undergraduate PHOTOGRAPHY DEGREE SHOW 2015
INTRODUCTION
In May 2015 The Regent Street Cinema, a part of the University of Westminster, opened its doors to the paying public after a £6 million refit. Apart from it’s historical and architectural interest (The Lumiere Brothers premiered the motion picture in the UK here), the cinema will be presenting 35mm, 16mm and Super-8 films as well as the current mainstream digital staple, 4K – making it one of very few cinemas in the UK to support such a wide variety of formats. The Photography Department at the University of Westminster also offers one of the most comprehensive collections of historic and contemporary photographic technologies available to students at any similar institution in the country. Universities seem appropriate guardians of these technologies at a time when commercial organizations routinely jettison their equipment under the pressure of operational imperatives. While many may see an interest in nominally outmoded technologies as the province of the nerd – it should be remembered that they are also the tools of artists, both past and present. The subtle effects and shades of meaning delivered by a variety of materials coupled with a range of modes of reproduction and origination creates a bewildering range of possibilities with which to realize the abstract potential of photography and all its attendant fictions. It also provides the means of referencing and talking about the past – a subject hard to separate from investigations into the photographic process. Hegel famously described painting and music as genres dedicated to “the sensuous presentation of ideas,” suggesting that important truths could be transmitted using emotive, sensory materials. Although an emphasis on sensory materials is not a requirement for photography, or for contemporary art, this exhibition provides the evidence that for many it is still an important issue, and the appropriate linkage of ideas with materials is an ever present concern. To successfully realize an artwork through this marriage of ideas, materials and methods requires dedication and commitment towards a programme of making successful and original choices. Making distinctions between small differences in texture and tone and developing control over them is also analogous to the task of writers, whose efforts are similarly directed towards refinements in tone and meaning through the choice and positioning of words on a page or screen. These courses on display here (BA Photography and BA Photographic Arts) are perhaps unusual amongst other photographic programmes for their emphasis on a combination of theory and practice. The pursuit of a nuanced understanding of the theory and operation of photography provides a unique skill set, a sharpened
focus for making conceptual and practical distinctions, predicated on photography’s problematic project of representation. In this catalogue we can easily recognise that this work is the result of thoughtful deliberations, bourne out by the depth and variety of these very individual explorations in such a wide range of fields. Over the past few months these practitioners have been sustained by intuitions, accidents, chance encounters, re-shoots and rigorous attention to detail to reveal the particular truths and insights that it is the unique privilege of photography to provide. They join Westminster Photography alumni around the world engaged in a huge range of occupations that combine theory with practice such as contemporary art, documentary photography, curation, fashion photography, publishing, writing, teaching, lecturing and research. We wish them every success. Allan Parker Senior lecturer
EXHIBITORS
Edurne Aginaga
SOPHIE FAUCHIER
HARRIET BAILEY
JOANNE GENNARD
LETICIA BATTY
CARLA GRADSKI
JAMES CHARLIE BENNETT
CHRIS GRAVETT
JAMES BERRINGTON
JESSICA HEALE
KAREN BLOCK
JOSEPH HORTON
NICK BRAITHWAITE
Lucia Hrdรก
BUNSHRI CHANDARIA
JaSPER JONES
KARL CHAPMAN
E. JEAN JOHNSON JONES
ANNE CLEMENTS
Sarah Lam
Julie Derbyshire
JANA LOHDE
KATIE ELEANOR
MISHA MORROW-NOBLE
INGA MACIULYTE
Olga Suchanova
JOY MAXWELL-DAVIS
Adam Swatek
Qiancheng Meng
Victoria Thompson
NAZ
Natasha Truman
LORNA PATRICK
VinĂcius Vilanova
Patrycja Prazmowska
Dan Von Harper
Kacper Rudolf
Ricky White
Jeannette ST Prix Alessandro Schneider Gage Solaguren Gosia Stasiewicz Holly Rose Stones
Edurne Aginaga
Lie Down Lie Down is a series of highly constructed images made on location without any digital or analogue manipulation. The images play with deception and illusion which invites the viewer to engage in a process of deconstruction. E: info@edurneaginaga.com www. edurneaginaga.com
HARRIET BAILEY
Consensual Nudes Series of 16 prints Consensual Nudes is an exploration into the way we perceive and react to nudity within the world of art photography from the position of the model, the photographer and the viewer. In these portraits, the models have been given control in choosing the level of nudity, the image they wish to present using mirrors and a cable release to control the camera’s shutter. However, by selecting and printing the photographs, the photographer still controls aspects of the finished image. These portraits are an attempt to subvert the standard power relationship between the model and the camera. E: contact@harrietbailey.co.uk www.harrietbailey.co.uk
LETIcIA BATTY
Steel City - 2015 ‘A town like Sheffield assumes a kind of sinister magnificence’ - George Orwell Sheffield is a town with its identity forged from its industrial past. This project stands as a testimony to this; an account of the defining structural elements that shape a city. In this series the pragmatic yet intimate nature of the images project the effect of the grind of industry over the city of Sheffield. E: leticiabatty@gmail.com www.leticiabatty.co.uk
James Charlie Bennett
You know what the difference is On the 10th October 2014 Douglas Carswell was elected to become the first Member of Parliament for the Eurosceptic, right wing UK Independence Party (UKIP). This series focuses on Carswell’s constituency, an area on the east cost of Essex. The views that UKIP stand for are vehemently anti-EU and anti-immigration, in which there seems to be a common link between language and location. Areas that have a high population of UKIP voters have prominent coastlines, and the rhetoric that surrounds anti-immigration views commonly uses water themed metaphors, such as ‘flooded’ and ‘swamped’. This series investigates an area where there is a dichotomy between a high level of anti-immigration feeling and a low level of local immigrant population, as well as a wider meditation on water’s relationship with land. E: jamescharliebennett@gmail.com
JAMES BERRINGTON
Modern Living Series of prints Property is synonymous with ideas of home, hopes, money and power. A place of security, sanctuary and a repository of memories; it can also be a source of debt and worry. Increasing commodification of property has created an asset class to be speculated upon and used as a source of equity and income. E: mail@jamesberrington.photography www.jamesberrington.photography
KAREN BLOCK
Citizen 1933 Series of Prints Imagine finding out you were adopted at the age of 69. This is what happened to my father John Wallace. Having never seen his birth certificate before, this came as a complete shock; sadly there were no living relatives to ask for answers. My project was designed as a journey to test and explore the boundaries of who we think we are. Can we be anyone we choose? Are we hard-wired to be who we think we are? It explores the dichotomy between nature and nurture. Appearance may define or indeed constrain us, but this series of photographs encourages the viewer to interpret John’s identity in different environments – who is he really? E: Karenjblock@gmail.com www.karenjblock.com
NICK BRAITHWAITE
London Ghost Signs Book Ghost signs are faded hand-painted advertisements on houses and business premises. Most of the surviving signs in London cover the period from the mid-nineteenth to the mid-twentieth century, when billboards gained ascendancy. We barely register these signs in our daily lives, but when we focus on them more intently it seems that the past speaks directly to us, murmuring of different customs and expectations. They give us, too, a sense of the origins of our consumer-driven society, going back to the early days of the industrial revolution and the dawn of modernity. E: nickbraithwaite@mac.com
BUNSHRI CHANDARIA
Redemption Two-Screen Installation The soul usually knows to heal itself. The challenge is to silence the mind… Caroline Myss I was traumatised by my father’s sudden death at a young age. He had a loving, trusting nature and always saw the good in others. For years I clung on to sad memories and raced through life burdened with guilt of not being able to save him. Then the unexpected happens… E: bunshri@bunshri.com www.bunshri.com
KARL CHAPMAN
Existential Absence As our population increases, the demand upon undeveloped land intensifies, consuming areas of foliage and natural beauty. Existential Absence imagines these areas abandoned by human influence and reclaimed by nature. With each empty, overgrown road and decayed building we receive another glimpse of the potential beauty these urbanised spaces suppress. E: karlmichaelchapman@gmail.com
ANNE CLEMENTS
Satisfaction Series of prints Fifty years ago these couples were teenagers listening to the 1965 hit singles, I Can’t get no Satisfaction and My Generation, hoping they’d die before they ‘got old’. They are the baby boomers who made it good. They’ve clocked up over half a century of wisdom but feel invisible to the young. They have tamed the Freudian primitive drives of the id, but as couples in their prime how do they get satisfaction now? To discover the “otherness” of this gilded generation I have solicited their collaboration by asking them to express their take on ‘satisfaction’ in their homes. Their habitat becomes a stage where they play out their psychological scenarios in a ‘theatre of the real’. E: anne.clements@blueyonder.co.uk www.anneclements.com
Julie Derbyshire
Fragile Alchemy Series of prints Fragile Alchemy reflects upon transience and the brevity of life through the visual representation of a temporary artefact, fabricated to be photographed, and subsequently destroyed. What remains is the photographic trace. Paper, a two dimensional material used and disposed of everyday with little thought, yet delicate and vulnerable in nature, becomes a three dimensional object. Not only visible as the surface upon which representations appear but also as the substance of a work itself, the paper undergoes an ethereal alteration and finds its own expression. The interventions effected upon the paper such as folding, piercing and ultimately burning, implicate notions of creation, transformation and destruction that are the fundamental conditions of existence. E: images@juliederbyshire.com
KATIE ELEANOR
Saint Wanderer’s Hospital ‘The nurses report that the patient is suffering from frequent delusions, manifesting themselves in a bird song which is howled from his bed. The anaesthetic is administered. As he drifts he sees Bluebird and Lover; Lover flees, and Bluebird falls. A hospital, a reigning, Mother Nightingale’s sanctuary.’ Birthed from the anxious need to find splendour in the idea of sickness, Saint Wanderer’s Hospital tells the story of eight unearthly patients and the spirits by which they are healed. E: katie@katieeleanor.com
SOPHIE FAUCHIER
Ilot de Folleville Series of prints, Installation Last night, I dreamt I was swimming around the island, Under the flow, through the algae, I needed no air. We were always arriving by night; it was foggy. Surrounded by the river, here lay my kingdom. For the weekend, I was his little princess while he was my king. Ilot de Folleville is a country house my father built in Normandy. He died in an accident. I was 15. I inherited the house few years later. E: sfauchier@gmail.com www.sophiefauchier.com
JOANNE GENNARD
W141491U Secure for Sea Series of prints As I stand here watching it is constantly changing; the colour, the swell, the motion, always in a state of flux. When I am away from home for months at a time it provides comfort in its quietness, in the vast expanse of nothing‌.but sea. E: agennard@btinternet.com www.joannegennard.com
CARLA GRADSKI
Every step I have taken, since I was that child, has been to bring myself closer to you. Print This work is an exploration of my intimate wounds and communicates real life events the loss of my mother of whom I have no memory of and the secret relationship I was in. Both relationships were with people who were barely present, but a big part of my life, the latter possibly being a consequence provoked by instability and the void caused by my mother’s death. The pain we know becomes a lost object: a void that must continually be re-found, sometimes through excessive repetition of experiences. The body is the object/subject, which we use as a medium to express our innermost unconscious realities - a site where we attempt to locate and communicate our traumatic experiences. Any therapeutic aspects of art making are overridden by the repetition of the traumatic experience it entails. E: carlag@carlagphotography.com www.carlagphotography.com
CHRIS GRAVETT
Gravette: The Heart of Hometown America Book and three prints We all occasionally self-Google – do we not? I did once and inadvertently added an ‘e’ to the end of my surname. At the top of the resulting search was an entry ‘City of Gravette, Arkansas’. I was intrigued. The City of Gravette has a population of two thousand six hundred, ninety per cent of whom are white and who have at their disposal no less than twenty three churches. Gravette was founded by Ellis Tillman Gravett and his wife Laura on August 9th 1893. Ellis Tillman’s family line and my own merge in the early sixteenth century in Steyning, Sussex, England. The family link and the unusual demographic of this small community in North West Arkansas caused me to take a closer look at Gravette, its history, its culture and its people. I decided to go to Gravette ‘The Heart of Hometown America’. E. chris.gravett@btinternet.com Twitter. @LeFlic17
JESSICA HEALE
Cherry Orchard With the two prisons that overshadow it, Cherry Orchard is classed as an area of deprivation within the suburbs of Dublin. In 2003, the Cherry Orchard Equine, Education and Training Centre was set up to provide much needed employment, education and training for the local area. With a long heritage of keeping horses in the local community, the centre provides a wide variety of services developed around equine-assisted activities aimed at engaging young people with training and education beneficial to their futures. E: jlheale@googlemail.com www.jessicaheale.co.uk
JOSEPH HORTON
Remnants of Place Travelling through the northernmost regions of Wales, Remnants of Place presents a collection of appropriated landscapes. Objects stand alien in their setting, seemingly separated from the surrounding environment. Never revealing their exact locations, the subject matter becomes isolated; bound as an accumulation of borrowed places. Looking at the transformative approach the camera brings to its pictured environment, the series raises questions toward the distance created between person and place. Moving between metaphor and description, the images explore how experience is constituted within the photograph, ultimately challenging how we communicate with a foreign landscape. Email: info@josephhorton.co.uk
Lucia HrdĂĄ
Traces Series of prints When I am dead Cry for me a little Think of me sometimes But not too much. Think of me now and again As I was in life At some moments it’s pleasant to recall But not for long. Leave me in peace And I shall leave you in peace And while you live Let your thoughts be with the living. (Indian Prayer, ANON) E: lucia.hrda@gmail.com www.luciahrda.com
JaSPER JONES
Life As It Should Be I spent two weeks in Egypt on the coast of the red sea. The area has been under heavy development since the late 80’s. Most of this has been of five star hotels and luxury holiday homes, conceived by one of the richest families in Egypt. Amongst this boom, the unfinished and developing parts of the area fascinated me. These forms seemed to echo the quietness of the off-season holiday destinations. When no one was there, the feeling of incompleteness made sense in that time. Skeletal buildings, hollow swimming pools and a new motorway wait in the endless desert for the seasonal buzz of holiday makers. Completing the illusion of a flourishing paradise. jasperjones1@mac.com www.jasperjones.net
E. JEAN JOHNSON JONES
I See You, You See Me Slideshow Within this project I investigate the idea of the experience of dancing in still images. I was, and remain, curious to know or understand how the dancer’s perspective is or is not present in a still image. My exploration lead me to consider, not a literal or presentational image of a dancing body, but other ways of thinking about and depicting the visual and dynamic relationship(s) between subject/object, dancer/photographer, and, especially, the voice of the dancer. In other words, I investigate ways of shooting images from the dancer’s point of view rather than the photographer’s only. E: j.johnson-jones@surrey.ac.uk
Sarah Lam
mother love Short film My mother was diagnosed with dementia about five years ago. Dementia is a cruel illness. The outward form remains very much the same, but it steals away the inner person you know and love. My mother can still play the piano pieces she learned as a child from memory. But nowadays she can’t form any new memories, so one of the most difficult things to grasp, and undoubtedly one of the most painful, is the certain knowledge that whatever we do together, will never form part of our shared memories together. There will never be any more shared memories. I have to come to terms with the fact that my mother is slowly slipping away to another place. This film is in part at least my attempt to slow down that process for a while. www.sarahlam.photography
JANA LOHDE
Lost and covered by my blinded eyes I miss the beauty of the rising sun, the beauty of the smile, the beauty of the flowing time. I miss the beauty of the hidden lies, behind the seven skies. I miss the freedom of my kind, the freedom of my mind. Lost and covered by my blinded eyes E: janalohde@yahoo.de
MISHA MN
The Lost Folio of the Church of Cyclical Queer Heresy “I am not, nor have I ever been, an enemy of God. The Creator is not my nemesis, and never shall I deride the Divine. The reason for this is that if I denounce that omniscient, omnipotent, omnipresent force, then I denounce myself. For too long men have feared their God, which shows weakness, or refused to believe in one altogether, which is weaker. Too long we have suffered the pains of spiritual paralysis. It is time to reclaim our souls. It is time to reclaim our lives. It is time for HERESY; it is time for SPIRITUAL RESISTANCE. You can never take God away from me for one simple reason: I AM HE. I am the true Creator, I am REX MUNDI, I am the very soul of the universe. Everything is connected to my body, my CELESTIAL BODY.� E: mishamn91@hotmail.com
The Trials of Platonic Love and The Multitudes of Sorrow
INGA MACIULYTE
Officially Discontinued Marketed as an innovation for the consumer market, the compact, over-designed, ‘Kodak Disc 4000’ camera was available for sale between 1982 and 1984. The ‘Kodak Disc 4000’ was deconstructed, reconstructed, and finally amalgamated to capture the impenetrable Kodak factory situated in Harrow & Wealdstone. Officially Discontinued explores the inscrutable compulsion of reviving this defective and valueless camera. imaciulyte@hotmail.co.uk www.ingamaciulyte.co.uk
JOY MAXWELL-DAVIS
Joseph Series of prints As my son grew and our relationship evolved, I experienced a sense of loss, memories became less distinct, he rightfully began drifting away, developing his own independence. I realised you can never go back, and before I knew it, he was a man. E: Joy53@me.com www.joymaxwell-davis.com
Qiancheng Meng
Photograph as Psychotherapy I have never owned a bible! I printed photographs of my drunken elder brother and keep them at hand. Going through each page I know I have found my bible! The candle with many wicks is a symbol of constant change in our life and an aborted family wish. Candles also brighten up the darkness, they are used for ritual and for the rememberance of those who pass away. It is the evidence of the joy the loved elder brother once brought to the family and the psychotherapeutic role that photographs have – a healing tool that has become Zen to me. I continue to live partly in my brother’s journey – devoting myself to what I always believe is right as an art practitioner – to speak up for the voiceless. qianchengmeng@gmail.com www.picarture.com
NAZ
Resurrection Print Resurrection consists of 21 images, appropriated from my archival photographs when working in the adult entertainment industry. It is an amalgamation; a synthesis of staged raw pornographic scenes that were initially intended to arouse sexual desire in a ‘public arena’. Now they sit, framed behind an ambiguous abstract veil, which demands a deeper investigation of their social coding. It draws and challenges the viewer to study, decipher and respond according to his/her ideology, dogma and moral/immoral consciousness. Arguably the work negates the ‘pornographic images’ per-se by their resurrection and creation into an aesthetic/art field. Immediate recognition is obscured, and like a direct pornographic photograph the work incites an arousal and routing of frustrated energy to the gaze, and as perhaps, like onanism, leaves the viewer alone and excluded. The work is not only constituted of my personal voice, but has speeches of what remains clandestine, taboo in contemporary societies. E: naz@mr-naz.com
LORNA PATRICK
The YouTube Self The project takes as its subject the video-sharing website YouTube. Using search terms in relation to the content created by the new online celebrities, screen shots were then taken 18 seconds into the video to represent the length of the first video uploaded to YouTube. Working on the project for 300 hours (the amount of footage uploaded every minute) my intention is to give the audience an insight into how the site is used as an extension of the ‘selfie’ while looking into self-representation, beauty and aspiration through the constant duplication of content. E: lornapatrick@icloud.com
Patrycja Prazmowska
In Resin An exploration of the relationship between portraiture, still life and the dehumanization of the human form. E: pprazmowska@googlemail.com
Kacper Rudolf
Crude Series of Photograms, C-Type prints, 30�x40� Kacper specialises in camera-less techniques, working with a variety of analogue processes. His practice includes experimental photography and abstraction studying the materiality of the photographic medium. He continues to reflect upon the concepts of the sublime, exploration, the evanescence of a moment and contingency in modern artistic study. The project Crude revolves around an examination of elemental oil. The idea of invisibility of the most desired substance in the contemporary world finds its representation in abstract documentation, underlining the importance of an oildependent society. Crude evokes poetic imagery in chemical reactions of mineral oil removed from its environment. The project is a study of the relationship between light and the materiality of a substance, which is expressed onto a photographic surface, exploring the invisible traces of oil drawn by light. E: contact@kacperrudolf.com www.kacperrudolf.com
Jeannette ST Prix
Confused beginnings, middles and endings. This project attempts to question accepted visual or conceptual norms, to show that defining the essence of things can prove elusive, and that many things defy categorization. Objects or entities appearing outwardly dissimilar can have many underlying, inner similarities and vice versa. The images are made to visually represent contradictions in terms - the term being not a linear sentence but an image. Mistakes, misrepresentation, misunderstandings will occur. I used the platform of accepted food advertising to subvert elements therein to unsettle the belief in tried and trusted conceptions. Our concepts are very often revealed to us, through the passage of time, as misconceptions. E: Bu22photography@outlook.com
Alessandro Schneider
Silent Thresholds Silent Thresholds is the exploration of the act of transcending. The journey began with the diagnosis of ADHD and meditation is one alternative to prescribed medication. Meditation enables one to experience the mind in its natural state of peace and happiness. Through the reconstruction of the active silent state, decontextualized corners, become the space of transcendence. When creating the feeling of silence there exists a sort of threshold as it slightly holds you at a remove, it brings you to a space in which you have to keep shifting backwards and forwards. E: info@alessandroschneider.com
Gage Solaguren
Petite Mort Slideshow installation Petite Mort signifies the intense pleasures released from existence, such as an ecstatic change or an overwhelming transformation. This French expression translates as ‘little deaths’, describing orgasm but also standing for all and nothing, for startling moments, sleeping awareness and the spiritual self-fulfillment of premonitory dreams. E: gagesolaguren@yahoo.co.uk www.gagesolaguren.com
Gosia Stasiewicz
Awkwardness Awkwardness is a study of human interaction between photographer, model and viewer in a potentially uncomfortable situation. E: contact@gosiastasiewicz.com www.gosiastasiewicz.com
Holly Rose Stones
Home Series of 3 Prints Have you ever felt uncomfortable about where you are living? Have you moved away and missed what you know as ‘home’? This project explores the emotional trauma and heartache that I have felt whilst living away from home. Home has become a mere word to describe a residency or place to live and breathe. I miss the place I call home, but I don’t want to be there. I have battled the emotions of yearning for comfort, yet I always want to explore. Home, to me, is now a place that is discovered. It’s a state of mind. E: info@hollyrosestones.co.uk www.hollyrosestones.co.uk
Olga Suchanova
24 August 2014 Series of prints This project has taken me on a journey which began on the 24th August 2014, when a fire destroyed the garage where I kept all my photographic equipment and artworks. After my initial devastation, I came to accept the loss caused by the fire and decided to resurrect the artwork. E: olga.suchanova@hotmail.com
Adam Swatek
Remiza Book and series of 5 prints In Polish the word remiza has multiple meanings; it can mean firehouse, playground, tram or bus station or a small space in a field which gives shelter to wild animals. In nearly every village in Poland you will find a remiza (firehouse) that functions in a variety of ways. These buildings serve the local community, moving and changing in response to the communities needs. This building is at the heart of the village, a common meeting point and a community house. The body of work focuses on a little community located in South East Poland and portrays the village as a shelter zone. E: info@adamswatek.com
Victoria Thompson
Purge Series of prints This body of work consists of a series of images of the destruction of the remaining photographs of my ex and me. This act of cremating these once precious images symbolises my release from a troubled past, a final letting go of an abusive relationship, making me feel reborn and whole once more. E: victoriaemmathompson@live.co.uk
Natasha Truman
Tuesdays, 6:30pm Series of prints 45 minute long exposure self-portraits of therapy sessions, looking at the relationship between time and the therapeutic space. info@natashatruman.co.uk
VINÍCIUS VILANOVA
Um dia, um mês, um ano e uma vida One day, one month, one year and one life Installation They are photographs, I know… They are like memory pieces. It’s what you left… I fear seeing them crumble in my hands... Becoming dust… I hesitate touching them. I wrestle with myself, A feeling of guilt takes over, As if I am about to participate in a crime A plot where time is my cohort… I go against the grain… E: vinnyvilanova@me.com
Dan Von Harper
E: danvonharper@gmail.com
Ricky white
Conditions Being diagnosed with a condition sounds daunting and acts as a burden to the individual. Tablets, therapy and treatments are prescribed to eliminate your diagnosis. A condition is never perceived as beautiful. It’s not considered an individual advantage or quality that can instigate fascinating outlooks on life. Conditions can be a term used to categorise a complex and abstract type of person. When we put aside the statistics and judgmental attitudes what will we find? What will we see? Email: ricky@rickytwhite.com
STUDYING PHOTOGRAPHY AT THE UNIVERSITY OF WESTMINSTER:
THE DEGREE SHOW EXHIBITION CATALOGUE INCLUDES WORK FROM THESE COURSES:
BA Photography (4 years part-time) This course is the only four-year degree in Photography in the UK and it is aimed at school leavers and mature applicants who use photography in their work and are concerned with issues of photographic representation. The course is designed to equip students with a range of critical skills for understanding the uses, functions and meanings of images in relation to art, society and culture. The course is taught one day a week for four years with further access to facilities. Prior experience or learning may be credited, and applicants with exceptionally advanced qualifications or experience may be granted admission at Credit Level 5 of the degree. CAREERS Many of our graduates go on to work as photographers and photographic artists or pursue a range of careers within the broader photographic sectors, such as picture editors and researchers, designers, magazine editors, museum and gallery curators, writers, teachers and community project workers and many go on to postgraduate study. ENTRY REQUIREMENTS Applicants must demonstrate a strong interest in both the practical and theory side of the course, have a high standard of oral and written English and submit a portfolio. A short essay may be set for applicants interviewed. T +44 (0)20 7911 5000 E course-enquiries@westminster.ac.uk westminster.ac.uk/photography
For further details see: http://www.westminsterphotography.co.uk
BA Photographic Arts (full-time) This course combines creative practice with the theoretical and critical study of photography and related media. The course is unique in placing an equal emphasis on Practice and Theory and on encouraging the integration of written and visual research. It is designed to equip students with a range of critical skills for understanding the uses, functions and meanings of images in relation to art, society and culture. Students also learn to produce image based work in a range of media, and to communicate their ideas with sensitivity to audience, purpose and context. As well as our experienced and highly respected teaching staff, the course is supported by a range of visiting lecturers and guest speakers. CAREERS Graduates go into a wide range of photography related careers including: freelance photography, picture editing, picture research, photography education, curating, publishing, digital image processing, image management and postgraduate study. ENTRY REQUIREMENTS Applicants must demonstrate a strong interest in both the practical and theory side of the course, have a high standard of oral and written English and submit a portfolio. A short essay may be set for applicants interviewed. T +44 (0)20 7911 5000 E course-enquiries@westminster.ac.uk westminster.ac.uk/photography
For further details see: http://www.westminsterphotography.co.uk
OTHER PHOTOGRAPHY RELATED COURSES OFFERED BY THE UNIVERSITY OF WESTMINSTER:
BA Contemporary Media Practice This long established course combines film, video, photography, digital media and theoretical debates, and continues to break new ground in contemporary media production. Practical instruction in a range of visual media from film and video to interactive digital media and photography encourages multi-skilling within an innovative and creative environment. Students may specialize in one or two media or forge new links between converging and cross-disciplinary media.
For further details see: www.westminsterphotography.co.uk
MA Documentary Photography and Photojournalism This course provides a unique combination of professional practice and critical understanding for photographers and journalists interested in entering the field of editorial and related photography. It builds on the international reputation of the journalism and photographic departments of the University. The MA is a modular course designed to equip students with a sound command of the working methods necessary to sustain a career in contemporary journalism. MA Photographic Studies The MA Photographic Studies is intended for those who wish to develop their practice, theory and criticism of photography to a higher level of expertise and scholarship. The course aims to develop relationships between a creative photographic practice and critical theory in the context of art and mass media culture. Modules explore practices of photography and develop student awareness of social, cultural and critical issues involved in photography and its histories.
For further details see: www.westminsterphotography.co.uk