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      • titleHidden Histories
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      • excerpt<p xml:lang="en-gb">We are delighted to announce the launch of a new Heritage Fund project, Hidden Histories.</p>
      • meta_titleHidden Histories
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      • meta_descriptionAn archive project by Four Corners
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        • content<h5 lang="EN-GB" xml:lang="EN-GB">We are delighted to announce the launch of a new Heritage Fund project, Hidden Histories.</h5> <p lang="EN-GB" xml:lang="EN-GB">This ambitious 3-year project will see us delve deeper into Four Corners Archive, evolving the collection into an active site for public events, study, socially-engaged practice and collaboration. Here's what we've got planned:</p> <ul> <li lang="EN-GB" xml:lang="EN-GB"><strong>On the Move: the history of the Half Moon Photography Workshop/Camerawork touring exhibitions, 1976-1984.</strong><br /> The Half Moon Photography Workshop played a radical role in reshaping the photographic landscape of Britain. In 1976 they pioneered a programme of laminated touring exhibitions. Cheap to produce and easy to post, 50 such  exhibitions travelled to venues around the country, from art centres and universities to prisons, churches and laundrettes. <br /> <br /> Do you remember seeing a laminated touring exhibition?  <br /> We are carrying out new research into this important body of work, and we need your help. <br /> <a href="https://www.fourcornersfilm.co.uk/blog/open-call-for-archive-material">Find out more.</a><br />  </li> <li lang="EN-GB" xml:lang="EN-GB"><strong>Research partnership with the Jo Spence Memorial Library Archive at Birkbeck.</strong><br /> Jo Spence was one of the founder members of HMPW and Camerawork magazine. The project will support a research archivist to work across the Jo Spence and Four Corners archive collections.<br />  </li> <li lang="EN-GB" xml:lang="EN-GB"><strong>A Bengali Photography Archive</strong> of activist, family and community photographs to be developed in partnership with Swadhinata Trust and Tower Hamlets Local History Library & Archives.<br />  </li> <li lang="EN-GB" xml:lang="EN-GB"><strong>Exhibition on housing, squatting and homelessness in East London</strong>, to be developed with the Centre for Arts Memory and Communities, Coventry University in 2022.</li> </ul> <hr /> <h5 lang="EN-GB" xml:lang="EN-GB">PARTNERS<br />  </h5> <p lang="EN-GB" xml:lang="EN-GB"><em>Funded by the <a href="https://www.heritagefund.org.uk/">National Lottery Heritage Fund</a>, supported by a curatorial research grant from the <a href="http://www.paul-mellon-centre.ac.uk/">Paul Mellon Centre</a>.</em><br /> <br /> Project partners are<a href="https://www.bishopsgate.org.uk/"> Bishopsgate Insitute</a>, <a href="https://www.coventry.ac.uk/research/areas-of-research/centre-for-arts-memory-and-communities/">Centre for Arts, Memory & Communities at Coventry University</a>, <a href="https://feministlibrary.co.uk/">Feminist Library</a>,  <a href="http://www.bbk.ac.uk/research/centres/history-and-theory-of-photography/jo-spence-memorial-library">Jo Spence Memorial Library</a> at Birkbeck, <a href="https://maydayrooms.org/">Mayday Rooms</a>, <a href="https://www.swadhinata.org.uk/">Swadhinata Trust</a>, T<a href="http://www.ideastore.co.uk/local-history">ower Hamlets Local History Library & Archives</a>.</p>
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      • titleCentral Saint Martins MA students interrogate the archives
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      • excerpt<p>This month we enjoyed working with a talented group of students from Central Saint Martins' Culture, Criticism and Curation MA.</p>
      • meta_titleCentral Saint Martins students interrogate the archives
      • meta_keywordsMA, students, archive, project, central saint martins, silence, streets, paul trevor, brick lane, touring exhibitions, camerawork, half moon photography workshop
      • meta_descriptionA new project by Central Saint Martins MA Culture, Criticism and Curation students, Silence in the Streets, explores the Half Moon Photography Workshop / Camerawork's touring exhibitions, with particular focus on Paul Trevor
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        • content<p style="text-align: justify;"> </p> <p style="text-align: justify;">This month we enjoyed working with a talented group of MA students from Central Saint Martins. Their original assignment to produce an exhibition from the archives of Half Moon Photography Workshop was cut short by the Covid-19 pandemic. Despite this setback, they swiftly devised an alternative project that could be delivered under lockdown. </p> <p style="text-align: justify;">The result is <a href="https://www.silenceinthestreets.com/">Silence in the Streets</a>. The website features a publication and public photography project, drawing upon the community-focused work of the Half Moon Photography Workshop while responding to the current situation. </p> <p style="text-align: justify;">MA student Greta Voeller writes about the group's aims behind the project. </p> <hr /> <p style="text-align: justify;"><meta charset="utf-8" />We live in strange times. In only a few months we have experienced an invisible revolt, a drastic change in perspective and habitual living conditions. Everything just stopped. What once happened outside, now takes place indoors. Our walls are deemed protectors, instead of dividers, and we meet through the distance that unites us. Our streets are empty and still, and yet entirely filled by our voices that have been silenced. </p> <p style="text-align: justify;">As we interrogate this present state, we must acknowledge the privileged position we occupy as creative practitioners, analyzing the currents of our cultural pasts and shaping the rhythms of our probable futures. The contemporary condition is in a state of crisis due to its missed efforts to practically assert an alternate post-capitalist domain, a novel environmental consciousness, dominant layers of globalism and technology, and unresolved uncertainties of exceptional nature. Yet as strange and unsettling as this temporal space may seem, it inundates us with opportunities to forethink and restructure the paradigms that held us captive. We live in strange times whose strangeness can be shaped into a new norm, a novel embodied consciousness of communal thinking and surviving. </p> <p dir="ltr" style="text-align: justify;">We are together in this, are we not?</p> <p style="text-align: justify;">With this premise, we have interrogated these central concerns which shape the backdrop of our publication and its adjacent website, acting as artefacts in combining historical and contemporary sentiments on the dubious yet expanding state of human existence during moments of crisis. </p> <p dir="ltr" style="text-align: justify;">The intention of this project is not to attempt answers or possible solutions to existential questioning, but rather to invite further queries when confronted with a state of unknowingness.</p> <p style="text-align: justify;">This project is a curatorial investigation, which was incepted during a stage of pre-crisis, but once the Coronavirus hit our global population, it forced us to rethink our condition and the purpose of our work. When being thrown into such a sudden state of critical amendments, issues around the importance of art and documentation during times of isolation became pertinent. </p> <p dir="ltr" style="text-align: justify;">The starting point of our research lies in the archival nature of our curatorial brief; investigating the work and mission of British community photography group Camerawork through the archive material available at London College of Communication (LCC). As we encountered the content produced by the photography collective, whose standpoint was clearly one of protest towards institutionalized structures of knowledge and artistic merit, we started questioning our own position as audiences, creatives and prosumers. Formed initially as a group of community photographers enabling a cultural détournement on documentative photography, the collective later expanded into a gallery called Half Moon Photography Workshop and its extension Camerawork magazine.  Our curatorial team has identified a central question that defines the collective’s aims and carries its legacy: Who is it for?</p> <p style="text-align: justify;">As we were asked to re-adapt the curatorial brief of constructing a physical window display at UAL to a virtual space, due to the devastating effects of COVID-19, we decided to expand this question into enlarged spaces of communal encounters. The notion of community as a central focus of our work, remained a principle factor in deciphering both the historical and contemporary notion of documenting ‘communities in crisis’. </p> <p dir="ltr" style="text-align: justify;">The result behind this thinking is an online platform which incorporates two distinguishing aspects, responding to the same preoccupations. The publication covers the archival work we have been privileged to develop, looking at Camerawork’s legacy and focusing on a particular event; the Brick Lane riots documented by Paul Trevor. This historical incident is used here as a case study to discuss Camerawork’s stance and methodology of capturing socio-cultural turning points. As an extension of this publication, the online component expands into a selection of responses from an array of contributors, who answered to the prompt of documenting the idea of community during the current COVID-19 isolation. The name we have chosen for this project, ‘Silence in the Streets’, serves as a metaphorical reference to how we perceive our surroundings in times of change, but also how silence can be an indicator of a halt during a crisis scenario. We interpret it as a direct link to the way protest has traditionally been tackled, i.e. on the streets, which serves as a metaphor for the place where we come together as communities, where we unite, where we provoke change but also where we escape from.</p> <p style="text-align: justify;">The platform acts as a curatorial space that evokes questioning on historical and contemporary notions of community, and whilst the documentation on this topic keeps changing and shifting according to the times it is produced within, its purpose does retain common threats that cannot be ignored.</p> <p dir="ltr" style="text-align: justify;">In our iconomy-infused society, the notion of spectacles we encounter daily have mutated into nurturers and distracters of knowledge and human emotions. But whilst we feed on information, it is the essence and intention of the slices we consume that will fully sate us. This is what we attempted to do here, providing longevity to Camerawork’s archive and extending it through a contemporary lens. We hope to provide a platform whose demystification in procedure allows for ‘shared experiences’ and so ‘contribute to the process by which we grow in capacity and power to control our own lives’.</p> <p style="text-align: justify;">There’s a noise that still echoes in the streets; it’s our voices that may seem silent but they’re alive.</p> <p style="text-align: justify;"><a href="https://www.silenceinthestreets.com/">silenceinthestreets.com </a></p>
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      • titleBehind the Lens: Mike Goldwater
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      • excerpt<p>For the next installment of our <strong>Behind the Lens </strong>interview series, we spoke to photographer and <em>Camerawork </em>co<em>-</em>founder Mike Goldwater about the early days of the magazine. </p>
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      • meta_descriptioninterview with photographer mike goldwater about the publication of camerawork magazine
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        • content<p style="text-align: justify;"> </p> <p style="text-align: justify;"><strong>Behind the Lens 02. Mike Goldwater</strong></p> <p style="text-align: justify;">Mike Goldwater was the director of the Half Moon Gallery when Camerawork Magazine was founded. He speaks to us about his role in establishing this publication and explains the magazine’s radical aesthetic<b>.</b></p> <hr /> <p style="text-align: justify;"><b id="docs-internal-guid-c4349d4e-7fff-2014-e135-deed5e9c7b9b">How did Camerawork magazine emerge out of the work that was being done at the Half Moon Gallery? Do you feel it was an extension of the gallery’s remit, or an attempt to answer more questions or solve problems the gallery format couldn’t? </b></p> <p dir="ltr" style="text-align: justify;">In retrospect you could say that Camerawork magazine emerged as a natural evolution of the energy and questioning attitudes of the people the gallery had attracted. We somehow tapped into the zeitgeist of the time. The magazine allowed us to reach a wider audience, explore ideas and create a dialogue that was not possible with the gallery format alone. Specifically, the magazine emerged organically from a seminar series held at the gallery. </p> <p dir="ltr" style="text-align: justify;">The actual events were that, in the autumn of 1974, after I had my exhibition ‘Estate’ at the Half Moon Gallery, Paul Trevor (who with Julia Meadows had been running the gallery) asked me to take over. He was going to Liverpool to begin his Exit Project with two other photographers. I wasn’t keen to take on the role at first. I was 23, just beginning my career as a photographer, but Paul suggested we organise a series of seminars on photography to put the gallery on the map and I found this idea intriguing. </p> <p dir="ltr" style="text-align: justify;">The photographer George Solomonides was also interested, and the three of us put together what became a series of six seminars, held monthly under the title “Camera Obscured?” As the series poster said: the aim was to “assess the current state of British photography by examining the way that photography is used in our society and highlighting the conflicts of interest that arise”.</p> <p style="text-align: justify;">The seminars were a great success. One of the people who came to every seminar was Tom Picton, lecturer in Photography at the Royal College of Art and freelance photographer for Time-Life. As an audience member, he asked some of the most perceptive questions. We invited him to chair the last seminar and he was keen to be involved in whatever we did next. </p> <p style="text-align: justify;">Meanwhile, Jo Spence and Terry Dennett, who first met at one of the seminars, had put together a proposal for their Photography Workshop. Paul, George and I liked their ideas, which chimed in many ways with ours. We had a series of meetings with Jo and Terry, which Tom also attended, and decided to join forces to form the Half Moon Photography Workshop<b>. </b></p> <p dir="ltr" style="text-align: justify;">George wanted to return to his photographic career (while still doing our accounts), so Jo joined me on the staff. The Half Moon theatre offered us a small office at the rear of the building, a glass roofed lean-to on the first floor that had been a pigeon loft, but we cleaned it up and began work. </p> <p dir="ltr" style="text-align: justify;">We – Paul, myself, Jo, Terry, Tom Picton, George, and others in an informal collective – set ourselves an ambitious programme. We planned to start a publishing project, run education workshops and an information and advice service while continuing our monthly exhibitions. </p> <p dir="ltr" style="text-align: justify;">We formed an editorial group and began putting ideas together for the first issue of our magazine. Jo, Tom, Terry and Paul began writing articles for the first issue. Jo was interested primarily in the politics of photography and the use of photography in the community context. Tom’s way into examining social and political issues was through journalism and he often employed a keen wit in his interviews and articles. Terry, who was staff photographer at the London Zoo, was keen on alternative technology. His Camerawork features would focus primarily on interesting low budget alternatives and demystifying the chemical processes.</p> <p dir="ltr" style="text-align: justify;"><b id="docs-internal-guid-eb559dff-7fff-a69f-be49-57c832f786c8">How was the innovative tabloid > a4 format arrived at? Camerawork was clearly very concerned with the context in which images were viewed and circulated, and was this specific aesthetic an attempt to answer these questions?</b></p> <p dir="ltr" style="text-align: justify;">Tom came to a meeting with a copy of the American photo magazine Afterimage, and suggested we adopt their format. Afterimage folded out from an A4 format to A3 and opened to A2, allowing for large images. None of us had seen this radical format before – unstapled, portable but expansive, allowing images to be viewed at up to gallery size. We loved the idea. Expression Printers  in Dalston had been printing our high quality A3 exhibition posters and I was keen for any publication we produced to be of the same standard. Expression confirmed that they could print this format and to keep costs down, we planned to fold the magazine ourselves from the printed A2 sheets down to A4. </p> <p dir="ltr" style="text-align: justify;">In 1976 there was nothing on the English market remotely like Camerawork. The British Journal of Photography was largely a technical magazine, Amateur Photographer was aimed at the camera clubs and led by advertising and Creative Camera was an art magazine with little text. We felt empowered and set out to be radical. </p> <blockquote> <p class="text-orange" dir="ltr"><b id="docs-internal-guid-2abb31a6-7fff-0130-c1dc-867bb52d2539"> "Camerawork is designed to provide a forum for the exchange of ideas, views and information on photography and other forms of communication. By exploring the application, scope and content of photography, we intend to demystify the process. We see this as part of the struggle to learn, to describe experiences and so contribute to the process by which we grow in capacity and power to control our own lives." </b></p> </blockquote> <p dir="ltr" style="text-align: justify;">                 <strong>Camerawork Magazine masthead. </strong></p> <p dir="ltr" style="text-align: justify;">The Arts Council, in response to the funding application that Jo and I put together for the HMPW, said they would match funds we could raise ourselves. So in parallel with getting the magazine ready for launch in February 1976 we also organised our first photographic jumble sale and print auction, held in the Half Moon Theatre on 22nd Feb 1976. We raised £800, more than £5,000 in today’s money. Volunteers played a vital part in this project. </p> <p dir="ltr" style="text-align: justify;">Two people who volunteered at that time were Marilyn Noad and Janet Goldberg. Marilyn could touch-type, and produced all the magazine galleys on an IBM electric ‘golf-ball’ (then new technology) typewriter that I managed to get access to for free after hours. Marilyn and I would often work through the night to get it all done. Janet, a student at Syracuse University, had experience of paste-up and laid out much of the magazine. We aimed to keep the look clean and simple, and the design evolved as we gained experience. Tom’s journalistic and publishing experience were invaluable here too. </p> <p dir="ltr"><b id="docs-internal-guid-9ba2181a-7fff-8227-1726-2855f1d8bae0">Legend has it that the first issue of Camerawork was produced in an all-night session at the gallery’s Chalk Farm studios. What was the atmosphere like in these ‘folding parties’? Did the content and discussions of these sessions alter the magazine itself, or feed into future issues? </b></p> <p dir="ltr"><b id="docs-internal-guid-5d901076-7fff-639c-8f40-843e6fb7329d">T</b>he evening before we were due to take the first issue’s final page layouts to Expression Printers, we had still not decided on the magazine’s name. We were packed into our little office at the back of the Half Moon theatre, finishing off the paste-up and bouncing around ideas. After much discussion, and voting, Camerawork emerged as the frontrunner. </p> <p dir="ltr">Jo was at home, ill with flu. Paul called her and we all cheered when she agreed with the name Camerawork. The only sheet of Letraset we had left that had all the letters in the right font size was Stencil Bold, so that became our logo. </p> <p dir="ltr">By Autumn 1975, Camden Council had closed The Dairy in Chalk Farm where my darkroom had been; the old dairy was being razed down to clear land for redevelopment. Space Studios offered me a larger studio in the stable block of an old piano factory in Fitzroy Road, Primrose Hill. I built a new darkroom there and still had room for a good studio area. This is where we held Sunday folding sessions for the first seven issues of Camerawork. </p> <p dir="ltr">We could usually gather 10 to 15 volunteers. Folding several thousand copies of Camerawork would take all day, we’d provide lunch and in the evening we’d have a party. I think everyone enjoyed the discussions as we worked and the sense of collective endeavour. People were glad to be involved and some volunteers wrote articles for the magazine or had letters published on Camerawork’s Lively Letters page.</p> <p><strong>Interviewed by Frances Whorrall-Campbell.</strong></p> <p><strong>See more of Mike Goldwaters' work <a href="https://www.mikegoldwater.com">here </a>.</strong></p>
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        • created2020-04-10 10:20:21
        • commentcongratulations , i really love this blog keep on doing such great work will come back to read more of your posts will also recommend my friends to read your posts
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        • titleBehind the Lens: a new series of archive interviews
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        • excerpt<p><strong>Today is the first birthday of Four Corners Archive! </strong></p> <p>To celebrate, we are delving deeper into the archives with a new series of interviews and collaborations. First up, we spoke to <a href="https://www.photobus.co.uk/">Daniel Meadows</a> about his 1977 exhibition <em>Shuttles, Steam and Soot.</em></p>
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        • meta_descriptionAn interview with Daniel Meadows on his 1977 exhibition Shuttles, Steam and Soot
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