Tag Archives: Jo Spence

Kate Davis: Nudes Never Wear Glasses

For our autumn programme, we will be exploring the work of Glasgow-based artist Kate Davis, in this her first solo exhibition in Edinburgh. Nudes Never Wear Glasses brings together a new photographic series with drawings and two film works on the subject of women’s domestic labour. The title of exhibition refers to a comment made by the photographer Jo Spence.

The film work Weight (2014, 11mins) takes John Read’s 1961 BBC documentary about the artist Barbara Hepworth as its starting point. Replacing references to art with references to housework and childcare, this clever satire explores how televised depictions of creativity have constructed our understanding of artistic production and other forms of labour.

Also on show is the first gallery presentation of her Margaret Tait Award film, Charity (2017, 16mins). This is a witty, filmic essay on the subject to women breastfeeding told through a variety of art historical still imagery, interlaced with moving images of the artist undertaking household tasks and a narration recited by Gerda Stevenson of extracts adapted from the writings of Margaret Tait (1918-1999). Tait was an Orcadian filmmaker, poet, artist and writer whose film poems, hand-painted animations and documentaries were pioneering in the field of experimental filmmaking.

Jo Spence

The first Spin event of the new season will be at Stills Gallery, where we will be visiting the exhibition of work by photographer Jo Spence. We will be joined by Roberta McGrath to discuss the various themes of the work on display. Roberta is Associate Lecturer in Photographic Theory and Criticism at Edinburgh Napier University and has close links with Stills Gallery.

Jo Spence (1934-1992) was a British documentary photographer and writer. She typically worked in collaboration, using her camera to address issues such as class, family, sexuality, illness and death. This exhibition presents material from a range of projects on which Spence worked from the early 1970s onwards. These include stark self-portraits, politically-motivated photographs of children, and work by the group Polysnappers, which Spence formed with fellow students at the Polytechnic of Central London in the 1980s. This exhibition reveals the personal and political import of photography as a medium.