| Photography Theory Talks |
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Photofusion recently announced its programme of photography theory talks, aimed at undergraduates as well as the general public. We aim to make these talks accessible and stimulating in an informal environment covering a range of themes, writers and theorists.
Photofusion is pleased to announce a series of photography
theory talks. These talks are aimed at the general public
and may be of particular interest to undergraduates. We
aim to make these talks accessible and stimulating in an
informal environment. Future talks include Benjamin, Barthes
and Semiotics. A full programme of theory talks will begin
in February. |
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| Jean Baudrillard Selected Writings (1988,
Mark Poster, ed.) and The Gulf War Did Not Take Place (1995) |
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Dates: February (exact date to
be confirmed)
Day: Thursday
Time: 19.00
Speaker: Lucy Soutter
Fee: £7/£5 concessions |
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| This talk explores some of the major themes in Baudrillard’s
writing, from his initial rejection of Marxism in The
Mirror of Production (1973), to his influential theory
of hyperreality in Simulacra and Simulations (1983)
to his recent polemic The Gulf War Did Not Take Place (1995).
Baudrillard has been described as a theoretical provocateur
and even a nihilist. The talk will propose that his approach—at
times ecstatic, at times perverse—can provide a jaded,
cynical audience with a fresh take on life and art. While
Baudrillard may be seen by some to be dancing on the grave
of history, his writings can also be understood as curiously
liberating and even uplifting. |
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| Lucy Soutter |
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Lucy Soutter is an artist, art historian and critic
who lectures in photography at the Royal College of Art
and the London College of Communication. Lucy is passionate
about making difficult art and theory accessible to a
broader range of audiences without compromising its complexity.
Her approach to texts is creative and often irreverent.
She writes for publications including Source and Portfolio.
Her artist’s books Art Theory Made Me Cry and Obsessive
Love are in the collections of the Museum of Modern
Art, New York and the National Art Library, London. With
Alison Green, she is currently editing an anthology entitled The
C Word: Or Why We Should Care about Conceptual Art.
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