Modes of Contemporary Documentary Photography
Wednesdays 6 Sep – 25 Oct, 18.30 – 20.00
Max Houghton will lead an eight-week journey looking at essential modes of contemporary documentary photography, with a particular emphasis on the relationship between image and text. Her imaginative choices will offer a fresh take on documentary practice, as it evolves for a new generation of image-makers, audiences and anyone interested in finding ways to work with or think with photographs.
Week 1: The heart laid bare: what is ‘close enough’ ?
Photographers to look at: Sophie Calle, Matt Finn, Leonie Hampton, Jim Mortram
Week 2: Homo Sacer: picturing the refugee
Photographers to look at: Alma Haser and Nick Ballon, Patrick Willocq, Daniel Castro Garcia, Ben Fredericks, Tomas Van Houtryve, Richard Mosse
Week 3: Big ideas: research as practice
Photographers to look at Laia Abril, Lisa Barnard, Edmund Clark, Roger Hiorns
Week 4: Storytelling: fact and fiction as aesthetic strategies
Photographers to look at: Cristina de Middel, Alexandra Lethbridge, Vanessa Winship, Carl Bigmore, Mayumi Hosokura, Christian Patterson
Week 5: Something borrowed, something new: the art of appropriation
Photographers to look at: Natasha Caruana, Kennard Phillips, Joachim Schmid, Erik Kessels, Hank Willis Thomas
Week 6: Reimagining landscape: walking, writing and new forms of visibility
Photographers to look at: Inside the Outside Collective, Susan Derges, Sian Bonnell, Lynda Laird, Sophie Gerrard, Awoiska van der Molen, Samuel Wright & Josh Lustig
Week 7: Legal vision: the image in law, war and justice
Photographers to look at: David Birkin, Carey Young, Laura Poitras, Trevor Paglen, Coco Fusco, Jill Magid
Week 8: Acting up: the rise of performative documentary
Photographers to look at: Juno Calypso. Haley Morris Cafiero. Anja Niemi. Endia Beal, Mariela Sancari
About the course tutor:
Max Houghton has been writing and thinking with photographs since 2001, specialising in contemporary documentary photography. She edited the photography biennial 8 magazine for six years, hosted talks at its sister gallery Host, and co-curated Home for Good, with the Foto8 team, an exhibition looking at domestic and international experiences of war at the New York Photo Festival. Her teaching practice in photography began at the University of Westminster, where she ran MA Photojournalism, and continues at London College of Communication, University of the Arts London, where she is Course Leader MA Photojournalism and Documentary Photography. At LCC, Max’s research interests have led to three recent symposia: Art, Justice and Terror at the Imperial War Museum (2017); Women and Wit in Photography at LCC (2015) and Beyond the Visual – Photography and Landscape in Bristol (2014). With Lewis Bush, she co-curated Very Now, an exhibition at LCC to mark its Art & Journalism Festival (2016). Max’s first book, co-authored with Fiona Rogers, Firecrackers: Female Photographers Now, is published by Thames and Hudson (2017). She edited Infinity-award-winning Negative Publicity: Artefacts of Extraordinary Rendition by Crofton Black and Edmund Clark (Aperture, 2016) and collaborated with Clark in creating two recent contextual works Body Politic and Orange Screen. Max continues to write for the international arts press including FOAM, Photoworks, 1000 Words, Photomonitor and Black and White Photography. She is a Laws faculty scholarship PhD candidate at University College London.
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