This issue of Photographies co-edited by Andrew Dewdney and Martin Lister focus on photography and education.
…For some, the future requires academics to acknowledge the sophistication of students’ online practices; as Jackson puts it: “modes of production and consumption that are processual, communicative, spatial, temporal and performative”.
This is very much the territory of paula roush’s ethnographic exploration, whose account starts with the historical archive of Anita Corbin’s girls’ subcultures documentation in 1981 and travels forward to document contemporary youth subcultures in real life, in online communities and in Second Life. roush’s visual essay illustrates her students’ engagement with the subcultural subject, and in her accompanying paper she gives an account of the teaching rationale and method of what she calls a/r/tography, the relational aesthetic of the artist, teacher and research:
My own identities as artist/researcher and teacher (a/r/t) are all allowed to be present simultaneously and I encourage the younger student-researchers I work with to think and act along the same lines. Moreover, “the acts of inquiry and the three identities resist modernist categorizations and instead exist as post-structural conceptualizations of practice”.
In relation to photography as a discipline (…) paula roush takes the view that theories which acknowledge hybridity prove more fruitful ground for the constitution of relational practices based upon art, teaching and research.
and essay here>
Download fever: photography, subcultures and online-offline counter-archival strategies.
Essay in Photographies Journal, Vol. 2 Photography and Education Special Issue and Symposium Issue.
Eds. Andrew Dewdney and Martin Lister. Taylor & Francis. 2009.
With its point of departure in a box containing Anita Corbin’s 1981 travelling exhibition “Visible Girls”, this text unveils an art/research/teaching project, with the aim of creating a counter-archive of current youth culture. It describes an artist’s engagement with archival practices and the way this presents opportunities to develop personal everyday histories that cross online–offline spaces that work as counter-memory narratives; narratives that are counter to academic, media and state accounts of youth culture as shaped by institutional agendas and moral panics. To locate the archive within the framework of counter-memory and counter-archival practices in this way is to work towards visibility.