Index
References to illustrations are shown in italics. References to endnotes consist of the page number followed by the letter ‘n’ followed by the number of the note, e.g. 167n1 refers to note no. 1 on page 167.
24 (TV series) 2
60 Minutes (TV programme) 30
academic research 42, 125, 165; academic research from disciplines other than photography 102, 106; interdisciplinary approaches 111–13; see also research
Afghanistan: Burke project on Afghanistan (Simon Norfolk) 170, 173, 181
Agee, James 67
Angle, Pek van 241n9
archives: archival research and the ‘throwaway’ 92–3; private archives/collections 44–5, 228; see also libraries; A Photographer in the Archive (Janina Struk)
Arctic National Wildlife Refuge 30, 36
art: for change 234; as knowledge 35–7; science vs art cultures 235; see also artists
Arte Povera 242
art galleries: exhibiting in 249–56; public galleries 246; see also A Curator’s Perspective (Camilla Brown)
artists: artist/artwork/audience trichotomy 201, 203; and the medium 210; as part of zeitgeist 78, 79; researching other artists 78–9, 151; see also art
Artist’s Agency 223
Atkins, Anna 122
audiences: artist/artwork/audience trichotomy 201, 203; audience breadth 178; audience engagement 10–11, 19; audience feedback 10–11, 58, 98, 99, 151–3, 256; audiences’ own interpretations 38, 59; and curatorial work 249; exchange/communication with 124; not considered during work 49; see also Lessons from the Audience (Sian Bonnell)
Bachelard, Gaston 71
Banerjee, Subhankar: Arctic project strategies 29–30, 32, 34, 35, 36; Arctic Voices: Resistance at the Tipping Point 30; art as knowledge 35–7; audiences’ own interpretations 38; biography 26, 257; caribou harvest photographs 32–4; Caribou Migration 37–8; chance 37; Coal and the Caribou 37; curiosity and research 39; Desert project 34, 35, 36–7; Even and the Climate 33; fieldwork 28, 30, 34; Flaring at Prudhoe Bay 38; Gwich’in and the Caribou 28; intuition 28, 37; Iñupiat and the Whales 39; literature review 28, 30; Oil and the Caribou 29, 31, 32, 34, 34, 35, 36; Oil and the Geese 26–7, 29, 37; Oil and the Whales 36; photography as philosophical engagement 34–5
Barbican Art Gallery: The Dead (exhibition) 48
Barker, Mandy: awareness raising for plastic pollution in oceans 126–7, 128, 138–9; biography 126, 257; chance and creating the work 132; contextual research 129–30, 132; ‘EVERY… snowflake is different’ 135; Hong Kong Soup series 136–7, 137; Indefinite series 128, 129, 130–1; Japanese Tsunami debris field expedition 134, 136; literature review and working with scientists 128–9; long-term preoccupations 218; Penalty 137–8, 138; recording work in progress 131; research and gender xi; research log 240; SHOAL series 136, 136; SOUP series 130, 132, 134; use of text with image 130–1; ‘WHERE … am I going?’ 133
Beato, Felice 45
Berger, John 95
Between Inner and Outer Worlds (Patricia Townsend): Canal Foot 205; concentration, a certain sort of 213–15; the hunch 208–10, 212, 216; intuition 205–6; making of Under the Skin 204–8, 207, 208; On the Shores 215; photographer and the medium 210–11; play and playing 211–13; The Quick and the Dead 211
Birnberg Peirce 2
Biro, David 107
Bollas, Christopher 206
Bonnell, Sian: audience’s influence on her practice xi; biography 258; on central concern with space 219–20; exploring with tools in different usage/context 221–2; on getting rid of one’s favorites 213; interview of Susan Derges 125; on planning and change 209; see also Lessons from the Audience (Sian Bonnell)
Borton, Terry 241n8
Bourdieu, Pierre 75n2
brand: photographer as 181
Bright, Deborah: absurdity/playfulness vs academic research 165; ‘Ajami Quarter, Jaffa (Yaffa) 157; All That Is Solid 165; Al-Omri Mosque, Tiberias 160; art and photo history research 159; autobiographical projects and lesbianism 165; Battlefield Panoramas 164; biography 154, 258; Destruction Layer: Palestine In Israel 154–5, 161–3; House in Sheikh Muwannis village 163; How The West Was Won/Caution: Do Not Dig 163–5; intuition and chance 165, 167; intuition and information gathering 156, 222; local historical societies 160; long-term preoccupations 218; Olive Grove and Garbage Dump, Lydda (Lod) 161; photo-essays 157; Pine Grove, Abu Kabir (Tel Aviv-Yafo) 166; politically charged subjects 162–3; practical and technical research 159–60; rephotographic surveys of places 156; research and gender xi; Ruins in Bayyarat Hannun 158; Village Mosque in Qesariya (Caesarea) 164
Brixton Studio exhibition (Photographers’ Gallery, 2002) 249
Brown, Camilla: biography 258; exhibition, photographer and curator xi–xii; see also A Curator’s Perspective (Camilla Brown)
Candy, Linda 183n1
Capa, Robert 170
chance: Deborah Bright on 165, 167; Edmund Clark on 11; Grace Lau 49; John Darwell/Louis Pasteur on 57; Judy Harrison on 64, 65; Mandy Barker on 132; and questioning mind 239, 241; Simon Norfolk on 176, 178; Subhankar Banerjee on 37; see also intuition
Chandler, David 118
Charon, Rita 104
Chernobyl nuclear disaster (1986) 52
Chinese in the West (as theme) see under Lau, Grace
Christie, John 95
CIA: black site (Bucharest, Romania) 4
Clark, Edmund: access issues 2–3, 4; audience feedback 10–11; biography xiv, 258–9; chance 11; collaboration and evaluation of one’s work 10; conceptual vs practical research 13; contextual vs practical research 3–5; Control Order House 2, 8; creative act and form 8–9; creative act and research 7–8, 222; cultural and critical theory 10; documents and secondary research 5, 6; exhibiting and audience feedback 11; exhibiting and developing contacts 13; Guantanamo: If the Light Goes Out xiv–1, 3–4, 5–6, 8, 9, 9, 12; Kafka 2, 6; lawyers and photography 2; Letters to Omar series 7–8; media narratives and films 2; memory box 10; The Mountains of Majeed 8, 11; multimedia work 11, 13; Negative Publicity: Artefacts of Extraordinary Rendition 8; overlap between researching projects 11, 13; personal contacts 5–6; recording work in progress 10; unconscious and research 2; W. G. Sebald 6
Clark, Gordon Matta 193
collaboration: and curatorial work 248; and evaluation of one’s work 10; with experts/scientists 117–18, 121–2, 128–9, 171–2; interdisciplinary approaches 111–13; with participants in project 75, 106–7, 109–10
Collaborative Working and Environmental Resistance (Conohar Scott): Almásfüzitö: An Index 230–1, 232; collaboration, rationale behind 230–1, 234; The Edge of Eden 230, 231; Environmental Resistance and No Al Carbone, Brindisi 232–4, 233; objectivity 230; photography in multi-modal context and art for change 234
Collins, Hannah: Amazon project and Cofan tribe 19–21, 23, 25; audience engagement 19; biography 14, 259; evaluating one’s work 23–4; The Fertile Forest 22; film, working with 23; final output and research process 16, 23, 222; The Interior and the Exterior – Noah Purifoy 14–15, 16, 17, 18–19, 18, 20, 21; internet vs on-the-spot research 16; intuition and research 24–5; keeping records and career progression 23; La Mina film on Spanish gypsies 21, 24; limitations and ‘things not being perfect’ 23; Mandela’s birthplace 24–5; mediating with different communities 21; practical and technical research 21, 23; research and gender xi; research as curatorial work 21; soundtract 18–19
Colombia: Once More with Feeling: Recent Photography from Colombia exhibition (Photographers’ Gallery, 2008) 252, 253, 253
communication: as research method 64–5, 66
community/communities: and Brixton Studio exhibition 249; and Conohar Scott’s work 234; and Hannah Collins’ work 21; and Ingrid Pollard’s work 97, 98; and Janina Struk’s work 224; and Judy Harrison’s work 64, 72, 73–5; and Martin Hartley’s work 150; and Thu Thuy Pham’s work 188; and Tom Hunter’s work 86
consultation see collaboration
contextual research 3–5, 42, 118, 122–3, 129–30, 132, 195; see also research
Cranach, Lucas, the Elder: Adam and Eve in Paradise 81, 82
creative act: and form 8–9; and research 7–8, 222; and rhizome concept 235–6, 236, 237
critical awareness 182, 183, 235
critical theory 10
critics (professional) 118, 249
Cronin, Órla 183n2
cultural theory 10
A Curator’s Perspective (Camilla Brown): audiences 249; budgets and funding 247–8, 249, 255; exhibition: Brixton Studio 249; exhibition design 251; exhibition: Dryden Goodwin 247–8, 247, 248, 251; exhibition: Marjolaine Ryley Growing Up in the New Age 253–4, 254, 255; exhibition: Once More with Feeling: Recent Photography from Colombia 252, 253, 253; gallery space 250–1; language of the show 249–50; presentation of the work 252–5; researching artists 246–8; during the show and beyond 256
curiosity 39
Dada 242
Danchev, Alex 6
Dartmouth College 32
Darwell, John: After Schwitters 60; biography 50, 259; A Black Dog Came Calling 50–1, 53, 54, 54–5, 56–9, 56–61; Chernobyl project 52; documentary approach vs research 52, 54; intimate close-up and differential focus 53–4; intuition and chance 57; literature review 52; photographic-ness of things 57; research and its impact on the work 54, 56–7, 59–61; storytelling and photography 59; work in progress and audience feedback 58
The Dead (exhibition, Barbican Art Gallery) 48
dedifferentiation 214
Delacroix, Eugène: The Death of Sardanapalus 86, 88
Deleuze, Gilles 236
depression: A Black Dog Came Calling (John Darwell) 50–1, 53, 54, 54–5, 56–9, 56–61
Derges, Susan: Aeris 117; biography 114, 259; collaboration with experts/scientists 117–18, 121–2; communication/exchange with audience 124; contextual research 118, 122–3; evaluation of one’s work 124; gender and co-exhibiting 123–4; gender and research xi; intuition 117, 118, 119, 124–5; Natural Magic 121–2; Observer & Observed 118, 120–1, 122, 124–5; philosophy and art making 122–3; recording work in progress 124; research as unfolding enquiry 119, 222; residencies 125; River Bovey 119, 120; River Taw 116, 121, 122, 124–5; Sublimatio 116; Tide Pools 114–15, 117, 122, 123; unconscious 119; Vessel 116
Dewdney, Andrew: biography 259–60; interview of Ingrid Pollard 99
Dewey, John 235
digitisation: and recording work in progress 10
Dillon, Brian: In The Dark Room 71
documentary photography: Camilla Brown on 250; Grace Lau on 42; John Darwell on 52, 54; Judy Harrison on 69, 72–3; Simon Norfolk on 172; Tom Hunter on 82–4, 89; see also A Photographer in the Archive (Janina Struk)
Documenting the Process (Mike Simmons): art vs science cultures 235; creative process and rhizome concept 235–6, 236, 237; critical awareness 235; critical distance 237, 238; intuition 236, 239, 241; making choices 241; objectivity 235; project narrative 236–7, 237; reflective skills 235, 237–9; research logs 237, 237, 239, 240, 241; see also recording work in progress
dreams 117
Driscoll, J. 238
Dyer, Geoff 222
Ebbesmeyer, Curtis 134
Edward, Elizabeth: Anthropology and Photography 46
Ehrenzweig, Anton 214
Ellis, Paul 249
Environmental Resistance: No Al Carbone, Brindisi 232–4, 233
equipment: for expeditions in inhospitable environments 142–5, 147, 174
Eriksen, Dr Marcus 134
essays: issues discussed in xi–xii
evaluation (of one’s work): Edmund Clark on 10; Grace Lau on 48; Hannah Collins on 23–4; Ingrid Pollard on 99; Martin Hartley on 151–3; Susan Derges on 124; see also feedback
Evans, Walker 67
exhibiting: and audience feedback 11; and
developing contacts 13; see also A Curator’s Perspective (Camilla Brown)
exhibition design 251
expeditions: data gathering for scientists 148, 221; equipment for inhospitable environments 142–5, 147, 174; expedition websites 147, 151; mental preparation 146–7, 148; physical and first aid training 145–6; sending pictures back 147
experiential learning 237
extraordinary rendition, 2, 5, 6; Negative Publicity: Artefacts of Extraordinary Rendition (Edmund Clark) 8
Facebook 151
feedback: from audiences 10–11, 58, 98, 99, 151–3, 256; from colleagues 49; from critics 118; from professional community 98; see also evaluation (of one’s work)
festival portfolio reviews 246
fiction: photographs as documentary fictions 65, 73
films: impact of on research 2
Finding (subject matter) and Knowing (Shirley Read): artists’ authentic voice/long-term concerns 218; artists’ ‘not knowing’ becoming ‘knowing’ 222; Asef Ali Mohammad 219, 220, 220; Deborah Bright 218, 222; Edmund Clark 222; Georgina McNamara 220–1, 221; Grace Lau 221, 222; Hannah Collins 222; Ingrid Pollard 218, 222; Mandy Barker 218; Martin Hartley 221; Peter Kennard 218; Sian Bonnell 219–20, 221–2; Simon Norfolk 219; Susan Derges 222; Tom Hunter 218
Fox, Charlotte: biography 260; contextual
research 195; Imaginary Time series 190–1, 194–5, 194; photography as form of early research 192–3; practical and technical research 193–4; recording work in progress 195; research in higher education setting 183, 192, 195; research log 239; Spatial Flux series 192, 194
Freud, Sigmund 209
funding: and curatorial work 247–8, 249, 255; and research 43, 153, 174–5
gender: and approach to research xi; and co-exhibiting 123–4; and keeping records 23; as part of the work 49, 222; and womb-like space 123; see also women photographers
Getty Collection 44
Gibbs, Graham 241n7
glaciers: Mount Kenya glaciers project (Simon Norfolk) 168–9, 171, 172–7, 172, 175, 176, 179–80
Goodwin, Dryden 210–11, 214; Photographers’ Gallery exhibition (2008) 247–8, 247, 248, 251
Goss, Philip 122
Guantanamo Bay: Guantanamo: If the Light Goes Out (Edmund Clark) xiv–1, 3–4, 5–6, 8, 9, 9, 12; Letters to Omar (Edmund Clark) 7–8; media narratives on 2
The Guardian: Eyewitness section 138
Guattari, Félix 236
Gursky, Andreas 132
Hall, Kim F. 93
Hall, Stuart 93
Harrison, Judy: biography 62, 260; chance 64, 65; collaboration with participants in project 75; communication as research method 64–5, 66; documentary photography 69, 72–3; on-going research and interpretation 71; on-going research and learning how to think 64; intuition 64; marginalised people 64; memory, personal and collective 68–9; The Mount Pleasant Photography Workshop 70, 71–5, 71–4; objectivity 67, 68, 71; Our Faces, Our Spaces 71–2, 74–5; photographs as documentary fictions 65, 73; photography and writing 65, 68–9; political family and Marxism 64; Rejection (installation) 69, 70–1; representation as political issue 69, 73; Small Farms in Staffordshire 62–3, 65–8, 65–8; Stoke-on-Trent landscape 65–6, 69–71; Threads 68; Wedlock (installation) 68, 69
Hartley, Martin: biography 140, 260; data
gathering for scientists 148, 221; evaluation, social media and audience feedback 151–3; expeditions and research into locations and equipment 142–5, 147; Frozen Ocean series 140–1, 143, 145–7, 149–50, 152; mental preparation 146–7, 148; physical and first aid training 145–6; Ponting’s and Hurley’s photography 148; previsualisation of shots 148–9; research and funding 153; researching other photographers online 151; sending pictures back 147; text and images 149–51
Haylock, Dan 147
Heer, Hannes 229
Heyert, Elizabeth 48
higher education sector: and curators’ researching individual artists 246; photography research 182–3
Homeland (TV series) 2
Hong Kong: and plastic pollution 136–7
Horace: ‘dulce et decorum est’ 11
hunch 208–10, 212, 216; see also intuition
Hunter, Tom: artist as part of zeitgeist 78, 79; biography 76, 261; collecting and interpreting stories 78; Cranach’s Adam and Eve in Paradise 81, 82; Delacroix’s The Death of Sardanapalus 86, 88; documentary photography vs staging photography 82–4, 89; Hackney stories 79, 81, 86, 88; housing and squats 81; Life and Death in Hackney (The Vale of Rest) 79; Life and Death in Hackney (The Way Home) 76–7, 84; long-term preoccupations 218; Millais’ Ophelia 84; A Palace for Us film project 81, 86; paradise theme 81; Persons Unknown (The Art of Squatting) 85; representation as political issue 89; researching history of paintings 78–9; theory-based and practical on-going research 78; trees and the Tree of Life 81; Unheralded Stories series 86, 89; Unheralded Stories (Anchor and Hope) 83, 84; Unheralded Stories (Death of Coltelli) 82, 88–9; Unheralded Stories (Hackney Cut) 87; Unheralded Stories (Woodberry Down) 80, 81–2, 84
Hurstfield, Jennifer: biography 261; interview of Tom Hunter 89
imagination: and the hunch 208, 212; and images 105; leaps of 165; and pain 109; and recording work in progress 131; and researching 10, 64, 119, 132, 159
installations: Anthony McCall 194–5; Deborah Bright 165; Edmund De Waal 71; and gallery space 250–3, 256; Judy Harrison 69, 70, 70; Maria Paschalidou 196–7, 198, 201; Marjolaine Ryley 254; Patricia Townsend 205, 208; Peter Kennard 218; Susan Derges 122
interdisciplinary approaches 111–13
internet research 16, 43, 142, 151; see also blogs; social media; websites
interviews: issues discussed in ix–xi
intuition: Deborah Bright on 156, 165, 167, 222; Hannah Collins on 24–5; John Darwell on 57; Judy Harrison on 64; Mike Simons on 236, 239, 241; Patricia Townsend on 205–6; and questioning mind 239, 241; Subhankar Banerjee on 28, 37; Susan Derges on 117, 118, 119, 124–5; see also chance; hunch; the unconscious
Jacobs, Harry 249
Japanese Tsunami debris field expedition 134, 136
Johns, Christopher 241n7
keeping records see Documenting the Process (Mike Simmons); recording work in progress
knowledge: art as 35–7; and subjectivity 234, 236
Koudelka, Josef 67
Lau, Grace: 21st Century Types 41, 43, 44, 45–9, 47; Ad/dressing Death 48, 49; Adults in Wonderland 49; audiences vs colleagues’ feedback 49; biography 40, 261; Chinese postcard collection 40, 42, 45, 45; Chinese-related work 43–5; documentary photography training 42; evaluation of one’s work 48; factual and contextual research 42; film, working with 46; gender issue 49, 222; internet research 43; long-term preoccupations 221, 222; missionary libraries 44; objectivity 46, 48; Picturing the Chinese book 43, 45; private collections 44–5; race issue 42, 49, 222; recording work in progress 48; research and chance 49; research and funding 43; research and its impact on the work 46–8; research as on-going process 48; second-hand bookshops 45; sub-cultures work 42
lawyers: and photography/media exposure 2
Lens Culture EARTH Awards 137
Lessons from the Audience (Sian Bonnell): Camera: How to be Holy 243, 244, 244; Camera: Stigmata 243, 244, 245; Groundings series 243; humour, unintended 242–3; intelligence/intrepidity of audiences 243; laughter and tears, unexpected 244; respect for audiences’ reactions/views 245; see also audiences
libraries: library-based research 42; local
historical societies 160; missionary libraries 44; private archives/collections 44–5, 228
Linkman, Audrey: Photography and Death 48
literature review 28, 30, 52, 128–9
Live TX 147
local historical societies 160
London (as theme): Brixton Studio exhibition (Photographers’ Gallery, 2002) 249; see also under Hunter, Tom
McCall, Anthony 194
McNamara, Georgina 220–1; Bay, Unicorn and Pile 221
Mandela, Nelson: birthplace 24–5
media narratives: impact of on research 2
medical journals: and arts/humanities perspectives 112
Millais, John Everett: Ophelia 84
Milner, Marion 214
missionary libraries 44
modernist consciousness 165
Mohammad, Asef Ali 220; Mariabad area, Pakistan 219; Parents of killed Hazara police officer 220
Mohr, Jean 188
The Mount Pleasant Photography Workshop (Judy Harrison and University of Southampton) 70, 71–5, 71–4
Moustakas, Clark 241n6
multi-disciplinary approaches 111–13
Munoz, Oscar 252, 253; Archivo porcontacto 253
National Portrait Gallery 111
networking 142, 246; see also personal contacts
Newport College of Art and Technology (University of Wales) 42
No Al Carbone, Brindisi (Environmental Resistance) 232–4, 233
Norfolk, Simon: audience breadth 178; biography 168, 261–2; Burke project on Afghanistan 170, 173, 181; connecting line through lifetime work 178, 181, 218; contemporary war photography 170–1; documentary photography 172; embedding stories in photographs 172–3; equipment in inhospitable environments 174; The Hebrides: A slight disturbance in the sea 131; long-term preoccupations 219; Mount Kenya glaciers project 168–9, 171, 172–7, 172, 175, 176, 179–80; objectivity 172; photographer as brand 181; Project Pressure 171–2, 173, 177; research and funding 174–5; research and partnerships 171–2; ruthless planning vs chance xi, 176, 178; serendipity 176; technical testing 178
objectivity: Conohar Scott on 230; Deborah Padfield on 103, 112, 198; Grace Lau on 46, 48; Janina Struk on 223; Judy Harrison on 67, 68, 71; Maria Paschalidou on 198; Mike Simons on 235; Simon Norfolk on 172; see also subjectivity
O’Keefe, Georgia 218
Once More with Feeling: Recent Photography from Colombia exhibition (Photographers’ Gallery, 2008) 252, 253, 253
Owen, Wilfred: ‘dulce et decorum est’ 11, 13
Padfield, Deborah: biography 100, 262; face2face 110, 111–12, 111, 113; Fragile Boundaries 104, 105; objectivity 103, 112, 198; Pain: Speaking the Threshold (multi-disciplinary project) 111; Perceptions of Pain 101, 102–10, 106, 107, 108–9; research and collaboration with participants in project 106–7, 109–10; research and interdisciplinarity 111–13; research as practical creative process 106; research from academic disciplines other than photography 102, 106; a stitch in … 103; storytelling 198
pain: Pain: Speaking the Threshold (multi-disciplinary project) 111; Perceptions of Pain (Deborah Padfield) 101, 102–10, 106, 107, 108–9
A Palace for Us film project (Serpentine Gallery) 81, 86
Palestine: Destruction Layer: Palestine In Israel (Deborah Bright) 154–5, 161–3
Pan, Lynn 44
Paschalidou, Maria: Arbitrariness 196–7;
artist/artwork/audience trichotomy 201, 203; biography 262; Biography of the Bread 200, 201; Bodies Under Investigation 198, 199; objectivity 198; phantasmagoria 198–9, 201; research as creative process 183, 198; Semiotics of the Phantasma 201, 202, 203
Pasteur, Louis 57
Peirce, Gareth 2
Penn, Irving 130
Perry, Grayson 206
personal contacts 5–6; see also networking
Pham, Thu Thuy: biography 262; Nine Women series 184–5, 186, 187, 188, 188, 189; recording work in progress 189; research in higher education setting 182–3, 186; social message and research 188–9
photo-essays 157
photograms 13, 116, 119, 120, 130–1
A Photographer in the Archive (Janina Struk): objectivity, interpretation and research 223; Photographing the Holocaust: Interpretations of the Evidence 227–8, 227; Private Picture: Soldiers’ inside View of War 228; research into inaccurate image captions (War of Extermination exhibition) 228–9; Washington in a word … and new-town movement 223–6, 224, 225
photographers: as brand 181; and the medium 210–11; Polar photographers 148; researching other photographers online 151; selection criteria for book x; women photographers 42; see also photography
The Photographers’ Gallery (London) 246, 247; Brixton Studio exhibition (2002) 249; Dryden Goodwin exhibition (2008) 247–8, 247, 248, 251; Once More with Feeling: Recent Photography from Colombia exhibition (2008) 252, 253, 253
photographic seeing 57
photography: as documentary fiction 65, 73; as form of early research 192–3; as philosophical engagement 34–5; as political tool 46; as storytelling 59; see also photographers
photojournalism 175
photomontage vii, 42, 107, 218
planning 156, 176, 178, 182, 188, 209
Plastic Free Seas (charity) 136
plastic pollution see under Barker, Mandy
point of view see objectivity; subjectivity
Polányi, Michael 206
Polar photographers 148
politics: photography as political tool 46; politically charged subjects 162–3
Pollard, Ingrid: archival research and the ‘throwaway’ 92–3; audience feedback 98, 99; biography 90, 262; Consider the Dark and the Light 90–1, 93, 94; feedback from professional community 98; long-term preoccupations 218; Northumberland residency and coal mining 93, 95, 97; PhD evaluating own work 97–8; ‘reflection, dialogue, question’ and evaluation 99; Regarding the Frame 96, 98, 99; research simultaneous with making 95, 222; residencies as research model 92, 97, 98, 99; variety of tools and skills 95, 97
postcard fairs 45
potential (or transitional) space 209, 213, 214–15
presentation of the work (art galleries) 252–5
press coverage 249
previsualisation technique 148–9
Prinz, Rainer 172
private archives/collections 44–5, 228
Project Pressure 171–2, 173, 177
psychoanalytic thought 204, 206, 209, 213, 214–15
public gallery curators 246
race issue: as part of the work 42, 49, 222
Read, Shirley: artists’ long-term interests xi; interviews of artists 13, 25, 49, 153, 167, 181; introduction ix–xii; see also Finding (subject matter) and Knowing (Shirley Read)
recording work in progress: Charlotte Fox on 195; Edmund Clark on 10; Grace Lau on 48; Hannah Collins on 23; Mandy Barker on 131; Susan Derges on 124; Thu Thuy Pham on 189; see also Documenting the Process (Mike Simmons)
reflection: ‘reflection, dialogue, question’ and evaluation 99; reflective skills 235, 237–9
rephotographic surveys of places 156
representation: politics of 69, 73, 89
research: academic research 42, 111–13, 125, 165; academic research from disciplines other than photography 102, 106; archival research and the ‘throwaway’ 92–3; commercial research 125; communication as research method 64–5, 66; contextual research 3–5, 42, 118, 122–3, 129–30, 132, 195; as creative process 183, 198; as curatorial work 21; and curators 246–8; and curiosity 39; for expeditions in inhospitable environments 142–5; fieldwork 28, 30, 34; and funding 43, 153, 174–5; and gender xi; as on-going process 48, 64, 71, 78; higher education photography research 182–3; interdisciplinary approaches 111–13; internet research 16, 43, 142, 151; issues discussed in essays xi–xii; issues discussed in interviews ix–xi; library-based 42; literature review 28, 30, 52, 128–9; and objectivity vs interpretation 71; Peter Kennard on vii; photography as form of early research 192–3; practical and technical 4, 13, 21, 23, 46, 78, 159–60, 193–4; as practical creative process 106; primary vs secondary sources 5, 228; research simultaneous with making 95; residencies as research model 92, 97, 98, 99, 125; theory-based 78; as unfolding enquiry 119; see also Documenting the Process (Mike Simmons); reflection
research logs 237, 237, 239, 240, 241
residencies 92, 97, 98, 99, 125
rhizome concept: and creativity 235–6, 236, 237
risk-taking: and politically charged subjects 162; and research process 54; and working with film 23
Rolfe, Gary 238
Romania: CIA black site (Bucharest) 4;
photographing government buildings in 4
Royal Geographic Society 142
Royal Photographic Society 134
Ryley, Marjolaine: Growing Up in the New Age exhibitions 253–4, 254, 255
Sander, August 67; People of the 20th Century 47
School of Oriental and African Studies (SOAS) 44
Schwitters, Kurt 60
Sciart programme (Wellcome Trust) 103
Scott, Captain Robert Falcon 151
Scott, Conohar: biography 262–3; working collaboratively xi; see also Collaborative Working and Environmental Resistance (Conohar Scott)
Scrivener, S. A. R. 183
second-hand bookshops 45
serendipity 176; see also chance
Serpentine Gallery: A Palace for Us film project 81, 86
Serrano, Andres 48
Shafran, Nigel 263
Side Gallery (nr Newcastle upon Tyne) 225
Signals (Festival of Women Photographers) 42
Simmons, Mike: interviews of artists 39, 61, 75, 113, 139; introduction ix–xii; recording of photographic projects xi; see also Documenting the Process (Mike Simmons)
Snow, C. P. 241n2
social media: and evaluation of one’s work 151–3; see also blogs; websites
Sontag, Susan 223
space: gallery space 250–1; Sian Bonnell’s central concern with space 219–20; transitional (or potential) space 209, 213, 214–15; womb-like space 123
Staffordshire: Small Farms in Staffordshire (Judy Harrison) 62–3, 65–8, 65–8
Street Level Photoworks, Glasgow: Marjolaine Ryley Growing Up in the New Age (2012) 254, 255
Struk, Janina: biography 263; essay overview xi; see also A Photographer in the Archive (Janina Struk)
subjectivity: and inner world 209; and
interpretation 73; and knowledge 234, 236; and motivating issues 49; and multi-disciplinary perspectives 112; vs objective scholarly research process 71; and pain 103, 107; and photographer’s intention 223; see also objectivity
subject matter see Finding (subject matter) and Knowing (Shirley Read); politics; social messages
Sugimoto, Hiroshi 29
text: use of with exhibited work 250; use of with image 130–1, 149–51
Thatcher, Margaret 224
Thiriez, Régine 45
Townsend, Patricia: biography 263; essay overview ix, xi; see also Between Inner and Outer Worlds (Patricia Townsend)
transitional (or potential) space 209, 213, 214–15
Tufts University Art Gallery 38
Twitter 151
the unconscious 2, 105, 106, 119, 206, 214
University of Southampton, The Photographic Gallery: Mount Pleasant Photography Workshop 71–2
University of Wales: Newport College of Art and Technology 42
Victoria & Albert Museum 68
Victorian portrait photography 45, 46
War of Extermination: Crimes of the Wehrmacht 1941–44 (exhibition) 228–9
war photography: professionals 170–1; soldiers’ private collections 228
Washington Development Corporation 223
Watts rebellion (Los Angeles, 1965) 16, 19
websites 82, 157, 159, 178, 249, 256; expedition websites 147, 151
Weizman, Eyal 10
Wellcome Trust: John Thomson’s glass plates 44; Sciart programme 103
Weston, Edward 130
Wilcox, Shiam 237
Wilderness Medicine Society 146
Williams, Val 42
Wilson, Edward 151
Winnicott, Donald W. 209, 213, 214–15
Winogrand, Garry 57
Wittgenstein, Ludwig vii
Wolverhampton Art Gallery: Marjolaine Ryley Growing Up in the New Age (2012) 254, 254
women photographers 42
Wood, Frances 43
work in progress see Documenting the Process (Mike Simmons); evaluation (of one’s work); feedback; recording work in progress
WYNG Masters Award (Hong Kong) 137
Zakrzewska, Joanna 111
Zero Dark Thirty (film) 2
Zielony, Tobias 188
Zochrot 162