Featured works and projects

Image of white stone

White Oil

A film documentary about the extraction and exploitation of stone from the quarries in the West Bank

Research activity

Number of items: 17.

Price, Judy (2017) Still solo exhibition [Exhibition]

Price, Judy (2017) Quarries of Wandering Stone [Exhibition]

Price, Judy (2017) Object! On the Documentary as Art In: Object! On the Documentary as Art, Whitechapel Gallery, 4 Feb 2017.

Price, Judy (2016) White Oil [Exhibition]

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]

This list was generated on Sat Oct 13 07:28:49 2018 BST.

Solo Exhibitions and Screenings



  • Nov 2016 White Oil screening, Curzon Goldsmiths  http://www.urbanphotofest.org/white-oil
  • June 2016 Culture Unplugged Festival, Global onilne film festival www.cultureunplugged.com/documentary/watchonline/festival/search.php#q=white%20oil&label=movies) 


  • White Oil screening, Visuality Materiality and Mining symposium, University of Brighton
  • Refining Memory, Footprint Modulation, art, climate and displacement, Miners Hall. Durham (in partnership with the international conference ‘Human Migration and the Environment: Futures, Politics and Invention’ at Durham University) 


  • White Oil, Campus in Camps, Dheisheh Refugee Camp, Palestine
  • White Oil, Bethlehem,Dar Annadwa Cultural Centre, Bethlehem, Palestine
  • White Oil, Birzeit University Museum,Palestine
  • White Oil, Khalil Sakakini Cultural Centre, Ramallah, Palestine
  • White Oil. Riwaq, Centre for Architectural Conservation, Ramallah, Palestine
  • White Oil, Educational Bookshop and Al Mamal Foundation, East Jerusalem, Palestine


  • White Oil, Palestinian Film Festival, Barbican, London (WOP)
  • White Oil, Kunshaus Cinema in Nürnberg, Germany


  • Over Where, Madelaine Strindberg and Judy Price, Grand Parade gallery University of Brighton


  • Within this Narrow Strip of Land, USF centre, Bergen, Norway, Solo Exhibition


  • Within this Narrow Strip of Land, Danielle Arnaud Contemporary Art, London, Solo exhibition.
  • Reel and Assemblage screened as part of the British Mandate films at the Imperial War Museum, London
  • Unscene, London Jewish Cultural Centre, Solo Show 


  • Whitechapel Gallery, London: Refining Memory, artist film commissioned by Platform, David A Bailey for Ken Saro Wiva Living Memorial project
  • City Hall, London: Refining Memory, artist film commissioned by Platform, David A Bailey for Ken Saro Wiva Living Memorial project
  • Curson Cinema, Soho, London: Refining Memory, artist film commissioned by Platform, David A Bailey for Ken Saro Wiva Living Memorial project
  • Purcell Rooms at Queen Elizabeth Hall, London, Refining Memory, artist film commissioned by Platform, David A Bailey for Ken Saro Wiva Living Memorial project
  • Port Harcourt, Nigeri, Refining Memory, artist film commissioned by Platform, David A Bailey for Ken Saro Wiva Living Memorial project
  • Shifting Time, Wingford Arts, Suffolk, solo exhibition

  • Tied-Apart, 198 Gallery, London

Select group exhibitions and screenings


  • Nov 2016 White Oil, Reel and Assemblage screening, P21 Gallery London (part of Qalandiya International:London)


  • Feb 2015 World Of Matter, Galerie Leonard & Bina Ellen art Gallery, Montreal, Canada (Mabe Bethônico, Ursula Biemann + Paulo

 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

  • Sept 2014 Seven Years in Archway, curated by Anna Hart http://www.airstudio.org/projects/Seven-Years-in-Archway/



  • World Of Matter, Galerie Leonard & Bina Ellen art Gallery, Montreal (Mabe Bethônico, Ursula Biemann + Paulo Tavares, Frauke Huber + Uwe H. Martin, Peter Mörtenböck + Helge Mooshammer, Judy Price, Lonnie van Brummelen + Siebren de Haan)  


  • Visible Evidence conference, New Dehli


  • Spacemakers, Edinburgh College of Art (Tent Gallery), curator Eva Langret, Delfina Foundation
  • Catastrophe Club: Monthly films from and about Palestine, curator: Miranda Pennell


  • Redrawn Boundaries, Goldsmiths University, Oreet Ashery, Larrisour Sanour, Mohanad Al Yaccoubi) curator: Meeshka Bernabe
  • Cinema Palestine, Cambridge Film festival, curatored by Sarah Wood
  • These are the times: The image on the threshold, London Birkbeck Cinema, Vertigo Magazine Launch Event
  • Evolution, Lumen, Leeds, curator: Lily Markiewicz


  • Tatton Biennale Screenings Traces in the Landscape, Manchester, curators: Lucy Reynolds and Sarah Wood. (artists: Zineb Sedira, Uriel Orlow, Maya Dere, Daria Martin, Guy Sherwin, Andrew Kötting, Jayne Parker, Mark Aeriel Waller)
  • Jerusalem Show, Al-Ma'mal Foundation for Contemporary Art, Jerusalem, (including Phil Collins, Emily Jacir) curator:  Jack Persikian 


  • Chisenhale Biennale, London, curators: Richard Layzell and Alana Jelinek


  • The Projection Gallery, Liverpool Biennale
  • Coin & Platform, The Common Place, Leeds UK
  • Performing Rights, Queen Mary, University of London, in collaboration with East End Collaborations and the Live Art Development Agency (UK).
  • Betsy’s Salon, London, Private Visions, curators: Uriel Orlow and Michal Sapir


  • Caracas, Venezuela; Ciclope curators: Luis Romero
  • Tbilisi, Georgia; Art Caucasus curators: Bruce Allan and Louise Short


  • The Ice Factory, Hastings, curated by Judith Stewart, group show w/ Jananne Al-Ani, Breda Beban
  • Danielle Arnaud Contemporary Arts Gallery:  The Well, Curators: Mark Osterfield, Kay Walsh and Judy Price


  • Seeing by Wireless, Hastings: Shot by the Sea, curator: Judith Stewart


  • Pump House Gallery, London: Lost Hours, group show with Zineb Sedira, Edith Marie Pasquier, Kay Walsh
  • Angel Row, Nottingham: Fairplay, curators: Jananne Al-Ani and Frances Kearney


  • Danielle Arnaud Gallery, London: Fairplay, curators: Jananne Al-Ani and Frances Kearney.
  • Norwich Gallery, Norwich: Tweener


  • Site Gallery collaboration, Sheffield: Guest House 20, curator:  Guest House 20
  • 291 Gallery, London: Film Festival.


  • ICA, Institute of Contemporary Art, London: Stream T.V, curator: Karen Mirza
  • Henry Moore Gallery, London. Group exhibition
  • Shoreditch Photo Biennale, London: Inventories: the artist and the archive, curators: Val Williams and Anna Fox


  • Round Chapel, London: Hidden Art of Hackney, curator: by Caroline Jenkinson.


  • Euston, London: 29.4 FM.


  • Stoki, Posnan, Poland: Looking out, Listening in, Collaboration with Zoe Walker

Publications and reviews


  •  http://geoarchitecture.wordpress.com/2013/05/06/white-oil  


  • Review of Refining Memory by Gareth Evans, Time Out (page 86), Nov 9th-16th 2005
  • Remembers Sarowiwa
  • Braziers 2003 International Artist Workshop publication, www.re-title.com, Website profile
  • Editor for ‘NGC 4038-39’, bookwork by Jo Wood
  • Review of The Well, by Christian L. Frock, 17 March 2004
  • Review, Lost Hours, Art Preview Dec/Jan issue Michael Selzer
  • Fairplay, Danielle Arnaud Gallery
  • Angel Town, City Levels, August/Birkhauser
  • Guest House 20’ Sheffield 2000, introduction by Site Gallery



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.


Public talks


  • Conference paper, White Oil, excavations and the disappearance of the West Bank, Visible Evidence 21, New Dehli, 
  • Conference paper, White Oil, excavations and the disappearance of the West Bank Archives for the Future organised by Mnemoscape, Westminster University. 


  • Speaker and organiser for the symposium: Cultural Production in Egypt, Jordan and Palestine, Akademie der Bildenden Künste Nürnberg, Germany


  • Afterimage: Engagements with the Cinematic Arnolfini, Bristol
  • London College of Communications, London
  • University of Creative Arts 


  • Camberwell , University of the Arts, London
  • Kingston University
  • Elastic Spaces The Delfina Foundation, London   
  • Akademie der Bildenden Künste Nürnberg, Germany


  • London College of Communications, London
  • Byam Shaw School of Art. London.


  • Al Mammal Foundation, Jerusalem
  • Panel organiser and curator for ‘A sense of History’ Tel Aviv cinematheque and Jerusalem cinematheque
  • Brighton University 


  • Bergen Art Museum, Norway
  • Gloustershire University


  • Cambridge University
  • London College of Communications


  • Whitechapel Art Gallery, London

Critical groups


  • Artist group: Jannane Al-Ani, Frances Kearney, Anne Jones, Wiebke Leister, Melanie Manchot, Vanda Playford, Effie Palalogou, Bettina von Zwehl and Carey Young


  • Black Women’s Art group: initiated by Sonia Boyce



  • Studentship University of the Creative Arts, UK   
  • Arts Council, Artist Award


  • European Association for Jewish Culture
  • LAFVA mentoring award


  • London Arts Board, Artist Award


  • Henry Moore Foundation, exhibition award
  • Short Listed for East England Arts Commission


  • Commissions East, Artist Award
  • London Arts Board, Artist Award


  • Aylesford Print award


Citations and reviews

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 

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