A DAY IN BRIXTON

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Archive for October 2010

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‘I wanted the ordinary person to see real life in those pages’

The above extract is from Corinne Day’s book titled ‘Diary’. I will begin this research blog discussing photographers and the era in which aroused and inspired Corinne to photographically document her friends and create her own style in fashion.

Larry Clark and Nan Goldin are two photographers critically acclaimed for documenting their day to day lives. Their natural technical competence as photographers is evident  although crucially the importance lies with the incredible intimacy, trust and intrusiveness they are allowed with their subject. This provides incredible images usually melancholic and unveiling the lives of counter culture youth involving drugs, friends and the truths of distance within intimacy between sexes.

Corinne Day’s earlier work is clearly influenced by this form of documenting one’s life.  As a young model she lived and socialized with other models which for some can result in becoming idle when not in work. Meeting film director Mark Szarszy and finding interest and also learning how to use a camera allowed Corinne to document  her experiences and people who may of interested her. Her interest in the myth of glamor models being perfect, beautiful role models to the mass public, and the resulting contradicting reality that was discovered in her photographs of real unglamorous shots of models drinking, lounging without make up in dirty environments. The models could not afford the glamorous lives the images and clients they worked for portrayed. Corinne seemed to focus on this notion of the reality of youth and the ‘grunge’ lives these models led.

‘The series draws comparison with artists such as Nan Goldin and Larry Clark, who also live what they photograph. Like them, Day is curious about people who pursue experiences beyond the norm. She is extremely, at times even unbearably, close to the friends she photographs and yet she is so trusted that her presence is never regarded as intrusive, even at the most intimate moments.’
‘At times, Diary is bleak and despairing, as it chronicles these young lives with uncompromising honesty. At others, it is joyful in its simple celebration of friendship. Any sense of voyeurism is tempered by the fact that Day clearly shares in the lives of her subjects. Whether visible or not, she is always, herself, emotionally present in her photographs.’

http://www.photonet.org.uk/index.php?pxid=158 photographers gallery

Corinne Day, Diary, November 2000, Kruse Verlag

 

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Written by chrisbennettgrantcmp

October 18, 2010 at 3:31 pm

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http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2649&page=1 Nan one month after being battered, Nan Goldin

http://www.larryclark.us/    -Tulsa (1971)

Written by chrisbennettgrantcmp

October 18, 2010 at 12:54 pm

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‘I found Nan Goldin’s and Larry Clark’s work liberating, and their work validated the way I had started to take photographs’ (corinnedaydiary, Kruse Verlag, 11/2000)

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Written by chrisbennettgrantcmp

October 18, 2010 at 12:29 pm

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Georgina, Brixton explicitly epitomises Corinne Day’ notoriety in photography in the past two decades. Her obsession with the reality of ‘grunge’ youth through her documentation style fashion photography is highlighted in the image above. On reflection the late Corinne Day can be celebrated for initiating a new era of more intimate photography that is still resonant in fashion to this day. The image shows a model in designer lingerie in a dirty room with grubby feet, she is in an awkward position sprawled over a sofa which is the only object in view. In this blog I aim to research this picture with great detail and investigate various issues surrounding the photograph. I aim to gather extensive primary research to develop an understanding of Corinne Day and the subject, to be able to contextualise my findings and through secondary research consider and comment on past and contemporary notions towards this photograph and Corinne.

What does this image and others of hers present and advocate?

Why did Corinne decide to shoot fashion in more real settings with models’ with more natural appearances?

What made her oppose the glamour of normal fashion images?

What started the ‘Heroin Chic’ era, and what effect did it have?

What is Corinne’ history and does it inaugurate her slightly tainted voyeuristic, ‘Grunge’ look tendencies throughout her work or maybe its quite the opposite.

Written by chrisbennettgrantcmp

October 4, 2010 at 12:01 pm

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Day, Corinne (1995). Georgina, Brixton

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Written by chrisbennettgrantcmp

October 3, 2010 at 10:29 pm

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