24 Sept 2023
from 10am to 2pm
PhMuseum Lab, Via Paolo Fabbri 10/2a, Bologna (Italy)
Standard Fee
€120
Early Bird Fee*
€90
*book before 7 Sept
English/Italian
14 Participants + 1 Scholarship
In this workshop with Penelope Umbrico, the surplus of visual information on the web will become a vast archive of material from which to draw. It will become a space in its own right: one where taking pictures is virtually the same as taking pictures on the street.
In this context, appropriative practice, implicit in all aspects of photography, becomes explicit. We will explore ideas of appropriation through various strategies artists have used: cut and paste, decontextualization, transformation, collage, juxtaposition, etc. We will breakdown these strategies, looking at how they engage in a critical dialogue with the sourced material.
By participating in this workshop you will engage and reflect on the shifts between authorship and originality, the public and the private, the collective and the individual. Penelope Umbrico will demonstrate how she uses these ideas and techniques in her own work, and the necessity of intention and rationale in the use of found images.
The workshop will culminate with an exercise to assess the usefulness of found images. What possible strategies can be employed to work with them as starting points, or as tools, for the development of a body of work?
Book your seat using the link below. If you wish to know more about any aspects of the course before enrolling, or to apply for the scholarship, please write to edu@phmuseum.com.
Penelope Umbrico (USA, 1957)’s work has been exhibited in the USA at MoMA PS1 and Museum of Modern Art in New York, at MassMoCA in Massachusetts, at San Francisco Museum of Modern Art in California, at the Milwaukee Art Museum in Wisconsin among others; internationally, it was displayed at Art Museum Gosta in Finland, at Foto Colectania in Barcelona, Spain, at The Photographers’ Gallery in London, UK, at Kunstverein Ludwigshafen in Germany, at the Rencontres d’Arles in France, at the Daegu Photography Biennale in Korea, at the Pingyao International Photography Festival in China, and at the Gallery of Modern Art, Brisbane, Australia among many others, and is represented in museum collections around the world. She has received numerous awards, including a Guggenheim Fellowship, Sharpe-Walentas Studio Grant, Smithsonian Artist Research Fellowship, New York Foundation of the Arts Fellowship, Anonymous Was a Woman Award. Her monographs have been published by Aperture and RVB Books.