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Introduction
I trained as a fine art painter in the 1960s.I was a founder member of the Department of Cultural Studies at the Cockpit Arts Workshop in the 1970s and Director of Exhibitions at The Watershed Media Centre in Bristol, before moving back into higher education. I was Head of the School of Film and Photography at Newport School of Art in the 1990s, before moving to London South Bank University in 2000, where I eventually cofounded the Centre for the study of the Networked Image.
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Current institution
Publications
Publications (28)
This paper discusses the value of collaborative practices of image-making in relation to technological change and the mode of capitalist reproduction. It situates the discussion of collaboration in the context of a tradition of anti-capitalist radical image-making and what forms of continuity and extensions it might have in contemporary media and e...
This collection approaches the task of accounting for the networked image from the perspective of cultural practitioners engaged in making, curating, teaching, exhibiting, archiving, and preserving born digital objects. The volume signals a passage of time, from the digital to networked image and a corresponding cultural shift from the digital to t...
In this case I briefly outline a possible approach to understanding the zombie state of British photography as a specific affect of postcolonial melancholia, a cultural condition of mourning without recognition of what has been lost. In Mourning and Melancholia Sigmund Freud defines melancholy and mourning as two different responses to loss. 2 Unli...
The world was already full of photographs, well before the ineffable rise of digital big data. Now the world is totally image saturated, but this saturation is of a different order. Over the course of the industrial, mechanical, analogue image age, photographs were aggregated according to a scientific taxonomy in which flora and fauna, topography a...
Photography’s condition as the undead is a consequence not only of computation’s technical mode of image production but also of chrono-reflexivity and the cultural undoing of the contemporary in Western culture. The contemporary is a key concept underwriting the practices of the modernist aesthetic. The contemporary guarantees the narrative of hist...
The point, hopefully not too laboured, is that the representational image is still thought, imagined and encountered as the photographic image, which holds and reproduces relationships to known realities. The imaginary of the photographic image and its discourse cannot let go of this real, even though it is increasingly acknowledged amongst some ph...
The book argues that if we wish to understand the politics of representation in the post- photographic era, or more specifically, the image under the conditions of capitalist, computational reproduction, there is a necessary prerequisite, and that is the need to ‘forget photography’. The very term photography is a barrier to understanding the alter...
Tate, and by implication the modern art museum in general, is struggling with a double paradox. How, on the one hand, can modernity’s notion of linear progressive time be maintained in a world where, through the proliferation of technology and networked mobile devices, our time horizon has shrunk to that of the present; and, on the other, can aesth...
This discussion of ‘Artifacts and Allegiances: how museums put the nation and the world on display’ by Peggy Levitt shows the efficacy of the cosmopolitan–national continuum as an analysis of the conditions of museums in a globalized world. It suggests that nationalism and cosmopolitanism, whilst posed as alternatives, are not seriously in tension...
Post-Critical Museology considers what the role of the public and the experience of audiences means to the everyday work of the art museum. It does this from the perspectives of the art museum itself as well as from the visitors it seeks. Through the analysis of material gathered from a major collaborative research project carried out at Tate Brita...
This article discusses how the use of mobile media in digital culture is ushering in a new set of conditions for the realization of the social reception of art. This is to say that mobile media practices present a renewed challenge to major national art museums in their organization
and practices of display and exhibition. The problematic explored...
The Arts Council run Chrisi Bailey Award for young people's photography in schools is now entering it fifteenth year. The spirit of the award remains that of Chrisi Bailey's own view of photography as, an active medium of participation, through which the child can make discoveries, record and communicate about themselves and the world around them....
In marking out the limits and possibilities of the ‘Looking Out’ organisation and the Southwark Project initiative at the end of the last chapter, we have also reached the end of the substantial account of our project. It remains the task of this final chapter to summarise the account and offer a conclusion. We have, eventually, chosen to do this i...
We’ve seen how important it is for young people to hold on to the images they make and how difficult it is to insist that they are, first and foremost, materials which belong in school. It seems that the very motivation and interest that led to their production in the first place also demands that they are returned to the informal social context in...
We are aware that for many teachers the first question about how to take pictures is: what to take pictures with? The answer to this might mean anything from the politics of persuading an HOD or Head to create a budget for equipment, persuading another department or MRO to loan equipment, trying to get a broom-cupboard darkroom approved by health a...
Our position in organising photography projects for young people affords us a privileged insight into their worlds. This comes to us through having access to the photographs they take. Looking at their photographs and talking about them with young people has always been one of the most extraordinary aspects of the experience of running the projects...
This is not a ‘how to do it manual’, neither is it a comprehensive survey of photography in education. It is an account of work that has been carried out with young people in and out of school. In that sense we hope that it does provide models for practical work and guidelines for its development. It is also an account of the conditions in which th...
