Ethan Talbot Exposure (2021) Photographs (laminated) 21 cm x 29.7 cm
Exposure is a self portrait photo series of Ethan Talbot. The series depicts how the worlds current climate is taking effect on people in many different ways, mentally and physically. The long exposure is used to communicate the uncertainty of our world today.
For Thirty Years Next to His Heart
For 30 Years Next to His Heart is a collection of forty-nine photocopies of Ngithando John Ngesi‘s pass book in designed-frames by Sue Williamson.
Under the apartheid system, Black South African people were required to carry passbooks in public with ‘necessary’ identification documents whilst travelling through South Africa’s major cities. The book of dockworker Ngithando John Ngesi repurposed by Williams the book documents three decades of his life. The book is marked by the bureaucrats of the oppressive system.
Ngesi was involved within the making of this work, intervening within every few pictures to show time passing through the book and the trauma and power that could be used against him including police brutality.
Sue Williamson For Thirty Years Next to His Heart (1990) Forty-nine photocopies in artist-designed frames (182.9 x 261.6 cm)
Identification Weapon: Apartheid
Apartheid was a system of institutionalised racial segregation that existed in South Africa from 1948 until the early ‘90s. Apartheid was used to dehumanise people of colour and separate them into different status’s forced into segregated neighbourhoods and prevented interracial relationships.
Ethan Talbot untitled (2021) installation passport and Polaroid photography
Through installation and photography, Ethan Talbot is changing how we think about official documentation in his untitled. Looking at the power that different types of identification can hold he thinking about how the passport can be redefined as vessel of human experience. Whilst destroying a passport there is also personal gentle elements within the imagery of the Polaroid photographs, all with Talbot and family members.
A collection of fake driver’s licenses, that can be used as a form of identification.
Authentic experience/being cannot be false or fake, however forms of identification can and form false identities with false details. Why are we using these forms of identification when they aren’t accurate to a persons experience?
This is a collections of false passports, a document that can be used as identification of a person, and travel through countries boarders.
We used these small stamped booklets to allow access into countries based on a small stamped book with our details and images. Passports are an official photographic identification document, however these passports pages are fake.
We question the morals of boarder control.
The Game of Probabilities
The Game of Probabilities examines self portraiture, with woven fragments from six of his own identity photographs. The photographs show the movement of time through the black and white and colour photographs from official documents such as passports and drivers licences’
Oscar Muñoz The Game of Probabilities (2007) Chromogenic colour prints 47.9 × 40.2 cm
Ethan Talbot Sister Sister (2021) (Mia Talbot) Photograph 35 x 45 mm
THESE PEOPLE DO NOT EXIST.
THESE PEOPLE DO NOT EXIST(2021)
EDITED BY ETHAN TALBOT
Claudia Andujar Vertical 8 (1981-3) 3 x photographs, gelatin silver print on paper 593 x 407 x 34 mm
Vertical 8 is 3 photograph piece of three individuals part of a series by Swiss-Brazilian Claudia Andujar. The series Marcados, which consists of eighty-two images, translates as ‘marked’/‘branded’.
Andujar delves into themes of indentity within this piece and the series. The photographs are used as identification of the Yanomami communities in Brazil, during vaccination campaigns against malaria and measles.
Themes of identity is something she tackles throughout her life and her work. Andujar has recalled people being ‘branded for death’ as a young girl and many people being marked with the Star of David in attempt to terrorise and deport them. She now uses her practice to use photographic identification in a positive way, aiding the CCYP and vaccination organisations to help people survive various diseases and be marked as health and ‘branded to live’.
Man Spirit Mask
Willie Cole Man Spirit Mask (1999) Photo-etching, embossing & hand colouring silkscreen, lemon juice & scorching photo etching & woodcut 99.4 x 67.3 cm
ID Crisis is one of six prints within the series Only Half the Picture by Zanele Muholi. The series confronts topics around black lgbtq+ people highlighting stereotypical and taboo issues within the community.
ID Crisis depicts a young woman rapping her breasts and wearing boxers to transform her body, this gives us an insight into the different subjects of gender and sexuality in a way that physically affects someone’s body. The series brings to light the reality for the black lgbtq+ community depicting the struggles that people who are transitioning and having problems regarding gender have to live and are treated in South Africa and across the world.
Zanele Muholi ID Crisis (2003) Photograph, gelatin silver print on paper 353 x 480 mm
Ethan Talbot Prized Possessions (2021) Installation photographs (Cookbook, Tie Pin, Bracelet, Amethyst & Clear Quartz)
O Pão Nosso de cada dia
Our Daily Bread
Anna Bella Geiger Our Daily Bread (1978) 6x postcards and screen print on paper bag mounted on card estimated: 500 x 709 mm
Our Daily Bread depicts poverty and national identity in Latin America and Brazil through imagery of bread that is being eaten and shaped into the country by artist Anna Bella Geiger. The work revolves around the idea of cultural cannibalism, creating a hybrid national identity whilst being influenced by different places and identities.
Back Views [Vues de Dos]
Malian artist Malian Sidibe, created a series of photographic portraits, portraying the view of an audience when an actor exists a scene. The back view of his subject (friends, family and neighbours) this is known to be a common pose throughout Sidbe’s career. Siding questions the value of portraiture and shows how portraiture can be developed in many different ways, this leave us questioning the sitters identity.
Malick Sidibe Back Views [Vues de Dos](2001) Gelatin silver print in original reverse painted glass 21.3 x 15.2 cm
Anya Gallaccio ’Broken English August’91’ (1997) Screen print on paper 680 x 885 mm
Anya Gallacio’s installation piece ‘Broken English August ‘91’, depicts a collage of photographs of fellow artists, curators, critics and dealers in a scattered manner as if being discarded. The installation is comprised of hundreds of small photographic images within a shallow tray, reminiscent of passport photographs or identification image. Gallaccio is thought to be commenting on the British art scene within the aesthetic quality of the installation and the title of the piece. As, ‘Broken English’ is used to describe the linguistic limits of non native English speakers and the language barriers between non native speakers and other languages. With the burnt orange and yellow tones and the decaying nature of the work within the tray , it may be suggesting English identity may be changing or decaying in the way that different cultures are intertwining and merging together.
Who is Anya Gallaccio?
Anya Gallaccio is a British Artists who is known for her installation artwork incorporating natural materials in the exhibition space. The materials are often subject to change while exhibiting creating an unconscious performance.
Gallaccio is known internationally for her solo and group shows, and gained recognition from her collaborative exhibition with Damien Hirst. Soon after she had been nominated for the Turner Prize for Tate Britain 2003 and became a professor in San Diego.
Jurgen Klauke physiognomien (1974-75) Gelatin silver print 60 × 50 cm
This performance based work a sequence of close-up photographs, capturing different facial expressions. The images discovers his own identity through themes of gender and sex roles, using makeup and poses to capture ambiguities in his sexuality and gender in a theatrical way.
Tracey Emin C.V.
Tracey Emin C.V. Is a documentation that acts as a biographical timeline of various parts that are significant to Emin’s identity. The hand written text recalls the various informative and personal life events including her education, sexual experiences and emotional reactions to the events. Emin is commonly know for using her personal life experiences into her art her cv offers itself as full bodied artwork.
Tracey Emin Tracey Emin C.V. (1995) Ink on Paper 324 × 238 × 29 mm
Frida Orupabo solo exhibition at KOENIG2 by_robbygreif
‘The colour accompanies us through the entire space and leads us to a large-scale photograph of a man, revised into a negative. His hat in his hand, he smiles at us in friendly fashion and one cannot avoid wondering what his story might be. Even without an answer one feels connected to him, and experiences the search, frequently revisited by Orupabo, for the relationship between foreign identity and one’s own identity’ – Contemporary Art Daily
Frida Orupabo Untitled (2019) Fine Art Print 145 x 102,5 cm
‘Identity Transfer 1-3’
Valie Export ‘Identity Transfer 1-3’ (1968) Photograph, Black and White, on paper 23.5 × 16 cm
Identity transfer 1-3 explore gender through clothing and hairstyles and body language. With Export transforming herself into her boyfriends during the time exchanging their appearance for a series of photographs.
EXPORT has commented: ‘All my works are self-portraits in different characters … in which I communicate my identity’
Applicant Photos (migrants) #2
Depicting the style of traditional passport style photographs, Syjucos work has a series of a covered face implying that exposing the physical identity may be harming to them or the use of official documentation can be dangerous in a way.
The organisation of the photographs accompanied with the title suggested the many migrants are seen as one rather than individual identities.
Stephanie Syjuco Applicant Photos (migrants)#2 (2013-17) pigmented inkjet print 9.1 × 10.7 cm
Skinhead having sex, London
one in a series of ten in the series Skinheads and mods 1978. Many of the images where taken in London 1978 to document different youth-culture groups during the time, the opposing groups where skinheads and mods. Goldin mixed with the different groups and identities engaging in and examining their lifestyle. The emotional raw and grittiness of her photography captured the essence of personal moments in different identities.
Nan Goldin Skinhead having sex, London (1978) photograph, inkjet print on proper 279 x 279 mm