Contemporary Photography as Collaboration

Foreword
Acknowledgements
Contents
Notes on Contributors
List of Figures
Chapter 1: Introduction: Changing the Paradigm of Photographic Creation and Circulation
	Challenging the Boundaries of Visibility and Collective Memory
	The Gender of Collaboration
	A Situated Gaze Transforming the Politics of Shared Space
	A New Paradigm for Authorship: A Matter of Ethics
	Alternative Channels for Exhibition and Circulation
	Reinventing Archival Practices
	Transforming the Role of Institutions: Partners, Co-creators, Support Structures?
	Photography as Collaboration: A Shift in the Field of Theory and Practice
	References
Part I: The Politics of Voice, Visibility and Identity
	Chapter 2: A Photography of Becoming: Re-imaging the Promise of Participatory Photography
		Images of Becoming: Photography by Young People Who Arrived in the UK as Unaccompanied Refugees
		Evoking a Photography of Becoming: Evolving, Plural and Complex
		Coming to Voice Using Photography
		The Role of Listening and a Yearning for Authenticity
		Curating Multiplicity
		Conclusion
		References
	Chapter 3: Bootle, Art in Action and Pass the Valium Martha: On Community Photobooks and Positive Self-Expression
		The Sloping Pyramid Model of the Art World
		Positive Imaging as “Stigma Management”
		Insider Versus Outsider Gaze
		Bootle: Art and Empowerment
		Conclusion
		References
	Chapter 4: Photographic Representations of Urban Communities in Postwar Britain and the Emergence of Collaborative Alternatives
		Photography and Streetlife in the 1950s
		Photography and Charity in the 1960s
		Community Photography in the 1970s
		Conclusion
		References
	Chapter 5: Reflective Portfolio: Photographing with the Ears
Part II: Public Display and the Distribution of Collective Projects
	Chapter 6: Commercially Unavailable: Distribution as an Activist Tactic
		The Case for the Distribution of Participatory Photography
		Commercially Unavailable
		References
	Chapter 7: The Dominance of Monographic Exhibitions in French Photographic Institutions: Data, Criticisms and Impact on Artists’ Visibility
		Introduction
		The Stigma of Reaction that Clings to Monographic Exhibitions
		Yet Most Shows Mounted by Photography Institutions Are Monographies
		Must We Deduce that Photography Institutions Are Reactionary?
		Conclusion
		References
	Chapter 8: “Untitled”: Photography as Collaborative Practice in the Creation of a Visual Memory of a Psychotherapeutic Facility
		Introduction
		Inception of the Project and Initial Questions
		Approach
		The Photography Workshop and the Making of Images
			A Space for Talk
			A Photographic Entry into the Premises
			Between Description and Expression
		What About My Place in the Project?
		Restitution of the Workshop Photographs
		The Constraints and Challenges of the Project
			The Camera in the Psychotherapy Unit
			Art Therapy Considerations
			Attention from Political and Institutional Bodies
		References
	Chapter 9: Reflective Portfolio: Invisible Lives, Universal Dreams
		Brazilian Street Girls, 1998–2000
		A Day Out, 2001
		Real Postcards, 2007
		Painted Portraits: Retratos Pintados, 2011
		Outcomes
		Consent and Other Ethical Issues and a Reminder of Whom the Work Ultimately Is Made for
		Reference
Part III: Archiving and Curating Collective Practices
	Chapter 10: The Work Which Is Not One
		Collaborating with the Dead (Heath)
		Collaborating Authorship (Di Bello)
		References
	Chapter 11: Reanimating the Archive: How and for Whom? Archival and Curatorial Issues Raised by Collective Practices in Camerawork
		References
Part IV: Common Spaces, Collective Expressions
	Chapter 12: Atlas de La Manche/“Qu’on est loin des Amériques”: A Collaboration Between Photographers and Geographers
		The “Iconographic System” of Geography and Its Variations
		Documentary Photography and the Reflective Restitution of Images
		Converging Practices and First Collaborative Projects
		Development of Image Restitution and Creation of Tulipe Mobile
		Sponsors and Blind Spots
		A Shift from Dominant Representations: The Atlas de la Manche and “Qu’on est loin des Amériques”
		Limitations and Significance of Our Collaboration: A Provisional Conclusion
		References
	Chapter 13: Faut Voir, the bar Floréal and “Shared Creation”: Photographers’ Collectives and Renewal of Photographic Practices in France
		The Historical, Sociopolitical and Cultural Backdrop to the Emergence of Photographers’ Collectives
			Social Transformation in the 1980s
			Culture and Public Housing
			Photography in the Lang Years
		The Emergence of the Collectives and Their Artistic Ancestry
		Outcomes: New Photographic Practices for an Aesthetic Revival
		References
			Primary Sources
			Theoretical Works
	Chapter 14: Reflective Portfolio: “Scattered Memories of a Distorted Future”
Part V: Towards an Ethics of Collaboration
	Chapter 15: It’s Not Enough to Just Point a Camera
		On Collaboration
		Into the Gallery
		Beyond Photography
		References
	Chapter 16: The Future of Photography and Collaboration in Education: Co-creating with Civil Intent
		Introduction
		Methodology
			Research Positionality Statement
			The Photo Lab Case Study
			Research Design
		Photography Education Beyond the Critique
		Enablers of Photography and Collaboration: Co-creation and Civil Intent
		Co-creation and Civil Intent: Pedagogies of Becoming
			Co-creation in Practice
			Duration and Difference
			Generation and Adaptability
			Civil Intent in Practice
		Conclusion
		References
	Chapter 17: Reflective Portfolio: The Politics of Care Within Documentary Portraiture
		Ecologies of Care
		Right for Refusal
		Ethics of Language
		‘Margins of Society’
		‘Sunny Intervals’, Moorpool Estate (2010–2013)
		Balsall Heath Carnival (2013–2017)
		‘West Indies to West Midlands’ (2013–2015)
		‘Here to Stay’ (2018)
		Some Conclusions on Collaborative Work
Index