I made an installation and photo book dummy with digital and analogue photo’s, incorporating self-portrait collages together with found footage from strangers’ family albums, microscopical images created in collaboration with a cancer research institute in Utrecht, pictures of the sun, the moon as well as abstracted images of taken in the surroundings of my own family’s home. 

Here I did not only want to tell a personal story with fragments of different kind of photographic material, I also was thinking about what a photograph is and how it can communicate. 
From then on through this project my photographic practice focused mainly on the collection of different types of photographic images.

From this point one single images started to be less important to me than the overall combination of images. Through careful selection and combinations, I aim to create new analogies between the different materials. 

Therefore my work should always be presented as a ‘table’ not as a ‘tableau’. The idea of the working table and the open possibility of changing the order of the images therefore also means that I do not work in fixed series or projects with my photographic images.

This idea of the ‘table’ is rooted in the work of Aby Warburg. Whose Mnemosyne Atlas “[…] profoundly modified the forms – and therefore the content – of all ‘cultural sciences’ or human sciences, but it has also incited a great number of artists to completely rethink – as a collection and a re-montage, a piecing together – the modalities according to which the visual arts are elaborated and presented today.” (Didi-Huberman, p.18). His aim was to outline the Nachleben of certain gestures and motives found in antiquity that reappear later in the Renaissance and later time periods. The term Nachleben somehow encapsulates that there are traces that remain over time, patterns that reemerge in different stages of culture. More importantly he created a denkraum, a space of thought where one thing is connected to another.

Video:

Chapter two, relation to a larger context (2000)

Photography:

Gay cinema:

"To modern, emancipated audiences, Kenneth Anger’s Fireworks hardly seems like the milestone of gay liberation that its revered status as the first artistic gay film would suggest. By the same token, contemporary audiences unattained to the significance of works such as Flaming Creatures and Scorpio Rising tend to find the former purely incomprehensible and the latter entertaining pop-rock camp — oblivious to the factors that made these films so scandalous within the context of their times." (Stevenson, p. 31)

Bibliography:


Photography:

Silverman, K. (2015), The miracle of analogy, Stanford University press
Discussion @ MoMa about exhibition "Ocean of Images" about the major changes in image culture in the past 30 years:

About Tillmans:

Dercon, C, Sainsbury, H, & Tillmans, H. (2017), Wolfgang Tillmans 2017, Tate publishing (catalogue of the tate exhibition)

Le Feuvre, L. (2007), Searching for Doubt, Foam magazine #13 searching, winter 2007

Tillmans, W. (2012), Neue Welt, Taschen 

Shimizu, M. (2005), Wolfgang Tillmans: The Art of Equivalence (from the book, Wolfgang Tillmans truth study center), Taschen

Face:

https://www.economist.com/news/leaders/21728617-life-age-facial-recognition-what-machines-can-tell-your-face

LGBTQI++:
Ruby Rich, B. (2013), New Queer Cinema, Duke University Press (still waiting for delivery)

Stevenson, J. (1997) From the Bedroom to the Bijou, A secret History of American Gay Sex Cinema, Film Quarterly, Vol.51, University of California Press

Olly Alexander, growing up gay: http://www.bbc.co.uk/programmes/p057nfy7


Graham, G. (2010), The Gay State