Contemporary photography practice: expanded methodology and critical ways of thinking

  • Rodrigo Hill
Keywords: Lens-based image, Methodology, Photography, Place-making, Practice-led research

Abstract

Contemporary photographic practice has advanced into a broad territory of representational flux and modalities. This is a stimulating moment for lens-based practitioners and practice-led researchers willing to explore expanded modes of academic inquiry connected the medium of photography. In this article I draw key methodological insights from my Practice-led PhD project Place Imaginaries: Photography and Place-making at Te Awa River Ride. I explore relationships between photography and place-making and how photography is embedded within place-making processes. As a photographer and artist I developed a methodology based on photography practice and the iteration of curated bodies of photographic work. Te Awa River Ride is my research locale, a shared pathway that edges the banks of the Waikato River in the central North Island of Aotearoa New Zealand. Photography practice or lens-based practice is located at the core of my methodological research approaches; a space, which informs both theoretical and practice-led research developments en route to expanded critical modes of academic inquiry.

Downloads

Download data is not yet available.

Author Biography

Rodrigo Hill

Originally from Porto Alegre, Brazil currently living in Whaingaroa Raglan Aotearoa New Zealand. Rodrigo’s photography practice focuses on people, place and its intrinsic relationships. Explorations of place and its surrounding dynamics have always been the core of Rodrigo’s work. Rodrigo’s research interests are rooted at the intersection of lens-based and curatorial apparochaes in which photography plays the role of representing layered place-imaginaries. Rodrigo’s photography practice explores the use of imagery to create meanings and understandings of place followed by curatorial practices towards photobooks and gallery installations. Rodrigo holds a PhD from the University of Waikato Faculty of Arts and Social Sciences.

References

Berger, J. (1980). About Looking. Writers and Readers Publishing Cooperative, LTD.

Bergson, H. (1911). Matter and memory. George Allen.

Bergson, H. (2001). Creative evolution. Electric Book Co. http://site.ebrary.com

Bishop, C. (2005). Installation art: A critical history. Tate.

Boast, R., & Hill, R. S. (Eds.). (2009). Raupatu: The confiscation of Māori land. Victoria University Press.

Butt, D. (2017). Artistic Research in the Future Academy. Intellect.

Celant, G. (1996). A visual machine. Art installations and its modern archetypes. In R. Greenberg,

B. W. Ferguson, & S. Nairne (Eds.), Thinking about exhibitions (pp. 371–386). Routledge.

De Oliveira, N., Oxley, N., & Petry, M. (2006). Installation art in the new millennium: The empire of the senses. Thames & Hudson.

Deleuze, G. (1988). Bergsonism. Zone Books.

Deleuze, G. (1989). Cinema 2: The time-image. University of Minnesota Press. https://monoskop.org/images/6/68/Deleuze_Gilles_Cinema_2_TimeImage.pdf

Deleuze, G., & Guattari, F. (1994). What is philosophy? (G. Burchell & H. Tomlinson, Trans.). Verso.

Egert, G. (2016). Barbara Glowczewski, Totemic Becomings. Cosmopolitics of the Dreaming. Book Review. Anthrovision. Vaneasa Online Journal, 4.1. http://anthrovision.revues.org/2291

Fisher, M. (2016). ‘I riro whenua atu me hoki whenua mai’: The return of land and the Waikato-Tainui raupatu settlement. Journal of New Zealand Studies, 23, 19–36.

Hill, R. (2019). Place imaginaries: Photography and place-making at Te Awa River Ride [Thesis, The University of Waikato]. https://researchcommons.waikato.ac.nz/handle/10289/12797

Hill, R. (2020). Post-photography: Lens-based methodology and practice-led ways of critical thinking. In Link Symposium Abstracts 2020 (pp. 28-29)

King, C. M., & Roa, T. om. (2015). The Maori of the Central North Island before 1860. In C. M.

King, D. J. Gaukrodger, & N. A. Ritchie (Eds.), The drama of conservation: The history of the Pureora Forest, New Zealand (pp. 43–66). Department of Conservation, NZ & Springer International. https://doi.org/10.1007/978-3-319-18410-4_3

King, M. (2013). Te Puea: A life. https://www.overdrive.com/search?q=C275DBBF-A11C-4FAB-A5C7-AD53E410D0AA

Köhler, M. (Ed.). (1989). Constructed realities: The art of staged photography. Edition Stemmle.

Leavy, P. (2014). Method meets art: Arts-based research practice (2nd ed.). The Guilford Press. http://site.ebrary.com/lib/alltitles/docDetail.action?docID=11001927

Massey, D. B., Allen, J., & Sarre, P. (Eds.). (2007). Human geography today. Polity Press.

Muru-Lanning, M. (2016). Tupuna Awa: People and politics of the Waikato River. Auckland University Press.

Sonn, C. C., Quayle, A. F., & Kasat, P. (2015). Picturing the wheatbelt: Exploring and expressing place identity through photography. American Journal of Community Psychology, 55(1–2), 89–101. https://doi.org/10.1007/s10464-014-9686-7

Waikato Raupatu Lands Trust. (2008). Waikato Raupatu River Settlement: Information package, August 2008. Author.

How to Cite
Hill, R. (2021). Contemporary photography practice: expanded methodology and critical ways of thinking. DAT Journal, 6(2), 431-442. https://doi.org/10.29147/dat.v6i2.414
Section
Dossiê Simpósio LINK