1 00:00:00,810 --> 00:00:09,980 So right to be written off the work of just spent since photography theory. 2 00:00:09,980 --> 00:00:19,980 Something else happened. Old Don. 3 00:00:19,980 --> 00:00:29,670 In 1988, Photograph, part of a collaboration with David Roberts, just spent a kid on a bench completely covered with a shroud like sheet. 4 00:00:29,670 --> 00:00:35,910 Apart from a feet were dangling from a right toe tag, identifies it by name. 5 00:00:35,910 --> 00:00:43,210 You can't really quite see it like I cut it in the PowerPoint, but not when I Shary on Sudan. 6 00:00:43,210 --> 00:00:46,470 And something is going on perhaps. Can people carry on? 7 00:00:46,470 --> 00:00:53,170 Are people still seeing. No, we can't see your PowerPoint, is it. 8 00:00:53,170 --> 00:01:00,200 No. There's something wrong here. Yeah. Maybe something wrong. The the somebody else's queen is taking over. 9 00:01:00,200 --> 00:01:03,960 All right. Sorry, Patricia. 10 00:01:03,960 --> 00:01:15,200 I just ask for everybody to really turn off a video camera and we'll ask to be able to see your pamphlet properly. 11 00:01:15,200 --> 00:01:30,990 OK. Thank you. OK. He's gone again. Every time a. 12 00:01:30,990 --> 00:01:38,550 Above the head, as if labelling the corpse with a warning, the sheet of paper attached to the walls spells out in felt tip. 13 00:01:38,550 --> 00:01:49,940 Right. Will be written off. And writing. She did. Spence, published in 1976, The Politics of Photography in the first issue of camerawork. 14 00:01:49,940 --> 00:01:58,220 The magazine shed contributed to setting up with the Community Resource Halfmoon Photography Workshop in 1975. 15 00:01:58,220 --> 00:02:07,690 And I think this might have been a first published piece. The last two books she worked on came out in 1995. 16 00:02:07,690 --> 00:02:19,720 Three years after her death, Cultural Sniping The Art of Transgression is a collection of 26 essays spanning a career edited by Jones Joe Standardly. 17 00:02:19,720 --> 00:02:25,840 And What Can a Woman Do with a camera? Photography for Women is a compilation of essays, 18 00:02:25,840 --> 00:02:32,630 practical instructions and other resources gathered by Spens and Joan Salamone to show 19 00:02:32,630 --> 00:02:38,290 different ways to use photography and be engaged with the family album back and forth, 20 00:02:38,290 --> 00:02:43,600 from the personal to the political to encourage the unravelling of the past. 21 00:02:43,600 --> 00:02:53,920 To understand the present and change to future. 22 00:02:53,920 --> 00:03:07,730 In between, Spence published a monograph Putting Myself in the picture, a political, personal and photographic autobiography in 1986. 23 00:03:07,730 --> 00:03:19,690 So we when we tried day sum, it was a working fine and now it's some sticking a bit anyway. 24 00:03:19,690 --> 00:03:33,700 So she also published many articles in a variety of photography journals, camera, work, screen screen, creative camera 10 eight. 25 00:03:33,700 --> 00:03:41,870 This is going this stinking block where she published an article about the work of John Hartfield de Smollett, 26 00:03:41,870 --> 00:03:51,340 photocopies use less and more conservative and long established British Journal of Photography, where she took part in a documentary forum. 27 00:03:51,340 --> 00:03:57,330 A piece is featured in feminist magazines such as Sparerib Feminist Thought News into 28 00:03:57,330 --> 00:04:03,270 women artists like Libraries Journal Counterculture Weekly such as City Limits, 29 00:04:03,270 --> 00:04:16,140 as well as David said, ducation social work arts magazines also edited and contributed to several volumes of the photography. 30 00:04:16,140 --> 00:04:22,890 A really interesting pocket guide from 1977, she wrote with Richard Greenhill and Nike Murray. 31 00:04:22,890 --> 00:04:32,500 We heard from her earlier. Came Photography Politics one in 1970, Photography Workshop Annual. 32 00:04:32,500 --> 00:04:44,680 She edited with Terry Dennet, David Evans and Suvir Goal Photography Politics Stookey Martin 1986, edited with Patricia Holland and Simon Watney. 33 00:04:44,680 --> 00:04:51,860 And family snaps the meaning of domestic photography. Again with Patricia Holland in 1991. 34 00:04:51,860 --> 00:05:02,990 Collaboration was central to all the working practises, and she co-wrote with a number of other people, including Rosie Martin and John Taylor. 35 00:05:02,990 --> 00:05:10,550 Finally, the legendary dissertation on fairy tales and photography she wrote to the Polytechnic of Central London in 1982. 36 00:05:10,550 --> 00:05:24,330 It's coming up soon is in effect, C.M.A. Edition, partly thanks to an initiative by James Hyman. 37 00:05:24,330 --> 00:05:28,980 Writing also features heavily in a visual work in the image. 38 00:05:28,980 --> 00:05:38,590 And you can see that here also she's got this right to be written off, written sort of dead behind the head. 39 00:05:38,590 --> 00:05:45,880 In scrap books and diaries, there are about 40 surviving of these kinds of scrapbooks, 40 00:05:45,880 --> 00:05:51,340 albums that she made on this sort, a cheap as some sort of bound blank paper. 41 00:05:51,340 --> 00:05:59,380 That money could buy at the time. And as extended captions, we didn't composite panels. 42 00:05:59,380 --> 00:06:09,540 The texts are sometimes all at once personal narratives related to the images, critiques of dominant visual and photographic regimes. 43 00:06:09,540 --> 00:06:15,990 And a way to make legible the processes, conscious and unconscious, personal and political, 44 00:06:15,990 --> 00:06:21,400 practical and technical, involved in the making of the work itself. 45 00:06:21,400 --> 00:06:27,360 And I love how one of the last panels in this exhibition is actually a collection of all Dean voices 46 00:06:27,360 --> 00:06:37,850 and photographic laboratories and mounting shops that she used to actually make the exhibition. 47 00:06:37,850 --> 00:06:46,650 This critical set for a CBT, both physical and verbal, constantly repeated and reconfigured in order to be shared with their audiences, 48 00:06:46,650 --> 00:06:54,630 was crucial to a way of working as a photographer, educator, writer and cultural sniper. 49 00:06:54,630 --> 00:07:00,930 Just Pense was committed to investigating, unmasking and changing the politics of representation. 50 00:07:00,930 --> 00:07:06,060 Who has the power to represent who? How, why and to what effects? 51 00:07:06,060 --> 00:07:11,700 Most often in collaborative projects and informal support groups. 52 00:07:11,700 --> 00:07:19,770 She was also very concerned with our own work to be represented, and writing was central to the efforts to control deaths. 53 00:07:19,770 --> 00:07:24,900 As she wrote here in the piece with Derek Dan 18, 1983 quote, 54 00:07:24,900 --> 00:07:30,750 It is surely contradictory that very little is actually shown about most groups who are involved. 55 00:07:30,750 --> 00:07:37,220 Somebody is actually known about most groups who are involved in the politics of representation. 56 00:07:37,220 --> 00:07:43,560 Little don't they themselves raise fundamental questions about representation. 57 00:07:43,560 --> 00:07:57,230 The question of how they represent themselves is almost always ignored. 58 00:07:57,230 --> 00:08:05,470 In her conditions, lesser of 1992, a set of notes to Dennet spelling out what she wants to happen to a quote, 59 00:08:05,470 --> 00:08:09,790 in case my illness gets worse and I drop dead, unquote. 60 00:08:09,790 --> 00:08:18,270 She's still preoccupied with this issue. She writes in the condition number three, quote, You must always have the final say. 61 00:08:18,270 --> 00:08:24,550 How my work is presented. And that goes for the captions and the texts as well. 62 00:08:24,550 --> 00:08:31,060 If people disagree, we drove to work. I don't want you to [INAUDIBLE] about arguing with middle class families stuck a day. 63 00:08:31,060 --> 00:08:37,360 Makes me think they know more about my work than you do. End of quote. 64 00:08:37,360 --> 00:08:44,110 A multiplicity of representations, our weather is one of the important means through which the reputation of artists, 65 00:08:44,110 --> 00:08:49,180 photographers or writers is established and maintained. 66 00:08:49,180 --> 00:08:55,510 Like the work of social reproduction, cooking food, cleaning house, looking after children, 67 00:08:55,510 --> 00:09:00,160 the construction of reputation is never a joke done, but needs to be attended to. 68 00:09:00,160 --> 00:09:10,030 Over and over again, the higher the number of people invested in looking after someone's reputation, the more effective digital becomes. 69 00:09:10,030 --> 00:09:12,310 As an artist, reputation rises. 70 00:09:12,310 --> 00:09:23,080 So does that of the people who write about them in the process of documenting each other's subjectivity, not unlike that of portraiture itself. 71 00:09:23,080 --> 00:09:32,560 Photographers become famous by portraying famous people and being portrayed it portrayed by famous photographers helps people become famous. 72 00:09:32,560 --> 00:09:42,820 Think of Princess Diana and Mario Testino. Spence herself guarded a huge archive of the Beashel construction of the Charles and Diana fairy tale 73 00:09:42,820 --> 00:09:51,160 as part of their ongoing Cinderella project about class identity and social mobility for women. 74 00:09:51,160 --> 00:09:58,750 Feminist art historians might have critiqued and rejected notions of the canon when writing about women artists. 75 00:09:58,750 --> 00:10:08,470 But the risk here is that the reputation of the practises that are marginalised by the canon ends up languishing and attended and forgotten. 76 00:10:08,470 --> 00:10:17,850 While that of the white male middle class artists or theorist's forges ahead unabashed. 77 00:10:17,850 --> 00:10:21,350 At the end of a life, while working on the final project, 78 00:10:21,350 --> 00:10:28,390 Spence had become interested in the power of representations in mythologies of the afterlife. 79 00:10:28,390 --> 00:10:38,940 As Dennett explained, quote, If all representations were lost, then writing or speaking, the deceased name will still ensure survival to remember. 80 00:10:38,940 --> 00:10:43,160 And honour was to be activate. End of quote. 81 00:10:43,160 --> 00:10:53,640 So my paper today is offered as a way of attending to the reputation of Spens to speak in name reactivated work and contribute to a role. 82 00:10:53,640 --> 00:10:58,470 Let us now praise famous women and our mothers that begat us. 83 00:10:58,470 --> 00:11:09,210 To paraphrase the full biblical quote, Spences is indeed one of the bodies of my work. 84 00:11:09,210 --> 00:11:15,600 Talking with her contributed to hatching my interest in being a historian rather than a photographer. 85 00:11:15,600 --> 00:11:19,470 She was my external examiner or my photography degree, LC. 86 00:11:19,470 --> 00:11:25,290 Yes, it was then called and it was her insight into the importance of the family album in 87 00:11:25,290 --> 00:11:31,080 the circulation of photographic culture as ideology visualised and made personal. 88 00:11:31,080 --> 00:11:36,540 That eventually led me to APHC and writing a book on Victorian women's albums. 89 00:11:36,540 --> 00:11:45,380 And there aren't many 19th century photography books that Sacto spense. 90 00:11:45,380 --> 00:11:50,150 As an educator of self and others spend so researching and writing, 91 00:11:50,150 --> 00:11:57,290 Historicist crucial but was ambivalent about the photographic theory establishing itself at the time because of 92 00:11:57,290 --> 00:12:03,980 how it ended up creating new realities rather than being used as the transformative to looking through CBT. 93 00:12:03,980 --> 00:12:13,460 It could be. According to Dennet, Spence had been very happy to get into the Polytechnic of Central London as a much more student to study. 94 00:12:13,460 --> 00:12:18,480 We'd fixed a bugging on what was one of the first degrees in photography, 95 00:12:18,480 --> 00:12:27,270 what the the in this theory was placed at the centre of the curriculum, in particular semiotics and psychoanalysis. 96 00:12:27,270 --> 00:12:27,980 Spence, however, 97 00:12:27,980 --> 00:12:38,210 soon became critical of the difference between the critical theory she was being taught and the not so critical practises of the place. 98 00:12:38,210 --> 00:12:46,750 In alternative, she started working with other women on the course as the poli snappers to share skills in a non-hierarchical way. 99 00:12:46,750 --> 00:12:51,150 And, quote, combat intellectual terrorism through John discussion. 100 00:12:51,150 --> 00:12:56,990 End of quote. As they wrote in their degrees show. 101 00:12:56,990 --> 00:13:07,530 When Spence invited Bergin to contribute an article for camera work, she made him rewrite it to make it more accessible. 102 00:13:07,530 --> 00:13:14,460 As she explained elsewhere, quote, Much of the theory of photography now will offer appears to be impenetrable. 103 00:13:14,460 --> 00:13:20,940 And the idea that theory, the idea that theory is very good for you has become a truism. 104 00:13:20,940 --> 00:13:23,630 However, we cannot live without theory, 105 00:13:23,630 --> 00:13:32,820 and it is important for all of us to continue to try to engage with the analysis and theorise Asian of photography and to ask for 106 00:13:32,820 --> 00:13:45,400 answers to the question why and how radical theory can be liberating both for us as individuals and in terms of group identity. 107 00:13:45,400 --> 00:13:56,300 The writing is always defiantly accessible, even if at times she thought she might have been right, that this meant that her work was undervalued. 108 00:13:56,300 --> 00:14:05,930 Quote, My work has being constantly ignored, but boasting of feminist orthodoxy and most of the structuralist avant garde is too popular. 109 00:14:05,930 --> 00:14:08,880 End of quote, representing itself. 110 00:14:08,880 --> 00:14:17,500 What if it was not just a way to take control of a narrative as a practitioner and bypass hostile or uninterested critiques? 111 00:14:17,500 --> 00:14:26,330 A key methodology in theatre ization of photography as a tool of change and transformation, both personal and political and decent. 112 00:14:26,330 --> 00:14:33,500 The next slide double page spreads from Spare Rade and depos. 113 00:14:33,500 --> 00:14:40,110 Jay Pegg's from Tempe Dennett's archive digital archive. 114 00:14:40,110 --> 00:14:49,140 Throughout her life, Spence insisted on working independently from formal structures of institutional support, such as university park posts, 115 00:14:49,140 --> 00:14:58,050 arts funding, body or commercial galleries, even if at times she and the people she worked with dipped into them strategically. 116 00:14:58,050 --> 00:15:05,610 This enabled Spence to reject specialised language, and Frederika Demick writes it sort any Frida. 117 00:15:05,610 --> 00:15:14,420 Writing from academic evaluations based on the regionality, the lineage of sources and the logic of thesis building, 118 00:15:14,420 --> 00:15:28,170 as Jessica Evans points out in her work on Spens to respond instead to the need to instil and support political commitment in her reader. 119 00:15:28,170 --> 00:15:34,230 Whether writing about John Hartfield, the representation of women in work during the Second World War. 120 00:15:34,230 --> 00:15:45,230 This is from Photography Politics one. Our own education and career in photography to Esther she's interested in is a history from below. 121 00:15:45,230 --> 00:15:54,110 Inspired by and consonant with working class self-help, education and community literalist projects. 122 00:15:54,110 --> 00:16:00,020 As a result, a rich body of work is one that does not develop neatly from one theme to another. 123 00:16:00,020 --> 00:16:06,290 One argument to the next, but continuously spirals and falls back onto itself, 124 00:16:06,290 --> 00:16:12,570 developing repeating themes in changing patterns for different contexts. 125 00:16:12,570 --> 00:16:28,070 So here, I'm going to focus on Spence theorise ation of the photo album. 126 00:16:28,070 --> 00:16:33,200 Beyond the family album, Private Images, Public Conventions, 127 00:16:33,200 --> 00:16:39,650 which featured in the 1979 exhibition Three Perspectives on Photography at the Hayward Gallery, 128 00:16:39,650 --> 00:16:45,670 London represented a turning point in how she stole a career. 129 00:16:45,670 --> 00:16:53,620 Having worked in photography for 27 years as an advertising news and portrait photographer and then community, 130 00:16:53,620 --> 00:17:01,360 an alternative documentary projects, she had decided to take a break from taking photographs to make you think it made a living. 131 00:17:01,360 --> 00:17:14,290 She got a job as a secretary instead to concentrate on, quote, the question of who represents who in our society, how they do it and for what purpose. 132 00:17:14,290 --> 00:17:21,200 This was urgent because, quote, photography is the most commonly used method of visual representation. 133 00:17:21,200 --> 00:17:31,570 And it is also the most accessible. As a socialist and a feminist, it had become untenable for her to carry on selling to other people fictions. 134 00:17:31,570 --> 00:17:42,670 She had made about them instead of acquiescing with the uses of photography as, quote, part of a system which means a method of representing, 135 00:17:42,670 --> 00:17:49,630 classifying and thereby evaluating people through types of visual and verbal representation. 136 00:17:49,630 --> 00:17:54,040 End of quote. She wanted to reflect on how to create, quote, 137 00:17:54,040 --> 00:18:02,230 an oppositional practise to identify these categories and exposed him as not being neutral, but ideological. 138 00:18:02,230 --> 00:18:10,680 End of quote. So she office as an example, motherhood. 139 00:18:10,680 --> 00:18:18,600 Reconfigured US childcare in the exhibition. Who's holding the baby by the hand he flashes one of the groups she worked with, 140 00:18:18,600 --> 00:18:26,600 which was exhibited in another section of three perspectives on photography. 141 00:18:26,600 --> 00:18:33,430 And beyond the Family album, she also interrogates Wollman family work class, 142 00:18:33,430 --> 00:18:41,210 Leisa, beauty and photography itself a socially and historically constructed. 143 00:18:41,210 --> 00:18:48,440 I don't know if some have claimed she was the first to exhibit domestic photographs in a gallery setting. 144 00:18:48,440 --> 00:18:55,100 I know other women in Europe and South America working with similar materials in the 1970s. 145 00:18:55,100 --> 00:19:00,380 But she was one of the first to offer a methodology for a sustained analysis of 146 00:19:00,380 --> 00:19:08,450 the family album beyond histories of Kodak or biographies of powerful individuals. 147 00:19:08,450 --> 00:19:17,510 She considered albums as an important site for the construction and maintenance, not only a photographic culture, the various conventions, 148 00:19:17,510 --> 00:19:28,430 techniques, institutions which constitute and control photography, but was so dominant and oppressive ideologies. 149 00:19:28,430 --> 00:19:36,200 This reflection of the relationship between herself, US photographer and herself, US image became the structure for the book, 150 00:19:36,200 --> 00:19:41,870 putting myself in the picture which came out with the exhibition, just Ben's review of work. 151 00:19:41,870 --> 00:19:46,190 Nineteen fifty two. Nineteen eighty five. 152 00:19:46,190 --> 00:19:54,890 Rather than a catalogue of retrospective exhibition of a retrospective exhibition pinpointing and glorifying moments in their career. 153 00:19:54,890 --> 00:20:01,940 The book looks as an alternative album of it classed and agented identity as a photographer, 154 00:20:01,940 --> 00:20:08,870 beginning with reflections on a child to a working class family in wartime and post-war London. 155 00:20:08,870 --> 00:20:18,140 The limited range of health care, education and work opportunities available to her as a young working class woman, 156 00:20:18,140 --> 00:20:20,270 how she managed to become a photographer, 157 00:20:20,270 --> 00:20:30,600 but also the limits of narratives on offer for her to construct around identities and the fight to create new ones for herself. 158 00:20:30,600 --> 00:20:38,970 This was to paraphrase the Allan Sekula quoting disposal, which might be, I don't know, might be an early version of the exhibition. 159 00:20:38,970 --> 00:20:45,590 As you can see, his name is actually misspelled. He's just one L. 160 00:20:45,590 --> 00:20:54,740 So this was an exploration of how she could invent her life out of the limited range of possibilities and how her life was invented for her. 161 00:20:54,740 --> 00:21:01,130 But by those in power. But it is also an invitation for the viewer to ask the same questions. 162 00:21:01,130 --> 00:21:09,040 Adopt them selves. The work is shared not as art of self-expression, but as a case study, 163 00:21:09,040 --> 00:21:15,470 a kind of here's one we prepared earlier to demonstrate how and why we should all 164 00:21:15,470 --> 00:21:23,410 deconstruct our own images to become conscious of the forces that have shaped us. 165 00:21:23,410 --> 00:21:31,060 Throughout the writings, Spirit stresses the importance of developing a historic consciousness of Dunbabin in the past. 166 00:21:31,060 --> 00:21:44,240 To understand the present and change the future. These became my own questions in researching Victorian women's albums. 167 00:21:44,240 --> 00:21:53,970 I was interested in the traces these women had deposited in photographic culture at a time when photographic culture was it since infancy. 168 00:21:53,970 --> 00:22:03,400 It had invented a life up to the limited range of possibility. And now their lives were invented for them by those in power, 169 00:22:03,400 --> 00:22:12,050 but was also interested in how and why that used photography to represent fictions about their own lives. 170 00:22:12,050 --> 00:22:26,880 Three and three other related insights from Spences terrorisation of the photo album that also became crucial for my research. 171 00:22:26,880 --> 00:22:35,580 The first is that family of personal items might concentrate on moments and events as this, and this, too, does private, but they are not. 172 00:22:35,580 --> 00:22:44,730 They also image social, economic and stoeckle forces, including ideology's, the photography, self singing sway. 173 00:22:44,730 --> 00:22:55,180 They become interesting, not in spite of their repetitiveness, but because of it and readable beyond an interest in particular individuals. 174 00:22:55,180 --> 00:23:03,820 The second is around the standing of the power dynamics involved at every stage of the photographic process. 175 00:23:03,820 --> 00:23:08,410 Between the photographer, the people being photographed and what is possible, 176 00:23:08,410 --> 00:23:16,270 according to current technologies and notions of what is good or worthwhile to photograph. 177 00:23:16,270 --> 00:23:24,520 And then the power dynamics that determine who is in control of selecting captioning and circulating photographs 178 00:23:24,520 --> 00:23:32,080 on the pages of magazines or on the pages of albums where parents create narratives that can later be contested, 179 00:23:32,080 --> 00:23:37,330 critiqued and read against the grain by rebellious daughters. 180 00:23:37,330 --> 00:23:40,590 Through her critique of her experience as a photographer, 181 00:23:40,590 --> 00:23:51,430 as the subject of photographs and then as a user of photographs made by Adi's Spencer realised long before the SLA. 182 00:23:51,430 --> 00:23:59,260 That the photographic event is not circumscribed by the encounter between photographer equipment and subject matter 183 00:23:59,260 --> 00:24:09,280 starts long before then and continues with each subsequent he uses and view was of the photographs in this process. 184 00:24:09,280 --> 00:24:16,440 Moreover, Pylorus never completed with one or the other, but always the result of negotiations. 185 00:24:16,440 --> 00:24:24,840 This means that even in the most stereotypical looking album, the power is never completely with photographic manufacturers, 186 00:24:24,840 --> 00:24:31,500 photographers or dominant ideologies represented or the album collectors. 187 00:24:31,500 --> 00:24:41,520 And that is simply passive consumers of photography. The third productive aspect, suspense is the utilisation of the photo album. 188 00:24:41,520 --> 00:24:48,390 I want to highlight here comes from reflections on what's not represented in them. 189 00:24:48,390 --> 00:24:52,470 Work in this unhappiness. Moments of failure. 190 00:24:52,470 --> 00:25:12,440 Conflictual struggle. She understood how these are unrepresented, all in existing photographic languages with snapshots, studio portraits, 191 00:25:12,440 --> 00:25:30,660 documentary photographs or even art phototherapy developed partly as a language to be able to represent what previous John Ross could not. 192 00:25:30,660 --> 00:25:38,670 But this work also highlights the albums represent not the reality of life, but its aspirations. 193 00:25:38,670 --> 00:25:44,100 There are sites with notions of what is worth recording and celebrating becomes 194 00:25:44,100 --> 00:25:51,950 personalised and visualised as moments of individual or familial achievement. 195 00:25:51,950 --> 00:26:00,870 Take the cliché of wearing Sunday best clothing, portraits and snapshots and snapshots remarked upon and beyond the family album. 196 00:26:00,870 --> 00:26:07,380 And a theme in Spencer, Spens and Martin's phototherapy work. 197 00:26:07,380 --> 00:26:13,500 As Maria Antonietta, much hockey wrote about workers in Naples in the 1960s, quote, 198 00:26:13,500 --> 00:26:23,130 Sunday is the day in which everyone wants to forget that there is any need to work and to dress as if no one is forced for a living. 199 00:26:23,130 --> 00:26:27,470 Clothes in this context, give to illusions of power. 200 00:26:27,470 --> 00:26:39,000 End of quote. And this is from leftist to Alton's air. The fact that Spencer's parents family albums showed no traces of their working class identity. 201 00:26:39,000 --> 00:26:43,640 But only moments where they conformed to middle class expectations. 202 00:26:43,640 --> 00:26:50,190 Holliday's Happy Children and Mudder's moments of leisure and smart clothes and gave, quote, 203 00:26:50,190 --> 00:26:58,800 no indication at all of the wider social, economic and political histories of our disgusting class, divided society. 204 00:26:58,800 --> 00:27:05,700 End of quote. It's not just about the compulsion to conform to middle class standards, 205 00:27:05,700 --> 00:27:16,120 but also adopt deep desire to fix fleeting instances of respite from everyday struggles and chores. 206 00:27:16,120 --> 00:27:21,070 Working class families want to show themselves as if they were not forced to work for a 207 00:27:21,070 --> 00:27:28,030 living in situations in which they can indulge the illusion of power over their own lives. 208 00:27:28,030 --> 00:27:35,490 So not at work, not hale, not showing any of the efforts that go into preparing for special family occasions. 209 00:27:35,490 --> 00:27:41,350 What the conflict and unhappiness that often circulate around them. 210 00:27:41,350 --> 00:27:54,040 The album is where the illusion of happy moments is consolidated and the editing used to construct life as Liebert successfully. 211 00:27:54,040 --> 00:28:01,000 To conclude, I want to go back briefly to the issue of women and work in spences photography and writing, 212 00:28:01,000 --> 00:28:07,030 partly to complicate the notion that she moved away from a commitment to this theme when she moved from 213 00:28:07,030 --> 00:28:14,440 documentary to phototherapy already with the Hatemi flashes that were using a variety of visual strategies, 214 00:28:14,440 --> 00:28:36,230 documentary and non. The highlight, for example, women's double or even triple shift as work is Mondays and wipes. 215 00:28:36,230 --> 00:28:41,640 As we have seen, she'll she also researched the theme historically. 216 00:28:41,640 --> 00:28:46,920 Looking at represent representations of women workers during the Second World War, 217 00:28:46,920 --> 00:28:58,740 when some of the work of social reproduction was professionalised in what, workplace canteens and nurseries? 218 00:28:58,740 --> 00:29:08,570 Did I say it was to quote Broden? The question of decoding images of women to take into account not just the symbolic sexual lack, 219 00:29:08,570 --> 00:29:13,460 but also the exploitation of women's labour under capitalism? 220 00:29:13,460 --> 00:29:17,000 End of quote. 221 00:29:17,000 --> 00:29:27,700 This research survivor was just as relevant to a working phototherapy coming to terms, for example, with a complex feelings for her mother. 222 00:29:27,700 --> 00:29:37,570 The process of imagining itself has us not that going to work better realise to have realised how well it's exploiting her. 223 00:29:37,570 --> 00:29:45,340 This might have also offered us some moments of pleasure in small acts of freedom. 224 00:29:45,340 --> 00:29:46,150 Smoking, 225 00:29:46,150 --> 00:29:57,300 as she was not allowed to do by a husband or reading a magazine during a break was once a term that when no statutory breaks from housekeeping. 226 00:29:57,300 --> 00:30:06,040 This helped turn the anger that she had felt towards her mother, for example, for abandoning her to go to work, for letting it. 227 00:30:06,040 --> 00:30:14,310 When she went, Spence was evacuated as part of the programme to allow women to go work in the factories. 228 00:30:14,310 --> 00:30:22,380 So this helped to turn the anguish it felt towards a mother, into a feminist anger that could be challenged towards change. 229 00:30:22,380 --> 00:30:34,970 Through a process it shared visually with other women. The workload itself, then, was not a retreat from exploring issues of class and work. 230 00:30:34,970 --> 00:30:41,180 But a test case to demonstrate the viability of the collective project. 231 00:30:41,180 --> 00:30:46,340 That was part Marxist class consciousness, part graduation. 232 00:30:46,340 --> 00:30:57,260 Knowing yourself as a product of a historical process, quote, which is deposited in you an infinity of traces without leaving an inventory. 233 00:30:57,260 --> 00:31:08,960 And this is Gramme she which she cited by Dennet and Span's. And part second wave feminist consciousness raising as the recession of photography 234 00:31:08,960 --> 00:31:14,180 and a thinking theoretical about photography and never an end in themselves, 235 00:31:14,180 --> 00:31:18,860 but hard to enable others to reflect on their own struggles. 236 00:31:18,860 --> 00:31:27,620 They not only created a desire for change, but also propose blueprints for action. 237 00:31:27,620 --> 00:31:31,604 Thank you.