Q&A: Gemma-Rose Turnbull

  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

Shock and Awe: An interview with Ethan Rafal

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

SHARED VISION: DIÀNA MARKOSIAN with Rebecca McClelland

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

Gemma-Rose Turnbull

“As documentary photographers integrate participatory and collaborative practices into their projects––inviting people who were previously ‘subjects’ to become co-creators––there is an increased tension between the process and the photographic product. When we move towards making work that is co-authored, how do we meet the needs of our collaborators (as the primary audience of the work), and communicate the primary experience to the secondary audience (anyone secondary to the people making the work)?

Basically, how can we continue to utilize the visceral, affective visual language of documentary photography to activate for social change, while democratising the process of creating those images with people, instead of of people?”

 

From the PHOTOGRAPHY AND SOCIAL PRACTICE broadsheet, May 2014.

Primary/Secondary Audience

“How can you still retain the agency and activist potential of photo-media for a secondary audience, when you increase the collaborative and participatory processes of documentary-based socially engaged photo-projects explicitly designed to forefront the social aesthetic, and privilege a primary audience?”