Mythologies, Identities and Territories of Photography: Forever//Now

This book brings together essays by both experienced and emerging researchers, photographic artists, and curators exploring themes such as ethnicity, gender, materiality, the archive, memory, age, national identity, and technologies, with several papers discussing creative responses to the UK’s departure from the European Union. In addition, it includes a paper by Martin Barnes, Senior Curator of Photography at the Victoria and Albert Museum, on the work of industrial photographer, Maurice Broomfield. The book will appeal to students, academics, photographic artists, curators, and those with an interest in art, photography, photographic history and theory. It includes black and white illustrations throughout, alongside a generous selection of colour plates, including portfolios by photographers Craig Easton, for the project SIXTEEN, and the works of industrial photographer Maurice Broomfield. About the Author Gemma Marmalade is a British artist and Senior Academic in Photography at the University of Derby, UK. She is currently finalising her doctoral research, titled “In a Manner of Speaking: The Subversive Voice in Performative Art” at the Cambridge School of Art, Anglia Ruskin University, UK. Her diverse practice is exhibited widely, including at the Kunsthal Charlottenborg, Copenhagen; the Photographers’ Gallery, London; Marjorie Barrick Museum, Las Vegas; the Apulia Film Commission, Bari; and the State Museum of Gulag, Moscow. Her work specialises in experimental approaches to photography, video and performance which playfully negotiate the authenticity and conventions of speech acts, history, and science with queer politics. Dr Philip Harris is Programme Leader for BA (Hons) Photography at the University of Derby, UK. He has worked in higher education for 15 years, having taught and led a number of programmes at different institutions. He was awarded a PhD by Birmingham City University, UK, in 2012, for his thesis “Photographing Landscape: A Theory of the Experience of Making”, in which he developed a methodology drawing upon Martin Heidegger’s theories of technology and art to theorise the experiences of making a work of photography within the context of landscape and environment. His research and practice focus on the use of cranky and obsolete media as a means to engage with and explore issues of politics, representation and environment.