Some definitions

The introductory material for CAN begins by looking at issues of definition around the terms “context” and “narrative.” Context seems to be particularly broad as it encompasses not only the physical placement of an image but also possible intellectual/social settings. Narrative pertains more to the world inside the frame of an image or the coherence across a series of images. The definitions seem a little arbitrary, but they will serve as a kind of shorthand for the two sets of reference, inside and outside the frame.

Photographers are encouraged to keep context and narrative in mind as they create and display their work and this makes sense. At the same time, I can see some potential pitfalls: first, no artist can be fully aware of the narratives that might exist or be perceived within the frame of his or her work; second, artists may not have complete control over the context within which their work is displayed.

I think, then, that we will do well to bring a good level of awareness and mindfulness to our work—such as what is going in the art world and the broader society, as well as what sorts of codes or references we may be drawing on consciously or otherwise. But we must also resign ourselves to the fact that what we think we are putting into our work may not be what comes out of it for audiences…because of the complexities of context and narrative.

Reference

Boothroyd, Sharon (2017) ‘Introduction’ In: Context and Narrative. (s.l.): Open College of the Arts. pp.13–20.

And we’re off…

Context and Narrative (CAN) is my third course with the Open College of the Arts (OCA) and the first since I decided that I would not follow the Creative Arts pathway but concentrate on Photography.

It was great to begin this morning with a video chat with my new tutor. With the previous two courses I only met with the tutor for discussion of work I had submitted for assignments, so I appreciated the opportunity to get to know one another a bit and get some early direction and feedback on where I might go with CAN.

We discussed my experience of completing EYV and submitting the work for the July 2019 assessment. Robert indicated that A4-sized prints would have been acceptable for Level 1 but that submitting in A3+ was a good indication of confidence. I think it might be more accurate to say that it was an indication of ignorance, but I will hope that the assessors are more inclined to Robert’s view of things. I also mentioned the cost of shipping materials to the UK from Canada (CAD $188 this time) and how the narrow two-week window set by the OCA complicates things: it becomes necessary to choose a more expensive shipping option to ensure that the work arrives neither too early nor too late.

I indicated that I would need to follow a fairly tight schedule for submitting work for this course because I must complete Level 1 by the end of February 2020. This will require some real discipline on my part, but I believe it is doable.

We also talked briefly about what I wanted to concentrate on in CAN: visual storytelling, greater facility with developing concepts and more consistent planning in my work. I am also interested in strengthening my critical approach, particularly in connection with my own photography.

I was pleased to hear that Robert is looking for a sense of enthusiasm and engagement from his students, as well as a desire to share work and enter into dialogue about it. I think I can manage all that. He also encouraged me to engage with writers I like, since positive response could be a sign that those writers are articulating something that I may not have been able to express as yet.

So, with my first CAN tutor discussion under my belt… we’re off and running!