ART & DESIGN PROJECT PROPOSAL & REALISATION

University for the Creative Arts

School of Further Education

Epsom

UALAB Foundation Diploma in Art & Design – Foundation Studies 2014/2015

Foundation

Centre Name	University for the Creative Arts, Epsom
Centre Number	10006427
Candidate Name	Madeleine Spencer
Candidate Signature
UALAB Reg. No:
Project Proposal Title	The revival of the repressed community.
Date	27.02.15
Pathway	Media, Photography

Project Proposal: Guidance for Candidates

• In producing the Project Proposal, and in preparing for the Art & Design Project Proposal and Realisation, you should familiarise yourself with Unit 7 of the qualification.
• In particular you should understand the Assessment and Grading Criteria, which will be used to determine standards of achievement.
• Unit 7 requires that you produce a project proposal of about 500 words, excluding the project plan and bibliography. Project Proposals should not be so succinct that they do not address the requirements listed below nor should they be excessively long and unfocussed.

The Project Proposal must be word processed and presented under the headings listed below

Tutor Signature

Date

Section 1: A review of progress and achievement through parts 1 and 2 of the course

Studying a foundation in Art and Design at UCA Epsom has expanded my knowledge and skills not just within the art of photography but has also helped me test my skills in other art formats. It has opened my eyes to the larger scale of art forms and how they can be incorporated in my photography. To begin with I was unsure on what pathway I would choose, however, having studied Photography at A-level and often taking photos in my spare time, I felt that expanding and building upon the skills I already had was my reason to choose photography. I have learnt how to develop my own black and white film using the darkroom, make a pinhole camera, expand on my Photoshop knowledge and overall learn about the practice of photography.

Section 2: Project concept

I am going to look at communities around London through the marketplace. I also want to look at the shifting dynamics of council housing projects through the years, and document the lives of the people living in these dwellings. My reason for this is that ‘the Other’ fascinates me; I find the lives of people that are different and alien to me intriguing. Therefore, I want to document their lives, especially those living around me. I will look into the concepts of Exoticism and Orientalism, as well as researching the communities that reside in London. I look to present my work as a series of images, in a storytelling manner, these images may include portraits of people from these different places as well as photographs of the buildings and architecture that surround the communities. I will be working on 35mm colour film as this allows me to think about the pictures composition and make sure I’m photographing something substantial and what truly reflects my concept. The images are also latent in comparison to digital; taking a good photograph on film takes time and skill as you want that one image to come out perfectly. I will be researching into other artists that have looked at this idea of ‘the Other’ as well as other documentary photographers, as well as documenting my ideas and plans for he project in a reflective diary.

Section 3: Evaluation

I will be continuously critically analysing my work as well as the work of other artists. I will do this through constantly asking my peers, family and friends for their opinions on my work and also ask their opinion on how I can improve anything. I will also regularly attend CRITS in which my classmates will critically evaluate my work and tell me what they think works best, therefore allowing me to progress through the project. I will reflect upon my project at the end by referencing the project aims and reflect upon the learning I have done.

 APPENDIX 1: Bibliography (Harvard Format):

Provides an opportunity to formally record the research sources that you have used. You should record your initial research sources for the project proposal.

·       10/01/2015, "A summary of countries of birth in London". Census Update (Office for National Statistics) 2011: page 1. ·       10/01/2015, http://en.wikipedia.org/wiki/Other, Said, Edward W. Orientalism. 25th Anniversary Edition. New York: Pantheon Books, 1978. xviii. Print. ·       12/01/2015, http://en.wikipedia.org/wiki/Exoticism ·       12/01/2015, http://www.academia.edu/4059944/IMAGES_OF_EXOTICISM_EARLY_INDIAN_PHOTOGRAPHY ·       12/01/2015, https://books.google.co.uk/books?id=7TpyBgAAQBAJ&pg=PA272&lpg=PA272&dq=exoticism+in+photography&source=bl&ots=9_p-D2pInG&sig=xcQMjKkCe4966vBRdRDB6jMINhU&hl=en&sa=X&ei=IIkvVZLbDsLcaMq8gNgL&ved=0CDEQ6AEwAw#v=onepage&q=exoticism%20in%20photography&f=false ·       12/01/2015, http://fashionorientalism.blogspot.co.uk/2009/05/exoticism-and-fashion-photography-essay_10.html ·       15/01/2015, http://en.wikipedia.org/wiki/New_Malden, ·       http://www.kingston.gov.uk/browse/environment/parks/recreation_sites/beverley_park.htm ·       20/01/2015, GCSE History of Shepherd's Bush, West 12 Official Site ·       27/01/2015, http://www.danielstier.com/ ·       27/01/2015, http://www.vice.com/en_uk/read/daniel-stier-in-my-country-traditional-costumes ·       3/02/2015, Sinful Streets of London (map and guide book), published in 1983 ·       7/02/2015, http://en.wikipedia.org/wiki/Sophie_Calle ·       7/02/2015, http://openfileblog.blogspot.co.uk/2011/02/sophie-calle-paul-auster-gotham.html ·       8/02/2015, http://en.wikipedia.org/wiki/Norbiton ·       8/02/2015, "housing estate". Oxford English Dictionary (3rd ed.). Oxford University Press. Note the example in a 1923 book by Francis Longstreth Thompson, Site planning in practice; an investigation of the principles of housing estate development ·       16/02/2015, Open University, http://www.open.edu/openlearn/history-the-arts/history/heritage/roehampton-alton-east-alton-west-estates ·       Modern Architecture London, http://modernarchitecturelondon.com/pages/alton-east.php ·       16/02/2015, http://www.bbc.co.uk/programmes/p01rtkbd ·       8/03/2015, http://www.guidetofilmphotography.com/glossary-a.html ·       8/03/2015, http://en.wikipedia.org/wiki/Analog_photography ·       11/03/2015, http://www.bbc.co.uk/programmes/b01jt9zh ·       12/03/2015, http://www.theguardian.com/tv-and-radio/2014/jul/25/the-secret-history-of-our-streets-tv-review ·       12/03/2015, http://www.independent.co.uk/arts-entertainment/tv/features/bbcs-the-secret-history-of-our-streets-reveals-a-fascinating-window-into-britains-past-9627276.html ·       12/03/2015, http://www.letmewatchthis.club/tvshows/tv/watch-2750241-The-Secret-History-of-Our-Streets ·       14/03/2015, Deptford High Street Market". National Market Traders Federation, "London's Best Markets - Time Out London" ·       15/03/2015, http://en.wikipedia.org/wiki/Deptford, Deptford, Old and New London: Volume 6 (1878), pp. 143-164 ·       15/03/2015, Greenwich 2000 "Greenwich England: Deptford" ·       24/03/2015, http://en.wikipedia.org/wiki/List_of_markets_in_London ·       31/03/2015, "John Gay - Blackpool 1949" ·       31/03/2015, "John Gay's photographs of Blackpool at the Grundy Gallery". 24 Hour Museum. ·       31/03/2015, http://www.telegraph.co.uk/culture/culturepicturegalleries/4388198/John-Gay-England-Observed-photographs-of-post-war-Britain.html

APPENDIX 2: Project action plan and timetable

Provides an opportunity to outline the sequence of actions necessary to progress the project over a period of weeks so that it may be brought to a successful conclusion within the agreed timeframe. It is important that you consider how you will balance ambition, time and realism in the organisation and realisation of the project.

Week 1 19/01/15	Research into ‘the other’ and different communities around London.
Week 2 20/01/15	Photoshoots in New Malden and Shepherds bush, continue research into these places.
Week 3 02/02/15	Artist research and work on the Toolkit. Photoshoot in Soho and research into the area.
Week 4 09/02/15	Photoshoot at the Cambridge estate in Kingston, research into the area and continued research into artists. Research into Council estates around London.
Week 5 16/02/15	Various photoshoots around London of Council estates and their architectural style.
Week 6 23/02/16	Research into Alton East Estate in Roehampton. Take photographs there.
Week 7 02/03/15	Research on Deptford in south east London. Take photographs there on the Olympus trip, start to include portraits of people as well as the architecture around the area.
Week 8 09/03/15	Look into the documentary ‘The secret history of our streets; Deptford High Street’. Continue research into Deptford. Re-watch the secret history of our streets and take printscreens. More artist research.
Week 9 16/03/15	Final shoot at Deptford, take pictures of the places featured in ‘The secret history of our streets’, also take more portraits of people on Zorki camera, try and ask people about their experience of living in Deptford.
Week 10 23/03/15	BEGIN SHOW BUILD
Easter Break 23/03/15	TWO WEEKS
Week 11 13/04/15	Continue Show build
Week 12 20/04/15	Final Submission of all PART 3 UNIT 7 Work

Hanging of work and final exhibition preparation. All students to be involved. ( you pathway tutors will inform you of the dates)

Studios will be deemed ‘out of bounds’ for Assessments Weeks ( you pathway tutors will inform you of the dates)

Private View Friday 5^th June.

Your Exhibition will be open to the public from Monday 8th June – Friday 12th June

Work to be taken down Monday 15^th June. We are unable to store work so any work left after that date will be disposed of.

Health & Safety Information

This information has been compiled for your Health & Safety and should be read  carefully.  It is intended to provide you with a reference device to enable you to carry out your projects safely.

Health and safety is not just about avoiding accidents. Neither is it solely about taking care of yourself. Awareness of Health and Safety means acting responsibly and in a professional manner. Essentially, it is about being aware of dangerous situations by possessing respect for your environment.

Everyday we use materials that may cause accidents or hazards, they can range from paper cuts,  to an accident in a workshop. The majority of these accidents are caused through an over familiarity when using equipment or materials.

The basic rules are:

• If you are unsure of a procedure or material test which you want to carry out for your project then consult a technician or lecturer.

Risk =   A source of danger ;a possibility of incurring loss or misfortune;

Hazard = Dangerous, perilous, uncertain.

“drinking alcohol is a health hazard’.

You Should make  a list of potential things that may have the potential to cause harm i.e. electricity, hazardous substances, work at height etc.

Here is a simple test you can carry out to assess a risk or hazard;

1. How severe is any injury or health effect likely to be? Tick one box	Minor X 1	Moderate o 2	Major/Fatal o 3
2.  How is exposure to the hazard for you or someone else likely to be bad? Tick one box	Unlikely X 1	Likely o 2	Very Likely o 3
3. Calculate the risk score by multiplying the 2 scores in Q1 & Q2	Low X 1-2	Medium o 3-4	High o 6-9

Risk category (including supervision) tick box:

 HIGH           Work must not be started without consultation with your Pathway tutors or Technicians. Direct supervision by one of your pathway  lecturers or technician must be arranged.

                    MEDIUM           Work must not be started without the advice and approval of those named above.

X LOW            Work may proceed because there are no significant risks and no special supervision is required.

Pre-Assessment Review of Project Proposal Realization
Name: Maddie Spencer
Project proposal Title: The revival of the repressed community.

Context
Project Proposal

1. 1 How are you using a range of critical and contextual perspectives within the development of your personal proposal? Give examples
I have stated why and how I have done something as well as stating how it is relevant to the context of my work; this is evidenced under the tag ‘Reflective blog’. I have also looked at the work of other artists and photographers that are relevant to my work. For example, I looked at the work of John Gay in his book ‘England observed’, in which he photographed candid shots of people around London, some of which that were taken at Deptford market.

1.2 How are you using detailed analysis and evaluation to clarify the development of your personal project proposal? Where is it evidenced? Give examples.
I have evaluated my work, after every photoshoot I have taken and have asked the opinions of others and what they think works best, therefore allowing me to develop my project further. For example, I took a first photoshoot in Deptford and asked my sister what she thought was good about it and what could be improved. As well as asking my peers for their critical opinion, I also attended CRITs, for example one piece of feedback was that I should find out about the people that I was photographing. This is evidenced in my blog under the tags ‘Reflective blog’.

Research
Primary and secondary

2.1 How are you using wide-ranging and in-depth research to support the development of your personal project? Give examples
I have researched the places I have been and photographed in depth, I have also used a wide range of sources including books and documentaries. For example, I have used the documentary ‘the secret history of our streets’ as research into Deptford in south London.

2.2 How are you using analytical and evaluative skills to develop a range of creative solutions? Give examples
Through critically analyzing my photos, whether it is through CRITs or self- evaluation, I have been able to improve certain aspects throughout my project. For example, through analyzing my work, I have pin pointed what hasn’t worked, allowing me to think of ways to improve and better it from before. For example, I started photographing buildings but felt compelled to photograph people as I felt I needed to interact with people, it also felt a lot more personal.

Problem Solving
Theory and Practice

3.1 What complex practical and technical problems are you solving within your project? Give examples
When I first started taking photos in lower light I was still using a low ISO as I wanted the clarity in my pictures. I have also had low quality and marked scans from snappy snaps and boots, therefore I have used Photoshop where necessary and rescanned a few of the images that I was not happy with.

3.2 How are you solving complex theoretical problems within your project? Give examples
I have been reading parts of Liz Wells’: A Critical introduction, I read the section ‘Surveyors and surveyed’ which looked into the history of documentary photography and feel it has informed my work throughout my project. Something that particularly interested me in this chapter was a quote Wells included from Karin Becker Ohrn, he stated ‘the photographer’s goal was to bring the attention of an audience to the subject of his or her work and, in many cases, pave the way for social change’. I feel this influenced me to start taking photos of people and tell their stories.

Planning and Production

4.1 How are you demonstrating the ability to efficiently plan organize and produce a personal project within the agreed time frame? Give examples
I have tried to stick to the Gantt timeline I have produced, and if things changed, I adjusted the timeline for realistic completion of work. I also ensured that all work was analyzed before the next work was started to see if anything could be adjusted. For example, I would do research into a certain place or area around London and then plan a photoshoot there.

Practical Skills
Refinement and Realization of Ideas

5.1 How are you exploring, adapting and applying a range of practical methods and skills in the realization of your personal project? Give examples
I would explain what I was doing, how and why I was doing it and what I was trying to tell people with that particular piece of work. For example, I used different cameras and worked inside the studio as well as outside as I was looking at the effect of lighting and quality of the sensor and lens.

Reflection and Evaluation
Project Development

6.1 How are you maintaining detailed critically evaluative and reflective records of the development of your project? Give examples
I have kept a sketchbook in which I have included evaluation and my thought process throughout the project. For example, I have used my sketchbook to plan photoshoots, and then stated if and why I changed that plan. I have also stated what why and how I have done something, this is evidenced under the tags ‘Practical work’.

6.2 How are you demonstrating that you are using evaluative and reflective skills to make perceptive decisions in support of your project? Give examples
I made sure all work was analysed before moving onto the next piece of work so I got the most out of the project. For example, I would fully evaluate a photoshoot and its positives and negatives, allowing me to improve on the next photoshoot I would do.

Final Presentation and Audience Consideration

7.1 What strategies are you considering to use to present your project?
I am going to hang my work as a series of around 10 images. I plan to either hang them using frames or print with a border around them and use pins to secure them in place. I also plan to include a photobook of other images I have taken throughout my project to support these hung photographs.

7.2 How will you present your work in a skillful and proficient manner? Give examples
I will make sure I take time to hang my work in an aesthetically pleasing manner with clean lines which includes considered photos that reflect my concept and workflow.

For example, I want to present my work in small black frames, which will be placed equal lengths apart.

Who is your specified audience and how will you engage them with your work?
I am aiming my pictures at those that have an interest in the history of certain places, especially around London. I also feel that people who have suffered badly as a result of greedy corporations, the banks and the government. I also feel that people who work around London, especially in jobs that have been passed down from generation to generation, such as working at markets could relate to my photographs. I feel I will engage them by showing images of people that I have met around Deptford market, hopefully showing them as the interesting people that I had conversations with. I want to tell the stories of their lives living and working around the market. 

Final Piece Plan

For my final piece I want to present 5 or 6 of my best photographs as a series. I plan to print them around A4/A3 size, and I'm going to get them them printed professionally. I have started to look for places to print my photos, including Metro Imaging and Chan. Photographic Imaging. I also want to include a photo book. 

Deptford

I had a really good chat with this man who was campaigning for a local political party named 'Lewisham People Before Profit'. I asked him about his experience of living in the area, he has lived round Deptford for 30 years and has seen it change in many ways. He spoke of the times when he would call in squatters to occupy old council houses that the council wanted to sell off. He wanted to stop them selling them and renovate them back into council houses for people who needed them instead of big corporations buying them and selling them as flash apartments. I stood and talked to him for a good 45 minutes and agreed with a lot of his ideas and plans for Lewisham. I could tell he really cared about the community and the people around Deptford, unlike many mainstream parties. The people around Deptford  were so interested in what he had to say in particular about supporting local businesses and shops. 

I also had a good chat with Tony, the man  in the orange hi-vis jacket in the left of the picture. I asked him about his experience of not only living in Deptford but working on the market. I asked him if he felt like there was a community surrounding Deptford and he quickly replied with a stern 'NO', he said how everyone these days are in it for themselves, people pretend to be your friend and help you out but its all a front. He also told me how he came to England from Jamaica over 30 years ago and came to Deptford, he said it was different then, there was more of a sense of a community . He  told me his view on the male population of today, particularly surrounding Deptford and described that there were 'no gentleman anymore', and if anyone is friendly or behaves in a gentlemanly manner, it is perceived as creepy or not cool. He told me that he had worked for Peter on the market as a lookout for a number of years and that Peter was a 'good man who treated me (him) well'. It was really insightful to talk to someone who had not only lived in Deptford but worked on the market as I see it as a completely different place than he does, he knows the true Deptford. 

Photoshoot in Deptford #2 with Zorki 4k

Here I shot on a Zorki 4k, its such a beautiful camera with an amazing depth of field, which I thought would be great for some portrait photographs. I really love how only small parts are in focus in each picture, especially when there is a person in the shot and they aren't in focus as it really shows the market and the place where they work. The colours are so vibrant in these photographs which really represents the people that I was able to meet and speak to at the market and around Deptford. I have also included some shots of buildings and streets, some of which were featured in 'the secret history of our streets' documentary, of which I have found so interesting.