Making space: photographic traces of absence, stillness and the in-between in public spaces
| dc.contributor.advisor | Josephy, Svea | |
| dc.contributor.advisor | Inggs, Stephen | |
| dc.contributor.author | Fraser, Nicole Clare | |
| dc.date.accessioned | 2023-03-03T11:10:14Z | |
| dc.date.available | 2023-03-03T11:10:14Z | |
| dc.date.issued | 2022 | |
| dc.date.updated | 2023-02-20T12:45:50Z | |
| dc.description.abstract | My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy. | |
| dc.identifier.apacitation | Fraser, N. C. (2022). <i>Making space: photographic traces of absence, stillness and the in-between in public spaces</i>. (). ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/37199 | en_ZA |
| dc.identifier.chicagocitation | Fraser, Nicole Clare. <i>"Making space: photographic traces of absence, stillness and the in-between in public spaces."</i> ., ,Faculty of Humanities ,Michaelis School of Fine Art, 2022. http://hdl.handle.net/11427/37199 | en_ZA |
| dc.identifier.citation | Fraser, N.C. 2022. Making space: photographic traces of absence, stillness and the in-between in public spaces. . ,Faculty of Humanities ,Michaelis School of Fine Art. http://hdl.handle.net/11427/37199 | en_ZA |
| dc.identifier.ris | TY - Master Thesis AU - Fraser, Nicole Clare AB - My photographic project Making Space: Photographic Traces of Absence, Stillness and the In-Between in Public Spaces explores banal and commonplace empty spaces, non-places, liminal spaces and ordinary, inanimate objects. In the first section, Situating my Practice, I contextualise my practice within the broader context of photography and architecture, looking specifically at the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975) and affiliated photographers to highlight ideas about photographically documenting built structures. The visual language of the deadpan aesthetic is an important aspect of my work, and I elaborate on and explore “neutral” and “objective” ways of seeing. I consider a selection of photographers to establish various ways in which imagemakers use a formalistic photographic approach to communicate narratives through the representation of built structures. I expand on a phenomenological approach to making images, exploring notions of tenderness, care, alienation and violence. In the second section of the document, (Dis)Locating my Practice and Making Space, I position myself within the identified terrain to further explicate my practice and project. The physical project takes the form of silver gelatin handprints, larger inkjet prints and a video projection, and I discuss the method of display and curation of the exhibition and how they motivate ways of looking, slowness and intimacy. DA - 2022_ DB - OpenUCT DP - University of Cape Town KW - Fine Art LK - https://open.uct.ac.za PY - 2022 T1 - Making space: photographic traces of absence, stillness and the in-between in public spaces TI - Making space: photographic traces of absence, stillness and the in-between in public spaces UR - http://hdl.handle.net/11427/37199 ER - | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11427/37199 | |
| dc.identifier.vancouvercitation | Fraser NC. Making space: photographic traces of absence, stillness and the in-between in public spaces. []. ,Faculty of Humanities ,Michaelis School of Fine Art, 2022 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/37199 | en_ZA |
| dc.language.rfc3066 | eng | |
| dc.publisher.department | Michaelis School of Fine Art | |
| dc.publisher.faculty | Faculty of Humanities | |
| dc.subject | Fine Art | |
| dc.title | Making space: photographic traces of absence, stillness and the in-between in public spaces | |
| dc.type | Master Thesis | |
| dc.type.qualificationlevel | Masters | |
| dc.type.qualificationlevel | MFA |