3 research outputs found
Collision, Collusion and Coincidence: Pop Artâs Fairground Parallel
This article looks at parallel methods, motivations and modes of consumption between formative British pop art and British fairground art. I focus on two strands, the emergent critical work of the Independent Group and the school of artists based at the Royal College of Art under the nominal leadership of Peter Blake. I use iconographical and iconological methods to compare the content of the art, and then examine how pop art tried to create both a critical and playful distancing from established rules and practices of the artistic canon. I focus on non-institutional cultural groupings and diffuse production and consumption models
Contemporary Photographic Practices on the British Fairground
The fairground is a somewhat magical and uncharted realm of illusion, deception, thrill and adventure. It offers a glimpse of the improbable and impossible, and a taste or touch of the unattainable. This article looks at the crossover of photography and the British fairground following the gradual take-up of photography in the post-war period. It briefly covers early traditions concomitant with the specialised practice of photography, then it identifies photographic practices on the fairground through distinct communities of engagement including professional and amateur photographers attracted to the spectacle of the fair, ethnographic explorers, dedicated enthusiasts, showpeople and the general public of âpuntersâ. In each case photographs from these communities are presented as well as a selection of photographs depicting these communities of photographers in action. The article concludes with the current situation of camera phone technology, social media and digitally manipulated photographic art as a new aesthetic of the fairground