Jo Spence (1934–1992) emerged as a key figure in the mid 1970s from the British photographic left, crucial in debates on photography and the critique of representation. Her work engaged with a range of photographic genres, from documentary to photo therapy, and responded to the prioritisation from the late 1970s onwards of lens-based media in art-critical discourse.
Rough edged, recycled, personal—in essence positively amateur, Spence’s work stands in direct opposition to numerous artistic givens. She proposed process over object, collaboration and collectivity over heroic authorship and, above all, generosity (to self and other) over the pursuit of any singular creative ambition.
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