Tag Archives: Karen Knorr

Karen Knorr

Karen Knorr’s project Belgravia was inspired by the ideas of Roland Barthes on the different possibilities of the relationship between image and text. These series deals with themes of social class and wealth in British Society. My commentary is on the use of the text.

Belgravia by Karen Knorr

Knorr uses a square format for her photos in both series. The photo is placed quite high on the page with lots of white space below for the text. Her text is centred between the margins of the image and the style of capitalising random words in the sentences also harks back to Dickensian times, emphasizing the stuffiness and pretentiousness being conveyed in the images.

‘Belgravia’ was her reply to intellectual debates of the 1970’s, to what was subsequently called ‘political representation’.

L’Oeil de la Photographie (2016)

Gentlemen was shot gentlemen’s clubs in central London with accompanying text taken from speeches in parliament and the news. These gentlemen’s clubs were closed to women who were only allowed to enter by invitation. According to the men who belonged to these clubs, this is where the real business was discussed.

The club became a symbolic space reflecting the ideology of power exerted by men, as representatives of a privileged class.

L’Oeil de la Photographie (2016)

Gentlemen by Karen Knorr

Gentlemen, which was made in the 1980’s during the Thatcher government, investigates the patriarchal values of English upper class society. “The commentaries  contain obvious allusions to English literature from the days of the British Empire” (L’Oeil de la Photographie, 2016). Certain haughty and pedantic tones are conveyed in the captions of Gentlemen which reflect the surroundings of the subjects in this series.

Once more I can see how crucial the choice of words and text layout is to the presentation of the work. Knorr has used quite a formal and slightly old-fashioned layout for her work to be in keeping with her subject matter. This format would be totally out of place in Helen Maurene Cooper’s Painted and Polished.

Reference List

L’Oeil de la Photographie (2016). Moscow PhotoBiennale 2016: Karen Knorr [online] L’Oeil de la Photographie. Available at: http://www.loeildelaphotographie.com/en/2016/04/15/article/159899873/moscow-photobiennale-2016-karen-knorr/ [Accessed 12 May, 2017]

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Assignment 3 – Tutor Feedback

My tutor and I had a Skype session for my Assignment 3 feedback. Overall it was slightly better than I had expected. My comments are in italics below.

She mentioned that my initial idea of workplace politics and an approach informed by Brian Griffin have merit, but my edit wasn’t cohesive and I need to hone my conceptual ideas.

I totally agree with this statement. I had struggled with the edit and with the shoot and reshoots as well.

She suggested taking the images and focusing on the behaviour of women in the workplace because making this a gendered body of work could create layers of meaning. Potential readings might include women within the workplace as a mirror of myself (or as multiple selves); relations between women in the workplace, performances and identities of women in the workplace; gender equality within the workplace (glass ceiling, etc).

I did have a good chuckle when my tutor suggested removing all the men from the series as “they weren’t doing anything anyway”. I think maybe I may have been trying to be too representative to all the various groups on campus i.e. faculty, all departments, student groups, instead of focusing on something which was in retrospect emerging in my work, namely the female colleagues. I have a few more ideas floating around in my head which I think will be able to bring more cohesion to the series.

My tutor mentioned my strongest visual are:

  • Fig 20 – the lighting in this image is cinematic. Combined with the pose it creates a narrative and she positioned it within the context of Hannah Starkey and Philip Lorca di Corcia.

I was very pleased to receive the feedback on this image, because I almost didn’t include it in the series as it was repeated image of the same colleague. I agree the lighting is amazing. Our staff kitchen has these jam jar lights which hang over the counters and create wonderful pools of light which are extremely atmospheric.

  • Fig 14 – my tutor mentioned that this image would have been must stronger had my colleague who was standing had a deadpan facial expression.  She also suggested that I step back so that more of the office and desk could be seen. She liked the uneasy pose of the subject who was standing and the power dynamics and hierarchies at play in this image.

I am pleased that the power dynamics came through in this image because that is what I was aiming for. In fairness to my colleague, she is lucky to have one of those mouths that turn up at the corners even when she is serious. But I have informed my two colleagues that I want to reshoot this image and will hopefully managed to get her to engage in an extremely serious expression.

  • Fig 12 – my tutor mentioned that this image also has potential, but she would prefer to see a disengagement with the camera and more of her office space.

I do have an image of her looking down at her computer and which also shows more of her office space, so will include that in the rework.

  • DSC5102 from my contact sheet – my tutor said there was real merit in this image, but my colleague on the left was not making eye contact with the camera and was half smiling again. The image would be stronger if she was also looking into the camera. The tightness of the office space, the blandness and the paraphernalia work in this image and the positioning of the subjects are good.

In defense of my colleagues I had asked the two at the back to look in different directions, as in the work of Brian Griffin, but the one on the right looked into the lens just as I pressed the shutter. However, I do see my tutor’s point and will reshoot this one with a bit more interaction.

  • DSC5249 and DSC4839 were also mentioned as potential interesting images.

DSC5249 is an image of students preparing food for an event on campus, while DSC4839 is a candid image that I fired off from behind my desk of my assistant eating a muffin. I would have included that image in my final edit if the resolution had been decent. As it stands the focus is quite soft.

  • Fig 3 also had some potential in a Brian Griffin style.

I was a little hesitant about including this image as two of my colleagues were having the giggles posing for this image, possibly because they were being observed by a group of students. I may be able to reshoot this image, but won’t be able to do it with the same subjects as one of the ladies no longer works at the university. Perhaps I can substitute with senior student.

My tutor is happy with my coursework, evidencing of my research and analysis on my blog and finds that the blog is easy to navigate and demonstrates my learning journey.

She suggested that I look at Hannah Starkey and Philip Lorca diCorcia and also the work of Sarah Jones, particularly the uneasy looking young women in rooms.

I have looked at Philip Lorca diCorcia’s work before during assignment 2 and also in Context and Narrative (post here).  Hannah Starkey was also mentioned in my assignment 2 feedback and I also researched her in Context and Narrative (post here). Sarah Jones’s work I am not familiar with and I look forward to exploring her work.

Pointers for the next assignment

My tutor suggested that for the next assignment which makes use of text and visual, I should look at Les Monaghan’s Desire Project (in relation to this we also discussed my place of work, a university and the potential of photographing graduating students. this is an interesting event (transition) happening at an interesting point of their lives (a kind of coming of age), we talked about the relevance of Rineke Dijkstra’s work here).

When I had mentioned graduation to my tutor I had meant it as a possible source to supplement my assignment 3. I will be taking photos of the processional, students as they come off the stage and the recessional at graduation. There is also a flashmob that is performed each year, but I know I will be very hard pressed to extract serious, deadpan faces at this event. So I will have to see what transpires on the day. I did have a look at Rineke Dijkstra’s work while working through Julian Stallabrass’s journal article ‘What’s in a Face/? Blankness and Significance in Contemporary Art Photography’

Karen Knorr – the series Belgravia and Gentlemen

This work was suggested to me during assignment 1 and I thought I had done a write up on it, but it might have slipped my attention, so I will relook at Knorr’s work.

John Kippin

I’m not familiar with Kippin’s work so look forward to seeing how he combines text and images.

Helen Maurene Cooper’s, in her book Paint and Polish, positions text down the side of the page. http://www.onomatopee.net/project.php?progID=3aeacd7195c415e05a925c68cb7b9f50