Beyond the Family Album: The Autobiography of Jo Spence
-
Copy number Shelfmark Shelf mark R072350 Ned. Fotomuseum Ned. fotomuseum
TitleBeyond the Family Album: The Autobiography of Jo Spence
Author
Edition[nummer] 7
[jaargang] XV
[tijdschrift; titel] AFTERIMAGE
[tijdschrift; pagina] 8-10
Photographer
Year of publication1988
Materialartikel
Document TypeArticle
SubjectCulturele studies en fotografie, Feminisme en fotografie, Hackney Flashers Collective, GB, kunstenaarsgroep, Politiek en fotografie, Theorie van de fotografie, Kunstenaars uitspraken, Vrouwlijke fotografen, Camerawork, fototijdschrift, GB (1979-1985)
Abstract
An exhaustive book-review, giving some bibography of Jo Spence:
she influenced the generation of British oppositional
photographers and media workers now in their thirties and
forties, some with whom Spence attended ""Polytechnic of Central
London'' in the early '70s, when Spence herself was in her
forties. A cofounder (with Terry Dennett) of ""Photography
Workshop'' and the late journal ""Camerawork ''(London), as
coeditor of ""Photography/Politics: One'' (1979) and ""Two''
(1987), as a founding member of the feminist photo collective
""Hackney Flashers'', Spence has been a central force in the
rediscovery and publication of British' workers' photography
from the '20s and '30s, the reexamination and problematization
of domestic and commercial studio photography, and applications
of feminist and social theory to photography. In her
autobiography, Spence traces the intertwining developments of
her class mobility, sexuality, personal and cultural politics,
photographic practice, cultural theory, and self-knowledge.
she influenced the generation of British oppositional
photographers and media workers now in their thirties and
forties, some with whom Spence attended ""Polytechnic of Central
London'' in the early '70s, when Spence herself was in her
forties. A cofounder (with Terry Dennett) of ""Photography
Workshop'' and the late journal ""Camerawork ''(London), as
coeditor of ""Photography/Politics: One'' (1979) and ""Two''
(1987), as a founding member of the feminist photo collective
""Hackney Flashers'', Spence has been a central force in the
rediscovery and publication of British' workers' photography
from the '20s and '30s, the reexamination and problematization
of domestic and commercial studio photography, and applications
of feminist and social theory to photography. In her
autobiography, Spence traces the intertwining developments of
her class mobility, sexuality, personal and cultural politics,
photographic practice, cultural theory, and self-knowledge.
| Copy number | R072350 |
| Institution name | |
| Shelf mark | Ned. fotomuseum |