Out with the old, in with the new: the role of the photographic album in the visualization of modernity
Paper given at the Ph photography research group monthly seminar, 8 December 2010
This paper, for me, is an early attempt at articulating a new way of looking at a discrete body of nineteenth-century albums I have been researching at the National Maritime Museum in Greenwich…. Read More
A version of this short essay was originally written for Kiosk, the magazine of the Faculty of Art, Design and Architecture at Kingston University, in response to the theme of ‘constraint’ in contemporary society and culture. It presents an overview of the ways in which the act of photography has become subject to increasing levels of control, both real and imagined,… Read More
Landscape Conference, Paris, November 25th 2010
The Great Hunger: (Re)Visions of Aesthetics and Politics in Irish Republicanism.
My paper focuses on two recent treatments of Irish Republicanism and explores artistic strategies in visual art. Two distinct landscapes bookend this paper, Steve McQueen’s film, Hunger and David Farrell’s photographic work, Innocent Landscapes…. Read More
(Paper presented by Clare French for ‘Beauty Will Save the World?’ a Postgraduate Conference on Art and Social Change at the University of Bristol, 7/9/10. The conference was aimed at challenging the notion of art solely as reflecting the world and exploring the ways in which arts practice actively creates social meaning.
The paper should be read in conjunction with David… Read More
By Sara Knelman
While visiting Toronto recently, I had a chance to chat with Grange Prize-nominated photographer Josh Brand, in residence for the week at the Art Gallery of Ontario. Along with Leslie Hewitt, Brand is one of two American photographers up for this year’s $50,000 prize (they will vie with two Canadians, Kristan Horton and Moyra Davey).
As of 8 October, two simultaneous… Read More
This paper was written for the conference Displaying Word and Image (University of Ulster, Belfast, 4-6 June 2010) and presented in the panel ‘Con-text: Displaying Photographs’.
When entering the space dedicated to Taryn Simon’s work at the Photographer’s Gallery in London, part of the 2009 Deutsche Bank prize exhibition, what I found most striking was the unusual… Read More