bfaprep2011

ques.

10. What defines something as being connected to something and separate from something?

9. Is just varying degrees of connectedness?

8. What would the melding of 70's conceptual art i.e. Sol Lewitt, Frank Stella etc. with straight photography heros, Eggelston, Sternfeld, Soth...

7. Is phenomena meant to be taken so seriously, so literally and factually?

6. How much of the self is comprised by the body?

5. Is the body part of the self?

4. If part of the self is the body, than our selves are transitory, ever changing and unstable.

3. Is there something unchanging?

2.If so can it be experienced?

1. What separates internal from external?

Images for Consideration

The above images are fort images I found online

This set of images are from an artist named Bjørn Bjarre's instillation piece entitled "The Hiding Place" He installed a fort that he imagined a teenager building a in gallery space.

These images below are from a blog entry on a decorating site about how integrate forts into your decorating of your child's room. Interesting concept, having the parents build you a fort with a decorator in your own room.

I also found this site which gives critical analysis of Forts that parents submit of their children's forts:

http://blog.buildllc.com/2010/04/couch-cushion-architecture-a-critical-analysis/
http://blog.buildllc.com/2010/04/couch-cushion-architecture-a-critical-analysis-2/

Questions and Starting Strategies

10 questions

1. What should the relationship be between other people’s forts and me? Should they be a part of the building? Should it be in their space?

2. How important is it that these forts are built in my childhood home?

3. How does age factor in to this process, does it matter that the descriptions of the forts are reflective and drawn from memory? Should the forts be constructed by people who are currently fort builders (aka kids)?

4. Is the relationship between child and adult being articulated? Is it important to show the adult space that surrounds the space?

5. Would doing research on dwellings in general be helpful, why certain dwellings were built? What was the motivation behind them?

6. Would research on child psychology be helpful? Attempting to understand the psychological motivation behind fort construction and why it is so common.

7. How does the institutionalization of the child’s fort fit in? Children’s forts have begun to be mass-produced and sold: does this fit in? Should this be considered?

8. How messy should the forts be? Do they need to look lived in?

9. How important is the temporality of these forts, often they are only made to last for a short amount of time, is that understood? Is that important?

10. What types of objects should inhabit the forts? Would some shots of just the interiors be interesting?

Starting Strategies

· Reconsider the interview process and my relationship between with the original fort builder.

· Continue to collect fort images, and interviews

· Look how other artists have dealt with re-contextualizing other’s stories.

older work for consideration?

inspirations!

the mighty boosh-tv show

Catharine Maloney

Veronika Bromova

Kahn and Selesnick

Aspen Mays

Starting strategies
Gather and organize all of my photo ideas
Have camera at all times
If I see something and think about photographing it, PHOTOGRAPH IT.
Consider old work: re-shooting/titling/etc.
Look at iconic self-portraits and work that uses humor/deadpan approaches

Questions
Why should anyone care about me/my life/my experiences--can the work be universal?
Is humor appropriate here?
Is the work one-dimensional (i.e. does it end after figuring out the pun)?
Is photography the appropriate medium?
Am I necessary in the photo? How can I render the photo without myself in it?
How literal is the photo, and is it too literal? What about the title--what information does it add?
What are my instincts telling me?
Is everything in the image necessary?
How aware of the camera am I, and is that part of the piece?