Photography and the Archive Research Centre

From Wikipedia, the free encyclopedia

Photography and the Archive Research Centre (PARC) is an organisation in London that commissions new research into photography and culture, curates and produces exhibitions and publications, organises seminars, study days, symposia[1] and conferences, and supervises PhD students. It is a part of University of the Arts London (UAL), is based at UAL’s London College of Communication at Elephant & Castle[2] and was designated by UAL in 2003.

According to PARC’s website its activities span the history and culture of photography, particularly post-war British photography, the documentation of war and conflict, the photography of fashion and style, the visualization of the counterculture and photographers as filmmakers.


Val Williams is its director and Brigitte Lardinois its deputy director. The Centre has a core group of members including Tom Hunter, Alistair O’Neill, Patrick Sutherland, Wiebke Leister, Jennifer Good (née Pollard), David Moore, Paul Lowe, Corinne Silva, Paul Tebbs, Mark Ingham, Martina Caruso, Peter Cattrell, Monica Biaglioli, Anne Williams, Jananne Al-Ani, Sophy Rickett, Joanna Love and Sara Davidmann. Current staff are Corinne Silva (Research Fellow), Robin Christian (Projects Manager) and Melanie King (Research Administrator).

Many of PARC’s activites are conducted in conjunction with other arts organisations and universitities including University of Sunderland, National Media Museum in Bradford, Library of Birmingham, Canterbury Christ Church University, Street Level Photoworks in Glasgow, Wolverhampton Art Gallery, Ffotogallery in Cardiff, Imperial War Museum in London, Photoworks in Brighton, University of Western Ontario in Canada, Expressions of Humankind and Max Ström publishers in Stockholm, Sune Jonsson Archive in Umea, Tate Modern and University of Wales, Newport.

Two of PARC’s divisions are War and Conflict Research Hub and Photography and the Contemporary Imaginary Research Hub.

PARC publishes Fieldstudy twice yearly, both in print and online, covering projects from PARC’s staff, members and students.

PARC and Bloomsbury co-host the journal Photography & Culture, co-edited by Kathy Kubicki, Thy Phu and Val Williams, published three times a year by Berg.[3]

PARC leads the Directory of Photographic Collections in the UK, a portal to UK institutions holding publicly accessible photographic collections.

Collections held within the Photography and the Archive Research Centre[edit]

PARC currently houses three collections within its archive, ‘Camerawork’, ‘Photography Exhibition Posters’ and ‘The John Wall archive of the Directory of British Photographic Collections in the UK’. ‘Photography Exhibition Posters’ is a collection of over 300 posters dating back to the 1970s that features examples of partnerships between designers and galleries. The ‘Camerawork’ collection includes papers and objects from the Half Moon Photography Workshop and Camerawork’s early years, publication and touring exhibition programme. ‘The John Wall archive of the Directory of British Photographic Collections in the UK’ includes correspondence, research papers and file cards of this 1970s project.

Selected exhibitions organised by PARC[edit]

Exhibitions at PARCSpace[edit]

Publications originating at PARC[edit]

  • Derek Ridgers: When We Were Young: Club and Street Portraits 1978–1987. Brighton: Photoworks, 2005. ISBN 978-1903796139. Photographs by Derek Ridgers, text by Val Williams. About the emergence of new style cultures in London in the late 1970s and early 1980s.[n 1]
  • Anna Fox Photographs 1983–2007. Brighton: Photoworks, 2005. ISBN 978-1903796221. Edited by Val Williams. With texts by David Chandler, Val Williams, Jason Evans and Mieke Bal.[n 2]
  • Magnum Ireland. London: Thames & Hudson, 2005. ISBN 9780500543030. Edited by Val Williams with Brigitte Lardinois.
  • Glyndebourne, a Visual History. London: Quercus, 2009. ISBN 9781847248657. Edited by Val Williams and Brigitte Lardinois. Includes an essay by George Christie.
  • The New Gypsies. Frankfurt, Germany: Prestel. By Ian McKell.[n 3] Essay by Val Williams.
  • Daniel Meadows: Edited Photographs from the 70s and 80s. Brighton: Photoworks, 2011. ISBN 1-903796-46-6. Authored by Val Williams. Edited by Val Williams and Gordon MacDonald.
  • I belong Jarrow. Amsterdam: Schilt, 2012. ISBN 978-9053307809. Photographs by Chris Harrison. Essay by Val Williams.
  • Marjolaine Ryley: Growing up in the New Age. Hillsborough, NC: Daylight Press, 2013. ISBN 978098323231684. Essays by Malcolm Dickson (StreetLevel Photoworks), Brigitte Ryley, Peter Ryley, Val Williams. Additional photographs by Dave Walking.
  • Martin Parr, Phaidon, 2014. ISBN 978-0714865669. Authored by Val Williams.
  • Sune Jonsson: Life and Work. MaxStrom, Stockholm. Text by Val Williams


  • Fieldstudy 1 London: Stories.[n 4]
  • Fieldstudy 2.
  • Fieldstudy 3: Charged Atmospheres. London: PARC. By Alison Merchant.[n 5]
  • Fieldstudy 4: Unfolding the Tissue: The Fashion and the Archive Study Day. London: PARC.[n 6]
  • Fieldstudy 5: Archives from the New British Photography London: PARC.[n 7]
  • Fieldstudy 6: Private Museum. London: PARC. Researched by Val Williams and Lorna Crabbe, photographed by Laura Thomas.[n 8]
  • Fieldstudy 7: Marjolaine Ryley: Résidence Astral: 1993-2005. London: PARC. Photographs taken over a twelve year period in her grandmother’s apartment in Brussels.[n 9]
  • Fieldstudy 8: MAP Reading. London: PARC. Catalogue of work from LCC’s MA in Photography, 2006[n 10]
  • Fieldstudy 10: Visible London: PARC.[n 11]
  • Fieldstudy 11: Lovers, Liars & Laughter. London: PARC by Wiebke Leister.[n 12]
  • Fieldstudy 12: Fashion & Food London: PARC.[n 13]
  • Fieldstudy 14: Daniel Meadows, Butlin’s by the Sea, 1972. London: PARC.[n 14]
  • Fieldstudy 15: Growing Up in the New Age. London: PARC, 2011. By Val Williams, Marjolaine Ryley (University of Sunderland) and Dave Walking. Features photographs by Dave Walking and essays by Val Williams, Marjolaine Ryley, Zoe Lippett and Malcolm Dickson.[n 15]
  • Fieldstudy 16: From a Distance. London: PARC. Photographs by Paul Reas.
  • Fieldstudy 19: Ken. To be Destroyed. London: PARC, 2013.[n 16]


  1. Jump up^ The publication is reproduced here within PARC’s site.
  2. Jump up^ The publication is reproduced here within PARC’s site.
  3. Jump up^ The publication is reproduced here within PARC’s site.
  4. Jump up^ The publication is reproduced here within PARC’s site.
  5. Jump up^ The publication is reproduced here within PARC’s site.
  6. Jump up^ The publication is reproduced here within PARC’s site.
  7. Jump up^ The publication is reproduced here within PARC’s site.
  8. Jump up^ The publication is reproduced here within PARC’s site.
  9. Jump up^ The publication is reproduced here within PARC’s site.
  10. Jump up^ The publication is reproduced here within PARC’s site.
  11. Jump up^ The publication is reproduced here within PARC’s site.
  12. Jump up^ The publication is reproduced here within PARC’s site.
  13. Jump up^ The publication is reproduced here within PARC’s site.
  14. Jump up^ The publication is reproduced here within PARC’s site.
  15. Jump up^ The publication is reproduced here within PARC’s site.
  16. Jump up^ The publication is reproduced here within PARC’s site.


  1. Jump up^ The Big Conversation: Martin Parr and Grayson Perry “, Time Out (magazine). Accessed 7 July 2014.
  2. Jump up^ “Research to change the world”. The Guardian. Retrieved 6 July 2014.
  3. Jump up^ Journal of Photography & Culture“, Journal of Photography & Culture. Accessed 6 August 2014.
  4. Jump up^ Cribbin, Joe (7 February 2002). “Martin Parr: Photographic Works at the Barbican”. Culture24. Retrieved 31 March 2014.
  5. Jump up^ Parr, Martin. “Exhibitions”. Retrieved 31 March 2014.
  6. Jump up^ “Martin ParrOeuvres 1971-2001”. Maison européenne de la photographie. Retrieved 3 April 2014.
  7. Jump up^ 2001: Martin Parr: Photographic Works“, Photography and the Archive Research Centre. Accessed 6 July 2014.
  8. Jump up^ Magnum Ireland at the Irish Museum of Modern Art“, Irish Museum of Modern Art. Accessed 6 July 2014.
  9. Jump up^
  10. Jump up^ ‘Life on the Road’ featuring images by Tom Hunter at the London College of Communication“,World Photography Organisation. Accessed 6 July 2014.
  11. Jump up^ This Guy Spent the Mid-90s Living in a Travelling Rave Van“, Vice (magazine). Accessed 6 July 2014.
  12. Jump up^ Daniel Meadows: Early Photographic Works“, Library of Birmingham. Accessed 6 July 2014.
  13. Jump up^ Camerawork: Posters and objects from the archive“, PARC. Accessed 05 August 2014.
  14. Jump up^ 2014 Ken To Be Destroyed“, PARC. Accessed 05 August 2014.
  15. Jump up^ The artist who brought her uncle back to life as a woman“, The Guardian. Accessed 05 August 2014.
  16. Jump up^ 2014 Paper Topographies“, PARC. Accessed 05 August 2014.
  17. Jump up^ 2014 Single Saudi Women“, PARC. Accessed 05 August 2014.

External links[edit]

It’s delicate … but potent.

120 Days Title v2

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120 Days and Nights of Staggering and Stammering: Installation shots (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)


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‘120 Days & Nights of Staggering & Stammering: Red Square Pet Heaven’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)


‘120 Days & Nights of Staggering & Stammering: All the Fun of the Family’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)


‘120 Days and Nights of Staggering and Stammering’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)



“My first job, I was in house at a fur company, with this old pro copyrighter, a Greek named Teddy. 
And Teddy told me the most important idea in advertising is “new”. Creates an itch.
You simply put your product in there as a kind of … calamine lotion.
He also talked about a deeper bond with the product.


It’s delicate … but potent.

Teddy told me that in Greek, nostalgia literally means the pain from an old wound. 
It’s a twinge in your heart far more powerful than memory alone.
This device isn’t a spaceship.
It’s a time machine.

It goes backwards, forwards.
It takes us to a place where we ache to go again.
It’s not called the Wheel.x

It’s called the Carousel.

It lets us travel the way a child travels. 
Around and around and back home again…x

to a place where we know we are loved.”

– From Mad Men, Season One, Episode 13, “The Wheel”

In this scene, Don Draper (Jon Hamm) gives his advertising pitch to Kodak for their new slide projector, which they have not named yet.




A display about memory at the Dittrick medical history center (1966)

Now at the College of Arts & Sciences of Case Western Reserve University in Cleveland, Ohio 


“The magical power of the projected image is unique to the medium.

A beam of light, thrown out from the slide or film projector, bears sequences of images  

that reconstitute and take form when the light meets an opaque surface.

Projected images are at once solid and transparent…

The beam of light is a powerful sign of memory and the visual imagination.

It transmits ghost images, figures that live only through the power of the projective

apparatus and die as the picture vanishes. Projected in darkness, the cone of light

traces the genesis of the images from projector to screen.

It is spellbinding and full of promise”

– Lynda Nead, The Haunted Gallery: Painting, Photography and Film around 1900


120 Days & Nights of Staggering & Stammering: Vampire Days.  
SLR film Cameras, Slides. LED spotlights. + as a Digital Print




Mark Ingham‘s incredible installation, 120 Days and Nights of Staggering and Stammering, 

is designed from 120 SLR film cameras and LED spotlights. Each of these handmade projectors 

will display images taken before and during the installation, as well as audience-donated images.

Regardless of where Ingham’s piece is installed, the end result will reflect the experience

of the viewer within it.”  

Artists Wanted



120 days 3

“Ars Magna Lucis et Umbrae” 
Dilston Grove, Cafe Gallery Projects. 2008



Link: Go to Works 


TCoE Inside 1

“England’s Dirty Rotten Gardens” 1988  (The Consumption of Elements) Chisenhale Gallery London




“A concept is a brick. It can be used to build a courthouse of reason. 

Or it can be thrown through the window.”


“Gilles Deleuze & Felix Guattari (A Thousand Plateaus: Capitalism and Schizophrenia. p xiii)




Crossroads 1986 In New British Sculpture, Air Gallery
Radios, Cardboard, Maps, Clocks, Barbed Wire.



“Technology is not neutral. We’re inside of what we make, and it’s inside of us.

We’re living in a world of connections —

and it matters which ones get made and unmade.” 


Donna Haraway (A Cyborg Manifesto. pp.149-181)




Camera Projectors Diagram. 2005



“We have to see creation as tracing a path between impossibilities.” 


Gilles Deleuze  (Negotiations? & Essays Critical and Clinical. p x|viii)




“Ars Magna Lucis et Umbrae” 
Dilston Grove, Cafe Gallery Projects. 2008



“Art struggles with chaos but it does so in order to render it sensory….” (Watteau)


Gilles Deleuze and Felix Guattari.  (What is Philosophy? p205)



Doppelganger 3 Kings

Döppelganger: “We Three Kings…”  
2005  (Photographic Print 160 cm x 240 cm)



“Break a vase, and the love that reassembles the fragments is stronger than that love

which took its symmetry for granted when it was whole.” 


Derek Walcott (The Antilles: Fragments of Epic Memory. Nobel Lecture .1992)



Dr Mark Ingham 

View Mark Ingham's profile on LinkedIn


Twitter: (@ArsLucia)
Linkedin: (Mark Ingham)
Email: (

PDF CVMarkIngham2012CV

CV/Contact Page

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Screening Memories

Screening Memories

Deniz Akca: Practice Re-constructed
Dr. Mark Ingham: 120 Days and Nights of STAGGERING + STAMMERING
Date: Wednesday 2nd May 2012, 2-4pm
Venue: Green Room, Chelsea College of Art and Design, Millbank

Present: Deniz Acka, Lee Campbell, Lorrice Douglas, Mark Ingham, Maria Kheirkah,Ope Lori,  Elizabeth Manchester, Charlotte Webb

Deniz Acka, Night Map 2012

Deniz Akca is a full-time research student at Chelsea College of Art and Design. Her practice-led research uses cinematic and animated film to map representations of female identity. She draws on film and architectural space as representations for cultural and sexual identity. Her case study is Istiklal Avenue, one of Istanbul’s most famous avenues, surrounded by majestic Ottoman buildings in a range of architectural styles. It is also the historic home to Istanbul’s most important cinemas. For the case study she investigates and analyses the photographic and filmic representations of women in this place. Her practice involves transforming her case study into animated image. For this presentation she will talk about how this particular urban space shaped the beginnings of her research practice during her initial training as an architect in Istanbul.

For the Practice Exchange Deniz introduced her research project which entails the mapping of female identity through Turkish film and architecture. The practice of mapping has been influenced by Atlas of Emotion: Journeys in Art, Architecture, and Film, by Giuliana Bruno as well as the psycho-geographical mapping present in the work of Peter Greenaway.

The site for Deniz’s research is Istiklal Avenue, a street in the historic Pera region of Istanbul. Deniz gave some historical background about the development of the regions of Pera & Gerata where Istiklal avenue resides, and which form the borders of her research. She described the development of Ottoman social relations to non-Muslim people living the area, and noted that different social and cultural conventions were played out amongst different social groups.
The foundations of Turkish cinema were formed close to Istiklal Avenue, and cinema was culturally significant in this area, with the first cinema opening there in 1938. Although Turkish cinema became prominent during the 1950s, Deniz is focusing on films from 1990 to the present. She showed a key photograph from the 1970s, depicting a group of actresses, actors and directors who took to the streets to celebrate the birth of Turkish cinema.
Deniz is particularly interested in the representation of Istiklal Avenue in the 1993 film Whistle If You Come Back by Orhan Oğuz, which she first saw when she was 9 years old.Whistle if you come back is about the painful lives and struggles of two nameless protagonists – a transvestite and a dwarf who are referred to as ‘This and That’. Scenes of exchange between them are shot inside a flat on Istiklal Avenue, the landlady of which is ‘Madame Lena’, a rich Greek lady from a non-Muslim community. Madame Lena’s character is important with regard to the representation of the female identity of Istiklal Avenue. She is isolated from society in the film, and in a real-life reflection of this, Deniz noted that the actresses name was never listed in the cast list of the film. The rights of film belong to ministry of culture of Turkey.
Madame Lena’s identity is unexplored in the film, which provided a space for Deniz to interpret her identity imaginatively in her first animation, a reconstruction of the interior of Madame Lena’s flat. Deniz thought of Madame Lena’s bedroom as a museum where memories are collected. The architectural space and her objects are used as a representation of her cultural identity.
Films provide the main source material for her research, but Deniz also goes to Istanbul as much as possible to gather images from second-hand book shops and to take her own photographs. She noted that this is not archival research.
Deniz showed her latest animation, ‘Night Map’, which she referred to as documentation of ‘memory spaces’ in Istiklal Avenue. Certain details of the architecture were reconstructed from Deniz’s own materials and photographic collections. The animation depicts a fragmented architectural space in which the streets’ inhabitants appear and disappear. There is an evocative sound track which comprises sounds of the comings and goings of people and traffic on Istiklal Avenue.
In relation to the Night Map work, Mark was reminded of Deleuze’s concept of the crystal image because of how it deals with time and space. As in Deniz’s animation, in the crystal image time, space and sound become something we don’t expect…
Maria noted that, going back and forth from Iran, she is always struck by sounds and how different they are from sounds in the UK. She commented that the sound performs an important function in Deniz’s work.
Maria asked if there a sense in which Deniz’s work represents her own feelings of isolation from Turkey. Deniz doesn’t see herself as an outsider, having lived in Istanbul from 2001 – 2007. She described her presence there in the past as an almost disappeared architectural layer – now she is here in the UK, removed from the city, she can look at the city as a research object.
Maria also noted that there seemed to be an element of voyeurism or exoticisation present in the work, though it was noted that it might not be possible to avoid an element of voyeurism.
There was a discussion of the question of absence in Deniz’s work – in her first animation she wanted to refer to the absence of the non-Muslim women in Istiklal Avenue, and the absence of Madame Lena’s character in the film. In the later work, images of women are used. There was a discussion about how images of women might be utilised by Deniz and what the potential problems are with this – particularly ethical issues surrounding the use of found images of women whose relatives may still be alive. Charlotte noted that the floating ghostly quality of the figures in the Night Map work underlined this sense of disembodiment – of separation from the representation of women from the reality of their lives?
Dr. Mark Ingham, Marilyn Henry and Me 1956-2011

Dr. Mark Ingham is PhD Director of Studies/Supervisor at Wimbledon College of Art, and Principal Lecturer (Masters Programme Leader) in the Communication Media for Design Department at the School of Architecture & Construction, University of Greenwich. For the Practice Exchange, Mark will begin by presenting a short film:

“The young man at the beginning of Andrei Tarkovsky’s ‘The Mirror’ stammers and stutters, and then learns not to. My grandmother, Rose-Marie, staggers out of The China Hall Public House, The White Horse Tavern, The Crystal Tavern, The Eagle and never learns. In the icy wastes of the French Alps she dives into freezing lakes. Followed by my grandfather, without a St. Bernard dog for company. ‘Ice, No Brandy’. The very, very, late night Troy Bar in Soho always clings. However far I try and get away from ‘Grey Gardens’ it still tugs me back to ‘Tea for Two’. ‘Just tea for two and two for tea Just me for you Just tea for two and two for tea Just me for you.’ Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories. This becoming can be a start of a conversation.”

For the Practice Exchange, Mark began by showing a slideshow of images in order to introduce himself to the audience. This comprised images of his own work in relation to fragments of text from A Thousand Plateaus, by Gilles Deleuze and Felix Guattari. Mark became enamoured with Deleuze & Guattari when doing his PhD at Goldsmiths. In his work, he is trying to unravel the idea of the rhizome. For TPE he wanted to unpick the first passage in A Thousand Plateaus where the rhizome is described.

One of the things that appeals to Mark about Deleuze is that he tries to question what thinking is. (Deleuze’s PhD included a chapter called ‘The Image of Thought’). Deleuze and Guattari want to go against the idea that knowledge is rooted or fixed. They want everything to be connected – they don’t want us to be separated – Mark is attempting to reflect on whether he can or has become rhizomatic in his work. It was noted that an attempt to engage an audience by way of metaphor (such as the rhizome) is problematic, because it’s easy to start focusing on the images being which can, paradoxically, fix or obstruct the broader conceptual terrain…
Mark showed a series of early works from his BA and MA ranging from large scale wooden structures, to an installation of hanging chairs which he saw as ghosts, to a bin full of garlic, shown at Camberwell college, which made a gallery visitor vomit several times. He mentioned that at this time, he took up contemporary ballet.
He talked about a Henry Moore fellowship undertaken from 1985-1986, during which he was putting objects in trees, and described a desire to escape his own ‘artschoolness’. He wanted to avoid making things that looked too conspicuously like ‘art’, and to resist art’s imperative for signification.
In a later series of work, he started to trace his genealogy through his grandfather’s slide collection, tracing over many overlayered slides to create densely layered drawings.
Mark’s presentation can be seen in full here:
Mark then showed a more recent work: ‘120 days and nights of STAGGERING and STAMMERING’, a video work which can be seen here:

Mark said he feels trapped by making art – though this is not necessarily a bad thing, as making art can be truly liberating. There was a connection between Deleuze’s desire to resist signification and Mark’s desire to resist the conventions of art production.
Deniz was interested that Mark talked about education – she is from an architectural background, and expected that art would be a ‘free space’! That it is seen as so bound by conventions and aesthetic boundaries was a surprise to her.
Charlotte felt that her life as an artist is also characterised by the feeling of being trapped – again, she does not feel this is necessarily completely negative, but rather provides something to push away from in developing her practice.
There was significant discussion of the computer generated voiceover in the film, which is created using a read out loud text to speech tool in Adobe Acrobat. The voice had a quality of chanting or incantation, and it was sometimes difficult or impossible to understand what was being said. Mark said that he wanted to avoid having a conventional narrative, using his own voice. There was a simultaneous desire to articulate a practice and be voiceless…
Lorrice was struck by the performative nature of the work, and saw Mark’s practice as trying to perform Deleuze, or embody a Deleuzian approach.
Charlotte enjoyed the fact that the temporal status of 120 days and nights of STAGGERING and STAMMERING was difficult to pin down – was it documentation of a show, was it a proposal for a show, did it look into the past or future? There were seen to be similarities between Mark and Deniz’s work in this regard.Elizabeth liked the fact that in the first part of the presentation, there were some linguistic slippages between the texts on the screen and the way Mark read them – this was pertinent to the idea of stammering…