Ten.8: Difference between revisions
Jamesmcardle (talk | contribs) italic title |
Jamesmcardle (talk | contribs) →History: ref Tags: nowiki added 2017 wikitext editor |
||
| Line 2: | Line 2: | ||
== History == |
== History == |
||
Ten.8 (the title referring to the 10" x 8" format of the traditional black-and-white photographic print) was founded in 1979 by the [[Birmingham]] photographer collective [[Derek Bishton]], Brian Homer and John Reardon (1951 - 2018)<ref>{{Cite web|url=https://www.bjp-online.com/2018/05/obituary-john-reardon/|title=Obituary: John Reardon, photographer and picture editor, 1951-2018|date=2018-05-02|website=British Journal of Photography|language=en-US|access-date=2019-07-31}}</ref> in order to promote the city's photographers. The collective also included Roy Peters then studying photography at Birmingham's [[Centre for Contemporary Cultural Studies]], social documentary photographer Nick Hedges, [[Birmingham Metropolitan College|Stourbridge College]] lecturer John Taylor, and later Paul Lewis from [[University of Wolverhampton|Wolverhampton Polytechnic]] and John Hodgett form [[Bournville Centre for Visual Arts|Bournville College of Art]]. |
''Ten.8'' (the title referring to the 10" x 8" format of the traditional black-and-white photographic print) was founded in 1979 by the [[Birmingham]] photographer collective [[Derek Bishton]], Brian Homer and John Reardon (1951 - 2018)<ref>{{Cite web|url=https://www.bjp-online.com/2018/05/obituary-john-reardon/|title=Obituary: John Reardon, photographer and picture editor, 1951-2018|date=2018-05-02|website=British Journal of Photography|language=en-US|access-date=2019-07-31}}</ref> in order to promote the city's photographers. The collective also included Roy Peters then studying photography at Birmingham's [[Centre for Contemporary Cultural Studies]], social documentary photographer Nick Hedges, [[Birmingham Metropolitan College|Stourbridge College]] lecturer John Taylor, and later Paul Lewis from [[University of Wolverhampton|Wolverhampton Polytechnic]] and John Hodgett form [[Bournville Centre for Visual Arts|Bournville College of Art]]. |
||
Contributing photographers included Paul Hill, Angela Kelly, Brian Griffin, Abbas, [[Susan Meiselas]], [[Vanley Burke]], Nigel Dickinson, and [[Chris Steele-Perkins]] and their imagery appeared alongside writing by academics and community activists. It has been called a 'First World' commentary on culture, compared with the contemporaneous pop culture magazine ''[[The Face (magazine)|The Face]].'' Where the latter advised on 'street credibility' and 'nous' for those negotiating fashion, urban living and the music scene, Ten.8 |
Contributing photographers included Paul Hill, Angela Kelly, Brian Griffin, Abbas, [[Susan Meiselas]], [[Vanley Burke]], Nigel Dickinson, and [[Chris Steele-Perkins]] and their imagery appeared alongside writing by academics and community activists. It has been called a 'First World' commentary on culture, compared with the contemporaneous pop culture magazine ''[[The Face (magazine)|The Face]].'' Where the latter advised on 'street credibility' and 'nous' for those negotiating fashion, urban living and the music scene, ''Ten.8'' featured knowledgeable and fiercely contested debates on the history, theory, politics and practice of photography and offered source material for educators.<ref>{{Citation | author1=Evans, Jessica., (editor.) | author2=Hall, Stuart, 1932-2014., (editor.) | author3=Open University | title=Visual culture : the reader | publication-date=2013 | publisher=SAGE Publications in association with the Open University | isbn=978-0-7619-6248-9 }}</ref> Its stance was in the left-wing intellectual tradition entrenched in the year it was founded by the election of [[Margaret Thatcher|Margret Thatcher]] and the [[Winter of Discontent]].<ref>{{Citation | author1=Batchen, Geoffrey | title=Photography degree zero : reflections on Roland Barthes's Camera lucida | publication-date=2009 | publisher=MIT Press | isbn=978-0-262-01325-3 }}</ref> |
||
By 1984, Rhonda Wilson had joined the editorial board and had a lasting influence. She designed two issues; Another Coal Face (1984) and Evidence (1987). In 1988, when she and [[Roshini Kempadoo]] co-edited the Spectrum Women’s Photography Festival exhibition catalogue, it was published as a special supplement to issue 30. |
By 1984, Rhonda Wilson (1953 – 2014) had joined the editorial board and had a lasting influence. She designed two issues; Another Coal Face (1984) and Evidence (1987). In 1988, when she and [[Roshini Kempadoo]] co-edited the Spectrum Women’s Photography Festival exhibition catalogue, it was published as a special supplement to issue 30. |
||
Editor Derek Bishton established Ten.8 Touring, an exhibition touring project in 1987. |
Editor Derek Bishton established 'Ten.8 Touring', an exhibition touring project in 1987. |
||
Wilson became one of the magazine’s directors when, in 1989, ''Ten.8''<nowiki/>'s loose co-operative was formalised as a limited company. She took up responsibility for Ten.8 Touring, benefitting from her visit during the period to Houston FotoFest in the US by emulating their the portfolio reviews. Wilson left ''Ten.8'' in 1991 and was later awarded an MBE for her services to photography.<ref>{{Cite web|url=https://www.bjp-online.com/2014/11/a-tribute-to-rhonda-wilson/|title=A tribute to Rhonda Wilson|date=2014-11-24|website=British Journal of Photography|language=en-US|access-date=2019-07-31}}</ref> |
|||
Ten.8 had a far-reaching impact that drew international readers. |
''Ten.8'' had a far-reaching impact that drew international readers. |
||
== References == |
== References == |
||
Revision as of 05:30, 31 July 2019
TEN.8 was a British photography magazine published quarterly in Birmingham, throughout the 1980s, folding in 1992.
History
Ten.8 (the title referring to the 10" x 8" format of the traditional black-and-white photographic print) was founded in 1979 by the Birmingham photographer collective Derek Bishton, Brian Homer and John Reardon (1951 - 2018)[1] in order to promote the city's photographers. The collective also included Roy Peters then studying photography at Birmingham's Centre for Contemporary Cultural Studies, social documentary photographer Nick Hedges, Stourbridge College lecturer John Taylor, and later Paul Lewis from Wolverhampton Polytechnic and John Hodgett form Bournville College of Art.
Contributing photographers included Paul Hill, Angela Kelly, Brian Griffin, Abbas, Susan Meiselas, Vanley Burke, Nigel Dickinson, and Chris Steele-Perkins and their imagery appeared alongside writing by academics and community activists. It has been called a 'First World' commentary on culture, compared with the contemporaneous pop culture magazine The Face. Where the latter advised on 'street credibility' and 'nous' for those negotiating fashion, urban living and the music scene, Ten.8 featured knowledgeable and fiercely contested debates on the history, theory, politics and practice of photography and offered source material for educators.[2] Its stance was in the left-wing intellectual tradition entrenched in the year it was founded by the election of Margret Thatcher and the Winter of Discontent.[3]
By 1984, Rhonda Wilson (1953 – 2014) had joined the editorial board and had a lasting influence. She designed two issues; Another Coal Face (1984) and Evidence (1987). In 1988, when she and Roshini Kempadoo co-edited the Spectrum Women’s Photography Festival exhibition catalogue, it was published as a special supplement to issue 30.
Editor Derek Bishton established 'Ten.8 Touring', an exhibition touring project in 1987.
Wilson became one of the magazine’s directors when, in 1989, Ten.8's loose co-operative was formalised as a limited company. She took up responsibility for Ten.8 Touring, benefitting from her visit during the period to Houston FotoFest in the US by emulating their the portfolio reviews. Wilson left Ten.8 in 1991 and was later awarded an MBE for her services to photography.[4]
Ten.8 had a far-reaching impact that drew international readers.
References
- ^ "Obituary: John Reardon, photographer and picture editor, 1951-2018". British Journal of Photography. 2018-05-02. Retrieved 2019-07-31.
- ^ Evans, Jessica., (editor.); Hall, Stuart, 1932-2014., (editor.); Open University (2013), Visual culture : the reader, SAGE Publications in association with the Open University, ISBN 978-0-7619-6248-9
{{citation}}:|author1=has generic name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) - ^ Batchen, Geoffrey (2009), Photography degree zero : reflections on Roland Barthes's Camera lucida, MIT Press, ISBN 978-0-262-01325-3
- ^ "A tribute to Rhonda Wilson". British Journal of Photography. 2014-11-24. Retrieved 2019-07-31.