Photography As Dialogue brings together writing, projects, research and a film that explore how communities, researchers and artists are using photography to carve out and open up spaces for conversations. This special issue of the academic journal Photography & Culture, edited by Tiffany Fairey and Liz Orton, explores the dialogical potential… Continue reading
Photography and Culture, 2019. doi: 10.1080/17514517.2019.1654246 PDF here: Restricted Images Made with the Warlpiri of Central Australia 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
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
“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
“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
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 Photography & Social Practice Workshop will provide a forum for the Open Engagement community to shape a large conversation that will aim to unfold through a book, a blog, an exhibition and a daylong event in conjunction with partners such as Aperture, the Magnum Foundation and OE 2018.… Continue reading
This gorgeous project was made by my collaborator and friend Emily Fitzgerald (we made The King School Portrait Project together). Being Old is a photo-based collaboration between Emily and a group of people from the Hollywood Senior Center in Portland, Oregon. Emily visualised that the weekly workshops she ran would be dedicated to “creating… Continue reading
This is reposted from the Magnum Foundation tumblr. –––––– We’re excited to share the opening of Tactics of Collaboration: A Participatory Playbook, an exhibition of an ongoing collaboration with Photography, Expanded Fellow Mark Strandquist at the Bridge Progressive Arts Initiative in Charlottesville, Virginia. This exhibition was held in conjunction with the 2015 LOOK3 Festival of the… Continue reading
“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.
This gallery contains 3 photos.
A few weeks ago an my friend Amie Batalibasi, who is the founder and director of Melbourne-based Colour Box Studio (CBS), a pop up art space and online creative hub, contacted me to write the forward for an upcoming book they are self publishing. The book, curated by Kristina Arnott,… Continue reading
Image from Red Light Dark Room; Sex, lives and stereotypes, 2011. “Despite the current enthusiasm for social practice, it is not without its tensions, especially in sectors where art and activism overlap. As agents of change, social-practice projects can seem wanting: the scale is often small, the works are temporary,… 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
“As it becomes increasingly more common for Documentary Photographers to integrate participatory and collaborative practices into their photographic projects, inviting people who were previously ‘subjects’ to become co-creators, there is also an increased tension between the collaborative process and the photographic product. When we move towards making work that is… Continue reading
Gemma was interviewed by Lynette Letic for the Queensland Centre of Photography’s Lucida Magazine about her PhD, projects and collaborations with other photographers in January. Find the article here: lucidamagazine.com Continue reading