The Historical Antecedents of Contemporary Photography Education: A British Case Study, 1966–79
The Historical Antecedents of Contemporary Photography Education: A British Case Study, 1966–79
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当代摄影教育的历史渊源：英国案例研究，1966-79
DOI：
10.1080/17540760903116697
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发表时间：
2009
期刊：
影响因子：
--
通讯作者：
May McWilliams
中科院分区：
文献类型：
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作者：
May McWilliams
近年来，研究英国摄影史的研究人员对1965-80年代的摄影越来越感兴趣。直到20世纪70年代初，英国的画廊在推广摄影方面做得很少，英国艺术委员会也没有提供任何具体的资金，大多数英国出版商对出版关于创意摄影的书籍不感兴趣。摄影被作为一门职业科目教授，强调技术培训，几乎没有创造性或试验性摄影工作的渠道。然而，在大约14年的时间里，建立了专门展示摄影作品的独立画廊，为公共资助的机构提供了摄影收藏资金，英国艺术理事会设立了一个有自己预算的摄影委员会，出版商出版了关于历史和当代摄影师的高质量专著。摄影本身也被认为是一门学术学科，也是一门适合学术的学科。是什么导致了摄影地位的翻天覆地的变化，以及摄影教育在这场文艺复兴中的作用。在20世纪60年代末/70年代更广泛的社会文化变迁的背景下，对开创性的摄影教育计划进行了审查。这些历史发展被作为英国的案例研究提出，并被批评为当代摄影教育的先驱。
In recent years researchers studying the history of British photography have become increasingly interested in the period 1965–80. Up until the early 1970s galleries in Britain did little to promote photography, the Arts Council of Great Britain did not provide any specific funding and most British publishers were not interested in producing books on creative photography. Photography was taught as a vocational subject with an emphasis on technical training and almost no outlets for creative or experimental photographic work. Yet over a period of approximately fourteen years independent galleries dedicated to showing photographic work were established, publicly funded institutions were allocated funding for photographic collections, the Arts Council of Great Britain set up a photography committee with its own budget, and publishers produced high-quality monographs on historical and contemporary photographers. Photography had also become recognized as an academic discipline in its own right and a suitable subject for scholarship. What brought about this sea-change in the status of photography and the role of photographic education in this renaissance is explored. Against a backdrop of wider socio-cultural shifts of the late 1960s/1970s, groundbreaking photography education programmes are examined. These historical developments are presented as a British case study and critiqued as antecedents of contemporary photography education.