SOURCE MAGAZINE
Graduate
Photography
Online
Bonus 2017
Selections:
As part of the warm-up for Graduate Photography Online 2018 We asked course leaders and directors from the universities who participated in 2017 to choose their three favourite sets of work from the 2017 submissions. The only condition we set was that the work they chose had to be from a course other than their own. Anthony Luvera, Principal Lecturer and Course Director of the MA in Photography and Collaboration at Coventry University, shares his favourites...
Anthony
Luvera
Coventry University »
www.luvera.com »
Anthony is an Australian artist, writer and educator based in London. His photographic work has been exhibited widely in galleries, public spaces and festivals, including the British Museum, London Underground’s Art on the Underground, National Portrait Gallery London, Belfast Exposed Photography, Australian Centre for Photography, PhotoIreland, Malmö Fotobiennal, Goa International Photography Festival, and Les Rencontres D’Arles Photographie. His writing appears regularly in a wide range of publications including Photoworks, Source and Photographies. Anthony is Principal Lecturer and Course Director of MA Photography and Collaboration at Coventry University, having previously lectured for institutions such as Central Saint Martins College of Art and Design, London College of Communication, University for the Creative Arts Farnham and Falmouth University. He also designs education and mentorship programmes, facilitates workshops, and gives lectures for the public education departments of the National Portrait Gallery, Royal Academy of Arts, The Photographers’ Gallery, Photofusion, Barbican Art Gallery, and community photography projects across the UK.
Anthony's Selected Photographers:
Falmouth University - BA (Hons) Photography
Selector's Comment: Humour rarely seems to be employed in photography these days, certainly not in ways that avoid cynical or questionable representations of other people. Ocean Farini's project, 'Nine Slices of Bread', leaps out to me both for its playful critique of the idealised representation of the female body and the way it makes me smile. Constructed through a practice that combines self-portraiture and appropriation of imagery sourced from dieting and exercise magazines of the 1980s, this body of work is quick-witted and conceptually sound. In her use of historic imagery, Farini avoids nostalgia, leveraging a sharp critical commentary of the social pressures continuing to be imposed on women through the contemporary media landscape.
Edinburgh Napier University - BA (Hons) Photography
Selector's Comment: In 'Waiting Room' Kat Dlugosz has created a body of work that represents EU immigrants who live in Scotland with sensitivity, calling into question the uncertain relationship individuals and families have with the place they call home in the time of Brexit. Each piece, constructed as a triptych of portrait and landscape photographs, is effective, aesthetically and conceptually. The juxtaposition of the photographs in the individual images of 'Waiting Room' is suggestive of the relationship and sense of belonging people have with a place, as well as the state of limbo imposed on us all as politicians attempting to carve the United Kingdom out of Europe.
Plymouth College of Art - BA (Hons) Photography
Selector's Comment: Sam Lyne's 'My Dearest Beatrice' is a delicate and moving body of work. Created in response to the discovery of letters and photographs of a family member travelling through a range of picturesque scenery who, intriguingly, worked at the infamous Bletchley Park during World War Two, Lyne appropriates the material to sensitively reflect on themes of archive, memory, and personal photography. While the face of the woman depicted is never revealed to the viewer, her gaze directs ours towards dramatic Alpine scenery redolent of 18th century Romantic landscape painting. Beautiful work.