The MA Photography and Collaboration at Coventry University is a flexible residency course focused on collaborative photographic practice, created by Gemma-Rose Turnbull and Anthony Luvera. Through an immersive blend of independent research, critical analysis, intensive practical delivery, and self-directed experiential learning, the MA Photography and Collaboration provides a unique opportunity … Continue reading
This is the four-page newspaper we created to share some of the driving questions and ideas with the audience during the panel discussion on socially engaged, transdisciplinary, and expanded practices in contemporary photography at Aperture Foundation in New York as part of the Open Engagement conference in May. Click on the title … Continue reading
If you’re interested in how issues related to representation and engagement, intentions and benefits, process and product, and ethics and aesthetics, play out in socially engaged photography, the Taking Part Talks are happening in Brixton, London this coming Saturday the 10th of March. Speakers include Gemma-Rose Turnbull, Eva Sajovic, Wright & Vandame, D. Wiafe, Sophie … Continue reading
How do you describe your culture, your nation? Would you describe it differently to someone overseas? Would you describe it differently to someone in prison overseas? What if that prisoner overseas asked you not to use words but to use images in your response? These are not hypothetical questions, at … Continue reading
While not an exclusively collaborative project Kirsty Mackay is incorporating some measures of participation and shared representation into her new body of work (for which she was just awarded the Rebecca Vassie Memorial Award for developing photographers), The Fish That Never Swam. In this series Mackay is revisiting Glasgow, her … Continue reading
Taking Part A group exhibition of socially-engaged photography by Eva Sajovic, Gemma-Rose Turnbull, D. Wiafe, and Wright & Vandame. Curated by Anthony Luvera. 22 February – 17 March 2018 Photofusion 17a Electric Lane London, SW9 8LA Tue to Sat 10.30am – 5.30pm In September 2016, Photofusion launched a participatory photography residency … Continue reading
Interview with Marc Azoulay, manager of JR’s Inside Out project. As far as participatory arts experiments go, Inside Out is staggering for its scope and scale. The French photographer JR launched the global participatory art project when he won the $1million Ted prize in 2011. He is the youngest … Continue reading
In the summer of 2016, Anthony Luvera collaborated with a group of eight young people aged 16-21 years to research self-portraiture at the National Portrait Gallery. Out of this research they created the Young People’s Guide to Self-portraiture as part of the NPG’s Heritage Lottery-funded project following the acquisition of Flemish Baroque … Continue reading
Creative Producer and filmmaker Hanul Bahm wrote a thorough review of the Magnum Foundation’s Photography Expanded symposium on Collaborative Approaches to Creative Documentary Practice, held in New York on June 8, 2017, for The Alliance. The symposium explored collectivity, authorship, participation, and collaboration in photography and creative documentary practice. Presenters showcased projects … Continue reading
How do you tell a story of an undocumented immigrant? In my first approach I tried using the sheer documentary mode of telling a visual story, just to find out I still couldn’t get a grip on the complete story. For the project A Possible Life, I tried a … Continue reading
Culture Shifts is a socially engaged photography programme, working with 11 national and international photographers embedded in communities across seven areas of Liverpool City Region. The project seeks to support communities to explore their stories in a way that is meaningful to them. Collaborating with photographers, communities have co-authored a series of … Continue reading
In 2017 the rights of LGBTQ+ people across the United Kingdom may appear to be equal and secure. However, in Northern Ireland today, marriage equality for queer people does not exist as it does elsewhere in the UK or in the Republic of Ireland. Reported homophobic hate crimes have risen … Continue reading
Photographer Wendy Ewald joins host Harry Kreisler in a discussion of her craft, shares her thoughts on working with children, and reflects on using a camera as an educational tool in Conversations with History In a 1998 video interview with Wendy Ewald, American historian Harry Kreisler acknowledges the complex … Continue reading
“The Taking Part residency is an extremely exciting opportunity, which acknowledges a rich history of community-based photographic practice within the UK, but also highlights the way in which methodologies of participation and collaboration––making work with people, rather than taking photographs of people––is becoming an increasingly refined and innovative contemporary practice. – … Continue reading
first published September 21st, 2017 at Strange Fire Collective Gemma-Rose Turnbull is an Australian artist, writer, Senior Lecturer in photography at Coventry University, and the joint Course Director of the MA Photography and Collaboration with Anthony Luvera, which is due to launch in January 2018. Gemma’s research interests lie … Continue reading
Between November 2016 and September 2017 Gary Bratchford and Robert Parkinson undertook an onsite residency in Halton, Liverpool, as part of the Open Eye Cultural Shifts project. During this 10-month period they worked with two distinct and pre-determined groups; The Women of Windmill Hill in Runcorn and the Widnes Vikings … Continue reading
As part of the current Culture Shifts programme led by Open Eye Gallery, (which I manage, in the role of Creative Producer), I wanted to delve into more detail about the methodologies employed by photographic artist Tony Mallon. Mallon, a Liverpool (UK) based photographic artist, has a strong history of … Continue reading
“The skills which are necessary to community projects using photography are not only visual ones – the production of the image may be only part of the process, which may involve collective debate and authorship (not easy), research and writing, design and layout processes, organisation and campaigning, and always, a consideration of the audience and how they will be able to inter-relate with the work.”
– Stevie Bezencenet, “Photography and the community,” in Photographic Practices: Towards a Different Image, ed. Stevie Bezencenet and Philip Corrigan (London: Comedia Publishing Group, 1986), 143.
The Blind Photographer, published at the end of last year by Redstone Press, is a photography book that challenges our conception of what it means to see. Showcasing the work of more than fifty blind or partially sighted photographers from around the world, it celebrates the thriving and counter-intuitive … Continue reading
“I would like to receive a photo of the new world trade centre buildings, in whatever stage of rebuilding they’re in. A nice view from a nearby building would be nice. Could the photographer take the photograph from a nearby rooftop?” Terrence’s request answered by Anthony Tafuro for Photo Requests … Continue reading
first published January 28th, 2016 at Strange Fire Collective Mark Strandquist is a cultural organizer who has spent years using art as a vehicle for connecting diverse communities to build empathy and support for social justice movements. At the core of his practice is the belief that those most … Continue reading
In socially engaged photography and documentary practice, listening and participation can become both the medium and the form, the journey and the destination. This panel will explore relationships between listening and participation. Can listening set conditions for meaningful participation? Can participation produce new opportunities for listening? Is it possible for … Continue reading
I met Ethan when we were artist mentors together at Southern Exposure in 2015. Since then I have watched his practice grow into the world in a way that I find really exciting and that I really relate to. So I asked him if he would let us explore his practice a … Continue reading
The work of Magnum Photos’ Diàna Markosian takes documentary photography into new, collaborative territory where the subject becomes co-creator. Ahead of their interview at PhotoLondon, photographic director Rebecca McClelland talks to Markosian about her process This article was originally published on CREATIVE REVIEW and is republished here with permission. This … Continue reading
Shared from Colin Pantall’s blog: Last week I had the privilege of hearing Gemma-Rose Turnbull and Pete Brook speak at IC Visual Labs in Bristol. They’re both part of the Photography as a Social Practice group. Pete talked about some amazing projects (see Alyse Emdur and the San Quentin Archive … Continue reading
PHOTOGRAPHY AS A SOCIAL PRACTICE with Gemma-Rose Turnbull and Pete Brook. Thursday 18th May 2017, 19:00 £6/4 CONCESSIONS. Free to ICVL Members Dark Studio, 2nd floor, ARNOLFINI BUY TICKETS Gemma used to be a news photographer and came to be focused on collaborative practices that disrupt the linear, documentary … Continue reading
I get the feeling sometimes that photography can be hypercritical and unconstructive in its criticism. When it gets the wind in its sails, it feels like you’re in the midst of a mass Five-Minute Hate. It’s like the scene in the remake of the Night of the Living Dead where Donald Sutherland points and screams – and then everybody else points and screams. It looks and feels terrible even when there are some justifications for it, especially when there are justificatons for it. This kind of response is something that also needs to be addressed in photography and its social media responses – because it is an embarassment and one day it will end in something very tragic. It is a form of bullying. Again, it’s nothing to do with photography, it’s to do with basic human behaviour.
The work that Gemma-Rose Turnbull and Pete Brook do is a constructive counterpart to this kind of response. Their work is considered, analytical and creates a counter-voice that is productive rather than reactionary and destructive, and leads us into new ways of seeing how images are made and the different fields in which they operate.
– Colin Pantall, Photography as Social Practice. In Bristol this Thursday
Just as media representations of the artist-as-genius have proved remarkably durable, the figure of the lone photographer is an enduring myth.
[The] figure of the intrepid, typically male, photojournalist is tied up with narcissistic fantasies about the photographer-as-lone-adventurer…the photographer-adventurer who bears witness to the world’s most beautiful and horrific truths has become something of an ego ideal or phantasm haunting all users of the camera. Men, apparently, are particularly prone to its seductive power.
– Daniel Palmer
Palmer, Daniel. Photography and Collaboration: From Conceptual Art to Crowdsourcing. London: Bloomsbury, 2017. p.1–2