DOCSLIB.ORG

Melanie Friend | Sussex University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Melanie Friend | Sussex University 09/28/21 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 09/28/21 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. Jolas. 1994. The Poetics of Space. Boston, Mass: Beacon Press. Badger, Gerry. 2009. The Genius of Photography: How Photography Has Changed Our Lives . London: Quadrille. Barnard, Lisa, Julian Stallabrass, and Euge ́ nie Shinkle. 2014. Hyenas of the Battlefield, Machines in the Garden. London: Gost Books. Barney, Tina. 1991. Friends and Relations. Vol. Photographers at work. Washington, D.C.: Smithsonian Institution Press in association with Constance Sullivan Editions. Barney, Tina, and Andy Grundberg. 1997. Photographs: Theater of Manners. Zurich: Scalo. Barthes, Roland. 2000. Camera Lucida: Reflections on Photography. London: Vintage. Basilico, Gabriele. 2006. Gabriele Basilico: Workbook, 1969-2006. [Stockport]: Dewi Lewis. Bate, David. 2009a. Photography: The Key Concepts. English edition. Vol. The key concepts. Oxford: Berg. http://ezproxy.sussex.ac.uk/login?url=http://search.ebscohost.com/login.aspx?direct=true &scope=site&db=nlebk&db=nlabk&AN=288231. ———. 2009b. Photography: The Key Concepts. English ed. Vol. The key concepts. Oxford: Berg. Bell, Clare, and Solomon R. Guggenheim Museum. 1996. In/sight: African Photographers, 1940 to the Present. New York, N.Y.: Guggenheim Museum Publications. Bell, Jason, and Guy Harrington. 2000. Gold Rush: Athletes. Stockport: Dewi Lewis. Benjamin, Walter. 1997. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Vol. Verso classics. London: Verso. Benjamin, Walter, and Hannah Arendt. 1999. Illuminations. London: Pimlico. Berger, John. 2008. Ways of Seeing. Vol. Penguin modern classics. London: Penguin. Berger, John, J. Mohr, and N. Philibert. 1982. Another Way of Telling. Writers and Readers. Berman, Nina. 2004. Purple Hearts: Back from Iraq ; Photographs and Interviews. London: Trolley. ———. 2008. Homeland. London: Trolley. 2/22 09/28/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Bieber, Jodi. 2006. Between Dogs and Wolves: Growing up with South Africa. Stockport: Dewi Lewis. Billingham, Richard, Michael Collins, and Julian Germain. 2000. Ray’s a Laugh. Zurich: Scalo. Bittencourt, Julio. 2008. In a Window of Prestes Maia 911 Building. Stockport: Dewi Lewis Publishing. Bolton, Richard. 1989a. The Contest of Meaning: Critical Histories of Photography. Cambridge, Mass: MIT P. ———. 1989b. The Contest of Meaning: Critical Histories of Photography. Cambridge, Mass: MIT P. Boomkens, Rene ́ , Hripsime ́ Visser, and Amsterdam (Netherlands). 2000. Beat Streuli, Gabriele Basilico: Urban Views. Rotterdam: NAi Publishers. Brandt, Bill, Ian Jeffrey, and Barbican Art Gallery. 1994. Bill Brandt: Photographs, 1928-1983. New York, N.Y.: Thames and Hudson. Brighton and Hove. 1999. Brighton and Hove: A Different Kind of City. The Council. Brighton and Hove: Britain’s Elegant Seaside Resort. n.d. Brighton and Hove, and Sussex Careers Services. 2001. Setting the Scene: A Review of the Brighton and Hove Economy. Hove: Brighton and Hove Council. ‘Brighton Photo Fringe.’ n.d. http://www.photofringe.org/. ‘British Journal of Photography.’ n.d. Broomberg, Adam, and Oliver Chanarin. 2013. Scarti. [London, England]: Trolley Ltd. Brothers, Caroline. 1997. War and Photography: A Cultural History. London: Routledge. Burgin, Victor. 1982a. Thinking Photography. Vol. Communications and culture. Basingstoke: Palgrave Macmillan. ———. 1982b. Thinking Photography. Vol. Communications and culture. Basingstoke: Palgrave Macmillan. Burke, John, and Simon Norfolk. 2011. Burke + Norfolk: Photographs from the War in Afghanistan. Stockport: Dewi Lewis. Burtynsky, Edward, Marc Mayer, Ted C. Fishman, and Mark Kingwell. 2005. China : The 3/22 09/28/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Photographs of Edward Burtynsky. Göttingen: Steidl. Bustamante, Jean-Marc, Jean-Pierre Criqui, and Centre national de la photographie. 1999. Jean-Marc Bustamante: Oeuvres Photographiques 1978-1999. Paris: Centre national de la photographie. Campany, David. 2003. Art and Photography. London: Phaidon. Capa, Robert, and Richard Whelan. 1996. Robert Capa: Photographs. New York: Aperture Foundation. Chambers, Iain. 1988. Popular Culture: The Metropolitan Experience. Vol. Studies in communication. London: Routledge. Chapman, Stephanie, Nick Johnstone, Simon Watney, Janine Antoni, Photographers’ Gallery, Foundling Museum, and Columbia College (Chicago, Ill.). 2013. Home Truths: Photography and Motherhood. Edited by Susan Bright. London: Art/Books. Chelbin, Michal. 2008. Strangely Familiar: Acrobats, Athletes, and Other Traveling Troupes. New York: Aperture. Chevalier, Tracy, Colin Wiggins, and Tom Hunter. 2005. Tom Hunter: Living in Hell and Other Stories. London: National Gallery. Chrystel Lebas. 1AD. Chrystel Lebas: Between Dog and Wolf. Azure Publishing. http://www.amazon.co.uk/Chrystel-Lebas-Between-Dog-Wolf/dp/0954647815/ref=sr_1_1?s =books&ie=UTF8&qid=1426003326&sr=1-1&keywords=Chrystel+Lebas%3A+Between+ Dog+and+Wolf. Clarke, David J. 2007a. Hong Kong X 24 X 365: A Year in the Life of a City. Hong Kong: Hong Kong University Press. ———. 2007b. Hong Kong X 24 X 365: A Year in the Life of a City. Hong Kong: Hong Kong University Press. https://ebookcentral.proquest.com/lib/suss/detail.action?docID=677367. Clark, Edmund. 2010. Guantanamo: If the Lights Go out. Stockport: Dewi Lewis. Clarke, Graham. 1992. The Portrait in Photography. Vol. Critical views. London: Reaktion Books. ———. 1997. The Photograph. Vol. Oxford history of art. Oxford: Oxford University Press. Clements, John. 2005. A Comprehensive Guide to Digital Black & White Photography. Lausanne: AVA. Coekin, Chris. 2006. Knock Three Times. Stockport: Dewi Lewis. Cooper, Clement. 1988. Presence. Manchester: Cornerhouse. Coplan, John, and Weegee. n.d. Weegee’s New York: Photographs 1935-1960. London: Schirmer Art Books. 4/22 09/28/21 Creative Media: Photography - P4076 - Melanie Friend | Sussex University Coppock, Christopher, Paul Seawright, David Campany, Martha Langford, and Jan-Erik Lundstro ̈ m. 2006. So Now Then. Cardiff: Ffotogallery. Crewdson, Gregory, and Russell Banks. 2008. Beneath the Roses. New York: Abrams. Crewdson, Gregory, Rick Moody, White Cube (Gallery), Luhring Augustine (Gallery), and Gagosian Gallery (Los Angeles, Calif.). 2002. Twilight. New York, N.Y.: Harry N. Abrams. Cross, Andrew. 2002. Some Trains in America. Munich: Prestel. Davidson, Bruce. 1970. East 100th Street. Harvard U.P. Davies, John. 2006. The British Landscape. London: Chris Boot. Davies, John, and Rob Powell. 1987. A Green & Pleasant Land. Manchester: Cornerhouse Publications. Davies, John, Ian Walker, and Ffotogallery. 1992. Cross Currents. Cardiff: Ffotogallery. DeCarava, Roy, Peter Galassi, Sherry Turner DeCarava, and Museum of Modern Art (New York, N.Y.). 1996. Roy DeCarava: A Retrospective. New York, N.Y.: Museum of Modern Art. Delahaye, Luc. 2003. Winterreise. London: Phaidon. Delahaye, Luc, and Jean Baudrillard. 1999. L’autre. London: Phaidon. Derges, Susan, and Stour Valley Arts. 2003. Kingswood. Challock, Kent: Stour Valley Arts. Deriu, Davide, Krystallia Kamvasinou, and Euge ́ nie Shinkle, eds. 2014. Emerging Landscapes: Between Production and Representation. Farnham: Ashgate Publishing Ltd. https://ebookcentral.proquest.com/lib/suss/detail.action?docID=1589703. ‘Dewi Lewis.’ n.d. http://www.dewilewispublishing.com/. Dexter, Emma, and Thomas Weski. 2003. Cruel and Tender: The Real in the Twentieth-Century Photograph. London: Tate. DiCorcia, Philip-Lorca, Peter Galassi, and Museum of Modern Art (New York, N.Y.). 1995. Philip-Lorca DiCorcia. New York, N.Y.: Museum of Modern Art. Dijkstra, Rineke, Carol Ehlers, and James Rondeau. 2002. Rineke Dijkstra: Beach Portraits. Chicago. Ill: LaSalle. Diprose, Graham, Charles
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • CV 2010! Between Times
    Clare Strand CV Born 1973! Living and working in Brighton Uk.! www.clarestrand.co.uk! http://clarestrand.tumblr.com! !www.macdonaldstrand.co.uk.! ! ! Solo Exhibitions! 2015 ! Grimaldi Gavin. london . (Title TBC)! 2014! Further Reading. National Museum Of Krakow. Photomonth, Krakow.! 2013! Arles Discovery Award. Rencontre Arles. France.! 2012! Tacschenspielertrick, Forum Fur Fotografie, Cologne. Germany.! 2011! Sleight, Brancolini Grimaldi Gallery, London.! 2009! Clare Strand Fotographie Und Video, Museum Fur Photograhie Braunschweig,! Germany.! Clare Strand Fotographie Und Video, Museum Folkwang, Essen, Germany.! 2008! Clare Strand Recent Works, Fotografins Hus, Stockholm Sweden.! 2005! The Betterment Room – Devices for Measuring Achievement, Senko Studio. Denmark.! 2003! Gone Astray, London College of Communication, London.! 2000! Wasted, Galleri Image, Aarhus, Denmark.! 1998! Seeing Red, Museum of Photography Film and Television, Bradford, England; Imago! Festival, Universidad Salamanca, Spain; Viewpoint Gallery, Salford, England and! Royal Photographic Society, Bath England.! 1997! !The Mortuary, F-Stop Gallery, Bath.! ! Group Exhibitions.! 2015! A History of Art, Archetecture, Design from the 1980’s until Today. curated by Christiane Macel. Center Pompidou. Paris France.! European Portraits ( working title) The Centre of Fine Arts, Brussels, Bozor, Nedermands Fotomuseum , Rotterdam and The National Museum of Photography in Thessaloniki .! 2014! (Mis) Understanding Photography, Folkwang Museum, Essen, Germany. Curated by Florian Ebner!
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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]
    [Show full text]
  • University of Dundee Deleuze and the Simulacrum Plummer, Sandra
    University of Dundee Deleuze and the simulacrum Plummer, Sandra Published in: The Routledge Companion to Photography Theory DOI: 10.4324/9781315727998 Publication date: 2019 Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Plummer, S. (2019). Deleuze and the simulacrum: Simulation and semblance in Public Order. In M. Durden, & J. Tormey (Eds.), The Routledge Companion to Photography Theory (1st ed., pp. 97-112). Routledge Taylor & Francis Group. https://doi.org/10.4324/9781315727998 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Author Accepted Manuscript of chapter published by Taylor & Francis Routledge: Plummer, S 2019, Deleuze and the simulacrum: Simulation and semblance in
    [Show full text]
  • 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.
    [Show full text]
  • ALEC SOTH Bibliography Selected Publications
    ALEC SOTH Bibliography Selected Publications 2019 Soth, Alec. I Know How Furiously Your Heart is Beating. London: MACK, 2019. 2018 Soth, Alec. Alec Soth: Niagara. London: MACK, 2018. 2015 Penhall, Michele M. Stories from the Camera: Reflections on the Photograph. Albuquerque: University of Mexico, 2015. Schuman, Aaron and Kate Bush. Gathered Leaves, London: MACK, 2015. 2014 Fraenkel, Jeffrey ed. The Plot Thickens. San Francisco: Fraenkel Gallery, 2014. Knight, Robert. In Context: The Portrait in Contemporary Photographic Practice. Clinton, New York: Ruth and Elmer Wellin Museum of Art, 2014. Soth, Alec. Songbook. Minnesota: Little Brown Mushroom, 2014. “The Secret Lives of Museum Guards,” The New Yorker, September 26, 2015. “Voyages: Visual Journeys by six photographers,” The New York Times Magazine, September 26, 2015. 2013 Dyer, Geoff and Pico Iyer. Ping Pong. St. Paul, Minnesota: Little Brown Mushroom, September 2013. Soth, Alec and Brad Zellar. Three Valleys. St. Paul, Minnesota: Little Brown Mushroom, March 2013. 2012 Soth, Alec. Looking for Love 1996. Berlin: Kominek Books, 2012. Soth, Alec and Brad Zellar. Ohio. St. Paul, Minnesota: Little Brown Mushroom, May 2012. Soth, Alec and Brad Zellar. Upstate. St. Paul, Minnesota: Little Brown Mushroom, August 2012. Soth, Alec and Brad Zellar. Michigan. St. Paul, Minnesota: Little Brown Mushroom, November 2012. 2011 Alec Soth: Mostly Women. Portland, Oregon: Nazraeli Press, 2011. Soth, Alec. Alec Soth: La Belle Dame Sans Merci. 2011. Soth, Alec. Lonley Boy Mag (No. A-1: Alec Soth’s Midwestern Exotica). St. Paul, Minnesota: Little Brown Mushroom Books, March 2011. 2010 Rodarte, Catherine Opie, Alec Soth. Zurich: JRP Ringier, 2010. Soth, Alec.
    [Show full text]
  • 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.
    [Show full text]