“I’ve been looking at some great books on migration recently but I wonder if the rhetoric that applies to them isn’t a bit rehashed sometimes, isn’t said because that is what you are supposed to say. It’s defensive theory to block off criticism that dehumanises and objectifies. Perhaps ideas that restaging and collaboration, and giving people cameras, that scratching and painting and writing, going all the way back to Wendy Ewald and beyond, aren’t just a bit tired. Is it just something we say to make ourselves feel less guilty or does it actually mean something. i don’t know.
Or is giving somebody a camera or asking them to draw on their pictures or make a collage aren’t the most patronising and colonial thing ever., more concerned with the photographer as moral hero than with anything else. Or perhaps the whole calvinist tone of so much of this theory shares more with a colonial era vicar ministering to his flock and lecturing them on the evils of this or that. It shuts out so much, and can be joyless in a way that belongs to a particular geographic and economic privilege. It’s like watching what I imagine a Church of England sermon would be on a small British colonised island (oh, and there is theory that thinks the same thing – the greatest legacy of British colonialism is its shitty, condescending moralising voice).”
– Colin Pantall, from Carmelo Stompo and Kindness in Photography
K: Well, I like what you said that a lot of people use the camera as a way of “being-in-the-world” but in my mind, the theme is a reminder to look beyond yourself… like, there’s a whole world out there, don’t lose perspective. “Photography” has quickly become its own topic,… Continue reading
In March, Magnum Nominee Sim Chi Yin – alongside Hilary Roberts of the Imperial War Museum and photographer and educator Anthony Luvera – led a study day at London’s Tate Britain on the topic of Ethics and Image-making. The three speakers reflected later on areas of questioning raised by the… Continue reading
“As part of Taking Part Residency at Photofusion I am hoping to continue working with marginalized communities in London affected by processes of ‘urban regeneration’, using participatory photography as a tool to create counter narratives to the prevalent mainstream narrative. While forces of displacement are pushing people to migrate, more… Continue reading
“What if the spirit behind the Root’s 1996 “What They Do” could be re-imagined as a manual for reframing our suspicions of criminal affiliation? With the increasing power of photography to incriminate, corroborate or exonerate when it is called as evidence, this new work for Taking Part will investigate questions… 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
Answers Without Words, a photography project, fosters creative dialogue between incarcerated artists in Oregon and photographers from around the world SEPTEMBER 12, 2018 by HANNAH KRAFCIK (original post here) I am watching a group of men set a scene to be photographed. Ben Turanski, one of the prisoners at Columbia River Correctional… Continue reading
The point, rather, is that participation always involves a specific invitation and a specific formation of the participant’s subjectivity, even when the artist asks them simply to be themselves. The critique of participation must release us from the grip of the simple binary logic which opposes participation to exclusion and passivity. If participation entails its own forms of limitations on the participant, then the simple binary needs to be replaced with a constellation of overlapping economies of agency, control, self-determination and power.
– Dave Beech, “Include Me Out,” Art Monthly 315: April 2008.
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
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
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
Matt Johnston‘s great, subject-focused assignment from the excellent Photographer’s Playbook:
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
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
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
“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
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.
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.
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