ROSEANNA BROWN

Graduate of Winchester School of Art: Fine Art Theory & Practise hello! theme by cissysaurus
06
03

"for they are not windows on the real"

"… he believes photographic images do tell us something - notwithstanding their lacunae, their instrumental applications, their malleability, even their deception. Yet what they tell is not reducible to their nominal contents, for they are not windows on the real, but closer to runes, to shards, to phantom traces. From these we make constructions, conjectures, imperfect and partial propositions. We may have lost our innocence about the camera’s capacity to yield an ontological truth, but that does not mean that photos always lie"

- A. Solomon-Godeau, ‘The Phantom Photographer’


Fun day (!) of annotating a semester’s worth of research. I reckon I could pretty much sum up all my work ever with this quote. 

05
15
Forged gubbins, framed.

Forged gubbins, framed.

05
15

Forged telegram, newspaper clipping, movie frame print, book excerpt.

05
08
05
05
I Always Wore Red (edited photos in album).

I Always Wore Red (edited photos in album).

04
24

Spent ages on the first version of this then realised I’d used the same bit of film twice. Then After Effects went all weird and yeah. Relatively productive day though. 

04
23

Book’s printed.

03
13
Shadow of a Doubt (Doors to the Left)

Shadow of a Doubt (Doors to the Left)

03
13

Historians like to structure modern art according to its presumed order of movements and phases. That structure is now eroded within the myriad compartments of photographic culture, whose workers are apt to put on more or less convincing airs of artistic consciousness. Undeclared motives now mingle in a traffic of untoward expressions. Innovational modern art never had a strict genre structure to break down and depart from. For want of a new territory to conquer, the fictional energies of art have penetrated into the factual and material basis of photography. Presently, we see that a picture land has appeared, expansive yet uncharted in its shape. We behold acts of witness that are frequently muffled and media messages that are increasingly scrambled. “High” and “low” do nowadays get on with each other, sometimes easily, yet sometimes not. What remains clear is photography’s dependence upon the indispensable constraints that it is leaving behind. Without them, we would be hard put to notice the difference between how things look and the way they are made to look.

- Max Kozloff, from 'Street & Studio: An Urban History of Photography'

03
03

The Fae Richards Photo Archive 1993-1996 by Zoe Leonard
"… purports to document the life of an African-American actress from her childhood early in the 20th century through her post-civil rights era old age. The substance of the narrative, including a film career sabotaged by racism, rings true; but Fae Richards never existed. Her life was staged for the contemporary camera"

03
02

from This is That Place, Mitra Tabrizian

Combining documentary techniques with those of film, she makes elaborate, meticulously staged photographic tableaux containing condensed narratives… populated by a disparate group of people with all the characters playing themselves”

02
29
Heather Cleary"Reality can be impossible to pin down, and these images intend to further explore this notion… I make the mundane questionable, playfully dubious… Pulling back the layers of belief and certainty to reexamine accepted truths"

Heather Cleary
"Reality can be impossible to pin down, and these images intend to further explore this notion… I make the mundane questionable, playfully dubious… Pulling back the layers of belief and certainty to reexamine accepted truths"

01
25

Lithography.