Publication evaluation and preparing for assessment.

  1. How have you resolved your major publication? Justify your particular choices relating to its publication.

The resolution of the body of work “One Year” 

“Ian’s remarkable letters, written over a period of one year, show how unremarkably normal prison life can be, and how strongly he felt a sense of time and place.” (Preamble to the book One Year designed for the exhibition.)

The feedforward I had from the OCA assessment stated: “the three elements that you have included, the photographs, plant samples and letters do not quite gel together as a completely resolved piece of work. We were left looking for clues as to how these things connect, perhaps something in the letters or an element within an image.”   

The assessors based their conclusions on 30 A3 prints and a Blurb book containing images of each of the 35 pages of Ian’s 9 letters, interspersed seemingly randomly with images of leaves and places in decommissioned prison buildings.

In Part 1 of Sustaining Your Practice we are asked to have our work reviewed by professionals in the industry.  Accounts of the eight reviews of my work are registered under the BoW Development section of my blog.   The resolution of my project is based largely on the feedback from these reviews, and a deeper analysis of the contents of Ian’s letters.

The resultant publication was a mixed media, multi sensory exhibition held in a former Victorian holding cells complex in Plymouth over two weeks in July 2019.

Guiding its curation was a statement by curator supremo Hans Ulrich Obrist that: “ an exhibition is not an illustration. … it does not, ideally, represent the thing it purports to be ‘about’ …  Exhibitions, I believe, can and should go beyond simple illustration or representation. They can produce reality themselves.” (Obrist 2014 p168).

The exhibitions which have influenced my practice are:Anna Boghiguian – Cardiff Artes Mundi 8 2018, and her 2019 retrospective at Tate St IvesEdmund Clark  “In Place of Hate” 2018, Anni Albers at Tate Modern andNoémie Goudal’s ‘Soulèvements’ 2018.   

  1. The letters:

An analysis of Ian’s letters revealed three binaries contained within the paradox that the separating prison wall connects.  To create a new reality with these  would, arguably, effect a resolution of my project: 

            (a)  call and response–  my letters to Ian and his replies

            (b)  inside-outsideinherent in the methodology of the project –   Michel Foucault’s ‘heterotopia’ – prison as a world-within-a-world 

            (c)  time and place – basis of Ian’s prison experience.

Figure 1: A Venn diagram of the interrelationship of the binaries involved in the publication. © Anna Goodchild 2019.

To allow the letters to gel with the rest of the work, I decided to present them in three ways: 

  • in a book; 
  • as a recording, playing from one of the cells and to be heard by visitors in the rest of the space; 
  • printed on tiles, interspersed with the diptychs.

Call and response:

  • Ian’s letters always began with a reference to my letter to him. 
  • I therefore selected some of my letters and Ian’s responses to them and put them in the new handmade book to replace the Blurb book.

Inside-outside:

  • My letters came from the outside and concerned the outside while referencing the inside I could not see; Ian’s were from the inside and concerned the inside, while referencing the outside he saw indistinctly.  
  • I resolved this by making diptychs which had a constant layout: outside references on the left and inside references on the right simultaneously linked and separated by a space.  
Figure 2: An example of a diptych. © Anna Goodchild 2019
  • a botanical image taken at different times in the year referenced the outside; images I made in decommissioned, Victorian prisons, or of Ian’s hands, referenced the inside.
  • The new book was informed by the 16 resulting diptychs, 12 of which were in the exhibition.  
  • the book layout follows a set, rhythmical pattern: 

                    diptych/s, 

                    letter from me, 

                    full-bleed landscape diptych which contains Ian’s reply. 

Figure 3: My first card to Ian in the new book.© Anna Goodchild 2019.

Figure 4:  Ian’s first letter to me sewn in the spine of the full-bleed, landscape orientated, prison image diptych. © Anna Goodchild 2019.
Figure 5:  Ian’s letter, sewn in the spine and partially opened. © Anna Goodchild 2019.

Time and place:

  • Referenced in all the letters – mine and Ian’s.
  • Markers of time: the dates; the seasons and religious festivals; the weather; timing of family and pastoral visits; the sentence spent and still to be spent; celebrations missed on the outside.
  • Markers of place: the cells; prison practices; the flu epidemic which happened in prison but not outside it; food; régime; conditions in the prison; questions about what is going on outside / inside; the different courses Ian undertook in tiling, maths, religious studies and accounting; the different jobs he had which he would not have done had he not been there; my activities.                                                                      
  • The botanicals:
  • My cards to Ian always had images I had taken of what Ian would have been familiar with in and around his hometown.
  • Ian’s responses contained references to nature, the seasons or the climate. 
  • The leaves in my Blurb book focused on the Handkerchief tree because of its symbolism of surrender and because the leaf-like petals (bracts), once dried, could not be distinguished from the leaves, just as prisoners do not look any different from non-prisoners.  As this analogy seemed too remote and ineffective, I changed my approach:
  • I photographed plant life outside Dartmoor prison which 

became the image of a plant / leaf in the diptychs.  The prison image referenced a learning activity mentioned in a letter written at the same time of the year as the plant / leaf was growing. That way, I could link the outside to the inside, the letter to the plant life, and time (of year) to place.

  • Following a study event in London in July 2018, I discovered that I could produce a dye which represented what plant and mineral elements were available in a specific place, at a specific time. I therefore decided to collect mineral and plant material that I could find outside the prison during the middle month of every season. 
Figure 6:  Photographed outside the Dartmoor prison entrance to show how nature itself was changing over time, these botanicals were then used to make a seasonal dye. © Anna Goodchild 2019.
  • This practice being more general than the specific plant specimens identified in the diptychs, required a more general presentation. I decided to make images of the dye paintings I had produced from the botanicals.
Figure7 These are photographs of some of the dye paintings for each season.© Anna Goodchild 2019.

Having been told by a prisons solicitor that they reminded her of the faeces which some prisoners smeared over their walls which Ian never mentioned in his letters, I decided to modify how I presented this idea of a place in time.  

Figure 8:  These are the Field Maple leaf prints used as the book title and on the drapes hanging in the exhibition space.© Anna Goodchild 2019.
 Figure 9:  I used the Field Maple leaf which grows on two trees flanking the entrance to Dartmoor prison as a template to lay over the dye paintings in Photoshop and so produce an image of the dye paintings in the shape of a maple leaf.(C) Anna Goodchild 2019.
  • I used the four seasons’ maple leaf prints instead of using text for the title of the book, One Year
 Figure 10: Book cover where an image in a window replaces text for the title. © Anna Goodchild 2019.
Figure 11: The maple leaf motifs on the drapes hanging at regular intervals so that people had a feeling of walking through time. © Anna Goodchild 2019.

                         

3. The images:

Not being a prisoner or employed by the prison service, I could not go inside HM Prison Dartmoor to photograph those specific spaces referred to in Ian’s letters.  The images are, therefore, of the unseen.

I went to decommissioned Victorian prisons which were open to a paying public in South West England: Bodmin, Shepton Mallet, Gloucester and Shrewsbury.

There not being any workshops open in these prisons, I went to the ones in LandWorks – a charity where prisoners on day release go to learn horticultural, pottery and woodworking skills – where I photographed the elements for my quilt.

At Stephen Burke’s observation that Ian, the person, was missing from the images (See Third Review), and not wanting to photograph Ian’s face to protect his privacy, I photographed his hands.  Having seen ‘Armed Force, 2010’, a study by Alex Von Gelder of Louise Bourgeois’ hands, I found them as expressive of character as faces can be:                                                                                                      

Figure 12:  By including Ian’s hands in the work, I could bring in that human element which is a strong sub-text in my work but never directly referenced in an image.© Anna Goodchild 2019.

The final publication brought all these elements together in this way:

Twelve A3+ diptychs, representing the inside-outside, call and response binaries reflecting time and place were hung on the walls outside the cells.  Five ceramic tiles, each with a page of Ian’s letters referencing his learning and tiling courses, were interspersed between these.

Figure 13 : The ceramic tiles gave the visitors another way to access the contents of the letters. © Ulrike Hennesen 2019.

A friend who had made several books helped me make mine: 

          Figure 14: The book on a lectern in a protected corner of the space. 
         © Anna Goodchild 2019.

This book contains principally16 diptychs, 6 of which are full-bleed and in landscape orientation.  Six of my letters are each immediately followed by full-bleed diptychs, in the middle of which Ian’s replies are stitched.  The replies are camouflaged in the spine of the book, making the reader look to find them. 

The film Doing Time is shown in one of the two cells.  It concerns inside-outside (physical and emotional) metaphors: an apple tree in each season forms a leitmotif over which time-related elements are interspersed.

                         Figure 15:  The first cell showing the film ‘Doing Time’ in 
                         which I collaborated with OCA music student
Deborah Johnson. © Anna Goodchild 2019.
Figure 16:The second cell, a reflective space, has a metal bed on which is the cyanotype quilt referencing the horticultural aspects of prisoner rehabilitation and Anna Atkins’ historical botanical cyanotypes.© Anna Goodchild 2019.

The square cells of the quilt, echoing prison cells, have plant life at different stages of development.  On the wall on the left are 2 Leporellos of the facsimiles I made of the 140 cards Ian received while inside; on the right wall are descriptions of the elements (Appendix 4) in the cell; a crucifix Ian made in his tiling class; a bedside table on which are prison-issue toiletries and the Bible; a table with the reflections book; an MP3 player above the door playing recordings of Ian’s letters read by Kevin Parr.

Figure 17  : The reflections cell showing the position of the speaker. © Anna Goodchild 2019.

                 

Figure 18:Between the two cells is a vitrine with the dyes, images of the seasonal botanicals used to make the dyes, and minerals used.  Above the vitrine is an image of the area outside the entrance to HM Prison Dartmoor where I found the Field Maple leaves and the dye material. © Anna Goodchild 2019 (Left.) © Ulrike Hennesen 2019 (Right).

Opposite the Winter drape is an image of a Dandelion on the granite prison wall, echoing the lace of the drape and the subtitle of the project ‘Transcending prison walls’.  The different seasonal drapes run the full length of the exhibition space reminding the visitors that they are walking through time while they can hear Ian’s letter recordings.

Figure 19: The Dandelion transcending the granite prison wall.© Anna Goodchild 2019.

              

Near the entrance to the exhibition are the artist statement (Appendix 11), the press release (Appendix 12), the game cards and the table with drawing materials for the children visiting.   

B.  Evaluate your efforts to engage an audience with your major project and related themes.

To engage an audience I:

  • spoke about my project at OCA SW meetings & to fellow photographers.
  • wrote and asked about it on the student forums 
  • in February, May and June I sent invitations to 200 people: students, tutors, industry professionals, gallerists and those linked to the prison service.
  • displayed posters and left flyers around the venue and at the university, art college, all the galleries and art suppliers in the city.
  • Made a speech at the opening event (Appendix 3)
  • sent press releases to the BBC in Plymouth & the Plymouth Herald.
  • advertised on Facebook (Appendix 1) and Twitter.
  • responded to a call by the music department of OCA to collaborate on a personal project: Deborah Johnson wrote music for my film.
  • made a card game which involved the visitors actively with the images:
Figure 20:  Front and back of a typical card given to the visitors so they could join in the game to match the extract to an element in one of the diptychs. © Anna Goodchild  2019.
  • engaged with LandWorks to auction the quilt

Outcomes:

  • 54 people came to the opening event aged 17 – 95 years.
  • 50 people wrote in the reflections book.
Figure 21:  A visitor writing her reflection in the cell. © Anna Goodchild 2019.
  • 1 child made a drawing.
Figure 22:  A child drawing her response to what she had seen. © Anna Goodchild 2019.

            

  • 168 visitors came to the exhibition and over 200 watched a video I made of it on Facebook.
  • 4 people were repeat visitors and 6 had come via recommendations by friends.
  • One visitor, a painter who came back 3 times, asked me if I would like to collaborate with her on her MA in 2020.
  • 11 OCA students visited the exhibition.
Figure 23: Two OCA students chatting.  © Ulrike Hennesen 2019.

             

  • Many visitors commented positively on the music collaboration and an 18month-old child stood mesmerized by it and watched the 6 minute video 3 times and then came back the second week and ran straight to the film room.
Figure 24:  18 month-old Dexter transfixed by the music and the horses on ‘Doing Time’
© Anna Goodchild 2019.

Evaluation:

  • What went well: 

              email invitation strategy.

                 the visitors engaged very positively with all aspects 

                   Facebook advertising and feedback.

                  The music collaboration engaged viewers aged 18 

                  months to 95 years.                  

                  The venue, Victorian holding cells, was perfect.

                  It was terrific to be asked to collaborate on an MA project.

                  The card game was a lot of fun.

  • What could have been better: 

                  I should have repeated my approaches to the press.

                  I should have given the flyers to people rather than leaving 

                  them in strategic places.

C. Reflect on the feedback you documented throughout the publication of the work and describe how you might either develop and / or promote the work further.

Feedback came in the form of written reflections in the books; a drawing; conversations; observations; blogposts ( Reviews below); emails and Facebook responses (Appendices 8, 9, 10).

Positive feedback:

  • Excellent visitor interaction – physical and reflective – with the material.
  Figure 25:  Visitors interacted with the material aspect of the exhibition.   © Ulrike Hennesen 2019
  • A Guild Hall blog: ‘ This exhibition is meticulously crafted andintricately layered, giving visitors the opportunity to reflect on their own unintended preconceptions of prisoners through images, film, sound and poetry; all displayed in our Historic Cells which in Anna’s own words “couldn’t have been a better space to show the work”’;
  • At the opening event, one of the guests, a former gallery owner in Penzance, asked if the exhibition was going anywhere else because she felt that the work needed to be seen by a wider audience.  As I replied there was no such plan, one of the guests, an artist, made suggestions of spaces which would welcome it. 
  • Visitors enjoyed the fun element of the card game. 
  • Great reviews on student blogs and Facebook.
  • Many visitors, old and young, closed the cell door while they were in it and reflected on how small and claustrophobic the space is.  
  • It also made many visitors reflect on the loss of their freedom they take for granted.
  • Amid the many comments about the ‘thought-provoking’ aspects, were comments like “It’s very peaceful in here” and “It’s strange – you just don’t know this goes on in prisons.”
  • A quilter was very excited and curious about the cyanotypes and wanted references on the process & its exponents.
  • At the New Music Collective Collaboration performanceson 20thJuly in London, music student Deborah Johnson and I performed my poem One Year  (Appendix 5) set to music composed by Deborah.   The response was encouraging – people asked where else the exhibition was showing.
  •  I was commissioned by OCA Edge-zine to contribute to the next issue on Time.  Deborah and I contributed another collaboration giving zine their first music item.  Making  3 collaborative projects.
  • The charity LandWorks is auctioning my quilt at their autumn outreach and will get matched funding for the amount they raise from it.

What could have gone better:

  • my video making and bookbinding skills. 
  • I should have checked the humidity of the space beforehand.
Figure 26 : Two days after having put up the free-standing prints with bulldog clips attached to twine from the picture rail, I saw they had all warped in the very humid space. I therefore had to put wooden batons across the tops and bottoms to straighten them. ©  Anna Goodchild 2019

Plans to take the work forward:

  • Submit Time. to Edge-zine.  
  • Attend the quilt auction. 
  • Prepare for HM Prison Channings Wood exhibition of One Year.
  • A visitor, artist Richard Sunderland, in relating the curation to the instructions-based one-minute sculptures of Erwin Wurm, asked a very pertinent question: “How would you curate this exhibition if it was not in a prison context? What instructions would you leave for someone else to curate it?” Excellent questions to take forward. 

Judging by the feedback, there is no doubt that the venue, echoing Ian’s world historically and architecturally, was pivotal in creating Obrist’s conceptual ‘new reality’. 

Derrida’s comment on what photography does, closely relates to this project:   

“Photography always bears witness by interrogating us: What is an act of witnessing?  Who bears witness to what, for whom, before whom?    The witness is always singular, irreplaceable, unique.”   (Derrida 2010 p.xxiv) 

Ian’s unique witnessing, photographed here in a multiplicity of ways, and his written reflection, makes us ask the same questions of the exhibition.  

Each visitor, including Ian, became the exhibition’s ‘singular, irreplaceable, unique witness’ by creating images of her / his own:

  • Sue: “it has  …overturned my narrow stereotyped view of those individuals who are unable to fit into the expected roles of our society.”(Appendix 2)
  • Jenny: “Strange how the juxtaposition of non-human nature – the buds and twigs and leaves – with the human constructs – particularly the aerial view of the prison, like a section through a robot eyeball – humanises the place and its inmates.”  (Appendix 2)
  • Anne B, “Ian’s words as I sit and write this add an extra dimension and bring the project alive, as does the film as it emphasises the passage of time.”
  • Kevin: “An amazing space filled with poignant reflection”
  • Pete: “Thought provoking and engaging … I realise that I had forgotten everything else running through my head whilst here!”
  • Richard K: “I was aware of the passage of time … we all, maybe in our older years mark the passage of the months with the expectation of the next phase; from bare branches to the first sign of blossom, the first leaf, the first birds and so on.  In enclosed surroundings prisoners are deprived of these markers.  That would be a major deprivation…. But the passing of time, the counting off the days, the months is a sadness.  It is a day closer to release but a day closer to the end of life.”
  • Tess:  “I love being able to go wherever I like, whenever I like.  The thought of being cooped up in this tiny space would drive me crazy, but maybe in time this space would become a small bit of sanctuary from the rest of the prison world?”(Appendix 2)
  • Jen:(magistrate) “Very encouraging to hear a positive attitude towards prison and the rehabilitation work on offer.”(Appendix 2)
  • Richard refers to the exhibition as a ‘time-capsule’; (Full transcript Appendix 6)
  • Carmen “The mixed-media approach … makes for such an engaging viewer experience and it all hangs together, reinforcing so well the separation / connection / time elements of your study.” (Appendix 2)
  • Ian: “The audio of the letters being played in an actual cell similar to where they were written was particularly poignant.” (Full transcript Appendix 7)
Figure 27: Ian’s reflection in the book. © Anna Goodchild 2019.

Presenting the letters in three different ways arguably ensured that their unique contents would be noted.   Curating One Year in former Victorian prison cells allowed all the elements to coalesce into that Obrist reality, a ‘time capsule’, enabling the visitors to be part of that separation which unites the inside with the outside.

Figure 28: Venn diagram, housed in the perimeter of HMP Dartmoor, depicts the project resolution. © Anna Goodchild 2019

          

Overall word count:                                                             4375

Headings, subheadings, citations and figure descriptions: 2351

Total word count:                                                                2024.

Preparing for assessment

What to send:

Box 1: The maquette as it formed a pivotal role in how I saw the spaces available 

            and therefore how I curated those spaces.

Box 2: Photography box: 

The tiles set in A3+ polystyrene sheets.

The drapes

Two reflections books

Two Leporellos

One Year book

            A3+ clam shell box containing:

                        14 A3+ BoW diptychs

                        5 mini ring binders containing: 

                              (a) developments of cyanotypes; 

                              (b) artist’s statement & other exhibition interpretations; game card; 

                                   souvenir card; opening event photos and Polaroids; 

                              (c) Publicity materials; 

                              (d) assignments and tutor reports; 

                                Photo grids of the vitrine and the quilt.

                        Black A4 box with transcripts of Ian’s letters.

Bibliography:

Clark, E 2018. In Place of Hate. IKON.

Cregg, M 2015. Midlands. Martin Cregg (Self published)

Derrida,J 2010. Copy, archive,signature: a conversation on photography. Stanford.

Obrist, H U 2014. Ways of curating. Penguin Books.

Exhibition catalogue:

Castello di Rivoli. 2017. Anna Boghiguian. SKIRA.

Websites:

https://www.xavierhufkens.com/artists/erwin-wurm

Article:

Click to access foucault1.pdf

Reviews:

https://devonportguildhall.org/2019/07/02/transcending-prison-walls/

https://hazel281660.blogspot.com/2019/07/anna-goodchilds-exhibition-one-year.html

Appendices:

  1. Viewings of the film of the exhibition:

2. Some of the 50 reflections in the books:

3. Exhibition speech.

4. The Cell / Reflection room:

5. Collaboration notes:

https://annasyp.wordpress.com/2019/07/23/reflections-on-the-new-music-collective-collaboration-experiment/

6. Transcript of Richard’s reflection:

“They filtered through what seemed a solid interface ..” (quotation from the poem “One Year”)

“They filtered” is many layered, transparent, translucent and sometimes, opaque, for me like a painting.

I am not consciously seeing through the format of just one rather there are multiple formats that transform and question my perception not just of the real but also of the surreal, the symbolism and sense of time.  An exhibition or a time capsule and a history of served time. Congrats Anna”

7. Transcript of Ian’s reflection:

Having been involved from a quite early stage in the process of this piece of work, or rather, several pieces to make a whole, it has been exciting to see how things have evolved over time. Anna has shared ideas at all times with me and I was pleased to lend several things to add to the authenticity of the prison experience. The setting for the exhibition was very apt, giving some idea of the restrictiveness of the cells in their size. I had no preconceptions as to how the exhibition would be although I had been told about the space and seen a model of the area I didn’t quite grasp how things would work. The actual exhibition was well presented and used the space very well. The audio of the letters being played in an actual cell similar to where they were written was particularly poignant. The temperature reflected how it was during summer at Dartmoor again being of similar building material. It has been a great experience working with Anna on this project and would have pulled out if I felt I was being exploited or misrepresented. Well done Anna.

8. Review on FaceBook:

Tim Wayne

Friend · University College Falmouth

2 Jul ·  · Anna Goodchild introducing her fabulous, thought provoking exhibition in Devonport Guildhall last night. She is there for a fortnight – do go if you can.

9. Reviews on FB:

10. Email reviews:

Illustrations:

Page 1        Figure 1: A Venn diagram of the interrelationship of the binaries involved in the resultant publication. © Anna Goodchild 2019

Page 3        Figure 2: An example of a diptych. © Anna Goodchild 2019

Page 4        Figure 3: the book: My first card to Ian.© Anna Goodchild 2019.

Page 4        Figure 4:  Ian’s first letter to me sewn in the spine of the full-bleed, landscape orientated, prison image diptych. © Anna Goodchild 2019.

Page 5        Figure 5:  Ian’s letter, sewn in the spine and partially opened. © Anna Goodchild 2019.

Page 6        Figure 6:  Photographed outside the Dartmoor prison entrance to show how nature itself was changing over time, these botanicals were then used to make a seasonal dye. © Anna Goodchild 2019.

Page 6        Figure 7:These are photographs of the dye paintings for each season.© Anna Goodchild 2019.

Page 7        Figure 8:  These are the Field Maple leaf prints used as the book title and on the drapes hanging in the exhibition space.© Anna Goodchild 2019.

Page 7        Figure 9:  I used the Field Maple leaf which grows on two trees flanking the

entrance to Dartmoor prison as a template to lay over the dye paintings in Photoshop and so produce an image of the paintings in the shape of a maple leaf.(C) Anna Goodchild 2019.

Page 8        Figure 10: Book cover where an image in a window replaces text for the title. © Anna Goodchild 2019.

Page 8        Figure 11: The maple leaf motifs on the drapes hanging at regular intervals so that people had a feeling of walking through time. © Anna Goodchild 2019.

Page 9       Figure 12: By including Ian’s hands in the work, I could bring in that human element which is a strong sub-text in my work but never directly referenced in an image.© Anna Goodchild 2019

Page 10      Figure 13: The ceramic tiles gave the visitors another way to access the contents of the letters.

© Ulrike Hennesen 2019.

Page 10     Figure 14: The book on a lectern in protected corner of the space. © Anna Goodchild 2019

Page 11      Figure 15:  The cell showing the film ‘Doing Time’ in which I collaborated with OCA music student Deborah  © Anna Goodchild 2019.

Page 12      Figure 16: The second cell, a reflective space, has a metal bed on which is the cyanotype quilt referencing the horticultural aspects of prisoner rehabilitation and Anna Atkins’ historical botanical cyanotypes.© Anna Goodchild 2019.

Page 13      Figure 17. The reflections cell.© Anna Goodchild 2019.

Page 13      Figure 18: Between the two cells is a vitrine with the dyes, images of the seasonal botanicals used to make the dyes, and minerals used.  Above the vitrine is an image of the area outside the entrance to HM Prison Dartmoor where I found the Field Maple leaves and the dye material. © Anna Goodchild 2019 (Left.) © Ulrike Hennesen 2019 (Right).

Page 14      Figure 19:  The Dandelion transcending the granite prison wall.© Anna Goodchild 2019

Page 15      Figure 20: Front and back of a typical card given to the visitors so they could join in the game to match the extract to an element in one of the diptychs. © Anna Goodchild  2011.

Page 15      Figure 21:  A visitor writing her reflection in the cell. © Anna Goodchild 2019.

Page 16      Figure 22: A child drawing her response to what she had seen. © Anna Goodchild 2019.

Page 16     Figure 23: Two OCA students chatting. © Anna Goodchild 2019

Page 17      Figure 24: 18 month-old Dexter transfixed by the music and the horses of ‘Doing Time’.© Anna Goodchild 2019.

Page 19     Figure 25:  Visitors interacted with the material aspect of the exhibition. © Ulrike Hennesen 2019

Page 19      Figure 26:  Two days after having put up the free-standing prints with bulldog clips attached to 

                    twine from the picture rail, I saw they had all warped in the very humid space. I therefore had to

                    put wooden batons across the tops and bottoms to straighten them. © Anna Goodchild 2019

Page 21     Figure 27: Ian’s reflection in the book. © Anna Goodchild 2019.  

Page 22      Figure 28: Venn diagram depicting the project resolution. © Anna Goodchild 2019

2 thoughts on “Reworked Assignment 5

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