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Graduate Photography Online 2013
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Special Guest Selector - Matt Packer

Special Guest Selection by:

Matt Packer

Curator of Exhibitions and Projects, Glucksman Gallery, Cork

Overview: Out of a diverse and thoroughly excellent pool of submissions, I have selected five photographers, whose work struck a particular chord. My interest in these works began and ended with curiosity, and didn't necessary follow a path of criteria and resolution. I've opted for work that is shy of answers; work that is hesitant and, by degrees, self-critical. In each case, a modest proposal for thinking (and seeing) the world a little differently. I've taken the liberty of responding to the work as I encountered it. There are undoubtably things that I've overlooked and overstepped. References missed in certain cases, and mistakenly asserted in others. For this, perhaps I owe an apology, but I'd prefer to think of this as part of the contingency of comprehension, and part of the life of looking; especially in a visual world that is increasingly fragile and volatile with every technology of production, presentation and dissemination. Such contingency makes the world renewable at least. And in that sense, it leaves hope for everyone.

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Tine Bek

Glasgow School of Art - BA (Hons) Fine Art Photography

TineBek - Glasgow School of ArtTineBek - Glasgow School of ArtTineBek - Glasgow School of ArtTineBek - Glasgow School of ArtTineBek - Glasgow School of Art

Selector's Comment: The known world seems extra elastic in Tine Bek's photographs. Scenarios where human limbs, manmade and natural objects, are all equally caught in the flux of appearances that are alternately exotic and unknowable, pedestrian and banal. Photographs of a specimen rock on a plastic work table, pen and paper ready and waiting. For what? We don't know. Or a woman, seemingly in the process of falling in the background of a dog cluttered domestic scene. How has it all led up to this? All things seem to float free of consequences in Tine Bek's weird tragic, utopic world that seems to exist without hierarchy or regime.

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Jan McCullough

University of Ulster - BA (Hons) Photography

Jan McCullough - University of UlsterJan McCullough - University of Ulster

Selector's Comment: Portrait of a man as a building is a series described by Jan McCullough as a 'photographic examination of a person's internal state'. Yet, underlining McCullough's approach is also a playful regard for photography's assimilating and investigative powers. A pair of photographs - one of a haphazard exterior scaffolding, the other a grainy image of a man's head - asks us viewers to build relationships between the outfacing world, and the cerebral, interior psychologies of others that we can never expect to know. Looking at McCullough's work, we inevitably construct an interpretive scaffolding of our own, and in doing we begin to learn something about photography's observant pleasures, its wishfulness, and its limits.

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Cecilie NicolineRasmussen

Glasgow School of Art - BA (Hons) Fine Art Photography

Cecilie Nicoline Rasmussen - Glasgow School of ArtCecilie Nicoline Rasmussen - Glasgow School of ArtCecilie Nicoline Rasmussen - Glasgow School of ArtCecilie Nicoline Rasmussen - Glasgow School of ArtCecilie Nicoline Rasmussen - Glasgow School of Art

Selector's Comment: Cecilie Nicoline Rasmussen's photographs seem to connect with recent philosophical interests in 'animism' and the animation of objects. A dried yukka plant, its leaves starved of nutrients, appears strangely style conscious and full of swagger. In another photograph, a balustrade in the foreground cartoons the movement of two dancers in the background. A branch in what-appears-to-be a zoo enclosure, seems invested with its own sense of exoticism. Looking at Cecile Nicoline Rasmussen's photographs, every single thing - living or otherwise - seems to have eyes, skin, and volition of its own. These photographs are, on one hand, nuanced observances about our vernacular world, but they also seem invigorated with a sense of latent life in dormant things.

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Thomas Savage

Arts University Bournemouth - BA (Hons) Photography

ThomasSavage - Arts University BournemouthThomasSavage - Arts University BournemouthThomasSavage - Arts University BournemouthThomasSavage - Arts University BournemouthThomasSavage - Arts University Bournemouth

Selector's Comment: Breathe is a series of black and white photographs that translate the patterning of psychological states onto routine commercial veneers and urban surfaces. Despite the evocation of the title, Savage describes a world that is airless and constricted; where the contingency of life seems to be run aground in a nestle of balloons, or in the marble effect of a door entranceway. The mid-grey tone of these photographs is another kind of airlessness. People remain absent from these images, and the surfaces that kick up like brutal encounters in Savage's photographs, seem hardly human at all. It's a similar hard-edged 'objectness' of human activity that refreshes the body of ideas expressed by a previous generation, with Michael Schmidt and Dirk Braeckman among others.

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Samuel Taylor

University of Westminster - BA (Hons) Photographic Arts

SamuelTaylor - University of WestminsterSamuelTaylor - University of WestminsterSamuelTaylor - University of WestminsterSamuelTaylor - University of Westminster

Selector's Comment: Samuel Taylor's photographs draw upon the cinematic trope of the staged death. The body wriggling with bullets, arms flaying, and the mustering of enough energy for one final heroic trigger pull, before eventually collapsing like a sack of potatoes. Hollywood has its own particular treatment for violent death. Samuel Taylor's photo collage works isolate the body of Billy The Kid (played by John Mack Brown in the 1930 film), presenting him without cinematic context. The most famous outlaw of them all, set against a white empty space that acts to consign the body even further and deeper into the hollow chambers of lifeless representation.

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Spacer About the Selector: Spacer Other Selections: Spacer
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Matt Packer is Curator of Exhibitions & Projects at Lewis Glucksman Gallery, University College Cork, where he has curated exhibitions including School Days: The Look of Learning (2010-11), Grin & Bear It: Cruel Humour in Art & Life (2009), Getting Even: Oppositions & Dialogues in Contemporary Art (2008), and Wishful Thinking (2011), a touring programme of artists' film. Independent curatorial projects include When Flanders Failed (2011), co-curated with Stephen Brandes, at the Royal Hibernian Academy, Dublin, and Ice Trade (2007), co-curated with Kim Dhillon, at Chelsea Space, Chelsea College of Art & Design, London. He studied on the Curatorial programme at Goldsmiths College, London, and is a current member of IKT, the International Association of Curators of contemporary art.

Dagmar Seeland »
UK Picture Editor at Stern.

Sue Steward »
Photography Critic for the London Evening Standard
and BBC Radio 2 Claudia Winkelman Show.

John Duncan »
Editor, Source Photographic Review.

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Spacer Courses: Spacer Categories: Spacer
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Barking and Dagenham College
BA (Hons) Photography

Bath Spa University
BA (Hons) Photography and Digital Media

Blackpool and the Fylde College
BA (Hons) Photography

Arts University Bournemouth
BA (Hons) Photography

Cambridge School of Art
BA (Hons) Fine Art Photography

Mid Cheshire College
FDA Contemporary Photography

University of Chester
BA (Hons) Photography

University of Cumbria
BA (Hons) Photography

Dublin Institute of Technology
BA (Hons) Photography

IADT Dun Laoghaire
BA (Hons) Photography

Edinburgh College of Art
BA (Hons) Photography

Edinburgh Napier University
BA (Hons) Photography and Film

Falmouth University
BA (Hons) Photography

Falmouth University
BA (Hons) Marine & Natural History Photography

Falmouth University
BA (Hons) Press and Editorial Photography

University for the Creative Arts Farnham
BA (Hons) Photography

Glasgow School of Art
BA (Hons) Fine Art Photography

University of Gloucestershire
BA (Hons) Photojournalism and Documentary Photography

University of Gloucestershire
BA (Hons) Fine Art Photography

Griffith College Dublin
BA Photographic Media

Hereford College of Arts
BA (Hons) Photography

Hereford College of Arts
FDA Commercial Photography

Kingston University
BA (Hons) Photography

University of Central Lancashire
BA (Hons) Photography

Leeds College of Art
BA (Hons) Photography

University of Lincoln
BA (Hons) Contemporary Lens Media

London College of Communication
BA (Hons) Photography

Manchester School of Art
BA (Hons) Photography

The National College of Art & Design
Certificate in Photography and Digital Imaging

University of Wales, Newport
BA (Hons) Documentary Photography

Northumbria University
BA (Hons) Contemporary Photographic Practice

Norwich University of the Arts
BA (Hons) Photography

University of Plymouth
BA (Hons) Photography

University of Portsmouth
BA (Hons) Photography

UCA Rochester
BA (Hons) Photography (Contemporary Practice)

Sheffield Hallam University
BA (Hons) Photography

Southampton Solent University
BA (Hons) Photography

Stockport College
BA (Hons) Photography

University of Ulster
BA (Hons) Photography

University of Wales, Trinity Saint David
BA (Hons) Photography

University of Westminster
BA (Hons) Photographic Arts / BA (Hons) Photography

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Documentary/Photojournalism

Pages:    1     2     3     4     5     6     7     8   

Commercial/Fashion

Pages:    1     2   

Landscape

Pages:    1     2     3   

Portraiture

Pages:    1     2     3     4     5     6   

Staged/Constructed

Pages:    1     2     3     4     5     6     7   

Urban/Suburban Landscape

Pages:    1     2   

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