Review writing

Writing a review doesn't sound like the hardest assignment in the world but until you think about it properly you don't realise how much goes into it.

I chose to write my gallery review on the exhibition a the Maureen Paley gallery. As stated in my previous blog post on the gallery visit, I found this exhibition the most enjoyable and had a lot to say about it so it seemed like the right thing to review.

The exhibition was one by Anne Hardy so the first thing I did was try and find reviews and articles on Hardy and her works.
I read some interesting journals and chapters about Hardy's latest and past shows that gave me an insight into how she worked and those artists she's similar too which all helped In getting to grips with what  to write In my review.

Charlotte Cotton - 'the photograph as contemporary art'

The hardest thing I found was trying to write In a manor that was unnatural to me. Being able to voice my opinion but without writing In the first person became a challenge throughout the review as I ended up more often than not having to reword my thoughts In order for them not to be In the first person.

In the end I managed to get my review together In a shorter period of time than I had expected and considering I had never attempted to write anything like this before I am pretty pleased with the results.

Photo taken from: Charlotte Cotton, 'the photograph as contemporary art'.

Analogue Vs Digital

"What role does post production play? Is there a difference between working with chemicals and working in a 'Digital' darkroom as far as the 'Legitimacy' of the final image?

So long as the image hasn't been manipulated in a ny way a good photo is a good photo, regardless of what sort of camera was used to take it. You have to be a lot more resourceful when shooting film. For one you shoot fewer photos, but in doing so I think you learn a lot more about composition, lighting etc. I often wonder how many more photos I would have if I could have shot digital when I first started out? Would i even have pursued photography? Possibly not..." - Ricky Adam

The argument of 'analogue vs digital' is a much debated topic amongst photography. It has been said that the age of analogue photography is/has disappeared. Since the ever evolving digital camera has come on the scene for many using analogue methods are now not necessary or desired. The college I  came from was fortunate enough to have the facilities to work with analogue photography whereas a lot of people I know didn't have this available to them. This is a prime example of how it is disappearing in this now very digital age. 

People argue that it is also a lot easier and cheaper to work in digital, but does this make digital a good thing? 

I enjoyed very much learning about the many different methods of photography, including analogue. It makes you more aware of how things have evolved and also of the technicalities behind much of photography, including digital cameras. 

A series I produced for my first assignment (35mm)

Test shoot from same series using digital.

I think the introduction of digital makes photography more available to the masses. This may not sit well with some as it leads people to think that they are automatically a 'photographer' just as they are able to snap a few photos with their camera. I think this argument is going to be a long an on going one as it seems to be hard for anyone to come to an agreement.

Personally I think it is less to do with the medium you are using to create your photos. Whether you are using digital or analogue methods, it is completely down to the photographer to make this choice due to preference and desired affects. 

East End Gallery Trips

Chuck Close

The last gallery we visited was the 'White Cube' gallery, Bermondsey. This gallery space is relatively new compared to the other galleries houses around London. It is also the largest of all the gallery spaces. The show we went to view was 'Chuck Close Prints: Process and Collaboration". The show presented a wide variety of Close's work including ones that used different methods such a Etching, Silkscreening and Tapestries amongst others.

Inside the exhibition room.

Close is known for making pictures of faces, these could originate from photos of his family, or even self portraits. He positions the sitter very close to the camera in order to create a reduced depth of field. 

Inside the exhibition room.

I personally didn't feel like there was enough time left in the day to be able to fully come to grips with some of the methods and ideas behind Close's works. I could of spent much longer looking at each individual image to put together a better understanding of what it was that he was doing. I did despite this however really enjoy this show. I think this is because it's different to anything else I have seen previously. I found it interesting to see the numbers of different methods Close used and the different effects that each produced. Even though I didn't know much about Chuck Close before I could tell just be viewing this show how much time and thought goes in to each singular piece that he puts together. I would be interested in revisiting this show and/or finding out more about the way in which Close works. 

Images and text:
whitecube.com/about/
whitecube.com/exhibitions/chuck_close_prints_process_and_collaboration_bermondsey_2013/

East End Gallery Trips

Maureen Paley Gallery

The second gallery we visited was the Maureen Paley gallery, a smaller, privately funded gallery in the East end of London.
Before this visit I hadn't visited, nor was I aware of the Maureen Paley gallery so I was interested in seeing how it compared to the other galleries we had visited on these trips:

Maureen Paley Gallery

From the outside I would of completely written it off as a gallery so I was shocked when we were lead inside. The gallery was relocated in September 1999 to this venue and the galleries aim is "to promote great and innovative artists in all media"

The work being shown at the gallery was the by Anne Hardy. Again, I was unaware of her work prior to finding out we would be seeing one of her shows on this trip so I did a bit of research into her practise before we went and found how she constructs her images very interesting. We watched a video during our introductory lecture on how Hardy makes her work and I found this very engaging, and thought it was a very clever way to go about creating her scenarios. 

Notations - Anne Hardy

I enjoyed this visit the most out of the 3 we saw on the trip, I think this was because it was the most appealing of topics to me. Although I found the work from the other galleries amazing I think Hardy's work is more my cup of tea. It was also very audience based in that you were about to engage with some of her pieces. I also enjoyed the intimacy of this gallery, Hardy chooses to hand her prints slightly lower than usual so that it feels as if you as the viewer are actually walking into the room that the print diptychs.

As of Yet Untitled - Anne Hardy

The photo above for example is just one of the 'rooms' created over the 2 floor exhibition space of the gallery. When you step inside these structures it is meant to feel personal, so we were asked to only go in two at a time, so that we could get a better sense of the space. Unlike Hardy's prints where you are meant to feel like you are stepping into the space as the prints are at such a scale where they feel almost life like, in these scenarios you are literally stepping into one of Hardy's creations. Part of the idea around the show is that you are able to see the boards and the way in which the rooms are constructed so you know that her work is constructed pieces even though in this case they feel even more life like as you are able to walk around them.

I think this is something that I really liked about this exhibition is that it was Audience friendly. Usually you have to keep your distance from the works, and although this is true in the sense of the hanging prints, the majority of the exhibition revolves around the engagement with the work itself.

Images: www.maureenpaley.com/exhibitions/current/anne-hardy/images
Content: www.maureenpaley.com/gallery
Video: www.independent.co.uk/arts-entertainment/art/features/inside-the-artists-studio-anne-hardy-7462368.html

East End Gallery Trips

Today we had our second trip to London to look around galleries in order to be able to find an exhibition to review. This trip took us to the East end of London in comparison to the West end galleries we visited on the last trip.

National Maritime Museum

The first place we arrived at in London was the National Maritime Museum. The show we had gone to see was Ansel Adams, PHOTOGRAPHY from the MOUNTAINS to the SEA. Prior to this trip I was aware of Ansel Adams and his works but I was yet to see his work in person. I had been told by many people that going to see Adams' work was an experience but I wasn't sure as to what they meant by this.

The PHOTOGRAPHY from the MOUNTAINS to the SEA exhibition is on at the NMM from November 9th 2012 till April 28th 2013. The exhibition holds over 100 original prints with the only reproduction being "Diamond Cascade, 1920" as the original is in the possession of the Adams' family themselves. The exhibition shows the very small prints all the way to the 3 metre high print. For me, seeing the size and scale of Adams' work is what amazed me the most. The fact that he can produce such large prints at such a high quality. The detail within the prints was just amazing to see first hand.

Fern Spring, Dusk, Yosemite Valley

This print was one of my favourites from this exhibition. The detail, seeing the print in person was just outstanding. You could really feel the movement of the water within the print.

"A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed."

-Ansel Adams

From seeing Adams' prints in person I can now see now, what the F/64 group were trying to achieve in seeing the world 'as it is'. I feel that it captures a moment in time, one of true beauty. Although this point has been widely argued about how much of reality these photos actually show I personally feel that they do a very good job at trying to show what it is they were intended to show.

http://www.rmg.co.uk/visit/events/ansel-adams

Self Portraits on Social Media

This is a forum question that has been raised and argued over the past few weeks..

How do you think the role of photography in our culture is changing, when you think about how it is being used on social media like Facebook, Twitter, Flickr etc? I'm particularly interested to hear your opinions on how you think photography, particularly self portrait photography, is being used to define an individual's identity. How is our 'identity' constructed through the choice of photographs we post online?

(Clockwise) Celeb selfies … Kelly Brook, Rosie Huntington-Whiteley, Chrissy Teigen, Madonna, Ian Somerhalder and Tyra Banks. Photograph: Instagram

I think that there were many good points raised within the forum on this topic. It is of course something that is widely talked about. The use of portraits or 'selfies' on social media especially on those such as Facebook and Instagram is being more apparent. On my news feeds in particular I have noticed the constant new additions of these photos. I am even beginning to notice people changing their profile photos to these 'selfies' more than once a day every day.  This leads me to believe like raised many times in the forum that people are only posting these photos to gain likes or comments which compliment them on the way they look etc. 
Naomi raised a point which I agree with completely:
"We live in a society that social hierarchy is solely based upon the importance of how good you look as opposed to how good you are."
When looking at most media productions in this day everything is judged upon what you look like and what you're wearing. Celebrity based magazines for example I feel fuel this ideology. 
I don't think that any of us are blameless in this new phenomenon to hit our screens. In most cases we have all participated in this idea of the 'selfie' or this form of portraits. The new craze to hit social media at the moment is snap chat. 

SnapChat home page.

I think that this image sums up completely the idea behind SnapChat. You simply take photos of yourself and send them to your friends in an instant. I feel that this new app has been targeted at this new found love for portraiture. 

I would also agree with another point raised within the forum that these photos on our media are less about the photography and more about people portraying themselves in a desired way. Of course this is only true of some social medias and is dependant on the audience the pages are being targeted at for example. Businesses etc I don't think would be categorised under than same form of portraits. Personal pages however use these photos with the intention of gaining in most cases and encouraging the arguments of who looks better than who. 

Photo: www.guardian.co.uk/artanddesign/2013/apr/02/rise-and-rise-of-the-selfie
http://www.snapchat.com/
Quote: Mycourse Forum - mycourse.solent.ac.uk/mod/forum/discuss.php?d=7991&parent=13700

Instagram

Instagram - good or bad for photography?

As a class we have many forums in which to discuss and convey our opinions on a certain topic and find out what other think about the topic in question. This one forum I found particularly interesting due to its relevance within today world.

The forum debate brought up many interesting points about the app that is Instagram. For me personally, Instagram is a quick and easy way of showing your friends what you get up to in your day to day life. It allows you to share photos with people via many social medias which in todays world is an every increasing trend.

I personally don't see why some people get annoyed at the use of Instagram as yes, there is the minority of people who feel that uploading photos to such apps allows them to label themselves as a photographer but the majority of people only use Instagram as a way to show the rest of the world things that they find interesting or to share things with their friends and family.

Instagram home page.

For me, the home page of the Instagram website says it all:

"It's a fast, beautiful and fun way to share your photos with friends and family."

The FAQ section of the website write about how you can take a photo and use a filter to change the image into something that can be seen as a memory you can keep forever. For many, this is the reason for taking photos, the memory of the things within them. 

"We imagine a world more connected through photos."

Photo: instagram.com

Geraldo De Barros

Geraldo De Barros (1923 - 1998)

One of the most interesting shows on at The Photographers Gallery for me was the Geralodo De Barros show  in the Wolfson Gallery.

The Photographers Gallery 'What Remains' 

The curator Isobel Whitelegg let us know lots about De Barros himself and also about the layout and structure of the room in which his work was displayed. It was interesting to hear why things had been done they way they had and lead me to think about this a lot more at the other shows I saw.

Gallery View

The room in which the works were shown was the only room in the gallery that is up to museum standard for vintage pieces. The room had air conditioning and heating in order to keep the room at the correct temperature for the maintenance of the pieces on display.  The colour on the wall was also added to give the space a museum feel as most museums have colour on the walls instead of plain white like usual gallery spaces. It gives the room an older feel although it isn't in a colour such as 'mushroom green' like most museum spaces.

The table space shown in the above image contains work that supports those hanging on the gallery walls. They're laid out in a less formal way allowing the audience to look at the different pieces and link them to those on the wall space.

Geraldo De Barros, Untitled, 1996 - 98
from Sobras

De Barros' photographic career was a short one that occurred over a long period of time. His photographic engagement took place in two stages, once at the beginning and once at the end of his career.
He discovered photography as a young painter and was soon using multiple exposures, camera rotations, over-painting and scratching of negatives to radically abstract his subjects.

I think the idea of experimentation within De Barros' work was what made me so intrigued by there show of work. It showed so many different ways that he went about his works, from the initial negatives to the prints which came from them. With this information you were able to piece together some sort of understanding behind his work.

Left: Untitled, Itu, Sao Paulo, 1949 from Fotoformas, Silver gelatin print
Right: Untitled, Italy, 1951 from Fotoformas, Silver Gelatin print 

After this period of experimentation he abandoned photography for over four decades.
De Barros only revisited this medium late in life following a series of strokes, when his daughter unearthed a box of negatives from his person archive.
In the last two years of his life he made Sobras (remains), this series resulted in over 250 intricate collages. to make these he used cut outs, shadows and different effects from their private domestic lives and incorporated them with the 'leftovers' from the Fotoformas series.

I think this is another thing that attracted me to De Borros' works. It's in parts personal and those images created from the last years of his life enabled him to create work and/or memories that could be left in his place.

Table of negatives and prints in the middle of the gallery space.

Information: The Photographers Gallery Catalogue 18th January - 7th April,
Images: http://thephotographersgallery.org.uk/what-remains

West End Gallery Trip

The Photographers Gallery.

The first place we went to once we had arrived in the WEst End of London was The Photographers Gallery. When we arrived we had a talk from curator which was then followed by a tour of 2 of the floors in the gallery. The first floor we looked at was floor 5, John Lyon Gallery, the name of the exhibition being shown on this floor was "PERSPECTIVES ON COLLAGE". This exhibition is a group show that as the catalogue states "offers eight individual approaches to photo collage and aims to broaden ideas around te practice into areas including sculpture and instillation, as well as within the two dimensional plane of the photograph itself."

The works of Jan Svoboda, Peggy Franck, Nichole Wermers', Batia Suter, Anna Parkina, C,K Rajan, Roy Arden and Clunie Reid are featured within the show. 

Below are three examples of the works from the fifth floor. They are good examples of the different approaches to photo collage... 

C.K Rajan - Mild Terrors

The work of C.K Rajan, an Indian artist, shown in this show was made between 1992 and 1995. His practise has included not only photo collage but painting, drawing and sculpture too. The works are politically made usually overlaying two contrasting news paper or magazine images to create one simple image with a very strong meaning to it. The work respond "to the ways in which economic modernisation creates social and cultural contradictions."

When first viewed this series not knowing the concept behind the idea I had a completely different view of the collages. I think personally, knowing the idea behind them has made me look into the images more and think about them in a different way than I would of done originally. For this reason when I viewed the images a second time I liked them more than the first viewing.

Anna Parkina

A Russian born artist that works in sculpture, painting, photography and performance. Unlike the works of Rajan, Parkina's colleges are her own photography and are also layered more densely than just the 2 images he used. 

Her work reflects her move back to a post Soviet Russia after her studies at a time of big cultural and social changes.

Clunie Reid

Clunie Reid is a photographer from the UK. Within this collection she uses marker pen, stickers, holographic  paper and tape to recast photographic imagery into anarchic, new contexts. Personally, Reid's work wasn't all that appealing to me due to the fact I am not easily pushed into liking what I would see as more drawing based pieces. Despite the fact I don't find the work visually appealing I think the concept of challenging our perceptions of the worlds media such as web and advertising is something that is of interest to many and also a topic under scrutiny. 

The Photographers Gallery 18 January - 7th April 2013 catalogue
www.thephotographersgallery.org.uk/perspectives-on-collage-3

Metaphor and Allegory

In todays lecture we learnt about Metaphors and Allegories and their relation to photography.

Metaphor; figure of speech in which term is transferred to something it does 

not literally apply to.

Allegory; i)Story with a meaning other than the literal one

ii)Description of one thing under image of another

Self Portrait With Two Fried Eggs - Sarah Lucas

One of the photos we looked at was 'Self Portrait With Two Fried Eggs' by Sarah Lucas.

The intention for looking at images such as this was to try and apply these definition to the photos and see if we could get a different or more in depth reading into what they're trying to say.

There are 3 things that strike me when first viewing this photo. One of which is obviously the fried eggs positioned on Lucas' breasts. 'Two fried eggs' is a metaphor used to describe a women that is flat chested so this would be one of the obvious metaphors used.

Another thing is the way she is dressed and positioned. This is all suggestive of her masculine appearance, with her slouching and her legs apart, which is a posture we expect and is stereotypical of men. Lucas is fully aware she possesses a look which some would call masculine so positioning herself like this suggests her rejecting this label. The checkered floor is also another aspect within the frame that stands out. It is simular in looks to that of a chess board etc. This may be suggestive that Lucas sees life as being one big game whereby she is trying to reject the stereotypes that are thrown at her and that she has overcome this and is now able to make a joke out of it.

The tate writes about her confrontational self portraits saying:

"Through them she presents an identity which challenges stereotypical representations of gender and sexuality. Posing simultaneously as tough and abject, macho but female, she creates an image of defiant femininity."

When you look into this image more you can completely see this within it.  At a glance we may completely bypass these ideas when really they are right infront of us.

Definitions: Metaphor and Allegorie Powerpoint - MyCourse

Quote and Image: www.tate.org.uk/art/artworks/lucas-self-portrait-with-fried-eggs-p78447/text-summary

Semiotics

“It is…possible to conceive of a science which studies the role of signs as part of social life…We shall call it semiology (from the Greek sèmeîon, ‘sign’).  It would investigate the nature of signs and the laws governing them…Linguistics is only one branch of this general science. …”

Saussure, Course in General Linguistics, 1916

 Semiotics wasn't something that I had come across before, or so I thought when heading into the lecture. But it turned out that without knowing it I was fully aware of the basic ideas that surrounded semiotics. Because of this newly found understanding I was interesting in uncovering in more depth the ideas behind semiotics. the introduction of new and unfamiliar words to use in the understanding of the concept threw me at first as they were hard to get to grips with. Putting the definitions along side an image as an example however seemed to help the concepts sink in. These also help you realise how life itself is constructed around the idea of semiotics, even if we're not always aware of it things are indirectly suggested to us. An example of this is knowing when to cross the road, we are aware from a young age not to walk out infront of moving vehicles and to wait until there is nothing on the roads to cross. I feel that the following quote suggests this idea very well, in that we grow up watching what others do and so we pick up the way in which we are supposed to do things:

“Logic, in its general sense, is…only another  name for semiotic…we observe the  characters of such signs as we know,  and...by a process which I will not object to  naming abstraction, we are led to  statements, eminently fallible, and  therefore in one sense by no means  necessary, as to what must be the  characters of all signs used by scientific  intelligence, that is to say, by an  intelligence capable of learning by  experience.”

Peirce, Collected Papers:Principles of  Philosophy, 1931 

Semiotics is made up of the signifier and the signified;
- the signifier is the material aspest. E.g. any material thing that signifies such as a facial expression or an image.
- the signified is the mental aspect. The concept that the signifier refers to.
These 2 things make up what we see within an image.

Johnny Cash 'Hurt' Official Music Video

We were shown this Johnny Cash video as a way to try and make us understand the complex ideas behind semiotics. I think for me, this visual aspect helped make me remember the ideas around the concept. We were made to watch the video twice, once without the sound and then again with the sound accompanying the video. At first I was slightly sceptical about going about it this way as I didn't think that there would be any difference in the two viewings but after carrying out the exercise I was surprised to see the difference it actually made. Watching the video by itself allows you to look around and pick up every small aspect displayed within the video and build your own conclusion on why it is there however, once the lyrics are added they become very suggestive and you see everything you saw originally in a whole new perspective. The lyrics add the relevance and meaning behind some objects and allow you to notice new things that I bypassed in the first viewing.

Definitions: http://www.uvm.edu/~tstreete/semiotics_and_ads/terminology.html
Quotes: MyCourse Semiotics Powerpoint

E Book show

The E Book show took place at the John Hansard Gallery Central. The show opened on Friday the 1st February and runs for a month. This time scale is substantially longer than what other book shows would run for. This book show is currently the 5th book show following closely behind book shows in Brighton, London and Helsinki.

"Photobookshow is a series

 of exhibitions which focus 

on the hand-made and self-published photobook"

The Photobooks were laid out in along a long table situated down the centre of the gallery space which meant it was a audience friendly environment. The lighting used was simple but effective as a single box of strip lights was positioned over the table to create an air of daily light over the books. 

Pelikan - Gabriele Harhoff & Brutal - Michal Luczak

There were many different Photobooks that caught my eye such as the two above. I found it interesting to see the many ways in which you can put together your own photobook that are both professional and also aesthetically pleasing.

Gregory Reuben Levitt - Locus Delecti/Oradour sur Glane

I found myself asking many questions when looking through the number of photobooks presented on the table. Personally, I found it hard to understand the reasoning behind the way in which the authors had done things even though I found them appealing to the eye. The book above for example is one with a layout i didn't understand but it captured my attention. I wondered why the author had chose to have, when the book was fully opened, 4 photos facing towards the viewer and 4 the were facing the opposite way?

Those were the days when I used to drive around with a horse's head on
-  Espen R Krunkhaug

This book by Espen Krunkhaug was probably one of my favourite books from the exhibition. This is for a couple of reasons;

i feel that the photos within the photobook are ones which the audience can relate to, being a student a lot of the photos were that of what you would see on a night out, they feel 'real'. There is also a simplicity about the way the book is covered and bound. To me it looks less professional that some of the other books I liked but it has a sense of mystery that draws you in. 

a page from
"Those were the days when i used to drive around with a horse's head on"

John Hansard Gallery

Gallery Visits

Design by hand: Forth Studio 1954 - 1989

The Designed by hand: Forth studio exhibition was held at Southampton Solent's Showcase gallery between January 25th and February 24th 2013.

"Design by Hand features the works of a highly successful Edinburgh design studio before the advent of the computer. The exhibition covers Forth Studio's work until the company - formed by Douglas Soder and John Martin in 1954 - was sold in 1989."

This exhibition wouldn't usually be something that I would choose to go to off my own back as my knowledge of the area is very little so at first I was a bit sceptical about what I was going to think. 

After a couple of times going round the exhibition space and trying to take in and work out the necessary information I needed to know about the founders and the company itself to be able to gage what I was trying to be shown. I began to understand more about the company and the way in which it worked and how over time it has grown and expanded in both numbers and processes. 

Drawn together, Drawn apart: The Phillip Schlee collection of drawings 18th Jan - 21st April 2013

We then headed down to Southampton City Art Gallery to see the Phillip Schlee collection of drawings. The collection consists of drawings, paintings and prints from 44 British artists from between 1920 and 2004.

I have never personally been a big fan of drawings and paintings alike, so I wasn't very hopeful for this show either.

Although there were some pieces in the collection I did enjoy. The piece by John Salt for example, but i think this is due to the fact he is a photorealist so therefore his painting relate more to that of photographs.

Quote: www.solent.ac.uk/events/events-articles/2013/design-by-hand-exhibition.aspx

History: Southampton City Art Gallery - www.southampton.gov.uk/s-leisure/artsheritage/sotonartgallery/exhibitions.aspx
Photo: www.facebook.com/SouthamptonCityArtGallery

Book Reviews

Recognition and Reflection book Review

The review I was set to read was Recognition and Reflection by Catherine Grant. This review was based on the work of Rineke Dijkstra, a photographer that I was familiar with, so I thought it would be interesting to see what other critics had said about some of her work.

The review is based around the catalogue that accompanied an exhibition of Dijkstra's work in San Francisco which then moved on to New York. Catherine Grant picked out archived Interviews from the catalogue and essays by curators - Sandra S. Phillips and Jennifer Blessing - which went in to much detail about Dijkstra, her career and influences.
I find it interesting how the catalogue also contains interviews with some of the sitter that Dijkstra has worked with over the past two decades. I think this enables the reader to get an in depth experience of the way Dijkstra works from people who have experienced it first hand that aren't well known in the industry. They experience things in the same way as you and I. 

Nicky, The Krazyhouse, Liverpool, England, January 19, 2009

The interview with van Adrichem talks about the early works of Dijkstra and how a black and white series was once linked to works by Diane Arbus' which lead Dijkstra on to look at her works and in turn take away a lot about the way she works to contribute to the ways of her future works. 

"they struck a chord with me. It had to do with the way she observed people: she didn't pin them down. Their identities keep on changing." 

Hearing this quote from Dijkstra, talking at the early stages of her work really makes me compare it to the way she works and I think the same impact comes across to me in some of her works too.

One of my favourite quote from Dijkstra in this review is:
"I like to photograph people: the camera is a way to connect with people and to find out who they are and to I relate to them. In the end it's all about recognition and reflection." 

Journal SOURCE, Summer 2012, Issue 71