Jo Spence Explained

Jo Spence
Birth Date:15 June 1934
Birth Place:London, United Kingdom
Death Place:London, United Kingdom
Nationality:British
Field:Photography

Jo Spence (15 June 1934, London – 24 June 1992, Camden) was a British photographer, a writer, cultural worker, and a photo therapist. She began her career in the field of commercial photography but soon started her own agency which specialised in family portraits, and wedding photos.[1] In the 1970s, she refocused her work towards documentary photography, adopting a politicized approach to her art form, with socialist and feminist themes revisited throughout her career.[2] Self-portraits about her own fight with breast cancer,[1] depicting various stages of her breast cancer to subvert the notion of an idealized female form,[3] inspired projects in 'photo therapy', a means of using the medium to work on psychological health.

Early life

Jo Spence was born on 15 June 1934 in London to working-class parents.[4]

Career

She started off as a wedding photographer and ran a studio from 1967–1974. Soon afterwards, she began documentary work in the early 1970s, motivated by her political concerns. Both a socialist and feminist, she worked to represent these issues through her practice of photography, first as a founding member of the Hackney Flashers (1974), a collective of broadly feminist and socialist women who produced exhibitions such as 'Women and Work' and 'Who's Holding the Baby'. She was subsequently active in establishing the Photography Workshop (1974), a group focused on education and publishing, including its Camerawork magazine (1976–1985), along with the socialist historian of photography Terry Dennett (1938-2018),[5] with whom she continued to collaborate for the rest of her life. In 1979, Spence studied the theory and practice of photography at the Polytechnic of Central London with photo theorist Victor Burgin. She gained a first class Honours Degree and moved on from her previous notions of photography, taking greater account of visual semiotics manifested in the medium. With fellow students Mary Ann Kennedy, Jane Munro and Charlotte Pembrey, Spence co-founded The Polysnappers. During the late 1970s and into the early 1980s her work became more focused on themes of domesticity and family life. In a companion piece for Beyond the Family Album, Public Images, Private Conventions she wrote on how she wished to "question [...] who represents who in society, how they do it and for what purpose."[6]

In 1982, she was diagnosed with breast cancer. After her diagnosis, Spence started to focus on identity, subjectivity, mental and physical health.[7] She rejected conventional therapy and explored holistic therapy and the personal and feminist political dimension of living with cancer.[8] It was through experiencing the effectiveness of using photography in confronting and documenting her hospitalisation and illness that Spence, with Rosy Martin, developed 'photo therapy' in which the subject was empowered to control their image to discover and represent unexpressed or repressed feelings and ideas. By working collaboratively the person in front of the camera was both subject and author of the image.[9] Other collaborators/ therapists included Ya’acov Kahn, David Roberts and Dr Tim Sheard.

Alongside her photography, Spence maintained a career as an educator, writer, and broadcaster and undertook a three-month tour with her work to Australia,[10] Canada, and the United States before discovering that she had leukemia from which she later died in London in June 1992, shortly after a civil marriage in May formalising her partnership with David Roberts.[11] Terry Dennett, who was a former collaborator and friend of Spence, was the curator of the Jo Spence Memorial Archive.[12]

Works

1984–onwards: Photo therapy projects

Bibliography

Archives

See also

External links

Notes and References

  1. Web site: Jo Spence Biography. Jo Spence Official Website. 1 February 2014.
  2. Book: Spence, Jo. Putting Myself in the Picture. 1988. The Real Comet Press. Seattle. 0-941104-38-9. 48.
  3. Book: Kathy., Battista. Renegotiating the body : feminist art in 1970s London. 2013. I.B. Tauris. 9781848859616. London. 747008395.
  4. Web site: Jo Spence Collection . Archives Hub. 27 January 2014.
  5. Watney . Simon . Spring 1986 . Jo Spence . History Workshop . 21 . Oxford University Press . 21 . 211–212 . 10.1093/hwj/21.1.211 .
  6. Book: Spence, Jo . 1979 . Three Perspectives on Photography . 60 . Arts Council of Great Britain .
  7. Bell. Susan E.. Photo Images: Jo Spence's Narratives of Living with Illness. Health. 1 January 2002 . 6. 1. 5–30. 10.1177/136345930200600102. 9016299 . 1 March 2017.
  8. Book: Art and feminism. 2001. Phaidon. Reckitt, Helena. Phelan, Peggy.. 9780714847023. London. 48098625.
  9. Paul Pieroni, Joe Scotland, Louise Shelley, George Vasey (eds). 2012. Jo Spence: Work (Part I) SPACE, London 1 June — 15 July 2012 and Jo Spence: Work (Part II) Studio Voltaire, London 12 June — 11 August 2012 (exhibition catalogue), Jo Spence Memorial Archive, London, SPACE, London, and Studio Voltaire, London
  10. News: Allen . Christopher . 27 October 1990 . Sexuality and the ideal of classical human form . 81 . The Sydney Morning Herald.
  11. General Register Office; United Kingdom; Volume: 11; Page: 583
  12. Web site: Terry Dennett. Maitland. Colin. www.therai.org.uk. 2019-12-05.
  13. Book: Spence, Jo . Class Slippers Jo Spence on Fantasy, Photography & Fairy tales . RRB Photobooks . 978-1-8382683-0-5 . Bristol, England . en . 1273428614.

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