Bungled memories: Series of five photographs examining, through the conventions of the still life genre, the thesis that accidents are not necessarily 'accidents'.

Bate, D. 2004. Bungled memories: Series of five photographs examining, through the conventions of the still life genre, the thesis that accidents are not necessarily 'accidents'.

TitleBungled memories: Series of five photographs examining, through the conventions of the still life genre, the thesis that accidents are not necessarily 'accidents'.
CreatorsBate, D.
Description

Using the conventions of the still life genre, this project examines the thesis that accidents are not necessarily ‘accidents’. Drawing on the parapraxes that Freud called ‘the psychopathology of everyday life’, the photographs record domestic objects broken by the author. ‘Bungled Memories’ challenges the assumption that the still life genre picture is purely ‘formal’ and the pictures draw attention to the social and cultural significance of the domestic field. Written captions alongside the photographs give clues to hidden (unconscious) meaning. The work also refers to fragments of paintings by Jean-Baptiste Greuze, the French painter championed in the late C18th by Enlightenment critic, Denis Diderot. The photographs were taken during the period 2000-2007. Each object was photographed on the same kitchen table in still life compositions using local light. Research covered psychoanalytic theories of accidents and memory, and the history, theory and practice of the still life genre, drawing on collections at the Louvre, Musee D’Orsay (Paris), the National Gallery and Wallace Collections (London).

The photographs were published in Portfolio magazine accompanied by an essay on them by psychoanalyst Parveen Adams (Issue 42, 2005). They were also published in a special issue of philosophy and critical theory journal Angelaki, (Routledge, Volume 7, no 1, 2002); exhibited in Hobusepea Gallery, Tallinn, Estonia (February 2004); and included in group exhibition Diderot co-curated by Bate at Danielle Arnaud Contemporary Art, London (January – February 2005). The series was exhibited and discussed at the conference ‘Psychoanalysis and the Arts and Humanities’ at the Institute of Germanic & Romance Studies (November 2006). A final set of all the photographs (now twelve) will be exhibited at Hooper’s Gallery, London, in early 2008 to coincide with the publication of the complete series in book form published with Danielle Arnaud.

Date2004
Web address (URL)http://www.eaa.ee/hobusepea/rubait.htm

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Bate, D. 2018. Camera Phones and Mobile Intimacies. in: Bohr, M. and Sliwinska, B. (ed.) The Evolution of the Image Abingdon, Oxon Routledge. pp. 14-26

Photography: Key Concepts. 2nd edition
Bate, D. 2016. Photography: Key Concepts. 2nd edition. London Bloomsbury.

Art Photography
Bate, D. 2015. Art Photography. London Tate Publishing.

The Syntax of a Photowork
Bate, D. 2013. The Syntax of a Photowork. in: H Hedberg,, Knape, G. and Martinsson, T. (ed.) Imprint: Visual Narratives in Books and Beyond Stockholm, Sweden Art & Theory.

The digital condition of photography: cameras, computers and display
Bate, D. 2013. The digital condition of photography: cameras, computers and display. in: Lister, M. (ed.) The photographic image in digital culture (2nd edition) Routledge. pp. 77-94

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Bate, D. 2012. Photography after postmodernism: Barthes, Stieglitz and the art of memory. London I.B. Tauris.

Zone
Bate, D. 2011. Zone. London Artwords Press.

The memory of photography
Bate, D. 2010. The memory of photography. Photographies. 3 (2), pp. 243-257.

The real aesthetic
Bate, D. 2010. The real aesthetic. Portfolio: contemporary photography in Britain. 51.

Australian Picnic
Bate, D. 2010. Australian Picnic. London

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Bate, D. 2009. Thirty years of British photography. Portfolio: contemporary photography in Britain. 50.

Photography: key concepts
Bate, D. 2009. Photography: key concepts. Oxford Berg.

Bungled Memories
Bate, D. 2008. Bungled Memories.

Bungled Memories
Bate, D. 2008. Bungled Memories. Zacheta National Gallery, Poland

Everyday madness: surrealism, ethnography and the photographic image
Bate, D., Wollen, P., Christie, I. and Cowie, E. 2007. Everyday madness: surrealism, ethnography and the photographic image. in: ten Brink, J. (ed.) Building bridges: the cinema of Jean Rouch London, UK Wallflower Press.

Emperor's new clothes
Bate, D. 2007. Emperor's new clothes. in: Elkins, J. (ed.) Photography theory London Routledge. pp. 253-255

Automatic pictures
Bate, D. 2007. Automatic pictures. in: Allmer, P. and Van Gelder, H. (ed.) Collective inventions: surrealism in Belgium Belgium Leuven University Press.

Zone. A series of 16 photographs exploring dimensions of social change in Eastern Europe after the Soviet Union through the case study of one city, Tallinn.
Bate, D. 2006. Zone. A series of 16 photographs exploring dimensions of social change in Eastern Europe after the Soviet Union through the case study of one city, Tallinn.

Voyeurism and portraiture
Bate, D. 2004. Voyeurism and portraiture. in: Mortensen, M., Anderson, C.R. and With, G. (ed.) Geometry of the face: photographic portraits Denmark National Museum of Photography. pp. 55-64

Surrealism, communism and photography
Bate, D. 2004. Surrealism, communism and photography. in: Evans, M. (ed.) Empire and culture: the French experience, 1830-1940 Basingstoke, UK Palgrave Macmillan.

Photography and surrealism: sexuality, colonialism and social dissent
Bate, D. 2004. Photography and surrealism: sexuality, colonialism and social dissent. London, UK I.B. Tauris.

Fotografie und der koloniale blick [Photography and colonial vision]
Bate, D. 2003. Fotografie und der koloniale blick [Photography and colonial vision]. in: Wolf, H. (ed.) Diskurse der fotografie Munich, Germany Suhrkamp Verlag KG. pp. 115-132

Art, education, photography
Bate, D. 2003. Art, education, photography. in: Wells, L. (ed.) The photography reader London, UK Routledge. pp. 435-442

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