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
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
From Pete Brook’s recent article on the brilliant and considered way that Nigel Poor is activating an archive of images at the San Quentin Prison in California for The Atlantic. Poor uses the photos as teaching tools to draw out the emotional content of the photos. Once she has … Continue reading
petebrook This book ‘Women Of York: Shared Dining’ was made by Susan Meiselas (@s_meiselas1963) with women incarcerated at York Correctional Institution for Women. It’s a contemporary response to Judy Chicago’s famous feminist work ‘Dinner Party’ (which is permanently installed at the Brooklyn Museum). My first impressions were “This book is ugly with chintzy design, fonts in all different colours.” It was put together by the industry great Yolanda Cuomo Design, so what gives? Here’s what. Susan handed over total and collective decision-making to the women. The shape, the images, the text, the layout, the fonts, the sequencing and much more. Susan got out of the way entirely. This is their book. Susan, with others, just helped it along. It’s an amazing socially-engaged project. And I need to stop being such a snob.
“You were not supposed to see these images. No one was,” says Christoph Bangert in the intro to his new book ‘WAR PORN’ which is basically a catalogue of battered, bloodied, mutilated and/or dismembered corpses from conflict zones around the world that Bangert has photographed during his career. … Continue reading
“We don’t have to be making photographs to be making a difference. In fact, of the many photo-centric acts that increase engagement with—and understanding between—fellow humans, image-making is only one. Researching, collating, preserving, reframing, holding and talking about images form the context for photography in our world. Making an image is only the opening gambit; when an image-maker freezes a moment or place in time within a photo, he or she merely guarantees a long thaw of meanings and associations running from it. How we discuss, use and consume photography shapes the thaw. Andrea Stultiens’ ‘History In Progress Uganda’; Susan Meiselas’ ‘Kurdistan’; and Alyse Emdur’s ‘Prison Landscapes’ are just a few of the many photo-based projects with methodologies from which we can learn.”
From the PHOTOGRAPHY AND SOCIAL PRACTICE broadsheet, May 2014.
This gallery contains 8 photos.
“The problem with people being denied the very basic control over their own images is that they lose control over their stories, their histories…collaborative portraiture is all about a gesture…The fact that you have to be slow, that it’s physical, that it’s in the street… the process is the gesture.” … Continue reading
Audience/participants reading the 4-page PHOTOGRAPHY AND SOCIAL PRACTICE broadsheet, a PDF of which can be found here. Today we (Pete Brook, Eliza Gregory, Gemma-Rose Turnbull, Mark Strandquist and Wendy Ewald) had the Photo-Based Social Practice panel, a discussion of socially engaged, transdisciplinary, and expanded practices in contemporary photography at Aperture Foundation in New York for Open Engagement. As … 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
We are so delighted to announce that we are presenting a discussion of socially engaged, transdisciplinary, and expanded practices in contemporary photography at Aperture, as part of Open Engagement 2014. The panel will be presented in conjunction with the Photography, Expanded Spring 2014 issue of Aperture magazine, produced in collaboration with guest editor … Continue reading
We are really looking forward to the Visual Activism Symposium put on by SFMOMA March 14-16 (Gemma and Eliza will be in attendance). We’d love to hear about any articles or resources people have that relate to that particular topic. We’ll post those here along with things we learn over … Continue reading