These resources have been developed in partnership with The Royal Photographic Society (RPS) in support of Altered Ocean, an exhibition by award-winning photographer Mandy Barker, hosted at RPS House, Bristol from 4th April - 23rd June 2019. The resources have been devised for KS3-5 students, but are adaptable for younger years. A visit to the exhibition would be highly beneficial but is not essential to explore these thought-provoking themes.
The Royal Photographic Society exists to educate members of the public by increasing their knowledge and understanding of Photography, and in doing so to promote the highest standards of achievement in Photography. Click here to discover more. |
Teacher Resources
A summary of some of the key discussion points and classroom activities from this web resource is available to download here. |
Altered Ocean - An Introduction to the work of Mandy Barker
My sole aim is to form some sort of connection with the public through my work. To represent scientific research and give science a voice to people that may not be able to read in an accessible way about what is happening. [...]
I feel compelled to pass on to others what I’ve seen on oceans and beaches around the world.
-- Mandy Barker
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Mandy Barker is an international award-winning photographer whose work involving marine plastic debris has received global recognition. Working with scientists she aims to raise awareness about plastic pollution in the world's oceans whilst highlighting the harmful affect on marine life and ultimately ourselves.
This short video, produced by Biosphere Talks, provides a helpful introduction to the artist. For discussion
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Part 1: Altered Ocean - An artist (re)searching
Altered Ocean is a powerful exhibition that raises awareness about plastic pollution in the world’s oceans, highlighting the effects on marine life and ultimately ourselves. The show documents Mandy Barker’s visual journey as a photographic artist addressing the issue of marine plastic pollution.
Large-scale prints from her series: INDEFINITE, SOUP, SHOAL, Hong Kong Soup 1826, Penalty, and Beyond Drifting provide an insight into her journey and connection with the issue over the past 10 years. Click on the images below to find out more about these fascinating works.
Large-scale prints from her series: INDEFINITE, SOUP, SHOAL, Hong Kong Soup 1826, Penalty, and Beyond Drifting provide an insight into her journey and connection with the issue over the past 10 years. Click on the images below to find out more about these fascinating works.
Mandy's approach to her work reaches far beyond that of a straightforward photographer. At times she might be considered a scientific researcher, an environmentalist, a campaigner, an artist, or a documentary photographer. It might also be suggested that her work is a form of sociology - or archaeology, even - for via the discovery and harvesting of artefacts, Barker reveals the actions and behaviours of cultures and society.
The images to the right have been composed of screenshots from a short film commissioned by the bottled water company, Evian. They offer glimpses of Mandy Barker's studio. You can view the whole film here. The film aims to promote the circular economy, a system aimed at minimising waste and making the most of resources. This regenerative approach is in contrast to the traditional linear economy which has a 'take, make, dispose' model of production.
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Within her studio Mandy Barker carefully stores and categorises the plastic that she has collected from the ocean. The collection is vast - from Canadian shotgun cartridges, washed up on the west coast of Scotland; to samples from the stomachs of albatross chicks. Regretfully, she is not likely to run out of materials at any time soon; the following text emphasises why:
We manufacture over 300 million tonnes of plastic a year – that is equivalent to the weight of the entire adult population of the planet. Half of that we use just one, sometimes only for a few seconds, and then we throw it away. And while plastic is an amazingly versatile and useful product, it is virtually indestructible and production has outpaced the planets ability to deal with the waste we are producing. Landfill is not the answer and there are just not enough recycling facilities around to deal with it. Poor waste management coupled with human neglect has resulted in plastic pollution covering our planet like a disease. Inevitably it is ending up in our lakes, rivers and oceans. Scientific evidence has shown that around 8 to 12 million tonnes of plastic ends up in our oceans every year.
Source: Plastic Oceans UK
For discussion
- Mandy Barker spends much of her time travelling the world, often visiting remote destinations. Which job description might be best applied to Mandy's well-travelled passport: Artist, Photographer, Researcher, Scientist, Environmentalist?
- What issues might arise with these various job titles - how might this influence perceptions of Mandy and the work that she does, also the support, access and understanding she receives?
- Mandy Barker is a passionate advocate for plastic-free oceans. She is also an avid collector of plastic from oceans. Might Mandy have mixed emotions when she discovers an interesting piece of plastic washed up upon the shore? Why might the visual and material qualities of plastic appeal to artists, alongside a sense of searching and discovery?
Threshold Concept #3: A hybrid kind of picture makingOur Threshold Concepts for Photography aim to expose some of the 'big ideas' in photography education. Threshold Concept #3 reminds us that photography crosses different disciplines both in theory and practice. It is a hybrid form of art informed by the sciences and the humanities, where multiple functions, contexts and meanings can overlap in interesting ways.
I want people to be visually attracted to the images that I create, and then I want them to read the caption and be shocked by what they read, by what the image represents – by what the objects within the image represent. I want to leave a lasting memory, an awareness with them that they may want to think about what they buy, change their habits and think about their own footprint in regards to the consumption of plastics.-- Mandy Barker |
As an artist, Mandy Barker deliberately plays with our expectations of both photography and science. Beyond Drifting: Imperfectly Known Animals is a wonderful example of this. This series of work is presented as an old science book from 1800s, subtly including the original writing, descriptions and figures recorded by marine biologist and naturalist JV Thompson, as published in his research memoirs of 1830, entitled, 'Imperfectly Known Animals'.
The photographs are of marine plastic debris, presented as microscopic samples that mimic Thompson's discoveries. This is a direct creative response to current scientific research which has found that plankton ingest micro plastic particles, mistaking them for food. As plankton is at the bottom of the food chain - a crucial source of food for many of the larger creatures - the potential impact on marine life, and ultimately us, is of vital concern.
The photographs are of marine plastic debris, presented as microscopic samples that mimic Thompson's discoveries. This is a direct creative response to current scientific research which has found that plankton ingest micro plastic particles, mistaking them for food. As plankton is at the bottom of the food chain - a crucial source of food for many of the larger creatures - the potential impact on marine life, and ultimately us, is of vital concern.
Wider reading
Relating to this environmental issue:
Relating to the work of other artists/photographers:
- Ingestion of plastic by marine animals is of major concern. Plastic Oceans are dedicated to solving this issue through science, sustainability and education programmes, You can read more about this issue here.
Relating to the work of other artists/photographers:
- Threshold Concept #1 draws our attention to the fact that photography consists of many different genres - and that artists can play with our expectations to creative effect.
- Many artists/photographers set out to explore, discover and respond to their environments in imaginative ways. Seemingly insignificant objects and disregarded matter can be collected, categorised and documented to powerful effect. Stephen Gill's 'Outside In' and Gabriel Orozco's 'Astroturf Constellations' are two examples which, in differing ways, expose relationships between the natural and the man made.
Activities
Identify a specific location or route for your own practical investigations. This might be an area where you want to draw attention to an issue, or simply somewhere familiar to re-consider. You might focus on the street where you live, a journey to school, or a section of garden or school grounds. Consider the various ways in which you might be able to safely investigate and document this area through photography, drawings, notes and wider research.
You might want to consider:
You might want to consider:
- Collecting - for example, found remnants, discarded materials, soil or surface samples. You might also record various types of data such as temperatures, measurements, sounds etc.
- Documenting - how photography might be used in a variety of ways to create new interest, for example, via objective recordings and typologies; stylised or staged compositions; experimental abstractions (e.g. created via camera settings or physical movement); or through sequences of images that create a narrative (whether fictional and staged, or real and encountered).
- Categorising - how the information that you gather might be ordered, grouped, labelled or re-presented. How might your findings be curated by someone else, for example, a scientist, archaeologist or historian...or an alien, animal or a politician. How might a particular agenda or even a fictional perspective of your chosen location be explored, expressed or exaggerated?
- Displaying - how might your findings and responses be combined and exhibited in an imaginative way? Could you display your work within the original location or, alternatively, a contrasting space? What discoveries, interpretations or issues might you want to prioritise and draw attention to?
Related PhotoPedagogy resources:
The Surface of Things Mandy Barker scours the ocean surface harvesting plastic; surfaces of plastic have specific material qualities - resistances and affordances that have made plastic so popular and omnipresent, appealing to photograph, yet damaging to the environment. How might other artist photographers respond to the surface of things? |
Boring Things Much of the plastic that pollutes and populates our oceans is one-use only - disposable items such as cutlery, cups and packaging. Boring Things explores how everyday objects can, through photography, take on more interest or poignancy. |
Convulsive Beauty Mandy Barker sets out to create visually appealing imagery. However, on closer inspection and with added context, her imagery takes on a disturbing poignancy. How have other artists been drawn to documenting the unappealing; converting ugliness to beauty and exploiting the transgressive nature of photography? |
Part 2: Altered Ocean - Brought to book
Example pages from the sketchbooks of Mandy Barker
Recording my ideas and research in sketchbooks is something I have always done, it connects me to the relationship between my practical work and the research that informs it. |
The Altered Ocean Exhibition includes examples of Mandy Barker's supporting sketchbooks and notes. These books add context to the show by revealing the thoughts, connections and processes of the artist.
Sketchbooks are central to Mandy's work. They are valuable travelling companions for recording research and ideas, and for playing with words, imagery and design possibilities. These books might be considered as artworks in their own right, as well as visual diaries of her explorations and experiences. |
Sketchbooks and journals can provide a rich playground for intrepid artists. Many scientists, researchers, explorers and pioneers have also embraced the practicalities and possibilities of using a sketchbook, just as artists in the late 1800's embraced photography, a process that is rooted in science. Consider the sketchbook examples above, and the early scientific recordings below. Follow the links to find out more about their creators.
For discussion
- Compare and consider the visual differences between personal sketchbooks and a more formal text book (a science book, for example). How might a book's design - its composition, style of lettering, type of imagery (especially photographs) - influence our presumptions of expertise, truth, honesty, accuracy or authenticity?
- The origins of photography are closely linked to scientific discovery. Many of the early photography pioneers were also skilled and knowledgeable scientists. Why might photography have been of interest to them? Where is the science in photography?
- Art and Science are not the distinct subjects that a school curriculum might lead some to believe. What similar qualities - skills and characteristics - do you think successful artists and scientists might share?
- Consider some of the different ways that scientists might use photography, for example: Infrared or thermography, forensic photography, radiography, photomicrography or astrophotography. How might these approaches and their distinctive styles be of inspiration to artists, or to your own experiments?
Threshold Concept #7: Context is everythingPhotographs are polyvalent - their meanings are hard to pin down and one photograph can mean many different things to different people. The meanings of photographs often rely on their context. Imagine the same photograph - say a picture of a plastic shopping bag - presented in the following places:
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Activities
- Devise an accompanying title or caption for each of the 3 images above. How and where might the image and text be encountered (for example, as a newspaper headline; in an art gallery; on an advertising billboard), and how might this influence interpretation? What happens when you swap the titles around or change the style or size of the lettering?
- Experiment with creating a hybrid photobook, appropriating an existing text. Find or buy an old book (make sure you ask permission if it already belongs to someone else). Try a charity shop. It doesn't really matter what the book is about, but it might be interesting to find something you care about - an interesting subject, story or set of images. Now, take a set of photographs either relating to or unrelated to your chosen book. print them out and experiment with placing them inside your book. Notice what happens when you locate your photographs next to existing text or images. Avoid fixing your photographs permanently until you have played with various alternative placements. You might want to re-photograph your images inside the book.
- An alternative strategy might be to find an old picture book (or text book with lots of images) and alter the captions. You could add favourite song lyrics, a poem or snippets of overheard conversation. What happens to the pictures when they are given these new captions?
- If you have access to cyanotype chemicals, you could experiment with coating the pages of the book with the chemicals. Leave to dry completely in a dark place. Then, place objects on top of the coated pages (you may need to keep them in place under a sheet of acetate or glass). Carefully wash the exposed pages in running water. Leave to dry in a dark place. You should then have photographic images exposed on top of the printed book pages.
Related PhotoPedagogy resources:
What is a Photobook? More than any other art form, photography has relied on print media and the book in particular as a means of communication. This resource provides a valuable introduction in to some of the numerous ways that artists and photographers have embraced the photobook. |
The Photograph as Evidence. Since its 'invention' in the 1830s, photographs have been used as sources of evidence. The direct (indexical) relationship between the sun's rays and the resulting image makes photographs seem reliable as sources of information. But how reliable are photographs, really? |
Believable Fictions The relationship between photographs and reality is complex. Photographs can appear to be copies (facsimiles) of the world. It is tempting to think of them as factual evidence that something happened or existed, but that is not always the case. This resource looks at ways artists have deliberately misled, playing upon our expectations of photography. |
Part 3: Altered Ocean - Photography and the Anthropocene
Mandy Barker's practice reflects current concerns amongst artists about the climate crisis. There is a long tradition of lens based artists responding to the environment, perhaps best seen in the genre of landscape photography. However, contemporary artists and photographers, like all of us, are now faced with the urgency of climate change and its impact on the future of life on Earth. It's no surprise that many of them have focused their attention and resources on this issue. How can artists help us to accept our role as humans in the looming environmental catastrophe and, possibly, change our ways?
For discussion
- Do artists/photographers have a responsibility to care for the environment? What might it mean to be a responsible photographer?
- What ethical challenges might there be for artists/photographers in their use of materials and processes, their relationship to the art market and the need to survive financially? How can artists challenge the global capitalist system when they are often part of it?
- How important is it to present work related to environmental disaster in aesthetically pleasing ways?
- What can/do you do, as an individual and as an artist, to respond to the environmental crisis?
Threshold Concept #9: Photographs are not neutral
Photographic works of art can appear to be straightforward documents - copies or facsimiles of the world. It's tempting to just see the subject of a photograph - a person, a thing, a place - without paying too much attention to the decisions made by the photographer before, during and after the picture was taken. The photographer chooses where to place themselves, what to include (and exclude), when to click the shutter, how to display the image etc. Advertisers love photography because of this apparent neutrality. We see something we desire in a photograph, rather than all the decisions taken by global brands, art directors, photographers, retouchers and a host of other stakeholders, all designed to manipulate us to buy something we don't need. We also don't see the impact of our purchases on people and the environment.
Consider the sheer number of photographs you see on a daily basis. How many of them are part of a sophisticated system of persuasion - do this, buy this, go here, feel jealous, vote for us, want, want, want? Photographs are seductive. We love looking at them. They appeal to our need for beauty and visual pleasure. They brighten our lives with colour, pattern and visions of a better life. They can also make us feel inadequate, coerce us into taking actions that harm others and the planet, make us less generous, more envious and selfish. Some artists/photographers use the power of photography to challenge our notions of what is 'normal', acceptable, healthy and ethical. Click on the images below to find out more about the work of these artists: |
Activities
- Attempt to systematically photograph all of your possessions. This might be impossible, but taking the time to notice what you own, to touch the objects (some of which you may not have even looked at for a long time) and to compose a photograph of them, might prove to be a sobering process that draws attention to your personal impact on the environment. Everything we own has left, and will continue to leave, a mark on the planet. If this is too daunting a task, photograph a week's food shopping, all the meals you eat for a month, the contents of your recycling bin etc.
- Consider water. Water, like photographs, can appear to be invisible, ubiquitous, neutral. We take access to water for granted, but it's a precious commodity for many people across the world. Sometimes, as a result of global warming, people experience terrible flooding which destroys their homes and threatens their lives. The melting of polar ice is, perhaps, the biggest threat to our existence as a species. Create a sequence of images of water that help to explore its importance and encourage people to take better care of it.
- Keep a visual diary of a week without plastic. Try not to buy any plastic and limit your use of it as a material. You may fail in your attempt to eradicate it from your life (even for a short time) but your photographs will record your experiences and draw attention to the issue for others.
Related PhotoPedagogy Resources:
Typologies Photographs can be a way to describe and classify a particular subject in a seemingly scientific, dispassionate way. These images can be records of your ability to collect, arrange, compose and organise a visual record of a particular phenomenon. But how objective can a photograph really be? |
Inside/Out Photographers face a myriad of ethical dilemmas. In the 1970s, some artists/photographers began to question their relationship to the medium, questioning the unusual power and privilege afforded by photography and attempting to find ways out of their ethical difficulties. In a famous essay, Abigail Solomon-Godeau explored the insider/outsider dilemma and the solutions discovered by some practitioners. |
If you have any queries regarding these resources, or if you would like to share any student work produced in response to these themes, you can contact PhotoPedagogy here.
Additional links
Mandy Barker, Artist Photographer http://mandy-barker.com
The Royal Photographic Society www.rps.org
Additional links
Mandy Barker, Artist Photographer http://mandy-barker.com
The Royal Photographic Society www.rps.org