173:, they provided passing pedestrians with the opportunity to make self-portraits against a white backdrop using an extension shutter release with the assistance of a photographer. Their landmark effort was to counter the bad press that the inner-city neighbourhood was receiving, and the stereotyping and blaming of its residents for its conditions, by showing the diverse faces of its population. The result was shown in Birmingham and elsewhere.
597:] is then to have been part of the constitution of the very subjectness of photography as an academic discipline. This is true of the work of the photographers it foregrounded, the models of engaged photographic practices it reported upon, the theorists it published and, perhaps more significantly, its own model of attempting to hold theory and practice together.
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turn, at a period when the decoding of photographs was contested, and it heralded new cultural forms of contemporary networked and commodified digital culture. In 1978 the number of colleges in the UK offering photography as a degree subject was a mere handful, and during the magazine's lifetime such
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As an editorial group, we are not committed to any one theory about photography, and we will not be championing any one way of making pictures. We believe that our strength lies in this very eclecticism, and make no apology that in this issue, and in the future, we shall be examining issues from a
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and their imagery appeared alongside writing by academics and community activists. The quarterly format permitted the collation of material into themed editions. It was one of a number of niche
British magazines dedicated to critical discussions of photography and related media in the 1980s, that
342:
The tenth edition of the magazine reflected on recent histories of feminism in documentary photography in
Britain. Published in 1983, four years after the first edition, the issue's content was themed 'Photography, peace and protest', with a central photo essay titled "Greenham Common".
210:'s loose co-operative was formalised as a limited company, Wilson became one of the magazine's directors and took up responsibility for the touring program, benefitting from her visit during the period to Houston FotoFest in the US by emulating their portfolio reviews. Wilson left
498:
By including imagery of, and writing around, political and social developments, the magazine sought to provide understanding of ways in which photographic practice was engaged in ideological processes that
Bishton articulated as a crisis of the
363:, was an important edition as a retrospective guide to recent black cultural politics in times of rapid and turbulent change in which theory and practice dealt with race, politics and representation. An introduction written by
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and Sonali
Fernando that pursue multiple issues of identity and the black photographic image, skin colour, diaspora, blackness as a cultural icon, racial confrontation and sexuality.
322:. The issue no. 15, 1984, dealt with working-class representation in unemployment and homelessness, and hidden relationships of power, through the frame of George Orwell's
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199:(1953–2014) had joined the editorial board and had a lasting influence. She designed two issues; "Another Coal Face" (1984) and "Evidence" (1987). In 1988, when she and
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about the work of the photograph. John Taylor as an editor and writer advanced theorisation of photography through publishing writings by Stuart Hall, John Tagg and
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featured knowledgeable and fiercely contested debates on the history, theory, politics and practice of photography and offered source material for educators.
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923:"Art Monthly : Article : Documenting Documentary – As documentary retreats from the public to the private sphere Sarah James asks why"
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context, ended what Arts
Council's Photography Officer, Barry Lane, had been developing and had understood as British independent photography.
371:, is followed by their essay "The Vertigo of Displacement: shifts within black documentary practices", and other contributions by
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co-edited the
Spectrum Women's Photography Festival exhibition catalogue, it was published as a special supplement to issue 30.
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British Black and Asian social justice as reflected in photographic and media representations.
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Connell, K. (2012-05-01). "Photographing handsworth: Photography, meaning and identity in a
British inner city".
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Contributing photographers came from a new breed of documentary workers and included Paul Hill, Angela Kelly,
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form "inscribed into the currencies of social and cultural discourse". Bishton regarded the key functions of
138:(the title referring to the 10" x 8" format of the traditional black-and-white photographic press print, and
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had an impact that drew international readers; from an initial print run of 500 in 1979, to 5,000 in 1992.
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Editor Derek
Bishton established "Ten.8 Touring", an exhibition touring project in 1987 and when in 1989,
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The writing of that issue is framed with images by David Lewis, Vanley Burke, and
Franklyn Rodgers,
310:" in which imposed wage restraint led to widespread industrial action, followed by the election of
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was in the left-wing intellectual tradition, entrenched in the year it was founded at the end of
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institutions proliferated, and most had texts from the publication in their course materials.
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The trio had previously undertaken community-based work together, creating the
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These "issues" included the following, which were covered in themed editions:
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was a British photography magazine founded in 1979 and published quarterly in
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Stephens, Chris; Tate Britain (Gallery); Yale Center for British Art (2008),
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Photography degree zero : reflections on Roland Barthes's Camera lucida
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Dewdney, Andrew (2011). "That was Then, This is Now: The Legacy of Ten:8".
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Remaking Birmingham : the visual culture of urban regeneration
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was represented at the Houston FotoFest and at Recontres Au Noir,
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lived and photographed. During the autumn of 1979, prior to the
383:, Aurat Shakti, Mumtaz Karimjee, Amina Patel, Gilane Tawadros,
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Goodman, Joyce; McCulloch, Gary; Richardson, William (2008),
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469:" commentary on culture, compared with the contemporaneous
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1023:"Critical Decade: Black British Photography in the 80s"
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Critical Decade: Black British Photography in the 80s
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Quarterly magazines published in the United Kingdom
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1048:Social change in the history of British education
951:Evans, Jessica; Stuart Hall, eds. (6 July 1999),
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556:was positioned temporally and critically at the
184:lecturer John Taylor, and later Paul Lewis from
142:of the word "tenet") was founded in 1979 by the
507:as promoting photographs from the cultures and
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277:In an editorial the magazine proclaimed:
1168:Left-wing politics in the United Kingdom
806:"KLOMPCHING GALLERY — RHONDA WILSON BIO"
178:Centre for Contemporary Cultural Studies
16:British photography periodical 1979–1992
1178:Mass media in Birmingham, West Midlands
1078:. London: Routledge. pp. 299–300.
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581:The Legacy of Ten:8 Symposium
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830:"A tribute to Rhonda Wilson"
479:as a representation of the "
318:(1981–2000) and the fateful
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921:James, Sarah (April 2006).
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861:(4th ed.). Routledge.
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577:Arles Photographic Festival
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334:and the 1930s Depression.
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242:, Nigel Dickinson, and
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549:Influence and legacy
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308:Winter of Discontent
306:government and the "
244:Chris Steele-Perkins
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465:has been called a "
273:Content and context
182:Stourbridge College
152:Birmingham Arts Lab
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810:KLOMPCHING GALLERY
485:street credibility
402:, Vincent Stokes,
314:, the campaign at
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471:pop culture
467:First World
412:Keith Piper
408:Sonia Boyce
400:Joy Gregory
389:Paul Gilroy
369:Stuart Hall
53:Final issue
35:First issue
1132:Categories
1118:2022-04-20
1032:2019-07-31
932:2019-08-01
840:2019-07-31
815:2019-07-31
662:2019-07-31
614:References
608:Camerawork
591: [
562:Postmodern
328:, and his
260:Camerawork
171:1981 riots
163:Handsworth
144:Birmingham
125:Birmingham
91:Birmingham
74:Ten.8 Ltd.
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195:By 1984,
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30:Quarterly
27:Frequency
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602:See also
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476:The Face
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249:Screen
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290:Class
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1090:OCLC
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