Judy Price is an artist working across photography, moving image, sound and installation.
Her practice engages with the boundaries between documentary, the cinematic, fiction and testimony and often involves extensive field research where she explores sites that are interweaved and striated by a multiple histories, economies and forces.
Judy Price is interested in the conjunction of art and politics. How lens-based media can produce new ways of seeing and help us think differently about sites of intensive geopolitical struggle. Her work often employs multiple strategies drawing on images and sounds from archival sources as well as from a sustained study of a place resonant with overwritten histories and redrawn boundaries.
Judy Price is a lens-based artist working across photography, moving image, sound and installation. Her practice engages with the boundaries between documentary, the cinematic, fiction and testimony and often involves extensive field research where she explores sites that are interweaved and striated by multiple histories, economies and forces. She often employs multiple strategies drawing on images and sounds from archival sources as well as from a sustained study of a places that is resonant with overwritten histories and redrawn boundaries.
She is concerned with how art can create new perceptions of the experiences of individuals and cultures and arts’ effectiveness and relevance to collective struggles. From 2006-2014 a focus of her practice was Israel and Palestine. As well as curating a number of screenings around the British Mandate in Palestine she produced two major bodies of work Within this Narrow Strip of Land (2008) and White Oil (2014).
After graduating from Central Saint Martins College of Art and Design (1995) Judy Price completed an MA in Photography at the Royal College of Art (1999). She then went on to be an associate Post-Grad Researcher in Media Arts Philosophy and Practice at Greenwich University (2006-7). In 2014 she was awarded a practice-based PhD at the University of Creative Arts and University of Brighton for her film and thesis White Oil, Excavations and the Disappearance of the West Bank.
Judy is a Senior Lecturer in Moving Image (BA) at the University of Brighton and Course Director in Photography (MA) at Kingston University. Since 2008 she has been a visiting lecturer at the International Academy of Arts, Palestine and initiated an exchange program between the University of Brighton and the International Academy of Arts, Palestine. Other appointments include guest professor Akademie der Bildenden Künste Nürnberg (2013), associate Professor Bergen National Academy of the Arts, Bergen, Norway (2007-2008). In 2004 she founded Sightlines an artist led audio/visual company and was a mentor for artists working with digital media as part of B3 Media’s Electric Greenhouse residencies (2006).
Her interests are in the conjunction of art and politics and how art might create new perceptions of the experiences of individuals and cultures and arts’ effectiveness and relevance to collective struggles, both human and environmental. How lens-based media, and the processes of making and viewing work, can produce and contribute to new ways of seeing and help us think differently about sites of intensive geopolitical struggle by making visible multiple layers of representation, economy, history and subjectivity. She is interested in how an artist becomes embedded in a place or culture in the production of work and questions around the ethics of collaborative practices. How the artist/ethnographer is bound up in the work and how ethnography as a discipline has been predicated on translating ‘strange cultures’ into ‘the language of the one who knows.’ (Sara Ahmed Strange Encounters (2000).
Exhibitions and screenings include: Visible Evidence conference, New Dehli; Visuality Materiality and Mining symposium, University of Brighton, Galerie Leonard & Bina Ellen art Gallery, Montreal, Campus in Camps, Diheisheh Refugee, Bethlehem, Dar Annadwa Cultural Centre, Bethlehem, Birzeit University Museum, Birzeit, Khalil Sakakini Cultural Centre, Ramallah, Riwaq, Centre for Architectural Conservation, Ramallah, Educational Bookshop and Al Mamal Foundation, Jerusalem, Palestinian Film Festival, Barbican, London, Kunshaus Cinema in Nürnberg, Germany, Grand Parade Gallery, University of Brighton (solo exhibition), USF Centre Bergen, Norway (solo exhibition), Imperial War Museum, London, Danielle Arnaud Contemporary Art Gallery, London (solo exhibition), Unscene, London Jewish Cultural Centre (solo exhibition), London, Spacemakers, Edinburgh College of Art, Tent Gallery, Cambridge Film festival, Cinema Palestine, Lumen Screening, Leeds, These Are The Times: The Image On The Threshold, London Birkbeck Cinema, Tatton Biennale Screenings, Manchester, Jerusalem Show, Al-Ma'mal Foundation for Contemporary Art, Jerusalem, Chisenhale Biennale, ICA, London among others.
Price, Judy (2013) White Oil [Digital and visual media]
Price, Judy (2013) White Oil [Exhibition]
Price, Judy (2011) Afterimage: Engagements with the Cinematic In: Afterimage: Engagements with the Cinematic, Arnolifini, Bristol, UK, 18-19 Nov 2011.
Price, Judy (2010) Over where [Exhibition]
Price, Judy (2010) Spacemakers [Exhibition]
Price, Judy (2010) Reel and Assemblage [Digital and visual media]
Price, Judy (2009) These are the times: the image on the threshold [Digital and visual media]
Price, Judy (2009) Evolution Lumen Leeds Metropolitan Gallery, Leeds UK.
Price, Judy (2009) Palestine Now [Digital and visual media]
Price, Judy (2008) Reel and Assemblage [Exhibition]
Price, Judy (2008) Unscene [Exhibition]
Price, Judy (2008) Within this narrow strip of land [Digital and visual media]
Price, Judy (2008) Unscene [Exhibition]
Tavares, Frauke Huber + Uwe H. Martin, Peter Mörtenböck + Helge Mooshammer, Judy Price, Lonnie van Brummelen + Siebren de Haan) http://ellengallery.concordia.ca/exposition/world-of-matter/?lang=en
Feb 2017 Object! On the Documentary as Art, Whitechapel Gallery. One-day symposium bringing together filmmakers, artists and scholars to explore the aesthetic potential, political stakes and ethical challenges that arise from regarding documentary film as an art object. Produced in collaboration with Sheffield Fringe, the event is organised by Minou Norouzi, Mihaela Brebenel and Nikolaus Perneczky http://www.whitechapelgallery.org/events/object-documentary-art/
Nov 2016 Urban Encounters Conference, Tate & Goldsmiths University.
June 2016 White Oil screening, Troubled Contemporary Art Practices in the Middle East: Post-colonial conflicts, Pedagogies of art history, and Precarious artistic mobilization Birkbeck University of London | University of Nicosia, Cyprus.
The diversity of Price’s images, which also encompass archival material, the observation of unexpected events caught in passing or the focused long term study of a resonant place, implies the seriousness and commitment which she brings to her project, as she seeks to address a situation overwhelming in its complexity. However, within this we are offered moments of epiphany, tentative celebrations of possible freedom and humanity, which again challenge the stereotypes of Israel and Palestine with which the West is most familiar. A butterfly dances on a Jerusalem rooftop In Saffron of Jerusalem, a boisterous stag night is observed at the Dead Sea beach in Light Drinks the Dark and unseen laughter echoes in the swaying cable car of Time Line, Jericho.
Important to Price’s exploration was a trilogy of films Price made using archive film material from the Imperial War Museum, uncovered while she was artist in residence at the London Jewish Cultural Centre’s film archive from 2006/07. In particular Price focuses on the image of Palestine before the emergence of the Israeli State, during the period of the British Mandate between 1917-1948; when many of the seeds of the Israel and Palestine conflict were sown. The images that she chooses evoke an era of colonial bureaucracy, in which land and peoples are organised, checked and administered by white men conspicuous in khaki shorts. Doing what Benjamin’s angel could not, this archive footage enables Price to halt history and revisit it. Furthermore, like many artists working with archival footage, her intent is not that of recorder but seer. The films which resulted from her residency, Reel, Assemblage and Interference, might be seen as an active form of excavation which unfolds before the eyes of the viewer. However, in a reverse methodology of the conventional archivist who endeavours to bring disparate film fragments together to create a coherent narrative, Price splinters the film fragments still further, so that hidden meanings and histories can surface and be released.
Extract from an essay called Blind Spot on Within this Narrow Strip of Land, 2008 by Lucy that can be found at www.daniellearnaud.com and Vertigo Magazine.
‘Nigerian writer ken Saro-Wiwa was executed by his government 10 years ago this Thursday for campaigning on behalf of the ogoni people in their struggles against both the government and oil companies, The winner of an international art competition to design a living memorial to Saro-Wiwa will be announced on the same day, and the exceptional campaigning essay film speaks to all the shortlisted artists about their thoughts on the issues his death raises. But it more far beyond mere topicality; being at once a deeply committed, wide ranging celebration of a remarkable man's extraordinary legacy and a quietly damming examination of appalling abuses on so many levels in the Niger Delta. Reflective, compassionate and creatively invigorating in its responses to endemic abuses, what gives the film real power is its understanding that what is happening in Ogoniland affects and implicates us all.’
Gareth Evans, film critic and editor of vertigo.
Review of Refining Memory by Gareth Evans, Time Out (page 86), Nov 9th-16th, 2005