Research

Candida Hoefer

I photograph in public and semi-public spaces that date from various epochs. These are spaces available to everyone. They are places where you can meet and communicate, where you can share or receive knowledge, where you can relax and recover.

— Candida Höfer

Candida Höfer’s photographs reveal her interest in documenting collections of like things, she has created a systematic visual study of details within public spaces such as zoos, the interiors of office buildings, theaters, museums, and library reading rooms. There is a very distinct style in the straightforward and detached way in which she photographs that creates clinical, documentary style images.

No people feature in Höfer’s images instead the focus is on repeated forms within public spaces such as furniture, lighting fixtures, ceiling or floor tiles, to name a few creating patterns in the images as well as a sense of orderliness.

I greatly appreciate the visual aesthetic’s in the orderliness in the images that helps to create almost geometric patterns however I do not think that the clubs will be so easy to conform to one pattern. Some appear quite cluttered, especially in terms of wall space usage, yet on the other hand the excentric patterns in the carpets of many of the clubs I have visited would be a strong repetition to tie the images of the different clubs together. I don’t know if I want to do that though. It could work.

Also: http://www.icaphila.org/exhibitions/past/hofer.php

Academy of Medicine New York, 2001

Bahnhof Stadelhofen Zurich, 1991

Bibliothek Reiner Speck Cologne III, 2000

Bibliothek Walther Konig Cologne, 1998

F.Hoffmann-La Roche AG Basel i, 2002

Institut fur Versicherungsrecht der Universitat zu Koln I, 1989

Kunsthal Rotterdam I, 2000

Museen an der Augustinergrasse Basel III, 2002

Museum van Hedendaagse Kunst Ghent II, 1995

TV Lounge Scarborough, 1980

Cap San Diego Hamburg I, 2000

Die Deutschen Werkstatten Hellerau I, 2000

Museum fur Volkerkunde Dresden IV, 2000

Beatrix Reinhardt

“Members Only” investigates visually interior spaces that define themselves as clubs, mostly membership clubs. In Australia Clubs appeared to be institutions of great significance within the social landscape. Through exploring the homogeny and heterogeny in the clubs and the space’s where “like” comes together and “unlike” stays apart. It can be seen that the clubs manifest the accomplishment of a unified “taste” a harmony, a bringing together of certain personal elements. So whilst the clubs promote inclusion of those with shared interests and values, they equally promote the exclusion of those who do not conform.

The images are taken in various locations around the world includeding: Australia, China, the U.S., Spain, the Ukraine and England. This reinforces the homogeneity of the clubs as it is not immediately obvious from which country the clubs reside.

When I first found this I did not think my project held much weight after this as it is a much deeper exploration of the clubs then what I was doing. This has changed now as whilst Reinhardt’s images explore the spaces within the clubs to give a wider view of the club it’s interests and values, I aim to have more intimate studies of fewer clubs to give a more in depth study of them to try to understand its members.

Lynne Cohen

With an interest in the artificial and the everyday, focusing on the psychological, sociological and political aspects of her subjects Lynne Cohen photographs interior spaces, including laboratories, health spas, waiting rooms and classrooms, all devoid of people. Primarily being concerned with the way things appear and function in our lives. The disorientation her photographs provoke is largely the result of the specific yet mysterious nature of the places she photographs with their odd symmetries.

The disjointedness of Cohen’s images coupled with their stillness given them an unsettling feel. The unpopulated interiors suggesting activities that have already happened or might yet happen.

Cohen’s work is a cross between documentary photography and contemporary art, bringing together the ordinary and dream-like. The work has a very strong visual formal visual style. Every image is rigorously framed with the distance pretty much the same every time.

Jeremy Deller

“After WWII, ‘Britain’s bread hangs on Lancashire’s thread’”

- “Last of the Industrial Revolution” a film by lets go global and global youth in Greater Manchester.

Jeremy Deller’s installation type project “Procession” looks at the large communities built around the mills and factories that began appearing around area in the late 19^th century. The procession featured people from the 10 boroughs of Manchester, the procession featured the noise, the colour and the excitement of a typical parade – but with a Mancunian twist. Groups featured include ‘The Blackout Crew’ from Bolton, ‘Rose Queens’ from Trafford, ‘The Stalybridge Brass Band’ from Tameside as well as a celebration of the worlds first fish and chip shop in Oldham.

"I love processions – as humans, it’s almost part of our DNA to be instinctively attracted to big public events that bring us together. A good procession is in itself a public artwork: part self-portrait and part alternative reality." Jeremy Deller

“Deller's work, which is self-effacingly about involving others and about recognising, and giving dignity to, the small but important acts of expression, enthusiasm and creativity that go almost unnoticed in everyone's lives."
http://www.guardian.co.uk/culture/charlottehigginsblog/2009/jul/06/manchester-procession-jeremy-deller

This is an interesting bringing together of communities, celebrating more how it used to be when the communities were stronger. This representation of the communities is something I am looking to bring into my work within the wmc’s.

Scans

I have gotten most of my infomation regarding W.M.C.'s etc initially from my Grandfather. As part of my research he has given me his old member cards. The most recent card (top), is plastic and much like any other 'cards' we all possess. Below that are membership cards that are literally bits of card, much like the collectable cards that hit a high in the 90's. Although the cards are pretty much the same, the man at the top in the middle changes, we believe this is the head of the C.I.U. Below that is a door key, which nearly all clubs (to my knowledge and experience) issue thier members, non members ring a bell to be let in. and below that is a life membership card which is more like a mini hardcover book with no pages.

Everyone I've spoken to says there are no young people getting involved in the club hardly. at least not what they used to be. This is mostly attributed to cheap alcohol in supermarkets and sky tv according to the majority of people i talk to.

I don't think these cards necessarily add anything to my project but i love old stuff like this and its in pretty tip top condition. Theres even a special leather wallet for display of membership cards. It's very organised. Last year the C.I.U. held their convention in Blackpool. Thier looking to change the rules a bit. I think this is because a lot of clubs are having to shut down or privatising in order to stay open. If the C.I.U. charged as much for membership as the independant clubs went and were more open to renting out the clubs they would do a lot better. But there are a lot of tier's to the various councils and it would appear they are very stuck in thier ways.