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
“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
Emily Fitzgerald et al., Some Time Between Us. 2016, Portland, OR
“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
The 2017 Magnum Foundation Photography Expanded Symposium will explore collaborative approaches to creative documentary practice. The Photography, Expanded symposium is an annual full-day event that is free and open to the public. The symposium draws practitioners and storytellers across media to be inspired by exemplary case studies of innovative … Continue reading
is key to
– Helen Cammock is an artist and artist facilitator. She lectures across the UK on participatory practice and is committed to exploring and evolving the way participation opens up dialogue, and aims to ensure that diverse voices are platformed in the cultural contexts she works in.
Foreword When I wrote ‘Jack of all trades, master of none’ eight years ago I was just beginning to explore the relationship between photographers and those they picture. Participatory photography (PP) was considered rather hip at the time, partly fuelled by the success of the film ‘Born into Brothels.’ I was … Continue reading
Culture Shifts is a new socially engaged photography programme led by Open Eye Gallery, Liverpool, UK and supported by a strategic touring fund from Arts Council England. Working across a host of social housing, local authority culture and health partners and communities across the Liverpool and Merseyside city regions, we … Continue reading
17 years of photography workshops in the same community: A conversation with Moira Rubio Brennan and Miriam Priotti, directors of PH15. As participatory, collaborative and community-based photography projects proliferate, initiatives that stand the test of time stick out from the crowd. This is not to say that projects … Continue reading