Photoworks Masterclasses

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Photoworks is launching a debut programme of Masterclasses. Join our Winter School to learn more about photography this new year. Delivered by industry experts, this is the perfect present for anyone interested in furthering their contemporary photography knowledge.

The Masterclasses are curated around our upcoming artistic programme and will be an opportunity to hear first-hand from educators, curators, artists, and cultural practitioners making exciting work within the photography sector.

 

Please let us know if your purchase is a gift in the Additional Information box at checkout or contact info@photoworks.org.uk.

If you are a student, we are happy to offer a 20% discount. Please enter the code ‘student‘ at checkout when purchasing the bundle of four Masterclasses.

If you would like to attend but cannot afford the ticket price, please get in touch via email or DM and we would be happy to allocate a complimentary ticket.

 

The Winter School opens on 19 January and will host four 2-hour online classes every Wednesday evening with:

Hoda Afshar 

Prof. Ben Burbridge 

Natasha Caruana 

Zora J Murff 

All attendees will have access to the online class alongside a handout created by the lecturer. The bundle tickets also include:

  • Exclusive access to an online platform (Slack) to share ideas, resources, and network with others.
  • A discussion group on the 16 February 2022 5.30-6.30pm GMT (on Zoom) facilitated by our Assistant Curator, Ricardo Reverón Blanco

 

Breaking the Inner Rim: Images and Protests against Anti-Blackness, led by Zora J Murff

Wednesday 19 January 2022, 5.30-7.30pm GMT (on Zoom)

Breaking the Inner Rim is a lecture and discussion that explores how images can fluctuate between being an object of harm and liberation based on the context in which they are used and understood. Using images of/about violence as the primary site of investigation, learners will consider how this paradoxical developed, how that duality manifests socially in images across time, and how artists use this relationship as a form of protest.

 

Zora J Murff is an artist and educator living in Arkansas. He is Black; therefore, he is.

Find more information about Zora J Murff here.

© Zora J Murff, All our eclipses bright (Vivian Strong), from the At No Point in Between series, 2019. Courtesy the artist and Webber Gallery, London

 

Comply and/or Resist: Photography After Capitalism, led by Prof. Ben Burbridge

Wednesday 26 January 2022, 5.30-7.30pm GMT (on Zoom)

This session will focus on the politics and economics of contemporary photographic culture, as the site for, and object of, protest.

My main examples are drawn from recent art practices that take the politics and economics of photography as a central focus, paying particular attention to works that explore photography as labour. The session will deal less with photographic aesthetics than with creative practices that harness aspects of performance, film-making, participation and installation to examine the making, circulation and consumption of photography.

We will consider the ways in that protest and critique often occur within the same systems they oppose. This is particularly true with critiques of contemporary capitalism. Embracing this fact signals the need for self-reflexive awareness of our relationship to the systems we occupy. But it also requires us to think strategically about how we might harness the power and opportunities afforded by existing systems to fundamentally re-engineer them.

 

Ben Burbridge is a writer, curator, and academic. A former Editor of Photoworks magazine, his books include Revelations: Experiments in Photography (MACK 2015), Photography Reframed: New Directions in Contemporary Photographic Culture (with Annabella Pollen, I.B Tauris 2018), and Photography After Capitalism (Goldsmiths 2020). He is Professor of Visual Culture at the University of Sussex, UK.

Find more information about Dr. Ben Burbridge here.

Screen capture of video by SONE on Getty Images

 

Personal Stories as a Site for Protest, led by Natasha Caruana

Wednesday 2nd Feb 2022, 5.30-7.30pm GMT (on Zoom)

This session will consider the acts of protests that can take place as we live, love, and perform the everyday. It will explore the acts of resistance that can manifest from personal and autobiographical stories: to question how the passing of time can reframe a body of work, humour as a form of resistance, and highlight the importance of the personal as it pertains to political image making.

 

Natasha Caruana is a London-based artist working across photography, moving image and installation. Caruana has an MA in Photography from the Royal College of Art, London. Her work begins autobiographically, exploring narratives of love, betrayal, and fantasy, underpinned by a performative and playful approach. Her work is created drawing from archives, the Internet, and personal accounts. She is the founder of Work Show Grow and a Senior Lecturer of Photography at the University of the Arts London. Natasha Caruana is currently showing her first early career survey show A Lover’s Discourse at the new Centre de la photographie de Mougins, France. The exhibition brings together fragments across eight series of works from the past 16 years. Caruana’s works have toured widely across the United States, France, Lithuania, Portugal, India, China, Australia and Saudi Arabia and included in numerous contemporary photographic catalogues, printed as monographs. Recent exhibitions include – The Turner Contemporary, Margate, 2019, Hooked, Science Gallery, London, 2018, Timely Tale, Photoworks, Brighton, 2017, The New Observatory, FACT, Liverpool 2017, The Real Thing, Flowers Gallery, New York, 2016, Married Man, International Center for Photography Museum (project space), New York, 2016. In 2014 Caruana was named as the winner of the BMW Artist in Residence Award at the Nicéphore Niépce Museum, France. The award led to solo shows at Les Rencontres d’Arles and Paris Photo and the monograph Coup de Foudre.

Find more about Natasha Caruana here.

© Natasha Caruana, Fairytale for Sale, 2011-13

On Making and Unmaking the World Through Images, led by Hoda Afshar

Wednesday 9 February 2022, 7-9pm GMT (on Zoom)

In this Masterclass, photographer Hoda Afshar will provide insights into her visual practice which combines new and traditional photographic techniques and approaches as she works across still and moving image.

Afshar will discuss three of her recent projects – Behold (2016), Remain (2018), and Agonistes (2020) – in which her lens acts as a protagonist, exploring spaces and situations that have been rendered invisible by oppressive law enforcement and systematic violence. She will explain why and how she navigates these spaces to make visible and heard the lives and stories that have been largely and continuously hidden and/or silenced.

 

Hoda Afshar explores the nature and possibilities of documentary image-making. Working across photography and moving-image, the artist considers the representation of gender, marginality, and displacement. In her artworks, Afshar employs processes that disrupt traditional image-making practices, play with the presentation of imagery, or merge aspects of conceptual, staged and documentary photography. Recent exhibitions include; WE CHANGE THE WORLD, National Gallery of Victoria (2021), PHOTO International Festival of Photography in Melbourne (2021), Between the Sun and the Moon: Lahore Biennale (2020), Remain, UQ Museum of Art in Brisbane (2019), Beyond Place Museum of Photographic Arts, San Diego CA, USA (2019), Primavera 2018, Museum of Contemporary Art in Sydney and Waqt al tagheer: Time of Change, ACE Open in Adelaide (2018). In 2015, she received the National Photographic Portrait Prize, National Portrait Gallery, in 2018 won Bowness Photography Prize, Monash Gallery of Art, Australia, and in 2021 she won the people’s choice award of the Ramsay Art Prize, Art Gallery of South Australia.  Hoda is a member of ‘Eleven’, a collective of contemporary Muslim Australian artists, curators, and writers whose aim is to disrupt the current politics of representation and hegemonic discourses.

Find more information about Hoda Afshar here.

© Hoda Afshar, from the series Behold, 2015. Courtesy of the artist

 

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