Jo Spence

Photo Therapy, (1984-86) Jo Spence in collaboration with Rosy Martin Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

Photo Therapy, (1984-86) Jo Spence in collaboration with Rosy Martin Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

 

The work of Jo Spence, British photographer, educator and writer (1934 – 1992) is the focus for Stills Gallery’s summer exhibition. Curated by Ben Harman, the exhibition presents a powerful and important collection of Jo Spence’s work from her documentary work and collaborative projects to her self exploratory portraiture.

From Stills exhibition introduction:

‘Typically working in collaboration with individuals or groups, using the camera as a tool to empower herself and others, Jo Spence explored how photography can represent, frame and construct reality. She worked tirelessly to address issues such as class, family, sexuality, illness and death and made a hugely influential contribution to photographic practice and debates around the politics of representation.’

 

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

 

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

Children’s Educational Work , 1973-75 Jo Spence in collaboration with Terry Dennett Installation view at Stills, Edinburgh, 2016 Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

 

The exhibition is divided into three sections

  • Children’s Educational Work (1973-75) Documentary work from her long term collaboration with Terry Dennett including images from Children Photographed, Adventure Playgrounds and The Secret World of Children.
  • Self Portraits (1978-92) Jo’s challenging and powerful self exploratory images made in collaboration with others and including photographs about her breast cancer diagnosis.
  • The Polysnappers (1981) A rare collection of panels from the degree show work Family, Fantasy and Photography by the collaborative group formed when Jo Spence was a student.

 


Document Scotland were kindly given the opportunity to speak to Ben Harman Director of Stills Gallery and curator of this exhibition, Mary-Ann Kennedy lecturer at Edinburgh Napier University and a member of the Polysnappers who worked with Jo in the 1980s and Malcolm Dickson Director of Street level Photoworks who curated an exhibition of Jo’s work in Glasgow in 2005.

We asked Ben, Mary Ann and Malcolm about their experiences working with Jo, creating work collaboratively, curating exhibitions in Scotland and why her work is important, and ever relevant in 2016.

We hope you enjoy the images and interviews. Do catch the exhibition at Stills if you can, it’s on until 16th October 2016 and one not to miss this Festival.

 


 

Document Scotland: Ben, what attracted you to curate this exhibition of Jo Spence’s work at Stills Gallery in Scotland at this time?

Ben Harman: In my previous job as Curator of Contemporary Art for Glasgow Museums I was regularly in touch with Terry Dennett from the Jo Spence Memorial Archive in London and I included Jo’s work in several exhibitions at GoMA between 2004 and 2013. Glasgow Museums had acquired work from Jo in about 1990, towards the end of her life. As far as I’m aware, it was the first public collection in the UK to do so.

Jo has been represented in themed group exhibitions at Stills in the past but a solo show in Edinburgh seemed long overdue. The timing of our display is largely due to our interest in presenting her work during the Edinburgh Art Festival at a time of year when we typically receive our highest audience figures. During last year’s festival, our exhibition of work by kennardphillipps was incredibly well received and so for 2016 we wanted to offer something similarly concerned with how photography can alter and inform our experiences of the social and political issues of our time.

Jo Spence installation view at Stills, Edinburgh, 2016. Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

Jo Spence installation view at Stills, Edinburgh, 2016. Courtesy the Estate of Jo Spence and Richard Saltoun Gallery Photo © Alan Dimmick

 

DS: Malcolm, in 2005, along with Terry Dennet of the Jo Spence Memorial Archive, you curated the exhibition ‘Jo Spence : Photographer – Works from the Archive’ at Street Level Photoworks in Glasgow. Can you tell us a little about that exhibition.

Malcolm Dickson: Jo was, of course, a pioneer in photographic practices but also a prolific writer, teacher and cultural worker across the board. What appealed to us was the inspiring combination of an oppositional stance with an exploratory and playful spirit. She also had a salient position in terms of the subject which is never talked about – Class! Jo believed that everyday life is the source of all meaningful art – photography is a tool that can be used by everyone in any situation for self-knowledge, personal growth and of course social critique.

The exhibition at Street Level covered three decades – some from her early high street studio work in the mid 70s; works from the mid-80s on self-image, class and health; and the ‘Final Project’ in the 90s, in which we presented 15 newly produced and framed prints which illustrated her allegorical approach in still lives.

A wall also contained wallpapered posters from collectives she helped establish – Photography Workshop, Half Moon, Camerawork, the Hackney Flashers and the Polysnappers. We also had available a number of copies of Photography Politics which she co-edited with Terry.

 

DS: Ben, why did you focus on the particular elements of Jo Spence’s work you’ve gathered together for this exhibition at Stills?

BH: We wanted to find a way of presenting work that Jo is well-known for as well as material that hasn’t been seen in Scotland before. In this way the exhibition might serve as a point of interest for those that are familiar with her work as well as an introductory overview for those that are not.

Past exhibitions in Scotland, such as at Street Level Photoworks, Glasgow in 2005, have covered much of the ‘Final Project’, her last series made in collaboration with Terry Dennett, so we are only exhibiting two works from that series.

The term ‘Self Portraits’ is a bit inadequate in relation to Jo’s work which was always in collaboration with others but we found this to be a useful umbrella title under which to show examples from a variety of her projects and collaborations from the late 1970s onwards. These are presented in our front gallery.

The photographs from Children’s Educational Work has been available as research material but is very rarely seen. I felt it was important for this to be on display as it provides a fascinating background to Jo’s later work and shows where she wanted to take photography at a time when she had become completely disillusioned with her commercial photography business.

The Polysnappers material is quite simply unique and has not been on public display on this scale since 1981. The group were formed at the Polytechnic of Central London, where Jo had enrolled as a mature student in 1979, and Family, Fantasy & Photography was their final degree show. At the core of this work is a concern with the politics of representation. For the inclusion of this work I have to thank Mary Ann Kennedy who was a member of The Polysnappers (along with Jo Spence, Charlotte Pembrey and Jane Munro) and is based in Edinburgh.

 

Family, Fantasy & Photography, (1981) by The Polysnappers Installation view at Stills, Edinburgh, 2016 Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick

Family, Fantasy & Photography, (1981) by The Polysnappers Installation view at Stills, Edinburgh, 2016 Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick

 

Family, Fantasy & Photography, (1981) by The Polysnappers. Installation view at Stills, Edinburgh, 2016. Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick.

Family, Fantasy & Photography, (1981) by The Polysnappers. Installation view at Stills, Edinburgh, 2016. Courtesy Mary Ann Kennedy, Jane Munro, Charlotte Pembrey and Jo Spence Photo © Alan Dimmick.

 

DS: Speaking of the Polysnappers, Mary Ann – in this exhibition at Stills we see a large (and rare) display of panels produced in 1981 by ‘The Polysnappers’ a group which you were a part of  – could you tell us a little about who they were and how/why they came about?

Mary-Ann Kennedy: I was a photography student at the then polytechnic of central London with a determination to work collaboratively whenever possible and a commitment to education and visual literacy. Charlotte, Jane and I had been working together when Jo joined the poly in our second year.  By the end of that year we formed the Polysnappers to address the politics of representation, visual literacy and the responsibilities of the image maker within an educational format – the travelling exhibition- that was accessible to a wide audience.

 

DS: What was the focus of your work as a group?

MAK: ‘Three Perspectives on Photography’ opened at the Hayward Gallery in 1979*, Community arts was beginning to embrace the use of photography, predominantly in its documentary format. Media education was interrogating film, TV and advertising but not the production and use of the photograph. We felt there was a space to visually work through the role photography plays in the formation of identities, in our understanding of the world and our place/position within it – and to make visible the personal as political.

Photography is a communicative tool, great for telling stories – as image makers we were concerned with the paucity of stories told, the voices silenced, and how photography too often colluded in those absences.

(* The Hayward Gallery’s first exhibition of photography described as “groundbreaking” by Gloria Chalmers in Portfolio Magazine)

 

DS: What was your experience of working collaboratively?

MAK: As with all collectives – we debated (argued!) but we found, acknowledged and worked to our individual strengths.  My memory may be of continual exhaustion but our depth of engagement and production level was only possible through collaboration.  We were able to push each other, network beyond our imagining as well well as learn new skills.  It was quite magic!

 

DS: What do you feel is the relevance and importance of showing this work in 2016?

MAK: The work was exhibited by the Cockpit Community arts project  for over 10 years but it has formed the basis of over 30 years teaching in higher education for me.  It may have been nostalgic for me to see it exhibited in a ‘retrospective’ –  I was rather concerned about how ‘dated’ it would look.  But it has been a salutary lesson in the response of, particularly, young women – the recognition that far too little has changed.  If the work is resonating with the current wave of feminism – a wider, more inclusive reflection on the role that photography plays in lived experience, then I’m indebted to Ben for showing it.

MD: The exhibition at Stills is a critical re-evaluation of Jo’s work and hones in on certain key material largely unseen since its original production – the collection from the Polysnappers for example; the original photographs from the studio portrait days and early days of Photography Workshop. It combines all the elements of Jo’s practice as a visual artist, activist, and educationalist very well and these elements are vital components in helping the public and younger artists to understand the inextricable link between them in a ‘practice’

 

Image credit: Various poster works, 1979 – 1995, Jo Spence. Courtesy Street Level Photoworks, Glasgow & Terry Dennett

Image credit: Various poster works, 1979 – 1995, Jo Spence. Courtesy Street Level Photoworks, Glasgow & Terry Dennett

 

DS: Ben, what was the reason to include only a small collection of Jo’s documentary work from the 1970’s in this current exhibition?

BH: It was important to have a representative balance of work in the exhibition so I didn’t want the content to be weighted too much in any one direction. However, Jo was extremely prolific and any one series or aspect of her work, such as this, could easily be drawn out for an exhibition in itself. There is also the practical reason that much of the documentary material from the 1970s is unframed and this has an affect on exhibition design and related costs.

I hope that each of the three sections of our exhibition offer enough of a taster to encourage visitors to go away and find out more about Jo’s work and ideas. A few comments have been made referring to our exhibition as a ‘retrospective’ which is flattering but far from the truth. Our presentation is really just the tip of the iceberg but the work must be seen!

In a note from Jo to Terry Dennett, discovered after her death in 1992, she quoted Woody Guthrie: “When I am gone don’t mourn – organise.”

 

Jo Spence, Adventure Playgrounds: Photographing housing communities and children’s playgrounds (1973-1975). Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

Jo Spence, Adventure Playgrounds: Photographing housing communities and children’s playgrounds (1973-1975). Image © Copyright the Estate of Jo Spence. Courtesy Richard Saltoun Gallery

 

DS: What do you feel is the relevance and importance of showing Jo’s work in 2016. How is the show being received?

BH: We are 1 month into the exhibition and we are on track to have one of our busiest exhibitions on record. This is partly due to the enduring influence, importance and relevance of Jo’s work and ideas. The issues of class, illness, ageing, sexuality, family and gender politics that she addressed have not gone away. Her development of the Photo Therapy technique (with Rosy Martin) and her use of the camera as a tool to empower herself and others and to construct her own image seems to have anticipated contemporary trends.

MD: Although ten years apart, I think the recent show at Stills and the earlier one at Street Level have given substantial representation of Jo’s practice, and provided understanding of the convergence of political and artistic concerns that index community photography to all subsequent socially engaged practices in British Art.

I first met Jo in 1990 when she came to Glasgow and did a talk through the Free University of Glasgow that I was involved in at the time. She contributed an article around her book ‘Cultural Sniping’ to the relaunched Variant and her image was on the cover. The purchases made by Glasgow Museums of her work are very important in keeping her work circulating – Ben was an advocate of that in his previous role and it’s really satisfying to see that coming through in this excellent exhibition at Stills.

 

Jo Spence, Contact Sheet - Gypsies, Vintage Gelatin Silver Print, 1974 © Jo Spence & Terry Dennett image courtesy of Hyman Collection, London

Jo Spence, Contact Sheet – Gypsies, Vintage Gelatin Silver Print, 1974 Image © Copyright the Estate of Jo Spence. Courtesy Hyman Collection, London

 

Jo Spence, Contact Sheet - Gypsies, Vintage Gelatin Silver Print, 1974 © Jo Spence & Terry Dennett image courtesy of Hyman Collection, London

Jo Spence, Contact Sheet – Gypsies, Vintage Gelatin Silver Print, 1974 Image © Copyright the Estate of Jo Spence. Courtesy Hyman Collection, London

 

 

 

Many thanks to Malcolm, Ben and Mary Ann for speaking with us. Generous thanks also to Terry Dennett, The Jo Spence Memorial Archive & The Hyman Collection.

The Jo Spence exhibition is on at Stills Gallery, Cockburn Street, Edinburgh until 16th October 2016.

Further Resources:

 

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