Cultural Snipers: Photographic Portraiture in Britain, 1970-1990

文化狙击手：英国肖像摄影，1970-1990

• 批准号: 2278372
• 金额: --
• 依托单位: Birkbeck, University of London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2278372
• 关键词: Cultural; Snipers; Photographic; Portraiture; Britain

My proposal to the Cultural Snipers: Photographic Portraiture in Britain, 1970-1990 AHRC CPD Collaborative Doctoral Partnership asks what political conditions were imagined and produced by the radical British portrait photographers of the 1970s and 80s? And by what means is it possible to reproduce, or even access, those political desires today? My proposal assumes and argues for photography as a technology of social and political reproduction, which actively forms subjects and publics, and that the expansion and dramatization of this process was amongst the key interventions made into portraiture by Jo Spence, Terry Dennett, and their peers and collaborators, including Ed Barber, Shirley Read, and Peter Kennard. My project will focus on the relationship between the modes of production, display, and distribution of these portraits. Both in the self organised projects of groups such as the Half Moon Photography Workshop and The Hackney Flashers and in instances where works were included in such exhibitions as Three Perspectives on Photography at the Hayward Gallery in London (1979,) Ten Contemporary British Photographers at MIT (1982) and later historical restaging's of the work including Jo Spence: Work (Part I & II) at Studio Voltaire (2012). My work will also look at the distribution of these portraits in books and magazines. The second part of my research question, which asks about the possibility of contemporary access to the politics and practices of these photographers, is a response to the lack or lag, identified in the call for proposals between curatorial and critical interest in these works, and scholarship on the same subject. The method of research I propose is as much curatorial and material methodology as academic. I will begin my research with the material available in Jo Spence Memorial Archive Library and produce public outcomes in the form of events and exhibitions as a way of periodizing my academic work. I believe this is important, as part of my project is an engagement with the ways in which disciplinary boundaries affect and produce knowledge. I believe this is a pertinent inquiry to the material as well as to the question of reproduction and is uniquely suitable for a doctoral project organised between both a university and a national museum.

我对文化狙击手的建议：英国的摄影肖像，1970-1990年AHRC CPD合作博士伙伴关系询问了20世纪70年代和80年代激进的英国肖像摄影师想象和制作的政治条件？今天，通过什么手段才有可能复制甚至获得这些政治愿望？我的建议假设并论证了摄影作为一种社会和政治再生产的技术，它积极地形成主体和公众，并且这一过程的扩展和戏剧化是乔·斯宾塞、特里·丹尼特以及他们的同行和合作者（包括艾德巴伯、雪莉·里德和彼得·肯纳德）对肖像画的关键干预之一。我的项目将专注于这些肖像的生产，展示和分配模式之间的关系。无论是在团体的自我组织的项目，如半月摄影工作室和哈克尼闪光灯，并在其中的作品包括在这样的展览作为三个视角摄影在海沃德画廊在伦敦（1979年），十当代英国摄影师在麻省理工学院（1982年）和后来的历史restaging的工作，包括乔斯宾塞：工作（第一部分和第二部分）在伏尔泰工作室（2012年）。我的工作也将着眼于这些肖像在书籍和杂志中的分布。我的研究问题的第二部分，询问当代访问这些摄影师的政治和实践的可能性，是对缺乏或滞后的回应，在这些作品的策展和批评兴趣之间的建议，以及同一主题的奖学金。我所建议的研究方法既是学术性的，也是策展性的和材料性的。我将开始我的研究与乔斯宾塞纪念档案图书馆提供的材料，并产生公共成果的活动和展览的形式作为一种方式，分期我的学术工作。我相信这很重要，因为我的项目的一部分是参与学科界限影响和产生知识的方式。我相信这是一个相关的调查材料，以及复制的问题，是唯一适合的博士项目之间组织的大学和国家博物馆。