The iPad and iPhone version of Here, again, the book that was made with writer Angelina Ayers and artist Thomas Mann, can now be downloaded for free.
The limited edition print version of the book can be bought from the Here, again website or the Sheffield branch of Blackwell’s, Cupola Art Gallery in Hillsborough and The Old Sweet Shop in Nether Edge.
See also: Finding Lost Time ebook
From August 5th- 9th the five day short course Photography Summer Sessions is running again at Nottingham Trent University. Last year eleven people took part and spent five lively days looking at and talking about the work of a diverse range of photographers, before heading into Nottingham to take photographs that considered various aspects of life in the city. Afternoons were concluded with everyone organising, editing, and uploading their day’s haul to the course’s Flickr group, before on the final Friday devising, shooting and editing their own small independent project- including this one on local cafe culture. Some of the work produced during the course was then included in an exhibition at the university.
Experience is not an issue with Photography Summer Sessions, and you’re welcome to take part regardless of your ability, interests or ambitions. At heart, Photography Summer Sessions is a course about looking, seeing and responding quickly and creatively to a series of very do-able tasks; about experiencing and looking at the city differently and reflecting on how you take photographs. Last year people used a diverse range of equipment, from compacts to iPhones to dSLRs to iPads, so the gear you use and how much you know your way around it is much less of an issue than being prepared to immerse yourself in a week of taking on new challenges and seeing photographic potential in things that you might normally disregard… or not even notice.
You can book your place on the course by clicking here.
Some thoughts from last year’s students:
‘Great job of getting students out of their comfort zones to expand their horizons.’
‘It was great!’
‘The tasks that we were assigned each day were very interesting and challenging. The course was very enjoyable and I learnt a lot about photography in such a short time.’
‘Fantastic introduction to photography with a fantastic instructor.’
‘Good balance of lectures/ discussion, pertinent examples, on-site photography, and editing.’
If there’s anything else you’d like to know about the course email andrewdconroy[at]yahoo.co.uk.
Photography Summer Sessions is a shorter, more intensive version of Exploring Photography, a course that runs one evening a week from October until December, and then again in January. Click here for more details.
The book’s available in very small numbers and can be bought online and at Blackwell’s Book Shop, Cupola Contemporary Art, and The Old Sweet Shop in Sheffield. Buy one of the copies of the book that are available online and you’ll also receive a print, bookmark and a link to download the book for iPad.
An exhibition opens on 15th January at Bank Street Arts.
James Luckett, Amanda Mason, Brian Henry, Haner Pamukçu, Yaniv Waissa, and Robin Cracknell are some of the photographers whose work will be appearing in the second volume of Finding Lost Time, a publication related to the ongoing photoblog that in 2010 led to a book and a series of exhibitions in England and Spain. This new volume will be handmade and available in 2013 in a very limited run.
Ten black and white/ monochrome images will feature in the book. There’s an open call for one of them. If you’d like to submit an image for consideration you can do so at the Finding Lost Time Flickr group, by emailing a jpeg no larger than 1000px on the biggest side to andrewdconroy[at]yahoo[dot]co[dot]uk, or by tweeting it to @andrewdconroy.
The idea of ‘the road’ in art and popular culture still seems to most immediately evoke imagery and themes from films of a late-60s and early-70s US countercultural vintage: existential journeys across sprawling, arid landscapes; wind howling through long-abandoned frontier towns; displaced outsiders forlornly searching for a sense of belonging. ‘The road’ in British art and visual culture doesn’t usually have quite the same epic sweep or sense of doomed romance, perhaps because, as Jez Conolly notes, the ‘claustrophobic repetition and inescapable smallness of the British road’ gives UK-based takes on road culture a particular resonance that contrasts with those where the ‘transcontinental vastness of the States’ provides the backdrop.
A British road story that defies the geographical limitations of the UK is Paul Graham’s 1981 A1- The Great North Road series of photographs of a journey that started outside the Bank of England in London and worked its way North, taking the restless impulse of the road movie and splicing it with low-key observations of austere British life: ‘an essentially American idea with a drizzly British sensibility‘. A1- The Great North Road is also a key reference point for Sam Mellish‘s book Roadside Britain that also provides the basis of a touring exhibition that’s coming to Bank Street Arts at the start of August for three weeks. An exploration of the marginal cultures and service industries at the side of Britain’s road networks and ‘a proper labour of love’ that came together over four years, Roadside Britain‘s world is one that sits in quiet opposition to the corporate slickness and branded uniformity of the service stations that line the UK’s motorway network. Sam says of his work on the project:
‘…where Jack Kerouac used the road as a metaphor for coming of age, while Paul Graham documented cultures and societies along its way, by following a web of road networks, I sought to learn more about the social cultures instilled in our traditional roadside services industry. Many would argue that the age of prosperity of truck-stops and ‘worker’ cafés has long passed its glory days, yet at the vanguard of our trunk-roads remains a steadfast workforce playing host to countless commuters, day-trippers and truckers alike, while clutching a rich bond of social diversities.’
Roadside Britain gets underway on Tuesday 7th August at Bank Street Arts with an open afternoon, kicking off at 3pm and running until 5. Sam will be around to chat about the project and drink tea with anyone who’s interested in coming along.
Sam is also taking part in The Motorway Service Station as a Destination in its Own Right, a photographic response by a series of photographers to writing by poet and Bank Street Arts patron Simon Armitage. Also involved are US artists Tribble and Mancenido, whose Hurry Up and Wait series of photographs of life in and around American truck stops works as a sort of transatlantic counterpart to Roadside Britain.
Hear also: Chill Out