Think about:
• What approaches were of most relevance to your practice.
Appropriation should always be of a concern to the photographer. Often more to check themselves in case they unintentionally appropriate incorrectly or inadvertently. That appropriation could cause difficulties not just for their practice but for the practice of the unfortunately appropriated photographer or artist.
Are my scenes too appropriated? Still sometimes working in the shadows of other photographers or artists, is this flattering or mimicry?
• Where your original contribution may be, especially if all mediation can be considered remediation.
In the 21st century it is becoming increasingly difficult to be ‘original’. It is not impossible but has become very difficult. I feel humility and a willingness to listen could help here greatly.
• How authorship might differ from intent.
Unless that intent is to entirely mimic or copy the work of another then the authorship should reign supreme. Again, we must practice humility and a willingness to listen.
• What constructive approaches could be taken if someone remixed your work.
The questions depends greatly on the point in ones career, their ‘fame’ and the nature of the remixing. With outside eyes it is easy to say how we would be flattered or enjoy someone taking and remixing our work if that remixing is complimentary. However uncredited becomes a much more difficult issue.
In the first instance an approach would help and a request for credit.
In your CRJ, write a short summary about:
• What you did during the week, feedback received and how you will respond to that.
My webinar with Laura was incredibly helpful and I came away from it feeling empowered and stronger. There is an entire post for that webinar which goes deeper. My response from here is to action much of what was discussed and explore it photographically over coming weeks.
• Any reconsiderations to the core methodology of your practice.
Entering this week I found myself with a problem of not wanting to constantly work in someone else’s shadow and how I was finding it difficult to identify the time to break away from that. I feel I am a starting to form the confidence to break away and to find my own path outside of that shadow.
• The forms your project / photographs could take moving forward.
Moving forward I want to continue ‘working in the style of’ the various artists and photographers I explore but to start moving out of that shadow.
On a practical level I want to start incorporating the family snake into my imagery and to ‘use’ this asset as my work advances.
Andrews Masters Journey 