I’ve had very memorable times at Tate Britain, meeting up with the women from Dorset and London I photographed for my 1988 image + text series Mothers’ Pride, which is currently on show in the groundbreaking show Women in Revolt! curated by Linsey Young (see November 2023 post for more info). See image of the Mothers’ Pride series on the wall below (Room 6 at the Tate). I am really proud it is included in this show (alongside Greenham images from Format Photographers, see November post).
It’s been an extraordinary time these past two years, reconnecting with the women from Mothers’ Pride to ensure they were happy that their portrait and interview texts were in this show. Some names have been concealed; the work was made originally for very small audiences, well before the arrival of social media, etc.
I’m very delighted that The Hyman Collection have acquired two of my prints from my 2020 series The Plain which were shown recently in the Centre for British Photography’s show Landscape Trauma (see below).
Really enjoyed my visit to MPF in Bristol on 5 December, when I did a talk to coincide with the MPF acquiring prints from my series The Home Front!
Great to meet all the team and the Bristol audience. I had excellent questions from the audience after my talk and very interesting chats with photographers during the book signings…
It’s been a very exciting last few weeks, with the opening of the Women in Revolt! exhibition at the Tate Britain (Women in Revolt! at Tate Britain) and the display of large prints by Format Photographers (Second Sight: Format Photographers, 1983-2003) in the public concourse at the Barbican Centre (which runs till 14 January), and a large body of work on Greenham peace protests in the Re/Sisters Barbican exhibition (Re/Sisters exhibition at the Barbican Art Gallery) .
The photographs below of one of the Re/Sisters gallery spaces with a distant view of the Format display of Greenham peace camp photographs (on the back wall) are courtesy of Max Colson/Barbican (© Max Colson). (I took the close-up). Very happy that three of my early 1980s Greenham photographs have been included here.
On the top level of the Second Sight Format display at Barbican foyer below, is a photograph I took of ambulance women at work at a road traffic accident in Holborn, 1989 (I had spent two days with this team, riding in the ambulance, documenting their work) ; at the lower level, is a photograph I took in St. Martin’s Lane very close to the poll tax riots in Trafalgar Square of 31 March 1990. Tourists who had been shopping at HMV in Oxford Street arrived at this scene to find a car on fire in the background.
The remaining images pictured here are by Format photographers Brenda Prince and Maggie Murray.
The second and third photos of the Format installation Second Sight below are courtesy of Jackson Pearce White/Barbican (© Jackson Pearce White).
The Tate Britain show: Format has a large number of protest photographs (including two of mine from Greenham Common early 1980s in the image below (thanks to Maggie Murray for the pic), and an anti-racist protest in Glasgow) included in the Tate show.
I also have a 1988 image & text series I made on teenage mothers (Mothers’ Pride) on show in the last room of the exhibition. This was actually my final creative project for my BA Photography (1984-88, part time) which was in my degree show at the Polytechnic of Central London. It’s incredible that it is now on show in the Tate; it was last shown in 1990, I think, at the Cambridge Darkroom and at Bath F-Stop Gallery, following its inclusion in the 1988 Spectrum Women’s Photography Festival. On 7 November, at the Tate Britain opening, it was a very moving experience, as three of the London women were able to come to the opening and see their younger selves on the wall. It’s been an extraordinary past 18 months re-connecting with the 8 women I had photographed back in 1988, all now in their 50s. The Tate show is on until 7 April 2024.
It’s great to see three new titles from Café Royal Books of work by Format Photographers, including a solo publication by Brenda Prince. The images in the other two titles are a selection of work from the Format Photographers Agency collection in the Bishopsgate Institute archives.
Link here: Café Royal Books by Format Photographers
On the front cover of Women, Work and Equality 1975-95 is a photograph I took of a London ambulance crew at work in 1989. I remember that assignment very well; a freelance journalist and I spent two full days with the ambulance crew (with the permission of the management and the union), to highlight their crucial work. In late 1989 and 1990 ambulance workers were intermittently on strike in a dispute over pay. The image shows a man on the ground who had been injured during a traffic accident. (I took the photograph after a conversation with his friend and the crew, after being assured that his injuries were not critical, and his life was not in danger). The photograph was published as part of a feature in the Independent Saturday magazine, and also used by the unions on some of their protest placards.
I’m also very happy to have three of my photographs reproduced in the Format Greenham Common Women’s Peace Camp 1982–85 book.
In connection with Format’s work at Greenham Common, and the display of work by Format in the current Barbican show Re/Sisters (curated by Alona Pardo), I am joining Format members Maggie Murray and Joanne O’Brien for a discussion chaired by Dr. Noni Stacey at the Barbican on 26 October. This is part of an afternoon and evening of talks, as part of the Re/Sisters talks programme Joyful Militancy and Protest:
Joyful Militancy and Protest talks, 26 October, Barbican
Melanie Friend on left, Dr. Pippa Oldfield, centre, at the Centre for British Photography 19 September 2023, photo © Maggie Murray.
20 September: Photo from the ‘in conversation’ event last night at the Centre for British Photography, with thanks to Maggie Murray who took the pic. Many thanks to CBP for the invitation, and to all those who attended for all the excellent questions in the Q&A…
12 September: I’m ‘in conversation’ next week at London’s Centre for British Photography, with Dr. Pippa Oldfield, photography curator & author of Photography and War (Reaction Books, 2019). Pippa is the former Head of Programme at Impressions Gallery and is currently Senior Lecturer in Photography at Teeside University. Looking forward to seeing Pippa again, and the CBP team … and to meeting other photographers - and whoever else might be there! It’s 6-8pm, booking details and info here:
Centre for British Photography, Events page
This autumn Format Photography Agency’s work on the peace movement and the 1980s protests at RAF Greenham Common (including some of my photographs), will be shown in two large London group exhibitions: Re/Sisters: A Lens on Gender and Ecology at the Barbican (5 October 2023 through to 14 January 2024) and Women in Revolt! Art, Activism and the Women’s movement in the UK 1970–1990 at the Tate Britain (8 November 2023 to 7 April 2024). It’s been such an amazing time working with the curators, with Format and with the Bishopsgate Institute (which holds the Format archive) during this past year.
I’m also very excited to be showing my 1988 image and text work Mothers’ Pride, as part of the Tate Britain show; this piece of work hasn’t been shown for well over three decades and was originally my final year project for my BA photography at the Polytechnic of Central London! more soon on this ...
More info here
Re/Sisters at the Barbican Art Gallery, London
Women in Revolt! at Tate Britain
I’m very excited that images from two of my works (The Plain and Border Country) have been included in the new Landscape Trauma show, curated by James Hyman. This is one of several exhibitions opening at the Centre for British Photography on 8 June and running till 24 September… More soon!
New shows at Centre for British Photography June 2023
Very happy to have my photographs included in the current display celebrating work by Format photographers at the wonderful Bishopsgate Institute, near Liverpool Street, celebrating 40 years since Format women’s photography agency was set up in 1983. (Proud to have been a member of Format from 1986!). This runs till 31 August.
Format Photographers display at Bishopsgate Institute
More of Format’s photographs will be included in two large group shows in London this autumn, details to come…
Format’s collection is held in the Bishopsgate archives; my own collection has also found a home at BI and is being catalogued. The webpage here is in development, more material will be added later this year.
My own webpage on the Bishopsgate website
At the start of April, the spring print issue of O’r Pedwar Gwynt, the Welsh-language review of books, published a feature on my book No Place Like Home: Echoes from Kosovo (Midnight Editions, USA, 2001). I’m delighted to have had my work featured in this journal. Written by Diane Bailey, the article was accompanied by three photographic portraits of Kosovar refugees that I took in Neprosteno refugee camp in 1999.
This Pleasant Land: New Photography of the British Landscape, is now out! I’m really pleased that several images from my 2013 work The Home Front (published by Dewi Lewis Publishing in association with Impressions Gallery) have been selected for this beautifully produced book, published by Hoxton Mini Press, which ‘looks at the ‘new terrains, memories and myths’ of the contemporary British landscape. Excellent texts by Rosalind Jana.
For the list of all the 24 photographers included in the book, more info, and to order, see:
https://www.hoxtonminipress.com/collections/books/products/this-pleasant-land
Busy sorting out the remainder of my archive right now, to add to my archive (Melanie Friend archive at Bishopsgate Institute). I am also occupied trying to contact women I photographed back in 1988 for my exhibition Mothers’ Pride, which focused on teenage/young mothers. Re-connecting isn’t that easy, as we originally communicated by letter and landline. And after 34 years, some have, unsurprisingly, moved house/flat! This work will be re-shown next year in a group show in London, which is very exciting, more news soon…
It’s great that part of the exhibition Photographing Protest: Resistance through a Feminist Lens that was held in the spring at Four Corners gallery in Bethnal Green, London has transferred to the Workers’ Gallery in Porth in Wales. People Power (Pwer Pobl) is on till 22 December, and includes some photographs (inc one of mine from Greenham 1985) from the Format collection at the Bishopsgate Archives. Very happy to be in this show, only sorry I wasn’t able to travel to Wales to see it…
I was very saddened by the death of Ian Jack on 28 October (see https://www.theguardian.com/media/2022/oct/31/no-journalist-had-a-deeper-sense-of-history-six-essential-ian-jack-works among other tributes to him in The Guardian). I first met him 20 years ago when he wrote a short piece (‘blurb’) for the back cover of my book No Place Like Home: Echoes from Kosovo. He was a kind and wonderful man, and a remarkable writer. I have just re-read his moving piece about his father Finished with Engines in The Granta Book of the Family, and I remember his 2010 long read Five Boys: The Story of a Picture as an incredibly insightful piece about Jimmy Simes’ well-known photograph, which delves deeply into the complexity of the stories behind and beyond this photo. It was published by 1843 magazine (the Economist) available here:
Five Boys: The Story of a Picture by Ian Jack
I was shocked and saddened to hear of the unexpected death of Eamonn McCabe on 2 October, an excellent photographer and award-winning Guardian picture editor (see obituary in The Guardian). He was always very supportive to me and many other freelance photographers who worked with The Guardian. Back in the 1980s/1990s, you could meet with a picture editor face-to-face, pitching up with a box of prints for them to whisk through. Eamonn was always kind, and curious, despite being under pressure.
I was a speaker at the Eye Festival in Aberystwyth on 8 October (which Eamonn McCabe had been involved with), and really enjoyed the whole weekend. It felt great to be back in a photography environment again, with a very engaged audience. Thanks to the Eye, and Glenn Edwards for inviting me to be part of it.
Great to attend the private view on 6 October of Radical Landscapes at the Mead Gallery, Warwick Arts Centre (above, left). The original exhibition was at the Tate Liverpool during the summer (Tate curator: Darren Pih) before travelling to Warwick. The show’s on at the Mead till 18 December. Above (centre) shows the grid of photographs of peace protests from the Format Photography Archive (held at Bishopsgate Institute) on the wall of the Mead Gallery, with a photo I took of women protestors at Greenham Common in 1985.. The Greenham Common banner above (centre pic) is by Thalia Campbell.
While in Coventry, I also saw the exhibition Grown Up in Britain: 100 Years of Teenage Kicks (1 July 2022 – 12 February 2023) at the Herbert Art Gallery & Museum. Very happy to be part of the protest photography section, which included projected images from a range of photographers. Two of my black and white photographs (1983 & 1985) showing women protestors from Greenham Common are on display, bottom left of the images below, thanks to Report Digital photo agency. These photographs are both in the Report Digital photo library and my archive at the Bishopsgate Institute, London.
An edited, digital version of Homes and Gardens: Documenting the Invisible was included in a multi-touch installation of works by a variety of international artists to accompany an exhibition of work in Luxembourg by artist Frans Masereel. If you Wish for Peace (30 April – 14 August 2022) was shown at the Musée National de la Résistance et des Droits Humain at Esch-sur-Alzette, Luxembourg. Thanks to Henrik Elburn for the image taken below at the exhibition.June - July 2022
Image copyright: Henrik Elburn
In the end, got up to see Radical Landscapes in early August.
Looking forward very much to the presentations at the Radical Landscapes symposium in Liverpool 8/9 July, which sounds right up my street. And very happy that two of my peace protest photographs from the 1980s (including one from Greenham Common) have been included in this show, from the Format collection at the Bishopsgate Institute.
Also pleased to have a couple of 1980s protest photos included in the exhibition Grown Up In Britain - 100 Years Of Teenage Kicks, Herbert Art Gallery & Museum, Coventry, 2022-23, thanks to Report Digital.
Delighted that my works Border Country and Homes & Gardens: Documenting the Invisible (1996) are both mentioned in the new book just published by Gerry Badger, Another Country: British Documentary Photography Since 1945 (Thames & Hudson, 2022). An image from Border Country, taken at the Colnbrook immigration detention centre, is also reproduced in the book.
I’ve been busy with my archive and also getting back to attending photo events, the first time since the pandemic began. I went up to Milton Keynes to see the excellent show by Ingrid Pollard, Carbon Slowly Turning, and attended the 6 May Carbon Slowly Turning: Movement, Energy, Landscape Conference. Also great to hear the authors’ talks at the recent launch at Birkbeck College, London, of a new series of landscape books, Photography, Place, Environment (Routledge), edited by Liz Wells (Professor Emeritus at Plymouth).
I’m involved with a few group exhibitions this winter/spring which is exciting….
I have been busy liaising with the Musée National de la Résistance et des Droits Humains in Luxembourg. An edited, digital version of my 1996 work on Kosovo/a, Homes & Gardens: Documenting the Invisible (first shown at Camerawork Gallery, London) will be shown as part of the group show If You Wish for Peace, opening at the end of April.
I have two images from mid 1980s peace protests (including Greenham Common) being shown as part of the exhibition Radical Landscapes, at Tate Liverpool.
And one of my photographs from a 1985 anti nuclear protest at Greenham Common has been included in an inspiring show documenting protest across five decades: Photographing Protest: Resistance through a Feminist Lens at Four Corners in Bethnal Green, London 18 March – 30 April. This show includes a large number of Format photography agency photographs; I’m proud to have been a member of Format from the mid 1980s until when it closed down in 2003.
In November, I much enjoyed giving a zoom guest lecture for BA & MA students at the University of Kingston, invited by Anthony Lam.
I’ve spent the past few months continuing to sorting my archive for The Bishopsgate Institute.
Once again, this summer I was on the judging panel for the Marilyn Stafford Fotoreportage Award (FotoDocument) – an amazing experience, as ever.
Very happy to have been interviewed at length by Charlotte Parkin of On Landscape magazine. The interview is part of issue 227, just launched at the end of March. (Available to subscribers only at present).
On 25 March it was great to hear from several members of the audience during the Q&A for my zoom ‘Engagement Talk’ for the Royal Photographic Society (RPS). I also enjoyed a relaxed chat on the virtual sofa with Pippa Oldfield and Matthew Flintham. Many thanks to them and to Mark Phillips and Valerie Mather of the Documentary group of the RPS for the invitation and the organising.
Earlier this spring I was digging out archive material for an MA student at the University of Cambridge, whose thesis includes research into Silent Health, a Camerawork group touring exhibition, first shown in 1990. I was one of four photographers/artists in that show. This uncovering of the past has inspired me to start a section on my website about that exhibition – it will be uploaded soon.
In February it was a great pleasure to meet students from the University for the Creative Arts (UCA), Farnham for an online seminar after my guest lecture. In March I gave a zoom talk on The Home Front to MA students at the University of Basel, and really enjoyed meeting those students also.
I’ve been lucky during the Covid lockdowns, and I’ve also been able to keep busy with publicity for The Plain, book sales, guest lectures/talks, sorting out the rest of my 40 year archive, etc. I’m trying to track down dates & names for the archive and it’s intriguing revisiting the past and my early work. At the end of 2018, I deposited almost all of my photojournalism work from the 1980s and 1990s at the Bishopsgate Institute, London. I now want to sort and edit all the many research/print boxes & negative files I have accrued for each of my projects since the mid-1990s, when I moved away from photojournalism and into gallery exhibitions/books.
During August I was preparing for my exhibition of The Home Front at Farleys Gallery which opened on 10 September.
https://www.farleyshouseandgallery.co.uk/exhibitions/the-home-front/
Images below from the hang on 8 September, with Antony Penrose and Elaine Wardekker O’Brien. I have hugely enjoyed working with them both. The show runs 10 September – 29 October, and I feel very lucky that this has gone ahead during this difficult year. It’s a real privilege to be sharing the Gallery barn space with brilliant photographer and war correspondent Lee Miller. Her WWII work, Grim Gloryis showing in the other half of the gallery, and the special exhibition Surrealist Lee Miller is also showing at Farleys, just opposite the gallery. If you want to go to Farleys it’s essential to pre-book, everything is carefully organised because of Covid. It’s open on Thursdays and Sundays only, till 29 October.
Above, Antony Penrose and Elaine Wardekker O’Brien surveying the hang, Farley’s Gallery, 8 Sept 2020 © Melanie Friend.JPG .
Below, Antony Penrose hanging The Home Front show at Farleys Gallery, 8 Sept 2020 © Melanie Friend.JPG
In the spring/early summer I was busy putting my book The Plain to press – a really good experience working with publisher Dewi Lewis, designer Dean Pavitt, essayist Matthew Flintham (artist & writer) and co-editor Pippa Oldfield (photo-historian, curator, & Head of Programme at Impressions Gallery).
Because of Covid-19, Dewi Lewis and I weren’t able to be ‘on press’, at EBS printers in Italy, as we were with The Home Front back in 2013 – so this time everything happened via couriers … lots of batting of proofs back and forth.
During the past 6-7 months, up until the lock-down, I’ve been busy finishing the photography and interviews for my forthcoming book The Plain https://www.dewilewis.com/products/the-plain
In January I was delighted to be part of the judging panel for the Marilyn Stafford FotoReportage Award (FotoDocument). I also gave a guest lecture at the University of the Creative Arts, Farnham and really enjoyed meeting the photography students there, and seeing lecturer Annie Mitchell again.
I’ve postponed my guest lecture at the University of Kingston until late 2020, and very much hope that teaching and meetings will be face-to-face again by then…
Otherwise a talk I was to have given at the end of April at University of Basel in Switzerland has been postponed; I look forward to that being re-scheduled in 2021.
This has been a really busy year on all fronts. I decided to make a very big change and I left the University of Sussex on 31 August, after an amazing 16 years. I will really miss my colleagues and the students but I’ll definitely be popping down to the Sussex campus here and there in the future.. I’ll still be doing talks & guest lectures at different universities. I’ll now be focusing on my own practice, and will be London-based.
Very excited that three The Home Frontprints are included in a show at the Torrance Art Museum in Los Angeles entitled Generation War running from June 15 to August 24. See
http://www.torranceartmuseum.com/generation-war
One of The Home Front images featured in the LA Weekly here:
https://www.laweekly.com/art-event-pick-war-art-and-visual-culture-symposium-at-torrance-art-museum/
It was very good to meet with Kit Messham-Muir, Assistant Professor at Curtin University, Australia, over in the UK to interview artists and curators for a major research projected titled Art in Conflict, in partnership with the Australian War Memorial, among others…
It’s been a long while since I’ve had time to update my news page…! The spring was a really busy time at University of Sussex, working with wonderful practice PhD students and MA students. Here and there I continued with my landscape photography work on Salisbury Plain, and began work on a book dummy. I’m also contributing to a forthcoming book Spaces of War(Bloomsbury) to come out next year, which is exciting. More on that soon!
Had a fantastic time in Canada with a show of The Home Front curated by artist/academic Katy McCormick across two gallery spaces: Ryerson Artspace and Gallery 310 (University of Ryerson) in Toronto. Brilliant questions from the audience after my talk, and it was great to re-connect with Katy, artists, academics & photo students in Toronto. The exhibition prints travelled from the previous edited show of The Home Front at University of the Arts Philadelphia, thanks to curator/artist/academic Anne Massoni. The original exhibition of The Home Front was shown at Impressions Gallery, UK in autumn 2013 (curator: Pippa Oldfield).
On 16 October I went to Hastings to do a talk as part of the Photology 2018 series; loved The Printworks Space, a very cool bar space with low level lighting & interesting questions from audience. Thanks to Alexander Brattell for fun tour of Hastings…
On 22 October I really enjoyed my time in Edinburgh: guest lecture at Napier, hanging out with Sophie Gerrard, and meeting photo students.
I spent the next month finishing the preparations for the move of my photojournalistic archive (early 1980s to late 1990s) to The Bishopsgate Institute. This felt momentous, and fantastic to have found such a great home for this work. It was a very emotional time going through all the negatives and prints, and recalling the many encounters and experiences I had, both here in the UK and abroad.
Now back to work on The Plain, and to teaching at Sussex.
It’s been a busy time supervising PhD and MA projects, and also preparing for my own show of The Home Front at Ryerson Artspace and Gallery 310, University of Ryerson, Toronto, Canada during September. Much looking forward to my trip over there for closing reception & talk on 26 September…
The front page image on this website is from my new work The Plain, (previous working title: The Lacquer Box & The Field Gun). I first started work on this in late 2015, and will complete the work summer 2019. The work focuses on the militarised landscape of Salisbury Plain in Wiltshire, England. More images soon!
We’re going to be moving the website to a new platform late autumn…
During the first half of each year I teach on the MA module in Photography at University of Sussex, and also supervise four PhD students, so it’s all pretty busy – and very interesting. Occasionally I’ve had time to do a bit of work on my new project (working title: The Lacquer Box and The Field Gun) about Salisbury Plain (landscape photography, and sound) and I will get back to that properly this summer.
On 22 May I presented work in progress on The Lacquer Box at the Spaces of War, War of Spaces conference in Florence, organised by the Media, War & Conflict journal. This was a brilliant conference and I had an amazing, if very brief, time in Florence.
I am also planning my September trip to Toronto, where I will be showing The Home Front and also work in progress on The Lacquer Box and The Field Gun (full details coming soon).
I had a fantastic trip to the States in early November: The Home Front, in an edited version, was showing at the Sol Mednick Gallery, University of the Arts, Philadelphia. I went over for the opening, to give a guest lecture & gallery talk and had very interesting meetings with several of the students. It was brilliant seeing Anne Massoni again, the Photography programme director/artist, and curator of this show, & I enjoyed meeting all her colleagues. Many thanks to Anne for all her hard work printing the work in Philadelphia and also to Harris Fogel, director of the gallery, for all the organisation & publicity. Thanks to Harris for the photographs below – all of these are his copyright. Many of the people featured in the gallery shots are prize-winning photographers who had been selected for the close-by Gallery 1401 exhibition “The Photo Review: Best of Show”. [The Photo Review, founded in 1976, is a independent journal of photography].
2 October 2017 Had a great time in Eastbourne at Towner Gallery opening and the Artists in Conversation event http://www.townereastbourne.org.uk/event/artists-in-conversation-a-green-and-pleasant-land/. The Home Front now in the Towner bookshop:
25 August 2017 I’m delighted that two of The Home Front images are to be included this autumn in A Green and Pleasant Land, British Landscape and the Imagination: 1970s to Now at the Towner Gallery Eastbourne. This is an Arts Council Collection National Partner Exhibition, and runs from 30 September to 21 January 2018. I’ll be talking on the panel on Saturday 30 September, 2pm, alongside John Davies and Simon Roberts. Much looking forward to it…
14 August 2017 On 10 August at Platform Southwark, London SE1, I was very honoured to be the guest speaker at the launch of The System of Systems publication created by Maria McClintock (see systemofsystems.eu), talking about my 2007 work Border Country, which focused on asylum seekers and migrants in detention (immigration detainees). The System of Systems publication, created by Maria McClintock, includes my essay on Border Country, many wonderful visual and written essays by artists, activists and academics on the asylum process. It is available in the ICA Bookshop, Housmans and others.
10 August launch, courtesy systemofsystems.eu and @PlatformSthwrk twitter feed.
Now working on the details for The Home Front solo show at Sol Mednick Gallery, UoA Philadelphia, USA, 31 October – 5 December 2017.
Very happy that two images from The Home Front exhibition are to be included in Impressions Gallery exhibition at The Bradford Club 18 August – 30 September 2017, as part of Impressions’ celebrations 10 years in Bradford: 45 years in Yorkshire. Going up for the opening on 18 August.
I presented my sound/image piece The Lacquer Box & The Field Gun: A study of the militarised landscape of Salisbury Plain as early work-in-progress at the Poetics & Politics symposium on 3-4 June. This was great – met lots of film academics, many from the States, and really enjoyed other practitioners’ presentations. Photographs below, courtesy of Matt Gibson, of the panel I was on, Military Quotidian. (Both photos copyright Matt Gibson). L to R: Sharon Daniels, Melanie Friend, Margareta Kern, Lizzie Thynne (chair).
I much enjoyed my third visit to Dublin as external examiner for BA Photography at DIT in early June. Always such a pleasure to be in Dublin…
Interviewed an ex soldier on Salisbury Plain at Imber, the village evacuated by the army in World War II and now used as a training area.
Preparing a presentation on my work in progress on The Lacquer Box & The Field Gun for the Poetics & Politics conference 3-4 June.
Very busy time at Sussex. Will be returning to Lacquer Box project fully this summer.
Meanwhile great news that The Home Front, originally Impressions solo exhibition (curated by Pippa Oldfield) is travelling to the Sol Mednick Gallery at University of the Arts Philadelphia this autumn 31 October – 5 December, thanks to Anne Leighton Massoni. (Also negotiating with two other north American venues – details to come!).
Six Border Country images (plus soundtracks) were included in The System of Systems exhibition at Grace gallery, Athens, 4-21 May, 2017.
Very busy & enjoyable time back at Sussex with two full groups of MA students taking Photography as an option.
Gave the Keynote presentation – on my 2007 work Border Country – at the Picturing Migration symposium at National Library of Ireland in Dublin, organised by IADT (Dun Laoghaire Institute of Art, Design, & Technology) & artist David Monahan. Hugely enjoyed being back in Dublin and meeting photographer colleagues, such as Mark Curran, again & Ann Curran from DIT.
Standing By finally went out in public on 8 March as part of the Relatives Film Festival at University of the Arts London (London College of Communication). It was a small/medium size screening room but packed, and it felt like a very good venue for it. Good acoustics.
This felt quite momentous – and really positive. Part of a panel with filmmakers Victoria Mapplebeck & Zadoc Nava. I will now submit to a small number of film festivals. But I would like it to be part of a gallery group show themed around family/relationships/ageing/memory/Alzheimers. It needs to be viewed in an intimate space – not a large cinema or large lecture theatre.
I have been fine-editing Standing By, my sound/still image 25 minute film about my parents (which has many other resonances, I feel…). It is such a personal piece, I have mulled over the final edits for a very long period of time (& finally cracked it).
I was invited by Ben Edwards, course leader of the MA Documentary Photography and Photojournalism at University of Westminster, to give a Guest Lecture on 23 November. Great to meet the students there, as ever; I always enjoy coming back to Westminster (where I studied for my own BA back in the late 1980s…).