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• keywordRon Maureen and Peter
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      • archiveFour Corners Bishopsgate
      • vimeo_link
      • authorDavid Hoffman
      • author_editorNULL
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      • tagsphotojournalism,wapping dispute,strike,police,labour,newspapers,printing
      • titleNews International Strike - David Hoffman
      • subtitleBlack and white photograph of the Wapping dispute (strike by London newspaper printers) dated 3 May 1986
      • dimension1
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      • copyrightDavid Hoffman
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      • archiveFour Corners Bishopsgate
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      • titleNews International Strike - David Hoffman
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      • titleNews International Strike - David Hoffman
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      • archiveFour Corners Bishopsgate
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      • authorCamerawork, Tower Hamlets
      • author_editorNULL
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      • tagsexhibition,women,tower hamlets,east london,experimentation,open submission,,women's art festival,love,sexuality,nina saunders,rosa ainley,sarah brooker,maria-luiza de melo carvahlo,lynne connolly,judith crow,karen douglas,jean fraser,carol glennie,jo king,marysia lewandowska
      • titleLove and Romance - Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Marysia Lewandowska
      • subtitleExhibition flyer
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Tower Hamlets
      • creditsTower Hamlets Women's Art Festival
      • relatedSubmission invitation 0002835 Submission guidelines 0002836 Submission form 0002837 Exhibition Booklet 0002838
      • locationLondon, UK
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      • tagslatin america,photo-essay,image-text,landscape,fine art,social documentary,film screening,new latin american cinema
      • titleImage - Sound: Latin America In Europe - Various
      • subtitlePress release for exhibition at Camerawork and screenings at Four Corners
      • dimension2
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • creditsLatin American Cultural Centre, Latin American Independent Film Association, Arts Council of Great Britain, London Borough of Tower Hamlets, Greater London Council, Latin American House (Brussels)
      • relatedPhotograph 0001755 Photograph 0001754
      • locationLatin America
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      • archiveFour Corners Bishopsgate
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      • authorGLC, Roundhouse, Zarina Bhimji, Prodeepta Das, Ashvin Gatha, Sunil Gupta, Sunil Janah, Mumtaz Karimjee, Abida Khan, Samina Khanour, Sarita Sharma, Padma Shreshtha, Dilip Hiro
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      • tagsexhibition,religion,immigration,employment,public transport,indian subcontinent,labour,hinduism,islam,christianity,sikhism,anti-racism,multi-culturalism
      • titleDarshan: An Exhibition by Ten Asian Photographers - Zarina Bhimji, Prodeepta Das, Ashvin Gatha, Sunil Gupta, Sunil Janah, Mumtaz Karimjee, Abida Khan, Samina Khanour, Sarita Sharma, Padma Shreshtha
      • subtitleA booklet for the exhibition, with an essay by Dilip Hiro and introduction by Prodeepta Das
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      • copyrightGLC, Roundhouse, Zarina Bhimji, Prodeepta Das, Ashvin Gatha, Sunil Gupta, Sunil Janah, Mumtaz Karimjee, Abida Khan, Samina Khanour, Sarita Sharma, Padma Shreshtha, Dilip Hiro
      • creditsGreater London Council Ethnic Minorities Unit, Roundhouse
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      • locationUK
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      • pdf_textGLC & ROUNDHOUSE PRESENT D A R S H A N An Exhibition by Ten Asian Photographers Photo by: Sunil Janah DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN ASIANS IN BRITAIN BY DILIP HIRO In B ritain th e te rm 'A s ia n s ' has co m e to m ean p e o p le fro m th e In d ia n s u b c o n tin e n t: Ind ia, P akistan, B angladesh and Sri Lanka. T hey have arrived here e ith e r d ire c tly fro m the s u b c o n tin e n t o r fro m East A frica . G ive th e v a rie ty o f re lig io n s and la ng uag es o f th e In d ia n s u b c o n tin e n t, it is n o t s u rp ris in g th a t th e A sia n im m ig ra n ts here spe ak h a lf a do ze n m a jo r la ng uag es, and p ra c tis e fo u r lo n g -e s ta b lis h e d re lig io n s : H in d u ism , Islam , C h ris tia n ity and S ikh ism . An o rth o d o x Sikh m ale w ith a beard and tu rb a n is th e e a sie st to id e n tify . Even if he is w ith o u t tu rb a n , th e c o m p u ls o ry 'S in g h ' in his nam e te lls his re lig io n . By and large S ikh s share th e ir firs t nam es w ith H indu s fro m n o rth Ind ia, w h ic h are o fte n ro o te d in S a n skrit, th e la ng uag e o f the a n c ie n t A ryan c o lo n is e rs o f th e s u b c o n tin e n t. In th is , th e y are q u ite apart fro m M u s lim s w h o s e nam es are e ith e r A ra b ic o r Persian in o rig in . If one w e re to cla s s ify th e A sia n se ttle rs on lin g u is tic basis, th e P unjabi speakers fro m India and Pakistan w o u ld em erge as the la rg e st g ro u p , fo llo w e d by th e B engali speakers fro m B anglade sh and India. M o s t Punjabi and B engali speakers have one th in g in co m m o n : a rural, agrarian b a ckg ro u n d . T h is w as th e case w ith m any o f th o se w h o arrived in th e late 1 9 5 0 's and early 1 9 6 0 's . T hey cam e to re lieve th e acute m a n p o w e r sh o rta g e in th o s e B ritish se rvice s and in d u s trie s w h ic h o p era te on s h ift basis a n d /o r o ffe r u n c o n g e n ia l w o rk in g c o n d itio n s : h o s p ita ls , p u b lic tra n s p o rt,te x tile s , heavy e n g in e e rin g , and rubber, p la s tic and glass m a n u fa ctu rin g . at CAMERAWORK 121 ROMAN ROAD, LONDON E2 OQN Telephone: 01-980 6256 Tuesday to Friday 1p.m. - 6p.m. Saturday 11a.m. - 6p.m. A ty p ic a l A sia n im m ig ra n t, o fte n b e in g u n fa m ilia r w ith E ng lish, w as d is q u a lifie d fro m e m p lo y m e n t in p u b lic tra n s p o rt. He th e re fo re so u g h t w o rk in a fa c to ry w h e re he w as re q u ire d to p e rfo rm u n s k ille d o r s e m i­ s k ille d tasks h im s e lf, o r in a gang un d e r E n g lis h -s p e a k in g leader. S in ce heavy e n g in e e rin g (such as fo u n d rie s and stee l w o rks) and te x tile s , lo ca te d c h ie fly in th e M id la n d s and th e N o rth , w e re o f th e A sia n im m ig ra n ts s e ttle d in th e se re g io n s: The in flo w o f A sia n s fro m East A frica in th e la te 1 9 6 0 's and early 1 9 7 0 s w a s o f d iffe re n t kin d . Because th e A sia n s e ttle rs in East A frica w e re b a rred (by th e ru lin g B ritish ) fro m b u yin g a g ric u ltu ra l la nd , th e c o m m u n ity c o n s is te d e n tire ly o f artisa ns, tra d e rs, c iv il serva nts, p ro fe s s io n a ls and b u s in e s s m e n . T h e ir arrival here b o o s te d th e B ritis h A sia n c o m m u n ity 's m id d le cla ss s e g m e n t. DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN N o e xa ct fig u re s are a v a ila b le ; but, a c c o rd in g to m o s t e s tim a te s , like th e n a tiv e B ritish , a b o u t tw o - th ir d s o f th e A sia n s e ttle rs are w o rk in g class. The n o ta b le p re se n ce o f A sia n d o c to rs and o th e r m e d ic a l s ta ff in h o s p ita ls , and th e A s ia n -o w n e d g ro c e rie s , rea ta ura nts, c lo th e s sh o p s s u b -p o s t o ffic e s and n e w s a g e n ts is an in d ic a to r o f th e s u b s ta n tia l size o f th e A sia n m id d le class. NOTES ON THE EXHIBITION A ssia n s tu d e n ts be ca m e a fe a tu re o f B ritish u n iv e rs itie s as early as 1 8 7 5 , a ro un d th e tim e Q ueen V ic to ria w a s c ro w n e d th e e m p ress of In d ia . T h e m o s t fa m o u s o f th e se w a s a la w s tu d e n t c a lle d M ah atm a (M o h a n d a s K a ra m cha nd) G an di, w h o arrived in 1 8 8 8 and staye d f o r th e th re e years. T h e re w e re m any o th e rs fro m th e In d ia n s u b c o n tin e n t liv in g and w o rk in g in B rita in th e n - as th e se d ive rse and s trik in g p h o to g ra p h s te s tify . S in ce th e n th e A sia n p re se n ce has g ro w n , and so has t h e ir c o n tr ib u tio n , m a te ria l and c u ltu ra l, to B ritis h s o c ie ty at large. Dilip Hiro is the author inter alia of Black British, White British, published by Penguin Books The E x h ib itio n p re se n ts w o rk by te n A sia n p h o to g ra p h e rs in B rita in . T h e ir e xp e rie n ce s and resp on ses are o f sp e cia l re le va n ce to our p re s e n t m u lti-c u ltu ra l B rita in , on tw o g ro u n d s. F irst, th e ir p e rs p e c tiv e ga in s fro m a u th e n tic ity . S e co n d ly, th e v ita lity o f th e ir c re a tiv ity and v is io n is a s ig n ific n t c o n trib u tio n to th e cu ltu ra l w e a lth of th e n a tio n and m ust n o t be b ru she d aside as su b -m a in s tre a m "E th n ic ". The w o rk on s h o w e n co m p a sse s a w id e s p e c tru m o f p h o to g ra p h ic p ra c tic e as w e ll as a w id e age range. The c h o ic e o f p h o to g ra p h e rs w as based on th e p rin c ip le o f re p re s e n tin g w o rk by th e a c c o m p lis h e d as w e ll as th e p ro m is in g and o f e q u ita b le re p re s e n ta tio n o f bo th sexes. T h is is by no m eans an e xh a u stive e x h ib io n ; it is h o p e d th a t m ore s h o w s w ill fo llo w . S pe cia l th a n k s are due to th e R o un dho use and th e E th n ic M in o ritie s U n it at th e G.L.C., and e s p e c ia lly Fay R o drig ue s, W ith o u t w h o s e a ssista nce th e s h o w w o u ld n o t have seen th e lig h t. PRODEEPTA DAS DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN ZARINA B H IM JI "In th e se p h o to g ra p h s I use o b je c ts th a t are ve ry c lo se to me. As sy m b o ls to s ig n ify m y e xp e rie n ce s. I p re fe r th e m e ta p h o ric a l to th e lite ra l re p re s e n ta tio n o f pe o p le . I am a lso in te re s te d in ju x ta p o s in g o f im a ge s, w h ic h e ch o th e style o f a d v e rtis e m e n ts , w ith t e x t th a t w o u ld in te rru p t th e d o m in a n t and a c c e p te d w a ys o f v ie w in g th e w o r ld " . Born in E ngland C u rre n tly a fin a l yea r s tu d e n t a t G o ld s m ith s ' C o lle g e Exhibitions: B lack ^ S h o w , B rixton A rt G allery GLC Y o u th F estival, J u b ile e G ardens A rtis ts a g a in s t A p a rth e id , S o u th Bank F. S to p s, Chelsea S ch o o l o f A rt Photograph by: ZARINA BHIMJI DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN PRODEEPTA DAS Education: BA H o no urs in E n g lish , U n iv e rs ity o f Sussex PGCE, U n iv e rs ity o f Lo nd on In s titu te of E ducation Photographs used by: S o u th Eastern A rts, A ir Ind ia, In d ia n A irlin e s , O be ro i H o te ls, Cox & K in gs, In n e r Lo ndon E du catio n A u th o rity , M id d le s e x P oly­ te c h n ic , A sia n Post, D elhi R ecorder, A fro C aribbean E ducation R esearch P roject, A & C B lack P ub lishers, T he S o u th M a g azine, A rtra g e , A rt D ire c to rs Photo Library, G o ve rn m e n t o f O rissa, India and oth ers. Exhibitions: 1978 B edford G allery, Lo nd on In s titu te o f E ducation 1981 S o u th W o o d fo rd Library G allery 1982 B arbican A rt Centre 1983 S a lfo rd A rt G allery 1984 A very H ill C o lle g e o f E du catio n 1984 1985 W o o d la n d s A rt G allery S uchna Bhavan, B hu ba ne sw ar, O rissa, India 1986 Photograph by: PRODEEPTA DAS P eoples G allery 1983 C a m eraw ork DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN ASHVIN GATHA A s h v in G atha lo ves c o lo u r and seem s to fin d it w h e re o th e rs fa il. His firs t c o m m is s io n as a p ro fe s s io n a l p h o to g ra p h e r w a s fo r a B om bay fa s h io n m ag azine and he w as ha pp y to be paid in c o lo u r film , th e n an e xp e n sive lu xury in India. T oday, a fte r a de cad e o f re c o rd in g p ro fe s s ­ io n a lly th e w o rs t c ru e ltie s th a t hum an b e in g s can in flic t on each o th e r on a s s ig n m e n ts in V ie tn a m , and w ith p o ve rty at its m o s t tra g ic level th ro u g h o u t A sia , he also see ks o u t th e w a rm th and th e b e au ty th a t s till s o m e h o w m anage to survive. His s u b je c ts m ay be sad, b u t th e y are n o t p a th e tic ; th e y m ay be po or, b u t th e y are n o t a b je ct. Born in G ujarat, A s h v in G atha fo u n d th e road to in te rn a tio n a l fam e hard g o in g . A fte r w in n in g a lo cal c o m p e titio n w ith a s e c o n d h a n d cam era rece ive d as a b irth d a y g ift, he d e c id e d to g ive up plan s fo r a p a in tin g care er and s w itc h to p h o to g ra p h y . His fa m ily w e re h o rrifie d w h e n he g o t a jo b as a tra in e e cam e ram a n in th e B om bay film in d u s try and even m ore so w h e n he le ft fo r S in g a p o re , th e n N e w Y ork, to w o rk as a fre e la n c e p h o to g ra p h e r. S oon he w as in V ie tn a m p h o to g ra p h in g th e hum an m ise ry w a r bring s. D uring re c e n t years a s s ig n m e n ts have been easier. He has p h o to ­ gra p h e d m o s t pa rts o f his n a tive land fo r " A ir In d ia " and has tra v e lle d and w o rk e d e x te n s iv e ly in th e P acific and In d ia n O cean re g io n , Jap an , S.E. A sia , A u s tra lia and East A frica - in itia lly fo r th e H o ng K ong based "A s ia " m agazine. A sh vin G atha has w o rk e d in te rn a tio n a lly fo r, a m o n g s t o th e rs, th e UN, CARE, U SIA, The A u s tra lia n T o u ris t C o m m issio n and th e M a u ritiu s G o ve rn m e n t. His c o m m e rc ia l c lie n ts in c lu d e C itib a n k , T exaco, P h illip M o rris, Exxon, M o b il, J o h n s o n and J o h n s o n , S e iko Pentagram and the R o c k e fe lle r F o u n d a tio n . His w o rk has appe ared in such m ag azines as The S unday T e le g ra p h , GEO, P acific and O rie n ta tio n s . He w a s c o m ­ m is s io n e d by "T im e L ife ” to p h o to g ra p h M u n ic h fo r th e series "G re a t C itie s " o f th e W o rld . His p ic tu re s are in th e M usu em o f M o d e rn A rt, N e w yo rk and in th e "B ib lio th e q u e N a tio n a le " in Paris. He has rece ive d several A rt D ire c to rs ' aw ards in N e w Y o rk and o th e r pa rts o f th e w o rld . He is c u rre n tly in v o lv e d in a m a jo r b o o k p ro je c t d e a lin g w ith Isla m ic a rc h ite c tu re . Photograph by: ASHVIN GATHA A sh vin Gatha has p re v io u s ly e x h ib ite d in T okyo, M e lb o u rn e , Paris, L o nd on and N e w Y o rk at In te rn a tio n a l C entre o f P ho to g ra p h y. T h ro u g h ­ o u t his career, he has n e ve r lo s t th e a lm o s t c h ild lik e sen se o f d e lig h t in th e u n e x p e c te d o r th e c o n tra d ic to ry . He can o fte n 'se e ' a p ic tu re th a t is in v is ib le to o th e rs u n til he has d o n e th e w o rk fo r th e m . T hat, m ore tha n a n y th in g else, is su re ly th e h a llm a rk o f g re a t p h o to g ra p h y . D A R S H A N D A R S H A N D A R S H A N D A R S H A N D A R S H A N D A R S H A N D A R S H A N D A R S H A N SUNIL GUPTA "M y w o rk I n d ia in is a im e d th e s u f f e r in g , a g a in s t th e W e s t. o fte n V ic tim re d u c e n o rm a l p h o to g r a p h ic p h o to g ra p h s , e x p e r ie n c e to w h e th e r is o la t e d e s t a b l i s h j o u r n a l i s t i c t r u t h . In m y p i c t u r e s o f p r e s e n ta tio n d e a th p a r tic u la r s o r in o f hum an o rd e r to I h o p e to c o n v e y a m o o d o r a fe e lin g . O v e r t h r e e s e p a r a te t r ip s t o m a k in g p h o to g ra p h s a n d fr ie n d s o r t h r o u g h p o s itio n in s o c ie ty I n d ia o f m en an a s w ie ld e r s a d o le s c e n t f a s h io n , In d ia n m en d is p la y School 1 9 8 3 I have been fa m ily o f e c o n o m ic and d o m e s tic p o w e r, b u t s e x u a lit y . S e x , t h o u g h m u c h je e r e d a t is t a b o o f o r d is c u s s io n . by an o p en in O n th e o th e r h a n d , th e ir a p p e a ra n c e and d is p la y o f p h y s ic a l a f f e c t io n o th e r". The 1 9 8 0 and a c ro s s e ith e r th r o u g h a g r e a t d e a l o f s e n s u a lit y e x a g g e r a te s e x u a l a m b ig u itie s fo r e a c h co m e a s s ig n m e n t s . M e n in I n d ia o c c u p y a n in t e r e s t in g a re u n a b le t o c o p e w i t h t h e ir o w n in b e tw e e n I have N ew L is e tte fo r S o c ia l M o d e l a n d P h ili p p e R e s e a rc h , N ew Y o rk. P h o to g ra p h y W o rk s h o p s w ith H a ls m a n . W e s t S u r r e y C o lle g e o f A r t & D e s ig n , F a r n h a m - D ip lo m a in P h o to g r a p h y . R o y a l C o lle g e o f A r t - M .A . ( P h o to g r a p h y ) . 1 9 8 0 I n d ia I n t e r n a t io n a l C e n tr e , N e w 19 8 3 C o m m o n w e a lt h 19 8 4 U N In s titu te , 1 9 8 0 " S a lfo r d D e lh i London 19 8 2 I n t e r n a t io n a l M a r it im e O r g a n is a t io n 1 9 8 4 19 8 2 N o t t in g h a m M useum L e ic e s te r M u s e u m H ill and "T h e L iv in g R o y a l F e s t iv a l H a ll, A rts ", S e r p e n tin e A r t G a lle r ie s 19 8 3 P a rk , B r a c k n e ll 19 8 5 " S t a y in g O n " , T h e P h o t o g r a p h ic G a lle r y P e o p le s G a lle r y , "S n a p ", O val H o use, 1 9 8 4 " b r illia n c e "N e w 1 9 8 3 S o u th 1 9 8 4 G a lle r y London a n d A r t G a lle r ie s 19 8 6 B o o k s ", S a lf o r d London London 1 9 8 4 '8 0 " . " M e tr o p o lis " , " S o u th London C o n te m p o r a r ie s " , IC A , L o n d o n London L o n d o n ", B a t t e r s e a A r t s C e n t r e London 1 9 8 6 B la c k E x p e r ie n c e , B r ix t o n A r t G a lle r y London A w a rd s : 19 7 2 P a n e ls 19 8 5 U n iv e r s it y and A u d io - v is u a l: 1 9 8 2 The E n tra n c e C o m m it te e s : S c h o la r s h ip . 1 9 8 4 C a m e r a w o r k A d v is o r y "T h e y 1 9 8 3 d a re "R e g e r: T h e N ot S peak "B e s t F o o t F o rw a rd " "T h e 19 8 5 b y : S U N IL G U P T A 19 8 3 R o y a l C o lle g e / 3 M A n ti- R a c is t Y e a r d e s ig n "B e s t C o m m it te e , F o lio " London Its L e a th e r W o r k e r s N am e in o f H a r m a r a " O x fa m . D e lh i" G a r d ia n 19 8 3 1 9 8 4 P h o to g ra p h G LC P a n e l, L o n d o n "A H id d e n P o s it iv e S o u th m a g a z in e 1 9 8 4 I n d ia " g a y T im e s m a g a z in e T e s t fo r G ay M an?" N ew s on "T e n 1 9 8 5 S unday Y e a rs O n " " C lo s e tte d (d u m m y ) S q u a re Peg b y C a s te a n d m a g a z in e C la s s " In s id e A s ia DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN SUNIL JANAH W as born on 1 7 th A p ril, 1 9 1 8 , in D ib ru g a rh , A ssam , Ind ia. He w as e d u ca te d at St. X a v ie r's C o lle g e and P re sid e n cy C o lle g e , C a lcutta, g ra d u a tin g w ith h o n o u rs in E ng lish. P h o to g ra p h y w a s his h o b b y u n til as a p o litic a l and a re lie f w o rk e r, he p h o to g ra p h e d th e Bengal fa m in e in 1 9 4 3 . T hese p ic tu re s d re w re lie f fu n d s and also w id e s p re a d re c o g ­ n itio n fo r his w o rk . T h is led e v e n tu a lly to his m a k in g p h o to jo u rn a lis m a career. he tra v e lle d all ove r th e co u n try , p h o to g ra p h in g and w r itin g a b o u t th e p e o p le , e ve n ts and a rc h ite c tu ra l m o n u m e n ts , he v is ite d th e trib a l p e o p le in th e ir re m o te h ills and fo re s ts and also co ve re d th e im p o rta n t p o litic a l e ve n ts p h o to g ra p h in g s tre e t rio ts , d e m o n s tra tio n s , key p o litic a l le ad ers, and th e m ise ry o f th e refug ee s w h o cro sse d th e b o rd e rs a fte r th e 1 9 4 7 p a rtitio n o f In d ia , he p o to g ra p h e d th e fa rm e rs, a g ric u ltu ra l la bo urers and th e fis h e rfo lk in th e v illa g e s . His w o rk w a s p io n e e rin g w o rk , as no one has ever b e fo re p h o to g ra p h e d th e In d ia n p e o p le , in all th e ir d iv e rs ity , w ith such a d e g re e o f p ro fe s s ­ io n a lis m . His p ic tu re s b ro u g h t th e lives o f urban and rural w o rk e rs , o f trib a ls and c la ssica l d a nce rs, to th e n a tio n a l m ed ia fo r th e f ir s t tim e . He w as g iv e n a n a tio n a l aw ard o f h o n o u r, th e P adm ashree, in 1 9 7 3 . He has w o rk e d fo r th e U.N. in Shri Lanka, Burm a, M alaya sia, T h a ila n d , S w itz e rla n d and France, m o s tly in th e 1 9 5 0 ’s. He w a s s e n io r le c tu re r and th e head o f th e D e p a rtm e n t o f P h o to g ra p h y in th e S c h o o l of P rin tin g T e c h n o lo g y in C a lcu tta and ran his o w n p h o to g ra p h ic s tu d io in th a t c ity , in th e 1 9 5 0 's and 1 9 6 0 's . His p h o to g ra p h s and a rtic a ls have been p u b lis h e d in jo u rn a ls in Ind ia, E ngland, France, G erm any, S w e d e n , Ja p a n , th e U S A and th e USSR. His p h o to g ra p h s have been e x h ib ite d in o n e -m a n s h o w s all o ve r Ind ia, in L o nd on , O xfo rd, B irm in g h a m , W o rc e s te r, B erlin, Prague, B ucharest, S ofia and N e w Y ork. He is n o w liv in g in L o nd on , s in c e 1 9 8 0 . Photograph by: SUNIL JANAH DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN M UM TA Z KARIMJEE No fo rm a l q u a lific a tio n s in p h o to g ra p h y . E ducated at P o ly te c h n ic o f C entral L o nd on , B e ijin g and N a n jin g U n iv e rs itie s , China. Exhibitions: 1983 W o m e n in C hina, B attersea A rts Centre 1984 W o m e n in C hina - P oetry o f th e D e m ocracy M o v e m e n t, London. 1 9 8 4 C h in e s e B illb o a rd , SO AS, Lo nd on 1985 N o te s fro m th e C ity o f th e Sun, T ric y c le T h e a tre G allery, K ilb u rn 1985 W o m e n in C hina, D rill H all, London 1985 N o te s fro m th e C ity o f th e Sun, C ivic C entre, H o u n s lo w 1986 The B lack E xperience, B rixton A rt G allery 1986 A u ra t-S h a k ti, C o c k p it T heatre C u rrent P roject: Photograph by: MUMTAZ KARIMJEE T a p e -s lid e on P alestine. D A R S H A N D A R S H A N D A R S H A N D A R S H A N D A R S H A N DARSHAIM DARSHAIM D A R S H A N ABIDA KHAN " A p h o to g ra p h can s u g e s t lim itle s s o p p o rtu n itie s to b rin g o u t fresh o p in io n s by w h ic h w e assess rea lity. T he e n d le ss ideas, in fo rm a tio n and c h a lle n g e fo u n d in g o o d im ages fo r a p a in te r lik e m y s e lf have revealed n e w in s ig h ts in to cre a tive p ic tu re s o f re a lity w h ic h can be in te rp re te d w ith in th e a rtis tic fra m e w o rk o f p a in t and ca n va s” . G rew up in L iverp ool BA Fine A rts , L ive rp o o l P o ly te c h n ic E xh ib ite d at va rio u s p riva te s tu d io s , art and c ra ft fa irs , w o m e n s g ro u p s and o ffic e s . Photograph by: ABIDA KHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN SA M IN A KHANOUR "I have alw ays been in te re s te d in p h o to g ra p h y , m a in ly s n a p s h o ts at firs t, th e n g ra d u a lly I began to th in k a little m ore a b o u t w h a t I w a s d o in g . I sta rte d p rin tin g b la c k and w h ite p ic tu re s and fo u n d th e p o te n tia l o v e rw h e lm in g . T he w h o le c o n c e p t o f ta k in g a p ic tu re , s to rin g an im a ge and fin a lly g e ttin g it on to p a p e r am azes m e e v e ry tim e . The c o m b in a tio n o f c o lo u r and lig h t can p ro v id e so m uch to e x p e rim e n t w ith . I am a ro m a n tic at h e a rt and I lik e to ca p tu re th e m o m e n t w h ic h I w a n t to re m e m b e r, p a rtic u la rly face s, e x p re s s io n s , eyes, s m ile s and g e s tu re s ” . Photograph by: SAMINA KHANOUR DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN DARSHAN SARITA SHARMA M y in te re s t in p h o to g ra p h y g re w th ro u g h m y hu sb a n d , w h o m I re s p e c t g re a tly as a p h o to g ra p h e r. It all began w h ile tra v e llin g in yvhe n 1 re tu rn e d to E ngland, I sta rte d p h o to g ra p h in g Punks, w h ic h led m e to ta ke pa rt in "A Day in th e Live o f L o n d o n ". One th in q fo llo w e d a n o th e r. I jo in e d "F o rm a t" as an a sso cia te m em b er. In my p h o to g ra p h s I like to s h o w p o s itiv e im ages and ch a n g e ge ne ral a ttitu d e s to A sia n w o m e n ". Exhibitions: 1959 Born, K am pala, U ganda. 19 7 2 Came to E ng la nd as a refugee. 1 9 8 2 -3 T rip to M e x ic o and th e USA 1983 C o m m e n ce d fre e la n c in g in p h o to g ra p h y P a rtic p a n t in "A Day in th e Life o f L o n d o n " P h o to g ra p h s in th e O bse rve r M a g a zin e 19 8 4 J o in e d "F o rm a t" E x h ib itio n fo r GLC on N urserie s S e le c to rs S h o w at C a m eraw ork 1 9 8 4 -5 The Sudan 1985 Photograph by:SARITA SHARMA P h o to g ra p h s fo r C h ristia n A id and C afford D A R S H A N D A R S H A N D A R S H A N D A R S H A N DARSHAIM D A R S H A N D A R S H A N D A R S H A N PADMA SHRESHTHA "I am in te re s te d in p h o to g ra p h y as a w a y o f c o n s e rv in g th e h is to ric art tra d itio n o f w h ic h I am a part. It a llo w s m e to re fle c t on th e visu a l h is to ry o f d a ily life o f N epal as th e tw e n tie th c e n tu ry m akes in ro a d s in to its tim e le s s w a y s ” . Born in th e K in g d o m o f N epal. E ducated in In d ia , Ita ly, A u stria , S w itz e rla n d , France and E ngland. Exhibitions: 1972 G roup E x h ib itio n , Rom e 1974 Lo ndon 1977 S ch o o l o f O rie n ta l and A fric a n S tu d ie s, L o nd on 1977 S ha w T hea tre, Lo nd on 1979 G roup E x h ib itio n , L o nd on 1981 G roup E x h ib itio n , V ie n n a . 1985 St. Pancras Library, Lo ndon Collections: France, Ita ly, N epal, S w itz e rla n d and th e U.K. Photograph by: PADMA SHRESHTHA Notes Printed by: Bryson P rin ting Service Ltd., r/o 10 Cameron Road, Seven Kings, Ilford. — 5 9 9 714 7 a . GLC & R O U N D H O U S E PRESENTS A. C H I N C A R l\ ► c G ^ b r . ► p3^rv'^[ *■ J \ Q / 4 i ► 1^R>u5t ► ► ^ u r r jrrf’ t> ^ fT] GLC LONDON funded RACISM AGAINST GLC
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      • tagsrepresentation,east end,diwali,chinese new year,judaism,festivals,culture,may day,jubilee,east end festival
      • titleFestivals: A Grand Parade - Various
      • subtitlePress release
      • dimension1
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork
      • creditsChinese Welfare Project, Tower Hamlets Local History Library, Rose Lipman Library, National Museum of Labour History, Museum of Jewish East End, TEEF, Greater London Council, Arts Council
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      • locationBethnal Green, London, UK
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      • pdf_text\/rmviMau C S f O M 4EHlrC S ¥ £ E H 8 O HR W < i O SiXljnN I C « X 1 m N I£ ■ < { & * 121 Roman Road Bethnal Green London E2 0QN Tel: 01 980 6256 •FESTIVALS: A GRAND PARADE' Private viewing: 11 March 6.30 - 8.30pm Exhibition open: 12 - 22 March Tues - Fri: 1.00 - 6.00pm Sat: 11.00am - '3-00pm r RCl OMHY Including work from: ll4.lt/MrM0UN PlOtOfiKAFIIY WORKSMP Chinese Welfare Project Tower Hamlets Local History Library Rose Lipman Library National Museum of Labour History' Museum of Jewish East End 'A Grand Parade' - features Barry Kafka Prodeepta Das Diwali - 'Festival of Lights' - Camerawork's second exhibition on the theme of festivals celebatory photographs from a variety of cultural and ethnic groups co-existing in the East End. Coinciding with the and power the East End Festival, influence of it festivals in provides people's a stimulating lives. look Pictures at of a variety of different celebrations, all taken for different cultural, social, religious all or political celebrations, reasons, whilst bring strongly out the portraying common the characteristics importance of of different cultural identities. The exhibition costumed 'The and Day, Chinese Festival the features New of various Jubilee. amongst Year; Lights' public In the - others: Jewish Diwali celebrations addition it will - in in the boisterous, wedding, its synagogue to several coloured reception; public and private Britain - peace, include brightly aspects; coronations, original May photographs of the 1985 East End Festival. 4 Some basic procession characteristics - decoration, food, exchange of gifts, music, - are common to all, but by placing these together such obvious similarities are soon transcended and the cultural variety revealed. For further information, contact Judith Crow on 01 980 6256 with assistance ^ from TEEF -----co* GLC Nearest tube: Bethnal Green (15 minutes from Oxford Circus) funded J
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      • archiveFour Corners Bishopsgate
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      • authorHalf Moon Photography Workshop/Camerawork, Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Maysia Lewandowska
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      • tagsexhibition,women,tower hamlets,east london,experimentation,open submission,,women's art festival,love,sexuality,nina saunders,rosa ainley,sarah brooker,maria-luiza de melo carvahlo,lynne connolly,judith crow,karen douglas,jean fraser,carol glennie,jo king,marysia lewandowska
      • titleLove and Romance - Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Marysia Lewandowska
      • subtitleArtists' CVs
      • dimension11
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Maysia Lewandowska
      • creditsTower Hamlets Women's Art Festival
      • relatedFlyer 0002834 Submission invitation 0002835 Submission guidelines 0002836 Submission form 0002837
      • locationLondon, UK
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      • origination_date1986
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      • pdf_textNINA SAUNDERS "SWEETEST HONEY Born: Denmark, 1958 Residence: London since 1975 is a personal statement about 'Love and Romance' in my own life." After a succession of jobs Nina Saunders began working in mixed media collage and montage, largely for political campaigns and in particular for 'Rock Against Racism'. She now works part time as a professional graphic designer as well as working as an artist from her own studio to produce paintings, photographs and collages. She lives in Hackney with her partner and two young children. "Precious" Rosa Ainle.y I started taking photographs a few years ago as an antidote to unemployemnt - i t ' s never been my job. Mostly I'm experimenting and^ exploring different ways of constructing images I like, an important part of the final photograph, as in 'Precious'. These pictures are of lesbians, friends, lovers one indicator of my ideas about love and romance. and me I m currently unemployed again. I was born in London in Hackney, a good area for both lesbians and darkrooms. - only and live -I "Undercover - 'Scallop'" & "Undercover - 'Bow'" Sarah Brooker "The exposure of insignificant 'trivia', unnoticed symbols, redundant patterns. 'Decoration' refocussed becoming monumental framed by their own source. Expanding their banality alters importance and questions the relevance of common symbolism in familiar design to whom or what do they relate? Is the transformation from adornment to adorned feasible? They are hopefully assertive in this seeming irrelevance." Education:- Braintree College F.E. Foundation Course 1978-79 Portsmouth Poly - BA Hons Degree Fine Art 1979-82 Goldsmiths' Colelge - Textile/FineArt postgrad 1982 Shows:- Essex University, Colchester 1978 Oaklands Park, Chelmsford City Museum 1979 Electrum Gallery, 50 Molton St, 1982-83 'Pro-cession', group sculpture show, Mountbatten Gallery, Portsmouth 1983 Southern Arts Bursary, 1983 'Software', Showroom Gallery, E2, 1984 'From The Same Space', Mountbatten Gallery, 1984 'Art On Paper', B.A.C., Lavender Hill, 1985 Cafe Gallery, Southwark Park, 1985 This piece interested was in conceived exploring especially the for different this Open Submission possibilities of Show. I am photography as much in its content as in the materials we use for its presentation. I like working on themes dealing with our immediate environment, in sequences and to stories. 1985, on The longest women's of daily them lives, all I carried with their out direct from 1983 participation. For in Brazil a long time I have worked with socially active community groups and in Portugal. women's projects. Most of my photographic work has been done as in London part of fefll "Eggs for Breakfast" Lynne Connolly Born and bred in Belfast. I moved to London about three years ago. Just before moving a friend taught me how to develop and print and it went on from there. I am now on a full time photography course which I enjoy most the time. I am a lesbian, I've got two dogs and I'm qutie small etc. of " Extracts from 'A Pleasant Fantasy'" Judith Crow Reconstituted as story boards, the slides are selected from a tape-slide sequence 'A Pleasant Fantasy' which deals with the structure and content of photostories and their equivalent trappings in the world of women's magazines. The photostory narratives and the symbols of romantic fairy tales sometimes turn on those who want to believe in them. Unwrapping the packaging of a whole life style, spreading out the contents on a table, tasting the story boards in a different order - perhaps you can find a menu to your liking? "No Story" & Untitled Karen Douglas We are told the camera never lies but the image is always mediated and the question is 'in whose interests'? The media seems to constantly present me with a complete narrative and spectacle. As a women it's hard to tell another story. Seeing the 'fixed' story as constructed, through representations, opens up the possibility of unfixing, repositioning, and pleasure. TORN TE)A T O W E L S A tale of mystery, suspense and resolution. Jean Fraser. These photographs have been produced out of a fascination with the overlaps of film and photography - an attempt to look at the position of women in the borderland in between the two media Education: 1981 - 1984 Polytechnic of Central London BA Film and Photographic Arts Shows: 1985 Rio Cinema, London 1985 Camerawork, London 1986 Kettles Yard, Cambridge 1986 I.C.A.(Seminar Room) London Coming up: 15.6.1986 Tower Hamlets Women's Arts Festival Whitechapel Art Gallery (tape=slide 1-19.7.1986 Same Difference, photography show by lesbian and gay photographers. Camerawork. Age: 25 - BA Fine Art I started taking photographs about three years ago, and majored in photography (Graphic Art) at University. I collect cast-offs of the consumer society - wrappers, packaging and other sundry items assigned for waste removal - alter them, and use them in the sets I build to photograph. I see this "monumentalising of the mundane" as a means of attracting the general public in that the items used are recognisable and therefore allow any consumer to identify with the image, but also as a means of using photography (a largely documentary medium) to create an alternative history in that the consumer artefacts date each image to a specific period in time. The ability to play with scale in photography has always interested me, and I have built scale models of existing buildings, photographing them with unrelated items. I see photography as a highly subjective medium, and attempt to use it to create my own social comment. UNTITLED - Jo King These are part of a work in progress that springs from questions about the nature of love and of sexuality; about the nature of men and of women. Questions about the commercialisation of love and marriage and the legal controls placed on sexuality. As women we are brought up with the pretty rose-tinted spectre of marriage and romance dangled before our faces like carrots enticing donkeys. The pastel coloured wrapping paper signifies this; the b/w photos speak of reality; the words are again reality expressed as questions and fears. Though these questions will always remain unanswered I can't help from asking them over and over again. \ \ ... By A Sudden Presence Of Another Story" Marysia Lewandowska was born in 1955 in Szczecin, Poland. She studied Art History at the JagielloNian University in Cracow, and received M.A. degree fromUniversity of Warsaw in 1980. Since 1982 she has been living in London. In the last two years she travelled to North America where she has been participating in an art programme at the Banff Centre, Canada, lecturingat the Chicago Institute of Art and working on a documentary in Mexico City. Her work has been shown in Poland, Hungary, England, Portugal andCanada. Since returning to London in September 1985 she has been involved in establishing women's audio archive based in Tower Hamlets where she now lives and works. * When we sit around the table drinking vodka someone tells the story of two amorous trees growing on opposite sides of the river's bank. Separated by the water they could only touch each other's branches when the wind was blowing. So, we drink for the storm.
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      • tagsexhibition,article,newspaper,positive aid,band aid trust
      • titlePositive Aid - Various
      • subtitleAn article from LAM about the exhibition, dated May 1986
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      • pdf_textMay 20 1986 THINGS TO DO CAMERAWORK 121 Roman Rd, E2. Tel: 9 8 0 6 2 5 6 . Tube: Bethnal Grn May 23-30 (not 25 26) Positive Aid photography students exhibit in aid of Afri­ can Famine Relief. Reasonably priced work covering a wide range of subjects. Open: 1 1am-6pm T alking To A nim al* b y M a rtin V in ce n t, o n e o f t h e p h o to g ra p h s o n d isp la y a t P o sitiv e Aid POSITIVE AID is an exhibition and sale of photographs in aid of the Band Aid Trust, given by photography students of Sir John Cass Faculty of Arts, City of London Polytechnic, i he venue is Camerawork, 121 Roman Road, Bethnal Green, E2. May 23-30 (closed May 25-26), 11am-6pm. Tel: 980 6256. SHAFTESBURY AVENUE, hom e of L ondon's world fam ous th eatreland, ce le b rate s Its cen ten ary in 1 9 8 6 . A w eek of a c ­ tivities sta rt w ith a celebrity cricket m atch b etw e en Jo h n Em­ b u ry 's XI and th e S haftesbury A venue All S ta rs on May 2 5 . For th e Spring Bank Holiday, (May 26) a carnival style Grand Parade m oves dow n th e A venue and May 31 h as been se t aside a s a special day for children. Exhibitions, stre e t en tertain m en t, film and th e a tre e v e n ts and an International Food Fair will run throughout th e w eek. For a souvenir program m e send a ch eque or m oney order for E l to The Festival C o-ordinator S haftesbury A venue C entenary, Palace T heatre. S h aftesbury A venue. W IV g^y May-27 1986 LAM CAMERAWORK 121 Roman Rd, E2. Tel. Pc T E fViAY 9 8 0 6 2 5 6 . Tube: Bethnal Grn Until May 3 0 -Positive Aid - photography students exhibit in aid of African Famine Relief. Reasonably priced work covering a wide range of subjects. Open: 1 1am-6pm 29 M A Y -JU N E 5 1986 PHOTOGRAPHY ’ ■ Camerawork 121 Roman I Road, E2 (980 6256) Bethnal Grn tube Mon-Sat 116pm. ‘Positive Aid’- s h o w and sale of photographs organised by • students at Sir John Cass faculty ot arts at City Poly in aid of ' African famine relief. Included are works by 'celebrities , among them David Sylvian. Andy Summers (until Fri).
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      • tagsexhibition,women,tower hamlets,east london,experimentation,open submission,,women's art festival,love,sexuality,nina saunders,rosa ainley,sarah brooker,maria-luiza de melo carvahlo,lynne connolly,judith crow,karen douglas,jean fraser,carol glennie,jo king,marysia lewandowska
      • titleLove and Romance - Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Marysia Lewandowska
      • subtitleInvitation for the open submission
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      • copyrightFour Corners/Half Moon Photography Workshop/Camerawork, Tower Hamlets
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      • tagsexhibition,women,tower hamlets,east london,experimentation,open submission,,women's art festival,love,sexuality,nina saunders,rosa ainley,sarah brooker,maria-luiza de melo carvahlo,lynne connolly,judith crow,karen douglas,jean fraser,carol glennie,jo king,marysia lewandowska
      • titleLove and Romance - Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Marysia Lewandowska
      • subtitleSubmission and exhibition guidelines
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      • pdf_textYouare welcome to submit up to two pieces of work with your New View on ’Love and Romance’. We are not setting a size limit and we are interested in work produced by a variety of photographic processes; Colour and Black & White, Chemograms, Photocopies, Pinhole, Single images or Sequences. Feel free to experiment. Your work need not necessarily be designed to hang on a wall, but whatever form it takes, it must be ready for display. EXHIBITION TIMETABLE Submission: Wednesday 14 May - Friday 16 May: 11 - 5•30pm Saturday 17 May: 11 - 3 .00pm Collection of unsuccessful entries: Saturday 24 May: 11 - 3pm Tuesday 27 May: 11 - 5•30pm Opening View: Wednesday 4 June: 6.30 - 8.30pm Exhibition: Thursday 5 June - Saturday 21 June Tuesdays - Fridays: 1 - 6pm Saturdays: 11 - 3pm Closed Mondays Collection of exhibited entries: Saturday 21 June: 3 - 6pm Monday 23 June & Tuesday 24 June: 11 - 5•30pm CONDITIONS OF ENTRY Eligibility: open to all women living or working in Tower Hamlets, Hackney and Newham. Fee: £2 waged/£l unwaged, for 1 or 2 pieces per person Insurance: work is insured while on Camerawork's premises. Collection of all work: Camerawork is unable to store any work which remains uncollected after the deadlines, and reserves the right to dispose of any work not collected by 24 July. Sales: Camerawork will take 20% commission on any work sold during the exhibition. The price given should include commission, but not VAT. Photography: Camerawork reserves the right to photograph exhibits for education and publicity purposes. Transport: The entrant is responsible for delivery and collection, whether or not the entry is selected. If collection is entrusted to a friend, s/he must bring a letter of authority from the entrant, whose signature matches that on the entry form. SUBMISSION PROCEDURE Please fill in the entry form and receipt before brining your work to the Gallery. Each work should be labelled clearly on the back with NAME, ADDRESS, & TITLE. All work should be delivered framed or otherwise ready to exhibit. SELECTION PROCEDURE Work will be selected by a panel including representatives from the Tower Hamlets Women Artists Forum and Camerawork. CAMERAWORK is at tel; 980 6256 121 Roman Road Bethnal Green E2 0QN contact Judith Crow for further details
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      • titleLove and Romance - Nina Saunders, Rosa Ainley, Sarah Brooker, Maria-Luiza De Melo Carvahlo, Lynne Connolly, Judith Crow, Karen Douglas, Jean Fraser, Carol Glennie, Jo King, Marysia Lewandowska
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      • pdf_textENTRY FORM OP&C-J orJ Ph o t o (S xf-H iirrvxy^ NAME ) ADDRESS (home) (work) TELEPHONE (home) (work) - 1. TITLE 2. TITLE date of work date of work size size selling price selling price insurance value insurance value brief description of piece brief description of piece I accept the conditions of the Camerawork Women's Open Sumission Exhibition, printed overleaf, and declare that I am eligible to enter. Signature: Date: Paid: £ .00 NAME 121 Roman Road, Bethnal Green, London E2 OQN ©Telephone: 01980 6256 ADDRESS TITLE 1. sum received TITLE 2. We acknowledge receipt of the items listed above Signature: mm RECEIPT____________________________________ DARKR00MS©EXHIBITI0N SPACE©EXHIBITION HIRE© MAGAZINE Date: W ith fin an cia l assistance o f th e A rts C ou n cil o f G reat B r it a in * Lon d o n B o ro u g h o f Tower H a m le ts * G r e a te r Lon d o n C ouncil
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PHP Environment

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  • User(array)
    • Behavior(array)
      • 0User/Model/Behavior/LoggingBehavior.php
  • UserAdmin(array)
    • Config(array)
      • 0UserAdmin/Config/bootstrap.php
      • 1UserAdmin/Config/routes.php