A Collaborative Turn in Contemporary Photography
Bibliographic Data
| ID | 12919443 |
|---|---|
| Authors | Daniel Stephen Vaughan Palmer (0000-0002-7775-8990, corresponding author) |
| Year | 2013 |
| Volume | 6 |
| Issue | 1 |
| Pages | 117-125 |
| Publication date | 2013-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Photographies (JOURNAL) |
| Journal identifiers | ISSN: 1754-0763 • E-ISSN: 1754-0771 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17540763.2013.788843 |
| OpenAlex | W2033966701 |
| Language | EN |
| Citations received | 7 |
| References cited | 7 |
This paper addresses emerging forms of collaborative photographic practice, including those enabled by digital networked technologies and by contemporary artists. I argue that although histories of photography invariably privilege individual figures, contemporary developments should be understood in terms of important precursors such as community photography in the 1970s. The paper concludes with some observations about artists Stephen Willats and Simon Terrill, who have sought to establish a relationship between authorship and community in their photography, and whose work can now be viewed in light of networked photography
Aesthetics · Art · Photography · Political science · Privilege (computing · Sociology · Visual arts · Law · Photographic and Visual Arts · Photography and Visual Culture · Visual Culture and Art Theory
| Citations per year | 0.64 |
|---|---|
| Citation span | 2015 - 2025 (11) |
| Highly cited | No |