DOCSLIB.ORG

Alejandra Carles-Tolra Sam Laughlin Lua Ribeira

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS ALEJANDRA CARLES-TOLRA SAM LAUGHLIN LUA RIBEIRA RESOURCE PACK FOR TEACHERS Photoworks January 2018 Juliette Buss 2 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS CONTENTS 1 INTRODUCTION 3 2 HOW TO USE THIS RESOURCE 5 3 JERWOOD/PHOTOWORKS AWARDS EXHIBITIONS 6 4 AN INTRODUCTION TO THE ARTISTS 8 ALEJANDRA CARLES-TOLRA 8 SAM LAUGHLIN 9 LUA RIBEIRA 10 5 KEY THEMES 12 6 PROMPTS FOR DISCUSSION IN THE GALLERY 14 7 ACTIVITIES IN THE GALLERY 16 8 BACK AT SCHOOL 17 9 RELATED ARTISTS 18 10 USEFUL WEBSITES FOR PHOTOGRAPHY 20 3 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS INTRODUCTION Founded in 2015, the Jerwood/Photoworks The mentoring has required a level of Awards has established itself as a unique national commitment from each artist, to question their opportunity enabling early career photographers working processes and to push their work into to create new work within a supportive new territories. It’s been a privilege to see their environment. The Awards are as much about ideas develop and take form. supporting progress, process and artistic risk as they are a recognition of talent in photography. The approach of each of the Awardees has been As an active and critical programme, the truly diverse, both in the subjects explored as Jerwood/Photoworks Awards is invested in well as their attentiveness and their distinctive nurturing and enabling relevant, informed approaches to image making. In Alejandra and engaging new work to be made. Carles-Tolra’s series Where We Belong we find a sensitive exploration on belonging, femininity Three artists were selected through a national and escapism through a community of Jane call for proposals and reviewed by a selection Austen devotees that Alejandra has spent time panel which included ourselves, writer and with throughout 2017. In Sam Laughlin’s series photographer Mark Durden, and photographers A Certain Movement we encounter an exquisite Anna Fox and Ori Gersht. We carefully reviewed meditation on the state of the intricacies of the nearly 400 proposals, which demonstrates an natural world marginalised by human activities. incredible demand for such support and we Whilst in Lua Ribeira’s series Subida al Cielo encountered an exceptionally high quality of (Ascent Into Heaven), we are confronted by a ideas when reading and reviewing. The selection striking personal visualisation built on the fear process prompted much discussion, but what of dying, motivated by escape from reality and guided the decision on the three selected the longing for mythological significance in Awardees was the quality of their work, the contemporary life. potential of their ideas and the impact that the Awards will have on their practice. Celia Davies, Director, Photoworks Sarah Williams, Head of Programme, This edition of the Jerwood/Photoworks Awards Jerwood Visual Arts was awarded to Alejandra Carles-Tolra, Sam Laughlin and Lua Ribeira. Since they were selected in December 2016 they’ve had an incredible year of dialogue and development, with guidance from the teams at Photoworks and Jerwood Charitable Foundation, expertise from our committed cohort of Mentors as well as insight from our touring partners at Belfast Exposed and Impressions Gallery, Bradford. 4 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS Works by Alejandra Carles-Tolra, originally commissioned through Jerwood/Photoworks Awards 2017, installation view at Jerwood Space, January 2018. Photo: Anna Arca 5 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS HOW TO USE THIS RESOURCE PACK This resource offers ideas and information to CURRICULUM LINKS support teachers and students engaging with The pack does not make explicit curriculum the second Jerwood/Photoworks Awards in both links, but outlines a number of themes that gallery and classroom settings. It suggests a the photographers investigate in their work. range of simple discussion and practical activities The themes are broad and may be appropriate designed to encourage deeper levels of critical for embedding within a variety of different engagement, informed creative responses schemes of work at different levels of study. and greater awareness and understanding of contemporary photography. THIS RESOURCE AIMS TO The pack is aimed at secondary and FE teachers, Develop greater awareness and with information suitable for adaptation at understanding of contemporary photography different levels. The pack is relevant mainly within the Art & Design, and Photography Encourage deeper levels of critical curriculum. However, teachers of other subjects engagement with photography such as English and Media Studies may also find it useful. Promote analytical thinking and visual literacy through dialogue and debate Inspire new ways of working with photography Stimulate curiosity, imagination and encourage creativity Works by Lua Ribeira, originally commissioned through Jerwood/Photoworks Awards 2017, installation view at Jerwood Space, January 2018. Photo: Anna Arca 6 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS THE SECOND JERWOOD/PHOTOWORKS AWARDS EXHIBITIONS The second Jerwood/Photoworks Awards IF YOU PLAN TO VISIT ONE OF exhibition travels across the UK in 2018. THE EXHIBITIONS: The Photoworks website provides the most up Make an advance visit to date information about what’s on during the We recommend that you visit the venue yourself exhibitions, along with practical information before bringing a group so that you know what such as opening times, venue & contact to expect. information and event booking details. Contact the venue directly EXHIBITION DATES Please ensure you contact the venue directly to 17 January – 11 March book your visit. This ensures you don’t miss out Jerwood Space on any available events and opportunities and 171 Union Street helps avoid group clashes. London SE10LN Admission is free to all venues jerwoodvisualarts.org ADDITIONAL RESOURCES 6 April – 23 June Additional free online resources at Impressions Gallery photoworks.org.uk Centenary Square Bradford BD1 1SD Virtual tour. If you are interested in the impressions-gallery.com programme, but cannot get your group to the exhibition, we’ve created a virtual tour. 2 November – 22 December Belfast Exposed Artist films. Each artist made a short film about 23 Donegal Street their work, providing valuable insight into their Belfast BT1 2FF working process. There are also films by belfastexposed.org Jerwood/Photoworks Awards mentors. Interviews, Articles, Showcases, Instagram Takeovers. There’s a wealth of additional critical and contextual information about the exhibiting artists and their mentors on our website JERWOOD/PHOTOWORKS AWARDS CATAOGUE A 48 page softback catalogue containing images, statements from the Awardees and commissioned writing by Mentor, Tim Clark is avaialble from photoworks.org.uk and exhibition venues at £4 7 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS Works by Sam Laughlin, originally commissioned through Jerwood/Photoworks Awards 2017, installation view at Jerwood Space, January 2018. Photo: Anna Arca 8 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS THE ARTISTS ALEJANDRA CARLES-TOLRA Over the course of a year, Alejandra spent time with, and photographed ‘Janeites’, a group of women who are passionate fans of the author Jane Austen. The women come together to dress in Regency clothing, recreate Regency life and celebrate Austen’s work. They visit stately homes, play classical music, attend balls, read poetry out loud and cook recipes from the period. Alejandra’s work revolves around this group of women and the deep connections that they have. Alejandra focuses on themes of identity, femininity, escapism and our need to belong, but the thread that runs through the work is about collective identity and how individual identities are shaped, informed and empowered by the groups of like minded people or communities that we choose to be part of. “ Why would women from the 21st Alejandra’s images examine the relationships century want to embody a female and closeness of the women, whom she often identity that was defined in a very photographed interacting in groups and pairs, or with dramatic use of lighting, in settings that male dominated society?” mix the past with the present. PROMPTS FOR DISCUSSION Why do people dress up? What might the ‘Janeites’ have in common, other than a love of Jane Austen? Describe the interactions between the characters in the photographs. st Why might 21 century women choose to dress up as fictional characters from 18th century Regency England? Alejandra Carles-Tolra Untitled, from the series Where We Belong 9 JERWOOD/PHOTOWORKS AWARDS RESOURCE PACK FOR TEACHERS THE ARTISTS SAM LAUGHLIN Sam is interested in natural processes, in particular animal behaviour and the ways in which animal behaviour is manifested in the landscape. However, he is keen not to be considered a traditional wildlife photographer. He describes his photographs as the antithesis to David Attenborough and his often exotic, awe-inspiring films. Working mainly in black & white, the work is subtle, sensitive and quiet, avoiding dramatization or spectacle and any clichés of wildlife photography. Sam’s work examines behaviours such as nesting, migration and other behavioural patterns, closely observing how this behaviour quietly disrupts or affects the natural landscape, and physically shapes the environment. He photographs mainly UK species that are considered quite commonplace, yet are often overlooked and actually threatened by human actions. His work can be seen as a comment on environmental issues such as loss of habitat and urbanisation. “Subtlety is key to my works” Sam spends a lot of time scouting for his animal subjects before returning with his equipment to photograph. The work reveals his interest in the processes that lie behind what he photographs. For example, his photographs of nests explore the patterns and intricacies of nesting behaviour. PROMPTS FOR DISCUSSION Why are all of Sam’s photographs black & white? What do Sam’s images have in common with each other (e.g. seeking patterns in nature, animal habitats) Name some of the different animal behaviours Sam has observed through his work (e.g.
Recommended publications
  • Fieldstudy 16. from a Distance

    Fieldstudy 16. from a Distance

    [1] FIELDSTUDY 16 FIELDSTUDY 16 FROM A DISTANCEREAS PAUL [3] FIELDSTUDY 16 FROM A FIELDSTUDY 16 DISTANCEREAS PAUL Millions of people pass through the Elephant and Castle and its maze of roundabouts without ever noticing the people who live there. It is a place to get through, a place on the way to somewhere else. Of course, it could be argued that there is a certain reality to all of this. After all, the Elephant has one of the most transitory populations in London. Many do not settle here for long. Even the people who live here are on the move. The buildings look sharp And a photographer who but the people are blurred could set the time exposure into traces of movement, as on her camera for a century if they were ghosts. I have or so would register little that something of a problem is permanent. This is a place with our fascination with with a continual history of long exposure photography. dramatic change: from the got to the point where they Slowing down the shutter bustling and fashionable can only see from a distance: speed captures what is 1930’s with its picture houses the sort of distance from permanent but obscures and mega-churches, through which you can’t see a face, what is transient. It is a the devastation of the Nazi meet the eyes of someone, technique can generate bombings, and on to the hear who they are, imagine all sorts of exciting visual construction of large scale who and what they love. All effects, especially in cities.
  • Imperial War Museum Annual Report and Accounts 2019-20

    Imperial War Museum Annual Report and Accounts 2019-20

    Imperial War Museum Annual Report and Accounts 2019-20 Presented to Parliament pursuant to section 9(8) Museums and Galleries Act 1992 Ordered by the House of Commons to be printed on 7 October 2020 HC 782 © Crown copyright 2020 This publication is licensed under the terms of the Open Government Licence v3.0 except where otherwise stated. To view this licence, visit nationalarchives.gov.uk/doc/open-government-licence/version/3. Where we have identified any third party copyright information you will need to obtain permission from the copyright holders concerned. This publication is available at: www.gov.uk/official-documents. Any enquiries regarding this publication should be sent to us at [email protected] ISBN 978-1-5286-1861-8 CCS0320330174 10/20 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the APS Group on behalf of the Controller of Her Majesty’s Stationery Office 2 Contents Page Annual Report 1. Introduction 4 2. Strategic Objectives 5 3. Achievements and Performance 6 4. Plans for Future Periods 23 5. Financial Review 28 6. Staff Report 31 7. Environmental Sustainability Report 35 8. Reference and Administrative Details of the Charity, 42 the Trustees and Advisers 9. Remuneration Report 47 10. Statement of Trustees’ and Director-General’s Responsibilities 53 11. Governance Statement 54 The Certificate and Report of the Comptroller and Auditor 69 General to the Houses of Parliament Consolidated Statement of Financial Activities 73 The Statement of Financial Activities 74 Consolidated and Museum Balance Sheets 75 Consolidated Cash Flow Statement 76 Notes to the financial statements 77 3 1.
  • A Green and Pleasant Land British Landscape and the Imagination: 1970S to Now 30 September 2017 – 21 January 2018

    A Green and Pleasant Land British Landscape and the Imagination: 1970S to Now 30 September 2017 – 21 January 2018

    A GREEN AND PLEASANT LAND British Landscape and the Imagination: 1970s to Now 30 September 2017 – 21 January 2018 An Arts Council Collection National Partner Exhibition TO VIEW THE LANDSCAPE AS A PICTORIAL COMPOSITION OF ELEMENTS IS SIMPLISTIC. TO PERCEIVE THE LANDSCAPE WITHIN A SET OF RULES (art, SCIENCE, POLITICS, RELIGION, COMMUNITY, BUSINESS, INDUSTRY, sport AND LEISURE) IS A waY PEOPLE CAN DEAL WITH THE COMPLEXITY OF MEANINGS THat ARE PRESENTED IN OUR ENVIRONMENT. WE ARE COLLECTIVELY RESPONSIBLE FOR SHAPING THE LANDSCAPE WE OCCUPY AND IN TURN THE LANDSCAPE Cover: Keith Arnatt, Untitled (from ‘A.O.N.B’ SHAPES US WHETHER series), 1982-94. Arts Council Collection, Southbank Centre, London © Keith Arnatt WE ARE awarE OF Estate. All rights reserved. DACS 2017. IT OR NOT. Above: Susan Derges, Full Moon Rowan, 2017. © Susan Derges. Courtesy Purdy Hicks Gallery. John Davies. Photographer A Green and Pleasant Land shows how artistic sensibilities result from feeling the artists have interpreted the British landscape presence of the earth. Light, texture and through the lens of their own cultural, detail are important and viewpoints are political or spiritual principles. Drawn often close. On the other hand, artists primarily from the Arts Council Collection, commenting on the ways in which class, as well as private collections, galleries economics and culture shape the landscape and the artists included in the show, the tend to look from the outside. Their work exhibition takes 1970 as its starting point is often expansive and encompasses clear and consists largely of photographic works. evidence of human activity – people, The early 1970s saw the emergence of an buildings, ruins, pylons – suggesting the independent photography culture in the UK.
  • Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0

    Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0

    Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle.
  • Download Publication

    Download Publication

    CONTENTS History The Council is appointed by the Muster for Staff The Arts Council of Great Britain wa s the Arts and its Chairman and 19 othe r Chairman's Introduction formed in August 1946 to continue i n unpaid members serve as individuals, not Secretary-General's Prefac e peacetime the work begun with Government representatives of particular interests o r Highlights of the Year support by the Council for the organisations. The Vice-Chairman is Activity Review s Encouragement of Music and the Arts. The appointed by the Council from among its Arts Council operates under a Royal members and with the Minister's approval . Departmental Report s Charter, granted in 1967 in which its objects The Chairman serves for a period of five Scotland are stated as years and members are appointed initially Wales for four years. South Bank (a) to develop and improve the knowledge , Organisational Review understanding and practice of the arts , Sir William Rees-Mogg Chairman Council (b) to increase the accessibility of the art s Sir Kenneth Cork GBE Vice-Chairma n Advisory Structure to the public throughout Great Britain . Michael Clarke Annual Account s John Cornwell to advise and co-operate wit h Funds, Exhibitions, Schemes and Awards (c) Ronald Grierson departments of Government, local Jeremy Hardie CB E authorities and other bodies . Pamela, Lady Harlec h Gavin Jantje s The Arts Council, as a publicly accountable Philip Jones CB E body, publishes an Annual Report to provide Gavin Laird Parliament and the general public with an James Logan overview of the year's work and to record al l Clare Mullholland grants and guarantees offered in support of Colin Near s the arts.
  • Rediscover Northern Ireland Report Philip Hammond Creative Director

    Rediscover Northern Ireland Report Philip Hammond Creative Director

    REDISCOVER NORTHERN IRELAND REPORT PHILIP HAMMOND CREATIVE DIRECTOR CHAPTER I Introduction and Quotations 3 – 9 CHAPTER II Backgrounds and Contexts 10 – 36 The appointment of the Creative Director Programme and timetable of Rediscover Northern Ireland Rationale for the content and timescale The budget The role of the Creative Director in Washington DC The Washington Experience from the Creative Director’s viewpoint. The challenges in Washington The Northern Ireland Bureau Publicity in Washington for Rediscover Northern Ireland Rediscover Northern Ireland Website Audiences at Rediscover Northern Ireland Events Conclusion – Strengths/Weaknesses/Potential Legacies CHAPTER III Artist Statistics 37 – 41 CHAPTER IV Event Statistics 42 – 45 CHAPTER V Chronological Collection of Reports 2005 – 07 46 – 140 November 05 December 05 February 06 March 07 July 06 September 06 January 07 CHAPTER VI Podcasts 141 – 166 16th March 2007 31st March 2007 14th April 2007 1st May 2007 7th May 2007 26th May 2007 7th June 2007 16th June 2007 28th June 2007 1 CHAPTER VII RNI Event Analyses 167 - 425 Community Mural Anacostia 170 Community Poetry and Photography Anacostia 177 Arts Critics Exchange Programme 194 Brian Irvine Ensemble 221 Brian Irvine Residency in SAIL 233 Cahoots NI Residency at Edge Fest 243 Healthcare Project 252 Camerata Ireland 258 Comic Book Artist Residency in SAIL 264 Comtemporary Popular Music Series 269 Craft Exhibition 273 Drama Residency at Catholic University 278 Drama Production: Scenes from the Big Picture 282 Film at American Film
  • Photography and Britishness

    Photography and Britishness

    international conference Photography and Britishness November 4–5, 2016 Yale Center for British Art, New Haven, CT This conference is co-organized by the Yale Center for British Art, New Haven; the Paul Mellon Centre for Studies in British Art, London; and The Huntington Library, Art Collections, and Botanical Gardens, San Marino friday, november 4, 2016 The leveling aesthetic of photography—its capacity to draw heterogeneous peoples into what Christopher Pinney has termed a “common epistemological space”—meant that it could serve as a visual register for the elusive conn- session 1 | 11 am–12:30 pm ective tissue of imperial subjecthood, effectively reifying a useful political abstraction. Yet, as much as British sovereign authority could be embodied Imperial Britishness by this visual logic, British identity could simultaneously be dissolved by the homogenizing grammar of the medium. This paper therefore examines how colonials grappled with photography’s technical and formal possibilities in chair Martina Droth, Yale Center for British Art ways that attempted to forge a viable imperial polity while preserving a sense martina droth is Deputy Director of Research and Curator of Sculpture of privileged Britishness. Looking in particular at the palliative, diplomatic role at the Yale Center for British Art, and co-editor of British Art Studies, an played by the photographic portraiture of Dr. John Nicholas Tresidder in the open-access online journal jointly published by Center and the Paul Mellon immediate aftermath of the Indian Rebellion (1857–58), this paper assesses Centre for Studies in British Art. Her work as an art historian and curator how the new visual technology inflected imperial Britishness in complex and focuses on sculpture and questions about interdisciplinary approaches to unpredictable ways.
  • Hereford Photography Festival Friday 29Th October – Saturday 27Th November 2010

    Hereford Photography Festival Friday 29Th October – Saturday 27Th November 2010

    *20 HEREFORD PHOTOGRAPHY FESTIVAL FRIDAY 29TH OCTOBER – SATURDAY 27TH NOVEMBER 2010 WWW.PHOTOFEST.ORG Hereford Photography Festival would like to express their sorrow and sympathies for the loss of David Benjamin and gratefully acknowledge the support he provided over a number of years. Hereford Photography Festival: Sullivan House, 72-80 Widemarsh St, Hereford, HR4 9HG, UK phone: +44 (0)1432 351 964 email: [email protected] charity number: 1078812 Brochure designed by: James Watkins, BA (hons) Graphic & Media Design WELCOME Welcome to the twentieth annual Hereford Photography Festival. After two decades of hugely successful festivals, that have included exhibitions by established and emerging talent from all over the world, it was our challenge this year to design a programme that not only lives up to our past, but that makes a decisive stride into the future. The festival began with distinct aims: to bring great photographers and photography to the region and to actively engage audiences, both of which remain at the very heart of our ambitions. TWENTY- co-curated by Paul Seawright - is our celebration of the festival’s legacy; a retro- spective of some of the great photographers we have exhibited in the past. I am also delighted to be presenting newly-commissioned work by renowned photographer Tessa Bunney and to be exhibiting the very finest new talent in OPEN HERE, our open submission exhibition. My personal highlights being Boy, portraits of a young transgender adult by Åsa Johannesson and Becky Matthews’ series A Big Fat Ugandan Wedding. But please, make your own choice and vote for your favourite image when you visit the exhibition.
  • TPG Exhibition List

    TPG Exhibition List

    Exhibition History 1971 - present The following list is a record of exhibitions held at The Photographers' Gallery, London since its opening in January 1971. Exhibitions and a selection of other activities and events organised by the Print Sales, the Education Department and the Digital Programme (including the Media Wall) are listed. Please note: The archive collection is continually being catalogued and new material is discovered. This list will be updated intermittently to reflect this. It is for this reason that some exhibitions have more detail than others. Exhibitions listed as archival may contain uncredited worKs and artists. With this in mind, please be aware of the following when using the list for research purposes: – Foyer exhibitions were usually mounted last minute, and therefore there are no complete records of these brief exhibitions, where records exist they have been included in this list – The Bookstall Gallery was a small space in the bookshop, it went on to become the Print Room, and is also listed as Print Room Sales – VideoSpin was a brief series of worKs by video artists exhibited in the bookshop beginning in December 1999 – Gaps in exhibitions coincide with building and development worKs – Where beginning and end dates are the same, the exact dates have yet to be confirmed as the information is not currently available For complete accuracy, information should be verified against primary source documents in the Archive at the Photographers' Gallery. For more information, please contact the Archive at [email protected]
  • Voice Our Concern Chapter 7 Visual

    Voice Our Concern Chapter 7 Visual

    CHAPTER 7 VISUAL ARTS ARTS VISUAL CHAPTER 7 VISUAL ARTS VISUAL INTRODUCTION We recommend that teachers devote one class to chapter one, human rights exercises, before they embark on this chapter. Each separate class or exercise has clearly outlined aims, objectives, length and NCCA key skills. We have also Introduction highlighted the material needed for each class or exercise. All handouts referenced in the classes can be found in the handout section at the end of this chapter. AT UNR AND h mA RIghTS The intersection between art and the social and political sphere is rich in history. At its core art is about true freedom. Art is the unbridled ability for expression and free speech. Art affords the artist the unique ability to register the horror of an event, in a way that statistics cannot. Its function is to remain forever as a reminder that this inhumanity or injustice occurred. Contemporary artists gain inspiration from the world around them, from the everyday or from society as a whole. Eleanor Roosevelt when drafting the Universal Declaration of Human Rights spoke of human rights as being everywhere, 157 in the local community and in the wider community… “Where, after all, do universal human rights begin? In small places, close to home - so close and so small that they cannot be seen on any maps of the world. Yet they are the world of the individual person; the neighborhood he lives in; the school or college he attends; the factory, farm, or office where he works. Such are the places where every man, woman, and child seeks equal justice, equal opportunity, equal dignity without discrimination.
  • Coversheet for Thesis in Sussex Research Online

    Coversheet for Thesis in Sussex Research Online

    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 UNIVERSITY OF SUSSEX Alice Compton Ph.D Waste of a Nation: Photography, Abjection and Crisis in Thatcher’s Britain May 2016 2 ABSTRACT This examination of photography in Thatcher’s Britain explores the abject photographic responses to the discursive construction of ‘sick Britain’ promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D examines the visual responses to the Government’s advocation of a ‘healthy’ society and its programme of social and economic ‘waste-saving’. Drawing Imogen Tyler’s interpretation of ‘social abjection’ (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics’) into the visual field, this Ph.D explores photography’s implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste’ as an expression of social abjection, this Ph.D exposes how the Right’s successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics.
  • Creative Media: Photography - P4076 - Melanie Friend | Sussex University

    Creative Media: Photography - P4076 - Melanie Friend | Sussex University

    09/26/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Creative Media: Photography - P4076 - View Online Melanie Friend Abrahams, Fred, Eric Stover, and Gilles Peress. 2001. A Village Destroyed, May 14, 1999: War Crimes in Kosovo. Berkeley, Calif: University of California Press. Ackroyd, Peter. 2000. London: The Biography. London: Chatto & Windus. Adams, Robert. 2001. Summer Nights. New York: Aperture. ———. 2008. The New West: Landscapes along the Colorado Front Range. New York: Aperture. Adams, Robert, and Fondation Cartier. 2007. Time Passes. Paris: Fondation Cartier pour l’Art Contemporain. ‘Aesthetica: The Art and Culture Magazine.’ n.d. http://www.aestheticamagazine.com/. America & Lewis Hine: Photographs 1904-1940. 1997. New York, N.Y.: Aperture Foundation. Andrews, Philip. 2003. Adobe Photoshop Elements 2.0: A Visual Introduction to Digital Imaging. Oxford: Focal. Appleton, Jay. 1996. The Experience of Landscape. Rev. ed. London: Wiley. Arbus, Diane. 1985. Diane Arbus: Magazine Work. Phaidon. ———. 1995. Untitled. London: Thames & Hudson. Arbus, Diane, Doon Arbus, and Marvin Israel. 1997. Diane Arbus. 25th anniversary ed. New York, N.Y.: Aperture Foundation. Arnatt, Keith, David Hurn, Clare Grafik, and Photographers’ Gallery. 2007. I’m a Real Photographer: Keith Arnatt, Photographs 1974-2002. London: Chris Boot. ‘Art and Design, Photography and Architecture. The Guardian.’ n.d. http://www.theguardian.com/artanddesign. Auge ́ , Marc. 1995. Non-Places: Introduction to the Anthropology of Supermodernity. London: Verso. 1/22 09/26/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Avedon, Richard, Michael Juul Holm, and Helle Crenzien. n.d. Richard Avedon Photographs, 1946-2004. Humlebæk, Denmark: Louisiana Museum of Modern Art. Bachelard, Gaston, and M.