Lisa Barnard known as Associate Professor in Photography
MA Photography with Critical Theory
Fellow of the Royal Photographic Society FRPS
Lisa Barnard’s photographic and film practice is placed in the genre of contemporary documentary. Her work discusses real events, embracing complex visual strategies that utilise both traditional documentary techniques with more contemporary forms of representation. Barnard connects her interest in aesthetics, current photographic debates around materiality and the existing political climate. Of particular interest to her is the relationship between the military industrial complex, new technology, and the psychological implication of conflict. Barnard receives regular funding, exhibits frequently both nationally and internationally, and has portfolios of her work featured in contemporary photographic publications. She is Senior Lecturer on BA Documentary Photography at The University of South Wales. Chateau Despair was published by GOST in 2013. Her latest book Hyenas of the Battlefield, Machines in the Garden was published by GOST in 2015.
In 2015 Barnard was awarded a new Grant of $15,000 from Getty Images to complete a new body of Work http://press.gettyimages.com/getty-images-announces-recipients-of-new-prestige-grant/ published by MACK Title: The Canary and the Hammer
I have been teaching in Higher and Further Education for over 10 years and during that time have been continuing with my own practice. I regularly exhibit and publish and work with students both nationally and internationally. I regularly attend symposiums and lectures and am up to date in all aspects of social media and new photographic and aesthetic concerns.
Senior Lecturer and Third year responsibility including Professional Practice programming.
Hardcover: 96 pages
Publisher: GOST Books; 1st edition (31 Oct 2012)
Product Dimensions: 22.9 × 16.5 × 1.5 cm
Limited edition of 500 copies 220×160 mm 96 pages printed four colour Hardback – silkscreened and foil stamped cloth Essays by Jeremy Till and Sarah James 32 Smith Square was Conservative Central Office from 1958 to 2004.The building is synonymous with Margaret Thatcher smiling and waving out of the window on the 2nd floor after winning the elections of 1979, 1983 and 1987. However, by 2004 the building became known as ‘Chateau Despair’ to its inhabitants, prior to the Conservatives’ move to Victoria Street. They left behind a mausoleum containing nearly 50 years of their political history, etched on its surfaces and discarded in its corners. This new books features previously unseen photographs of the interior documenting the dulled shades of corporate blue, stained carpets, peeling paintwork and discarded iconography of past alliances. Carefully choreographed portraits of a smiling Thatcher, unearthed in an old cupboard, punctuate the book, jarring with the shabby interior. The book also includes photographs of the objects, or remnants, Barnard found in the building including a blue rosette, an internal envelope, an ornate silver spoon, a balloon and a strip of film negative. Barnard’s project offers an archaeology of the period of Thatcher’s reign from 1979 to 1990, and an autopsy of the theatre and props which helped direct and shape Tory campaigns as they led Britain into an age of banking, individualism and the freemarket that has defined politics and reconfigured culture since the 1960s. … Welcome to Chateau Despair… Do you believe in Britain?
Hyenas of the Battlefield, Machines in the Garden.
Limited edition of 750 copies
216mm x 280mm
Essays by Julian Stallabrass and Eugénie Shinkle
Due to the scale of the book, shipping costs for this item are increased from our usual rate.
Hyenas of the Battlefield, Machines in the Garden, is a study into the ‘unholy alliance’ between the military, the entertainment industry and technology, and their coalescence around modern-day warfare. As Fredric Jameson famously observed in 1991 “the underside of culture is blood, torture, death and horror.”
Barnard’s publication explores the complex relationship between these apparently divergent arenas and how the screen is pivotal to the emergence and ongoing development in the relationship between war, media and industry as they relate to the virtual and the real.
Shifting from screen to landscape and incorporating imagery from disparate yet indelibly connected areas: from Las Vegas to Pakistan, Waziristan to Hollywood (via Washington), this new work questions photojournalism’s ‘truth claims’ and the indecipherable, all-consuming nature of the industrial-military complex.
The ‘machines in the garden’ denote the dialectical tension between the American pastoral ideal and machine technology. The ‘hyenas of the battlefield’ are the technological-driven corporations that keep the US soldiers ‘in the loop’, but off the ground.
This is the goal of the US administration: a model of warfare where no more American soldiers die on the battlefield.
Everything that is included in the publication has been researched, filmed and photographed by Lisa Barnard. The interviews with the military Clinical Psychologists and the US Air Force pilots were recorded in person and all the images are taken in either the USA or Pakistan.
This publication was made possible by the Albert Renger-Patzsch Award 2012 through the Dietrich-Oppenberg-Foundation, Essen.
The Canary and The Hammer published by MACK.
Silkscreened hardcover with Japanese paper
200 pages, 20 × 29 cm
Photographed across four years and four continents, The Canary and The Hammer details our reverence for gold and its role in humanity’s ruthless pursuit of progress. Through a mix of image, text and archival material, the third book by British artist Lisa Barnard provides a fascinating insight into the troubled history of gold and the complex ways it intersects with the global economy.
Gold is ubiquitous in modern life; the mineral is concealed at the heart of much of the technology we use and is, most fundamentally, a potent symbol of value, beauty, purity, greed and political power. The Canary and The Hammer strives to connect these disparate stories—from the mania of the gold rush and the brutal world of modern mining, to the sexual politics of the industry and gold’s often dark but indispensable role at the heart of high-tech industry.
Prompted by the financial crisis of 2008 and its stark reminder of the global west’s determination to accumulate wealth, Barnard sets out to question gold’s continued status as economic barometer amidst new intangible forms of technological high—finance. By addressing this through photography, Barnard in turn raises the question of how her chosen medium can respond to such abstract events and concepts. The result is an ambitious project, one sketching a personal journey in which she ultimately tackles the complexity of material representation in these fragmented and troubling times.
Member of the APHE. http://aphe.ac.uk/
Fellow of the Royal Photographic society
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